speed
Hi, It was time to buy myself a newer notebook. My Dell D600 is beginning to fall apart. On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) :-) -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Greetings, On my Linux Mint 14 virtual machine running in Virtualbox on a Macbook Pro with a 2.4 GHz i7, I get 30 seconds more or less exactly. Looks like those i5's are catching up. The Reubke seems like quite a good timing benchmark. And what a wonderful piece of engraving. cheerio! Andrew On 7/02/13 9:25 PM, Martin Tarenskeen wrote: On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
On Thu, 7 Feb 2013, Andrew Bernard wrote: Greetings, On my Linux Mint 14 virtual machine running in Virtualbox on a Macbook Pro with a 2.4 GHz i7, I get 30 seconds more or less exactly. Looks like those i5's are catching up. I guess VirtualBox is also slowing things down a bit? What if you run the native Mac OSX version ? The Reubke seems like quite a good timing benchmark. And what a wonderful piece of engraving. Indeed! -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Il 07/02/2013 11:25, Martin Tarenskeen ha scritto: On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) $ time make [...] real0m14.519s user0m14.276s sys0m0.192s i7-3770K (3rd generation), Debian Wheezy. Ciao! Carlo -- .-. | Registered Linux User #443882| .''`. oo| | http://linuxcounter.net/ | : :' : /`'\ | Registered Debian User #9 | `. `'` (\_;/) | http://debiancounter.altervista.org/ | `- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Carlo Stemberger carlo.stember...@gmail.com writes: Il 07/02/2013 11:25, Martin Tarenskeen ha scritto: On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) $ time make [...] real0m14.519s user0m14.276s sys0m0.192s I am assuming you are not talking about building LilyPond here. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Il 07/02/2013 13:58, David Kastrup ha scritto: I am assuming you are not talking about building LilyPond here. :D No, I'm talking about compiling this files: http://imslp.org/wiki/Special:ImagefromIndex/177628 Ciao! Carlo -- .-. | Registered Linux User #443882| .''`. oo| | http://linuxcounter.net/ | : :' : /`'\ | Registered Debian User #9 | `. `'` (\_;/) | http://debiancounter.altervista.org/ | `- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Am 07.02.2013 13:58, schrieb David Kastrup: Carlo Stemberger carlo.stember...@gmail.com writes: Il 07/02/2013 11:25, Martin Tarenskeen ha scritto: On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) $ time make [...] real0m14.519s user0m14.276s sys0m0.192s I am assuming you are not talking about building LilyPond here. What would you do if he did? ;-/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Streamlining my thoughts on the clarinet woodwind-diagrams
Hi Joseph, Mike, I've looked into different brand/models (as far as my friends and knowledge reaches) and had my thoughts on it (so it is may be not exhausting enough!). Meanwhile I also studied the underlying code (which is both daunting and haunting) and I see the following model(s) schematically, starting with the (generic) stencil for the basic clarinet(-boehm) family: clarinet-family -- clarinet (what we have now, but without the hole) - clarinet -- clarinet-with-left-low-gis (obviously adds the left-hand low-gis key) - clarinet-with-left-low-gis -- bass-clarinet (adds the hole and right low-ees) - bass-clarinet -- low-bass-clarinet (adds left low-d, right low-d, left low-d, thumb low-c and thumb low-cis) - low-bass-clarinet -- low-bass-clarinet-BC-Prestige (adds thumb low-d) - low-bass-clarinet -- low-bass-clarinet-S-Privilege (adds thumb low-ees) The clarinet-with-low-gis, bass-clarinet and low-bass-clarinet will then be intermediate stencils, but otherwise complete and callable from the outside, which is fine for example for writing down a specific thing in the high registers or a special effect in a general fashion. The generic stencil for the bass-clarinet will suit the Buffet Crampon and Selmer current top-models to low-ees and will do for specific notations in the high register for all of them. All the key variations are in the low range as far as I know. More variations can be done, e.g. one could add: clarinet-with-left- low-gis -- clarinet-BC-Tosca specifying the special F correction key for the right little finger. etc. If really needed it should be possible to insert an older or newer system also. The problem is that all thereally usable variations are typically brand/model variations, I'm struggling with the naming of it. I avoided using the full brand names, instead included just one/two letters (which is also shorter:-) and the model. I never encountered a brand name in the Lilypond documentation, probably there will be some general consensus on how to handle this, but I couldn't find it. I could take the brand abbreviations out of it, but that still shows the model (which is a brand name also i.m.h.o.). Could someone shed a light on this for me? Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: speed
Urs Liska li...@ursliska.de writes: Am 07.02.2013 13:58, schrieb David Kastrup: Carlo Stemberger carlo.stember...@gmail.com writes: Il 07/02/2013 11:25, Martin Tarenskeen ha scritto: On my new notebook the lilypond version of Reubke's Psalm94 now compiles in 20 seconds (including creation of zip package) instead of 100. (3rd generation i5 processor) $ time make [...] real0m14.519s user0m14.276s sys0m0.192s I am assuming you are not talking about building LilyPond here. What would you do if he did? ;-/ Volunteer him for release work. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
cue lyrics
Hello lists,
I am trying to get cued lyrics. There has been a mail of Rainhold
Kainhofer:
http://lilypond.1069038.n5.nabble.com/Obtaining-the-current-staff-s-context-id-from-withing-a-voice-td115463.html
I can fetch the cueVoices parental Staff-ContextId ... see attached file
... but now I have another problem:
If the last note of the cued music gets an associated syllable, the
following notes of the main Voice are shifted together (see attached PDF)
Does someone know how to prevent this?
Best, Jan-Peter
\version 2.16.0
% cue function that typesets associated lyrics
cueDuringWithLyrics =
#(let ((stafftag 'Staff)
(cuenr 0))
; cue voice counter, if there are multiple simultaneous quotes
(define (cue-id) (set! cuenr (+ 1 cuenr)) (format cue~A cuenr))
; get context property for alignment
(define (alignlyrics direction)(if (eq? UP direction) 'alignAboveContext 'alignBelowContext))
; the music function
(define-music-function (parser location quote direction lyrics music)
(string? integer? ly:music? ly:music?)
; we need the staff-id of the contained cueVoice
; and we need a cue-id
(let ((staffid #f)
(cueid (cue-id)))
; dummy engraver to get the parental staff-id
(define (getstaffid context)
(let ((staff (ly:context-find context stafftag)))
(if (ly:context? staff) (set! staffid (ly:context-id staff)))
; this engraver does nothing
(list)))
; engraver to set the lyric alignment
(define (aligncue context)
`((initialize .
,(lambda (trans)
; if we have a staff-id ...
(if (string? staffid)
; ... set the alignment property
(ly:context-set-property! context (alignlyrics direction) staffid)
))
)))
; now create the music
#{
% the music voiceOne/Two for UP/DOWN resp.
{ $(if (eq? direction UP) #{ \voiceTwo #} #{ \voiceOne #}) $music }
\new CueVoice = $cueid \with {
% create CueVoice with staff-id grabbing engraver
\consists #getstaffid
} {
% the cued music voiceOne/Two for UP/DOWN resp.
$(if (eq? direction UP) #{ \voiceOne #} #{ \voiceTwo #})
% the cue is quoted, use a skip event ... the music is in the main part
\quoteDuring $quote { $(skip-of-length music) }
}
% create the lyrics with smaller text-size
\new Lyrics \with {
% the alignment setter fetches the grabbed staff-id
\consists #aligncue
fontSize = -2
\override LyricText #'font-shape = #'italic
} % lyricsto the CueVoice
\lyricsto $cueid \lyricmode { $lyrics }
% reset voice to oneVoice
\oneVoice
#}
)))
%
%%% Example
% create quote
\addQuote myquote \relative c'' {
\repeat unfold 10 { bes4 a c b }
}
% make music ...
% staff with a unique context-id
\new Staff = mystaff1 {
R1
% cue with lyrics: one syllable less than needed
\cueDuringWithLyrics myquote #DOWN \lyricmode { b a c h x y z } { R1*2 }
% more music
\relative c'' \repeat unfold 4 { c4 a f d }
}
\new Staff = mystaff2 {
R1
% cue with lyrics: more syllables than needed
\cueDuringWithLyrics myquote #UP \lyricmode { b a c h x y z q q q } { R1*2 }
% the following notes are shifted, if the last cue-note has a syllable?
\relative c'' \repeat unfold 4 { c4 a f d }
}
cueLyrics.pdf
Description: Adobe PDF document
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Point and click in music-function
2013/2/6 David Kastrup d...@gnu.org
That's rather a lack of copypaste skills. You can't add or remove
parentheses in Scheme without changing the meaning.
Nope. I was able to copy your excerpt just fine. But i needs Scheme skills
to identify where it should be place in my example. I tried several
position, guessing any meaning and got errors every time. My bad. But I
don't claim to be a Schemer.
It would be nice to get the exact position of the note in the source.
But there is no such thing as a note in the source. There is just a
_pitch_. The _note_ is only assembled inside of the #{...#}.
Yep. That's may be the cause that the click points to the body of the
music-function.
For my humble understanding:
But there is no such thing as a note in the source.
This is meant for the text that becomes parameters of my music-function tr
or is that meant in general?
I don't see the difference between an a b c in normal source and $p1 $p2
$p3 in a music-function like my example.
Honestly, I don't know it better.
BTW: Probably is my attempt with a music-function not the best way. When I
place all notes (or pitches) into a large \times { } section and use other
means like beatStructure to get the correct beaming I should avoid the
problem with the music function.
Regards
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Point and click in music-function
Helge Kruse helge.kr...@gmx.net writes:
2013/2/6 David Kastrup d...@gnu.org
That's rather a lack of copypaste skills. You can't add or remove
parentheses in Scheme without changing the meaning.
Nope. I was able to copy your excerpt just fine.
The Scheme interpreter and I disagree. For starters, you removed the
opening paren of the function call.
It would be nice to get the exact position of the note in the
source.
But there is no such thing as a note in the source. There is
just a
_pitch_. The _note_ is only assembled inside of the #{...#}.
Yep. That's may be the cause that the click points to the body of the
music-function.
For my humble understanding:
But there is no such thing as a note in the source.
This is meant for the text that becomes parameters of my
music-function tr or is that meant in general?
I don't see the difference between an a b c in normal source and
$p1 $p2 $p3 in a music-function like my example.
a b c in normal source is shorthand for something like a8 b8 c8. In
the music function, the pitches are all that is there. They are not
shorthand for notes.
BTW: Probably is my attempt with a music-function not the best way.
No idea, but it should be good enough. If you actually want to take
notes as arguments (possibly including durations and articulations and
other stuff), just declare your arguments as ly:music? instead of
ly:pitch?.
--
David Kastrup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Help! Unwanted staff line
Hi! Everyone
I just finished my first big project on lilypond and everything is ok
except for an unwanted staff line at the end of every staffgroup (Only on
the first page) like this:
http://lilypond.1069038.n5.nabble.com/file/n140557/8452231246_c3b3f8b014.jpg
My code is something like this:
\version 2.16.2
global = { }
flute = \relative c''' { }
oboe = \relative c'' { }
clarinetI = \relative c'' { }
clarinetII = \relative c'' { }
bassoon = \relative c { }
flutePart = \new Staff \with { } \flute
oboePart = \new Staff \with { } \oboe
clarinetsPart = \new Staff \with { } \clarinetI \\ \clarinetII
bassoonPart = \new Staff \with { } { \clef bass \bassoon }
\score {
\new StaffGroup
\flutePart
\oboePart
\clarinetsPart
\bassoonPart
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Help-Unwanted-staff-line-tp140557.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: Help! Unwanted staff line
- Original Message -
From: OrqAfiliadas orquestasafilia...@gmail.com
To: lilypond-user@gnu.org
Sent: Thursday, February 07, 2013 12:35 AM
Subject: Help! Unwanted staff line
Hi! Everyone
I just finished my first big project on lilypond and everything is ok
except for an unwanted staff line at the end of every staffgroup (Only on
the first page) like this:
http://lilypond.1069038.n5.nabble.com/file/n140557/8452231246_c3b3f8b014.jpg
My code is something like this:
\version 2.16.2
global = { }
flute = \relative c''' { }
oboe = \relative c'' { }
clarinetI = \relative c'' { }
clarinetII = \relative c'' { }
bassoon = \relative c { }
flutePart = \new Staff \with { } \flute
oboePart = \new Staff \with { } \oboe
clarinetsPart = \new Staff \with { } \clarinetI \\ \clarinetII
bassoonPart = \new Staff \with { } { \clef bass \bassoon }
\score {
\new StaffGroup
\flutePart
\oboePart
\clarinetsPart
\bassoonPart
When I correct what you had above, by adding and } to it, and putting c1
in each of your instrumental parts, I get no additional staff. I suggest
you cut the music down in this way and progressively build it up to see
where it's going wrong.
--
Phil Holmes
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Streamlining my thoughts on the clarinet woodwind-diagrams
On 02/07/2013 02:26 PM, Wim van Dommelen wrote: clarinet-family -- clarinet (what we have now, but without the hole) hole ? I guess you mean the extra touchpiece on the LH 1st finger? Ideally you'd like to have some backwards compatibility, so I suggest keeping clarinet for the base stencil. - clarinet -- clarinet-with-left-low-gis (obviously adds the left-hand low-gis key) Call it clarinet-lh-gis. - clarinet-with-left-low-gis -- bass-clarinet (adds the hole and right low-ees) I'd use clarinet-full-boehm as the name for the clarinet with low ees, and make bass-clarinet an alias for that (or else, bass-clarinet is the full-boehm instrument plus the hole). - bass-clarinet -- low-bass-clarinet (adds left low-d, right low-d, left low-d, thumb low-c and thumb low-cis) I'd call it bass-clarinet-low-c. - low-bass-clarinet -- low-bass-clarinet-BC-Prestige (adds thumb low-d) - low-bass-clarinet -- low-bass-clarinet-S-Privilege (adds thumb low-ees) I wouldn't bother with the low here. :-) The clarinet-with-low-gis, bass-clarinet and low-bass-clarinet will then be intermediate stencils, but otherwise complete and callable from the outside, which is fine for example for writing down a specific thing in the high registers or a special effect in a general fashion. The generic stencil for the bass-clarinet will suit the Buffet Crampon and Selmer current top-models to low-ees and will do for specific notations in the high register for all of them. All the key variations are in the low range as far as I know. Question: how do you translate the bass clarinet diagrams into key-name diagrams? More variations can be done, e.g. one could add: clarinet-with-left-low-gis -- clarinet-BC-Tosca specifying the special F correction key for the right little finger. etc. Yes, but that seems to be taking it a little far. It's difficult to imagine a situation where a composer would want to specify such a key, because its existence and practical effect cannot be relied upon. If really needed it should be possible to insert an older or newer system also. The problem is that all the really usable variations are typically brand/model variations, I'm struggling with the naming of it. This may be handled better by documentation describing how to create your own custom diagram, rather than trying to support many. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
function to get moment as staff-spaces
Hello all, There are times I would like to offset something by a duration (e.g., a quarter note) without using spacers — for example, I have a ChordName that collides with a markup, and I want the ChordName to move horizontally to the right (not vertically***). I don't want to change the duration of the chord, or the moment of its attack — only its visual placement. So I'd like to say something like \once \override ChordName #'X-offset = #(ly:make-moment 1 4) Obvoiusly this doesn't work. But is there an easy function to turn the spacing of a moment (at the current moment) into a distance Lily can use to offset things? Thanks, Kieren. *** The function I'm asking about would be a lot less necessary if we could choose the axis of adjustment for a grob involved in a collision — is that possible? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: add9 chords
but the successive adding of thirds is common for such chords. Now, it is like this: http://lilypond.org/doc/v2.16/Documentation/notation/chord-mode 9 (number) is adding thirds up to number .9 (.number) is add this note ^9 (^number) is remove this note The display and the input syntax are (intentionally) seperated things: http://lilypond.org/doc/v2.16/Documentation/notation/displaying-chords What I would propose to add to the LilyPond chordmode (not sure if clever or possible): Adding notes without number in front of it: c:.9 (= what is c:5.9 now) Removing already works: c:^3 = c:5^3 Concerning the display, add could turned on to be the prefix by default for such chords (?). Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Streamlining my thoughts on the clarinet woodwind-diagrams
On 7 Feb 2013, at 18:46 , Joseph Rushton Wakeling wrote: On 02/07/2013 02:26 PM, Wim van Dommelen wrote: clarinet-family -- clarinet (what we have now, but without the hole) hole ? I guess you mean the extra touchpiece on the LH 1st finger? Internally it is coded as hole, h :-) Ideally you'd like to have some backwards compatibility, so I suggest keeping clarinet for the base stencil. Yes, of course. - clarinet -- clarinet-with-left-low-gis (obviously adds the left-hand low-gis key) Call it clarinet-lh-gis. Mmmh, that (lh . (gis)) is already taken for the upper key, using the same, not completly describing name will again confuse others. - clarinet-with-left-low-gis -- bass-clarinet (adds the hole and right low-ees) I'd use clarinet-full-boehm as the name for the clarinet with low ees, and make bass-clarinet an alias for that (or else, bass- clarinet is the full-boehm instrument plus the hole). The regular (soprano-)clarinet doesn't have a low-ees, so that order will not work. - bass-clarinet -- low-bass-clarinet (adds left low-d, right low-d, left low-d, thumb low-c and thumb low-cis) I'd call it bass-clarinet-low-c. Compatibility in the name? - low-bass-clarinet -- low-bass-clarinet-BC- Prestige (adds thumb low-d) - low-bass-clarinet -- low-bass-clarinet-S- Privilege (adds thumb low-ees) I wouldn't bother with the low here. :-) Yeah, but they (BC and S) have similar models running only to the low ees, same series, same name, matching the regular stencil, not the low. So which confusion is better explained. The clarinet-with-low-gis, bass-clarinet and low-bass- clarinet will then be intermediate stencils, but otherwise complete and callable from the outside, which is fine for example for writing down a specific thing in the high registers or a special effect in a general fashion. The generic stencil for the bass-clarinet will suit the Buffet Crampon and Selmer current top- models to low-ees and will do for specific notations in the high register for all of them. All the key variations are in the low range as far as I know. Question: how do you translate the bass clarinet diagrams into key- name diagrams? I don't understand the complete question. Is that something other than the result you get with (the already present) \override #'(graphical . #f) as stated in the reference manual? More variations can be done, e.g. one could add: clarinet-with- left-low-gis -- clarinet-BC-Tosca specifying the special F correction key for the right little finger. etc. Yes, but that seems to be taking it a little far. It's difficult to imagine a situation where a composer would want to specify such a key, because its existence and practical effect cannot be relied upon. Isn't a chicken-and-egg combination? I spoke to my teacher today and she got the question of a composer tell me what is possible? as opposed to someone writing down something and the player having to find out how to do it. As the key corrects the lowest f (of a soprano- clarinet), it will probably not used/prescribed. But if some effect, whatever can be done with it, someone will use it sometime. But it is a little (much) too far, I agee. If really needed it should be possible to insert an older or newer system also. The problem is that all the really usable variations are typically brand/model variations, I'm struggling with the naming of it. This may be handled better by documentation describing how to create your own custom diagram, rather than trying to support many. That is not that easy, it is not ly-code, but Scheme code and tougher (more and more stacked upon another) as I expected. The basic files involved are together already 3200 lines (some are comments, but 90% is code :-). Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat signs / bar lines in markup
Am 06.02.2013 18:46, schrieb Peter Crighton:
Hi List,
is there some way to put bar lines, or more specifically repeat signs,
inside a text markup? Other than recreating them with the help of
\draw-line and \draw-circle?
I found a rather clumsy workaround:
\markup {
\line {
Here is a \hspace #-5
\raise #1.75 {
\score {
\new Staff
\with {
fontSize = #-6
}
{ s32 \bar .|: s32 }
\layout {
ragged-right= ##t
indent = 0
\context {
\Staff
\override StaffSymbol #'staff-space = #(magstep -6)
\override StaffSymbol #'thickness = #(magstep -6)
\override StaffSymbol #'transparent = ##t
\remove Clef_engraver
\remove Time_signature_engraver
}
}
}
}
\hspace #-3.5 followed by some text.
}
}
HTH a bit,
Marc
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
___
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: Repeat signs / bar lines in markup
Hmm, that doesn’t work for me, and I can’t see why. I’m just using
\raise #0.25 \concat { \bold | |: }
now. That looks good enough for what I need.
But thanks for your answer anyway!
Peter
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
2013/2/7 Marc Hohl m...@hohlart.de:
Am 06.02.2013 18:46, schrieb Peter Crighton:
Hi List,
is there some way to put bar lines, or more specifically repeat signs,
inside a text markup? Other than recreating them with the help of
\draw-line and \draw-circle?
I found a rather clumsy workaround:
\markup {
\line {
Here is a \hspace #-5
\raise #1.75 {
\score {
\new Staff
\with {
fontSize = #-6
}
{ s32 \bar .|: s32 }
\layout {
ragged-right= ##t
indent = 0
\context {
\Staff
\override StaffSymbol #'staff-space = #(magstep -6)
\override StaffSymbol #'thickness = #(magstep -6)
\override StaffSymbol #'transparent = ##t
\remove Clef_engraver
\remove Time_signature_engraver
}
}
}
}
\hspace #-3.5 followed by some text.
}
}
HTH a bit,
Marc
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
___
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
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat signs / bar lines in markup
Am 07.02.2013 22:46, schrieb Peter Crighton:
Hmm, that doesn’t work for me, and I can’t see why. I’m just using
\raise #0.25 \concat { \bold | |: }
now. That looks good enough for what I need.
But thanks for your answer anyway!
Peter
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
2013/2/7 Marc Hohl m...@hohlart.de:
Am 06.02.2013 18:46, schrieb Peter Crighton:
Hi List,
is there some way to put bar lines, or more specifically repeat signs,
inside a text markup? Other than recreating them with the help of
\draw-line and \draw-circle?
I found a rather clumsy workaround:
\markup {
\line {
Here is a \hspace #-5
\raise #1.75 {
\score {
\new Staff
\with {
fontSize = #-6
}
{ s32 \bar .|: s32 }
\layout {
ragged-right= ##t
indent = 0
\context {
\Staff
\override StaffSymbol #'staff-space = #(magstep -6)
\override StaffSymbol #'thickness = #(magstep -6)
\override StaffSymbol #'transparent = ##t
\remove Clef_engraver
\remove Time_signature_engraver
}
}
}
}
\hspace #-3.5 followed by some text.
}
}
here's a slightly simplified version where you can reuse the created markup:
\version 2.17.11
mySign = \markup \score {
\new Staff \with { fontSize = #-6 }
{ \bar .|: }
\layout {
indent = 0
\context {
\Staff
\override StaffSymbol #'staff-space = #(magstep -6)
\override StaffSymbol #'thickness = #(magstep -6)
\override StaffSymbol #'stencil = ##f
\remove Clef_engraver
\remove Key_engraver
\remove Time_signature_engraver
}
}
}
\markup \line {
{ Here is a
\raise #1.75
\mySign
followed by some text.
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Streamlining my thoughts on the clarinet woodwind-diagrams
On 02/07/2013 09:22 PM, Wim van Dommelen wrote: Mmmh, that (lh . (gis)) is already taken for the upper key, using the same, not completly describing name will again confuse others. OK, fair enough, clarinet-lh-low-gis is better, then. I'd use clarinet-full-boehm as the name for the clarinet with low ees, and make bass-clarinet an alias for that (or else, bass-clarinet is the full-boehm instrument plus the hole). The regular (soprano-)clarinet doesn't have a low-ees, so that order will not work. The regular one doesn't, the full-Boehm instrument does. See e.g. this example: http://www.clarinetsdirect.biz/RC-F279670.html Compatibility in the name? Fair enough. :-) Yeah, but they (BC and S) have similar models running only to the low ees, same series, same name, matching the regular stencil, not the low. So which confusion is better explained. OK, fair enough again. Question: how do you translate the bass clarinet diagrams into key-name diagrams? I don't understand the complete question. Is that something other than the result you get with (the already present) \override #'(graphical . #f) as stated in the reference manual? No, I don't mean how as in how does one request the override, I mean, what is your spec for what should appear? Isn't a chicken-and-egg combination? I spoke to my teacher today and she got the question of a composer tell me what is possible? as opposed to someone writing down something and the player having to find out how to do it. As the key corrects the lowest f (of a soprano-clarinet), it will probably not used/prescribed. But if some effect, whatever can be done with it, someone will use it sometime. But it is a little (much) too far, I agee. Maybe, but it's probably best to get to the point of someone requesting it before it gets implemented. That is not that easy, it is not ly-code, but Scheme code and tougher (more and more stacked upon another) as I expected. The basic files involved are together already 3200 lines (some are comments, but 90% is code :-). ! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat signs / bar lines in markup
Hi,
below a markup-command to print bar-lines.
For now it is limited to bar-lines containing thick-bar-line,
thin-bar-line and/or colon-bar-line.
Every additional bar-line (dashed, dotted etc) would need an
additional construction-procedure.
\bar-line follows the procedures in bar-line.scm, heavily simplified.
Some comments are included, where I'm not sure about the used values.
Please note: it is a first sketch, maybe there are some undetected issues.
Works with 2.16.1 and 2.17.10
%
\version 2.16.1
#(define-markup-command (bar-line layout props strg)(string?)
#:properties ((font-size 0))
(define (string-string-list str)
Convert a string into a list of strings with length 1.
@code{aBc} will be converted to @code{(a B c)}.
An empty string will be converted to a list containing @code{}.
(if (and (string? str)
(not (zero? (string-length str
(map (lambda (s)
(string s))
(string-list str))
(list )))
(define (make-bar-line thickness height fontsize blot-diameter)
Draw a simple bar line.
(ly:round-filled-box (cons 0 (* (magstep font-size) thickness))
(interval-widen (cons 0 height) (magstep font-size))
blot-diameter))
(define (make-colon-bar-line height fontsize)
Draw repeat dots.
(let* ((font
(ly:paper-get-font layout
(cons '((font-encoding . fetaMusic)) props)))
(dot (ly:font-get-glyph font dots.dot)))
(ly:stencil-add
dot
(ly:stencil-translate-axis
dot
(magstep font-size)
Y
(let* ((line-thickness (ly:output-def-lookup layout 'line-thickness))
(size (ly:output-def-lookup layout 'text-font-size 12))
;; Numerical values taken from the IR
(thin-thickness (* line-thickness 1.9))
(kern (* line-thickness 3.0))
(thick-thickness (* line-thickness 6.0))
(blot (ly:output-def-lookup layout 'blot-diameter))
;; Not sure about the numerical value, found it by try and error.
(thin-bar-line
(ly:stencil-aligned-to
(make-bar-line thin-thickness (/ size 9) font-size blot)
Y CENTER))
(thick-bar-line
(ly:stencil-aligned-to
(make-bar-line thick-thickness (/ size 9) font-size blot)
Y CENTER))
(colon-bar-line
(ly:stencil-aligned-to
(make-colon-bar-line (/ size 9) font-size)
Y CENTER))
(strg-list (string-string-list strg))
(find-bar-line-proc
(lambda (x) (cond ((string=? : x) colon-bar-line)
((string=? | x) thin-bar-line)
((string=? . x) thick-bar-line)
(else empty-stencil
(bar-line-stils
(remove ly:stencil-empty? (map find-bar-line-proc strg-list)))
(stil
(stack-stencils X
RIGHT
(* (magstep font-size) kern)
bar-line-stils))
(stil-y-length (interval-length (ly:stencil-extent stil Y
;; Hm, hould the stencil-translate be hard-coded?
(ly:stencil-translate-axis
stil
(/ stil-y-length 4)
Y)
))
\markup
\fontsize #2
\column
\override #'(box-padding . 0.5)
{
\line {
This is a starting-repeat-bar:
\hspace #1
%\box
\fontsize #-4
\bar-line #.|:
}
\line {
This is a ending-repeat-bar.
\hspace #1
%\box
\fontsize #-4
\bar-line #:|.
}
\line {
These are simple bar-lines.
\tiny (colon, thin, thick)
\hspace #1
%\box
\fontsize #-4
\bar-line #:
\hspace #1
%\box
\fontsize #-4
\bar-line #|
\hspace #1
%\box
\fontsize #-4
\bar-line #.
}
\line {
Others.
\hspace #1
%\box
\fontsize #-4
\bar-line #:..:
\hspace #1
%\box
\fontsize #-4
\bar-line #:|.|:
\hspace #1
%\box
\fontsize #-4
\bar-line #:|..|:
}
}
%
HTH,
Harm
attachment: bar-line.png___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
[ANNOUNCE] ly2video 0.4.1
Hi all, I'm happy to announce the release of ly2video 0.4.1. ly2video is a Python script which converts music represented by a GNU LilyPond file into a video containing a horizontally scrolling music staff which is synchronized with a MIDI-generated audio rendering of the music. You can download it from here: https://github.com/aspiers/ly2video/tags The most significant aspect of this release is a complete redesign and rewrite of the A/V synchronization code, which should make it *far* more robust and easier to maintain: https://github.com/aspiers/ly2video/commit/c2ab06e Advantages of the new algorithm include being able to correctly handle ChordNames, transparent notes, and MIDI filtered through articulate.ly. I'm especially grateful to Jan Nieuwenhuizen, who I had the pleasure of meeting at FOSDEM last weekend, and whose help made this redesign possible. This release also fixes numerous other bugs: https://github.com/aspiers/ly2video/issues?milestone=4state=closed https://github.com/aspiers/ly2video/issues?milestone=5state=closed Feedback is very welcome; you can use the issue tracker: https://github.com/aspiers/ly2video/issues or mail me. Pull requests are of course even more welcome than feedback! Regards, Adam ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
FYI uses of Frescobaldi on ubuntu and variants
https://bugs.launchpad.net/ubuntu/+source/portmidi/+bug/1110326 There's an issue with a recent libportmidi upgrade that breaks midi in frescobaldi/python. The issue is acknowledged and a fix in the the pipeline. If you cannot wait—like me—the bug thread shows how to get the updated library. -- There is only love, and then oblivion. Love is all we have to set against hatred. (paraphrased) Ian McEwan Guy Stalnaker, I^2@DOIT, 1210 West Dayton Street, Room 3209 CSS, Madison WI 53719-1220, jstal...@wisc.edu, work 608.263.8035, cell 608.235.4718, fax 608.265.6681, page page-...@watchdog.doit.wisc.edu ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: allowing any horizontal collision in proportional notation
Hi Michael, Do you still want legible accidentals? In that case, you might just invent an alternate notation that gives you exact horizontal spacing by eliminating all traditionally placed accidentals and places them over the notes instead. or something, Jeff On Wed, Feb 6, 2013 at 12:57 PM, Michael Winter mwin...@unboundedpress.orgwrote: Dear All, It seems that with proportional notation even strict spanning does not allow collisions of notehead and accidentals. Is it possible to allow any collision such that the resolution and accuracy are exact no matter what? Or maybe I am missing something Many thanks in advance, Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Jeff Treviño PhD Candidate in Music Composition @ the University of California, San Diego Skype: jeffreytrevino E-mail: jeffrey.trev...@gmail.com Web: www.jeffreytrevino.com Cell: (619)565-9611 9310H Redwood Dr. La Jolla, CA 92037 USA ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fretboard Diagrams: Individual Dot Color
Hello,
Is there a way to set dot-color for each individual note on a fretboard
diagram? I'd like to differentiate between root notes and other scale
tones.
For examples, could I have the first fret note be white while the second
fret note is black?
Red would also be great, but I don't think that is as easily implemented.
\markup { \override #'(fret-diagram-details . ( (finger-code . in-dot)))
\fret-diagram-verbose #`(
(place-fret 5 1 2)
(place-fret 5 2 4)
)
}
Thanks,
Kale
--
*Kale Good: Guitar Instructor*
website: phillyguitarlessons.com
email: k...@kalegood.com
phone: (215)260-5383
address: 1867 Frankford Ave.
Philadelphia, PA 19125
Read my article *The Seven Secrets to Six String Success* at
GuitarNoise.com:
http://www.guitarnoise.com/lesson/seven-secrets-to-six-string-success/
*Leading the Journey from No-Skills-Guitarist to Talented Musician*!
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bassoon fingering charts O_o
Hi there, Could you please share the fingering catalogue code with the list, so that we can make similar diagrams for the other instruments? It would be useful to include a set of these in the documentation some how, come to think of it. cheers, Jeff On Wed, Feb 6, 2013 at 1:42 AM, James Harkins jamshar...@gmail.com wrote: On Feb 6, 2013 4:46 PM, Wim van Dommelen m...@wimvd.nl wrote: Hi James, Note that the Lilypond diagrams are different, not such squarisch, see the notation reference manual for details. The notation reference is the first place I went. Those details were helpful to get me started, but didn't answer my questions. From the list for all bassoon keys, I just produced a diagram usiong the Lilypond diagram showing each and every of the keys, see PDF attached. Thanks -- this saved me hours. I grasped the syntax from the NR, but was confused about where the names appear in the diagram. Big help! Thanks -- hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Jeff Treviño PhD Candidate in Music Composition @ the University of California, San Diego Skype: jeffreytrevino E-mail: jeffrey.trev...@gmail.com Web: www.jeffreytrevino.com Cell: (619)565-9611 9310H Redwood Dr. La Jolla, CA 92037 USA ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: force flat beam in piano staff that uses \autochange
That forces the beams to be flat but if I try to put them in the middle for all
of it, crazy stuff starts to happen. See example below.
Thanks,
Mike
\version 2.16.2
\new PianoStaff {
\autochange {
\override Beam #'damping = #+inf.0
\override Beam #'positions = #'(-4.5 . -4.5)
g''16 ais'16 e''16 ais''16 ais'16 fis''16 c'''16 a''16 ais''16 e''16 a''16 a'16
e'16 g''16 fis''16 a'16 c'''16 e16 fis''16 a'16 c'16 fis'16 c'''16 d''16 ais16
c''16 c'16 g16 a'16 g''16 c'16 d'16 c'''16 e16 d''16 c''16 g'16 e''16 c''16
d''16 ais16 fis'16 ais'16 e''16 g16 ais''16 a''16 ais16 e16 d''16 a''16 c16
ais'16 e''16 a''16 ais'16 e''16 g'16 c''16 d''16 a''16 a'16
}
}
On Feb 7, 2013, at 4:23 AM, lilypond-user-requ...@gnu.org wrote:
Message: 4
Date: Thu, 07 Feb 2013 13:36:18 +1100
From: Nick Payne nick.pa...@internode.on.net
To: lilypond-user@gnu.org
Subject: Re: force flat beam in piano staff that uses \autochange
Message-ID: 51131322.7060...@internode.on.net
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
On 07/02/13 12:39, Michael Winter wrote:
This does not work when there are groups of notes beamed together that
are either all in the upper staff or in the lower staff. I assume it
would only work if you could guarantee that all notes grouped under a
beam have notes in both the upper and lower staves.
Works here. The beams are flat regardless of which stave(s) the notes
occupy. If you mean that you only want the beams forced flat where the
notes occupy both staves, then decide which is more frequent (notes
grouped on one stave or both), and use \once\override for the others.
e.g. if kneed beams are more frequent:
\version 2.16.2
nf = \once\override Beam #'damping = #1 % back to default
\new PianoStaff {
\autochange {
\relative c'' {
\override Beam #'damping = #+inf.0
b16 b b,, b
b b b'' b
\nf b cis d e
b b b,, b
}
}
}
p.s. I tried using \once\revert Beam #'damping: no error was indicated
but the \once is ignored...
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: allowing any horizontal collision in proportional notation
Thanks Jeff, (btw, it has been way too long since we have spoken and it is great to hear from you even if through this list). You kind of nailed it on the head. I want to allow illegible accidentals so that I can adjust the spacing to make them legible. Since those collisions are avoided at all costs, I cannot even begin to guess if they would be colliding in a totally strict situation. Best, Mike On Feb 7, 2013, at 10:04 PM, lilypond-user-requ...@gnu.org wrote: Message: 5 Date: Thu, 7 Feb 2013 22:04:00 -0800 From: Jeffrey Trevino jeffrey.trevi...@gmail.com To: lilypond-user lilypond-user@gnu.org Subject: Re: allowing any horizontal collision in proportional notation Message-ID: candx-fdbr63cb_ejpmhnz3xzjs-_vaf8od-byzcdibd_osm...@mail.gmail.com Content-Type: text/plain; charset=iso-8859-1 Hi Michael, Do you still want legible accidentals? In that case, you might just invent an alternate notation that gives you exact horizontal spacing by eliminating all traditionally placed accidentals and places them over the notes instead. or something, Jeff On Wed, Feb 6, 2013 at 12:57 PM, Michael Winter mwin...@unboundedpress.orgwrote: Dear All, It seems that with proportional notation even strict spanning does not allow collisions of notehead and accidentals. Is it possible to allow any collision such that the resolution and accuracy are exact no matter what? Or maybe I am missing something Many thanks in advance, Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Jeff Trevi?o PhD Candidate in Music Composition @ the University of California, San Diego Skype: jeffreytrevino E-mail: jeffrey.trev...@gmail.com Web: www.jeffreytrevino.com Cell: (619)565-9611 9310H Redwood Dr. La Jolla, CA 92037 USA ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
