RE: overlapping staves
Mfr. Payne,
Thank you for your response. Yes, the third measure was missing. It has been
restored to both examples that are attached. Hope this helps finding my
error.
Thank you for your kind attention.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent: Monday, September 08, 2014 9:07 PM
To: lilypond-user@gnu.org
Subject: Re: overlapping staves
On 09/09/14 12:11, Mark Stephen Mrotek wrote:
Hello,
The attached file, overlap.pdf, shows the first 13 measures of a piano
score. The staves overlap.
By experimentation, if the first two measure are eliminated the overlap does
not occur, NoOverLap.pdf.
Since the snippets would not met the requirement for being small, they
were not included.
Would someone give me a suggestion as to what I should examine
(documentation?) to find the cause?
Can't help you with that - seeing the ly source would help - but as an
aside, you appear to have omitted engraving bar 3 of the sonata.
\version 2.18.0
\header {
title = Sonata 479
composer = D. Scarlatti
opus = K. 6
}
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
\stemUp
f8 f f |
f4\trill f8 |
\slurUp
\times 2/3 {
a16 ( [ g f ] ) e ( [ d c ] )
\stemUp
\slurUp
bes ( [ a g ] ) |
a ( [ g f ] ) e ( [ d c ] )
\change Staff = lower
bes ( [ a g ] ) } |
\times 2/3 { a16 ( [ g f ] ) e ( d c ) bes ( [ a g ] ) } |
f4.\trill
\change Staff = upper
\times 2/3 { a''16 bes c } ees4\trill
%10
\times 2/3 { d16 c bes } bes4\trill |
\times 2/3 { bes16 c d } f8. [ ees32 d ] |
\times 2/3 { c16 bes a } a4\trill
\times 2/3 { a16 [ bes c ] } f8 \times 2/3 { b,16 [ c d ] } |
g8 \times 2/3 { c,16 [ d e ] } a8 |
}
\new Staff = lower
\relative c {
\clef bass
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
\change Staff = upper
\stemDown
f'8 a c | a4_\trill a8
f8 f f |
\change Staff = lower
f, f f |
\stemDown
f, f f | s4. |
f' c' 8 q q |
%10
f bes d q q | q q q |
f c' f q q |
\change Staff = upper
f'8 \times 2/3 { d16 [ e f ] } g8 |
\times 2/3 { e16 [ f g ] } a8 \times 2/3 { f16 [ g a ] } |
}
}
\version 2.18.0
\header {
title = Sonata 479
composer = D. Scarlatti
opus = K. 6
}
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
f,8 a c | f c' a |
\stemUp
f8 f f |
f4\trill f8 |
\slurUp
\times 2/3 {
a16 ( [ g f ] ) e ( [ d c ] )
\stemUp
\slurUp
bes ( [ a g ] ) |
a ( [ g f ] ) e ( [ d c ] )
\change Staff = lower
bes ( [ a g ] ) } |
\times 2/3 { a16 ( [ g f ] ) e ( d c ) bes ( [ a g ] ) } |
f4.\trill
\change Staff = upper
\times 2/3 { a''16 bes c } ees4\trill
%10
\times 2/3 { d16 c bes } bes4\trill |
\times 2/3 { bes16 c d } f8. [ ees32 d ] |
\times 2/3 { c16 bes a } a4\trill
\times 2/3 { a16 [ bes c ] } f8 \times 2/3 { b,16 [ c d ] } |
g8 \times 2/3 { c,16 [ d e ] } a8 |
}
\new Staff = lower
\relative c {
\clef bass
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
f,8 a c | f a c |
\change Staff = upper
\stemDown
f8 a c | a4_\trill a8
f8 f f |
\change Staff = lower
f, f f |
\stemDown
f, f f | s4. |
f' c' 8 q q |
%10
f bes d q q | q q q |
f c' f q q |
\change Staff = upper
f'8 \times 2/3 { d16 [ e f ] } g8 |
\times 2/3 { e16 [ f g ] } a8 \times 2/3 { f16 [ g a ] } |
}
}
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How to handle changing transpositions
Hi list, I have a problem understanding how to efficiently deal with horn parts that change their transposition with the clef. That is: In the treble clef the part is notated as \transpose f, c while in the bass clef it is notated in concert pitch. Is there a convenient way in LilyPond (or has somebody come up with a solution) for this issue? As this change regularly happens for just a vew bass notes I wouldn't want to wrap each in individual variables. Any ideas/experiences? Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Urs, I see a lot of action on the Fried-Crowd-Project :) ... it is great luck to me but also a pity that I started my new job ... well, I don't have a key-turn-solution, but just a hint on the auto-transpose snippet in OLL https://github.com/openlilylib/openlilylib/tree/master/editorial-tools/auto-transpose It can auto-transpose from concert to instrument pitch and vice versa. So it should be doable to create an engraver that either creates a clef on transposition change or changes the instrumentTransposition on clef change. Just a thought - now back to work! ;) Cheers, Jan-Peter On 09.09.2014 11:46, Urs Liska wrote: Hi list, I have a problem understanding how to efficiently deal with horn parts that change their transposition with the clef. That is: In the treble clef the part is notated as \transpose f, c while in the bass clef it is notated in concert pitch. Is there a convenient way in LilyPond (or has somebody come up with a solution) for this issue? As this change regularly happens for just a vew bass notes I wouldn't want to wrap each in individual variables. Any ideas/experiences? Best 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: How to handle changing transpositions
Am 09.09.2014 um 11:46 schrieb Urs Liska: Hi list, I have a problem understanding how to efficiently deal with horn parts that change their transposition with the clef. That is: In the treble clef the part is notated as \transpose f, c while in the bass clef it is notated in concert pitch. This is extremely unusual, I should say. Normally the bass clef would be notated as \transpose f c, that is, as if it were octavating. And isn’t it rather confusing if the transposition changes with the clef? I assume that your master copy of the „Trunkene Lied” uses this convention, but in your place I’d consider changing it, to be honest. Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Am 09.09.2014 13:46, schrieb Simon Albrecht: Am 09.09.2014 um 11:46 schrieb Urs Liska: Hi list, I have a problem understanding how to efficiently deal with horn parts that change their transposition with the clef. That is: In the treble clef the part is notated as \transpose f, c while in the bass clef it is notated in concert pitch. This is extremely unusual, I should say. Normally the bass clef would be notated as \transpose f c, that is, as if it were octavating. And isn’t it rather confusing if the transposition changes with the clef? I assume that your master copy of the „Trunkene Lied” uses this convention, but in your place I’d consider changing it, to be honest. Well, yes, that's the convention of the score. But I also recalled having learned it that way. Once. Decades ago. I'll look into documentation for current orchestration conventions. Thanks Urs Yours, Simon ___ 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: How to handle changing transpositions
Ok, I've verified that *this* issue is no issue. But I have another issue warranting the same thread: What are the most straightforward approacges to dealing with instruments that actually change transposition, e.g. clarinets in A and B or an oboe/englishhorn part? Thanks for any ideas Urs On 9. September 2014 13:52:06 MESZ, Urs Liska u...@openlilylib.org wrote: Am 09.09.2014 13:46, schrieb Simon Albrecht: Am 09.09.2014 um 11:46 schrieb Urs Liska: Hi list, I have a problem understanding how to efficiently deal with horn parts that change their transposition with the clef. That is: In the treble clef the part is notated as \transpose f, c while in the bass clef it is notated in concert pitch. This is extremely unusual, I should say. Normally the bass clef would be notated as \transpose f c, that is, as if it were octavating. And isn’t it rather confusing if the transposition changes with the clef? I assume that your master copy of the „Trunkene Lied” uses this convention, but in your place I’d consider changing it, to be honest. Well, yes, that's the convention of the score. But I also recalled having learned it that way. Once. Decades ago. I'll look into documentation for current orchestration conventions. Thanks Urs Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Urs, On 09.09.2014 14:29, Urs Liska wrote: What are the most straightforward approacges to dealing with instruments that actually change transposition, e.g. clarinets in A and B or an oboe/englishhorn part? may I again mention the auto-transpose snippet. If music is either entered in concert-pitch or *always* in instrument-pitch, it can transpose the music accordingly. The instrumentTransposition can be set either inline or via the edition-engraver with \instrumentSwitch, if this instrument has been defined before: https://github.com/openlilylib/openlilylib/blob/master/editorial-tools/auto-transpose/example.ly HTH Best, Jan-Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Jan-Peter, may I again mention the auto-transpose snippet. Does the key signature get changed automatically, even if the key-signatures are defined “externally” (i.e., in a variable) and change DURING THE TIME the player is on the second (or third) instrument? If so, this would solve a HUGE problem I’ve been struggling with for years. Thanks, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Urs, What are the most straightforward approacges to dealing with instruments that actually change transposition, e.g. clarinets in A and B or an oboe/englishhorn part? There are no “straightforward” approaches, unfortunately… =( See, for example, the thread http://lists.gnu.org/archive/html/lilypond-user/2014-05/msg00067.html. Hope this helps! Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Kieren, On 09.09.2014 14:55, Kieren MacMillan wrote: Hi Jan-Peter, may I again mention the auto-transpose snippet. Does the key signature get changed automatically, even if the key-signatures are defined “externally” (i.e., in a variable) and change DURING THE TIME the player is on the second (or third) instrument? I intended to use the engraver inside the Staff-context, but it might work inside other (parental) contexts as well. It listens for note-events and key-change events and transposes them on the fly. So *if* the key-signature is seen by the engraver, it will get transposed. What it can't do (right now) is create a key-signature, when there is none defined, but the instrument transposition changes. Perhaps I can explain a bit more in the evening. Best, Jan-Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overlapping staves
Greetings Mark,
A quick look at your code reveals that you are still using the \times
command, which I believe has been replaced. In your longer run of
tuplets, you might change the code to
\tuplet 3/2 8 { ... }
Hwaen Ch'uqi
On 9/9/14, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
Mfr. Payne,
Thank you for your response. Yes, the third measure was missing. It has
been
restored to both examples that are attached. Hope this helps finding my
error.
Thank you for your kind attention.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent: Monday, September 08, 2014 9:07 PM
To: lilypond-user@gnu.org
Subject: Re: overlapping staves
On 09/09/14 12:11, Mark Stephen Mrotek wrote:
Hello,
The attached file, overlap.pdf, shows the first 13 measures of a piano
score. The staves overlap.
By experimentation, if the first two measure are eliminated the overlap
does
not occur, NoOverLap.pdf.
Since the snippets would not met the requirement for being small, they
were not included.
Would someone give me a suggestion as to what I should examine
(documentation?) to find the cause?
Can't help you with that - seeing the ly source would help - but as an
aside, you appear to have omitted engraving bar 3 of the sonata.
___
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Re: How to handle changing transpositions
I tried out the example file, and I have the impression this could be a solution. Unfortunately it does not seem to compile with current LilyPond. 2.19.11 seems to work. Would somebody mind to check if that's an issue with the function or with my build? TIA Urs On 9. September 2014 14:42:37 MESZ, Jan-Peter Voigt jp.vo...@gmx.de wrote: Hi Urs, On 09.09.2014 14:29, Urs Liska wrote: What are the most straightforward approacges to dealing with instruments that actually change transposition, e.g. clarinets in A and B or an oboe/englishhorn part? may I again mention the auto-transpose snippet. If music is either entered in concert-pitch or *always* in instrument-pitch, it can transpose the music accordingly. The instrumentTransposition can be set either inline or via the edition-engraver with \instrumentSwitch, if this instrument has been defined before: https://github.com/openlilylib/openlilylib/blob/master/editorial-tools/auto-transpose/example.ly HTH Best, Jan-Peter ___ 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: overlapping staves
Hi Mark,
2014-09-09 9:10 GMT+02:00 Mark Stephen Mrotek carsonm...@ca.rr.com:
Hope this helps finding my error.
As already mentioned here :
http://lilypond.1069038.n5.nabble.com/increased-space-between-piano-staves-td166190.html
problem comes from the tuplet brackets.
Putting \tweak positions #'() before tuplet mes.5 will solve this issue.
Cheers,
Pierre
\version 2.18.0
\header {
title = Sonata 479
composer = D. Scarlatti
opus = K. 6
}
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
f,8 a c | f c' a |
\stemUp
f8 f f |
f4\trill f8 |
\slurUp
\tweak positions #'()
\times 2/3 {
a16 ( [ g f ] ) e ( [ d c ] )
\stemUp
\slurUp
bes ( [ a g ] ) |
a ( [ g f ] ) e ( [ d c ] )
\change Staff = lower
bes ( [ a g ] ) } |
\times 2/3 { a16 ( [ g f ] ) e ( d c ) bes ( [ a g ] ) } |
f4.\trill
\change Staff = upper
\times 2/3 { a''16 bes c } ees4\trill
%10
\times 2/3 { d16 c bes } bes4\trill |
\times 2/3 { bes16 c d } f8. [ ees32 d ] |
\times 2/3 { c16 bes a } a4\trill
\times 2/3 { a16 [ bes c ] } f8 \times 2/3 { b,16 [ c d ] } |
g8 \times 2/3 { c,16 [ d e ] } a8 |
}
\new Staff = lower
\relative c {
\clef bass
\key f \major
\time 3/8
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
f,8 a c | f a c |
\change Staff = upper
\stemDown
f8 a c | a4_\trill a8
f8 f f |
\change Staff = lower
f, f f |
\stemDown
f, f f | s4. |
f' c' 8 q q |
%10
f bes d q q | q q q |
f c' f q q |
\change Staff = upper
f'8 \times 2/3 { d16 [ e f ] } g8 |
\times 2/3 { e16 [ f g ] } a8 \times 2/3 { f16 [ g a ] } |
}
}
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Re: How to color a text spanner
Thank you, David! That makes sense. And thanks to all who aim at improving the description. Joram Am 06.09.2014 um 09:52 schrieb David Nalesnik: On Sat, Sep 6, 2014 at 1:52 PM, Joram noeck.marb...@gmx.de mailto:noeck.marb...@gmx.de wrote: And I can add a question: What is the difference between DynamicLineSpanner and Hairpin? See http://lilypond.org/doc/v2.18/Documentation/internals/dynamic_005falign_005fengraver A DynamicLineSpanner is a grob which groups hairpins and dynamic texts so they can be lined up. --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: overlapping staves
Pierre, Perfect! Thank you! Mark From: Pierre Perol-Schneider [mailto:pierre.schneider.pa...@gmail.com] Sent: Tuesday, September 09, 2014 7:35 AM To: Mark Stephen Mrotek Cc: Nick Payne; lilypond-user Subject: Re: overlapping staves Hi Mark, 2014-09-09 9:10 GMT+02:00 Mark Stephen Mrotek carsonm...@ca.rr.com: Hope this helps finding my error. As already mentioned here : http://lilypond.1069038.n5.nabble.com/increased-space-between-piano-staves-td166190.html problem comes from the tuplet brackets. Putting \tweak positions #'() before tuplet mes.5 will solve this issue. Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Treating a tie as a slur
Hi, 2014-09-08 12:51 GMT+00:00 Johan Vromans jvrom...@squirrel.nl: Hi, Often when processing music imported from Sibelius I have the problem that Sibelius doesn't seem to care whether a tie connects notes of the same pitch. As a consequence, some Sibelius users have become lazy and always use a tie even when the pitches differ. LiliPond emits an error message when it encounters a tie between notes of different pitch. This is correct. In fact, I asked for it ;) [1]. However, occasionally it would be handy if I could kindly ask LiliPond to treat the ties as slurs if necessary. Yes, I know this is wrong, but manually changing hundreds of ties into slurs is not fun. I think that writing a converter script that postprocesses imported LilyPond code should not be difficult. In fact, i believe that it may be very easy if you used Frescobaldi's code for parsing LilyPond. best, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: In wait for a subsequent word (sorry how can I put it)?
Well, I now include an image; I usually write a long underscore when there is something that lasts in a next syllable; like in the example, Sa -- cra -- men __ tum (here you can see what i mean in men __ tum, or to __que). I do not give trace about the syllable to be sung after cer -- nu -- i. The i http://lilypond.1069038.n5.nabble.com/file/n166284/Appunto_Tantum_ergo.jpg must be sung for the other three notes; is there a rule that says what should be done? I hope to have expressed myself in a comprehensible way. Thanks. -- View this message in context: http://lilypond.1069038.n5.nabble.com/In-wait-for-a-subsequent-word-sorry-how-can-I-put-it-tp166204p166284.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: In wait for a subsequent word (sorry how can I put it)?
Yes, there is a rule. All of the places where you have used underscore, like er__go should be hyphens: er-go and the last words in both lines (cernui and jubilatio) should both end with an underscore that goes through the last note. Larry in Tampa On Tue, Sep 9, 2014 at 1:56 PM, Son_V vincenzo.a...@gmail.com wrote: Well, I now include an image; I usually write a long underscore when there is something that lasts in a next syllable; like in the example, Sa -- cra -- men __ tum (here you can see what i mean in men __ tum, or to __que). I do not give trace about the syllable to be sung after cer -- nu -- i. The i http://lilypond.1069038.n5.nabble.com/file/n166284/Appunto_Tantum_ergo.jpg must be sung for the other three notes; is there a rule that says what should be done? I hope to have expressed myself in a comprehensible way. Thanks. -- View this message in context: http://lilypond.1069038.n5.nabble.com/In-wait-for-a-subsequent-word-sorry-how-can-I-put-it-tp166204p166284.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Defining custom MIDI dynamics
I'm wondering why I have gotten no responses. Did I frame the question poorly? Did it get to the list? Knute Snortum (via Gmail) On Mon, Sep 8, 2014 at 9:48 AM, Knute Snortum ksnor...@gmail.com wrote: I know how to set a single custom dynamic: #(define (myDynamics dynamic) (if (equal? dynamic pTresDouxMarkup ) 0.55 (default-dynamic-absolute-volume dynamic ..but do I set two or more dynamics like this: #(define (myDynamics dynamic) (cond (equal? dynamic pTresDouxMarkup ) 0.55 (equal? dynamic pLegerMarkup) 0.77 (else (default-dynamic-absolute-volume dynamic ...or with multiple #defines? Knute Snortum (via Gmail) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to handle changing transpositions
Hi Kieren,
I modified the example for the auto-transpose engraver a bit, so it uses
a music and a global variable. I merged them in one Voice, so that the
cue names are not printed twice. But that is not necessary for the
transposition.
If the music is in concert-pitch and transposed to instrument-pitch midi
is OK. In the other direction print is OK, but midi is wrong.
That is no problem to me, as I mostly enter music in concert-pitch and
just have to display it in instrument pitch.
One thing to take care of: When music is used twice - for example via
repeat unfold - every event is transposed multiple times.
That should be changed.
HTH
time to sleep now ;)
Best, Jan-Peter
Am 09.09.14 14:55, schrieb Kieren MacMillan:
Hi Jan-Peter,
may I again mention the auto-transpose snippet.
Does the key signature get changed automatically, even if the key-signatures
are defined “externally” (i.e., in a variable) and change DURING THE TIME the
player is on the second (or third) instrument?
If so, this would solve a HUGE problem I’ve been struggling with for years.
Thanks,
Kieren.
___
Kieren MacMillan, composer
www: http://www.kierenmacmillan.info
email: i...@kierenmacmillan.info
\version 2.18.2
\include editorial-tools/auto-transpose/definitions.ily
\include editorial-tools/edition-engraver/definitions.ily
\include deutsch.ly
% some music to insert into example
bach = \relative c'' { b a c h }
% add two transposing instrument-definitions
\addInstrumentDefinition #eb-clarinet
#`((instrumentTransposition . ,(ly:make-pitch 0 2 -1/2))
(shortInstrumentName . Es-Kl)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . Es-Kl)
(midiInstrument . clarinet))
\addInstrumentDefinition #b-clarinet
#`((instrumentTransposition . ,(ly:make-pitch -1 6 -1/2))
(shortInstrumentName . Kl)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . Kl)
(midiInstrument . clarinet))
%%% create demo score
\addEdition transp
\editionMod transp 2 0/1 switch.instrument.Staff.A \instrumentSwitch
b-clarinet
\editionMod transp 3 0/1 switch.instrument.Staff.A \instrumentSwitch
eb-clarinet
music = { $bach $bach $bach ^note get transposed multiple times! \repeat
unfold 4 c''4 }
global = { \key f \major s1 \key f \major s1 \key f \major s1 }
\score {
\new Staff \with {
\autoTranspose
\consists \editionEngraver switch.instrument
} \new Voice
\global
\music
\layout {}
\midi { \tempo 4=150 }
}
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Re: Defining custom MIDI dynamics
Hello Knute, perhaps its just an unusual topic few have experience with? At least I don’t; yet after a look in the NR section on the topic I think you’re on the right path with the cond approach. After all, you want to define a single function to pass it on as dynamicAbsoluteVolumeFunction. And to do this, you tell Lily what she will do with some exceptional values (like pTresDouxMarkup and the like in your example) and to resort to the usual procedure (default-dynamic-absolute-volume) in all other cases. Only there are some brackets missing, see below. Am 09.09.2014 um 20:55 schrieb Knute Snortum: I'm wondering why I have gotten no responses. Did I frame the question poorly? Did it get to the list? Knute Snortum (via Gmail) On Mon, Sep 8, 2014 at 9:48 AM, Knute Snortum ksnor...@gmail.com mailto:ksnor...@gmail.com wrote: I know how to set a single custom dynamic: (“how to define the absolute midi volume for a single custom dynamic” would have hit the nail on the head) #(define (myDynamics dynamic) (if (equal? dynamic pTresDouxMarkup ) 0.55 (default-dynamic-absolute-volume dynamic ..but how do I set two or more dynamics like this: #(define (myDynamics dynamic) (cond (equal? dynamic pTresDouxMarkup ) 0.55 (equal? dynamic pLegerMarkup) 0.77 (else (default-dynamic-absolute-volume dynamic This should be #(define (myDynamics dynamic) (cond ;; each (test expression …) sequence must be wrapped ;; into brackets ((equal? dynamic pTresDouxMarkup) 0.55) ((equal? dynamic pLegerMarkup) 0.77) ;; and so forth: insert as many as you like (else (default-dynamic-absolute-volume dynamic See http://www.schemers.org/Documents/Standards/R5RS/HTML/r5rs-Z-H-7.html#%_sec_4.1.5 for more information on syntax and semantics of (cond …). (which document is the first place for delving deeper into scheme) If instead of this approach you use multiple defines, the latter ones will override the former IIUC, so that’s no good idea. I may encourage you to do some trial and error – it can’t do any harm and it will help in posting more specific questions. HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
fonts.openlilylib.org is live!
Dear LilyPond Community, The new website where you can download alternative music fonts is now live! Head on over to fonts.openlilylib.org and try them out! If there are any broken links, please let me know so I can fix them. If any instructions are unclear, please let me know so I can clarify them. Just a heads-up: You must have at least the LilyPond 2.18.2 in order to use the new fonts. Starting with 2.19.12, this functionality is built-in. Between the two, you will need to manually patch LilyPond, which isn't hard to do. All the instructions are found for both situations are found on the website. Happy Engraving! -Abraham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fonts.openlilylib.org is live!
This is fantastic, many thanks, Abraham and everybody else involved! By the way, the link to the Gutenberg1939 font sampler contains a small typo, it should be: http://fonts.openlilylib.org/gutenberg1939/font-sampler-Gutenberg1939.pdf -- Peter Crighton | Musician Music Engraver based in Mainz, Germany http://www.petercrighton.de 2014-09-10 0:36 GMT+02:00 Abraham Lee tisimst.lilyp...@gmail.com: Dear LilyPond Community, The new website where you can download alternative music fonts is now live! Head on over to fonts.openlilylib.org and try them out! If there are any broken links, please let me know so I can fix them. If any instructions are unclear, please let me know so I can clarify them. Just a heads-up: You must have at least the LilyPond 2.18.2 in order to use the new fonts. Starting with 2.19.12, this functionality is built-in. Between the two, you will need to manually patch LilyPond, which isn't hard to do. All the instructions are found for both situations are found on the website. Happy Engraving! -Abraham ___ 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
beginner stanza help
I'm trying to get stanzas to work for a song that has two verses. What
am I doing wrong?
text = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
\lyricmode {
\set stanza = #2.
here are | %m1
more words | %m2
}
Thank you, if you have any advice for me!
steven
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Re: beginner stanza help
Colin Campbell c...@shaw.ca writes:
On 14-09-09 06:35 PM, Steven Arntson wrote:
I'm trying to get stanzas to work for a song that has two verses. What
am I doing wrong?
text = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
\lyricmode {
\set stanza = #2.
here are | %m1
more words | %m2
}
Thank you, if you have any advice for me!
steven
It is *always* worth having a look at the Manual, Steven. In this case:
http://www.lilypond.org/doc/v2.18/Documentation/notation/stanzas
should get you going.
Cheers,
Colin
Yes, I read it, tried, failed, and posted my query. If I am too much of
an idiot to deal with, I understand. Such is life.
-s
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Re: fonts.openlilylib.org is live!
Peter Crighton-4 wrote This is fantastic, many thanks, Abraham and everybody else involved! By the way, the link to the Gutenberg1939 font sampler contains a small typo, it should be: http://fonts.openlilylib.org/gutenberg1939/font-sampler-Gutenberg1939.pdf -- Peter Crighton | Musician Music Engraver based in Mainz, Germany http://www.petercrighton.de Thanks, Peter! I realized shortly after posting this that there are a bunch of other things that I forgot to update a bunch of other things, so I'm taking the page off for a day or so until I've had a chance to go through everything. Sorry! Stay tuned! Regards, Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/fonts-openlilylib-org-is-live-tp166289p166294.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: beginner stanza help
No one's calling you an idiot.
In your example, you create a variable called text and then define it as
the first stanza. However, the second stanza is sort of just-- hanging out
there. Try renaming your first variable textOne and then before the second
\lyricmode add textTwo = , then in your score you will add two lyric lines
below the voice.
textOne = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
textTwo = \lyricmode {
\set stanza = #2.
here are | %m1
more words | %m2
}
mySong = { c'2 d' e' f' }
\score {
\new Voice \mySong
\addlyrics \textOne
\addlyrics \textTwo
}
On Tue, Sep 9, 2014 at 8:11 PM, Steven Arntson ste...@stevenarntson.com
wrote:
Colin Campbell c...@shaw.ca writes:
On 14-09-09 06:35 PM, Steven Arntson wrote:
I'm trying to get stanzas to work for a song that has two verses. What
am I doing wrong?
text = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
\lyricmode {
\set stanza = #2.
here are | %m1
more words | %m2
}
Thank you, if you have any advice for me!
steven
It is *always* worth having a look at the Manual, Steven. In this case:
http://www.lilypond.org/doc/v2.18/Documentation/notation/stanzas
should get you going.
Cheers,
Colin
Yes, I read it, tried, failed, and posted my query. If I am too much of
an idiot to deal with, I understand. Such is life.
-s
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Re: beginner stanza help
Samuel Speer samuelsp...@gmail.com writes:
No one's calling you an idiot.
In your example, you create a variable called text and then define it
as the first stanza. However, the second stanza is sort of just--
hanging out there. Try renaming your first variable textOne and then
before the second \lyricmode add textTwo = , then in your score you
will add two lyric lines below the voice.
textOne = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
textTwo = \lyricmode {
\set stanza = #2.
here are | %m1
more words | %m2
}
mySong = { c'2 d' e' f' }
\score {
\new Voice \mySong
\addlyrics \textOne
\addlyrics \textTwo
}
Thanks for this, it helps. I'm struggling to understand this program
with very little background, and it is like spelunking without a
headlamp. Consequently, I fear asking questions that are not worth answering.
I thought I could get the entire text of the lyric entered as a single
variable, to keep my \score simple. Is it typical to break up a lyric
into several variables, and then reassemble them all in the \score block?
Part of my confusion stems from uncertainty regarding large form---how
to break things into variables and reassemble them in \score. I have no
sense of what the best practices are ... and, I admit, I have
not read the entire manual.
best,
steven arntson
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Re: beginner stanza help
On Tue, Sep 9, 2014 at 10:01 PM, Steven Arntson ste...@stevenarntson.com wrote: Thanks for this, it helps. I'm struggling to understand this program with very little background, and it is like spelunking without a headlamp. Consequently, I fear asking questions that are not worth answering. I thought I could get the entire text of the lyric entered as a single variable, to keep my \score simple. Is it typical to break up a lyric into several variables, and then reassemble them all in the \score block? Part of my confusion stems from uncertainty regarding large form---how to break things into variables and reassemble them in \score. I have no sense of what the best practices are ... and, I admit, I have not read the entire manual. best, steven arntson ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Steven, The worst thing you can do is to NOT ask! That's why this list is here. LilyPond can be difficult at first, but once you go through a few scores, you realize just how convenient the syntax is and things come a lot quicker the next time you do one. As for what kinds of things are standard practice, I have found that putting things in their own variables to be most helpful when I'm structuring the score itself. That doesn't mean that everything has to be in one, but it can be helpful for organizing the actual score structure, at least it is for me. In relation to the online manual, there is a WEALTH of information there. I have read through nearly all of them (which really helps) and I can say that they are generously and meticulously created in a way to cover more situations than you'll likely ever experience or need. That being said, I have to echo what others have mentioned, do your best to find the solution in the manuals. If you can't, don't worry! Give us a small example of what you are trying to do and those of us with a little more experience (and some with a LOT more experience) will do our best to help you out. Never be afraid to ask and please be patient with our responses as we try to understand what you need. Welcome to the LilyPond community, my friend! My hope is that you will enjoy using LilyPond as much as I have. Happy Engraving, Abraham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
