Re: BreathingSigns and automatic beams
I fully understand what you say, and similar symbols are used for singers, too, however, I think this somehow contradicts what lilypond is intended to do: engraving well-formatted music. It's not lilypond's job to imitate hand-written marks! In other words, I want to see some *printed* editions with such entries so that we can adjust lilypond accordingly, if necessary. * http://imslp.org/wiki/200_%C3%89tudes_nouvelles_m%C3%A9lodiques_et_progressives_pour_cor_(Alphonse,_Maxime) [...] Thanks for the samples. Basically all of them (except in the Franz Strauss Notturno) look as if the breathing marks were added to the already engraved plates... Honestly, I think that this is ugly and not good engraving. However, it clearly shows that this symbol can be positioned exactly on the bar if necessary :-) Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line
Funny it works fine for me without the \score. I thought this was implied if omitted. I did edit the music variable to make sure I was expecting a different output. regards Peter Gentry ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
openLilyLib snippets repository renamed
Hi to all who have any contact with the openlilylib snippets repository on Github, we have renamed the repository from [openlilylib/]snippets to [openlilylib/]openlilylib, for two reasons: - I have always felt uneasy about the name clash with the official LilyPond Snippet Repository, the LSR. - Actually this repository is less a collection of snippets but more a library, and we encourage its use as an includable library. The name openlilylib (or originally: openLilyLib) was originally intended to refer to this repository, only over time it became clear that there would be more independent repositories under the roof of the openlilylib organization. According to Github help renaming a repo should not break anything because git fetch, git pull, git clone etc. are redirected automatically. Nevertheless we strongly advise anybody who is using this repository to update to the new location. - Home: https://github.com/openlilylib/openlilylib - Clone URL: https://github.com/openlilylib/openlilylib.git or g...@github.com:openlilylib/openlilylib.git Change your origin or upstream remote to point to the new URL. I'm not completely sure about forks. So if you have forked the snippets repository please check for yourself or get back to Janek or me directly so we can sort it out manually. (BTW: Those who have forked the repository but are by now in the team of the main repo should consider dropping their fork at this occasion). I also suggest to rename the local directory name accordingly and update any set-up you have done for it (wrapper scripts, Frescobaldi settings). Best Urs -- Urs Liska www.openlilylib.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: openLilyLib snippets repository renamed
Hi Urs, 2014-06-28 16:41 GMT+02:00 Urs Liska u...@openlilylib.org: I'm not completely sure about forks. So if you have forked the snippets repository please check for yourself or get back to Janek or me directly so we can sort it out manually. It seams that it has been renamed automatically. Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Building documentation: bad PNG output
I found where the problem is! In make/lilypond-vars.make, the options used by LilyPond to generate the output files are given there: ## override from cmd line to speed up. ANTI_ALIAS_FACTOR=2 LILYPOND_JOBS=$(if $(CPU_COUNT),-djob-count=$(CPU_COUNT),) LANG_TEXIDOC_FLAGS:=$(foreach lang,$(LANGS),--header=texidoc$(lang)) LANG_DOCTITLE_FLAGS:=$(foreach lang,$(LANGS),--header=doctitle$(lang)) LILYPOND_BOOK_LILYPOND_FLAGS=-dbackend=eps \ --formats=ps,png,pdf \ $(LILYPOND_JOBS) \ -dinclude-eps-fonts \ -dgs-load-fonts \ --header=doctitle \ $(LANG_DOCTITLE_FLAGS) \ --header=texidoc \ $(LANG_TEXIDOC_FLAGS) \ -dcheck-internal-types \ -ddump-signatures \ -danti-alias-factor=$(ANTI_ALIAS_FACTOR) And the problem comes from -danti-alias-factor=$(ANTI_ALIAS_FACTOR) (=2), which is responsible for the crushed PNG files. I tested it on my own scores, and it gives the same result. So it looks like the /usr/bin/lilypond I built can't handle -danti-alias-factor=2, but why? I tried this option whith the precompiled version of LilyPond, and I get the same PNG files, so it must be a system-wide problem, as it was suggested before. I'm using Zenwalk GNU/Linux, a Slackware-based system. On 06/27/2014 02:47 PM, James wrote: Aymeric, On 27/06/14 13:06, Federico Bruni wrote: Helping you is a hard job and I've just run out of time. You are not telling us which source you are using. From a linux distro repository? From lilypond git repository? You should use git and checkout the 2.18.2 branch, otherwise you won't get much help from this list probably. And the logs of 'make doc'? I give up... Good luck! :) Yes diagnosing doc build problems can be very time consuming. Please make sure that 1. You are following the contributor guide which gives the minimum requirements to build documentation successfully: http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#requirements and http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#requirements-for-building-documentation 2. Next, build the latest 2.19 documents from git http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#summary-for-experienced-developers At least prove that that works or does not work. I know it does at the moment as I build the documentation daily, so if you are having problems with 2.19 then it could simply be an evironmental issue than a code issue. If you can build it fine and get your PNG files using 2.19 then use the same git repo and use the 2.18 branch and then try. Then at least we can attempt to help, knowing we are all looking at the same code as you. Regards James 2014-06-27 13:27 GMT+02:00 Aymeric ejisn...@gmail.com mailto:ejisn...@gmail.com: I'm trying to build 2.18.2, with... LilyPond 2.18.2, so there should be no problem, and, as I said, I can generate PNG files from my own scores. I even tried with the file you mentioned: aymeric[snippets]$ lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png pitches-headword.ly http://pitches-headword.ly GNU LilyPond 2.18.2 Processing `pitches-headword.ly http://pitches-headword.ly' Parsing... Interpreting music...[8] Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `pitches-headword.eps'... Converting to PNG... Layout output to `pitches-headword-1.eps'... Writing pitches-headword-systems.texi... Writing pitches-headword-systems.tex... Writing pitches-headword-systems.count... Success: compilation successfully completed And here's the output. On 06/27/2014 01:18 PM, Federico Bruni wrote: BTW, what's the purpose of building the current stable doc (2.18.2)? Which source are you using? 2014-06-27 13:16 GMT+02:00 Federico Bruni fedel...@gmail.com mailto:fedel...@gmail.com mailto:fedel...@gmail.com mailto:fedel...@gmail.com: Ok, finally I see what's the problem. I never had such a problem and I cannot make a guess. You got no error when running make doc? You should check the log files in Documentation: ./Documentation/notation.texi2pdf.log ./Documentation/notation.bigtexi.log ./Documentation/notation.splittexi.log ./Documentation/notation.makeinfo.log That file is ./Documentation/snippets/pitches-headword.ly http://pitches-headword.ly http://pitches-headword.ly It seems that the lilypond version you are using cannot compile it. Perhaps a version mismatch? 2014-06-27 13:10 GMT+02:00 Aymeric ejisn...@gmail.com mailto:ejisn...@gmail.com mailto:ejisn...@gmail.com mailto:ejisn...@gmail.com: No, I can see the score. Here's a screenshot of how it looks like with
(8va) to extend to barline
Hi lilyponders,
How can I extend an ottava to the barline for c''1?
Any help is appreciated.
Emmanuel,
Ming.
linly code:
\version 2.19.8
\language english
ottavaa = {
\ottava 1
\set Staff.ottavation = \markup \bold \concat {8 \tiny \raise #0.7
va }
}
ottavab = {
\ottava -1
\set Staff.ottavation = \markup \bold \concat{ 8 \tiny vb }
}
global = {
\key f \major
\time 4/4
}
right = {
\global
c''e''c'''4 \tuplet 3/2{c'c''8 d'd'' e'e''} e'g'e''4 f'a'f'' |%m66
f'bf'f''2
\ottavaa
bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
\ottava 1
\set Staff.ottavation = #(8va) bf'1\fermata %m68
r2 \ottava #0 r8 c''8( g'' f''16 a'') |%m69
bf''4. a'16 bf' a' f' c' f'~4 |%m71
\ottavab
f g a 1\arpeggio %m72
}
\score {
\new Staff = right \with {
\layout { }
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Re: (8va) to extend to barline
To do this would be poor notation. Elaine Gould says that the line should be
terminated after the notehead.
--
Phil Holmes
- Original Message -
From: MING TSANG
To: lilypond-user mailinglist
Sent: Saturday, June 28, 2014 5:37 PM
Subject: (8va) to extend to barline
Hi lilyponders,
How can I extend an ottava to the barline for c''1?
Any help is appreciated.
Emmanuel,
Ming.
linly code:
\version 2.19.8
\language english
ottavaa = {
\ottava 1
\set Staff.ottavation = \markup \bold \concat {8 \tiny \raise #0.7
va }
}
ottavab = {
\ottava -1
\set Staff.ottavation = \markup \bold \concat{ 8 \tiny vb }
}
global = {
\key f \major
\time 4/4
}
right = {
\global
c''e''c'''4 \tuplet 3/2{c'c''8 d'd'' e'e''} e'g'e''4 f'a'f'' |%m66
f'bf'f''2
\ottavaa
bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
\ottava 1
\set Staff.ottavation = #(8va) bf'1\fermata %m68
r2 \ottava #0 r8 c''8( g'' f''16 a'') |%m69
bf''4. a'16 bf' a' f' c' f'~4 |%m71
\ottavab
f g a 1\arpeggio %m72
}
\score {
\new Staff = right \with {
\layout { }
}
--
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How to place markup and crescendo one after the other?
Hello folks,
I’d like to have « a tempo » and then the cresc sign, instead of them stacked
vertically.
Sure it’s simple, but can’t find out…
Thanks for your help!
JM
%%
\version 2.18.2
\relative f, {
\clef bass
\time 3/4
\slurUp
bes2.-\markup{\italica tempo} ( \ |
ees,2.\mf \ | bes'2. \ |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
%%
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Re: How to place markup and crescendo one after the other?
This was the best I could do. I couldn't get the Y-offset to move the text.
%
\version 2.18.2
\relative f, {
\clef bass
\time 3/4
\slurUp
\once\override TextScript.X-offset = #-10
bes2.-\markup{\italica tempo} ( \ |
ees,2.\mf \ | bes'2. \ |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
Knute Snortum
(via Gmail)
On Sat, Jun 28, 2014 at 9:41 AM, Jacques Menu imj-muz...@bluewin.ch wrote:
Hello folks,
I’d like to have « a tempo » and then the cresc sign, instead of them
stacked vertically.
Sure it’s simple, but can’t find out…
Thanks for your help!
JM
%%
\version 2.18.2
\relative f, {
\clef bass
\time 3/4
\slurUp
bes2.-\markup{\italica tempo} ( \ |
ees,2.\mf \ | bes'2. \ |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
%%
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Re: How to place markup and crescendo one after the other?
2014-06-28 18:41 GMT+02:00 Jacques Menu imj-muz...@bluewin.ch:
Hello folks,
I’d like to have « a tempo » and then the cresc sign, instead of them stacked
vertically.
Sure it’s simple, but can’t find out…
Thanks for your help!
JM
%%
\version 2.18.2
\relative f, {
\clef bass
\time 3/4
\slurUp
bes2.-\markup{\italica tempo} ( \ |
ees,2.\mf \ | bes'2. \ |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
%%
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Hi,
how about:
\version 2.18.2
atempo = #(make-dynamic-script (markup #:normal-text #:italic atempo))
\relative f, {
\clef bass
\time 3/4
\slurUp
%% To avoid too short Hairpin:
\once \override Hairpin.minimum-length = 12 %% adjust the value
%% Optional:
%\once \override DynamicText.self-alignment-X = #-0.5 %% adjust the value
bes2.(\atempo \ |
ees,2.\mf \ |
bes'2. \ |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
Cheers,
Harm
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Re: [SPAM] Re: openLilyLib snippets repository renamed
Am 28.06.2014 16:47, schrieb Pierre Perol-Schneider: Hi Urs, 2014-06-28 16:41 GMT+02:00 Urs Liska u...@openlilylib.org: I'm not completely sure about forks. So if you have forked the snippets repository please check for yourself or get back to Janek or me directly so we can sort it out manually. It seams that it has been renamed automatically. Cheers, Pierre If that's true that means that anybody who has forked the repository should update the remote pointing to the fork and the remote pointing to the main repository as well. Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re:Variable length bars (Phil Holmes)
On Fri, 2014-06-27 at 08:30 -0500, Andrew A. Cashner wrote: Phil, You're absolutely right (and I apologize if I suggested you didn't know that)---as you say, my terms weren't precise either. In medieval and Renaissance theory, C is tempus imperfectum cum prolatione minore, cut C is tempus imperfectum cum prolatione maiore; in other words, both are duple meters, one with the lesser note values (a semibreve tactus divided into minims), and one with greater note values (a breve tactus divided into semibreves). Here's what Richard Rastall says in *Grove Music Online*, s.v. Time signature: Some signatures are survivors of the system of proportions and mensuration signs (see NOTATION, §III, 3(VII), 4(III): [C] s used for 4/4 and [cut C] for 2/2 (also called alla breve). [C] s a relic of the medieval tempus imperfectum cum prolatione minore, a mensuration where each long contained two breves and each breve contained two semibreves. The sign [cut C] is now used to indicate quick duple time, the beat falling on the minim rather than the crotchet. In medieval terms the tactus in [C] time fell on the semibreve; in [cut C] time it fell on the breve. Best, Andrew On Fri, Jun 27, 2014 at 8:13 AM, Phil Holmes m...@philholmes.net wrote: With respect and collegiality, I just wanted to clarify that Dowland's original time signatures are C and cut C: these mensural time signatures only look like modern 4/4 or 2/2, but they are not the same. The C generally means that each tactus or metrical group is made up of two minims (modern half notes), and the cut C means that each tactus is made up of two semibreves (modern whole notes). But in this case I think the C meter just means, the pulse moves in minims--it does not indicate a regular grouping of beats the way a modern meter does. Downand's bar lines, it seems to me, indicate musical and poetic phrases, not a metrical pattern. I know there are wide disagreement about this, but in transcribing for modern performers, I think one should render the original into basic modern notation--that is, notation that will not surprise modern performers--while doing the least violence to the original. I don't think you gain any advantage in a piece like this from having mixed meters, and certainly not from having two simultaneous meters. In this case, I would recommend transcribing the piece in 4/2, with perhaps an odd 2/2 bar where necessary. Even if this means that a phrase ends in the middle of a bar, I think you can trust modern performers to recognize that and not automatically put a strong downbeat on the first beat of every bar. If you think about how the piece should sound, sensitive performers will probably produce similar results regardless of where you put the bar lines. Best, Andrew Cashner To be honest, I was aware that 4/2 and 2/2 are not the correct descriptions of the mensuration signs in the Dowland piece: however, to render them in LilyPond you would use these time signatures in a mensural context. Not convinced that C and cut C are correct either: probably the best description for the C would be tempus imperfectum and the cut C alla breve? -- Phil Holmes In the hope that this will provide some helpful references for others following this thread... Willi Apel's book is still a reliable reference for renaissance (white mensural) notation. It is available online at https://archive.org/details/notationofpolyph1953apel and elsewhere. In the following summary, the original note values are used (breve, semibreve, minim, semiminim, etc.). Modern editions often half, or even quarter, these values. The mensuration sign C indicates tempus imperfectum cum prolatione imperfecta which is to say that the breve is imperfect (divided into two, not three, semibreves) and the semibreve is also imperfect (divided into two minims). The tactus (a constant pulse of about 50 b.p.m. pervading renaissance music) falls on the semibreve. Cut-C is a sign of proportion indicating, at least before Josquin's period, that the tactus falls on the breve (hence alla breve), and so the music is effectively twice as fast as the same notes rendered in C. Both the tempus and prolation remain imperfect. By Dowland's era, however, cut-C was used interchangeably with C, and any effect of this proportion needs to be deduced from the context. In the case of Come ye heavy states of night, for which a facsimile is available at http://imslp.org/wiki/Special:ImagefromIndex/278945 , the canto and tablature are presented in score format, with the canto in C and the tablature in cut-C, so we can infer that these signs are meant to be equivalent. As for bar lines, which are notably absent from the alto, tenor and bass parts, they are probably intended to do no more than indicate temporal congruences between the canto voice and the lute. Certainly the bar lines had not yet, by this period,
Re: (8va) to extend to barline
Hi Ming,
2014-06-28 18:37 GMT+02:00 MING TSANG tsan...@rogers.com:
Any help is appreciated.
Please provide compilable example.
This should do what you're looking for :
{
\once\override Staff.OttavaBracket.minimum-length = #30
\once\override Staff.OttavaBracket.extra-offset = #'(30 . 0)
\ottava #1
c''1
\ottava #0
}
%%%
Cheers,
Pierre
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Re: (8va) to extend to barline
Sorry! I did a cut paste in my previous email. Here is a compilable .ly file.
Phil: thank you for the info per Elaine Gould.
Pierre: Where do I put your code? I put if before line 26 and it is not what
I expected.
Emmanuel,
Ming.
On Saturday, June 28, 2014 3:55:01 PM, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com wrote:
Hi Ming,
2014-06-28 18:37 GMT+02:00 MING TSANG tsan...@rogers.com:
Any help is appreciated.
Please provide compilable example.
This should do what you're looking for :
{
\once\override Staff.OttavaBracket.minimum-length = #30
\once\override Staff.OttavaBracket.extra-offset = #'(30 . 0)
\ottava #1
c''1
\ottava #0
}
%%%
Cheers,
Pierre\version 2.19.8
\language english
ottavaa = {
\ottava 1
\set Staff.ottavation = \markup \bold \concat {8 \tiny \raise #0.7
va }
}
ottavab = {
\ottava -1
\set Staff.ottavation = \markup \bold \concat{ 8 \tiny vb }
}
global = {
\key f \major
\time 4/4
}
right = {
\global
c''e''c'''4 \tuplet 3/2{c'c''8 d'd'' e'e''} e'g'e''4 f'a'f'' |%m66
f'bf'f''2
\ottavaa
bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
\set Staff.ottavation = #(8va) bf'1\fermata %m68
r2 \ottava #0 r8 c''8( g'' f''16 a'') |%m69
bf''4. a'16 bf' a' f' c' f'~4 |%m71
\ottavab
f g a 1\arpeggio %m72
}
\score {
\new Staff = right \with {
} \right
\layout { }
}
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Re: (8va) to extend to barline
2014-06-28 23:35 GMT+02:00 MING TSANG tsan...@rogers.com: Pierre: Where do I put your code? I put if before line 26 and it is not what I expected. With these settings : ... \once\override Staff.OttavaBracket.minimum-length = #10 \once\override Staff.OttavaBracket.extra-offset = #'(10 . 0) See enclosed what I get. What did you expect ? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (8va) to extend to barline
Pierre: Thank you very much. It is exactly the same as the score sheet I am trying to transcribe. Emmanuel, Ming. On Saturday, June 28, 2014 5:43:38 PM, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com wrote: 2014-06-28 23:35 GMT+02:00 MING TSANG tsan...@rogers.com: Pierre: Where do I put your code? I put if before line 26 and it is not what I expected. With these settings : ... \once\override Staff.OttavaBracket.minimum-length = #10 \once\override Staff.OttavaBracket.extra-offset = #'(10 . 0) See enclosed what I get. What did you expect ?___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weird spacing related to barlines
Phil Holmes mail at philholmes.net writes:
Can anyone explain what's going on here?
\score {
\new MensuralStaff {
\layout {
\context {
\Score
\override SpacingSpanner #'spacing-increment = #0
\remove Default_bar_line_engraver
}}}
The Default_bar_line_engraver works oddly, in that it turns bar lines
on and off. Without it, when you say \bar| in the music, you start
getting barlines after every note, and a double barline after every
measure. We don't see them because the MensuralStaff sets barlines
to be invisible.
\override SpacingSpanner #'spacing-increment = #0.0
asks for zero space between notes, but there is no ragged-right,
so LilyPond tries to stretch out the lines, and the space between
barlines is the only space that can stretch.
The barlines use a different setting for spacing
\override BarLine #'space-alist #'first-note = #'( fixed-space . 0.0)
for historical reasons, and unfortunately.
If you don't have measures, maybe leave Default_bar_line_engraver
in place, and just stop the measure-counting with
\context {\Score timing = ##f }
and put \bar wherever a break would be allowable.
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