Re: \shape not impacting ties slurs on next line
Javier Ruiz-Alma jav...@ruiz-alma.com writes: The tie continued on a next line is not influenced by positioning override. Instead, it's placed per default positioning. How can one move these continued ties or slur? Check the manual for \alterBroken . -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
When the idea or selling point of a campaign is to provide a free edition it can be argued what that is needed for when there already _are_ good editions freely available. Then one should really find a good surplus over existing editions. This could for example be the possibility to make modifications like new arrangement of voices or transpositions. Don't know how this relates to your ideas, though. Urs Paul Tannous ptann...@hotmail.com schrieb am 25.03.2014: Urs Liska wrote: I recently made a similar suggestion with the Winterreise, and some commented it problematic to create new free editions of pieces that already exist in good free editions. Urs Urs, Do you recall why others found this to be “problematic”? Thanks, Paul T. -- Diese Nachricht wurde mit a href=https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2;bK-@ Mail/b/a gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Discussing typographical standards
On 03/25/2014 01:10 AM, Simon Albrecht wrote: The following is completely off-topic, but I’d like to share some observations I often make and thoughts I have and ask for your opinion: Hi Simon, just a few random thoughts to your remarks; I'll try to keep it short. – For what I know of best practice in typography, it is normally unnecessary to use slurs for indicating melismata. [...] This discussion popped up several times already. IIRC, we always agreed not to agree: Singers of old (in particular, Renaissance) music expect that there are long melismata all over a piece, and prefer not to have huge slurs in their scores. Singers of more modern music, where melismata often are only a few notes, prefer slurs. I -- as a singer familiar with both -- am confused whenever a piece of one epoch uses the style of the other. – The default Denemo output reflects the now common, but faulty practice of writing syl- la- ble instead of syl - la - ble [...] Ugh. Ugly, but Denemo's fault. Do they have an internal representation of proper hyphens? I cannot imagine that the person who wrote the exporter is so unfamiliar with LilyPond's syntax to mix that up. – The beginning of the first recitative is a good example where inserting a line break at half-measure would significantly improve the visual impression by a more even horizontal spacing. [...] Agreed. On a side note, I also use this when the chorus of a song comes first, and several stanzas follow on an upbeat; that's simply to avoid lyrics dangling in the middle of nowhere deep below a staff. The disadvantage is that there is no possibility to differ in likeliness between mid-measure and full-measure breaks, which would then be desirable. Definitively. – As always, the default margins are too small. [...] Agreed, but... I once read a comprehensive article http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (in German) on this topic from the German Tex user group’s magazine, and the author pointed out that in medieval manuscripts and renaissance prints an outstandingly pleasing appearance is achieved by page margins which cover up half of the page’s space! This is luxury, of course, [...] ... that's not only luxury, it's a hindrance for sheet music IMHO. Page turns are not a huge deal when reading a novel; they are when you're busy waving your hands in front of a choir, need to keep your fingers on the keys or strings, or even if the noise of turning a page is too loud for a singer. And larger sheets are impractical too, for several reasons. Unless you need to hide from your conductor... ;-) In the engraving you refering to, I agree the margins are a tad too small, but I'd trade the staff size for it (and the boldness of the Feta font, if it were easy to change): I like the horizontal density of the notes e.g. on page 7. (Barring some alignment issues, e.g. on the clef change in m. 67.) If however the staff size is required for reading at some distance when playing: Forget about the margins, let my hands stay at the strings. – In order to increase legibility and clarity it’s also much advisable to use at least one StaffGroup, [...] Sure. Again, Denemo's fault (or the user didn't specify it). At least not Lily's. Just my two Satoshi... Best, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
Paul Tannous ptann...@hotmail.com writes: Shane: it would be more sensible to sell the .ly file at a higher cost. It is certainly the more valuable entity, both in terms of work in and future utility. After considering your comments, I and my team believe that we should offer the .ly files as the primary premiums to Kickstarter contributors. I'm not sure what primary premiums are. After all, anyone wanting to contribute to this initiative would most likely have an interest in LilyPond sources in general and in the LilyPond sources that we will be producing in particular. Well, the principal motivation of those supporting the free angle will likely be inpired by the free software movement, based on the four software freedoms: Freedom 0: The freedom to run the program for any purpose. Freedom 1: The freedom to study how the program works, and change it to make it do what you wish. Freedom 2: The freedom to redistribute copies so you can help your neighbor. Freedom 3: The freedom to improve the program, and release your improvements (and modified versions in general) to the public, so that the whole community benefits. It's pretty obvious that freedom 1 and freedom 3, when applied to a score rather than software, would best benefit from the availability of the .ly file. Make no mistake: I have seen impressive arrangements made by xerox and scissors (I remember some Brandenburg concerto rearrangement for strings, with flaps from orchestra voices pasted into another voice, and with transpositions and range adaptations by drawing in other clefs and additional staff lines while striking out others). But that's peanuts to what one can reasonably well do using LilyPond. The spirit of the GPL is that you can ask whatever you want for a program, but you get the right to distribute it and the corresponding sources for it in the bargain. So I think it would be a nice fit if the .ly file was included in any offering, making the people feel they are actually doing something for a freely available score as source material. As for perks: many people will consider it quite an effort actually doing anything with the .ly file, so you could offer custom transpositions or paper formats (of course, sans tweaking) in PDF form as perks. That's nothing that someone willing to learn LilyPond would not be able to do himself, but it might be a nice motivation for those who are in it for the paper score. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Changing clef for same part?
Hi all,
I have recently discovered LilyPond and have been really amazed by how
powerful it is. I am using it to transcribe brass parts for a band I have
recently joined, so please excuse the possibly dumb question.
I have a song where I would like the baritone sax and trombone to play the
same notes. I've worked out how to do this without typing all the notes
out twice, but can't work out how to output the two scores with different
clefs:
barisax = \relative c { c' d e f }
\bookpart {
% Baritone sax: should be in treble clef
\score { \transpose bes c' { \barisax } }
}
\bookpart {
% Trombone: Should be in bass clef
\score { \barisax }
}
Putting \clef inside the score block results in a syntax error. I'm sure
this must be possible, but I have scoured the internet and the answer has
eluded me so far. Is there any other way I can make this happen?
Cheers,
Nick
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Re: entering chords
On 2014-03-24 22:04, Thomas Morley wrote:
How about below?
Also, I added an optional argument, which you can use to specify which
chord-note should be colored.
Default is 'first'.
It's possible to switch to 'last'.
Other settings like 'fourth' at own risk:
Ofcourse specifying 'fourth' will result in an error, if any chord has
not enough notes.
\version 2.18.0
clr =
#(define-music-function (parser location which color music)
((procedure? car) color? ly:music?)
(music-map
(lambda (mus)
(if (music-is-of-type? mus 'event-chord)
(let* ((evt-chrd-nts (event-chord-notes mus)))
(if ( (length evt-chrd-nts) 1)
(let ((first-nh (which evt-chrd-nts)))
#{ \tweak #'color #color #first-nh #})
mus)
mus)
mus))
music))
OMG!, This is exactly what I needed!
A really BIG Thank You!
// 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.
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Re: Changing clef for same part?
Nick Vincent n...@vtype.com writes:
Hi all,
I have recently discovered LilyPond and have been really amazed by how
powerful it is. I am using it to transcribe brass parts for a band I have
recently joined, so please excuse the possibly dumb question.
I have a song where I would like the baritone sax and trombone to play the
same notes. I've worked out how to do this without typing all the notes
out twice, but can't work out how to output the two scores with different
clefs:
barisax = \relative c { c' d e f }
\bookpart {
% Baritone sax: should be in treble clef
\score { \transpose bes c' { \barisax } }
}
\bookpart {
% Trombone: Should be in bass clef
\score { \barisax }
}
Putting \clef inside the score block results in a syntax error.
A score block accepts exactly _one_ music expression. Your \score
statements above, probably more by accident than design, fit that
restriction. \clef bass is a music expression of its own. To group
multiple music expressions into one, you use { ... } (namely, you need
another level of braces here).
Usually one would be more specific though, and write something like
\new Staff \with { \clef bass } { ... }
in order to make sure that all of the music material is put in a single
staff.
I'm sure this must be possible, but I have scoured the internet and
the answer has eluded me so far.
That's somewhat strange as the LilyPond manuals are easily accessible
using the internet and naturally contain lots of examples where such
things are done.
--
David Kastrup
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Re: Generating Interest in LilyPond through Kickstarter
You might check imslp.org, which often is a source for excellent engravings. I have no idea whether there is a scientifically approvable edition there. My thoughts referred in particular to the 19th century complete editions for example of Bach which combine unsurpassed typographical excellence and beauty with scholarly text. There are some who say that the NBA (New Bach Edition) does not give a significant advantage over that. Best, Simon Am 25.03.2014 07:23, schrieb Urs Liska: When the idea or selling point of a campaign is to provide a free edition it can be argued what that is needed for when there already _are_ good editions freely available. Then one should really find a good surplus over existing editions. This could for example be the possibility to make modifications like new arrangement of voices or transpositions. Don't know how this relates to your ideas, though. Urs Paul Tannous ptann...@hotmail.com schrieb am 25.03.2014: Urs Liska wrote: I recently made a similar suggestion with the Winterreise, and some commented it problematic to create new free editions of pieces that already exist in good free editions. Urs *Urs, * *Do you recall why others found this to be problematic? * *Thanks,* *Paul T.* -- Diese Nachricht wurde mit *K-@ Mail* https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2 gesendet. ___ 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: Generating Interest in LilyPond through Kickstarter
That's similar to what we do with the Fried songs: we include the sources in all perks starting from a certain price. Urs David Kastrup d...@gnu.org schrieb am 25.03.2014: Paul Tannous ptann...@hotmail.com writes: Shane: it would be more sensible to sell the .ly file at a higher cost. It is certainly the more valuable entity, both in terms of work in and future utility. After considering your comments, I and my team believe that we should offer the .ly files as the primary premiums to Kickstarter contributors. I'm not sure what primary premiums are. After all, anyone wanting to contribute to this initiative would most likely have an interest in LilyPond sources in general and in the LilyPond sources that we will be producing in particular. Well, the principal motivation of those supporting the free angle will likely be inpired by the free software movement, based on the four software freedoms: Freedom 0: The freedom to run the program for any purpose. Freedom 1: The freedom to study how the program works, and change it to make it do what you wish. Freedom 2: The freedom to redistribute copies so you can help your neighbor. Freedom 3: The freedom to improve the program, and release your improvements (and modified versions in general) to the public, so that the whole community benefits. It's pretty obvious that freedom 1 and freedom 3, when applied to a score rather than software, would best benefit from the availability of the .ly file. Make no mistake: I have seen impressive arrangements made by xerox and scissors (I remember some Brandenburg concerto rearrangement for strings, with flaps from orchestra voices pasted into another voice, and with transpositions and range adaptations by drawing in other clefs and additional staff lines while striking out others). But that's peanuts to what one can reasonably well do using LilyPond. The spirit of the GPL is that you can ask whatever you want for a program, but you get the right to distribute it and the corresponding sources for it in the bargain. So I think it would be a nice fit if the .ly file was included in any offering, making the people feel they are actually doing something for a freely available score as source material. As for perks: many people will consider it quite an effort actually doing anything with the .ly file, so you could offer custom transpositions or paper formats (of course, sans tweaking) in PDF form as perks. That's nothing that someone willing to learn LilyPond would not be able to do himself, but it might be a nice motivation for those who are in it for the paper score. -- Diese Nachricht wurde mit a href=https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2;bK-@ Mail/b/a gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Discussing typographical standards (was: Tuplet notehead shared...)
On Tue, 2014-03-25 at 01:10 +0100, Simon Albrecht wrote:
Am 24.03.2014 13:33, schrieb Richard Shann:
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
The following is completely off-topic, but I’d like to share some
observations I often make and thoughts I have and ask for your
opinion:
Looking at this score confirms me in my opinion that LilyPond default
output alone is no guarantee for a good-looking result in accordance
with typographical good use.
This is a matter of degree: most people coming to LilyPond will have
experienced drawing-based gui programs which leave much more to your
skill as a music engraver.
This may be partly due to an older lilypond version used,
yes, I think that was 2.12. Nowadays Denemo is built with the latest
stable LilyPond release.
but there are some basic issues I see with this:
– For what I know of best practice in typography, it is normally
unnecessary to use slurs for indicating melismata. Beaming
(\autoBeamOff, melismata with []), placement of syllables and
hyphenation/extender lines make the lyrics assignment unambiguous and
easy to read in all but the most complex cases (that is, when the
rhythmic complexity requires that the beaming corresponds to beat
groups and legibility would suffer in the opposite case—which will
rarely occur before 1900).
Certainly I know that the Lily authors knew what they were doing, when
they recommended using slurs for this purpose. This is used in
excellent hand-engraved editions as well, I think especially later in
the 20th century. Nevertheless I vote for the supposedly older use, as
described before.
– The default Denemo output
hmm, I think you misunderstand Denemo here. It is a music *input*
program - I think in this case it is a question on garbage-in,
garbage-out. I was asked to generate that score for a concert, and hoped
for feedback from the consumers (I know *nothing* about vocal scores);
unfortunately, the consumers are so used to, and tolerant of, bad
computer music typesetting that they simply said it was lovely and
that was that.
reflects the now common, but faulty practice of writing syl- la- ble
instead of syl - la - ble (with the hyphens centered between
syllables). The corresponding Lilypond code would be { syl -- la --
ble }, see Learning Manual, Aligning lyrics to a melody.
So, you would type -- in Denemo to get that style, if you knew what you
were doing. As I say, I was too ignorant of vocal music to do that or to
devise a way that Denemo would hint to the user that they might want to
do it. But Denemo is just a LilyPond front end, you can (I hope) put
anything in the lyrics as needed.
– The beginning of the first recitative is a good example where
inserting a line break at half-measure would significantly improve the
visual impression by a more even horizontal spacing.
Denemo has the command to do this built in, I have been using it myself
recently to break a page at the second time (half-)bar.
I found that it was common in traditional hand-engraved scores to do
such mid-measure breaks (if measures aren’t rather short), and thus I
am often using \bar at half-measure. Sometimes I even use an extra
voice for something like \repeat unfold 35 { s2 \bar s2 } and thus
create more flexibility in line-breaking. The disadvantage is that
there is no possibility to differ in likeliness between mid-measure
and full-measure breaks, which would then be desirable.
– As always, the default margins are too small.
I have once or twice created Denemo defaults that emit the LilyPond to
alter the LilyPond defaults, but have then had occasion to regret it
later when LilyPond improves/changes. I don't think this is one of them
- though I place an enormous premium on lack of page turns for my
personal use.
This is already being discussed as issue 3808 and will hopefully be
changed soon. I once read a comprehensive article (in German) on this
topic from the German Tex user group’s magazine, and the author
pointed out that in medieval manuscripts and renaissance prints an
outstandingly pleasing appearance is achieved by page margins which
cover up half of the page’s space! This is luxury, of course, and
usually unaffordable, but I find it evident that having unusually
large margins (and simple ratios between the measurements of the page
and margins, and the top-margin smaller than the bottom-margin and so
on…) much improves the look of the page. It might necessitate to
decrease staff size, though, but anyway 16 pt are no way too small.
– In order to increase legibility and clarity it’s also much advisable
to use at least one StaffGroup, e.g.
\new StaffGroup {
\new Staff = fl {}
\new StaffGroup {
\new Staff = vl1 {}
\new Staff = vl2 {}
}
...
Re: Discussing typographical standards
On Tue, 2014-03-25 at 09:07 +0100, Alexander Kobel wrote: On 03/25/2014 01:10 AM, Simon Albrecht wrote: The following is completely off-topic, but I’d like to share some observations I often make and thoughts I have and ask for your opinion: Hi Simon, just a few random thoughts to your remarks; I'll try to keep it short. – For what I know of best practice in typography, it is normally unnecessary to use slurs for indicating melismata. [...] This discussion popped up several times already. IIRC, we always agreed not to agree: Singers of old (in particular, Renaissance) music expect that there are long melismata all over a piece, and prefer not to have huge slurs in their scores. Singers of more modern music, where melismata often are only a few notes, prefer slurs. I -- as a singer familiar with both -- am confused whenever a piece of one epoch uses the style of the other. – The default Denemo output reflects the now common, but faulty practice of writing syl- la- ble instead of syl - la - ble [...] Ugh. Ugly, but Denemo's fault. the Denemo user's fault (me, in this case), it would seem I should have written -- instead of - attached ... ignorance (sigh!). Do they have an internal representation of proper hyphens? I cannot imagine that the person who wrote the exporter is so unfamiliar with LilyPond's syntax to mix that up. it is simpler than that - you type in lyrics as LilyPond syntax (more-or-less, I think). [...] – In order to increase legibility and clarity it’s also much advisable to use at least one StaffGroup, [...] Sure. Again, Denemo's fault (or the user didn't specify it). The second of these, the user of Denemo, (me), rather than Denemo which supports the braces quite extensively. (If I had started from a template it would have had some braces, no doubt). Richard At least not Lily's. Just my two Satoshi... Best, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-first accidental style
Am 24.03.2014 17:52, schrieb Urs Liska: I've just compiled a custom LilyPond with that patch in it and will soon upload it for review. Although dodecaphonic-no-repeat is what _I_ had asked for I do think this also makes sense. https://codereview.appspot.com/79680044/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Exact stem length?
Hi,
I'm trying to recreate a contemporary notation. Attachments show my
results so far, of course I'd want to encapsulate that in a function
later to have it accessible.
The problems I have (apart from the slash that is still missing):
- How could I remove the gap between the first two stems?
- Is there a way to get the stems extactly the same length so I can get
an even distribution regardless of the length of the expression and the
beam's slope?
Currently the stems seem to respect the vertical position of the
non-existent noteheads.
I tried to set the Stems' length and the vertical position of the
notehead, both didn't do anything.
For a final function I would like to give the following parameters as
arguments:
- First and last pitch
- rhythmic extent of the group
- number of notes
- length of trailing rest (i.e. ratio of the visible group to the empty
rest.
Any ideas?
TIA
Urs
attachment: no-notehead-gliss.png\version 2.19.4
#(ly:set-option 'strokeadjust #t)
fast =
\relative f' {
\scaleDurations 1/8 {
\override Stem.thickness = 2
f8[
\omit NoteHead
\omit Rest
f g g a b b c] r1
}
\revert Stem.thickness
\undo \omit Rest
\undo \omit NoteHead
c2.
}
ref = { r4 r2. }
\score {
\new Staff \fast
\new Staff \ref
}
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Re: Changing clef for same part?
Hi David,
Thanks for your help, your assistance is much appreciated. I was simply not
looking for the right terms in the manual, and am still getting my head
round some of the concepts!
Cheers,
Nick
On 25 March 2014 08:47, David Kastrup d...@gnu.org wrote:
Nick Vincent n...@vtype.com writes:
Hi all,
I have recently discovered LilyPond and have been really amazed by how
powerful it is. I am using it to transcribe brass parts for a band I
have
recently joined, so please excuse the possibly dumb question.
I have a song where I would like the baritone sax and trombone to play
the
same notes. I've worked out how to do this without typing all the notes
out twice, but can't work out how to output the two scores with different
clefs:
barisax = \relative c { c' d e f }
\bookpart {
% Baritone sax: should be in treble clef
\score { \transpose bes c' { \barisax } }
}
\bookpart {
% Trombone: Should be in bass clef
\score { \barisax }
}
Putting \clef inside the score block results in a syntax error.
A score block accepts exactly _one_ music expression. Your \score
statements above, probably more by accident than design, fit that
restriction. \clef bass is a music expression of its own. To group
multiple music expressions into one, you use { ... } (namely, you need
another level of braces here).
Usually one would be more specific though, and write something like
\new Staff \with { \clef bass } { ... }
in order to make sure that all of the music material is put in a single
staff.
I'm sure this must be possible, but I have scoured the internet and
the answer has eluded me so far.
That's somewhat strange as the LilyPond manuals are easily accessible
using the internet and naturally contain lots of examples where such
things are done.
--
David Kastrup
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Re: \shape not impacting ties slurs on next line
Hi Javier, Javier Ruiz-Alma jav...@ruiz-alma.com writes: The tie continued on a next line is not influenced by positioning override. Instead, it's placed per default positioning. How can one move these continued ties or slur? You need to specify another number-pair-list for the second broken bit. So, for example: pushTieDown = \shape #'( ((0 . -1.0) (0 . -1.2) (0 . -1.2) (0 . -1.0)) ((0 . -1.0) (0 . -1.2) (0 . -1.2) (0 . -1.0)) ) Tie --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Exact stem length?
Hi Urs, - How could I remove the gap between the first two stems? Maybe try with a temporary \set Score.proportionalNotationDuration = #(ly:make-moment 1 8) for that particular group of notes? As for the beam lengths, I'm not sure what the best solution would be -- \override Stem.details.beamed-lengths = #'(10 20 3) works fine for controlling the _length_ of beams, of course (which I'm sure you aware of), but since you also want to influence the melodic contour of the gesture via pitches, I'm not sure that will help. If there is a way to override the distance between notehead and stem... will get back to you if something comes to mind. Best / Fredrik ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Exact stem length?
I'll try your suggestions later today. Regarding the length of stems there are two different approaches that might well go into different functions: A) Have a group that is defined by the beam's slope (or its start and end pitches). For this I'd need stems of equal length. B) Shaping the gesture through individual pitches. For this of course the stems aren't of the same length. But also in this case it might be nice to be able to print differently long stems that don't have steps of a whole scale-step. Urs Fredrik Wallberg fredrik.wallb...@gmail.com schrieb am 25.03.2014: Hi Urs, - How could I remove the gap between the first two stems? Maybe try with a temporary \set Score.proportionalNotationDuration = #(ly:make-moment 1 8) for that particular group of notes? As for the beam lengths, I'm not sure what the best solution would be -- \override Stem.details.beamed-lengths = #'(10 20 3) works fine for controlling the _length_ of beams, of course (which I'm sure you aware of), but since you also want to influence the melodic contour of the gesture via pitches, I'm not sure that will help. If there is a way to override the distance between notehead and stem... will get back to you if something comes to mind. Best / Fredrik ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde mit a href=https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2;bK-@ Mail/b/a gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Exact stem length?
...a way to override the distance between notehead and stem... \override Stem.Y-offset = 2 (Sorry about the typos in my last message -- I wrote beam lenghts; I meant stem lengths of beamed notes.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: entering chords
Le dimanche 23 mars 2014, 03:59:21 MING TSANG a écrit : c: the sample .ly has several functions -\extractNotes ; \ePU ; ePL etc. and I find several things I don't understand. please refer to .pdf file. Dear Ming. As it seems that some points are not enough clear about chord.ly, I tried to make a little doc about the functions contained in this file. You can download chord-doc.pdf here : http://gillesth.free.fr/Lilypond/chord/ You'll find also in this directory, the last version of chord.ly In this subject, I have to apologize to you about the file chord.ly I send to you in this thread : http://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00317.html The \extractVoice function required an integer as parameter but an old version required a decimal number ! So your mistake was my fault. Sorry. Actually, there was here 2 features. So in this last version there is 2 functions : \extractVoice that requires an integer. \deepExtractVoice that requires a decimal number See the doc to know the difference. Feel free to ask some precisions here if you need it. -- Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 136, Issue 121
Gilles, Thank you very much for the updated version. It works wonder for my lilypond score transcribe need. It saves me time and efforts. Just super. The chord-doc.pdf helps a lot. Thanks again. Emmanuel, Ming On Tuesday, March 25, 2014 12:02:52 PM, lilypond-user-requ...@gnu.org lilypond-user-requ...@gnu.org wrote: 2. Re:entering chords (Gilles) Message: 2 Date: Tue, 25 Mar 2014 14:27:36 +0100 From: Gilles gilles.thiba...@free.fr To: lilypond-user@gnu.org Subject: Re: entering chords Message-ID: 3722075.j3IU32Mb4Z@pc-i3 Content-Type: text/plain; charset=iso-8859-1 Le dimanche 23 mars 2014, 03:59:21 MING TSANG a ?crit : c: the sample .ly has several functions -\extractNotes ; \ePU ; ePL etc. and I find several things I don't understand. please refer to .pdf file. Dear Ming. As it seems that some points are not enough clear about chord.ly, I tried to make a little doc about the functions contained in this file. You can download chord-doc.pdf here : http://gillesth.free.fr/Lilypond/chord/ You'll find also in this directory, the last version of chord.ly In this subject, I have to apologize to you about the file chord.ly I send to you in this thread : http://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00317.html The \extractVoice function required an integer as parameter but an old version required a decimal number ! So your mistake was my fault. Sorry. Actually, there was here 2 features. So in this last version there is 2 functions : \extractVoice that requires an integer. \deepExtractVoice that requires a decimal number See the doc to know the difference. Feel free to ask some precisions here if you need it. -- Gilles___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chordname questions
Thanks for the swift and helpful response ...
1. you are right that '6 add9' and 'add6 add 9' are indeed equivalent - I
was looking at the wrong entry in the table in the Notation Reference.
2. Having looked further, I do think that some chords are generating
incorrect chord names (but correct notes): C:sus prints as C, C:2 as Csus2,
C:3 as C and C:4 as C4sus4add3
Could I ask you to please run the attached snippet to check my findings ?
(I am running 2.19.3)
thanks, Gerry
On 25 March 2014 00:50, Flaming Hakama by Elaine
ela...@flaminghakama.comwrote:
Gerry,
I'm a clarinettist - we are not supposed to do chords, so please forgive
me
if these are idiot questions
As a clarinettist, I feel compelled to assert that we have the capacity to
do chords just fine. I hope you are getting more comfortable with it.
1. the superscript modifier 6/9 is (from a google search) equivalent to
'add6 add9'. Yet lily puts it into the score as '6 add9' which is surely
not the same thing at all ?
Actually, I think that these are the same, meaning the chord made up of
scale degrees 1 3 5 6 9.
One thing to realize is that the way that lilypond prints chord symbols is
different from how it represents chords interally. In this case, you can
modify lilypond to print add6 add9 for this type of chord if you want.
In terms of theory, the notion of add comes into play when the numbers
get beyond 7, since by convention (both in general musical practice, and in
lilypond) anything above or including an unmodified 7 implies that a
dominant 7th is in the chord.
So, for any number less than 7, you can just write that degree after the
chord root name, since you don't have to worry about what someone might do
with the 7th, because you have not gone that high. You can make the case
that add 6 is too verbose and perhaps confusing, since 6 gets the point
across, and the add could make you think for a moment that the extension
is actually higher than a 7th, which it is not. (unless, of course, you
really mean 13). This is probably why the default lilypond chord symbol is
6 add9 rather than add6 add9.
2. the 'sus' modifier should be followed by '2' or '4' and if lily finds
sus on its own it just puts out the basic triad. But some scores include
all three forms - triad, sus and sus4 implying that they are different.
Shouldn't the unmodified sus generate just the first and fifth ?
(specifying ^3 also seems to generate the full triad).
Suspended chords are an area where I think there is less general
agreement (in musical practice) about what they mean.
My general understanding about musical practice is that sus simply means
there is no 3rd in this 'chord'. The most typical implication is that
you are sounding the 4th instead of the 3rd, meaning scale degrees 1 4 5.
However, like many things about the way lilypond represents chords, it is
a balance between being unambiguous versus following some flavor of common
usage. And in lilypond, the unambiguous often wins out. In this case,
lilypond makes you specify what note is taking the place of the 3rd.
Not sure I understand why the default behavior of specifying sus without
another scale degree gives you a triad (it is certainly not based on
typical musical interpretation of sus chords), but again, you have to
realize that the chord input syntax is lilypond-specific and different than
the dialect of printed chord symbols.
Not quite sure what you mean by scores that have chord symbols that say
triad. Never seen that before. In fact, until coming across lilypond, I
have never seen anyone write a sus 2 chord. Just because you have seen
something in a score--especially chord changes--doesn't mean that it is
normal, accepted and well-understood. It could just be inconsistent. In
any case, I would assume that both the sus and sus4 mean the same thing.
I hope this helps,
David Elaine Alt
415 . 341 .4954 *Confusion is
highly underrated*
ela...@flaminghakama.com
skype: flaming_hakama
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
%% Generated by lilypond-book.py
%% Options: [exampleindent=10.16\mm,indent=0\mm,line-width=160\mm,quote,ragged-right]
\include lilypond-book-preamble.ly
%
% Start cut--pastable-section
%
\paper {
indent = 0\mm
line-width = 160\mm
% offset the left padding, also add 1mm as lilypond creates cropped
% images with a little space on the right
line-width = #(- line-width (* mm 3.00) (* mm 1))
line-width = 160\mm - 2.0 * 10.16\mm
% offset the left padding, also add 1mm as lilypond creates cropped
% images with a little space on the right
line-width = #(- line-width (* mm 3.00) (* mm 1))
ragged-right = ##t
}
duffChords = \chordmode {
Re: Exact stem length?
The attached might be of help. It's still work in progress as it needs to allow for slurs and staccato dots. Would be great if some others can help improve it. all the best, piaras On 25 March 2014 12:45, Fredrik Wallberg fredrik.wallb...@gmail.com wrote: ...a way to override the distance between notehead and stem... \override Stem.Y-offset = 2 (Sorry about the typos in my last message -- I wrote beam lenghts; I meant stem lengths of beamed notes.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user repeat-stems.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chordname questions
On Tue, Mar 25, 2014 at 2:46 PM, Gerry Prosser ge...@chalkblue.co.ukwrote:
2. Having looked further, I do think that some chords are generating
incorrect chord names (but correct notes): C:sus prints as C, C:2 as Csus2,
C:3 as C and C:4 as C4sus4add3
Could I ask you to please run the attached snippet to check my findings ?
(I am running 2.19.3)
thanks, Gerry
Yes, I get the same printed chord names you describe.
I'm not sure I would call any of them incorrect given your input chord
specification:
duffChords = \chordmode { c1:sus c:2 c:3 c:4 }
I think that the number generally means the highest interval, so when you
say c:2 and c:3, you are just specifying an interval (2 notes) rather than
a full chord. Lily's open fifth for c:sus seems reasonable to me. Not
sure what you'd expect from c:4. c e f ? Lily's output seems redundant
(why 4...and then sus4?), but otherwise seems to be trying to make the best
of something uncommon and possibly confusing.
If you want to get a printed sus4 from lily, try:
duffChords = \chordmode { c1:sus4 }
If you want to change the output chord symbols, here is the short version:
Get a template for a file where you name the chords. You can try my fussy
one (http://flaminghakama.com/flaming-lilypond-chords), or use another
alternate file (see
http://lilypond.1069038.n5.nabble.com/Jazz-Chord-Symbols-td10516.html for
example)
Then in your music file:
\include flaming-chords.ly % (or some other library)
\set chordNameExceptions = #chExceptions
Finally, to update what the names of the chords are, modify the chord file
as you like:
flamingChordNames = {
% for the input notation c:sus4. Change the sus to something else if
you want
c f g1-\markup { \raise #0.7 { \normalsize sus } }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
flamingChordNames #t) ignatzekExceptions)
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Fwd: Lilypond-book
From: Conor Cook conor.p.c...@gmail.com
Subject: Re: Lilypond-book
Date: March 23, 2014 at 8:49:17 PM CDT
To: Br. Samuel Springuel rpspring...@gmail.com
Dear Br. Samuel,
Thank you. I successfully installed the engine and will explore its use in
TeXworks. I suppose I no longer need to try using the command line method, but
I did want to mention that my efforts to follow the LilyPond right hand column
instructions have proved fruitless. I follow the instructions up to chmod, but
it gives me:
-bash: chmod: command not found
Maybe I just shouldn’t worry about it.
I am curious, however, whether using LilyPond-Book in TeXworks is all I would
need to do to create a paper with music examples, or should I figure out how to
incorporate multiple files into one main LaTeX document, using LilyPond-Book
only for examples (like in Gregorio; I think I recognize you from those
discussions, Brother)?
Thank you, again, Br. Samuel.
God bless you,
Conor
On Mar 23, 2014, at 8:04 PM, Br. Samuel Springuel rpspring...@gmail.com wrote:
When I use TeXworks to create the .lytex file, I don’t know what
typesetting tool to use (pdfLaTeX?)
You use the lilypond-book typesetting tool. Since this tool doesn't
come setup in TeXworks by default, you have to add it. Given your
reference to terminal I assume that you're using Mac OSX. In that case
the easiest way to set things up is grab the TeXShop engines from
https://sole.dimi.uniud.it/~nicola.vitacolonna/software/lilypond-texshop/
They work in TeXworks just as well as in TeXShop. Place these in
~/Library/TeXworks/engines (you may have to create this folder). Then
in TeXworks open the preferences and go to the typesetting tab. Click
on the + in the lower pane to add a new engine. Call the processing
tool LilyPond-Book and browse to the LilyPond-Book.engine file that you
just got. Add $fullname as the argument and click OK until you're back
at the main program. Now you should be able to select LilyPond-Book
from the drop down menu of TeX processors and compile your file.
when I try to typeset it, it says:
! LaTeX Error: Environment lilypond undefined.
This error results from not running the lilypond-book processor. The
lilypond environment isn't defined by any class or style file so
pdflatex (or any other latex processor) doesn't know what to do with it.
lilypond-book actually removes these environments, runs their contents
through lilypond, and replaces them by the resulting graphic in the
background.
or
! LaTeX Error: \begin{[} on input line 5 ended by \end{lilypond}.
This error is because you changed your \begin{lilypond} to \begin{[}.
Even though the lilypond environment isn't a real latex environment, you
still need to treat it as such.
Then, when I just save the file as .lytex and run lilypond-book in the
Terminal, I get:
-bash: lilypond-book: command not found
This means the location of lilypond-book isn't in path and you're not in
the folder where it's located. This isn't an unusual situation as
lilypond-book is inside the LilyPond.app that you should have placed in
your Applications folder. If you want to run any of the lilypond
scripts from the command line then you need to follow the instructions
in the right hand column here:
http://www.lilypond.org/macos-x.html
Note that if you want to stick with the GUI interfaces (either
LilyPond's own or TeXworks) then you don't need to follow these
instructions.
✝
Br. Samuel
(R. Padraic Springuel)
PAX ☧ ΧΡΙΣΤΟΣ
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Fwd: Lilypond-book
From: Br. Samuel Springuel rpspring...@gmail.com Subject: Re: Lilypond-book Date: March 23, 2014 at 9:20:21 PM CDT To: Conor Cook conor.p.c...@gmail.com Cc: lilypond-user@gnu.org On 2014-03-23 9:49 PM, Conor Cook wrote: I suppose I no longer need to try using the command line method, but I did want to mention that my efforts to follow the LilyPond right hand column instructions have proved fruitless. I follow the instructions up to chmod, but it gives me: -bash: chmod: command not found Maybe I just shouldn’t worry about it. Huh. I've never seen that behavior before. The only thing I can think of is perhaps chmod is a developer tool. In which case you would need to get Xcode (it's free in the App Store) and install the command line tools (in the Downloads pane of the Preferences). If you want to worry about it, that is. I am curious, however, whether using LilyPond-Book in TeXworks is all I would need to do to create a paper with music examples, or should I figure out how to incorporate multiple files into one main LaTeX document, using LilyPond-Book only for examples (like in Gregorio; I think I recognize you from those discussions, Brother)? With LilyPond-Book it's possible to include as many scores as you want in a single document. There are three ways of doing so, each geared towards a particular size score (short snippet, long snippet, or full length score). Those ways are explained here http://www.lilypond.org/doc/v2.18/Documentation/usage/latex Use whatever way best suits the particular score you're inserting at a given point. There is no restriction on mixing and matching. Since you mention Gregorio, yes, I'm over on that list too, and again there is no restriction on the number of included scores in a LaTeX document. Further, mixing LilyPond and Gregorio should be possible using my engines in the Gregorio svn. I haven't fully tested them in TeXworks yet (it's on my list of things to do later this week) but my preliminary tests were successful. If you try them and find a bug let me know. It will speed up my testing. ✝ Br. Samuel (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Lilypond-book
Begin forwarded message:
From: Conor Cook conor.p.c...@gmail.com
Subject: Re: Lilypond-book
Date: March 23, 2014 at 9:35:35 PM CDT
To: Br. Samuel Springuel rpspring...@gmail.com
Well, I do have Xcode, but I’ll look into that more later.
I’m starting to see what kind of .ly file the various lilypond-book options
want to see (fragment doesn’t like \layout {…}, e.g.). However, I have an
especially large score I’d like to see rotated 90 degrees (so the bottom is to
the right). How might I make that happen?
If you’d rather I bring this discussion back into the user-list, I’m happy to
do so.
Thank you, again, Brother!
Peace of Christ,
Conor
On Mar 23, 2014, at 9:20 PM, Br. Samuel Springuel rpspring...@gmail.com wrote:
On 2014-03-23 9:49 PM, Conor Cook wrote:
I suppose I no longer need to try using the command line method, but
I did want to mention that my efforts to follow the LilyPond right
hand column instructions have proved fruitless. I follow the
instructions up to chmod, but it gives me:
-bash: chmod: command not found
Maybe I just shouldn’t worry about it.
Huh. I've never seen that behavior before. The only thing I can think
of is perhaps chmod is a developer tool. In which case you would need
to get Xcode (it's free in the App Store) and install the command line
tools (in the Downloads pane of the Preferences). If you want to worry
about it, that is.
I am curious, however, whether using LilyPond-Book in TeXworks is all
I would need to do to create a paper with music examples, or should I
figure out how to incorporate multiple files into one main LaTeX
document, using LilyPond-Book only for examples (like in Gregorio; I
think I recognize you from those discussions, Brother)?
With LilyPond-Book it's possible to include as many scores as you want
in a single document. There are three ways of doing so, each geared
towards a particular size score (short snippet, long snippet, or full
length score). Those ways are explained here
http://www.lilypond.org/doc/v2.18/Documentation/usage/latex
Use whatever way best suits the particular score you're inserting at a
given point. There is no restriction on mixing and matching.
Since you mention Gregorio, yes, I'm over on that list too, and again
there is no restriction on the number of included scores in a LaTeX
document. Further, mixing LilyPond and Gregorio should be possible
using my engines in the Gregorio svn. I haven't fully tested them in
TeXworks yet (it's on my list of things to do later this week) but my
preliminary tests were successful. If you try them and find a bug let me
know. It will speed up my testing.
✝
Br. Samuel
(R. Padraic Springuel)
PAX ☧ ΧΡΙΣΤΟΣ
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Re: Lilypond-book
My apologies for the influx. I wanted to make sure that the information I stupidly left off the list by not replaying all was made available. Begin forwarded message: From: Br. Samuel Springuel rpspring...@gmail.com Subject: Re: Lilypond-book Date: March 24, 2014 at 10:01:33 AM CDT To: Conor Cook conor.p.c...@gmail.com, lilypond-user@gnu.org However, I have an especially large score I’d like to see rotated 90 degrees (so the bottom is to the right). How might I make that happen? That's not something I have any experience with. Can't help you there. Which, naturally, is one of the reasons why I prefer to echo all my responses to the mailing list. The other is so that anyone searching the archive for answers to similar questions can find them. I really only keep things off-list when they're off topic or require sharing private information. ✝ Br. Samuel (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
