fonts on Mac 10.7.4
Hi, I'm using Lilypond.app 2.16 on Mac 10.7.4. (The change log says 10.7 is supported now.) lilypond -dshow-available-fonts x shows that I have Gloucester MT Extra Condensed available as a font for me. Font Book shows it as being in True Type and Open Type format. I try specifying it in my lilypond score file: \override TimeSignature #'font-name = Gloucester MT Extra Condensed \override TimeSignature #'font-size = #2 and it just comes at as some sort of plain sans serif looking thing. I don't get any error messages or warnings. Is there something extra I have to do to make lilypond see my fonts? I saw the thing in the docs about fondu but that only looked relevant for the .dfont system fonts on os x. Thanks, Curt ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Formatting for 2.16.0
On 02/09/12 11:24, Joshua Nichols wrote: To whom it may concern: I apologize if this is a repeat query, however: I want to be able to generate graphic musical examples without getting it formatted on a giant paper-formatted .pdf or .png. I want to be able to use this for input into documents of my choosing How do I accomplish this? If your example is on a single stave, you can invoke Lilypond with lilypond -dpreview file.ly and you will get completely borderless file.preview.pdf and file.preview.png sized to fit the stave. Unfortunately this won't work if your example occupies more than one stave - all you will get is the first stave. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts on Mac 10.7.4
On 2 sept. 2012, at 08:58, Curt accou...@museworld.com wrote: Hi, I'm using Lilypond.app 2.16 on Mac 10.7.4. (The change log says 10.7 is supported now.) lilypond -dshow-available-fonts x shows that I have Gloucester MT Extra Condensed available as a font for me. Font Book shows it as being in True Type and Open Type format. I try specifying it in my lilypond score file: \override TimeSignature #'font-name = Gloucester MT Extra Condensed \override TimeSignature #'font-size = #2 and it just comes at as some sort of plain sans serif looking thing. I don't get any error messages or warnings. Is there something extra I have to do to make lilypond see my fonts? I saw the thing in the docs about fondu but that only looked relevant for the .dfont system fonts on os x. Thanks, Curt ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Hey Curt, I was wracking my head over the same thing not too long ago on OS X. LilyPond uses a library called fontconfig to do all font lookups. What happens inside fontconfig is rather opaque to LilyPond - it just looks for a font and, if not found, replaces it with the generic sans serif of which you speak. The best way to know how fontconfig searches for fonts is through their documentation : http://www.freedesktop.org/wiki/Software/fontconfig You can also email Werner LEMBERG w...@gnu.org, a member of both the LilyPond and fontconfig communities, who may have some insight on how to solve your problem. Cheers, MS___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts on Mac 10.7.4
Hello,
3 things that might help :
- OS X font recognized by LilyPond can be a problem. On my configuration, I
have no problem with OpenType, .dfont, Windows true type (.ttf), but it
doesn't recognize my Mac True type fonts (generally, rather old fonts). As
your font is available in both True Type and Openfont, first thing to do
would be to check in the Font Book app that the active one is the Opentype
version (and thus the true type version inactive).
Did you already try to use that particular font to change the title font in
LilyPond ? Trying this in the paper block could test that your font is
really recognized by Lilypond :
\paper{
myStaffSize = #20
#(define fonts
(make-pango-font-tree Gloucester MT Extra Condensed
Gloucester MT Extra Condensed
Gloucester MT Extra Condensed
(/ myStaffSize 20)
))
}
%
- I tried your command with a custom font I use in a document, and I does
absolutely nothing. So, I may be wrong, but I'm not totally sure that
time-signature font can be changed that way.
- another idea would be to force lilypond to create a new font cache file.
Using the terminal, you should enter the following command :
rm .lilypond-fonts.cache-2
The next LilyPond compilation will take much time, creating a new cache
file.
Hope this helps
Philippe
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special variable for compound meters
Dear community,
in 2.14. I've been quite frequently using a special variable for compound
meters. I would like to use it in the same way as before, but unfortunately
it doesn't work in 2.16.
How can I update it?
% SNIP
\version 2.16.0
aksak = #(define-music-function
(parser layout zaehler nenner compound) (number? number? list?)
#{
$(set-time-signature zaehler nenner compound)
#})
\relative c' {
\aksak #7 #8 #'(4 3)
c8 d e f e d c
}
%% END
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Re: fonts on Mac 10.7.4
On 2012-09-02 08:58, Curt wrote: Hi, I'm using Lilypond.app 2.16 on Mac 10.7.4. (The change log says 10.7 is supported now.) lilypond -dshow-available-fonts x shows that I have Gloucester MT Extra Condensed available as a font for me. Font Book shows it as being in True Type and Open Type format. Strange. I have this font installed, too, and it shows nicely a number of glyphs in Font Book (not sure whether they belong to Gloucester, though). I reckoned your problem has something to do with the font file permissions, so I went to copy it to my user folder - and found out that this very font (in /Library/Fonts/Microsoft/) not only lacks an extension, but also any content. It's got 0 bytes. Yep. No clue where the magic lies that FontBook can make something out of it, but obviously it's not the favorite method of pango. On a probably completely uninteresting side note, the buzzword condensed in the font name is recognized and the appropriate version of DejaVuSans is used on my machine. I try specifying it in my lilypond score file: \override TimeSignature #'font-name = Gloucester MT Extra Condensed \override TimeSignature #'font-size = #2 and it just comes at as some sort of plain sans serif looking thing. I don't get any error messages or warnings. You should get a warning like warning: time signature symbol `C44' not found; reverting to numbered style (at least if you use 4/4 or 2/2 measures), but then again this can be remedied with \override TimeSignature #'style = #'numbered Otherwise your code is fine, and works with other fonts for me. Best, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts on Mac 10.7.4
On Sep 2, 2012, at 1:02 AM, flup2 wrote: Hello, 3 things that might help : Did you already try to use that particular font to change the title font in LilyPond ? Trying this in the paper block could test that your font is really recognized by Lilypond : I just tried - it looks like it can't use it in the title, either. There, I get a console error: warning: `(fondu -force /Library/Fonts/Microsoft/Gloucester MT Extra Condensed)' failed (256) When I try to run fondu in Terminal, I get this: Can't find an appropriate resource fork in /Library/Fonts/Microsoft/Gloucester MT Extra Condensed But it's odd that Lilypond otherwise reports it as an available font. And I'm not sure why it's trying to run fondu on it in the first place, as it's not a .dfont . Then, a bit of progress - I was able to find a *.ttf version of that font online, and I just threw the *.ttf file into my ~/.fonts directory. Then, your code sample worked on a small test document. The title is in Gloucester. However, it still doesn't work for the time signature, (you were right), which is a bummer since that was the point for me. :) Anyway, I'm not sure if any of these are bugs, but I'd summarize as: - Why is Lilypond trying to run fondu on font files that are already truetype - the installed version is font v 1.51, opentype and truetype, shows as 0 bytes in terminal but 76 kilobytes in finder - the downloaded *.ttf is font v 1.50, truetype, shows as 26 kb in terminal, and 68 kb in finder - If a title can be changed to another font, shouldn't a time signature be able to be changed as well? Or is there another way to accomplish this? I thought this might be because of the Feta font, but this docs page implies it should be possible to switch time signature fonts: http://lilypond.org/doc/v2.16/Documentation/notation-big-page.html#single-entry-fonts Thanks to anyone willing to wade in these weeds. :) Curt ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts on Mac 10.7.4
The correct command is, as indicated in the help page you linked : \override Staff.TimeSignature #'font-name = ... The Staff. before TimeSignature was missing in your override. Now, it's working right on my side. Philippe -- View this message in context: http://lilypond.1069038.n5.nabble.com/fonts-on-Mac-10-7-4-tp131949p131961.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts on Mac 10.7.4
On Sep 2, 2012, at 2:27 AM, flup2 wrote:
The correct command is, as indicated in the help page you linked :
\override Staff.TimeSignature #'font-name = ...
The Staff. before TimeSignature was missing in your override. Now, it's
working right on my side.
Philippe
Sorry, I was probably being too concise. :) I have it inside a Staff block.
\new Staff \with {
\override TimeSignature #'style = ##f
\override TimeSignature #'font-size = #5
\override TimeSignature #'font-name = Gloucester MT Extra Condensed
}
Switching it to Times works, but Gloucester doesn't, even though Gloucester
does work for title.
Ah well, it looks like there are plenty of other fonts I can use, that work for
time signature. I guess I learned a lot about font behavior tonight. :)
Curt
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Re: special variable for compound meters
Stefan Thomas kontrapunktste...@gmail.com writes:
Dear community,
in 2.14. I've been quite frequently using a special variable for
compound meters. I would like to use it in the same way as before, but
unfortunately it doesn't work in 2.16.
How can I update it?
% SNIP
\version 2.16.0
aksak = #(define-music-function
(parser layout zaehler nenner compound) (number? number? list?)
#{
$(set-time-signature zaehler nenner compound)
#})
\relative c' {
\aksak #7 #8 #'(4 3)
c8 d e f e d c
}
%% END
Anything wrong with
\time #'(4 3) 7/8
? Of course you can still use and define
aksak = #(define-music-function
(parser layout zaehler nenner compound) (number? number? list?)
#{
\time #compound #(cons zaehler nenner)
#})
but it seems sort of pointless. convert-ly, by the way, is able to
convert the direct call of set-time-signature but balks on your use of
variables.
--
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Re: Documentation for v2.16.0
2012/9/2 Nick Payne nick.pa...@internode.on.net: I had the same problem at first - not seeing the PDF manuals. However, if you click on the link for the manuals ( http://lilypond.org/manuals.html), then on the second line of menu at the top of the page there are links for Learning, Glossary, Essay, Notation, etc. Click on each of those and you will see the download link for the relevant PDF manual. These are just the Details pages that are reached through every details of... link at the right of the manuals. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Printed time signature symbol different from actual time signature, how?
Dear list, I am setting a piece with a time signature of 4/2. This should be used to calculate the measure length etc. However, I'd rather see the alla breve symbol in place of the 4/2. Is there a way to do this (that I can understand ;-), I'm just a user, no scheme wizard)? Any help or hint is much appreciated. TIA, Matthias -- Matthias Böhringer Brunnenstraße 6 72296 Schopfloch-Unteriflingen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
bookpart, titles and table-of-contents
I'm trying a different approach¹ in creating a book.
Let me first explain what I 'd like to achieve.
Let's say I have some scores which I'd like to print either on their own
and inside a book which includes them all; and I want the title to show
up correctly in both cases without having to touch any single score.
It seems that \bookpart is perfect because I can use an \header block
for each score.
But I have two problems in the book file which includes the bookpart files:
1. page numbers in the table of contents don't work: I see a ? instead
of a number
2. between the two scores a page with the main title is printed
See minimal example attached.
Can you help me?
Thanks in advance
[1] http://lists.gnu.org/archive/html/lilypond-user/2012-05/msg00057.html
(this is what I used to do)
--
Federico
\version 2.16.0
\pointAndClickOff
\header {
title = Title
}
\paper {
}
\markuplist \table-of-contents
\pageBreak
\markup { \null }
\pageBreak
\tocItem \markup 1st piece
\include bookpart1.ly
\tocItem \markup 2nd piece
\include bookpart2.ly
\version 2.16.0
\bookpart {
\score {
\repeat unfold 20 { c1*4 \break }
\layout {
indent = #0
%system-count = #
}
}
\header {
title= 1st Piece
}
}\version 2.16.0
\bookpart {
\score {
\repeat unfold 20 { d1*4 \break }
\layout {
indent = #0
%system-count = #
}
}
\header {
title= 2nd Piece
}
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Re: special variable for compound meters
Dear David,
off course,You are right. It's not better to write \aksak #13 #8 #'(3 3 3 2
2 ) instead of \time #'(4 3) 7/8
The problem was: I've been using the alsak-variable before this kind of
syntax was possible and I've used it quite a lot.
An update with convert-ly didn't work in my case.
So, I'm happy, that I can use aksak as before, athough it isn't more
conventient than the standard syntax for rthis cases.
Dear community,
in 2.14. I've been quite frequently using a special variable for
compound meters. I would like to use it in the same way as before, but
unfortunately it doesn't work in 2.16.
How can I update it?
% SNIP
\version 2.16.0
aksak = #(define-music-function
(parser layout zaehler nenner compound) (number? number? list?)
#{
$(set-time-signature zaehler nenner compound)
#})
\relative c' {
\aksak #7 #8 #'(4 3)
c8 d e f e d c
}
%% END
Anything wrong with
\time #'(4 3) 7/8
? Of course you can still use and define
aksak = #(define-music-function
(parser layout zaehler nenner compound) (number? number? list?)
#{
\time #compound #(cons zaehler nenner)
#})
but it seems sort of pointless. convert-ly, by the way, is able to
convert the direct call of set-time-signature but balks on your use of
variables.
--
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Re: problem with addTenuto
Dear community,
for those who are interested:
I've found a solution for my problem. I've found it in the older version of
copyarticulations.ly
skipTiedNotes = #(define-music-function (parser location music)(ly:music?)
Add a special tag in 'tags of second tied notes to forbid articulations to
be
copied.
(let ((prev-was-tied #f))
(map-some-music
(lambda(evt)
(let ((name (name-of evt)))
(cond
((or (eq? name 'NoteEvent)
(and (eq? name 'EventChord)
(has-notes? evt)))
(if prev-was-tied (ly:music-set-property! evt 'tags
(cons notCopyArticulations (ly:music-property evt
'tags
(map-some-music
(lambda(x)
(set! prev-was-tied (and (eq? (name-of x) 'TieEvent) x))
prev-was-tied) ; stop if true
evt))
(else #f
music)))
addTenuto = #(define-music-function (parser location x) (ly:music?)
#{
\copyArticulations {c--} { \skipTiedNotes $x }
#})
Musik = \relative { c4 d e f g1 ~ g4 f e d r4 c d 2 }
\new Staff
{
\addTenuto { \Musik } }
2012/9/1 Stefan Thomas kontrapunktste...@gmail.com
Dear community,
I know, off course, that the problem with articulations on tied notes is
not so important, I'm just curious and maybee I can understand a bit more
of the structure of Lilypond.
Could it be possible to generally and automatically avoid articulations of
the 2nd of two tied notes?
I tried it, unsuccessfully, with
tildeSymbol = { #(make-music 'TieEvent) \once \override Script #'stencil
= ##f }
2012/8/31 Stefan Thomas kontrapunktste...@gmail.com
Dear Phil,
Yes I've seen skipArti = \tag #skipCurrentArticulation s1*0
but do You think this can be used to filter out some artitulation-events,
if needed, automatically?
2012/8/31 David Kastrup d...@gnu.org
Stefan Thomas kontrapunktste...@gmail.com writes:
Ok, thanks, I've got it. It's a small bug in copyArticulations, isn't
it?
Yes and no. Expecting a particular duration to be set is probably
optimistic after loading an external file.
However, there are some internal music expressions defined in
copyArticulations, and those have a duration of 1*0 as well. Which is
weird if you actually look at them.
--
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Re: Printed time signature symbol different from actual time signature, how?
In your definitions file, you might try:
tsCut = {
\once \override Score.TimeSignature #'stencil =
#ly:text-interface::print
\once \override Score.TimeSignature #'text = \markup { \musicglyph
#timesig.C22 }
}
and, if you need it:
tsCommon = {
\once \override Score.TimeSignature #'stencil =
#ly:text-interface::print
\once \override Score.TimeSignature #'text = \markup { \musicglyph
#timesig.C44 }
}
which would be invoked in the score by typing (for instance):
\tsCut \time 4/2
or
\tsCommon \time 17/8
Subsequent meter changes would be typeset normally.
David
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Re: Printed time signature symbol different from actual time signature, how?
Hi Matthias,
Here's one possibility (but I'm sure there are others) :
MyTimeSignature = \markup \musicglyph #timesig.C22
{
\override Staff.TimeSignature #'stencil = #(lambda (grob)
ly:time-signature::print (grob-interpret-markup grob MyTimeSignature))
c'1
}
2012/9/2 Matthias Böhringer matthiasboehrin...@t-online.de
Dear list,
I am setting a piece with a time signature of 4/2. This should be used to
calculate the measure length etc.
However, I'd rather see the alla breve symbol in place of the 4/2. Is
there a way to do this (that I can understand ;-), I'm just a user, no
scheme wizard)?
Any help or hint is much appreciated.
TIA, Matthias
--
Matthias Böhringer
Brunnenstraße 6
72296 Schopfloch-Unteriflingen
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custom key signatures
I'm looking at the new options for custom key signatures, and before I begin playing around with this, I don't understand this text at all. Accidentals in the key signature may be printed in octaves other than their traditional positions, or in multiple octaves, by using the flat-positionsand sharp-positions properties of KeySignature. Entries in these properties specify the range of staff-positions where accidentals will be printed. If a single position is specified in an entry, the accidentals are placed within the octave ending at that staff position. Does this mean that if a custom key signature is used with, say, g-flat and a-flat (for bass clef), the key is c major?___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bookpart, titles and table-of-contents
On 09/02/2012 08:22 AM, Federico Bruni wrote:
I'm trying a different approach¹ in creating a book. Let me first
explain what I 'd like to achieve.
Let's say I have some scores which I'd like to print either on
their own and inside a book which includes them all; and I want the
title to show up correctly in both cases without having to touch
any single score. It seems that \bookpart is perfect because I can
use an \header block for each score.
But I have two problems in the book file which includes the
bookpart files:
1. page numbers in the table of contents don't work: I see a ?
instead of a number
The \bookpart starts a new page. You have:
\tocItem \markup 1st piece
\include bookpart1.ly
which sets the TOC entry, *then* starts (in the included file) a new page.
2. between the two scores a page with the main title is printed
I’m not sure what’s causing that.
I find I have to make the included files *just* be the music, and some
variable definitions that I can use in the book:
\include first_music.ly
\include second_music.ly
\book {
\header {
title = Book Title
}
\markuplines \table-of-contents
\bookpart {
\tocItem \markup { \firstTitle }
\score {
\firstSheetMusic
\header {
title = \firstTitle
}
\layout {}
}
}
\bookpart {
\tocItem \markup { \secondTitle }
\score {
\secondSheetMusic
\header {
title = \secondTitle
}
\layout {}
}
}
}
HTH,
Chris
--
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LIVE FREE: vote for Gary Johnson, Libertarian for President.
URL: http://garyjohnson2012.com/ URL: http://lp.org/
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Re: problem with addTenuto
Le Sun, 02 Sep 2012 14:25:07 +0200, Stefan Thomas kontrapunktste...@gmail.com a écrit: Dear community, for those who are interested: I've found a solution for my problem. I've found it in the older version of copyarticulations.ly It is not the older one. It is the newest. :-) I think you missed my message. http://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00789.html It has been made Sat, 01 Sep 2012 02:26. In the first line of copyArticulations.ly, you can read : %% version 01/09/2012 11:07 : lilypond 2.16 or higher %% LSR = http://lsr.dsi.unimi.it/LSR/Item?u=1id=769 Of course, the date format used here is : day/month/year. (I really don't like the format : month/day/year). Perhaps i should use the format : year/month/day, because the format : year/day/month doesn't exist (well i think). -- Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: german note spelling
Am 23.08.2012 23:19, schrieb Stefan Thomas: Dear community, I would like to know the note-spelling of the dutch note-name beses in german lilypond syntax. Frescobaldi translates it to bes but this causes an error message. In german this note is called doppel b but this causes (no wonder) an error message too. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user I think this has been answered already but I'd like to confirm: The correct German Lilypond syntax for 'beses' is 'heses'. Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilyglyphs LaTeX package
Hi Reinhold,
thanks for these ideas.
Am 23.08.2012 16:03, schrieb Reinhold Kainhofer:
On 15/08/2012 17:34, Urs Liska wrote:
...
Since I need those glyphs (mainly the dynamics, but also accent etc.) in
a critical report myself, I took a look at the package.
Thanks
One thing I noticed is that to print dynamics and numbers, there is no
need to resolve to their unicode number. One can simply change the font
to emmentaler and then print the normal letters/digits.
Interestingly, this is an idea I had for myself last week, but couldn't
verify without a computer (see the GitHub issues that I could comment
from the mobile ...). So thank you for your examples.
In particular, I
would suggest:
~~~
% Print some text in the emmentaler font. Works for the dynamic letters
and the digits:
\newcommand{\lilyText}[2][1.4]{{\fontspec[Scale=#1]{Emmentaler-11}{#2}}}
% Numbers and Dynamics %
\newcommand{\lilyNumber}[2][1.35]{\lilyText[#1]{#2}}
~~~
You can then print any dynamics as e.g. \lilyText{sffpzm}. And the
definition of the dynamics can also be changed to use \lilyText instead
of printing each letter separately.
And, I'm missing a \lilyFP command for forte-piano (i.e. start the note
in forte, and then quickly go to piano, kind of like an accent, but not
as sharp), \lilyFZ, \lilyFFZ and \lilyPF (all of which are used in the
Schubert piece I'm currently editing).
Well, if you want push access to the repository, you could add these
yourself.
In the long run this is what I intend anyway. But first there should be
decisions about the general issues (that affect syntax).
I'll soon start upon this ...
Time signatures (fractions) can be easily produced by
\lilyTimeSignature{3}{4} using the following definition:
% general \time n/m command (prints time signature as a fraction in
emmentaler font)
\newcommand*{\lilyTimeSignature}[3][0.9]{$\frac{\mbox{\lilyText[#1]{#2}}}{\mbox{\lilyText[#1]{#3}}}$}
Well, I didn't have a computer the last two weeks, but read some texts
about latex. And what you suggest is about what I thought about also
recently ;-)
Since the plus sign is also directly accessible you can even write
\lilyTimeSignature{3+7}{4}
easily.
I won't immediately incorporate it though because there has to be some
more thinking about the parametrization of scaling and placing. I'd like
to put these things right (as well as the option to integrate a plain
latex solution) before adding anything new.
BTW, the installation of the font was really as simple as you describe:
1) Copy the emmentaler-*.otf files to ~/.fonts
2) run fc-cache
Nice, but there is also one more thing to check:
fontspec is smart enough to select the correct optical sizes for optical
font families from Adobe (so if I write \scriptsize I automatically find
the 'XX caption' font in the PDF). It would be nice if this worked for
Emmentaler also, and if it does one should include all the font files
instead of only one.
As mentioned I'll soon get back to this package ...
Best
Urs
Cheers,
Reinhold
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grace-notes naming and realization?
Hi, I'm trying to typeset a score written by someone else and he uses a figure I don't (exactly) recognize. See attached PNG file. It is played almost seperatedly before the main notes not substracting time of them and it is played even a little bit slower. It looks like a acciaccatura with a slash in the stem. 1. Can someone tell me how the figure is called, so I can look it up? 2. Can we represent this in LilyPond? Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: grace-notes naming and realization?
Apparantly I forgot the attachment, sorry about that Original Message From: m...@wimvd.nl To: lilypond-user@gnu.org Sent: Zon, Sep 2, 2012, 8:04 PM Subject: grace-notes naming and realization? Hi, I'm trying to typeset a score written by someone else and he uses a figure I don't (exactly) recognize. See attached PNG file. It is played almost seperatedly before the main notes not substracting time of them and it is played even a little bit slower. It looks like a acciaccatura with a slash in the stem. 1. Can someone tell me how the figure is called, so I can look it up? 2. Can we represent this in LilyPond? Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bookpart, titles and table-of-contents
2012/9/2 Federico Bruni fedel...@gmail.com: I'm trying a different approach¹ in creating a book. Let me first explain what I 'd like to achieve. Let's say I have some scores which I'd like to print either on their own and inside a book which includes them all; and I want the title to show up correctly in both cases without having to touch any single score. It seems that \bookpart is perfect because I can use an \header block for each score. But I have two problems in the book file which includes the bookpart files: 1. page numbers in the table of contents don't work: I see a ? instead of a number 2. between the two scores a page with the main title is printed See minimal example attached. Can you help me? Thanks in advance [1] http://lists.gnu.org/archive/html/lilypond-user/2012-05/msg00057.html (this is what I used to do) -- Federico ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Hi Federico, why not remove the tocItems from book and integrate them in bookpart1 and bookpart2? It works on my computer, at least. HTH, Harm bookpart1-rev.ly Description: Binary data bookpart2-rev.ly Description: Binary data book-rev.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:problem with addTenuto
Dear Gilles, Yes, I think I didn't see the mail You've mentioned. Thanks again! Dear community, for those who are interested: I've found a solution for my problem. I've found it in the older version of copyarticulations.ly It is not the older one. It is the newest. :-) I think you missed my message. http://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00789.html It has been made Sat, 01 Sep 2012 02:26. In the first line of copyArticulations.ly, you can read : %% version 01/09/2012 11:07 : lilypond 2.16 or higher %% LSR = http://lsr.dsi.unimi.it/LSR/Item?u=1id=769 Of course, the date format used here is : day/month/year. (I really don't like the format : month/day/year). Perhaps i should use the format : year/month/day, because the format : year/day/month doesn't exist (well i think). -- Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alignment of RhythmicStaff
2012/9/2 Thomas Morley thomasmorle...@googlemail.com:
2012/9/2 Jim Long lilyp...@umpquanet.com:
On Sat, Sep 01, 2012 at 03:04:44PM -0700, pabuhr wrote:
I have a vertical spacing problem with MetronomeMark and rhythmMark. The
include for rhythmMark.ly comes from here:
http://lsr.dsi.unimi.it/LSR/Snippet?id=204
I have perhaps a similar issue with RhythmicStaff, although I
would characterize my spacing as a horizontal misalignment rather
than vertical. See attached tiny.ly and tiny.pdf. Are the
rhythm marks in bar 5 aligned correctly with respect to the key
signature? Is there something in my stock rhythm marks code
that needs to be adapted for 2.16?
Thank you!
Jim
\version 2.16.0
#(set-global-staff-size 24)
\score {
\new RhythmicStaff \with {
\override StaffSymbol #'line-count = #0
\override StaffSymbol #'staff-space = #(magstep -3)
\override BarLine #'stencil = ##f
\override TimeSignature #'transparent = ##t
\override VerticalAxisGroup
#'staff-staff-spacing =
#'((basic-distance . 0)
(minimum-distance . 0)
(padding . 0.5))
} {
\set fontSize = #-7
\stemDown
\override NoteHead #'style = #'slash
r8 f8 ~ f4 f8 r4. | f4. f8 r2 |
r8 f8 ~ f4 f8 r4. | f4. f8 r2 |
\break
r8 f8 ~ f4 f8 r4. | f4. f8 r2 |
r8 f8 ~ f4 f8 r4. | f4 f2.|
\break
\override Stem #'stencil = ##f
f4 f f f | f f f f
\revert Stem #'stencil
} % RhythmicStaff
\new Staff {
% \key bes \major
\key ces \major
R1*10
}
} % score
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Hi Jim,
I'm pretty sure it's a bug and raised a report about it:
http://lilypond.1069038.n5.nabble.com/NoteColumn-interleaves-with-KeySignature-of-other-Staff-td131944.html
Best,
Harm
Hi again,
its now on the tracker:
http://code.google.com/p/lilypond/issues/detail?id=2802
Including some possible workarounds.
Cheers,
Harm
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glissando in LP 2.16
I appreciate so much that it is possible to connect with glissando non consecutive pitches! In the Changes Documentation, the last line, I can't understand the sentence: Glissandi can now span multiple lines. It refers to that? If not, can anyone point me to the documentation of the change? Thanks, TG ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando in LP 2.16
Am 02.09.2012 21:44, schrieb Tiresia GIUNO: I appreciate so much that it is possible to connect with glissando non consecutive pitches! In the Changes Documentation, the last line, I can't understand the sentence: Glissandi can now span multiple lines. It refers to that? If not, can anyone point me to the documentation of the change? Thanks, TG ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user I didn't check it, but the sentence you quote seems to indicate that it is now possible to connect (non-consecutive or consecutive) notes with a glissando line even when these notes are separated by a line break (i.e. the start of the glissando is at the end of a line and the end at the beginning of the next (or even a later?) line. HTH Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando in LP 2.16
2012/9/2 Tiresia GIUNO tires...@googlemail.com: I appreciate so much that it is possible to connect with glissando non consecutive pitches! In the Changes Documentation, the last line, I can't understand the sentence: Glissandi can now span multiple lines. It refers to that? If not, can anyone point me to the documentation of the change? Thanks, TG ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user I found no documentation of multiple-line-glissando in LM or NR, too. But you might want to have a look at the Regression Tests: http://www.lilypond.org/doc/v2.16/input/regression/collated-files There you can find ‘glissando-broken-multiple.ly’ ‘glissando-skip.ly’ and a plethora of other fascinating stuff. Regards, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bookpart, titles and table-of-contents
Il 02/09/2012 20:28, Thomas Morley ha scritto: Hi Federico, why not remove the tocItems from book and integrate them in bookpart1 and bookpart2? I had tried, but it didn't work because I put \tocItem at the bottom of the \bookpart block. It must be at the beginning. Thanks! -- Federico ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando in LP 2.16
Thanks Urs, thanks Thomas, I found in the Regression Tests what I was looking for (glissando-broken-multiple.ly). It solves some points in my scores, that I was afraid not to code in LP. Really a wonderful job, especially for contemporary music. Regards, TG On Sun, 2 Sep 2012 22:44:28 +0200 Thomas Morley thomasmorle...@googlemail.com wrote: 2012/9/2 Tiresia GIUNO tires...@googlemail.com: I appreciate so much that it is possible to connect with glissando non consecutive pitches! In the Changes Documentation, the last line, I can't understand the sentence: Glissandi can now span multiple lines. It refers to that? If not, can anyone point me to the documentation of the change? Thanks, TG ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user I found no documentation of multiple-line-glissando in LM or NR, too. But you might want to have a look at the Regression Tests: http://www.lilypond.org/doc/v2.16/input/regression/collated-files There you can find ‘glissando-broken-multiple.ly’ ‘glissando-skip.ly’ and a plethora of other fascinating stuff. Regards, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bookpart, titles and table-of-contents
Il 02/09/2012 18:33, Christopher R. Maden ha scritto: The \bookpart starts a new page. Regarding this, I have another question: is it possible to prevent the page break between two bookparts? I've tried putting \pageBreak in several places but none worked. I'm writing a book where there are normal pieces, which need a page break and so \bookpart is ok. But there are also some short exercises, each in a separate file, and I don't want a page break after each small exercise. OTOH, if I decide not to use \bookpart in those files, the title won't be printed unless I set print-all-headers to ##t in the book file; but if I do so, the titles of files using \bookpart are duplicated. I don't know why.. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custom key signatures
james james.lilypond at googlemail.com writes:
I'm looking at the new options for custom key signatures,
Accidentals in the key signature may be printed in octaves other than
their traditional positions, or in multiple octaves, by using the flat-
positions and sharp-positions properties of KeySignature. Entries in
these properties specify the range of staff-positions where accidentals
will be printed. If a single position is specified in an entry, the
accidentals are placed within the octave ending at that staff position.
This feature is new with development version 2.17.1. It is meant for normal
key signatures, but it also works for custom key signatures of the simpler
type where you do not specify the octave explicitly.
Does this mean that if a custom key signature is used with, say,
g-flat and a-flat (for bass clef), the key is c major?
No. The \key g\major (or the individually-specified flats and sharps)
determines the key. The *-positions adjust where the key-signature
alterations are printed on the staff.
If you define an unusual key signature with G-flat and A-flat
\new Staff { \clef bass
\set Staff.keySignature = #`(( 4 . ,FLAT) ( 5 . ,FLAT))
f4 ges as b }
normally the flats go at the bottom of the staff, because that is their
position when they live with Bflat Eflat and Dflat in traditional key
signatures. This looks a little odd with just the G- and A-flat, so if
you like you cay say please print flats on this Staff as close as you can
to the first space above the staff (position 5)
\override Staff.KeySignature #'flat-positions = #'(5)
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Re: custom key signatures
On Sep 2, 2012, at 11:46 PM, Keith OHara wrote:
james james.lilypond at googlemail.com writes:
I'm looking at the new options for custom key signatures,
Accidentals in the key signature may be printed in octaves other than
their traditional positions, or in multiple octaves, by using the flat-
positions and sharp-positions properties of KeySignature. Entries in
these properties specify the range of staff-positions where accidentals
will be printed. If a single position is specified in an entry, the
accidentals are placed within the octave ending at that staff position.
This feature is new with development version 2.17.1. It is meant for normal
key signatures, but it also works for custom key signatures of the simpler
type where you do not specify the octave explicitly.
Does this mean that if a custom key signature is used with, say,
g-flat and a-flat (for bass clef), the key is c major?
No. The \key g\major (or the individually-specified flats and sharps)
determines the key. The *-positions adjust where the key-signature
alterations are printed on the staff.
If you define an unusual key signature with G-flat and A-flat
\new Staff { \clef bass
\set Staff.keySignature = #`(( 4 . ,FLAT) ( 5 . ,FLAT))
f4 ges as b }
normally the flats go at the bottom of the staff, because that is their
position when they live with Bflat Eflat and Dflat in traditional key
signatures. This looks a little odd with just the G- and A-flat, so if
you like you cay say please print flats on this Staff as close as you can
to the first space above the staff (position 5)
\override Staff.KeySignature #'flat-positions = #'(5)
Ah, okay, so the space below the first line is 0, and the rest of the positions
are calcluated up from that. Thanks!
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Re: custom key signatures
On Sep 2, 2012, at 11:51 PM, james wrote:
On Sep 2, 2012, at 11:46 PM, Keith OHara wrote:
james james.lilypond at googlemail.com writes:
I'm looking at the new options for custom key signatures,
Accidentals in the key signature may be printed in octaves other than
their traditional positions, or in multiple octaves, by using the flat-
positions and sharp-positions properties of KeySignature. Entries in
these properties specify the range of staff-positions where accidentals
will be printed. If a single position is specified in an entry, the
accidentals are placed within the octave ending at that staff position.
This feature is new with development version 2.17.1. It is meant for normal
key signatures, but it also works for custom key signatures of the simpler
type where you do not specify the octave explicitly.
Does this mean that if a custom key signature is used with, say,
g-flat and a-flat (for bass clef), the key is c major?
No. The \key g\major (or the individually-specified flats and sharps)
determines the key. The *-positions adjust where the key-signature
alterations are printed on the staff.
If you define an unusual key signature with G-flat and A-flat
\new Staff { \clef bass
\set Staff.keySignature = #`(( 4 . ,FLAT) ( 5 . ,FLAT))
f4 ges as b }
normally the flats go at the bottom of the staff, because that is their
position when they live with Bflat Eflat and Dflat in traditional key
signatures. This looks a little odd with just the G- and A-flat, so if
you like you cay say please print flats on this Staff as close as you can
to the first space above the staff (position 5)
\override Staff.KeySignature #'flat-positions = #'(5)
Ah, okay, so the space below the first line is 0, and the rest of the
positions are calcluated up from that. Thanks!
Brain fart. the space below the first line is 1, not zero. And the A-flat?
Assuming I want that on position 2 (space above first line)? Do I specify that
just substituting the new number?
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Re: bookpart, titles and table-of-contents
On 09/02/2012 05:45 PM, Federico Bruni wrote:
Il 02/09/2012 18:33, Christopher R. Maden ha scritto:
The \bookpart starts a new page.
Regarding this, I have another question: is it possible to prevent
the page break between two bookparts? I've tried putting \pageBreak
in several places but none worked.
I'm writing a book where there are normal pieces, which need a page
break and so \bookpart is ok. But there are also some short
exercises, each in a separate file, and I don't want a page break
after each small exercise. OTOH, if I decide not to use \bookpart
in those files, the title won't be printed unless I set
print-all-headers to ##t in the book file; but if I do so, the
titles of files using \bookpart are duplicated. I don't know why..
I’m pretty sure the main purpose of \bookpart is to start a new
page... You might be able to override the page break, but I am not
enough of a guru to know how offhand (and a cursory search turned
nothing up).
Remember you can have multiple scores in each bookpart, and a score
can have its own title. In my Irish tune book, I do:
% appropriate includes here
\book {
\header {
title = crism’s tunes
}
\markuplines \table-of-contents
\bookpart {
\tocItem \markup {
\bold Reels
}
\header {
title = Reels
}
\tocItem \markup { \hspace #2 The Concertina Reel }
\score {
\concReelLayout
\header {
title = The Concertina Reel
}
\layout {}
}
}
\bookpart {
\tocItem \markup {
\bold Jigs
}
\header {
title = Jigs
}
\tocItem \markup { \hspace #2 Banish Misfortune }
\score {
\banishLayout
\header {
title = Banish Misfortune
}
\layout {}
}
}
}
The bookpart and score titles come through just fine. If I were to
leave out the bookpart title, it would also all be fine. (I don’t use
variables for this one because it’s actually all generated out of an
XML file so that I can keep an alphabetical index of the many, many,
many alternate titles by which these tunes are known.)
~Chris
--
Chris Maden, text nerd URL: http://crism.maden.org/
LIVE FREE: vote for Gary Johnson, Libertarian for President.
URL: http://garyjohnson2012.com/ URL: http://lp.org/
GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E
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Lyric vertical spacing
Is there a way to control the vertical spacing between the lines of the lyrics? I want to reduce the spacing slightly between the lines to see if I can get a piece to fit on one page. I tried playing with these but to no avail. \override Score.LyricSpace #'padding = #0 \override Score.LyricSpace #'minimum-distance = #0 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Lyric vertical spacing
Greetings,
You wrote:-
+++
Is there a way to control the vertical spacing between the lines of the
lyrics?
I want to reduce the spacing slightly between the lines to see if I can
get a
piece to fit on one page. I tried playing with these but to no avail.
\override Score.LyricSpace #'padding = #0
\override Score.LyricSpace #'minimum-distance = #0
++
The following might help...
Regards
Bill
-
\version 2.16.0
\new Staff \new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Lyrics \lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Staff {
\new Voice = melody \relative c' {
c4 d e f
g4 f e d
c1
}
}
\new Lyrics \with
{ \override VerticalAxisGroup #'nonstaff-nonstaff-spacing =
#'((basic-distance . 1.5)) %adjusting this value seems to work...
}
\lyricsto melody { aa aa aa aa aa aa aa aa aa }
\new Lyrics \lyricsto melody { bb bb bb bb bb bb bb bb bb }
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Re: glissando in LP 2.16
I found in the Regression Tests what I was looking for (glissando-broken-multiple.ly). It solves some points in my scores, that I was afraid not to code in LP. Really a wonderful job, especially for contemporary music. Can you suggest some index and documentation entries? Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custom key signatures
james james.lilypond at googlemail.com writes:
If you define an unusual key signature with G-flat and A-flat
\new Staff { \clef bass
\override Staff.KeySignature #'flat-positions = #'(5)
\set Staff.keySignature = #`(( 4 . ,FLAT) ( 5 . ,FLAT))
f4 ges as b }
Brain fart. the space below the first line is 1, not zero.
The staff-positions start with 0 at the center of the staff, so the bottom
staff-line is -4 and the top is position 4.
This info is a little far away, in Learning Manual 4.5.1.
And the A-flat? Assuming I want that on [] space above first line?
If the A-flat is too high on position 4, say
\override Staff.KeySignature #'flat-positions = #'(3)
to put the flats on the top space (position 3) or below.
The 'flat-positions is not meant for positioning each alteration
individually, but rather for setting the overall range of positions,
so that new key signatures come out in that range as you change keys
or change clefs.
So long as your desired positions lie within an octave, specify the
top-most position. (The manual shows a slightly more complicated form
to cover more than one octave, like in the old Bach manuscripts.)
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