Re: feature : log file with positions of notes
Am 21.12.2014 um 10:49 schrieb Franck Revolle: Good idea …! Yes, I can display SVG : it seems available in the wxWidgets(*) library. Do you have any links in the documentation, about lilypond SVG information ? It will help me to start the coding, to parse this SVG information :-) No, but you may have a look at the SVG editing code in Frescobaldi: https://github.com/wbsoft/frescobaldi/tree/master/frescobaldi_app/svgview HTH Urs Musicalement vôtre Franck Revolle (*) wxWidgets is a C++ library that lets developers create applications for Windows, Mac OS X, Linux and other platforms with a single code base. www.widgets.org http://www.widgets.org Le 21 déc. 2014 à 10:37, Urs Liska u...@openlilylib.org mailto:u...@openlilylib.org a écrit : Without having a very close look at your project I'd first like to ask if you can imagine working with scores in SVG format. With these you'd have not only coordinates but real objects that you can quite easily interact with using JavaScript. HTH Urs Am 21.12.2014 um 10:34 schrieb Franck Revolle: Suggestion of (new ? ) feature : When a lilypond score-image is created ( e.g. a png file ), a log file can be used by an external software. This log file contains information about graphical position of the notes, within the score-image ( e.g. beat, stave, # of page, x-y-width-heigh ). The external software can use the score-image, and make graphical « interaction » with the picture ( highlight the items, ... ). Usage : I would like to develop a new version of my Expresseur freeware ( www.expresseur.com http://www.expresseur.com ). I would like to use lilypond to build the score-image, according to the user’s options ( staves to play/display ). For this, I can use Lilypond to build easily the score-image, building automatically the lilypond source-code. But I also need to interact with the score-image, to highlight position dynamically. So, I need to know where to find graphically the notes, within the image. The log file can be a solution … My contribution : I can update source-code ( C++, .. ). But some help can be useful to know where to « touch » this (large) project…. Alternative : Filter tha available logs. May be(?), this information is already available in a « verbose » log. In this case, I just need some indications to know how to generate this information, and where to find it in the log. With this information, it will be easy for me to parse the text logs… For consideration Franck Revolle ___ lilypond-devel mailing list lilypond-de...@gnu.org mailto:lilypond-de...@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-devel mailing list lilypond-de...@gnu.org mailto:lilypond-de...@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scheme function for alternate tagged swing stopped working
2014-12-21 8:29 GMT+01:00 Christopher R. Maden cr...@maden.org:
I wrote a function \sw, against LilyPond 2.12, a while back.
It takes music as an argument, and returns two copies of the music, one
tagged 'layout and one tagged 'midi. The 'midi tagged one has eighth
notes changed to quarter-eighth triplets (i.e., swung).
I’ve run it through convert-ly a couple of times, and now, against
2.16.2, it doesn’t work. I’m not sure when it stopped working; I was
setting reels fast enough that it was hard to hear the difference. But
now I’m setting some hornpipes, and the difference is very clear.
The file that defines the swing function can be found at URL:
http://crism.maden.org/music/swing.ly .
Attached is a simple test file and its output. The first staff should
have the same passage twice, but swung the second time. The second
staff should be straight, and the third swung. Instead, you’ll see that
all four copies are identical, and straight.
It seems that the music internals have changed but I can’t put my finger
on how. Any pointers would be welcome.
Hi Christopher,
it's due to the changes for 'EventChord. Until 2.15.x (don't remember
the exact version) every single note was wrapped into an 'EventChord.
Look at the output from:
\displayMusic { d8 e }
2.14.2 returns:
(make-music
'SequentialMusic
'elements
(list (make-music
'EventChord
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 3 0 1 1)
'pitch
(ly:make-pitch -1 1 0
(make-music
'EventChord
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 3 0 1 1)
'pitch
(ly:make-pitch -1 2 0))
2.16.2 and later returns:
(make-music
'SequentialMusic
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 3 0 1)
'pitch
(ly:make-pitch -1 1 0))
(make-music
'NoteEvent
'duration
(ly:make-duration 3 0 1)
'pitch
(ly:make-pitch -1 2 0
A quick fix would be to wrap the music into EventChords again.
sw = #(define-music-function (parser location notes) (ly:music?)
(let ((swing (make-music
'SequentialMusic
'elements
(list
(make-music
'RelativeOctaveMusic
'element
(make-music
'SequentialMusic
'elements
(swing-eighths
(ly:music-deep-copy
(ly:music-property
(ly:music-property
(car (ly:music-property
(event-chord-wrap! notes) ;;
'elements))
'element)
'elements))
'()
#f)))
#{
\tag #'layout { $notes }
\tag #'midi { $swing }
#}
)
)
Alternatively rewrite the functions to work with 'NoteEvent and 'EventChord.
HTH,
Harm
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Re: volta problem plus a new issue question concerning volta
Hi- Kieren's solution worked and Mark's didn't yet I can't see the
difference.except in the results. As for Kieren's question, I
lazily used a template to get this going and didn't delete that now I
have.
So the next part=
it doesn't work to put a break between the endings
\mark #10
bes2 b! c \breathe c,4.\downbow (bes8) a1\upbow |}
\alternative {
{d2 ~ d8 d e fis} {d2 d,} }\bar ||
the page I'm doing for the student has the 2nd ending on the next line
but if I put a break between the {}\break{} it screws everything up
Thanks for the finding the mistake that I just didn't catch.
Jay
Message: 2
Date: Sat, 20 Dec 2014 21:30:51 -0800
From: Mark Stephen Mrotek carsonm...@ca.rr.com
To: 'Jay Hamilton' i...@soundand.com, 'Lilypond User'
lilypond-user@gnu.org
Subject: RE: Re; Volta problem
Message-ID: 000901d01cdf$493ddc60$dbb99520$@ca.rr.com
Content-Type: text/plain; charset=us-ascii
Jay,
The format for alternative endings: \alternative { {} {} }.
See this does what you want.
\alternative {{ g2. ~ g2.\breathe } {g2.\fermata}}
Mark
Hi Jay,
The 1st ending should be after the tied g2. ~ g and it's not. What have
I got wrong?
Alternative takes a **brace-enclosed** set of [possibly brace-enclosed]
expressions:
\alternative { { alt1 } { alt2 } }
Below is your snippet, heavily re-formatted (because I found your
version very hard to read/follow) — note how
\alternative { g2. ~ g2.}\breathe {g2.\fermata}
has become
\alternative { { g2. ~ g2. \breathe } { g2.\fermata } }
which, I believe, gives you what you want.
Hope this helps!
Kieren.
p.s.
I'm not interested in the midi for it.
Then why include the \midi {} block at all? (I’ve commented it out in my
revision.)
_
\version 2.18.2
#(ly:set-option 'delete-intermediate-files #t)
#(set-default-paper-size letter )
#(set-global-staff-size 18)
\header {
title = Overture- Lully
}
\paper {
indent = 30
short-indent = 15
right-margin = 30
top-margin = 15
bottom-margin = 15
}
voice = \relative c {
\key f \major
\time 4/4
\tempo Gravement
\override Staff.TimeSignature #' style = #' ()
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\set Score.markFormatter = #format-mark-box-numbers
\clef bass
\set Score.skipBars = ##t
\time 3/4
\repeat volta 2 {
\mark #80
d4 d\downbow a |
c d8( c bes a) |
bes4.-\downbow a8\upbow g4-\downbow |
c, d2-\downbow |
}
\alternative { { g2. ~ g2. \breathe } { g2.\fermata } }
\bar |.
}
\score {
\new Staff \voice
\layout { \context { \Score \remove Bar_number_engraver } }
%\midi { }
}
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Re: Autochange for two voices
Message: 2
Date: Sat, 20 Dec 2014 21:57:00 + (UTC)
From: Justin justin.domin...@hotmail.com
Subject: Autochange for two voices
Hello,
I am trying to typeset scales for two hands on the piano like so :
http://postimg.org/image/bq0hqyv1z/
I was able to get to this point: http://postimg.org/image/qfsrmlo85/
but I can't seem to find a way to disconnect the upper voice from the
lower voice. I am using \autochange which I believe might be the cause
of the issue.
Does anyone know how to properly format the music?
Here is my current code (short version): http://pastebin.com/FAyGj0z4
Here's how I would do it. There are other ways to position the text. I've
left the remaining left-hand fingering to you:
\version 2.19.15
S = \relative c'' {
\clef treble
\repeat volta 2 {
\stemUp
c,16-1 d e f-1 g a b c-1 d e f-1 g a b c-5 b a g f-1 e-3 d c-1 b-4 a
g f-1 e-3 d
}
c4 \mark \markup {\column {MAJOR SC.} }
\bar |.
}
B = \relative g {
\clef bass
\repeat volta 2 {
\stemDown
\set fingeringOrientations = #'(down)
c,-416 d e f-1 g a b c
\change Staff = up d e f g a b c b a g f e d c b a
\change Staff = down g f e d
}
c4
\bar |.
}
global= { \key c \major \tempo \markup { \column {In Octaves. C Major }}
\time 8/4 }
\score {
\new PianoStaff
\new Staff = up { \global \S }
\new Staff = down { \global \B }
\layout {
\context {
\Staff
\remove Time_signature_engraver
}
}
}
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Re: volta problem plus a new issue question concerning volta
Hi Jay,
On Dec 21, 2014, at 8:06 AM, Jay Hamilton i...@soundand.com wrote:
it doesn't work to put a break between the endings
\alternative { { g2. ~ g2. \breathe \break } { g2.\fermata } }
Hope this helps!
Kieren.
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Re: volta problem plus a new issue question concerning volta
Jay,
The issue is that the \alternative function can't have ANYTHING
outside of the compound expression brackets {...}. If you need a
\break, \pageBreak, or a \bar or barcheck |, they need to be
inside one of the {...} sections like:
\alternative { { ... \break } {...} } or \alternative { {... | } {...} }
and not
\alternative { {...} \break {...} } or \alternative { {...} | {...} }
Nice work, Kieren!
-Abraham
On Sun, Dec 21, 2014 at 7:44 AM, Kieren MacMillan [via Lilypond]
ml-node+s1069038n169549...@n5.nabble.com wrote:
Hi Jay,
On Dec 21, 2014, at 8:06 AM, Jay Hamilton [hidden email] wrote:
it doesn't work to put a break between the endings
\alternative { { g2. ~ g2. \breathe \break } { g2.\fermata } }
Hope this helps!
Kieren.
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Re: First time Voices user
On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate staves,
or give one the \voiceOne and the other the \voiceTwo appellations.
Ah! I didn't notice this because I'm reproducing a chant without any
note stems.
However, even after adding \voiceOne and \voiceTwo I'm still seeing the
double articulation. It's harder to see (because the articulation on
the lower note tends to collide with the higher note) but it's still
there (see first articulated note below in voiced staff).
Changes are to use the `natural' articulation direction (- instead of
^)
I forced the up direction on the articulations because when I used the
natural articulation direction in chord construction the articulations
appeared below the chord (see third articulated note below in chorded
staff). In the piece I'm reproducing, however, the articulations were
above the notes. Further, this switch still results in double
articulations: one above and one below (see second and third articulated
note below in voiced staff).
To reproduce the articulations I've got, I need it to always appear over
the top note (the piece doesn't have any notes higher than bflat').
As an aside, dutch note names and \relative make data entry MUCH
faster.
I tried both of these before and found the resulting code much harder to
read. I don't speak Dutch and so the Dutch note names don't seem
natural to me (is and es are too similar to stay distinct). Also,
in relative mode I had lots of trouble telling just exactly which note I
was entering (I'd often have to go back and reset the score because I'd
made a mistake and entered the note in the wrong octave). As a result
I've made a deliberate choice for clarity over speed. It's purely a
personal preference, but this is what makes my life easier.
And I prefer to have bars present in a
longer piece, to allow line breaking and to allow bar checks to be
added in the source, so as to not lose myself when making amendments.
I don't disagree, but I'm working on a non-metrical piece with arbitrary
bar lines. As a result I can't depend on the normal bar checking
mechanisms and have to introduce them manually. Stripping down to a
tiny example hides this (as I've only included a single measure in the
example).
%%
\version 2.18.2
\language english
mel = {bflat'2 bflat'4^- a'-- a'--}
harm = {g'2 g'4^- c'-- f'--}
chorded = {g' bflat'2 g' bflat'4-- c' a'-- f' a'^-}
global = { \key f \major
\set Score.timing = ##f
\omit Stem }
\new Staff \with {
\remove Time_signature_engraver
}
\global
\new Voice = melody {\voiceOne \global \mel}
\new Voice = harmony {\voiceTwo \global \harm}
\new Staff \with {
\remove Time_signature_engraver
}
{
\global
\chorded
}
✝
Br. Samuel, OSB
(R. Padraic Springuel)
PAX ☧ ΧΡΙΣΤΟΣ
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Re: First time Voices user
Am 21.12.2014 um 18:00 schrieb Br. Samuel Springuel:
On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate staves,
or give one the \voiceOne and the other the \voiceTwo appellations.
Ah! I didn't notice this because I'm reproducing a chant without any
note stems.
Hi,
I've now had the chance to compile your example and have a look.
I think the first thing for you to do is to get clear about what you
actually want to achieve.
I'm not really sure why you chose to try out separate voices.
From the looks of it your original chorder version seems to be right
what you need.
You need voices when you *do* have voices, that is either different
instruments or voices or virtual instruments like in polyphonic
keyboard writing, where you really want to show that there are layers of
notes that belong together.
But if you use independent voices it's natural that each voice has its
own set of articulations and dynamics.
I'd say:
If you want to have distinct voices (for whatever reason) but want them
to be printed with only one (upper) articulation, then either write the
articulations to the upper voice only or (if you need them for MIDI)
hide them in the lower voice.
If that doesn't help you it'd be good to know still more about the
instrumental context.
Urs
However, even after adding \voiceOne and \voiceTwo I'm still seeing
the double articulation. It's harder to see (because the articulation
on the lower note tends to collide with the higher note) but it's
still there (see first articulated note below in voiced staff).
Changes are to use the `natural' articulation direction (- instead of
^)
I forced the up direction on the articulations because when I used the
natural articulation direction in chord construction the articulations
appeared below the chord (see third articulated note below in chorded
staff). In the piece I'm reproducing, however, the articulations were
above the notes. Further, this switch still results in double
articulations: one above and one below (see second and third
articulated note below in voiced staff).
To reproduce the articulations I've got, I need it to always appear
over the top note (the piece doesn't have any notes higher than bflat').
As an aside, dutch note names and \relative make data entry MUCH
faster.
I tried both of these before and found the resulting code much harder
to read. I don't speak Dutch and so the Dutch note names don't seem
natural to me (is and es are too similar to stay distinct). Also,
in relative mode I had lots of trouble telling just exactly which note
I was entering (I'd often have to go back and reset the score because
I'd made a mistake and entered the note in the wrong octave). As a
result I've made a deliberate choice for clarity over speed. It's
purely a personal preference, but this is what makes my life easier.
And I prefer to have bars present in a
longer piece, to allow line breaking and to allow bar checks to be
added in the source, so as to not lose myself when making amendments.
I don't disagree, but I'm working on a non-metrical piece with
arbitrary bar lines. As a result I can't depend on the normal bar
checking mechanisms and have to introduce them manually. Stripping
down to a tiny example hides this (as I've only included a single
measure in the example).
%%
\version 2.18.2
\language english
mel = {bflat'2 bflat'4^- a'-- a'--}
harm = {g'2 g'4^- c'-- f'--}
chorded = {g' bflat'2 g' bflat'4-- c' a'-- f' a'^-}
global = { \key f \major
\set Score.timing = ##f
\omit Stem }
\new Staff \with {
\remove Time_signature_engraver
}
\global
\new Voice = melody {\voiceOne \global \mel}
\new Voice = harmony {\voiceTwo \global \harm}
\new Staff \with {
\remove Time_signature_engraver
}
{
\global
\chorded
}
✝
Br. Samuel, OSB
(R. Padraic Springuel)
PAX ☧ ΧΡΙΣΤΟΣ
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Arpeggio
I am lost: I have the example in manual 1.3.3. (german, arpeggio over
different systems
\new PianoStaff \relative c''
\set PianoStaff.connectArpeggios = ##t
\new Staff {
c e g c4\arpeggio
g c e g4\arpeggio
e g c e4\arpeggio
c e g c4\arpeggio
}
\new Staff {
\clef bass
\repeat unfold 4 {
c,, e g c4\arpeggio
}
}
My code is the following: (exerpt)
choirPart = \new ChoirStaff
\new Staff = Frauen \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Sopran Alt }
}
\new Voice = soprano{ \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
\new Voice = sopranoTwo { \voiceThree \sopranoTwo}
\new Voice = altoTwo{ \voiceFour \altoTwo }
\new Lyrics \with {
alignAboveContext = Frauen
} \lyricsto sopranoTwo \verseSoprano
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #CENTER
} \lyricsto alto \verse
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #UP
} \lyricsto altoTwo \verseAlto
\new Staff = Maenner \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Tenor Bass }
}
\clef bass
\new Voice = tenor{ \voiceOne \tenor }
\new Voice = bass { \voiceTwo \bass }
\new Voice = tenorTwo { \voiceThree \tenorTwo }
\new Voice = bassTwo { \voiceFour \bassTwo }
\new Lyrics \with {
alignAboveContext = Maenner
} \lyricsto tenorTwo \verseTenor
\new Lyrics \with { }
\lyricsto bassTwo \verseBasso
organPart = \new PianoStaff \with {
instrumentName = Orgel
}
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
midiInstrument = church organ
} \rightOne \\ \rightTwo
\new Staff = down \with {
midiInstrument = church organ
} { \clef bass \leftOne \\ \leftTwo \\ \leftthree }
\score {
\choirPart
\organPart
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
\midi {
\tempo 4=100
}
}
I labelled the offending line and would like to know where to place it.
In the present position it raises an error.
Kind regards
Bernhard
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Re: Arpeggio
Am 21.12.2014 um 20:57 schrieb Dr. Bernhard Kleine:
organPart = \new PianoStaff \with {
instrumentName = Orgel
}
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
midiInstrument = church organ
I labelled the offending line and would like to know where to place it.
You can simply put “connectArpeggios = ##t” in the PianoStaff’s
\with-block (without “\set PianoStaff.”).
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Re: First time Voices user
The piece I'm typesetting is a modern chant Our Father that we use in our morning office. It's sung acapella and has a melody and harmony line. The lyrics, dynamics, and articulations are always in sync between the two parts, it's just that the harmony has a different note (effectively, the choir sings a chord, hence my first representation). Hollow note heads correspond to phrases on the same note, solid ones to single syllables. I've been able to get a satisfactory visual output using chords, but decided to try and recast it using voices. Since the same person can't sing both notes, I thought this would be a more accurate representation of the structure of the piece. Also, I needed the practice using Lilypond this way. As a result, you might say that this is mostly an exercise in using Lilypond. Below is a link to a Dropbox folder with the project files for the full piece for those interested. https://www.dropbox.com/sh/lsccob1w3hdnqgj/AACdcqz1W0x1GDSTw2oeO8mla?dl=0 If you want to have distinct voices (for whatever reason) but want them to be printed with only one (upper) articulation, then either write the articulations to the upper voice only or (if you need them for MIDI) hide them in the lower voice. I'm not producing a midi file, so I can put the articulations in just one voice as suggested, but something about this strikes me as wrong (which may just be my relative inexperience showing). My thinking is that both voices are articulated; putting marks in just one voice implies otherwise. The hiding of simultaneous, identical articulation marks (leave just one showing) is kind of like the hiding of accidentals which appear in the key signature, a choice of presentation separate from the musical content. In F major I still have to write bflat', even though the flat sign isn't printed, because that's the note to be sung. Likewise, the articulation is sung and should be included in the musical content, even when it need not be printed. Is this thinking wrong? As for hiding the articulations, how would I go about doing that? I assume that I'll need an \omit statement, similar to how I get rid of the stems, but only in the second voice. What would I be omitting? I tried \omit Articulation and that didn't work (raised an error about bad grob property path). ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
AW: Arpeggio
Then there is an error in the manual of 2.9.15.
Kind regards
Bernhard
Von: Brent Boylan [mailto:brent.boy...@outlook.com]
Gesendet: Sonntag, 21. Dezember 2014 21:05
An: Dr. Bernhard Kleine
Betreff: RE: Arpeggio
It looks like the set line needs to be inside the double angle brackets as the
example shows. Haven't tried your excerpt to verify, though.
Merry Christmas,
Brent Boylan
_
From: Dr. Bernhard Kleine mailto:bernhard.kle...@gmx.net
Sent: 12/21/2014 12:57 PM
To: lilypond-user@gnu.org
Subject: Arpeggio
I am lost: I have the example in manual 1.3.3. (german, arpeggio over different
systems
\new PianoStaff \relative c''
\set PianoStaff.connectArpeggios = ##t
\new Staff {
c e g c4\arpeggio
g c e g4\arpeggio
e g c e4\arpeggio
c e g c4\arpeggio
}
\new Staff {
\clef bass
\repeat unfold 4 {
c,, e g c4\arpeggio
}
}
My code is the following: (exerpt)
choirPart = \new ChoirStaff
\new Staff = Frauen \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Sopran Alt }
}
\new Voice = soprano{ \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
\new Voice = sopranoTwo { \voiceThree \sopranoTwo}
\new Voice = altoTwo{ \voiceFour \altoTwo }
\new Lyrics \with {
alignAboveContext = Frauen
} \lyricsto sopranoTwo \verseSoprano
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #CENTER
} \lyricsto alto \verse
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #UP
} \lyricsto altoTwo \verseAlto
\new Staff = Maenner \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Tenor Bass }
}
\clef bass
\new Voice = tenor{ \voiceOne \tenor }
\new Voice = bass { \voiceTwo \bass }
\new Voice = tenorTwo { \voiceThree \tenorTwo }
\new Voice = bassTwo { \voiceFour \bassTwo }
\new Lyrics \with {
alignAboveContext = Maenner
} \lyricsto tenorTwo \verseTenor
\new Lyrics \with { }
\lyricsto bassTwo \verseBasso
organPart = \new PianoStaff \with {
instrumentName = Orgel
}
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
midiInstrument = church organ
} \rightOne \\ \rightTwo
\new Staff = down \with {
midiInstrument = church organ
} { \clef bass \leftOne \\ \leftTwo \\ \leftthree }
\score {
\choirPart
\organPart
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
\midi {
\tempo 4=100
}
}
I labelled the offending line and would like to know where to place it.
In the present position it raises an error.
Kind regards
Bernhard
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Re: First time Voices user
Hi, Does the piece you are reproducing have two sets of articulations, both above the staff? I can't remember ever having seen that kind of notation before. If you want to remove the articulations from one voice you can add the following line to it (place it in the same block as the music, before the point where you want the articulations to not appear): \override Script.stencil = ##f Also I second what was said before about the use of Dutch note names and relative entry: if you stick with lilypond those two things will save you a lot of time... Kevin On Sun Dec 21 2014 at 8:09:58 PM Br. Samuel Springuel rpspring...@gmail.com wrote: The piece I'm typesetting is a modern chant Our Father that we use in our morning office. It's sung acapella and has a melody and harmony line. The lyrics, dynamics, and articulations are always in sync between the two parts, it's just that the harmony has a different note (effectively, the choir sings a chord, hence my first representation). Hollow note heads correspond to phrases on the same note, solid ones to single syllables. I've been able to get a satisfactory visual output using chords, but decided to try and recast it using voices. Since the same person can't sing both notes, I thought this would be a more accurate representation of the structure of the piece. Also, I needed the practice using Lilypond this way. As a result, you might say that this is mostly an exercise in using Lilypond. Below is a link to a Dropbox folder with the project files for the full piece for those interested. https://www.dropbox.com/sh/lsccob1w3hdnqgj/AACdcqz1W0x1GDSTw2oeO8mla?dl=0 If you want to have distinct voices (for whatever reason) but want them to be printed with only one (upper) articulation, then either write the articulations to the upper voice only or (if you need them for MIDI) hide them in the lower voice. I'm not producing a midi file, so I can put the articulations in just one voice as suggested, but something about this strikes me as wrong (which may just be my relative inexperience showing). My thinking is that both voices are articulated; putting marks in just one voice implies otherwise. The hiding of simultaneous, identical articulation marks (leave just one showing) is kind of like the hiding of accidentals which appear in the key signature, a choice of presentation separate from the musical content. In F major I still have to write bflat', even though the flat sign isn't printed, because that's the note to be sung. Likewise, the articulation is sung and should be included in the musical content, even when it need not be printed. Is this thinking wrong? As for hiding the articulations, how would I go about doing that? I assume that I'll need an \omit statement, similar to how I get rid of the stems, but only in the second voice. What would I be omitting? I tried \omit Articulation and that didn't work (raised an error about bad grob property path). ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ 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: Arpeggio
There is no misprint in the manual. The way you used \set is also
possible, but because the line in question appears after the closing
bracket on the line before LilyPond does not include it in the variable you
named (organPart). If you enclose the entire variable in curly brackets
(which will make it into a single music expression) then what you have
written should work. (I can't say for sure because the code you pasted
can't be compiled without the bits left out - posting a minimal working
example would help make sure.)
Kevin
On Sun Dec 21 2014 at 8:14:09 PM Dr. Bernhard Kleine
bernhard.kle...@gmx.net wrote:
Then there is an error in the manual of 2.9.15.
Kind regards
Bernhard
*Von:* Brent Boylan [mailto:brent.boy...@outlook.com]
*Gesendet:* Sonntag, 21. Dezember 2014 21:05
*An:* Dr. Bernhard Kleine
*Betreff:* RE: Arpeggio
It looks like the set line needs to be inside the double angle brackets as
the example shows. Haven't tried your excerpt to verify, though.
Merry Christmas,
Brent Boylan
--
*From: *Dr. Bernhard Kleine bernhard.kle...@gmx.net
*Sent: *12/21/2014 12:57 PM
*To: *lilypond-user@gnu.org
*Subject: *Arpeggio
I am lost: I have the example in manual 1.3.3. (german, arpeggio over
different systems
\new PianoStaff \relative c''
\set PianoStaff.connectArpeggios = ##t
\new Staff {
c e g c4\arpeggio
g c e g4\arpeggio
e g c e4\arpeggio
c e g c4\arpeggio
}
\new Staff {
\clef bass
\repeat unfold 4 {
c,, e g c4\arpeggio
}
}
My code is the following: (exerpt)
choirPart = \new ChoirStaff
\new Staff = Frauen \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Sopran Alt }
}
\new Voice = soprano{ \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
\new Voice = sopranoTwo { \voiceThree \sopranoTwo}
\new Voice = altoTwo{ \voiceFour \altoTwo }
\new Lyrics \with {
alignAboveContext = Frauen
} \lyricsto sopranoTwo \verseSoprano
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #CENTER
} \lyricsto alto \verse
\new Lyrics \with {
\override VerticalAxisGroup.staff-affinity = #UP
} \lyricsto altoTwo \verseAlto
\new Staff = Maenner \with {
midiInstrument = choir aahs
instrumentName = \markup \center-column { Tenor Bass }
}
\clef bass
\new Voice = tenor{ \voiceOne \tenor }
\new Voice = bass { \voiceTwo \bass }
\new Voice = tenorTwo { \voiceThree \tenorTwo }
\new Voice = bassTwo { \voiceFour \bassTwo }
\new Lyrics \with {
alignAboveContext = Maenner
} \lyricsto tenorTwo \verseTenor
\new Lyrics \with { }
\lyricsto bassTwo \verseBasso
organPart = \new PianoStaff \with {
instrumentName = Orgel
}
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
midiInstrument = church organ
} \rightOne \\ \rightTwo
\new Staff = down \with {
midiInstrument = church organ
} { \clef bass \leftOne \\ \leftTwo \\ \leftthree }
\score {
\choirPart
\organPart
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
\midi {
\tempo 4=100
}
}
I labelled the offending line and would like to know where to place it.
In the present position it raises an error.
Kind regards
Bernhard
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Re: First time Voices user
On 2014-12-21 3:27 PM, Kevin Barry wrote: Does the piece you are reproducing have two sets of articulations, both above the staff? I can't remember ever having seen that kind of notation before. No, it has only one set of articulations, but they apply to both parts when they appear. If you want to remove the articulations from one voice you can add the following line to it (place it in the same block as the music, before the point where you want the articulations to not appear): \override Script.stencil = ##f That worked nicely. I found that I could also shorten this to \omit Script. ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
novice questions - an advice appreciated!
I'm trying to create something like this:
- Chord names (not grids) above the first staff
- One normal staff
- One guitar tab staff underneath it (same melody as in staff above)
- Lyrics underneath the guitar tab
- Chord grids printed just once at bottom
I would also like to define my own chord voicings with custom names - that
is, I don't want to give an alternative voicing for E, but instead make up
a new name like EBlah, and have EBlah appear in the chart and in the chord
grid. I might have multiple voicings that are all really E so it doesn't
work to just re-use E.
I can find bits and pieces of this, but I can't make anything really work.
Here's my work-in-progress (using frescobaldi):
\version 2.18.2
\include predefined-guitar-fretboards.ly
chordNames = \chordmode { c1:m7 ees1:maj7 }
melody = \relative c'{ c2 f4 bes,4 ees aes, des ges, }
verse= \lyricmode { I met a fair young maiden }
\score {
\new ChordNames \chordNames
\new FretBoards \chordNames
\new Staff \melody
\addlyrics \verse
\new TabStaff \melody
}
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Re: First time Voices user
Am 21. Dezember 2014 21:57:37 MEZ, schrieb Br. Samuel Springuel rpspring...@gmail.com: On 2014-12-21 3:27 PM, Kevin Barry wrote: Does the piece you are reproducing have two sets of articulations, both above the staff? I can't remember ever having seen that kind of notation before. No, it has only one set of articulations, but they apply to both parts when they appear. If you want to remove the articulations from one voice you can add the following line to it (place it in the same block as the music, before the point where you want the articulations to not appear): \override Script.stencil = ##f That worked nicely. I found that I could also shorten this to \omit Script. Yes. \omit is a new way to set the stencil to ##f. And Script is what you were looking for. ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ 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: First time Voices user
Am 21. Dezember 2014 21:09:23 MEZ, schrieb Br. Samuel Springuel rpspring...@gmail.com: The piece I'm typesetting is a modern chant Our Father that we use in our morning office. It's sung acapella and has a melody and harmony line. The lyrics, dynamics, and articulations are always in sync between the two parts, it's just that the harmony has a different note (effectively, the choir sings a chord, hence my first representation). Hollow note heads correspond to phrases on the same note, solid ones to single syllables. I've been able to get a satisfactory visual output using chords, but decided to try and recast it using voices. Since the same person can't sing both notes, I thought this would be a more accurate representation of the structure of the piece. That's correct. Imagine you'd want to print out individual parts one day,then you'd have the music organized semantically already. Also, I needed the practice using Lilypond this way. As a result, you might say that this is mostly an exercise in using Lilypond. Perfectly valid :-) Below is a link to a Dropbox folder with the project files for the full piece for those interested. https://www.dropbox.com/sh/lsccob1w3hdnqgj/AACdcqz1W0x1GDSTw2oeO8mla?dl=0 If you want to have distinct voices (for whatever reason) but want them to be printed with only one (upper) articulation, then either write the articulations to the upper voice only or (if you need them for MIDI) hide them in the lower voice. I'm not producing a midi file, so I can put the articulations in just one voice as suggested, but something about this strikes me as wrong (which may just be my relative inexperience showing). My thinking is that both voices are articulated; putting marks in just one voice implies otherwise. The hiding of simultaneous, identical articulation marks (leave just one showing) is kind of like the hiding of accidentals which appear in the key signature, a choice of presentation separate from the musical content. In F major I still have to write bflat', even though the flat sign isn't printed, because that's the note to be sung. Likewise, the articulation is sung and should be included in the musical content, even when it need not be printed. Is this thinking wrong? No, that's completely accurate. Your irritation originates in the fact that you want to produce a score that *looks* like chords but is structurally a polyphonic setting. There's nothing wrong with this but it implies expecting some uncommon behaviour. Concretely you have to hide the articulations in one voice. OTOH when you set it as chords you have to force the direction of the articulations. That's not a shortcoming or inconvenience of LilyPond but a side-effect of doing something beside the conventions. Urs As for hiding the articulations, how would I go about doing that? I assume that I'll need an \omit statement, similar to how I get rid of the stems, but only in the second voice. What would I be omitting? I tried \omit Articulation and that didn't work (raised an error about bad grob property path). ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ 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: lilypond-user Digest, Vol 145, Issue 77
Rob,
This allows you to have the correct layout except that the staff and tab are
flipped. It’s a start, eh?
~Conor
%%
\version 2.18.2
\include predefined-guitar-fretboards.ly
chordNames = \chordmode { c1:m7 ees1:maj7 }
melody = \relative c' { c2 f4 bes,4 ees aes, des ges, }
verse = \lyricmode { I met a fair young maiden }
\score {
\new ChordNames \chordNames
\new TabStaff \melody
\new Staff \melody
\addlyrics \verse
\new FretBoards \chordNames
}
%%
From: Rob Torop rob.to...@gmail.com
To: lilypond-user@gnu.org
Date: December 21, 2014 at 9:18:58 AM CST
Subject: novice questions - an advice appreciated!
I'm trying to create something like this:
Chord names (not grids) above the first staff
One normal staff
One guitar tab staff underneath it (same melody as in staff above)
Lyrics underneath the guitar tab
Chord grids printed just once at bottom
I would also like to define my own chord voicings with custom names - that
is, I don't want to give an alternative voicing for E, but instead make up a
new name like EBlah, and have EBlah appear in the chart and in the chord
grid. I might have multiple voicings that are all really E so it doesn't work
to just re-use E.
I can find bits and pieces of this, but I can't make anything really work.
Here's my work-in-progress (using frescobaldi):
\version 2.18.2
\include predefined-guitar-fretboards.ly
http://predefined-guitar-fretboards.ly/
chordNames = \chordmode { c1:m7 ees1:maj7 }
melody = \relative c'{ c2 f4 bes,4 ees aes, des ges, }
verse= \lyricmode { I met a fair young maiden }
\score {
\new ChordNames \chordNames
\new FretBoards \chordNames
\new Staff \melody
\addlyrics \verse
\new TabStaff \melody
}
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Re: First time Voices user
Br == Br Samuel Springuel rpspring...@gmail.com writes:
Br On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate
staves, or give one the \voiceOne and the other the \voiceTwo
appellations.
Br Ah! I didn't notice this because I'm reproducing a chant without
Br any note stems.
Br However, even after adding \voiceOne and \voiceTwo I'm still
Br seeing the double articulation. It's harder to see (because the
Br articulation on the lower note tends to collide with the higher
Br note) but it's still there (see first articulated note below in
Br voiced staff).
Yes, articulations are per-voice --- otherwise you can't have a
tenuto tenor against a staccato cantus or similar.
Something like http://lsr.di.unimi.it/LSR/Snippet?id=372 might help.
Or try removing the Script_engraver from one of the voices.
But if you're never going to split the voices into staves, then it's
easiest to add the articulation to only a single voice.
Or if you really want to be able to merge the articulations, put them
all in a single voice, using partcombine:
%%%
\version 2.18.2
\language english
mel = {bflat'2 bflat'4-- a'-- a'--}
harm = {g'2 g'4-- c'-- f'--}
global = { \key f \major }
\new Staff \with { \remove Time_signature_engraver }
\partcombine {\global \mel } \harm
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Re: First time Voices user
On 2014-12-21 4:30 PM, Urs Liska wrote: Your irritation originates in the fact that you want to produce a score that*looks* like chords but is structurally a polyphonic setting. There's nothing wrong with this but it implies expecting some uncommon behaviour. Concretely you have to hide the articulations in one voice. OTOH when you set it as chords you have to force the direction of the articulations. That's not a shortcoming or inconvenience of LilyPond but a side-effect of doing something beside the conventions. I guess this stems from the fact that I'm so unfamiliar with musical conventions. Not having a huge amount of formal training, I can't recognize when something is unconventional and thus warrants some pretzel twisting. However, now that I know this, it makes sense to me that I have to hide the articulations from the harmony to achieve the look I want. Further, with the \omit statement down in the Voice, I've accomplished the separation of music from presentation (part of the goal of this exercise). On 2014-12-21 4:43 PM, pe...@chubb.wattle.id.au wrote: Yes, articulations are per-voice --- otherwise you can't have a tenuto tenor against a staccato cantus or similar. I figured something like this was a possibility, even if it didn't figure into the piece I was working on. Something like http://lsr.di.unimi.it/LSR/Snippet?id=372 might help. Or try removing the Script_engraver from one of the voices. Or if you really want to be able to merge the articulations, put them all in a single voice, using partcombine: In this case the \omit statement is enough, but I'll keep both of those solutions in mind should I get a more complicated piece. Thanks Peter, Urs, and Kevin for your help. I feel like I've got a better understanding of what Lilypond expects (and what I should be doing) now. ✝ Br. Samuel, OSB (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
novice questions - an advice appreciated!
I'm sorry. Here's my post attached to the right thread.
As soon as I pressed send, I knew I'd failed to correct the subject.
Rob,
This allows you to have the correct layout except that the staff and tab are
flipped. It’s a start, eh?
~Conor
%%
\version 2.18.2
\include predefined-guitar-fretboards.ly
chordNames = \chordmode { c1:m7 ees1:maj7 }
melody = \relative c' { c2 f4 bes,4 ees aes, des ges, }
verse = \lyricmode { I met a fair young maiden }
\score {
\new ChordNames \chordNames
\new TabStaff \melody
\new Staff \melody
\addlyrics \verse
\new FretBoards \chordNames
}
%%
From: Rob Torop rob.to...@gmail.com
To: lilypond-user@gnu.org
Date: December 21, 2014 at 9:18:58 AM CST
Subject: novice questions - an advice appreciated!
I'm trying to create something like this:
Chord names (not grids) above the first staff
One normal staff
One guitar tab staff underneath it (same melody as in staff above)
Lyrics underneath the guitar tab
Chord grids printed just once at bottom
I would also like to define my own chord voicings with custom names - that
is, I don't want to give an alternative voicing for E, but instead make up a
new name like EBlah, and have EBlah appear in the chart and in the chord
grid. I might have multiple voicings that are all really E so it doesn't work
to just re-use E.
I can find bits and pieces of this, but I can't make anything really work.
Here's my work-in-progress (using frescobaldi):
\version 2.18.2
\include predefined-guitar-fretboards.ly
chordNames = \chordmode { c1:m7 ees1:maj7 }
melody = \relative c'{ c2 f4 bes,4 ees aes, des ges, }
verse= \lyricmode { I met a fair young maiden }
\score {
\new ChordNames \chordNames
\new FretBoards \chordNames
\new Staff \melody
\addlyrics \verse
\new TabStaff \melody
}
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Transpose not the resulting notes, but the codes that produced the notes
So let's say I started writing a song in Ab and then I decide it really should have been written in Eb. Is there a way to transpose the underlying lilypond codes? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transpose not the resulting notes, but the codes that produced the notes
Am 21. Dezember 2014 23:31:52 MEZ, schrieb Stan Mulder st4588...@earthlink.net: So let's say I started writing a song in Ab and then I decide it really should have been written in Eb. Is there a way to transpose the underlying lilypond codes? Yes: using Frescobaldi ;-) 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: Transpose not the resulting notes, but the codes that produced the notes
Urs Liska ul at openlilylib.org writes: Am 21. Dezember 2014 23:31:52 MEZ, schrieb Stan Mulder st45882wz at earthlink.net: So let's say I started writing a song in Ab and then I decide it really should have been written in Eb. Is there a way to transpose the underlying lilypond codes? Yes: using Frescobaldi Great. I am using the wonderful Frescobaldi. I will look for this feature. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transpose not the resulting notes, but the codes that produced the notes
Am 22. Dezember 2014 00:23:11 MEZ, schrieb Stan Mulder st4588...@earthlink.net: Urs Liska ul at openlilylib.org writes: Am 21. Dezember 2014 23:31:52 MEZ, schrieb Stan Mulder st45882wz at earthlink.net: So let's say I started writing a song in Ab and then I decide it really should have been written in Eb. Is there a way to transpose the underlying lilypond codes? Yes: using Frescobaldi Great. I am using the wonderful Frescobaldi. I will look for this feature. Tools - pitches ___ 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; volta issues resolved and explained
Thank you for the solution and explanation. This is something I wouldn't know how to notice in the manuals or even to look for. Best Jay -- Thanks for reading blogs at https://learnivore.com/users/music# www.soundand.com www.themaptheopera.com Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re; volta issues resolved and explained
Hi Jay, Thank you for the solution and explanation. Glad it worked out. This is something I wouldn't know how to notice in the manuals or even to look for. http://www.lilypond.org/doc/v2.19/Documentation/notation/long-repeats#normal-repeats “Alternative endings can be produced using \alternative. Each group of alternatives must be themselves, enclosed in a set of braces.” There follows several examples, where you can clearly see the exact input structure. 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
how to typeset temporary tempo?
Hi there,
I am new to LilyPond. I try to typeset a music sheet. The following is a
snippet. I don't satisfy the code in \markup, especially the size of the
number.
\version 2.18.2
\relative c'' {
\clef treble
\key ees \major
\tempo 4 = 90
f8 g f d ees2 ~ |%m75
ees4 ees'2.\fermata ^\markup {\null \translate #'(2 . 0) \magnify
#0.5 \note #4 #1 = 82} |%m76
bes4. aes8 g4 d'4 |%m77
ees1 ~ |%m78
ees1^\markup {\null \translate #'(2 . 0) \bold rit. \magnify #0.5
\note #4 #1 = 75 } |%m79
ees,,1 ~ |%m80
ees1 \bar |. %m81
}
Any suggestion or comments will be really appreciated. Thanks in advance.
Best regards,
Jinsong
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Re: First time Voices user
peter at chubb.wattle.id.au writes: As an aside, dutch note names and \relative make data entry MUCH faster. See below (part 2). FWIW, English note names are shorter if you use f for flat and s for sharp: cs vs cis is 33% more efficient. I understand why some prefer the Dutch names, as you can read cis as one syllable. I have a repetitive strain injury dating back from college. It's manageable, but it does mean that redundant keystrokes are more objectionable to me than they would be for most people. (I doubt I could go for long in LilyPond without Frescobaldi's excellent autocompletion.) That, and being a Yank, lead me to prefer the English names. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to typeset temporary tempo?
Have you tried the \tempo command?
ees4 \tempo 4 = 82 ees'2. |%m76
%%%
\tempo rit. 4 = 75 ees1 |%m79
Am 22.12.2014 um 03:15 schrieb Jinsong Zhao:
Hi there,
I am new to LilyPond. I try to typeset a music sheet. The following is a
snippet. I don't satisfy the code in \markup, especially the size of the
number.
\version 2.18.2
\relative c'' {
\clef treble
\key ees \major
\tempo 4 = 90
f8 g f d ees2 ~ |%m75
ees4 ees'2.\fermata ^\markup {\null \translate #'(2 . 0) \magnify
#0.5 \note #4 #1 = 82} |%m76
bes4. aes8 g4 d'4 |%m77
ees1 ~ |%m78
ees1^\markup {\null \translate #'(2 . 0) \bold rit. \magnify #0.5
\note #4 #1 = 75 } |%m79
ees,,1 ~ |%m80
ees1 \bar |. %m81
}
Any suggestion or comments will be really appreciated. Thanks in advance.
Best regards,
Jinsong
___
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Re: how to typeset temporary tempo?
Thank you for the reply.
Maybe this is the easy understanding or reasonable solution. The demo
mini example is a LilyPond replication of someone's sheet I saw from a
video. The ``\tempo 4 = 82'' is at the right side of ees'2 in a smaller
style. The ``\tempo rit. 4 = 75'' is also at the right side of ees1 in
the same style, but without parentheses and ``rit.'' in bold. However, I
don't know if it's the correct way to typesetting in such way.
Best regards,
Jinsong
On 2014/12/21 21:58, Malte Meyn wrote:
Have you tried the \tempo command?
ees4 \tempo 4 = 82 ees'2. |%m76
%%%
\tempo rit. 4 = 75 ees1 |%m79
Am 22.12.2014 um 03:15 schrieb Jinsong Zhao:
Hi there,
I am new to LilyPond. I try to typeset a music sheet. The following is a
snippet. I don't satisfy the code in \markup, especially the size of the
number.
\version 2.18.2
\relative c'' {
\clef treble
\key ees \major
\tempo 4 = 90
f8 g f d ees2 ~ |%m75
ees4 ees'2.\fermata ^\markup {\null \translate #'(2 . 0) \magnify
#0.5 \note #4 #1 = 82} |%m76
bes4. aes8 g4 d'4 |%m77
ees1 ~ |%m78
ees1^\markup {\null \translate #'(2 . 0) \bold rit. \magnify #0.5
\note #4 #1 = 75 } |%m79
ees,,1 ~ |%m80
ees1 \bar |. %m81
}
Any suggestion or comments will be really appreciated. Thanks in advance.
Best regards,
Jinsong
___
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