Re: thanks again for the editionEngraver
Hi Janek,
your predefined context are cool :)
I see them in context with my lalily templates -- they will of course
benifit. And the editionEngraver can indeed take advantage from specific
context names. But still there need to be a way to separate (for
example) violin 1 and 2. So I will try to integrate the context-id -
perhaps context-name will be optional and one can choose between a
counter and a context-id.
I am still on a trip, where we sing Arnold Schönbergs Friede auf
Erden, a piece from Jaakko Mäntyjärvy and some more. Great music :)
But I hope to get back to work on this in about 2 weeks.
Best,
Jan-Peter
On 28.07.2014 23:28, Janek Warchoł wrote:
Hi,
2014-07-28 3:38 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
Hi Jan-Peter,
I think the most complicated part is addressing multiple voices in one
Staff.
[…]
propably there are more things to modify to make it more intuitive.
I think the stated problem would be solved *AND* the whole machinery made
more intuitive by allowing a context to be “direct addressed”, i.e., the
context
\new Staff = “MyStaff” \someMusic
would be mod-ed using something like
\editionMod ThisEdition 1 0/4 APiece.MyStaff \override …
as opposed to
\editionMod ThisEdition 1 0/4 APiece.Staff.B \override …
Maybe it would be possible to take advantage of my work on predefined
contexts for instruments?
(https://github.com/openlilylib/openlilylib/tree/master/templates/predefined-instruments)
With predefined instruments, instead of writing
\new Staff = violin {
% music...
}
\new Staff = viola {
% music...
}
you basically write
\new ViolinStaff {
% music...
}
\new ViolaStaff {
% music...
}
(except that i haven't defined Violins and Violas yet, right now i
only have vocal stuff). This makes it possible to do
\new ViolinStaff {
% music...
}
\new ViolaStaff {
% music...
}
\layout {
\override ViolinStaff.NoteHead #'color = #red
}
to get just the Violin's notes colored red, achieving true separation
of content from layout.
...apart from the fact that you'll also get a bunch of specific
settings for each instrument, like midiInstrument and InstrumentName
:)
If i understood how Jan-Peter's engraver works, i think that using my
predefined instruments should make it possible to write
\new ViolinStaff \someMusic
and mod it using
\editionMod ThisEdition 1 0/4 APiece.ViolinStaff \override …
since there usually should be one XxxStaff in the score. Actually,
it's dead easy to define new instruments, even just for the sake of
having unique contexts:
% syntax: \newInstrument name parentName groupName staffSettings voiceSettings
\newInstrument ViolinI Violin StaffGroup \with { instrumentName
= ViolinI } \with { }
What do you think?
Janek
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Re: Where to Download the New Music Fonts?
Hi tisimst, tisimst wrote Am I a pushover or what? For those of you who'd really, REALLY like to try this out, check out this page, which has downloads for the patched file and two fonts Gonville and Cadence (sorry, the rest will have to wait for now): https://sites.google.com/site/tisimst/Home/custom-font-how-to In this link you gave us, there is a small problem with the second picture (the one showing how to set up the Gonville font). You can see that there is no key signature in that picture, but the score has some empty space where the key signature should be. Is this behaviour normal? Best regards, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/Where-to-Download-the-New-Music-Fonts-tp165035p165061.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Column line spacing changed with 2.18
Javier Ruiz-Alma jav...@ruiz-alma.com writes: Need troubleshooting help with a two-line markup block. The block is used for the copyright statement in scores published by Mutopia and has to remain dimensionally stable over a wide range of possible staff-sizes. To accomplish this, \abs-fontsize characters and \override #'(baseline-skip . 0 ) was used in an attempt to minimize any horizontal and vertical scaling with the various staff-size submitted for publication. With v2.18.2, I noticed (baseline-skip . 0 ) no longer renders with zero space between lines of text, as it did with 2.14.2 and 2.16.1. A separator bar made up of two stacked vertical text bars now renders with a hairline in-between. Is there a way to remove this added padding? It would appear to be at least correlated to URL:https://code.google.com/p/lilypond/issues/detail?id=3483, version 2.17.24 (it is easy to do git revert 6e8698dcb9a9b9a98d8b1a644c84fcb737f99bdc in order to experiment with this). It is not clear to me what the exact relation is, however. It may be that the problem just surfaces with different sizes. The change results in pango_font_description_set_size receiving numbers that are rounded rather than truncated, so pango_font_description_set_size will receive a number that may be larger by up to 0.5 than the exact number. I would think that this does not affect the overall problem but will likely change the cases where those are most prevalent. I might be mistaken here, however. That would warrant experimentation. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Column line spacing changed with 2.18
From: David Kastrup It would appear to be at least correlated to URL:https://code.google.com/p/lilypond/issues/detail?id=3483, version 2.17.24 (it is easy to do git revert 6e8698dcb9a9b9a98d8b1a644c84fcb737f99bdc in order to experiment with this). It is not clear to me what the exact relation is, however. It may be that the problem just surfaces with different sizes. The change results in pango_font_description_set_size receiving numbers that are rounded rather than truncated, so ?pango_font_description_set_size will receive a number that may be larger by up to 0.5 than the exact number. I would think that this does not affect the overall problem but will likely change the cases where those are most prevalent. The problem bars are set to \abs-fontsize #12. In trying to find a fix for 2.18.2, would it be worth testing other values close to 12 that minimize rounding error? What is the base value? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: predefined mandolin tuning wrong?
Please don't reply off-list. That makes it impossible for others to chip in. I am not going to dissect the code dump you included in your reply. I don't think it makes sense for others to even try, so I am not including it in this reply copied to the list. BB bb-543...@versanet.de writes: I found a very lengthy lilypond code (about 200 lines) in the internet You'll find that the internet contains a lot of partly dubious advice for a lot of versions. and tried to convert it from guitar to mandolin. For testing I shortened the original to \version 2.12.3 And 2.12.3 is positively ancient. Not many people will be able to give you advice for that version, and if you are indeed _using_ version 2.12, you should really upgrade. Please consult the manual coming with your version of LilyPond. It will most likely also be found on the internet, but make sure to consult the version corresponding to the version you have installed. If you take some random code floating on the internet not corresponding to your version of LilyPond and randomly outcomment lines until arriving at valid input, the chances of having working code are rather small. So please start from the LilyPond manual. One link to the respective chapter for LilyPond 2.18, the current stable version, would be URL:http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fretted-strings#predefined-fret-diagrams which includes an example for mandoline. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cadenzaToMusic function, odd behavior causing barcheck failures
On 29/07/14 04:46, James Harkins wrote:
Hi,
Some time ago, a user here gave me a cadenzaToMusic function, which
could stretch rests in non-cadenza parts to match the duration of a
cadenza. (That's because I was having problems with compressing the
cadenza music to fit in a normal-length bar.)
More for information to the list really@
Part of the original thread you had it seems was from 2012 - it's only
fair when you say 'sometime ago' as this will make a difference on the
version of LP you were using at the time.
http://lists.gnu.org/archive/html/lilypond-user/2012-04/msg00125.html I
think is that thread.
Which seems to imply this was originally written for \version 2.14.x and
you're now using 2.18.x - again just to confirm so that the dev who
helped (Thomas Morely by the looks of it) has a chance
;)
I've used it in a couple of pieces and it's worked beautifully so far,...
In those 'so far' pieces, were they all for LP 2.14.x or was it working
in a case for LP 2.18.2 (i.e. is this the first time you are using
2.18.2 and find it no longer works as expected)?
James
(whole rest, fermata) | 2/4 R2 | 6/8 (next section)
Instead, I get
(whole rest, fermata) | 2/4 R2 ...
... and here, the 6/8 appears in the middle of the bar. It looks like
the barlines are calculated as if the 2/4 bar contained three quarters.
The issue doesn't reproduce in two cases:
- If I replace the \cadenzaToMusic in the \score block with rests
adding up to the right duration, or
- If I put the part with the cadenza notes (with *no* \cadenzaToMusic)
in the lowest staff. (I can't do that b/c it's a clarinet cadenza and
the piece also uses bassoon.)
I'm really quite perplexed why this is happening. Can someone take a
look?
Thanks,
hjh
\language english
\version 2.18.2
cadenzaToMusic =
#(define-music-function (parser location cadenzaMusic music)
(ly:music? ly:music?)
Adjust the length of `music and the measureLength, to fit the
length of
`cadenzaMusic
(let* ((clen (ly:music-length cadenzaMusic))
(mlen (ly:music-length music))
(factor (ly:moment-div clen mlen))
(compressed (ly:music-compress music factor)))
;; (format #t factor : ~a\n factor)
#{
\set Timing.measureLength = $clen
$compressed
\unset Timing.measureLength
#}))
clarCadenzaC = { \cadenzaOn \repeat unfold 31 r8 \cadenzaOff }
globalB = {
\time 4/4
\cadenzaOn \cadenzaToMusic \clarCadenzaC s1 \cadenzaOff
\bar |
\time 2/4 s2
\time 6/8 s2.
}
\score { \new Staff
\globalB
\relative c' {
\cadenzaOn
% use the following line: barcheck failed, and 6/8 meter is in
the wrong place
\cadenzaToMusic \clarCadenzaC r1\fermata
% use the following line instead (comment the previous one), no
problem
%r8 \repeat unfold 15 { r4 } % = 31 eighth notes
\cadenzaOff
R2
cs8 d e cs4.
}
}
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Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 00:58, Abraham Lee tisimst.lilyp...@gmail.com wrote: 2. LilyPond needs to be patched in order actually use the fonts. I think this may be the problem in the case of the microtonal accidentals as well: currently, a font must be integrated statically into the LilyPond sources, that is, one cannot merely link it dynamically at runtime. I have vague memory this is particularly true for key signature accidentals. A tweak might focus on dynamic linking. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29. Juli 2014 14:47:57 MESZ, Hans Aberg haber...@telia.com wrote: On 29 Jul 2014, at 00:58, Abraham Lee tisimst.lilyp...@gmail.com wrote: 2. LilyPond needs to be patched in order actually use the fonts. I think this may be the problem in the case of the microtonal accidentals as well: currently, a font must be integrated statically into the LilyPond sources, that is, one cannot merely link it dynamically at runtime. I have vague memory this is particularly true for key signature accidentals. A tweak might focus on dynamic linking. Maybe you should browse the recent archives: this actually is what we're talking about Urs ___ 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: Where to Download the New Music Fonts?
On 29 Jul 2014, at 14:53, Urs Liska u...@openlilylib.org wrote: On 29. Juli 2014 14:47:57 MESZ, Hans Aberg haber...@telia.com wrote: On 29 Jul 2014, at 00:58, Abraham Lee tisimst.lilyp...@gmail.com wrote: 2. LilyPond needs to be patched in order actually use the fonts. I think this may be the problem in the case of the microtonal accidentals as well: currently, a font must be integrated statically into the LilyPond sources, that is, one cannot merely link it dynamically at runtime. I have vague memory this is particularly true for key signature accidentals. A tweak might focus on dynamic linking. Maybe you should browse the recent archives: this actually is what we're talking about Since you know about it, perhaps you can provide a reference - I do not see dynamic linking being mentioned. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: predefined mandolin tuning wrong?
Just to deliver the solution to my problem, find the working example
code I have worked out to redefine every chord (for guitar or mandolin
or ...) to whatever notes one likes. (But take care - there is no
instance to check it for melodic correctness!)
The key and source of my was the line
\set Staff.stringTunings = #mandolin-tuning
in the \context FretBoards { }
If it is missing lilypond will always use 6 strings - obviously a
preset? I thought the line
\include predefined-mandolin-fretboards.ly
will do it - obviously I was wrong.
In the given example code I demonstrate some errors just to demonstrate
the users power.
1st bes7.13 is defindet with 5 arguments - will not fit to the 4 strings
of the mandolin.
2nd d9 is never g-d-a-e, but you can do it.
So, you have absolute power over your chord definitions.
(There are given some other possibilitys for to redfine chords in the
manual. I think mine is simpler and more logic at least for me. Som
users may disagree - no problem, do it as you like it!)
Regards BB
\version 2.18.0
\include predefined-mandolin-fretboards.ly
\storePredefinedDiagram #default-fret-table
\chordmode {bes:7.13}
%#guitar-tuning
%#6;x;6;7;8;x;
#mandolin-tuning
%#1;1;5;5;
% example with to many arguments!
#x;5;4;5;5;x;
% hang over the strings
\storePredefinedDiagram #default-fret-table
\chordmode {a:m7}
%#guitar-tuning
%#5;x;5;5;5;x;
#mandolin-tuning
#2;2;4;4;
\storePredefinedDiagram #default-fret-table
\chordmode {d:9}
% wrong just to demonstrate the
% absolute power to redefine every chord
#mandolin-tuning
#o;o;o;o;
theChords = \chordmode {
\set majorSevenSymbol = \markup { maj7 }
bes4:7.13
a2:m7 d2:9
}
staffMelody = {
\key e \minor
\times 2/3 {e'8 fis'8 g'8}
c''2.
}
\score {
\context ChordNames {
\theChords }
\context FretBoards {
*\set Staff.stringTunings = #mandolin-tuning*
\theChords }
\new Staff \with {
\consists Volta_engraver
}
{
\context Voice = voiceMelody { \staffMelody }
}
\layout {
\context {
\Score
\remove Volta_engraver
}
}
}
On 29.07.2014 05:50, David Kastrup wrote:
BB bb-543...@versanet.de writes:
Sorry, I reduced the code too much! I started with the following code
trying to redefine a fretboard:
\version 2.18.0
#default-fret-table
\chordmode {a:m7}
%#guitar-tuning
%#5;x;5;5;5;x;
#mandolin-tuning
#o;o;o;o;
That's just gibberish. What documentation are you working from?
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Re: Where to Download the New Music Fonts?
Gilberto Agostinho wrote Hi tisimst, In this link you gave us, there is a small problem with the second picture (the one showing how to set up the Gonville font). You can see that there is no key signature in that picture, but the score has some empty space where the key signature should be. Is this behaviour normal? Best regards, Gilberto Ahah! You've discovered my mysterious key signature disappearing trick... (just kidding). How interesting... You are correct that there is a small problem with the key signature. Not sure why it's not showing up (i.e., no, it's not normal behavior) Well, in a way, I excuse myself a little since I didn't really do anything to Gonville. I expected that there wouldn't be any issues, but I guess I was wrong. It turns out that this is a problem with the SVG output only (where I pulled the image from), but the PDF output works just fine. I'll guess I'll have a look at it anyway to get that fixed. Sorry, folks! And thank you, Gilberto for bringing that to my attention. Not sure how I missed it :) I'll put up a new image shortly. Three cheers for Gilberto for spotting that :) -Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Where-to-Download-the-New-Music-Fonts-tp165035p165070.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
2014-07-29 6:59 GMT+02:00 Antonio Gervasoni agervas...@gmail.com:
Hi everyone,
I'm working on a score where I need hairpins to end on a specific text. I do
this because I don't really like the hairpins with a circle tip. I prefer to
use n. for niente and pd. for perdendosi (the first one for strings, the
second one for winds).
Now, on some occasions the hairpin must end with the text placed just before
the bar line, like this:
All links to images are broken in your _mail_
I can follow them only on nabble.
http://lilypond.1069038.n5.nabble.com/file/n165055/Screen_Shot_2014-07-28_at_11.png
As I find the typical solution of creating a second voice with spacers
rather clumsy, I managed to come up with a better one by tweaking the
snippet for placing text under a hairpin. However, I'm know nothing of
scheme so my solution is far from perfect. The code is here:
[...]
How about the code below. Works with linebreaking hairpins as well.
Needs some real life testing though.
\version 2.18.0
%% from output-lib.scm, extended to get the possibility to return other
%% hairpin-length than default
#(define ((elbowed-hairpin coords x-length-corr mirrored?) grob)
Create hairpin based on a list of @var{coords} in @code{(cons x y)}
form. @code{x} is the portion of the width consumed for a given line
and @code{y} is the portion of the height. For example,
@code{'((0.3 . 0.7) (0.8 . 0.9) (1.0 . 1.0))} means that at the point
where the hairpin has consumed 30% of its width, it must
be at 70% of its height. Once it is to 80% width, it
must be at 90% height. It finishes at
100% width and 100% height. @var{mirrored?} indicates if the hairpin
is mirrored over the Y-axis or if just the upper part is drawn.
Returns a function that accepts a hairpin grob as an argument
and draws the stencil based on its coordinates.
The length of that hairpin may be adjusted with @var{x-length-corr}
@lilypond[verbatim,quote]
#(define simple-hairpin
(elbowed-hairpin '((1.0 . 1.0)) #t))
\\relative c' {
\\override Hairpin #'stencil = #simple-hairpin
a\\p\\ a a a\\f
}
@end lilypond
(define (pair-to-list pair)
(list (car pair) (cdr pair)))
(define (normalize-coords goods x y)
(map
(lambda (coord)
(cons (* x (car coord)) (* y (cdr coord
goods))
(define (my-c-p-s points thick decresc?)
(make-connected-path-stencil
points
thick
(if decresc? -1.0 1.0)
1.0
#f
#f))
;; outer let to trigger suicide
(let ((sten (ly:hairpin::print grob)))
(if (grob::is-live? grob)
(let* ((decresc? (eq? (ly:grob-property grob 'grow-direction) LEFT))
(thick (ly:grob-property grob 'thickness 0.1))
(thick (* thick (layout-line-thickness grob)))
(x-ext (ly:stencil-extent sten X))
(xex (cons (car x-ext) (- (cdr x-ext) x-length-corr)))
(lenx (interval-length xex))
(yex (ly:stencil-extent sten Y))
(leny (interval-length yex))
(xtrans (+ (car xex) (if decresc? lenx 0)))
(ytrans (car yex))
(uplist (map pair-to-list
(normalize-coords coords lenx (/ leny 2
(downlist (map pair-to-list
(normalize-coords coords lenx (/ leny -2)
(ly:stencil-translate
(ly:stencil-add
(my-c-p-s uplist thick decresc?)
(if mirrored? (my-c-p-s downlist thick decresc?) empty-stencil))
(cons xtrans ytrans)))
'(
#(define (shortened-hairpin corr)
(elbowed-hairpin '((0 . 0) (1.0 . 1.0)) corr #t))
#(define (hairpin-with-right-text text grob)
Rebuild a hairpin and add @var{text} to the right.
The hairpin is shortened by the length of @var{text},
@code{bound-padding} is taken into account
(let* ((text-stil (grob-interpret-markup grob text))
(text-stil-x-extent (ly:stencil-extent text-stil X))
(text-stil-length (interval-length text-stil-x-extent))
(staff-space
(ly:output-def-lookup (ly:grob-layout grob) 'staff-space))
(bound-padding
(ly:grob-property grob 'bound-padding staff-space))
(x-corr (+ text-stil-length (/ bound-padding 2
(ly:grob-set-property! grob 'stencil (shortened-hairpin x-corr))
(let* ((stencil (ly:grob-property grob 'stencil))
(stil-x-ext
(ordered-cons
(car (ly:stencil-extent stencil X))
(cdr (ly:stencil-extent stencil X
(new-stencil
(ly:stencil-add
(ly:stencil-aligned-to stencil Y CENTER)
(ly:stencil-translate-axis
(ly:stencil-aligned-to text-stil Y CENTER)
(+ (cdr stil-x-ext) bound-padding)
X
(ly:grob-set-property! grob 'stencil new-stencil
#(define
Re: Where to Download the New Music Fonts?
Am 29.07.2014 14:58, schrieb Hans Aberg: On 29 Jul 2014, at 14:53, Urs Liska u...@openlilylib.org wrote: On 29. Juli 2014 14:47:57 MESZ, Hans Aberg haber...@telia.com wrote: On 29 Jul 2014, at 00:58, Abraham Lee tisimst.lilyp...@gmail.com wrote: 2. LilyPond needs to be patched in order actually use the fonts. I think this may be the problem in the case of the microtonal accidentals as well: currently, a font must be integrated statically into the LilyPond sources, that is, one cannot merely link it dynamically at runtime. I have vague memory this is particularly true for key signature accidentals. A tweak might focus on dynamic linking. Maybe you should browse the recent archives: this actually is what we're talking about Since you know about it, perhaps you can provide a reference - I do not see dynamic linking being mentioned. It was discussed in this thread: http://lists.gnu.org/archive/html/lilypond-devel/2014-07/msg00216.html HTH Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On Tue, Jul 29, 2014 at 7:35 AM, Urs Liska u...@openlilylib.org wrote: Am 29.07.2014 14:58, schrieb Hans Aberg: On 29 Jul 2014, at 14:53, Urs Liska u...@openlilylib.org wrote: On 29. Juli 2014 14:47:57 MESZ, Hans Aberg haber...@telia.com wrote: On 29 Jul 2014, at 00:58, Abraham Lee tisimst.lilyp...@gmail.com wrote: 2. LilyPond needs to be patched in order actually use the fonts. I think this may be the problem in the case of the microtonal accidentals as well: currently, a font must be integrated statically into the LilyPond sources, that is, one cannot merely link it dynamically at runtime. I have vague memory this is particularly true for key signature accidentals. A tweak might focus on dynamic linking. Maybe you should browse the recent archives: this actually is what we're talking about Since you know about it, perhaps you can provide a reference - I do not see dynamic linking being mentioned. It was discussed in this thread: http://lists.gnu.org/archive/html/lilypond-devel/2014-07/msg00216.html HTH Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Actually, I'm not sure that's what Hans was asking. There was some work done on a font for Ekmelic microtonal music that ended up being called Ekmelily for its use with LilyPond: http://www.ekmelic-music.org/en/ekmelily.htm You might want to look at this. They created their own font for the accidentals and used a custom file that made them accessible with relative ease. This font is installed in the normal system location and there's only one to worry about. It's pretty cool! -Abraham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 15:35, Urs Liska u...@openlilylib.org wrote: Maybe you should browse the recent archives: this actually is what we're talking about Since you know about it, perhaps you can provide a reference - I do not see dynamic linking being mentioned. It was discussed in this thread: http://lists.gnu.org/archive/html/lilypond-devel/2014-07/msg00216.html How much space do these new fonts take up? The OS X LilyPond distribution is on ca 50 MB, about a third of Firefox. It might be best to have them in the distribution, so that .ly compile without having to download stuff. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 15:45, Abraham Lee tisimst.lilyp...@gmail.com wrote: On Tue, Jul 29, 2014 at 7:35 AM, Urs Liska u...@openlilylib.org wrote: Am 29.07.2014 14:58, schrieb Hans Aberg: Maybe you should browse the recent archives: this actually is what we're talking about Since you know about it, perhaps you can provide a reference - I do not see dynamic linking being mentioned. It was discussed in this thread: http://lists.gnu.org/archive/html/lilypond-devel/2014-07/msg00216.html Actually, I'm not sure that's what Hans was asking. There was some work done on a font for Ekmelic microtonal music that ended up being called Ekmelily for its use with LilyPond: http://www.ekmelic-music.org/en/ekmelily.htm You might want to look at this. They created their own font for the accidentals and used a custom file that made them accessible with relative ease. This font is installed in the normal system location and there's only one to worry about. It's pretty cool! I think that if you do that, microtonal accidentals will still not work in key signatures. For that, one has to tweak the sources, and recompile LilyPond. Key signatures with microtonal accidentals are used in for example Persian and Turkish music. But it might be possible to look around for number of microtonal suggestions, and include them in a font that comes with the LilyPond distribution. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 15:45, Abraham Lee tisimst.lilyp...@gmail.com wrote: There was some work done on a font for Ekmelic microtonal music that ended up being called Ekmelily for its use with LilyPond: http://www.ekmelic-music.org/en/ekmelily.htm You might want to look at this. They created their own font for the accidentals and used a custom file that made them accessible with relative ease. This font is installed in the normal system location and there's only one to worry about. It's pretty cool! Graham Breed wrote a file for equal temperaments for an earlier version of LilyPond, which I was able to tweak for the latest version (discussed on the devel list). When using the currently available microtonal symbols, then also key signatures seemed to work fine - a problem in the past. So it seems that all one has to do in order to get decent microtonality into LilyPond is to include this version of Graham’s file in the distribution and add microtonal symbols so that they can be called like the ones currently available. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cadenzaToMusic function, odd behavior causing barcheck failures
On Jul 29, 2014 7:29 AM, James pkx1...@gmail.com wrote: On 29/07/14 04:46, James Harkins wrote: Some time ago, a user here gave me a cadenzaToMusic function, which could stretch rests in non-cadenza parts to match the duration of a cadenza. (That's because I was having problems with compressing the cadenza music to fit in a normal-length bar.) More for information to the list really@ Part of the original thread you had it seems was from 2012 - it's only fair when you say 'sometime ago' as this will make a difference on the version of LP you were using at the time. http://lists.gnu.org/archive/html/lilypond-user/2012-04/msg00125.html I think is that thread. Which seems to imply this was originally written for \version 2.14.x and you're now using 2.18.x - again just to confirm so that the dev who helped (Thomas Morely by the looks of it) has a chance Good point. I just double-checked the source for the 2012 piece. I used 2.15.36 for it. (And thanks for tracking down the old thread -- now I can give proper credit in the new piece's acknowledgments!) I also used a modified version of the function, which skips setting the measureLength, for a 2013 piece that I compiled with 2.16.2. In those 'so far' pieces, were they all for LP 2.14.x or was it working in a case for LP 2.18.2 (i.e. is this the first time you are using 2.18.2 and find it no longer works as expected)? I had never used it with 2.18.x before -- first try with 2.18, first time it failed. It's got to be something with the set Timing.measureLength -- the time signature engraver puts 6/8 in the right place rhythmically, but the barlines appear as if the 2/4 bar were actually 3 beats. Will play with it some more in a little while. Thanks, hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cadenzaToMusic function, odd behavior causing barcheck failures
James pkx1...@gmail.com writes:
\language english
\version 2.18.2
cadenzaToMusic =
#(define-music-function (parser location cadenzaMusic music)
(ly:music? ly:music?)
Adjust the length of `music and the measureLength, to fit the
length of
`cadenzaMusic
(let* ((clen (ly:music-length cadenzaMusic))
(mlen (ly:music-length music))
(factor (ly:moment-div clen mlen))
(compressed (ly:music-compress music factor)))
;; (format #t factor : ~a\n factor)
#{
\set Timing.measureLength = $clen
$compressed
\unset Timing.measureLength
#}))
Uh, \unset Timing.measureLength? I don't think that LilyPond is going
to be happy with an unset measure length.
--
David Kastrup
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Re: Haipins ending with text: scheme help
Thank you so much, Thomas! I'll try it right away and will post the results. Yes, I'm aware of the broken links. I was unable to upload the images on my first attempt (on Nabble) so I modified my post and included links to files in my Dopbox instead. I couldn't find a way to do the same on Gmane. For anyone else that might follow this thread, the images are here https://dl.dropboxusercontent.com/u/4857747/a.png , here https://dl.dropboxusercontent.com/u/4857747/b.png and here https://dl.dropboxusercontent.com/u/4857747/c.png . Thanks again! Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055p165079.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple stanzas to selection of melody
Am 29.07.2014 01:28, schrieb Marten: Hello Abraham, Simon, Thanks for your solutions and quick replies :) I decided to try to implement Simon's third solution, as it explicitly keeps the melody of the stanzas together with their texts. Ingenious - hadn't thought about a solution like that. I have two question about it though: 1. If I use \addlyrics instead of \new Lyrics for the stanzas, an ambitus will be rendered for the stanza and the refrain *separately* (a layout block activating the ambitus, must of course be added). If I use \new Lyrics, as in your solution, only one ambitus for the entire song is rendered (expected behaviour). Why is this so? I find the question a bit confusing. Looking at Abrahams example (in the answer he wrote) makes me wonder why you use separate voices for refrain and verse. I can’t see any necessity to do so and it contradicts the logic of the music: after all, refrain and stanza are not sung by different singers. If you use two different voices, it’s only natural that each gets an ambitus of its own. What would you expect? 2. If the stanza melody begins with a rest, the text gets aligned under the rest. Why? Please try once more to understand the difference in the mechanisms of my first and second examples: in the one with \addlyric, an association between lyrics and the voice is created and each syllable is associated with one note (thus, rests are skipped). The other way does not use direct relation between lyrics and notes: both are entered separately, with their own durations, and it’s up to you to get the alignment in time correct. Lilypond will print everything at the point of time where you put it, and if a rest and a lyric syllable come at the same point of time, they will be aligned. I hope you tried at least to understand the topic yourself from the lenghty and fully sufficient description in the manuals, to which I pointed you. Sometimes it takes a little time to comprehend, but it will save the time of the friendly persons on this list who help you with real problems. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cadenzaToMusic function, odd behavior causing barcheck failures
On Tuesday, July 29, 2014 11:15:50 AM EDT, David Kastrup wrote:
Uh, \unset Timing.measureLength? I don't think that LilyPond is going
to be happy with an unset measure length.
That makes sense, but does it apply to this case? There's a meter change
just after the \cadenzaToMusic call; wouldn't that reset the measure length
to that of the new time signature?
That is, if we have:
someMoment:
\set Timing.measureLength = $clen
music...
someMoment + music's duration:
\unset Timing.measureLength
\time 2/4
Will LilyPond unset the measure length, and then set it to a moment of 1
2? Or will the unset somehow override what \time is doing? (It seems to be
more like the latter, by observation, but this makes no sense.)
In any case, I found a solution for my score: instead of stretching rests
in other parts to match the cadenzas' durations, compress the cadenza notes
to match the duration of the other parts' rests.
squeezeCadenza =
#(define-music-function (parser location targetDur music)
(ly:moment? ly:music?)
Adjust the length of `music and the measureLength, to fit the length of
`cadenzaMusic
(let* ((mlen (ly:music-length music))
(factor (ly:moment-div targetDur mlen))
(compressed (ly:music-compress music factor)))
#{
$compressed
#}))
Resting part: \cadenzaOn R1 \cadenzaOff
Solo part: \cadenzaOn \squeezeCadenza #(ly:make-moment 1 1) \cadenzaNotes
\cadenzaOff
... and the subsequent meter changes behave as they should.
hjh
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Re: Haipins ending with text: scheme help
Thomas, I tried your solution. It's definitely far better than mine. Works flawlessly with pd. but not so well with n., which now experiences the same vertical displacement. Here https://dl.dropboxusercontent.com/u/4857747/d.png is how it looks when the n. is placed as a dynamic text attached to a rest, and here https://dl.dropboxusercontent.com/u/4857747/e.png how it looks with the code you provided. Of course, the difference is minimal, it's not so disturbing as the other one, so I suppose I can live with that. LOL On the other hand, is there a way to increase a little bit the space before the bar line? I feel the text is too close to it. Also, could you recommend a good source to learn Scheme? Thank you very much for your help! Sincerely, Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055p165082.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
Oops... I did ir again! The order of the images is inverted... so sorry! Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055p165083.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29/07/14 15:18, Hans Aberg wrote: Graham Breed wrote a file for equal temperaments for an earlier version of LilyPond, which I was able to tweak for the latest version (discussed on the devel list). When using the currently available microtonal symbols, then also key signatures seemed to work fine - a problem in the past. The latest code is here: https://bitbucket.org/x31eq/microlily I thought it was up to date. I can take patches if it isn't. So it seems that all one has to do in order to get decent microtonality into LilyPond is to include this version of Graham’s file in the distribution and add microtonal symbols so that they can be called like the ones currently available. Sagittal works for accidentals as a text font. It should work for key signatures as well, but I don't test that. I didn't use a music font because it was too much trouble to create a music font with Sagittal. Also, it's possible to use strings for chained accidentals with a text font. This would be important for Extended Helmholtz if anybody wired it up. With 2.16.0, everything works except the accidentals sometimes crash the barlines. Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
2014-07-29 20:56 GMT+02:00 Antonio Gervasoni agervas...@gmail.com: Thomas, I tried your solution. It's definitely far better than mine. Works flawlessly with pd. but not so well with n., which now experiences the same vertical displacement. Here https://dl.dropboxusercontent.com/u/4857747/d.png is how it looks when the n. is placed as a dynamic text attached to a rest, and here https://dl.dropboxusercontent.com/u/4857747/e.png how it looks with the code you provided. Of course, the difference is minimal, it's not so disturbing as the other one, so I suppose I can live with that. LOL On the other hand, is there a way to increase a little bit the space before the bar line? I feel the text is too close to it. Also, could you recommend a good source to learn Scheme? Thank you very much for your help! Sincerely, Antonio Hi Antonio, could you provide tiny code-examples causing the difference? No need to reinclude my scheme-coding. Just how you use it. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
Hi Thomas,
Sure! Here it is:
%%% Definition of the two types of hairpin
hairpinN = \hairpinWithRightText \markup \italic n.
hairpinPD = \hairpinWithRightText \markup \italic pd.
%%% Example
{
\new Staff \relative c''' {
a1(\p\
gis2.)\mf\ r4\n
a1(\p\
dis2.)\mf\ r4\n
e2(\p\ dis4 e \break
f2 g
\hairpinN
gis1\mp\)
R1\!
R1
}
}
Best,
Antonio
On Tue, Jul 29, 2014 at 2:28 PM, Thomas Morley-2 [via Lilypond]
ml-node+s1069038n165085...@n5.nabble.com wrote:
2014-07-29 20:56 GMT+02:00 Antonio Gervasoni [hidden email]
http://user/SendEmail.jtp?type=nodenode=165085i=0:
Thomas,
I tried your solution. It's definitely far better than mine. Works
flawlessly with pd. but not so well with n., which now experiences
the
same vertical displacement. Here
https://dl.dropboxusercontent.com/u/4857747/d.png is how it looks
when
the n. is placed as a dynamic text attached to a rest, and here
https://dl.dropboxusercontent.com/u/4857747/e.png how it looks with
the
code you provided.
Of course, the difference is minimal, it's not so disturbing as the
other one, so I suppose I can live with that. LOL
On the other hand, is there a way to increase a little bit the space
before
the bar line? I feel the text is too close to it.
Also, could you recommend a good source to learn Scheme?
Thank you very much for your help!
Sincerely,
Antonio
Hi Antonio,
could you provide tiny code-examples causing the difference?
No need to reinclude my scheme-coding. Just how you use it.
Cheers,
Harm
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Re: thanks again for the editionEngraver
Hi Jan-Peter,
2014-07-29 9:34 GMT+02:00 Jan-Peter Voigt jp.vo...@gmx.de:
Hi Janek,
your predefined context are cool :)
Thanks!
I see them in context with my lalily templates -- they will of course
benifit. And the editionEngraver can indeed take advantage from specific
context names. But still there need to be a way to separate (for
example) violin 1 and 2.
As i said, defining new instrument contexts is very cheap - you can just do
\newInstrument ViolinI Violin StaffGroup\with { } \with { }
\newInstrument ViolinII Violin StaffGroup\with { } \with { }
and have ViolinI and ViolinII available.
So I will try to integrate the context-id -
perhaps context-name will be optional and one can choose between a
counter and a context-id.
Of course that would be a very nice feature, too :)
I am still on a trip, where we sing Arnold Schönbergs Friede auf
Erden, a piece from Jaakko Mäntyjärvy and some more. Great music :)
But I hope to get back to work on this in about 2 weeks.
Have a great time! I'm looking forward to lalily/editionEngraver updates :)
best,
Janek
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Music notation in our lives survey (all please read)
Everyone, I wanted to put this out there before I had made any announcement about all the new fonts, but I thought I might as well send it out now anyway because I'm still curious... The link below goes to another survey that I created a short time ago during the development of these fonts to try and get an understanding about how folks use music notation software, what kind of applications, opinions of score appearance, etc. So, if you'd be so kind as to fill this out, I'd greatly appreciate it. Again, please pass the link to your friends who use ANY notation software because it was intended to be non-LilyPond-specific. I thank you for your support, your enthusiasm, your willingness to help others. I really appreciate being part of this community and enjoy working with you all. Here's the link: http://kwiksurveys.com/s.asp?sid=7msyssv8h91874l378621 http://kwiksurveys.com/s.asp?sid=7msyssv8h91874l378621 BTW, the other survey about renaming AMADEUS is very interesting so far... It's taken a couple of turns I didn't expect. Regards, Abraham P.S. And just a reminder about these kwiksurveys: once you submit your final answers, you won't receive a confirmation of your submission. You'll just see an advertisement for their site. You can just close the browser window. This is the price I pay for a free subscription for their service :) -- View this message in context: http://lilypond.1069038.n5.nabble.com/Music-notation-in-our-lives-survey-all-please-read-tp165089.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 21:16, Graham Breed gbr...@gmail.com wrote: On 29/07/14 15:18, Hans Aberg wrote: Graham Breed wrote a file for equal temperaments for an earlier version of LilyPond, which I was able to tweak for the latest version (discussed on the devel list). When using the currently available microtonal symbols, then also key signatures seemed to work fine - a problem in the past. The latest code is here: https://bitbucket.org/x31eq/microlily I thought it was up to date. I can take patches if it isn’t. ... With 2.16.0, everything works except the accidentals sometimes crash the barlines. The one I made works with LilyPond 2.19.10 - just tested. It may be different from the one you have. So it seems that all one has to do in order to get decent microtonality into LilyPond is to include this version of Graham’s file in the distribution and add microtonal symbols so that they can be called like the ones currently available. Sagittal works for accidentals as a text font. It should work for key signatures as well, but I don't test that. At least in the past, I think that if one has not recompiled LilyPond for the font, key signatures won’t work. They do work with the built-in microtonal accidentals, though. I didn't use a music font because it was too much trouble to create a music font with Sagittal. Also, it's possible to use strings for chained accidentals with a text font. This would be important for Extended Helmholtz if anybody wired it up. This was one I had in mind. For those that do not know about these: it is basically a way to make sure that Just Intonation can be typeset; there is not enough of microtonal accidentals in the built-in set. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
2014-07-29 21:44 GMT+02:00 Antonio Gervasoni agervas...@gmail.com:
Hi Thomas,
Sure! Here it is:
Hi Antonio,
your example is not very helpful, because it does not show a dynamic
text attached to a rest.
And it does not compile, because of the unknown \n
%%% Definition of the two types of hairpin
hairpinN = \hairpinWithRightText \markup \italic n.
hairpinPD = \hairpinWithRightText \markup \italic pd.
%%% Example
{
\new Staff \relative c''' {
a1(\p\
gis2.)\mf\ r4\n -- ??
a1(\p\
dis2.)\mf\ r4\n
e2(\p\ dis4 e \break
f2 g
\hairpinN
gis1\mp\)
R1\!
R1
}
}
Anyway, I added some code, so that the added _text_ is always
vertically aligned to the _hairpin_ in the same manner (regarding its
baseline). At least for most european languages.
See attached.
HTH,
Harm
\version 2.18.0
%% from output-lib.scm, extended to get the possibility to return other
%% hairpin-length than default
#(define ((elbowed-hairpin coords x-length-corr mirrored?) grob)
Create hairpin based on a list of @var{coords} in @code{(cons x y)}
form. @code{x} is the portion of the width consumed for a given line
and @code{y} is the portion of the height. For example,
@code{'((0.3 . 0.7) (0.8 . 0.9) (1.0 . 1.0))} means that at the point
where the hairpin has consumed 30% of its width, it must
be at 70% of its height. Once it is to 80% width, it
must be at 90% height. It finishes at
100% width and 100% height. @var{mirrored?} indicates if the hairpin
is mirrored over the Y-axis or if just the upper part is drawn.
Returns a function that accepts a hairpin grob as an argument
and draws the stencil based on its coordinates.
The length of that hairpin may be adjusted with @var{x-length-corr}
@lilypond[verbatim,quote]
#(define simple-hairpin
(elbowed-hairpin '((1.0 . 1.0)) #t))
\\relative c' {
\\override Hairpin #'stencil = #simple-hairpin
a\\p\\ a a a\\f
}
@end lilypond
(define (pair-to-list pair)
(list (car pair) (cdr pair)))
(define (normalize-coords goods x y)
(map
(lambda (coord)
(cons (* x (car coord)) (* y (cdr coord
goods))
(define (my-c-p-s points thick decresc?)
(make-connected-path-stencil
points
thick
(if decresc? -1.0 1.0)
1.0
#f
#f))
;; outer let to trigger suicide
(let ((sten (ly:hairpin::print grob)))
(if (grob::is-live? grob)
(let* ((decresc? (eq? (ly:grob-property grob 'grow-direction) LEFT))
(thick (ly:grob-property grob 'thickness 0.1))
(thick (* thick (layout-line-thickness grob)))
(x-ext (ly:stencil-extent sten X))
(xex (cons (car x-ext) (- (cdr x-ext) x-length-corr)))
(lenx (interval-length xex))
(yex (ly:stencil-extent sten Y))
(leny (interval-length yex))
(xtrans (+ (car xex) (if decresc? lenx 0)))
(ytrans (car yex))
(uplist (map pair-to-list
(normalize-coords coords lenx (/ leny 2
(downlist (map pair-to-list
(normalize-coords coords lenx (/ leny -2)
(ly:stencil-translate
(ly:stencil-add
(my-c-p-s uplist thick decresc?)
(if mirrored? (my-c-p-s downlist thick decresc?) empty-stencil))
(cons xtrans ytrans)))
'(
#(define (shortened-hairpin corr)
(elbowed-hairpin '((1.0 . 1.0)) corr #t))
#(define-markup-command (vstrut layout props)
()
#:category other
@cindex creating vertical space in text
Create a box of the same height as the current font, using the \fp\ as
a reference.
(let ((ref-mrkp (interpret-markup layout props fp)))
(ly:make-stencil (ly:stencil-expr empty-stencil)
empty-interval
(ly:stencil-extent ref-mrkp Y
#(define (hairpin-with-right-text text grob)
Rebuild a hairpin and add @var{text} to the right.
The hairpin is shortened by the length of @var{text},
@code{bound-padding} is taken into account
(let* ((text-stil (grob-interpret-markup grob (markup #:vstrut text)))
(text-stil-x-extent (ly:stencil-extent text-stil X))
(text-stil-length (interval-length text-stil-x-extent))
(staff-space
(ly:output-def-lookup (ly:grob-layout grob) 'staff-space))
(x-corr (+ text-stil-length (/ staff-space 2
(ly:grob-set-property! grob 'stencil (shortened-hairpin x-corr))
(let* ((stencil (ly:grob-property grob 'stencil))
(stil-x-ext
(ordered-cons
(car (ly:stencil-extent stencil X))
(cdr (ly:stencil-extent stencil X
(new-stencil
(ly:stencil-add
(ly:stencil-aligned-to stencil Y CENTER)
(ly:stencil-translate-axis
(ly:stencil-aligned-to text-stil Y
Re: self-alignment-X has negligible effects on dynamics
Hi all. yes, i need to update the documentation, and some parts of my patch should be changed to make it more backward-compatible. I'll think about this, but right now i'm still too upset and i don't want to start a flamewar. Please give me several days to calm down. Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where to Download the New Music Fonts?
On 29 Jul 2014, at 21:16, Graham Breed gbr...@gmail.com wrote: I didn't use a music font because it was too much trouble to create a music font with Sagittal. Also, it's possible to use strings for chained accidentals with a text font. This would be important for Extended Helmholtz if anybody wired it up. Some info about the Extended Helmholtz microtonal accidentals [1] that Graham mentions: It might be nice to have some of the 5-limit intervals in [1]. The 5-limit is the most important one, as this is what a Western orchestra typically adapts towards. In a LilyPond implementation, one can choose E53 (53 equal temperament) as an approximation of Pythagorean tuning, and then approximate the syntonic comma 81/80, about 21.506 cents, with one E53 tonestep, also called a comma. The approximation is so good that the difference barely can be heard in simultaneous sounding notes. The interval of a sharp or flat in E53 is 5 commas, so it makes it possible to have the single- and double-arrows in [1] implemented in E53. The other ones would end up in E53 enharmonic equivalence. FYI, E53 is also used in the description of Turkish music, and might be suitable for Persian (with koron and sori glyphs added), and in Arabian music. Currently, the files for these use something else: ETs that are multiples of 12, due to limitations in past versions of LilyPond. 1. http://www.newmusicbox.org/assets/72/HelmholtzEllisLegend.pdf ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music notation in our lives survey (all please read)
Abraham, There is an omission in your survey relation to music -- composer! I use LP/Frescobaldi because I write choral music (and occasionally organ music). They in combo are by far, IMO, the best products for my purposes. I suppose 'publisher' might fit, but as yet I've never had a piece published and, anyway, I'm not a publisher for other composers. Thanks for the fonts! I like Amadeus and Haydn thus far. Guy Message: 2 Date: Tue, 29 Jul 2014 13:45:54 -0700 (PDT) From: tisimst tisimst.lilyp...@gmail.com To: lilypond-user@gnu.org Subject: Music notation in our lives survey (all please read) Message-ID: 140754861-165089.p...@n5.nabble.com Content-Type: text/plain; charset=us-ascii Everyone, I wanted to put this out there before I had made any announcement about all the new fonts, but I thought I might as well send it out now anyway because I'm still curious... The link below goes to another survey that I created a short time ago during the development of these fonts to try and get an understanding about how folks use music notation software, what kind of applications, opinions of score appearance, etc. So, if you'd be so kind as to fill this out, I'd greatly appreciate it. Again, please pass the link to your friends who use ANY notation software because it was intended to be non-LilyPond-specific. I thank you for your support, your enthusiasm, your willingness to help others. I really appreciate being part of this community and enjoy working with you all. Here's the link: http://kwiksurveys.com/s.asp?sid=7msyssv8h91874l378621 http://kwiksurveys.com/s.asp?sid=7msyssv8h91874l378621 BTW, the other survey about renaming AMADEUS is very interesting so far... It's taken a couple of turns I didn't expect. Regards, Abraham P.S. And just a reminder about these kwiksurveys: once you submit your final answers, you won't receive a confirmation of your submission. You'll just see an advertisement for their site. You can just close the browser window. This is the price I pay for a free subscription for their service :) -- There is only love, and then oblivion. Love is all we have to set against hatred. (paraphrased) Ian McEwan Guy Stalnaker jimmyg...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Haipins ending with text: scheme help
your example is not very helpful, because it does not show a dynamic
text attached to a rest.
And it does not compile, because of the unknown \n
Aw! I forgot that! It's on the file called by \include. Both dynamics are
defined on this way:
n = #(make-dynamic-script #{ \markup \line { \normal-text \normalsize
\italic n. } #})
pd = #(make-dynamic-script #{ \markup \line { \normal-text \normalsize
\italic pd. } #})
After that, the \n will appear under a rest, on the second and fourth bars.
I apologise for the mistake.
Thank you so much. I'll try it now.
Best,
Antonio
On Tue, Jul 29, 2014 at 3:58 PM, Thomas Morley-2 [via Lilypond]
ml-node+s1069038n165091...@n5.nabble.com wrote:
2014-07-29 21:44 GMT+02:00 Antonio Gervasoni [hidden email]
http://user/SendEmail.jtp?type=nodenode=165091i=0:
Hi Thomas,
Sure! Here it is:
Hi Antonio,
your example is not very helpful, because it does not show a dynamic
text attached to a rest.
And it does not compile, because of the unknown \n
%%% Definition of the two types of hairpin
hairpinN = \hairpinWithRightText \markup \italic n.
hairpinPD = \hairpinWithRightText \markup \italic pd.
%%% Example
{
\new Staff \relative c''' {
a1(\p\
gis2.)\mf\ r4\n -- ??
a1(\p\
dis2.)\mf\ r4\n
e2(\p\ dis4 e \break
f2 g
\hairpinN
gis1\mp\)
R1\!
R1
}
}
Anyway, I added some code, so that the added _text_ is always
vertically aligned to the _hairpin_ in the same manner (regarding its
baseline). At least for most european languages.
See attached.
HTH,
Harm
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Re: Haipins ending with text: scheme help
Works perfectly! You are a genius!
Thanks again!
You should publish it on the snippet repository. It's far better than
creating a second voice with spacers, as is suggested there (or somewhere
else... I can't remember now)
Best regards,
Antonio
On Tue, Jul 29, 2014 at 5:25 PM, Antonio Gervasoni agervas...@gmail.com
wrote:
your example is not very helpful, because it does not show a dynamic
text attached to a rest.
And it does not compile, because of the unknown \n
Aw! I forgot that! It's on the file called by \include. Both dynamics are
defined on this way:
n = #(make-dynamic-script #{ \markup \line { \normal-text \normalsize
\italic n. } #})
pd = #(make-dynamic-script #{ \markup \line { \normal-text \normalsize
\italic pd. } #})
After that, the \n will appear under a rest, on the second and fourth
bars. I apologise for the mistake.
Thank you so much. I'll try it now.
Best,
Antonio
On Tue, Jul 29, 2014 at 3:58 PM, Thomas Morley-2 [via Lilypond]
ml-node+s1069038n165091...@n5.nabble.com wrote:
2014-07-29 21:44 GMT+02:00 Antonio Gervasoni [hidden email]
http://user/SendEmail.jtp?type=nodenode=165091i=0:
Hi Thomas,
Sure! Here it is:
Hi Antonio,
your example is not very helpful, because it does not show a dynamic
text attached to a rest.
And it does not compile, because of the unknown \n
%%% Definition of the two types of hairpin
hairpinN = \hairpinWithRightText \markup \italic n.
hairpinPD = \hairpinWithRightText \markup \italic pd.
%%% Example
{
\new Staff \relative c''' {
a1(\p\
gis2.)\mf\ r4\n -- ??
a1(\p\
dis2.)\mf\ r4\n
e2(\p\ dis4 e \break
f2 g
\hairpinN
gis1\mp\)
R1\!
R1
}
}
Anyway, I added some code, so that the added _text_ is always
vertically aligned to the _hairpin_ in the same manner (regarding its
baseline). At least for most european languages.
See attached.
HTH,
Harm
___
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Re: thanks again for the editionEngraver
Janek Warchoł janek.lilyp...@gmail.com writes:
Hi Jan-Peter,
2014-07-29 9:34 GMT+02:00 Jan-Peter Voigt jp.vo...@gmx.de:
Hi Janek,
your predefined context are cool :)
Thanks!
I see them in context with my lalily templates -- they will of course
benifit. And the editionEngraver can indeed take advantage from specific
context names. But still there need to be a way to separate (for
example) violin 1 and 2.
As i said, defining new instrument contexts is very cheap - you can just do
\newInstrument ViolinI Violin StaffGroup\with { } \with { }
\newInstrument ViolinII Violin StaffGroup\with { } \with { }
and have ViolinI and ViolinII available.
Would it be feasible to put the context mods _before_ some reasonably
related argument, possibly like
\newInstrument \with {} ViolinI Violin \with {} StaffGroup
or probably
\newInstrument Violin \with {} ViolinI \with {} StaffGroup ?
Because when they are before a related non-optional argument, one can
make them optional. Then if they are just \with {} anyway, you can omit
them.
--
David Kastrup
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Re: Haipins ending with text: scheme help
2014-07-30 0:39 GMT+02:00 Antonio Gervasoni agervas...@gmail.com: Works perfectly! You are a genius! Thanks again! You're welcome You should publish it on the snippet repository. How about you put it in youself? http://lsr.di.unimi.it/LSR/html/contributing.html I'm one of the LSR-editors and can promise a fast approval ;) Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Shortest duration by --verbose option?
http://lilypond.org/doc/v2.18/Documentation/notation/horizontal-spacing-overview says: ~~ The most common shortest duration is determined as follows: in every measure, the shortest duration is determined. The most common shortest duration is taken as the basis for the spacing, with the stipulation that this shortest duration should always be equal to or shorter than an 8th note. The shortest duration is printed when you run lilypond with the ‘--verbose’ option. ~~ I have run lilypond with --verbose, but I don't see anything in the output that looks like a shortest duration. (See below.) Am I overlooking something, or is this part of the documentation incorrect? hjh Starting lilypond 2.18.2 [trio-score.ly]... Log level set to 287 Relocation: is absolute: argv0=/home/dlm/lilypond/usr/bin/lilypond PATH=/home/dlm/lilypond/usr/bin (prepend) Setting PATH to /home/dlm/lilypond/usr/bin:/home/dlm/bin:/usr/lib/lightdm/lightdm:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/texlive/2013/bin/x86_64-linux Relocation: compile datadir=, new datadir=/home/dlm/lilypond/usr/share/lilypond//current Relocation: framework_prefix=/home/dlm/lilypond/usr/bin/.. Setting INSTALLER_PREFIX to /home/dlm/lilypond/usr/bin/.. Relocation file: /home/dlm/lilypond/usr/bin/../etc/relocate//gs.reloc warning: no such directory: /home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/fonts for GS_FONTPATH warning: no such directory: /home/dlm/lilypond/usr/bin/../share/gs/fonts for GS_FONTPATH GS_LIB=/home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource (prepend) Setting GS_LIB to /home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource GS_LIB=/home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource/Init (prepend) Setting GS_LIB to /home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource/Init:/home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource Relocation file: /home/dlm/lilypond/usr/bin/../etc/relocate//fontconfig.reloc Setting FONTCONFIG_FILE to /home/dlm/lilypond/usr/bin/../etc/fonts/fonts.conf Setting FONTCONFIG_PATH to /home/dlm/lilypond/usr/bin/../etc/fonts Relocation file: /home/dlm/lilypond/usr/bin/../etc/relocate//pango.reloc Setting PANGO_RC_FILE to /home/dlm/lilypond/usr/bin/../etc/pango/pangorc Setting PANGO_PREFIX to /home/dlm/lilypond/usr/bin/../ Setting PANGO_MODULE_VERSION to 1.6.0 Relocation file: /home/dlm/lilypond/usr/bin/../etc/relocate//guile.reloc GUILE_LOAD_PATH=/home/dlm/lilypond/usr/bin/../share/guile/1.8 (prepend) Setting GUILE_LOAD_PATH to /home/dlm/lilypond/usr/bin/../share/guile/1.8 PATH=/home/dlm/lilypond/usr/bin/../bin (prepend) Setting PATH to /home/dlm/lilypond/usr/bin/../bin:/home/dlm/lilypond/usr/bin:/home/dlm/bin:/usr/lib/lightdm/lightdm:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/texlive/2013/bin/x86_64-linux Setting GUILE_MIN_YIELD_1 to 65 Setting GUILE_MIN_YIELD_2 to 65 Setting GUILE_MIN_YIELD_MALLOC to 65 Setting GUILE_INIT_SEGMENT_SIZE_1 to 10485760 Setting GUILE_MAX_SEGMENT_SIZE to 104857600 LILYPOND_DATADIR=/usr/share/lilypond/2.18.2 LOCALEDIR=/usr/share/locale Effective prefix: /home/dlm/lilypond/usr/share/lilypond/current FONTCONFIG_FILE=/home/dlm/lilypond/usr/bin/../etc/fonts/fonts.conf FONTCONFIG_PATH=/home/dlm/lilypond/usr/bin/../etc/fonts GS_LIB=/home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource/Init:/home/dlm/lilypond/usr/bin/../share/ghostscript/8.70/Resource GUILE_LOAD_PATH=/home/dlm/lilypond/usr/bin/../share/guile/1.8 PANGO_RC_FILE=/home/dlm/lilypond/usr/bin/../etc/pango/pangorc PANGO_PREFIX=/home/dlm/lilypond/usr/bin/../ PATH=/home/dlm/lilypond/usr/bin/../bin:/home/dlm/lilypond/usr/bin:/home/dlm/bin:/usr/lib/lightdm/lightdm:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/texlive/2013/bin/x86_64-linux [] Guile 1.8 [/home/dlm/lilypond/usr/share/lilypond/current/scm/lily-library.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/output-lib.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/markup-macros.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/parser-ly-from-scheme.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/file-cache.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/define-event-classes.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/define-music-callbacks.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/define-music-types.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/define-note-names.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/c++.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/chord-entry.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/skyline.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/stencil.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/define-markup-commands.scm] [/home/dlm/lilypond/usr/share/lilypond/current/scm/markup.scm]
Re: Music notation in our lives survey (all please read)
Guy Stalnaker-2 wrote Abraham, There is an omission in your survey relation to music -- composer! I use LP/Frescobaldi because I write choral music (and occasionally organ music). They in combo are by far, IMO, the best products for my purposes. I suppose 'publisher' might fit, but as yet I've never had a piece published and, anyway, I'm not a publisher for other composers. Thanks for the fonts! I like Amadeus and Haydn thus far. Guy -- There is only love, and then oblivion. Love is all we have to set against hatred. (paraphrased) Ian McEwan Guy Stalnaker jimmyg521@ ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Guy, Wow, not sure how I forgot that. I guess having a new baby is taking its tolls on me :) I think that composer definitely falls under the category of Something else awesome! Regards, Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Music-notation-in-our-lives-survey-all-please-read-tp165089p165101.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Need multiple \mark entries over the same barline
In some places, I have a \markup-style mark over the same barline, and at
the same barline, I also want a rehearsal mark (produced by \mark
\default). Unfortunately it seems only one \mark is allowed at any given
moment.
This is a type of markup-style marking I mean:
\mark \markup { \fontsize #-2 { \note #4. #1 = \note #2 #1 } }
... where you wouldn't want the score to print the duration equivalence
over every staff, just at the top. And of course rehearsal marks shouldn't
go over every staff either.
Is there any workaround?
hjh
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Re: Haipins ending with text: scheme help
How about you put it in yourself? I just did. :-) I'm one of the LSR-editors and can promise a fast approval ;) Wow! Excellent! Best, Antonio On Tue, Jul 29, 2014 at 5:59 PM, Thomas Morley-2 [via Lilypond] ml-node+s1069038n165099...@n5.nabble.com wrote: 2014-07-30 0:39 GMT+02:00 Antonio Gervasoni [hidden email] http://user/SendEmail.jtp?type=nodenode=165099i=0: Works perfectly! You are a genius! Thanks again! You're welcome You should publish it on the snippet repository. How about you put it in youself? http://lsr.di.unimi.it/LSR/html/contributing.html I'm one of the LSR-editors and can promise a fast approval ;) Cheers, Harm ___ lilypond-user mailing list [hidden email] http://user/SendEmail.jtp?type=nodenode=165099i=1 https://lists.gnu.org/mailman/listinfo/lilypond-user -- If you reply to this email, your message will be added to the discussion below: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055p165099.html To unsubscribe from Haipins ending with text: scheme help, click here http://lilypond.1069038.n5.nabble.com/template/NamlServlet.jtp?macro=unsubscribe_by_codenode=165055code=YWdlcnZhc29uaUBnbWFpbC5jb218MTY1MDU1fDIwMjE3MTg3NzQ= . NAML http://lilypond.1069038.n5.nabble.com/template/NamlServlet.jtp?macro=macro_viewerid=instant_html%21nabble%3Aemail.namlbase=nabble.naml.namespaces.BasicNamespace-nabble.view.web.template.NabbleNamespace-nabble.view.web.template.NodeNamespacebreadcrumbs=notify_subscribers%21nabble%3Aemail.naml-instant_emails%21nabble%3Aemail.naml-send_instant_email%21nabble%3Aemail.naml -- View this message in context: http://lilypond.1069038.n5.nabble.com/Haipins-ending-with-text-scheme-help-tp165055p165103.html Sent from the User mailing list archive at Nabble.com.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
