Re: problem with the spacing of microtonal accidentals
Stefan Thomas gmail.com> writes: > It uses the true type font HE for special microtonal accidentals.I've found this font somewhere in the web. > Unfortunately the accidentals are too close to the notes. > How can I give them more space? > I tried everything. > When I compile the file, I get the error messages like this:Mikrotoene_kurzbeispiel.ly:69:4: warning: Could not find glyph-name for alteration 1/6ch chh > > > Which is strange, because lilypond shows the correct accidentals. > The function that the Accidental's 'stencil points to by default does the job of deciding whether to remove the accidental (if it is the second note in a tie, and not at a line-break). We (at least I) happen to be considering to change this, as issue 3749. This unusual action for a 'stencil has caused all the layout code to avoid using the 'stencil property, and to go directly to the code that looks up the accidentals in 'glyph-name-alist. Specifically, the function that 'horizontal-skylines points to by default tries to use the glyph-name-alist, so you will need to replace that. Maybe setting it to #'() will work. Probably you intend to combine accidentals in a string. If not for that, you could write their letter names 'm' 'p' etc. in the glyph-name-alist. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing the thickness of clusters
Shane,
Wow. Thank you! :) What you have provided is certainly MUCH MUCH better
than what I had before...
I will certainly play with this, and report back any substantial finds.
This is very helpful.
IC,
Josh
On Sat, Jan 4, 2014 at 10:47 PM, Shane Brandes wrote:
> Josh,
>
> Rummaging around I discovered this.
> http://lilypond.org/doc/v2.18/Documentation/internals/clusterspannerbeacon
>
> It looks like the y extent is hard coded.
>
> But also found this
> http://lilypond.org/doc/v2.18/Documentation/internals/cluster_002dinterface
>
> It seems to indicate that the style can be changed and offers several
> varieties.
>
> Therefore after fiddling a bit with the semi inscrutable instructions
> I tried these two things. The padding value -.25 seems as small as it
> wants to go. Maybe other values would work better, just did some
> guesswork on that. It is really easy to make wonderfully large blobs
> of clustery goodness by making arbitrary positive values.
>
> \version "2.18.0"
>
>
> \relative c' \makeClusters { \override ClusterSpanner.padding =
> #'-0.25 b2 d' a f f4 g a b f f a a d4 e f g a b c b f g g g a g }
>
>
> \relative c' \makeClusters { \override ClusterSpanner.style =
> #'leftsided-stairs b2 d' a f f4 g a b f f a a d4 e f g a b c b f g g g
> a g }
>
> Shane
>
>
> On Sat, Jan 4, 2014 at 1:10 AM, Joshua Nichols
> wrote:
> >> I am absolutely baffled by this question.
> >
> >
> > Tell me about it.
> >
> >> ...it might be simplest to reduce
> >> the note head sizes. Tried it that does not work either.
> >
> >
> > Same here.
> >
> >> What on earth are clusters good for anyway? Aleatoric strangeness.
> >
> >
> > You are right, and I am definitely not a fan nor in agreement with
> clusters
> > and other types of graphical notation, but I am working for people who do
> > favor them, and I need to be able to do at least some of it (I draw the
> line
> > at hand-drawn graphs like Crumb and Cage, where even the publishers
> wouldn't
> > touch it).
> >
> > But, this kind of notation is really useful for outlining general cues in
> > pre-recorded tracks (hence my email). But, I understand if this has
> "never"
> > been asked before; It would be cool to see where LilyPond takes in that
> > direction. We definitely have competition; Finale 2014 can apparently
> "do it
> > all" and can compose stuff like George Crumb stuff.
> >
> > Has anyone thought about this? About advanced Contemporary Music? What
> about
> > our (somewhat) competitive brother "Belle, Bonne, Sage"?
> >
> >
> > On Fri, Jan 3, 2014 at 11:38 PM, Shane Brandes
> wrote:
> >
> >
> >
> > IC,
> >
> > Josh
>
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Re: svg output differs from pdf output
On 05/01/14 09:50, bart deruyter wrote:
Hi all,
I ran a little test, because I often use svg as output to manipulate
afterwards.
I noticed there seems to be a difference between the pdf and svg output.
To illustrate it, I've made a screenshot. Lilypond 2.18.0 was used,
frescobaldi 2.0.12 on Ubuntustudio 13.10 and on KDE. Look at the
metronome mark, there is a collision of the fingering notation and the
metronome mark, which is much lower then in the pdf output.
This shorter example shows the problem. When viewed on Mint 16 amd64,
the tempo marking in the SVG output is both lower, so that it collides
with the stem of the A, and also has insufficient space between the
equals sign and the preceding quarter note:
\version "2.18.0"
\relative c'' {
\tempo 4=76
a4
}
document.pdf
Description: Adobe PDF document
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Re: Changing the thickness of clusters
Josh,
Rummaging around I discovered this.
http://lilypond.org/doc/v2.18/Documentation/internals/clusterspannerbeacon
It looks like the y extent is hard coded.
But also found this
http://lilypond.org/doc/v2.18/Documentation/internals/cluster_002dinterface
It seems to indicate that the style can be changed and offers several varieties.
Therefore after fiddling a bit with the semi inscrutable instructions
I tried these two things. The padding value -.25 seems as small as it
wants to go. Maybe other values would work better, just did some
guesswork on that. It is really easy to make wonderfully large blobs
of clustery goodness by making arbitrary positive values.
\version "2.18.0"
\relative c' \makeClusters { \override ClusterSpanner.padding =
#'-0.25 b2 d' a f f4 g a b f f a a d4 e f g a b c b f g g g a g }
\relative c' \makeClusters { \override ClusterSpanner.style =
#'leftsided-stairs b2 d' a f f4 g a b f f a a d4 e f g a b c b f g g g
a g }
Shane
On Sat, Jan 4, 2014 at 1:10 AM, Joshua Nichols wrote:
>> I am absolutely baffled by this question.
>
>
> Tell me about it.
>
>> ...it might be simplest to reduce
>> the note head sizes. Tried it that does not work either.
>
>
> Same here.
>
>> What on earth are clusters good for anyway? Aleatoric strangeness.
>
>
> You are right, and I am definitely not a fan nor in agreement with clusters
> and other types of graphical notation, but I am working for people who do
> favor them, and I need to be able to do at least some of it (I draw the line
> at hand-drawn graphs like Crumb and Cage, where even the publishers wouldn't
> touch it).
>
> But, this kind of notation is really useful for outlining general cues in
> pre-recorded tracks (hence my email). But, I understand if this has "never"
> been asked before; It would be cool to see where LilyPond takes in that
> direction. We definitely have competition; Finale 2014 can apparently "do it
> all" and can compose stuff like George Crumb stuff.
>
> Has anyone thought about this? About advanced Contemporary Music? What about
> our (somewhat) competitive brother "Belle, Bonne, Sage"?
>
>
> On Fri, Jan 3, 2014 at 11:38 PM, Shane Brandes wrote:
>
>
>
> IC,
>
> Josh
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Re: Lilypond Cheat Sheet 2.18
Hi Gilles, > Perhaps too late, but > > alterations doesn't fit to \language "français" Ah, thanks, I missed that. And no, it is not too late, I will update it within some days. This also concerns the other languages. Thanks again, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Automatic octaves
The automatic octaves snippet in the LSR (http://lsr.dsi.unimi.it/LSR/Snippet?id=445) isn't working on 2.18.0, even after using convert-ly (I gave it 2.14.0 as the "from version"). Is someone able to update it? DR ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond Cheat Sheet 2.18
Good job! Thanks (I'll give the links on the French list when updated).
- Commentaire % … und %{ … %}
+ Commentaire % … et %{ … %}
[ ... ]
Perhaps too late, but
alterations doesn't fit to \language "français"
is -> d
ish -> sd
isis -> dd
isih -> dsd
es -> b
eh -> sb
eses -> bb
eseh -> bsb
NB
As it is my first post here in 2014, happy new year for everybody
--
Gilles
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Re: why you don't contribute to Mutopia
Le 04/01/2014 13:27, Federico Bruni a écrit : 2014/1/2 Phil Hézaine 2. Licenses Currently Mutopia accepts only transcriptions licensed as public domain, CC By, CC By-Sa: http://www.mutopiaproject.org/legal.html I don't know what led to this decision, but I can imagine that at least CC By-Sa-Nc would be preferred by some. And what about Free Art License which is recommended by the Free Software Foundation. IMHO it's really a Free license. I don't know if it adds much to what the licenses above provide. Simplification is a good principle... "Art Libre a fait le choix du libre; Creative Commons a fait celui du libre choix." The structure of Art Libre is Copyleft. One big difference is the acknowledgement of the Berne's Convention. The Free Art License is effective in all the countries which signed up these agreement. So far it is not the case for CC License (I don't know for CC 4.0). There are also discussions about a compatibility between CC and FAL (or LAL = Licence Art Libre). http://wiki.creativecommons.org/4.0/Compatibility Potential compatible licenses FAL In CC's view, FAL 1.3 is a strong candidate for two-way compatibility with BY-SA 4.0. Discussions are currently underway that we hope will allow remixing between two similarly-spirited but currently separate islands of content. We are working through details of what adjustments may need to be made in order to accomplish this goal. We will be vetting those fully with our communities between now and d3 (draft3). It is possible that some tweaks may needed to be made to our licenses to make that happen, affecting current drafting. In terms of operationalizing such a statement on the CC side either through a reference in the license itself or inclusion on our existing (empty) webpage [link], this is an open question that will be addressed once more progress is made. For now, d2 contains the same compatibility language as 3.0 and maintains the definition of Creative Commons Compatible License and structure. Cheers. Phil. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
problem with the spacing of microtonal accidentals
Dear community,
I've problem with this (shortened) file.
It uses the true type font HE for special microtonal accidentals.I've
found this font somewhere in the web.
Unfortunately the accidentals are too close to the notes.
How can I give them more space?
I tried everything.
When I compile the file, I get the error messages like this:
Mikrotoene_kurzbeispiel.ly:69:4: warning: Could not find glyph-name for
alteration 1/6
> ch
>chh
>
Which is strange, because lilypond shows the correct accidentals.
Here is the snippet, the attached png shows the actual output.
\version "2.17.97"
% Define tunings:
\paper{
#(define fonts (make-pango-font-tree "Century Schoolbook L"
"HE"
"Bitstream Vera Sans Mono"
1))
}
#(define-public SyntohochAufloesungszeichen 1/12)
#(define-public ZweiSyntohochAufloesungszeichen 1/6)
#(define-public SyntotiefAufloesungszeichen -1/12)
#(define-public ZweiSyntotiefAufloesungszeichen -1/6)
StefansPitchnames = #`(
(c . ,(ly:make-pitch -1 0 NATURAL))
(ch . ,(ly:make-pitch -1 0 SyntohochAufloesungszeichen))
(chh . ,(ly:make-pitch -1 0 ZweiSyntohochAufloesungszeichen))
(cl . ,(ly:make-pitch -1 0 SyntotiefAufloesungszeichen))
(cll . ,(ly:make-pitch -1 0 ZweiSyntotiefAufloesungszeichen))
)
FONTNAME = "HE"
SyntohochAufloesungszeichen = "o"
ZweiSyntohochAufloesungszeichen = "p"
SyntotiefAufloesungszeichen = "m"
ZweiSyntotiefAufloesungszeichen = "l"
StefansStrings = #`(
(1/12 . ,SyntohochAufloesungszeichen)
(1/6 . ,ZweiSyntohochAufloesungszeichen)
(-1/12 . ,SyntotiefAufloesungszeichen)
(-1/6 . ,ZweiSyntotiefAufloesungszeichen)
)
pitchnames = \StefansPitchnames
#(ly:parser-set-note-names parser pitchnames)
\layout {
\context {
\Score
\override Accidental.stencil = #(lambda (grob) (box-stencil
(ly:text-interface::print grob) 0 0))
\override Accidental.stencil = #ly:text-interface::print
\override Accidental.font-name = #FONTNAME
\override Accidental.text = #(lambda (grob)
(cdr (assoc (ly:grob-property grob
'alteration)
StefansStrings)))
\override Accidental.font-size = #-1
}
}
pitchnames = \StefansPitchnames
#(ly:parser-set-note-names parser pitchnames)
\new Staff \relative c' {
cll1 cl c
ch chh
}
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Re: Giving Thanks (and Preachin' the Gospel)
Hi all, Trying this again without the images… =( Kieren. On Jan 4, 2014, at 1:34 PM, Kieren MacMillan wrote: > Hello all, > > Just wanted to let you know two things. > > 1. I was a guest lecturer at the Michigan State University School of Music > last month. Although most of my [short and varied] presentation to the > composition department was ostensibly about my music and career, I gave a BIG > plug to our favourite engraving app. Everything I said just got them more and > more excited about Lilypond — you should have seen their minds being blown > when I told them about polymetrics and the recent “Ferneyhough-style > interrupted polyphony”. And of course, when I showed them the untweaked (but > styled) output of my full orchestra score(s), they were appropriately stunned: > > This was the top of the [lovely] first page of my big arrangement of “The 12 Days of Christmas”… > 2. The promotional CD for “Robin Hood: The Legendary Musical Comedy” (from > last year’s Hart House Theatre production) is almost ready. I thought you’d > get a kick out of this corner of the liner notes: > > This said “Thank Yous” and the list included “Lilypond Developers & Community”… > > I really do appreciate everything that the heavy lifters do (you know who you > are) — I continue to be in awe of how good you make me look, at least on > score paper. =) > > With gratitude, > Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Header problem
don't know what happened to the missing " but it works now thank you ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
TextLine help needed
Hello all,
Please consider the snippet included below this email.
1. Is there a better way to “hang indent” the stage-direction, so that the left
parenthesis sits a little to the left of the “left margin” of the text? I
played around with \halign and \hspace until I was blue in the face…
2. What would be the best way to get all the texts on a single system to be top
aligned?
3. Is there a[n easy] way to make this whole (e.g.) three-column blob a spanner
that would automatically sit “centered” over (e.g.) two measures, without
affecting the underlying “note spacing”? I would love a function where I could
specify a number of measures — which might or might not be only rests (like
these) — and have the block of text columns place itself accordingly.
Thanks!
Kieren.
__
SNIPPET BEGINS
\version "2.17.97"
\language "english"
\layout {
\context {
\type "Engraver_group"
\name "TextLine"
\consists "Axis_group_engraver"
\consists "Text_spanner_engraver"
\consists "Text_engraver"
\override TextScript.baseline-skip = #2.25
\override TextScript.self-alignment-Y = #UP
\textLengthOn
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-first = ##t
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 4) (minimum-distance . 2) (padding . 2)
(stretchability . 0.5))
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 4) (minimum-distance . 2) (padding . 2)
(stretchability . 0.5))
keepAliveInterfaces = #'( text-interface )
}
\context {
\Score
\accepts TextLine
}
}
#(define-markup-command (mm-feed layout props amount) (number?)
(let ((o-s (ly:output-def-lookup layout 'output-scale)))
(ly:make-stencil "" '(0 . 0) (cons 0 (abs (/ amount o-s))
#(define-markup-command (put-mm layout props dir amount arg)
(ly:dir? number? markup?) (interpret-markup layout props
(markup #:put-adjacent Y dir arg #:mm-feed amount)))
#(define-markup-command (dialogue layout props charname text) (markup?
markup-list?)
#:properties ((column-width 24)
(bline-skip 2.375)
(char-skip 2.5)
(f-size 10.5))
(interpret-markup layout props
#{ \markup
\abs-fontsize #f-size
\override #`(baseline-skip . ,bline-skip)
\line {
\bold \concat { #charname : }
\hspace #1
\override #`(line-width . ,column-width)
\put-mm #DOWN #char-skip \wordwrap #text } #}))
#(define-markup-command (stage-direction layout props text) (markup-list?)
#:properties ((column-width 24)
(bline-skip 2.375)
(char-skip 2.5)
(f-size 10.5))
(interpret-markup layout props
#{ \markup
\abs-fontsize #f-size
\override #`(baseline-skip . ,bline-skip)
\override #`(line-width . ,column-width)
\put-mm #DOWN #char-skip
\translate #'(1 . 0) \wordwrap { \halign #1.5 ( \hspace #-0.4
\italic #text \hspace #-0.5 ) } #}))
FTE_FairyTaleEnding_global = {
%% intro
R1 \break
\repeat "volta" 1 { R1 \noBreak R1 }
}
FTE_FairyTaleEnding_script = {
%% intro
s1^\markup \italic { Lights up on JILL. }
s2^\markup \column {
\dialogue COP { Number one, step forward and state your name. }
\dialogue WOLF { Harry James Furble. }
}
s2^\markup \column {
\dialogue COP { Harry Furble, a.k.a. ‘Wolf’, a.k.a. ‘Big Bad Wolf’,
a.k.a. ‘Grandma’… Turn to your right. }
}
s1^\markup \column {
\stage-direction { The BIG BAD WOLF turns to the right. }
\dialogue COP { Step back. }
\override #'(column-width . 34) \stage-direction { The BIG BAD WOLF
steps back into the line-up. }
}
}
\score {
<<
\new TextLine << \FTE_FairyTaleEnding_global \FTE_FairyTaleEnding_script >>
\new Staff \FTE_FairyTaleEnding_global
>>
}
SNIPPET ENDS
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RE: Header problem
A " is missing from the version number.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
i...@soundand.com
Sent: Saturday, January 04, 2014 10:33 AM
To: Lilypond User
Subject: Header problem
I copy and pasted from the current manual (online) the piano template,
thinking that since my template didn't work the current manual would help.
But due to something I don't understand and can't locate because I don't
understand the piano won't compile.
here's my header
\version "2.18.0
\header {
title = ""
composer = "Jay Hamilton"
copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
\center-column
{ "CC lic 2.5 some rights reserved Jay Hamilton 2014"
"see http://creativecommons.org/licenses/by-nd/2.5/";
} }
}
#(ly:set-option 'delete-intermediate-files #t) #(set-default-paper-size
"letter" )
#(set-global-staff-size 22)
\paper
{
indent = 30
short-indent = 15
right-margin = 30
top-margin = 15
bottom-margin = 15
}
The error message says
piano.ly:7:12: error: not a symbol
{
"CC lic 2.5 some rights reserved Jay Hamilton 2014"
If you know what that means AND where to find the answer in the manuals
please let me know.
Thanks
jay
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Re: Header problem
i...@soundand.com writes:
> I copy and pasted from the current manual (online) the piano template,
> thinking that since my template didn't work the current manual would
> help.
> But due to something I don't understand and can't locate because I
> don't understand the piano won't compile.
> here's my header
> \version "2.18.0
> \header {
> title = ""
> composer = "Jay Hamilton"
> copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
> \center-column
> { "CC lic 2.5 some rights reserved Jay Hamilton 2014"
> "see http://creativecommons.org/licenses/by-nd/2.5/";
>} }
>}
> #(ly:set-option 'delete-intermediate-files #t)
> #(set-default-paper-size "letter" )
> #(set-global-staff-size 22)
>
> \paper
> {
> indent = 30
> short-indent = 15
> right-margin = 30
> top-margin = 15
> bottom-margin = 15
> }
>
>
> The error message says
> piano.ly:7:12: error: not a symbol
> {
>"CC lic 2.5 some rights reserved Jay Hamilton 2014"
>
> If you know what that means AND where to find the answer in the
> manuals please let me know.
Well, your version string happens to be
"2.18.0
\header {
title = "
and things go South from there. Since the templates don't contain
version strings, it would appear that the problem is your own doing.
--
David Kastrup
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Re: Header problem
On 2014-01-04 19:32, i...@soundand.com wrote: I copy and pasted from the current manual (online) the piano template, thinking that since my template didn't work the current manual would help. But due to something I don't understand and can't locate because I don't understand the piano won't compile. here's my header \version "2.18.0 You have left out the closing quote sign. This might just be in the mail, but ... // Anders -- English isn't my first language. So any error or strangeness is due to the translation. Please correct my English so that I may become better. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Header problem
I copy and pasted from the current manual (online) the piano template,
thinking that since my template didn't work the current manual would
help.
But due to something I don't understand and can't locate because I
don't understand the piano won't compile.
here's my header
\version "2.18.0
\header {
title = ""
composer = "Jay Hamilton"
copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
\center-column
{ "CC lic 2.5 some rights reserved Jay Hamilton 2014"
"see http://creativecommons.org/licenses/by-nd/2.5/";
} }
}
#(ly:set-option 'delete-intermediate-files #t)
#(set-default-paper-size "letter" )
#(set-global-staff-size 22)
\paper
{
indent = 30
short-indent = 15
right-margin = 30
top-margin = 15
bottom-margin = 15
}
The error message says
piano.ly:7:12: error: not a symbol
{
"CC lic 2.5 some rights reserved Jay Hamilton 2014"
If you know what that means AND where to find the answer in the manuals
please let me know.
Thanks
jay
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Re: Is it possible to invert the two-sided option?
On Sat, Jan 4, 2014 at 12:52 PM, Speldosa wrote:
> I would like to use \paper{two-sided = ##t} in order to have different
> margins for even and odd pages. However, when activating this option, odd
> pages get larger right margins and even pages get larger left margins. I'd
> like to have it the other way around, so that odd pages get larger left
> margins and even pages larger right margins. Is this possible to achieve?
>
See
http://lilypond.org/doc/v2.18/Documentation/notation/horizontal-spacing-paper-variables#paper-variables-for-two_002dsided-mode
for the parameters you need to add to your \paper block.
Cheers,
Carl P.
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Is it possible to invert the two-sided option?
I would like to use \paper{two-sided = ##t} in order to have different
margins for even and odd pages. However, when activating this option, odd
pages get larger right margins and even pages get larger left margins. I'd
like to have it the other way around, so that odd pages get larger left
margins and even pages larger right margins. Is this possible to achieve?
I've found a thread that already deals with this question but I can't for
the life of me make any sense of it:
http://lilypond.1069038.n5.nabble.com/inner-outer-margin-two-sided-print-td18188.html
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Re: Lilypond Cheat Sheet 2.18
>> For this time/file, could you finish the text? >> There are some words missing in the articulations corner and in the >> basso numerato section. >> I would then care about re-alignment of the text boxes etc. to make it >> look nice again. > > ok, find it attached > thanks Thanks to Federico there is now also an Italian version of this cheat sheet: http://joramberger.de/files/lilypond_sheet_2.18_it.pdf Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: "No tremolo to end"
> -Original Message- > From: Keith OHara [mailto:k-ohara5...@oco.net] > Sent: Wednesday, January 01, 2014 3:22 PM > To: lilypond-user@gnu.org; Daniel Rosen > Subject: Re: "No tremolo to end" > > On Wed, 01 Jan 2014 09:16:09 -0800, Daniel Rosen > wrote: > > > Is there some kind of workaround I can implement that will prevent the > warning from showing up, or do I need to submit a bug report and wait for a > patch? > > > > You can suppress all warnings, and see only errors, with --loglevel=ERROR (or > some variant, under the manual section called 'Usage') > > LilyPond sets the excerpt that you posted without giving any warnings, so it > is > hard to guess what might be happening in your full score that makes LilyPond > think the tremolos might be misaligned, and thus hard to suggest anything to > avoid the specific warning. Well, I didn't want to share my project yet, but I guess there's no delaying the inevitable. It's a new edition of Dukas' "L'apprenti Sorcier," or in English, "The Sorcerer's Apprentice." (For those unfamiliar with the title, it's the one in Disney's "Fantasia" that features Mickey. :-P) It's based on the score and parts currently available on IMSLP, and my intent is to release it there when it's done. I'm using Git to manage the project, and hosting it on Bitbucket (https://bitbucket.org/skiasaurus/lapprenti-sorcier). I've just created an issue, https://bitbucket.org/skiasaurus/lapprenti-sorcier/issue/25/unnecessary-warning, which outlines exactly where the bug can be found. Anyone who'd like to help debug this can fork the repo and send a pull request if and when they figure out a workaround. DR ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
> > A modern web interface may attract more contributions? > > For several years now, I have sketches and ideas how that could work and > look and I always wanted to learn enough web techniques to make a > proposal which can be tested. But so far I still don’t have the > capabilities to do it. > > > Are you talking about the appearance? > I think that what may really change mutopia website requires some > programming skill and knowledge of a web framework (django, for example). Yes, that’s what I meant. > The last discussion I started about Mutopia ended without changing the > website. If there is a chance that things really end up on the website, > I would search for the notes I have taken back then and contribute to > the discussion (but unfortunately not to realize it, see above). > > > which discussion? I cannot find it which makes me wondering if this discussion has taken place at all. This is all I found: http://lists.gnu.org/archive/html/lilypond-user/2013-02/msg00570.html But you know it (you replied). Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: r on voice2
> -Original Message-
> From: David Kastrup [mailto:d...@gnu.org]
> Sent: Saturday, January 04, 2014 8:12 AM
> To: MING TSANG
> Cc: lilypond-user mailinglist
> Subject: Re: r on voice2
>
> MING TSANG writes:
>
> > \version "2.18.0"
> > \language "english"
> > <<{ f'2 r }\\{ r8 4 q8 r 8[ r q8] }>> |%m20
> >
> > The above lily code r on voice two does not lineup. How can that be lineup
> properly?
>
> \version "2.18.0"
> \language "english"
> <<{ f'2 g'\rest }\\{ b8\rest 4 q8 b8\rest 8[ b\rest q8] }>>
> |%m20
>
> But I am not convinced that this is an improvement.
>
> --
> David Kastrup
>
I happen to have a copy of the Gould book on hand at the moment, so FWIW,
here's a couple things she says about rest placement in (as she calls it)
double-stemmed writing.
First, "Semibreve and minim rests must never stray across the centre
stave-line," accompanied by two examples that look like this:
\version "2.18.0"
<< { \numericTimeSignature \partial 2 b'2\rest |
\override MultiMeasureRest.staff-position = 2 R1 | } \\
{ \partial 2 c'4 d'~ | d'2 c' } >>
<< { \numericTimeSignature \partial 2 f''~ | f''2 a''2 | } \\
{ \partial 2 g'2\rest | \override MultiMeasureRest.staff-position = 0 R1 | }
>>
Second, "The space in which a rest centres, or its distance from the stave,
should be on the same level as surrounding pitches."
Based on these two "rules," I think that Gould would essentially recommend
David's version, except that the half rest in the upper voice should move up to
the third line:
<<{ f'2 b'\rest }\\{ b8\rest 4 q8 b8\rest 8[ b\rest q8] }>>
This looks pretty good to me, actually.
DR
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Re: why you don't contribute to Mutopia
>> 2. Licenses >> Currently Mutopia accepts only transcriptions licensed as public domain, >> CC By, CC By-Sa: >> http://www.mutopiaproject.org/legal.html >> >> I don't know what led to this decision, but I can imagine that at least >> CC By-Sa-Nc would be preferred by some. > > BY-SA-NC is not approved as a free cultural license: > http://creativecommons.org/freeworks > These arguments should be considered. But it is a valid choice and it > could also be good to have that option. > > And the mutopia footer with its varying font sizes is ugly! Yet another license issue: To my understanding the CC licenses (BY-...) require to mention the author somehow. And the license should be linked or be somehow easy to find. The current choice of licenses is lacking both. In addition the newest CC version is 4.0. I would propose something like: © Year Author, License: Creative Commons … 4.0 Where the license points to the cc website (using \with-url) Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: \override NoteHead.style in drummode
> From: Federico Bruni [mailto:fedel...@gmail.com]
> Sent: Saturday, January 04, 2014 3:11 AM
> To: Daniel Rosen
> Cc: lilypond-user@gnu.org
> Subject: Re: \override NoteHead.style in drummode
>
> please share your solution, others may be interested
I just added another percussion note to the table. Not so much a solution as a
workaround, but it suits my purposes just fine. :-)
\version "2.18.0"
#(define mydrums '((crashcymbal cross #f 6)(crashcymbala xcircle #f 6)))
\drums {
\set drumStyleTable = #(alist->hash-table mydrums)
cymc4 cymc cymc cymc |
cymca1 |
}
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Re: Learning LilyPond, comments invited
Colin Tennyson: > Carl Sorensen-3 wrote > > Your music has some durations that cross bar lines. These durations mess > > up the bar checks. Is there a reason you don't separate them into tied > > groups so there are bar line breaks? ... > The composer, Philippe Verdelot, lived somewhere around 1500, and back then > they didn't use bar lines yet. There are examples of pre1600 scores using bar lines though I don't have any references handy. Perhaps if you consult: Willy Apel / The Notation of Polyphonic Music 900-1600 http://en.wikipedia.org/wiki/Bar_line says: The earliest barlines, used in keyboard and vihuela music in the 15th and 16th centuries, didn't reflect a regular meter at all but were only section divisions, or in some cases marked off every beat. Barlines began to be introduced into ensemble music in the late 16th century but continued to be used irregularly for a time. Not until the mid-1600s were barlines used in the modern style with every measure being the same length, and they began to be associated with time signatures. > Please consult the following entry from the LilyPond documentation: > http://www.lilypond.org/doc/v2.17/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions#mensurstriche-layout Mensurstriche are really hard to read and confuses many singers/musicians. Why don't you either a) don't use bar lines and the likes at all or b) use: http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#automatic-note-splitting and \set Score.defaultBarType = ";" > It's a compromise. The ancient notation isn't copied, but some > characteristics are allowed to shine through, particularly the fact that > renaissance music has no concept of measures. Yes and no. The music had the concept of "taktus", which meant a few different things. . how the brevis was subdivided, in 3 (perfect) or in 2 (imperfect) semibrevis . the normal pulse, it was what the then current conductor showed in his gesture, up and down. . the word taktus has survived in the word tempo (= beat), and the german/swedish/dänish/finnish word for bar/measure, see: http://www.lilypond.org/doc/v2.17/Documentation/music-glossary/measure In the music of that time (and the baroque and up to our days) there was the concept of strong and weak beats (see e.g. Jeppesen / Kontrapunkt (vokalpolyfoni)). The wikipedia link above also says: In musical notation, a bar (or measure) is a segment of time defined by a given number of beats, each of which are assigned a particular note value. and in that sense the concept of a bar/measure is clearly there. In some ways you could say that the the brevis was what is a bar/measure today. Regards, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sweden +46 173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: r on voice2
MING TSANG writes:
> \version "2.18.0"
> \language "english"
> <<{ f'2 r }\\{ r8 4 q8 r 8[ r q8] }>> |%m20
>
> The above lily code r on voice two does not lineup. How can that be lineup
> properly?
\version "2.18.0"
\language "english"
<<{ f'2 g'\rest }\\{ b8\rest 4 q8 b8\rest 8[ b\rest q8] }>> |%m20
But I am not convinced that this is an improvement.
--
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r on voice2
\version "2.18.0"
\language "english"
<<{ f'2 r }\\{ r8 4 q8 r 8[ r q8] }>> |%m20
The above lily code r on voice two does not lineup. How can that be lineup
properly?
Thanks for your help.
Emmanuel,
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Re: why you don't contribute to Mutopia
2014/1/2 Noeck > > 4. Web interface > > Currently the contributions are handled via github or by email. > > Github is a good way but it's for geeks only. There are currently only > > seven contributors: > > https://github.com/chrissawer/The-Mutopia-Project/graphs/contributors > > I didn't know that this git repo. > > I've just asked some website updates on mutopia-discuss. Let's see what happens... > > The email may be a good alternative, but who is receiving contributions@ > > emails? Just Chris? I have no idea if people send contributions this way. > > > > The last time (1 year ago) I sent an email to the suggested address, I > did not get any reply. So I didn’t try again and thought Mutopia is just > dead. I have some scores, that I could upload, I could also use them to > test any new upload feature. > > Too bad. Have you checked if your score has been added to Mutopia? > > A modern web interface may attract more contributions? > > For several years now, I have sketches and ideas how that could work and > look and I always wanted to learn enough web techniques to make a > proposal which can be tested. But so far I still don’t have the > capabilities to do it. > > Are you talking about the appearance? I think that what may really change mutopia website requires some programming skill and knowledge of a web framework (django, for example). > The last discussion I started about Mutopia ended without changing the > website. If there is a chance that things really end up on the website, > I would search for the notes I have taken back then and contribute to > the discussion (but unfortunately not to realize it, see above). > which discussion? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
2014/1/2 Phil Hézaine > 2. Licenses >> Currently Mutopia accepts only transcriptions licensed as public domain, >> CC >> By, CC By-Sa: >> http://www.mutopiaproject.org/legal.html >> >> I don't know what led to this decision, but I can imagine that at least CC >> By-Sa-Nc would be preferred by some. >> > > And what about Free Art License which is recommended by the Free Software > Foundation. IMHO it's really a Free license. I don't know if it adds much to what the licenses above provide. Simplification is a good principle... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why you don't contribute to Mutopia
2014/1/3 Frédéric Bron > I wanted to contribute with the 4th symphony of Schumann which was > ready to be submitted. I had spent some time to adjust the page layout > for A4 paper format and was not ready to spend more time to target the > letter paper format. I still would like to put the symphony but do not > find the extra time to do that and also, now the lilypond format is > quite old (2.12), I would need to update to 2.18. > > So, I would say that when time misses, just a minor hurdle can stop the > process. > Please submit it and you'll add a layout for US letter if/when you'll have time. It doesn't have to be (immediately) perfect :-) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weirdness With Fonts and Font Tree Snippet
2014/1/3 Werner LEMBERG > > > Another way to do it is to create a lilypond file that contains > > > > #(ly:font-config-display-fonts) > > > > and typeset it. You will get a list of the fonts in the log window. > > Nice. The OP talked about `GUI'; I assume he means Frescobaldi. > Maybe such a command could be added to its menu system, to aid people > having problems with fonts. > good idea, I've added a wish: https://github.com/wbsoft/frescobaldi/issues/341 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning LilyPond - Parser permissiveness
Vaughan McAlley wrote
> my slightly modified \ficta...
>
> ficta = {
> \once \set suggestAccidentals = ##t
> \once \accidentalStyle "dodecaphonic" %{ second & subsequent
> accidentals in a bar will be printed %}
> }
The full 100 measure score does have measure with a repeated ficta. You
pointing out the \accidentalStyle "dodecaphonic" is a godsend!
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Re: Learning LilyPond - Parser permissiveness
On 4 January 2014 20:12, Colin Tennyson wrote:
> ficta = { \once \set suggestAccidentals = ##t }
(Slightly OT): You may be interested in my slightly modified \ficta...
+
\version "2.18.0"
\language "english"
ficta = {
\once \set suggestAccidentals = ##t
\once \accidentalStyle "dodecaphonic" % second & subsequent
accidentals in a bar will be printed
}
\relative c'' {
b8 a a4. \ficta gs16 \ficta fs \ficta gs4
a1
}
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Re: Learning LilyPond - Parser permissiveness
Colin Tennyson writes:
> I noticed that in some places there is remarkable freedom to exchange order
> and grouping of commands.
>
> Take the following nesting structure:
>
> addKey = { \key c \major \time 4/4 }
> instrOne = { \set Staff.instrumentName = #"Superius " }
> instrTwo = { \set Staff.instrumentName = #"Contratenor " }
>
> \score {
> \new StaffGroup
> <<
> \new Staff
> <<
> \new Voice = "staffOne" { \instrOne \addKey \staffOneNotes }
> \new Lyrics \lyricsto "staffOne" \staffOneWords
> \barSetup
> >>
> \new Staff
> <<
> \instrTwo \addKey \new Voice = "staffTwo" \staffTwoNotes
> \lyricsto "staffTwo" \new Lyrics \staffTwoWords
> \barSetup
> >>
> >>
> }
>
>
> \new Voice = "staffOne" { \instrOne \addKey \staffOneNotes }
> \new Lyrics \lyricsto "staffOne" \staffOneWords
>
> versus:
>
> \instrTwo \addKey \new Voice = "staffTwo" \staffTwoNotes
> \lyricsto "staffTwo" \new Lyrics \staffTwoWords
>
>
> Both are accepted by the parser, and they are rendered identically.
>
> I'm amazed that the parser is able to disambiguate the source code. There
> are no delimiters between the expressions. How does the parser figure out
> where one expression has ended, and the next one has begun?
http://lilypond.org/doc/v2.18/Documentation/contributor/lilypond-grammar>
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Learning LilyPond - Parser permissiveness
I noticed that in some places there is remarkable freedom to exchange order
and grouping of commands.
Take the following nesting structure:
addKey = { \key c \major \time 4/4 }
instrOne = { \set Staff.instrumentName = #"Superius " }
instrTwo = { \set Staff.instrumentName = #"Contratenor " }
\score {
\new StaffGroup
<<
\new Staff
<<
\new Voice = "staffOne" { \instrOne \addKey \staffOneNotes }
\new Lyrics \lyricsto "staffOne" \staffOneWords
\barSetup
>>
\new Staff
<<
\instrTwo \addKey \new Voice = "staffTwo" \staffTwoNotes
\lyricsto "staffTwo" \new Lyrics \staffTwoWords
\barSetup
>>
>>
}
\new Voice = "staffOne" { \instrOne \addKey \staffOneNotes }
\new Lyrics \lyricsto "staffOne" \staffOneWords
versus:
\instrTwo \addKey \new Voice = "staffTwo" \staffTwoNotes
\lyricsto "staffTwo" \new Lyrics \staffTwoWords
Both are accepted by the parser, and they are rendered identically.
I'm amazed that the parser is able to disambiguate the source code. There
are no delimiters between the expressions. How does the parser figure out
where one expression has ended, and the next one has begun?
If I hazard a guess it seems likely that it's best to put the keyword \new
at the start of the expression. It looks really odd to first specify
\lyricsto, and after that instantiate a new Lyrics context. Still, it
renders correctly.
The graphical output is rendered identially, but maybe it makes a different
for the MIDI output, such as creating a spurious empty track that shows up
when you later open the MIDI file with a MIDI editor.
++
\version "2.18.0"
\language "english"
% 't' as in 'test' or 'transcribing an existing score'
tBreak = { \break }
ficta = { \once \set suggestAccidentals = ##t }
barSetup = {
% for the Mensurstriche: inside the staff hide the barline
\override Staff.BarLine.transparent = ##t
% for the Mensurstriche: inside the staff hide the barline
%\override Staff.BarLine.stencil = ##f
s1 | s1 | s1 | \tBreak s1 | s1 | %05
s1 | s1 | s1 | \tBreak s1 | s1 | %10
\override Staff.BarLine.transparent = ##f \bar "||" % final barline
visible
%\override Staff.BarLine.stencil = ##t
}
staffOneNotes = \relative c'' {
g1 | g2 a2 | b2 g2 | r2 a2 | d2. c4 | %005
b2 a2 | r4 d4 d4 b4 | c4. b8 a8[ g8] a4. g8[ f8 e8] d4 a'2 g2 \ficta fs4
| %010
}
staffOneWords = \lyricmode {
San -- | cta Ma -- | ri -- a, San -- | cta Ma -- | %005
ri -- a, suc -- cur -- re | mi- _ _ _ __ _ _ _ _ _ %010
}
staffTwoNotes = \relative c' {
%\clef "G_8"
g2 c2. d4 a2 | g4. a8 b8[ c8] d2 cs4 d2 | r4 d2 d4 | %005
e2 f2 | d2 r2 | c2 f2. d4 f2 | e2 d4. c8 | %010
}
staffTwoWords = \lyricmode {
San -- cta Ma -- ri -- _ _ _ _ _ _ a, San -- cta %05
Ma -- ri -- a, suc -- cur -- re mi -- se- _ _ %10
}
\header {
title = "Sancta Maria, succurre miseris"
composer = "Philippe Verdelot"
tagline = ""
}
addKey = { \key c \major \time 4/4 }
instrOne = { \set Staff.instrumentName = #"Superius " }
instrTwo = { \set Staff.instrumentName = #"Contratenor " }
\score {
\new StaffGroup
<<
\new Staff
<<
\new Voice = "staffOne" { \instrOne \addKey \staffOneNotes }
\new Lyrics \lyricsto "staffOne" \staffOneWords
\barSetup
>>
\new Staff
<<
\instrTwo \addKey \new Voice = "staffTwo" \staffTwoNotes
\lyricsto "staffTwo" \new Lyrics \staffTwoWords
\barSetup
>>
>>
\layout
{
indent = 50
\override Score.SystemStartBracket.transparent = ##t
\override Score.BarNumber.font-size = #1
\override Score.BarNumber.break-visibility = #end-of-line-invisible
\override Score.BarNumber.self-alignment-X = #LEFT
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
\override Staff.InstrumentName.self-alignment-X = #RIGHT
\context { \Voice \remove "Forbid_line_break_engraver" }
ragged-last = ##t
#(layout-set-staff-size 18)
}
%\midi { }
}
\paper {
left-margin = 30
right-margin = 30
}
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Re: \override NoteHead.style in drummode
2014/1/4 Daniel Rosen
> > -Original Message-
> > From: Daniel Rosen
> > Sent: Friday, January 03, 2014 7:48 PM
> > To: lilypond-user@gnu.org
> > Subject: \override NoteHead.style in drummode
> >
> > How can I get just the whole note in the example below to use the xcircle
> > style? \once \override NoteHead.style = #'xcircle doesn't work.
> >
> > \version "2.18.0"
> > #(define mydrums '((crashcymbal cross #f6)))
> > \drums {
> > \set drumStyleTable = #(alist->hash-table mydrums)
> > cymc4 cymc cymc cymc |
> > cymc1 |
> > }
> >
> > DR
> >
>
> Please disregard the above--figured it out on my own.
>
>
please share your solution, others may be interested
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