Re: disabling point-and-click for displayed chords?
Adam Spiers lilypond-u...@adamspiers.org writes:
Hi all,
I need to generate point-and-click links for notes but not for
displayed chord names. However, \pointAndClickTypes only filters by
music event class, and if my understanding is correct, events in a
certain music class have no notion of which context they are being
applied in, and so this filter cannot distinguish between a note-event
in a Voice context and a note-event in a ChordNames context.
Also, this filter is global.
Am I correct, and if so, is there any workaround? I naively tried:
\score {
\pointAndClickTypes #'()
\allchords
\pointAndClickTypes #'(note-event)
\new Staff {
\allnotes
}
...
}
but it still created point-and-click annotations for everything.
You could use an engraver in ChordNames for wiping out the (event) cause
of the last involved grob. Then the point-and-click location would no
longer be available...
--
David Kastrup
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Re: Mac MIDI synthesizer (was frescobaldi on mac)
Each time Qsynth is launched, it uses a different port, obvisously; if you had to restart it, you need to click Refresh MIDI ports and choose another Fluidsynth occurrence (the port number is shown between parenthesis). -- View this message in context: http://lilypond.1069038.n5.nabble.com/frescobaldi-on-mac-tp139401p139580.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: Mac MIDI synthesizer (was frescobaldi on mac)
On Jan 15, 2013, at 4:47 AM, flup2 phili...@philmassart.net wrote: Each time Qsynth is launched, it uses a different port, obvisously; if you had to restart it, you need to click Refresh MIDI ports and choose another Fluidsynth occurrence (the port number is shown between parenthesis). Thank you. That's got it working for me again. (I had tried clicking refresh MIDI ports before, but did not click the pull-down menu to realize that another option had been added to it that needed to be chosen. If it was not a pull down menu, but an always-visible list of options, then I wouldn't have missed it. I think I assumed that the refresh button would remove the old no-longer-working instance and go ahead and replace it with a new one, but that was not the case.) -Paul ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: disabling point-and-click for displayed chords?
On Tue, Jan 15, 2013 at 9:41 AM, David Kastrup d...@gnu.org wrote:
Adam Spiers lilypond-u...@adamspiers.org writes:
Hi all,
I need to generate point-and-click links for notes but not for
displayed chord names. However, \pointAndClickTypes only filters by
music event class, and if my understanding is correct, events in a
certain music class have no notion of which context they are being
applied in, and so this filter cannot distinguish between a note-event
in a Voice context and a note-event in a ChordNames context.
Also, this filter is global.
Yeah, I spotted that, but I figured that even a global variable
can change state during execution so it was worth a try ...
Am I correct, and if so, is there any workaround? I naively tried:
\score {
\pointAndClickTypes #'()
\allchords
\pointAndClickTypes #'(note-event)
\new Staff {
\allnotes
}
...
}
but it still created point-and-click annotations for everything.
You could use an engraver in ChordNames for wiping out the (event) cause
of the last involved grob. Then the point-and-click location would no
longer be available...
That makes sense. Do you mean an existing engraver though, or a new
one? The only existing one which looks promising is
Output_property_engraver (which I had never heard of before). Does
that mean I do this via \applyOutput?
Thanks!
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Re: Multi measure rests vertical positioning
Hi Werner, I must solve everything for R manually while r works fine. Any ideas to solve that? Can you write a callback function to determine the position of the r and apply it to the R? Just a thought. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding a voice (or is there a better way?)
On 14 January 2013 16:41, David Kastrup d...@gnu.org wrote: james james.lilyp...@googlemail.com writes: I think that may be just a matter of setting associatedVoice. -- David Kastrup Setting associatedVoice to what? There isn't a clearly defined voice that has the vocal line (unless I create one, which would be no problem, but then I wouldn't want it displayed). In fact. I solved the problem by firing up an ancient computer that had an equally ancient version of Finale on it and setting the music in that instead. But I'm trying to wean myself off Finale (not least because I can't afford to upgrade to a version that will run on my current OS), so I'd still be interested in how to do it in Lilypond. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: The alignment of staves / systems
Federico Bruni-5 wrote The attached file tries to mimic a bit your example. In the attached file distance between bottom system and the bottom edge of the page is different. On the second page there is small distance. On the first page — medium. And on last page distance between bottom system and the bottom edge of the page is very big. I would like to have the same distance between bottom system on the page and the bottom edge of the page on all pages. I am sorry. I guess I'm not accurately stating my thoughts. Sorry for my bad English. I'll try again. I want what two extreme systems (top and bottom) on each page are have the same distance (space) to the edge of the page (top and bottom) on all pages. -- View this message in context: http://lilypond.1069038.n5.nabble.com/The-alignment-of-staves-systems-tp139536p139590.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: The alignment of staves / systems
Phil Holmes-2 wrote Do you want this done automatically, or can you use manual line and page breaks? Please write both ways -- View this message in context: http://lilypond.1069038.n5.nabble.com/The-alignment-of-staves-systems-tp139536p139591.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
instrument definition library?
Hello all, Is there a central library of addInstrumentDefinition entries? We shouldn't require users to reinvent the wheel on these… Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
multi-instrument parts
Hello all!
Has anyone successfully written multi-instrument player parts correctly
(i.e., using \addInstrumentDefinition and \switchInstrument, and not manually
\transpose-ing bits)?
I would love to see an example, so I can fix my hacks.
Even seeing this non-working [in several ways… like why is the cue name
doubled?] snippet fixed would be very helpful:
\version 2.17.9
\language english
\addInstrumentDefinition #flute
#`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
(shortInstrumentName . Fl.)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . ,(make-bold-markup fl.))
(midiInstrument . clarinet))
\addInstrumentDefinition #clarinet_bf
#`((instrumentTransposition . ,(ly:make-pitch 0 0 -200))
(shortInstrumentName . Cl.)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . ,(make-bold-markup cl.))
(midiInstrument . clarinet))
global = {
\key d \major
%% flute
s1
%% clarinet
s1
\key f \major
s1
%% flute
s1
}
windMusic = \relative d' {
\instrumentSwitch flute
d8 e fs g a b cs d |
\instrumentSwitch clarinet_bf
d, e fs g a b cs d |
d, e fs g a b cs d |
\instrumentSwitch flute
d, e fs g a b cs d |
}
\score {
\new Staff \global \windMusic
}
Thanks,
Kieren.
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Removing a time signature only once
tl;dr: How does one remove a time signature completely (not just transparent) without removing the time signature engraver? I have a song that changes time signature for the chorus (and then back, obviously, for the next verse). In the printed version, I do not want to re-assert the time signature for the verse; it is the same as the introduction. However, in the MIDI unfolded version, I need to (to avoid bar check warnings, at least). Making the time signature transparent works, but it leaves horizontal space for the time signature, which is awkward. Every reference I’ve found while searching says that the way around that is to \remove Time_signature_engraver from the Staff, but that will wipe out *all* the time signatures, not just the one I want to avoid. Any suggestions? ~Chris -- Chris Maden, text nerd URL: http://crism.maden.org/ Axial tilt is the reason for the season. GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing a time signature only once
Hi Christopher, tl;dr: How does one remove a time signature completely (not just transparent) without removing the time signature engraver? I believe this will work: \once \override TimeSignature #'stencil = ##f Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing a time signature only once
On 01/15/2013 03:40 PM, Kieren MacMillan wrote:
tl;dr: How does one remove a time signature completely (not just
transparent) without removing the time signature engraver?
I believe this will work:
\once \override TimeSignature #'stencil = ##f
Thanks, Kieren. That doesn’t seem to work (in 2.14.2); whether I put it
before or after the \time assertion, the time signature shows up unchanged.
songGlobalsVerse = {
s8 |
% \once \override TimeSignature #'stencil = ##f % tried this
\time 6/8
\once \override TimeSignature #'stencil = ##f % this doesn’t work either
s2.*8 | \bar ||
}
~Chris
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Axial tilt is the reason for the season.
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Re: Removing a time signature only once
Hi Christopher,
That doesn’t seem to work
You need to specify the context:
songGlobalsVerse = {
s8
\once \override Staff.TimeSignature #'stencil = ##f
\time 6/8
s2.*8
\bar ||
}
\score { \songGlobalsVerse }
Cheers,
Kieren.
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Re: Removing a time signature only once
On Jan 15, 2013, at 9:47 PM, Christopher R. Maden wrote:
On 01/15/2013 03:40 PM, Kieren MacMillan wrote:
tl;dr: How does one remove a time signature completely (not just
transparent) without removing the time signature engraver?
I believe this will work:
\once \override TimeSignature #'stencil = ##f
Thanks, Kieren. That doesn’t seem to work (in 2.14.2); whether I put it
before or after the \time assertion, the time signature shows up unchanged.
songGlobalsVerse = {
s8 |
% \once \override TimeSignature #'stencil = ##f % tried this
\time 6/8
\once \override TimeSignature #'stencil = ##f % this doesn’t work either
s2.*8 | \bar ||
}
~Chris
--
a) Wrong context. Because no context is mention, Voice is implied, b) it should
come before you want to change the time signature. Other tips and tricks for
removing contexts and engravers can be found in the learning manual, section 4.
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Re: Removing a time signature only once
On 01/15/2013 04:05 PM, Kieren MacMillan wrote:
You need to specify the context:
OK... a more complete example is attached.
The time signature is invoked in songGlobalsVerse.
That’s used in a Staff:
songVocals = \new Staff
\clef treble
{
\songGlobalsIntro
\repeat volta 6 {
\songGlobalsVerse
\songGlobalsChorus
}
}
\new Voice = vocal {
\songTacetIntro
\repeat volta 6 {
\songMelodyVerse
\songMelodyChorus
}
}
That is, in turn, used in both a layout and a midi context:
\score {
\songVocals
\layout {}
}
The time signature is displayed.
~Chris
--
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Axial tilt is the reason for the season.
GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E
\version 2.14.2
\include english.ly
songGlobalsIntro = {
\time 6/8
\partial 8 s8 | s4. s4
}
songGlobalsVerse = {
s8 |
\once \override TimeSignature #'stencil = ##f
\time 6/8
% \once \override TimeSignature #'stencil = ##f
% \override Staff.TimeSignature #'transparent = ##t
s2. | \bar ||
}
songGlobalsChorus = {
\time 4/4
% \override Staff.TimeSignature #'transparent = ##f
s2. s8
}
songTacetIntro = {
\partial 8 r8 | r4. r4
}
songMelodyVerse = \relative c' {
c8 | c'4.~ c8 r4 |
}
songMelodyChorus = \relative c' {
c2. r8
}
songVocals = \new Staff
\clef treble
{
\songGlobalsIntro
\repeat volta 6 {
\songGlobalsVerse
\songGlobalsChorus
}
}
\new Voice = vocal {
\songTacetIntro
\repeat volta 6 {
\songMelodyVerse
\songMelodyChorus
}
}
\score {
\songVocals
\layout {}
}
\score {
\unfoldRepeats
\songVocals
\midi {}
}
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Re: Removing a time signature only once
On Jan 15, 2013, at 10:18 PM, Christopher R. Maden wrote:
On 01/15/2013 04:05 PM, Kieren MacMillan wrote:
You need to specify the context:
OK... a more complete example is attached.
The time signature is invoked in songGlobalsVerse.
That’s used in a Staff:
songVocals = \new Staff
\clef treble
{
\songGlobalsIntro
\repeat volta 6 {
\songGlobalsVerse
\songGlobalsChorus
}
}
\new Voice = vocal {
\songTacetIntro
\repeat volta 6 {
\songMelodyVerse
\songMelodyChorus
}
}
That is, in turn, used in both a layout and a midi context:
\score {
\songVocals
\layout {}
}
The time signature is displayed.
~Chris
As previously noted in kieren's email, you need to add Staff. before
TimeSignature #'stencil = ##f in order to specify the context that you want the
override to take place in. In the Internals reference, you can see that the
TimeSignature engraver lives in the Staff context, and as explained in the
learning manual section 4.3.1 (using barlines instead of time signatures, but
exactly the same situation) when you want to override the visibility of
something, you have to tell lilypond which context it's in, if it's not the
implicit Voice context.
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Feature request?
Is it possible that these constructs might one day be possible?
I ran into some syncopated music today which would have been
convenient to store in a variable, but it was difficult to find a
viable break point because of frequent tied notes.
Thanks!
motifA = \relative c' { f1 ~ }
\score {
\new Staff {
\relative c' {
\motifA f1
\motifA f4 g a c
}
}
}
or:
motifB = \relative c' { f1 }
\score {
\new Staff {
\relative c' {
\motifB ~ f1
\motifB ~ f4 g a c
}
}
}
or even:
motifB = \relative c' { f1 }
motifC = \relative c' { f1 }
\score {
\new Staff {
\relative c' {
\motifB ~ \motifC
}
}
}
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Positioning of 8 under clef symbol in G_8 clef
The default positioning of the small 8 under the clef symbol when
using the treble_8 or G_8 clef is too far to the right. It looks better
when the X-offset is about 0.7 staff units:
%
\version 2.17.10
\relative c'{
\clef G_8
\override Staff.OctavateEight.X-offset = #0.7
c d e f
}
%
Nick
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Horizontal white space
Greetings List, I would like to be able to add an arbitrary and specifiable amount of horizontal white space between selected notes, or between a note and the following bar line. Searching the doc, the list archive and the snippets repository has still left me unable to work it out. Using 2.17.9. This is for a contemporary score where the spacing rules for classical engraving no longer apply. Can lilypond do this? Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing a time signature only once
On 01/15/2013 04:27 PM, james wrote: As previously noted in kieren's email, you need to add Staff. before TimeSignature #'stencil = ##f in order to specify the context that you want the override to take place in. Yes! Thank you, James. I had not properly understood Kieren. This works now. ~Chris -- Chris Maden, text nerd URL: http://crism.maden.org/ Axial tilt is the reason for the season. GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Horizontal white space
My initial thought would be to use the cadenza function and then do some unpleasant arithmetic and setting \override Score.SpacingSpanner #'strict-note-spacing = ##t e2*12/5 e4*22/16 e8*5/2 f32 by which you can add amounts of white space by fooling the the length of the note which might be a really tedious way of going about it and will of course make your midi file not play the rhythms correctly. Some will like as not have a much better idea. Shane On Tue, Jan 15, 2013 at 4:52 PM, Andrew Bernard andrew.bern...@gmail.comwrote: Greetings List, I would like to be able to add an arbitrary and specifiable amount of horizontal white space between selected notes, or between a note and the following bar line. Searching the doc, the list archive and the snippets repository has still left me unable to work it out. Using 2.17.9. This is for a contemporary score where the spacing rules for classical engraving no longer apply. Can lilypond do this? Andrew __**_ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/**listinfo/lilypond-userhttps://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Guide to Writing Orchestral Scores with Lilypond?????
Joseph wrote: You're preaching to the converted here, I fear ... :-) Very true :-P Will you be publicly sharing your drafts? I'm sure people would be happy to give feedback and contributions on the way. Urs has almost convinced me about using Git so i't's very likely I will get a Github account and start collaborating directly with his project. According to him my source code would be public this way right from the beginning. But the tutorial itself (in its PDF representation) would be hidden as long as [I] wish. Regards, Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/Guide-to-Writing-Orchestral-Scores-with-Lilypond-tp139065p139609.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: Guide to Writing Orchestral Scores with Lilypond?????
Am 16.01.2013 00:01, schrieb Antonio Gervasoni: Joseph wrote: You're preaching to the converted here, I fear ... :-) Very true :-P Will you be publicly sharing your drafts? I'm sure people would be happy to give feedback and contributions on the way. Urs has almost convinced me about using Git so i't's very likely I will get a Github account and start collaborating directly with his project. According to him my source code would be public this way right from the beginning. But the tutorial itself (in its PDF representation) would be hidden as long as [I] wish. If you are going to do the switch, you will work on your own 'branch' (branching is maybe Git's killer feature I didn't tell you about so far ...). That means your source code is somewhat separate from the 'master' branch, but anybody who wants can see it. Well, the PDF wouldn't (couldn't) be _really_ hidden. Anybody can access the source code and can therefore compile it to a PDF - provided he/she has the appropriate LaTeX infrastructure available. But we just wouldn't publish the PDF on our own. In effect this would mean that your work isn't at a prominent place, but visible to anybody who cares. Best Urs Regards, Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/Guide-to-Writing-Orchestral-Scores-with-Lilypond-tp139065p139609.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request? (and bug report)
Please forgive my earlier example, which I had not tested
thoroughly.
Consider the example below instead, and the attached output.
It shows some variations that could be useful when storing
musical phrases in a variable, while retaining some flexibility
with ties leading into or out of the phrase.
I was puzzled that
f ~ \music
works, but it appears that
\music ~ f
does not.
Is this correct, or am I still confused? I guess if I have
to ask,
Thanks again,
Jim
\version 2.16.1
one= \relative c' { f1 ~ } % trailing ties are possible
two= \relative c' { f1 }
%three = \relative c' { ~ f1 } % this syntax doesn't compile
\score {
\new Staff {
\relative c' {
% this compiles, but doesn't render correctly, no tie in measures 1-2
\one f1
% measure 3 does correctly tie into measure 4
\one f8 r2.. \break
% this works now in measures 5-6, even though it didn't in measures 1-2
\one f1 \break
% moving the trailing tie outside the variable doesn't compile
% \two ~ f1 \break
% this works, using the trailing tie to connect measures 7-8
\one \two \break
% this works to tie measures 9, 10 and 11
f1 ~ \one f1 \break
% this can't work because the definition of three doesn't compile
% f1 \three \break
}
}
}
tiny.pdf
Description: Adobe PDF document
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Re: Horizontal white space
On 16/01/13 08:52, Andrew Bernard wrote:
Greetings List,
I would like to be able to add an arbitrary and specifiable amount of
horizontal white space between selected notes, or between a note and
the following bar line. Searching the doc, the list archive and the
snippets repository has still left me unable to work it out.
\version 2.17.9
barsp = #(define-music-function (parser location extent) (pair?) #{
\once \override Staff.BarLine.extra-spacing-width = #extent
#})
stemsp = #(define-music-function (parser location extent) (pair?) #{
\once \override Staff.Stem.X-extent = #extent
#})
\relative c'{
\stemsp #'(-2 . 2) c \stemsp #'(-4 . 4) d \stemsp #'(-6 . 6) e
\stemsp #'(-8 . 0) f \barsp #'(-2 . 15)
c \stemsp #'(-6 . 6) d \stemsp #'(-4 . 4) e \stemsp #'(-2 . 2) f
}
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\bar || and \repeat around a line break
Hello dear list
I'm writing a score that has a \bar || at the end of a system, and a volta
repeat beginning in the following system after the line break. It seems that
the \bar command overwrites the |: of the following volta, making that
invisible. Is there a way to get what I desire?
Thank you very much.
MWE:
\version 2.16
\relative c'' {
▸ \time 4/4
▸ \repeat unfold 20 a4
▸ \bar || \break
▸ \repeat volta 2 {
▸ ▸ \repeat unfold 20 a4
▸ }
}
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Re: multi-instrument parts
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Has anyone successfully written multi-instrument player parts [...]
using \addInstrumentDefinition and \switchInstrument [...] ?
Almost certainly not. \addInstrumentDefinition is inconvenient.
Google says: No results found for instrumentSwitch site:mutopiaproject.org
\addInstrumentDefinition #clarinet_bf
#`((instrumentTransposition . ,(ly:make-pitch 0 0 -200))
The third argument to make-pitch is in equal-tempered whole-tones,
so you would think you want (ly:make-pitch -1 6 -1/2) for B-flat
if instrumentTransposition works like \transposition
However, from trial-and-error, it seems instrumentTransposition needs
the pitch written for the instrument that /sounds/ concert C, so D for
a soprano clarinet (instrumentTransposition . ,(ly:make-pitch 0 1 0))
global = {
\key d \major
%% flute
s1
%% clarinet
s1
Setting the transposition in LilyPond tells her that the music sounds
at a different pitch than written, for purposes of quoting, cue-ing, and
MIDI. Only \transpose changes the pitches that are printed.
\score {
\new Staff \global \windMusic
}
The instrumentSwitch applies to the whole Staff, and the instumentCueName
is printed for each Voice, in your case it is printed once for \windMusic
and once for \global. You could say
\new Staff \new Voice \global windMusic
Printing for each Voice is silly, so a bug is tracked as issue 2835,
but I don't see any way to fix that bug without breaking Reinhold's
OrchestraLily system, which explicitly sets the name on a single voice
\set Voice.instrumentCueName = Violin
So the best I can do is below. The manual method is easier.
=
\version 2.16.0
\addInstrumentDefinition #flute
#`((instrumentTransposition . ,(ly:make-pitch 0 0 0))
(shortInstrumentName . Fl.)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . ,(make-bold-markup fl.))
(midiInstrument . flute))
\addInstrumentDefinition #clarinet_bf
#`((instrumentTransposition . ,(ly:make-pitch 0 1 0))
(shortInstrumentName . Cl.)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . ,(make-bold-markup cl.))
(midiInstrument . clarinet))
windMusic = {
\instrumentSwitch flute
\key d \major
\relative d' {
d8 e fis g a b cis d }
\instrumentSwitch clarinet_bf
\transpose bes c' \relative d' {
\key d\major
d e fis g a b cis d
\bar ||
\key f \major
d, e fis g a b cis d }
\instrumentSwitch flute
\key f \major
\relative d' {
d e fis g a b cis d } }
\score {
\new Staff \windMusic
\layout {}
\midi {} }
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Re: multi-instrument parts
Hi Keith, Thank you so much for the detailed and considered response. Boo. I really wish Lily would Do The Right Thing™ with regard to transposing parts. I want to be able to say \switchInstrument at any time, and easily generate C and transposed scores/parts (with all key signatures automatically included, etc.) without breaking the music into multiple variables, using tags, etc. After my current engraving madnesses wind down, perhaps I'll put together an official feature request… Thanks again! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
p.s. It would help immensely if I could at least say
\tag #'part { \transpose c d }
c4 d e f
and then use the tag filter to leave the transposition out of the C-score.
However, this doesn't seem to work — any ideas how I can accomplish such a
thing (or very similar)?
Thanks,
Kieren.
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Bug?: position of repeat bars for volta in lyrics
Dear fellow users
I'd like to ask after which rule repeat bars are placed that belong to volta
repeats in lyrics blocks.
Until now my observation was that volta repeats in a lyrics block cause the
respective |: :| bars to appear as tightly around the enclosed lyrics as
possible:
- the opening bar |: is right before the first syllable in the lyrics volta
- the closing bar :| comes right after the last syllable in the lyrics volta
But yesterday I had another use case (in which the lyrics volta was not at the
end of the piece), in which the closing bar was positioned even later, namely
before the first syllable that comes after the repeat.
Was my original deduction wrong? Are the bars always attached to the next
syllable that follows them ?
I attached a minimal example to clarify. Its repeat bars at marks A and B are
created by the music's repeat, the other two bars by the lyrics' repeat.
--
Gruß | Greetings | Qapla’
Please do not share anything from, with or about me with any Facebook service.
Romani ite domum.
\version 2.16
music=\relative c'' {
R1
\repeat volta 2 {
\mark\default
r4 r r r
a4 a a a
}
\mark\default
R1
a
\bar |.
}
text=\lyricmode {
\repeat volta 2 {
ah ah ah ah
}
beh.
}
\new Staff
\new Voice \music
\addlyrics \text
signature.asc
Description: Digital signature
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Complete syntax documentation
I have searched and searched, but I can't to seem find any documentation on the actual file structure, with all the various elements, in one place. Yes, I can find out about how curly braces work, or what does, but it would be great if there was a document that listed each delimiter, what it does, and how it interacts with other delimiters. Thanks, Kevin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aleatoric / modern notation
Hi David, I really hope this ends up in Lilypond; you've clearly put a ton of work into this. And it's even commented now! Brilliant. It seems to be working just fine; I'll holler if there are troubles. cheers, Jeff On Sat, Jan 12, 2013 at 10:23 AM, David Nalesnik david.nales...@gmail.comwrote: Hi Jeff, On Sat, Jan 12, 2013 at 11:37 AM, Jeffrey Trevino jeffrey.trevi...@gmail.com wrote: Hi David, I just saw this fix. Thanks for spending so much time tweaking this. Maybe there's a way it can be integrated into the Lilypond code, since you've spent so much time developing it. I'll be using it in a score soon. I've actually been working at this off and on since I sent you that fix, and I've added some functionality. You no longer need to guess at the length of the extender line: you specify its endpoint with the command \frameExtenderEnd. Also, the extender (now a separate grob called FrameExtender) can be broken across lines. There are still some issues to resolve. One of these problems is that the new stencil isn't taken into account in vertical spacing, and this can result in overlaps in extreme cases. (Try moving some of the groups into regions with many ledger lines.) I'm guessing that the difficulty arises because the frame isn't an outside-staff object, but I'm unsure how to proceed. There's some test code in the attached file. Mike Solomon suggested that I handle alignment between the component parts (the frame, the extender, and ultimately a bracket-with-timing affair to encompass the frame and extender) with an alignment grob (as DynamicLineSpanner and the like). This is one angle I'm exploring. (At the moment, uncommenting the \consists line will just draw boxes around the whole affair.) Anyway, I hope this proves helpful. Please let me know if you have any suggestions, or run into difficulties. http://www.jeffreytrevino.com/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
On Tue, 15 Jan 2013 19:41:00 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Boo. I really wish Lily would Do The Right Thing™ with regard to transposing
parts. I want [...]
perhaps I'll put together an official feature request…
Almost certainly, \instrumentSwitch was written in response to a similar
request.
The basic Lilypond structures can do quite a lot by themselves, see below.
It would help immensely if I could at least say
\tag #'part { \transpose c d }
c4 d e f
and then use the tag filter to leave the transposition out of the C-score
In LilyPond \transpose c d {...} is an action, acting immediately on the music
in {...}
LilyPond does not store the name of the action separately from the music it is
acting upon, so it does not provide a way to remove the action and leave the
music.
But you can store the music in a variable, and perform the action of
transposing only where you need it.
music = \relative c' {
\transposition c
\key bes \major
bes4 c d es }
clar = \music
flute = \music % A bit silly, but everything is clear if they play in unison
\new Staff { \flute } % Flute part
\new Staff { \transpose bes c' { \clar } } % Clarinet part, transpose for
printing
\score { % Score in Concert Pitch
\new Staff \flute
\new Staff \clar }
You might see that people often define their variables to store the music in
pitches as-written for the different instruments. The manuals encourage
storing music in concert pitch, though, which is probably less confusing, at
least until you have used LilyPond for a while.
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Re: multi-instrument parts
On Tue, Jan 15, 2013 at 10:21 PM, Keith OHara k-ohara5...@oco.net wrote: On Tue, 15 Jan 2013 19:41:00 -0800, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Boo. I really wish Lily would Do The Right Thing™ with regard to transposing parts. I want [...] perhaps I'll put together an official feature request… There's this: http://lsr.dsi.unimi.it/LSR/Item?id=697 which is useful when the transposition changes mid-piece (like for clarinets, horns, and trumpets). Also you don't have to think about the 'from' pitch. You only need the 'to' pitch. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
Hi Keith, Almost certainly, \instrumentSwitch was written in response to a similar request. If I remember correctly, Han-Wen wrote it and I paid him a bounty for it… =) you can store the music in a variable, and perform the action of transposing only where you need it. Yes, of course, that's what I've been doing — but I consider it hacky, so I was hoping someone had a more elegant solution. You might see that people often define their variables to store the music in pitches as-written for the different instruments. The manuals encourage storing music in concert pitch, though, which is probably less confusing, at least until you have used LilyPond for a while. I've been using it for 10 years now. This piece (Robin Hood: The Legendary Musical Comedy) is simply taxing Lilypond's abilities more than other works I've engraved in the past: 2.5 hours of music theatre for 8 instruments (including 2 multi-instrumentalists), 9 vocal soloists, and a chorus of up to three independent two-part lines. Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
Hi Jay, There's this: http://lsr.dsi.unimi.it/LSR/Item?id=697 which is useful when the transposition changes mid-piece (like for clarinets, horns, and trumpets). Also you don't have to think about the 'from' pitch. You only need the 'to' pitch. That doesn't seem to handle key signatures very well — is there a workaround? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
On Tue, 15 Jan 2013 21:43:04 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I've been using it for 10 years now.
Sorry, I've seen so many names they are all a jumble in my head. In that case,
for the part where the player switches instruments, you'd probably like to
store the as-written pitches along with the transpositions. Then you can use
LilyPond's quoting system to get the music in concert pitch for the C-score.
windMusic = {
^\markup\bold Flute
\transposition c'
\key d \major
\relative d' {
d8( e fis g a b cis d) }
^\markup\bold\concat{ Clarinet in B \flat}
\transposition bes
\transpose bes c' \relative d' {
\tag#'part \key d\major
d( e fis g a b cis d)
\bar || %% This gets lost, maybe due to a bug
\key f \major
d,( e fis g a b cis d) }
^\markup\bold Flute
\transposition c'
\tag#'part \key f \major
\relative d' {
d( e fis g a b cis d) } }
\addQuote wind \keepWithTag#'score \windMusic
windMusicInC = \quoteDuring wind #(skip-of-length windMusic )
\new Staff \keepWithTag#'part \windMusic % Part
\score { \new Voice \windMusicInC }
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Re: Complete syntax documentation
On 16/01/13 15:07, Kevin wrote: I have searched and searched, but I can't to seem find any documentation on the actual file structure, with all the various elements, in one place. Yes, I can find out about how curly braces work, or what does, but it would be great if there was a document that listed each delimiter, what it does, and how it interacts with other delimiters. Not really what you were asking for, but have you seen Reinhold Kainhofer's Lilypond cheat sheet at http://www.edition-kainhofer.com/en/lilypond-en/511/lilypond-cheatsheet-detail.html. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
Hi Keith,
for the part where the player switches instruments, you'd probably like to
store the as-written pitches along with the transpositions. Then you can use
LilyPond's quoting system to get the music in concert pitch for the C-score.
Now we're getting somewhere! Thanks!
I will test this technique with more abstracted setups (e.g., the key
signatures in a global variable, shared across multiple
multi-instrumentalists), and see how it works.
All the best,
Kieren.
windMusic = {
^\markup\bold Flute
\transposition c'
\key d \major
\relative d' {
d8( e fis g a b cis d) }
^\markup\bold\concat{ Clarinet in B \flat}
\transposition bes
\transpose bes c' \relative d' {
\tag#'part \key d\major
d( e fis g a b cis d)
\bar || %% This gets lost, maybe due to a bug
\key f \major
d,( e fis g a b cis d) }
^\markup\bold Flute
\transposition c'
\tag#'part \key f \major
\relative d' {
d( e fis g a b cis d) } }
\addQuote wind \keepWithTag#'score \windMusic
windMusicInC = \quoteDuring wind #(skip-of-length windMusic )
\new Staff \keepWithTag#'part \windMusic % Part
\score { \new Voice \windMusicInC }
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Re: multi-instrument parts
Hi Keith,
for the part where the player switches instruments, you'd probably like to
store the as-written pitches along with the transpositions. Then you can use
LilyPond's quoting system to get the music in concert pitch for the C-score.
Now we're getting somewhere! Thanks!
I will test this technique with more abstracted setups (e.g., the key
signatures in a global variable, shared across multiple
multi-instrumentalists), and see how it works.
All the best,
Kieren.
windMusic = {
^\markup\bold Flute
\transposition c'
\key d \major
\relative d' {
d8( e fis g a b cis d) }
^\markup\bold\concat{ Clarinet in B \flat}
\transposition bes
\transpose bes c' \relative d' {
\tag#'part \key d\major
d( e fis g a b cis d)
\bar || %% This gets lost, maybe due to a bug
\key f \major
d,( e fis g a b cis d) }
^\markup\bold Flute
\transposition c'
\tag#'part \key f \major
\relative d' {
d( e fis g a b cis d) } }
\addQuote wind \keepWithTag#'score \windMusic
windMusicInC = \quoteDuring wind #(skip-of-length windMusic )
\new Staff \keepWithTag#'part \windMusic % Part
\score { \new Voice \windMusicInC }
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Re: multi-instrument parts
Keith OHara k-ohara5...@oco.net writes: On Tue, 15 Jan 2013 21:43:04 -0800, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: I've been using it for 10 years now. Sorry, I've seen so many names they are all a jumble in my head. And you are not even likely to keep confusing Keith with Kieren. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi-instrument parts
On Wed, Jan 16, 2013 at 01:48:21AM -0500, Kieren MacMillan wrote:
Hi Keith,
for the part where the player switches instruments, you'd probably
like to store the as-written pitches along with the transpositions.
Then you can use LilyPond's quoting system to get the music in concert
pitch for the C-score.
Now we're getting somewhere! Thanks!
I will test this technique with more abstracted setups (e.g., the key
signatures in a global variable, shared across
multiple multi-instrumentalists), and see how it works.
I can't prove it but I believe had conflicts between quoting and tags in a
large score. I didn't have time to diagnose it so I just removed a lot of
useful cues which would have cluttered the score without tags to remove them
from the score.
Paul Scott
All the best,
Kieren.
windMusic = {
^\markup\bold Flute
\transposition c'
\key d \major
\relative d' {
d8( e fis g a b cis d) }
^\markup\bold\concat{ Clarinet in B \flat}
\transposition bes
\transpose bes c' \relative d' {
\tag#'part \key d\major
d( e fis g a b cis d)
\bar || %% This gets lost, maybe due to a bug
\key f \major
d,( e fis g a b cis d) }
^\markup\bold Flute
\transposition c'
\tag#'part \key f \major
\relative d' {
d( e fis g a b cis d) } }
\addQuote wind \keepWithTag#'score \windMusic
windMusicInC = \quoteDuring wind #(skip-of-length windMusic )
\new Staff \keepWithTag#'part \windMusic % Part
\score { \new Voice \windMusicInC }
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General bar setup for score
Hi,
Is it possible to create some general setup for the total number of bars
within the score, including time changes?
In the example I have a score with two voices on the right (piano) staff
with 6/8 and 3/8 bars.
When I create in one voice some rhythmic accents (like grace notes or
acciaccatura) the new time indicator gets duplicated.
-- Maarten
\version 2.16.1
global = {
\key c \major
\time 6/8
\tempo 4=100
}
rightOne = \relative c'' {
\global
c2. |
\time 3/8 bes16as es as bes c |
\time 6/8 \acciaccatura { bes16[ c16] } bes4.~ bes |
g8 bes es g bes es |
}
rightTwo = \relative c'' {
\global
a2. |
\time 3/8 f8 s f |
\time 6/8 f4 f g |
g4. r |
}
\score {
\new PianoStaff \with {
}
\new Staff = right \with {
midiInstrument = acoustic grand
}
{
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
\rightOne
} \\ \rightTwo
\layout { }
\midi { }
}
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Re: \bar || and \repeat around a line break
Am 16.01.2013 04:04, schrieb Frank Steinmetzger:
Hello dear list
I'm writing a score that has a \bar || at the end of a system, and a volta
repeat beginning in the following system after the line break. It seems that
the \bar command overwrites the |: of the following volta, making that
invisible. Is there a way to get what I desire?
Lilypond has a special bar line type for this: \bar ||: should do the
trick.
HTH,
Marc
Thank you very much.
MWE:
\version 2.16
\relative c'' {
▸ \time 4/4
▸ \repeat unfold 20 a4
▸ \bar || \break
▸ \repeat volta 2 {
▸ ▸ \repeat unfold 20 a4
▸ }
}
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Re: General bar setup for score
Am 16.01.2013 08:51, schrieb Maarten de Keijzer:
Hi,
Is it possible to create some general setup for the total number of
bars within the score, including time changes?
In the example I have a score with two voices on the right (piano)
staff with 6/8 and 3/8 bars.
When I create in one voice some rhythmic accents (like grace notes or
acciaccatura) the new time indicator gets duplicated.
This is a very annoying bug in lilypond IIRC.
You can use an invisible \grace in the other voice as a workaround:
rightOne = \relative c'' {
\global
c2. |
\time 3/8 bes16as es as bes c |
\time 6/8 \acciaccatura { bes16[ c16] } bes4.~ bes |
g8 bes es g bes es |
}
rightTwo = \relative c'' {
\global
a2. |
\time 3/8 f8 s f |
\time 6/8 \grace { s8 } f4 f g |
g4. r |
}
HTH,
Marc
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