Re: fastest, easiest way of including fret diagram markups above music?
2014-12-30 5:56 GMT+01:00 Ryan Clarin ryancla...@gmail.com:
Thank you for the welcome and reply. I want to include every fret diagram
at every chord change, the kids simply do better reading a long when they
can see the actual Fret diagram marked up above the music at every change
vs having to look above on their sheet for the predefined diagram on top of
the sheet.
This is what you want? I just added a Staff to previous example. You don't
need \fret-diagram if you use the predefined chords.
\version 2.18.2
\include predefined-ukulele-fretboards.ly
mychords = \chordmode { c g f c }
\new ChordNames { \mychords }
\new FretBoards { \set Staff.stringTunings = #ukulele-tuning \mychords }
\new Staff \mychords
Basically, I found the long \fret-diagram string after \markup string
works well, but is very long and tedious to write for every chord change.
Is there a shortened abbreviated string of the \fret-diagram command that
will utilize the built in predefined fret diagrams and make my writing a
little easier and faster?
And if you need custom fret diagrams, I would use this method:
http://www.lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-fretted-strings#automatic-fret-diagrams
The example in the doc repeats the same music in two variables, one for
FretBoards and one for Staff.. which is not handy.. I don't know what the
cons may be but at least that example look the same if written this way:
\version 2.18.2
myChords = {
f, c f a c' f'1
g,\6 b, d g b g'1
}
\new ChordNames {
\chordmode {
f1 g
}
}
\new FretBoards {
\myChords
}
\new Staff {
\clef treble_8
\myChords
}
\layout {
\omit StringNumber
}
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Re: strange phenomenon from guitar bends snippet
2014-12-30 1:38 GMT+01:00 list_lilyp...@infopower.nl: I'll use your snippet next time when working on the music. I assume you want me to check the behaviour over a line break. Anything else? Anything you notice. Please report any problem in this list, since I'm only the maintainer of the files on github. Your reference to the manual re the spurious staff is excellent. Again, when the work is done and I have more time I'll try to comment out the TabVoice override commands to see if the TabStaff attempts will disappear. Just tried with your first attachment, it works. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: adding stems to clusters
2014-12-30 3:43 GMT+01:00 Jaime E Oliver jaime.oliv...@gmail.com: Dear David, all, Thanks for your responses. Ideally I want to make a graphic notation for overpressure bowing similar to the xenakis excerpt attached. No attachment. I'd be interested in how it looks. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: adding stems to clusters
2014-12-30 3:43 GMT+01:00 Jaime E Oliver jaime.oliv...@gmail.com: Dear David, all, Thanks for your responses. Ideally I want to make a graphic notation for overpressure bowing similar to the xenakis excerpt attached. I was thinking of adding stems to a cluster-band as a hopefully day solution, but I see it is not so easy. I did try the new voice hack, but didn't feel very elegant (not that I could do much better than that). Example 15) from Piaras does look great. I'll write him to enquire. Code for the stockhausen-glissando: http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00757.html Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rallentando and accelerando in MIDI
Further to my query (below) yesterday about varying ralls and accels in midi, how do I actually get these to work at all? At the moment the articulate script is working correctly in executing trills, slurs etc. But it ignores my rit. markings and suchlike. I have tried entering these using \mark \markup and also attaching markup to a note, but my midi files do not vary the tempo at all. What syntax should I use to enter ralls and accels in a score? David Subject: Rallentando and accelerando in MIDI Date: Mon, 29 Dec 2014 22:06:51 + Rallentando and accelerando are supported in MIDI output if the articulate.ly script is used. Looking at the script, I can see how I can additional synonyms for rall., rit. etc. that the script would then recognize. I can also begin to see how to change the amount of rall, or accel. by modifying the script. What I should like to be able to do sometimes is to alter the rate of rall. or accel. on the fly - i.e. during the course of a piece. I suspect that this might be possible using some Scheme statements, but my understanding of Scheme is insufficient for me even to know if this is possible. Can anyone tell me how to do this, or if it is even possible? David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange phenomenon from guitar bends snippet
2014-12-29 23:20 GMT+01:00 Federico Bruni fedel...@gmail.com:
Il giorno lun 29 dic 2014 alle 19:11, Thomas Morley
thomasmorle...@gmail.com ha scritto:
Look at the output from: m = c e g4\arpeggio mus = { \override
Voice.Arpeggio.color = #red \override TabVoice.Arpeggio.color = #red \m }
\new TabStaff \new TabVoice \mus \new Staff \new Voice { \clef G_8 \mus }
The overrides, one for Voice, one for TabVoice, results in some spurious
context-initialization in the Staff/Voice but not in the TabStaff/TabVoice.
See attached .png. That let me think some context-settings could probably
avoid the problem. I wasn't able to figure it out, though. Not sure if it's
a bug, maybe an enhancement-request.
But I get the same output on 2.18.2 and 2.16.2.
It's present in 2.12.3 already (this is the oldest version I've installed)
I've reworked your example to make it more clear and backward compatible
with 2.16:
\version 2.16.0
mus = {
\override Voice.NoteHead #'color = #red
\override TabVoice.TabNoteHead #'color = #red
c e g4\arpeggio
}
\new TabStaff \new TabVoice \mus
\new Staff \new Voice { \clef G_8 \mus }
Adding
\layout {
\context {
\Voice
\alias TabVoice
}
}
makes the following work.
\layout {
\context {
\Voice
\alias TabVoice
}
}
mus = {
\override Voice.NoteHead #'color = #red
\override TabVoice.TabNoteHead #'color = #green
c e g4\arpeggio
}
\new TabStaff \new TabVoice \mus
\new Staff \new Voice { \clef G_8 \mus }
Though, there's likely a reason why it's not the default _and_ it
returns an error if applied together with bend.ly.
Will investigate further.
Cheers,
Harm
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Re: adding stems to clusters
Dear List, I sent the following to Jaime E Oliver so I wanted to post it here also. It's my code for special glissandi. It's still personal code so naturally it can't be guaranteed to work for all use cases; all I can is that it works well for my needs. With a view to making these functions more effecient I was wondering if the fact that I've used a lot of embedded postscript code is a bad thing? Postscript has some nice functionality for looping and repeating drawing commands which is one of the reasons I was drawn to it. The main thing to watch out for is that this code doesn't behave across line-breaks; I imagine this wouldn't be trivial to implement and so haven't been too concerned by it. It would be amazing to have this, especially if working on scores involving large groups of instruments. I plan to have some down time in February/March when I can get around to tidying up some other code and putting it out there for those who might be interested. all the best, piaras variable_glissando_lines.zip https://docs.google.com/file/d/0B0LUzVrFDYH8bE5YTVZTNGpKVkk/edit?usp=drive_web special_technique_glissandi.zip https://docs.google.com/file/d/0B0LUzVrFDYH8bVJFNzJaNlV0ODA/edit?usp=drive_web On 30 December 2014 at 11:04, Thomas Morley thomasmorle...@gmail.com wrote: 2014-12-30 3:43 GMT+01:00 Jaime E Oliver jaime.oliv...@gmail.com: Dear David, all, Thanks for your responses. Ideally I want to make a graphic notation for overpressure bowing similar to the xenakis excerpt attached. I was thinking of adding stems to a cluster-band as a hopefully day solution, but I see it is not so easy. I did try the new voice hack, but didn't feel very elegant (not that I could do much better than that). Example 15) from Piaras does look great. I'll write him to enquire. Code for the stockhausen-glissando: http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00757.html Cheers, Harm ___ 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: strange phenomenon from guitar bends snippet
It's working here. Nothing special done yet. Except that commenting out all the lines with \once \override Tab* gets rid of the spurious TabStaffs in the output. regards, Joe On Tue, 30 Dec 2014 00:19:02 +0100 Federico Bruni fedel...@gmail.com wrote: 2014-12-29 16:24 GMT+01:00 Federico Bruni fedel...@gmail.com: I think that it happens because it assumes that you want to use a TabStaff context. Also, Marc Hohl recommended me (in a private email) to use voice contexts or you may have some problems. I'll add it to the README on github. Finally, there are issues when a bend occurs at a line break. Very annoying because it happens all of a sudden as the page formatting changes. Harm sent me a modified version of the \bendOn function, which seems to work fine on my files. I intended to test it more but I think that I'd better push it to github so others (including you) can test and report any problem. I'll do it tonight. done: https://github.com/openlilylib/openlilylib/tree/267ea8df747289d8acd8418961156dd7de65aaa8/notation-snippets/guitar-string-bending Joe, please test the (slightly) new definition.ily file. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange phenomenon from guitar bends snippet
2014-12-30 16:43 GMT+01:00 list_lilyp...@infopower.nl:
It's working here.
Nothing special done yet.
Except that commenting out all the lines with
\once \override Tab* gets rid of the spurious TabStaffs in the
output.
You should comment these two lines only in bend.ly:
%%% music functions
bendOn =
#(define-music-function (parser location note) (ly:music?)
#{
\override Voice.Slur #'stencil = #slur::draw-pointed-slur
% \override TabVoice.Slur #'stencil = #slur::draw-bend-arrow
$note \noBreak
#})
bendOff = {
\revert Voice.Slur #'stencil
% \override TabVoice.Slur #'stencil = #slur::draw-tab-slur
}
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Staff error
I'm trying to write a choral score that has parts, then an interlude, then
more parts, etc.
When I code it like the following, I get what I'm looking for.
\version 2.18.2
\language english
% Verse 1
\new ChoirStaff
\new Staff {
\relative c'' { c d e f }
}
\new Staff {
\relative c'' { g a b c }
}
% Interlude
\new Staff {
\relative c'' { c d e f }
}
% Verse 2
\new ChoirStaff
\new Staff {
\relative c { \clef bass d e f g }
}
\new Staff {
\relative c { \clef bass a b c d }
}
When I enclose the code in a \score block, I get an unexpected \new error on
line 17. What am I missing?
\version 2.18.2
\language english
\score {
% Verse 1
\new ChoirStaff
\new Staff {
\relative c'' { c d e f }
}
\new Staff {
\relative c'' { g a b c }
}
% Interlude
\new Staff {
\relative c'' { c d e f }
}
% Verse 2
\new ChoirStaff
\new Staff {
\relative c { \clef bass d e f g }
}
\new Staff {
\relative c { \clef bass a b c d }
}
}
Thanks,
Chris
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RE: Staff error
Chris,
Putting each in a separate \score block compiles. I do not know if that is the
only, or best solution.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Chris
Trahan
Sent: Tuesday, December 30, 2014 9:18 AM
To: LilyPond User Group
Subject: Staff error
I'm trying to write a choral score that has parts, then an interlude, then
more parts, etc.
When I code it like the following, I get what I'm looking for.
\version 2.18.2
\language english
% Verse 1
\new ChoirStaff
\new Staff {
\relative c'' { c d e f }
}
\new Staff {
\relative c'' { g a b c }
}
% Interlude
\new Staff {
\relative c'' { c d e f }
}
% Verse 2
\new ChoirStaff
\new Staff {
\relative c { \clef bass d e f g }
}
\new Staff {
\relative c { \clef bass a b c d }
}
When I enclose the code in a \score block, I get an unexpected \new error on
line 17. What am I missing?
\version 2.18.2
\language english
\score {
% Verse 1
\new ChoirStaff
\new Staff {
\relative c'' { c d e f }
}
\new Staff {
\relative c'' { g a b c }
}
% Interlude
\new Staff {
\relative c'' { c d e f }
}
% Verse 2
\new ChoirStaff
\new Staff {
\relative c { \clef bass d e f g }
}
\new Staff {
\relative c { \clef bass a b c d }
}
}
Thanks,
Chris
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RE: Staff error
Mark Stephen Mrotek wrote
Putting each in a separate \score block compiles. I do not know if that is
the only, or best solution.
They do, but that's certainly not the only NOR best solution. The real
reason it gives you an error is because \score expects a single compound
expression for the music (i.e., the second \new starts another compound
expression). I've noticed that putting staves in serial (as you are doing
here) can have certain buggy behavior (though I can't see anything
inherently wrong with that way of doing things, so it probably shouldn't).
When I need to do something like this, I like to put the staves in parallel
and hide the empty ones. Here's how I do it and so far I've never had a
problem getting exactly what I want:
%-- SNIP
parts = \new ChoirStaff
\new Staff {
\relative c'' {
c4 d e f |
\break % -- you can decide if you want these, but they might help
s1 | % -- add more spacers (or rests) here to match interlude
duration
\break % --
\clef bass
d,,4 e f g |
}
}
\new Staff {
\relative c'' {
g4 a b c |
s1 | % -- add spacers (or rests) here, to match interlude duration
\clef bass
a,,4 b c d |
}
}
interlude = \new Staff {
\relative c'' {
s1 | % -- add spacers (or rests) here, to match parts duration prior to
interlude
c4 d e f |
% no need to add anything else beyond here
}
}
\score {
% -- Now the parts are in parallel
\parts
\interlude
\layout{
% to match your original output, you'll want these, but they aren't
critical
indent = 0
ragged-right = ##t
% here's where the magic happens
\context {
\Staff
\RemoveEmptyStaves
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
%-- SNIP
As Mark stated, this also isn't the ONLY or probably best solution, but it
works great!
HTH,
Abraham
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Lilypond generates a chord from nowhere
I have a fretboard problem.
I have defined a new fretboard for a plectrum banjo. Everything is working
properly when I specify a chord, except when I specify a SLASH chord, i.e.,
a chord with a designation for the bass player. So for example, if I specify
a G half-diminished chord, all is well. But if I specify a G half-diminished
chord with a D-flat in the bass, I get a fretboard fingering I don't recognize.
Okay: g:m7.5-
Not okay: g:m7.5-/dflat
Basically, I think the chord in both instances (with or without the slash
notes) should be exactly the same fingerings. How can I correct this?
Here's an example below:
\version 2.19.15
\include english.ly
%% tunings for 4-string banjo
\makeDefaultStringTuning #'plectrumTuning \stringTuning c g b d'
\storePredefinedDiagram #default-fret-table \chordmode {c}
#plectrumTuning #o;o;1;2; % C
\storePredefinedDiagram #default-fret-table \chordmode {g:m7.5-}
#plectrumTuning #5;3;2;5; % Gø
chordNames = \chordmode {
c1 g:m7.5- g:m7.5-/dflat
}
melody = \relative c'' {
c1 c c
}
\score {
\new ChordNames \chordNames
\new FretBoards \chordNames {
\set Staff.stringTunings = #plectrumTuning
\override
FretBoard.fret-diagram-details.finger-code = #'in-dot
\override
FretBoard.fret-diagram-details.number-type = #'arabic
}
\new Staff { \melody }
}
%Stan
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Re: adding stems to clusters
Thanks Piaras, I'll try them out. I forgot to attach the xenakis example. Here it is, best, J On Dec 30, 2014, at 10:36 AM, Piaras Hoban phoba...@googlemail.com wrote: Dear List, I sent the following to Jaime E Oliver so I wanted to post it here also. It's my code for special glissandi. It's still personal code so naturally it can't be guaranteed to work for all use cases; all I can is that it works well for my needs. With a view to making these functions more effecient I was wondering if the fact that I've used a lot of embedded postscript code is a bad thing? Postscript has some nice functionality for looping and repeating drawing commands which is one of the reasons I was drawn to it. The main thing to watch out for is that this code doesn't behave across line-breaks; I imagine this wouldn't be trivial to implement and so haven't been too concerned by it. It would be amazing to have this, especially if working on scores involving large groups of instruments. I plan to have some down time in February/March when I can get around to tidying up some other code and putting it out there for those who might be interested. all the best, piaras variable_glissando_lines.zip special_technique_glissandi.zip On 30 December 2014 at 11:04, Thomas Morley thomasmorle...@gmail.com wrote: 2014-12-30 3:43 GMT+01:00 Jaime E Oliver jaime.oliv...@gmail.com: Dear David, all, Thanks for your responses. Ideally I want to make a graphic notation for overpressure bowing similar to the xenakis excerpt attached. I was thinking of adding stems to a cluster-band as a hopefully day solution, but I see it is not so easy. I did try the new voice hack, but didn't feel very elegant (not that I could do much better than that). Example 15) from Piaras does look great. I'll write him to enquire. Code for the stockhausen-glissando: http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00757.html Cheers, Harm ___ 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: Rallentando and accelerando in MIDI
Am 30.12.2014 13:16, schrieb David Sumbler: Further to my query (below) yesterday about varying ralls and accels in midi, how do I actually get these to work at all? At the moment the articulate script is working correctly in executing trills, slurs etc. But it ignores my rit. markings and suchlike. I have tried entering these using \mark \markup and also attaching markup to a note, but my midi files do not vary the tempo at all. What syntax should I use to enter ralls and accels in a score? It’s not wholly clear what you tried, but I’d assume that code\tempo rit./code is what you want. The difference from \mark is mainly that it lives in score and thus is printed only once above all staves, no matter how many parts have the same tempo marking. And probably articulate.ly will then interpret it correctly (yet I don’t have any experience with that). HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond generates a chord from nowhere
__
In religion, faith is a virtue. In science, faith is a vice.
-- Jerry Coyne
On 30 Dec 2014, at 20:33, Stan Mulder st4588...@earthlink.net wrote:
Basically, I think the chord in both instances (with or without the slash
notes) should be exactly the same fingerings. How can I correct this?
There might be a better solution to this, but this should work: use two
different chord-variables, like
Banjochords = \chordmode{ g : min7.5- }
Basschords = \chordmode{ g : min7.5- / dflat }
And then use \Banjochords in the fretboard staff, \Basschords in the Chordnames
staff. You'll have to keep the chords twice, but this shouldn't be a problem if
you write one and then copy/paste/edit the other one.
You see, Lilypond can't know that the slash chord should not be played as such
by the banjo ...
Best, Robert
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Re: Lilypond generates a chord from nowhere
Am 30.12.2014 22:08, schrieb Robert Schmaus:
__
In religion, faith is a virtue. In science, faith is a vice.
-- Jerry Coyne
On 30 Dec 2014, at 20:33, Stan Mulder st4588...@earthlink.net wrote:
Basically, I think the chord in both instances (with or without the slash
notes) should be exactly the same fingerings. How can I correct this?
There might be a better solution to this,
Using tags should be more efficient, see
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source#using-tags.
HTH, Simon
but this should work: use two different chord-variables, like
Banjochords = \chordmode{ g : min7.5- }
Basschords = \chordmode{ g : min7.5- / dflat }
And then use \Banjochords in the fretboard staff, \Basschords in the Chordnames
staff. You'll have to keep the chords twice, but this shouldn't be a problem if
you write one and then copy/paste/edit the other one.
You see, Lilypond can't know that the slash chord should not be played as such
by the banjo ...
Best, Robert
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Re: Lilypond generates a chord from nowhere
Simon Albrecht simon.albrecht at mail.de writes: Using tags should be more efficient, see http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source#using-tags. HTH, Simon Simon, I considered using two different definitions of the chords as Robert suggested, but when I tried tags, they are more efficient and the code is easier to maintain. Tags sort of act like an if-then-else construction. It adds complexity, but it works. Thanks for the help Stan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
vertical justification of fret-diagram
Hi there,
In the following snippet, I want to vertical justification of the three
fret-diagram.
\version 2.19.15
fret-ees = \markup {
\fret-diagram #s:0.5;6-x;5-x;4-5;3-3;2-4;1-3;c:2-1-2;
}
\relative c'' {
\key ees \major
bes8 ^\fret-ees ees bes ees, g4 ^\fret-ees f ^\fret-ees
}
I can do that by \tweak extra-offset #'(x . y). However, it's not easy
to determine the exact values of x and y. Is there a convenient way to
keep them with same base-line?
By the way, how to make the mute symbol x at the same line of the curve?
I appreciate you for any suggestions.
Best regards,
Jinsong
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makefile problems
Hi all, Does anyone have experience with using makefiles? I've adapted the example from the usage documentation but I keep getting errors, such as *** No rule to make target `score' Any help or tips would be greatly appreciated. Craig - piece = symphony2 - CPU_CORES=`cat /proc/cpuinfo | grep -m1 cpu cores | sed s/.*: //` LILY_CMD = lilypond -ddelete-intermediate-files \ -dno-point-and-click -djob-count=$(CPU_CORES) .SUFFIXES: .ly .ily .pdf .midi # Input and output files are searched in the directories listed in # the VPATH variable. All of them are subdirectories of the current # directory (given by the GNU make variable `CURDIR'). #CURDIR = $(shell pwd) VPATH = \ $(CURDIR)/Scores \ $(CURDIR)/PDF \ $(CURDIR)/Parts \ $(CURDIR)/Notes # The pattern rule to create PDF and MIDI files from a LY input file. # The .pdf output files are put into the `PDF' subdirectory, and the # .midi files go into the `MIDI' subdirectory. %.pdf %.midi: %.ly $(LILY_CMD) $; \ if test -f $*.pdf; then \ mv $*.pdf PDF/; \ fi; \ if test -f $*.midi; then \ mv $*.midi MIDI/; \ fi notes = \ fluteOne.ily \ fluteTwo.ily \ oboeOne.ily \ oboeTwo.ily \ clarinetOne.ily \ clarinetTwo.ily \ clarinetThree.ily \ bassclarinet.ily \ bassoonOne.ily \ bassoonTwo.ily \ altosaxOne.ily \ altosaxTwo.ily \ tenorsax.ily \ barisax.ily \ hornOne.ily \ hornTwo.ily \ hornThree.ily \ hornFour.ily \ trumpetOne.ily \ trumpetTwo.ily \ trumpetThree.ily \ tromboneOne.ily \ tromboneTwo.ily \ tromboneThree.ily \ euphoniumOne.ily \ euphoniumTwo.ily \ tuba.ily \ timpani.ily \ snardrum.ily \ bassdrum.ily \ cymbals.ily \ tamtam.ily # The dependencies of the movements. $(piece)I.pdf: $(piece)I.ly $(notes) $(piece)II.pdf: $(piece)II.ly $(notes) $(piece)III.pdf: $(piece)III.ly $(notes) $(piece)IV.pdf: $(piece)IV.ly $(notes) $(piece)V.pdf: $(piece)V.ly $(notes) # The dependencies of the full score. $(piece).pdf: $(piece).ly $(notes) # The dependencies of the parts. $(piece)-fluteOne.pdf: $(piece)-fluteOne.ly fluteOne.ily $(piece)-fluteTwo.pdf: $(piece)-fluteTwo.ly fluteTwo.ily $(piece)-oboeOne.pdf: $(piece)-oboeOne.ly oboeOne.ily $(piece)-oboeTwo.pdf: $(piece)-oboeTwo.ly oboeTwo.ily $(piece)-clarinetOne.pdf: $(piece)-clarinetOne.ly clarinetOne.ily $(piece)-clarinetTwo.pdf: $(piece)-clarinetTwo.ly clarinetTwo.ily $(piece)-clarinetThree.pdf: $(piece)-clarinetThree.ly clarinetThree.ily $(piece)-bassclarinet.pdf: $(piece)-bassclarinet.ly bassclarinet.ily $(piece)-bassoonOne.pdf: $(piece)-bassoonOne.ly bassoonOne.ily $(piece)-bassoonTwo.pdf: $(piece)-bassoonTwo.ly bassoonTwo.ily $(piece)-altosaxOne.pdf: $(piece)-altosaxOne.ly altosaxOne.ily $(piece)-altosaxTwo.pdf: $(piece)-altosaxTwo.ly altosaxTwo.ily $(piece)-tenorsax.pdf: $(piece)-tenorsax.ly tenorsax.ily $(piece)-barisax.pdf: $(piece)-barisax.ly barisax.ily $(piece)-hornOne.pdf: $(piece)-hornOne.ly hornOne.ily $(piece)-hornTwo.pdf: $(piece)-hornTwo.ly hornTwo.ily $(piece)-hornThree.pdf: $(piece)-hornThree.ly hornThree.ily $(piece)-hornFour.pdf: $(piece)-hornFour.ly hornFour.ily $(piece)-trumpetOne.pdf: $(piece)-trumpetOne.ly trumpetOne.ily $(piece)-trumpetTwo.pdf: $(piece)-trumpetTwo.ly trumpetTwo.ily $(piece)-trumpetThree.pdf: $(piece)-trumpetThree.ly trumpetThree.ily $(piece)-tromboneOne.pdf: $(piece)-tromboneOne.ly tromboneOne.ily $(piece)-tromboneTwo.pdf: $(piece)-tromboneTwo.ly tromboneTwo.ily $(piece)-tromboneThree.pdf: $(piece)-tromboneThree.ly tromboneThree.ily $(piece)-euphoniumOne.pdf: $(piece)-euphoniumOne.ly euphoniumOne.ily $(piece)-euphoniumTwo.pdf: $(piece)-euphoniumTwo.ly euphoniumTwo.ily $(piece)-tuba.pdf: $(piece)-tuba.ly tuba.ily $(piece)-timpani.pdf: $(piece)-timpani.ly timpani.ily $(piece)-snaredrum.pdf: $(piece)-snaredrum.ly snaredrum.ily $(piece)-bassdrum.pdf: $(piece)-bassdrum.ly bassdrum.ily $(piece)-cymbals.pdf: $(piece)-cymbals.ly cymbals.ily $(piece)-tamtam.pdf: $(piece)-tamtam.ly tamtam.ily # Type `make score' to generate the full score of all four # movements as one file. .PHONY: score score: $(piece).pdf # Type `make parts' to generate all parts. # Type `make foo.pdf' to generate the part for instrument `foo'. # Example: `make symphony-cello.pdf'. .PHONY: parts parts: \ $(piece)-fluteOne.pdf \ $(piece)-fluteTwo.pdf \ $(piece)-oboeOne.pdf \ $(piece)-oboeTwo.pdf \ $(piece)-clarinetOne.pdf \ $(piece)-clarinetTwo.pdf \ $(piece)-clarinetThree.pdf \ $(piece)-bassclarinet.pdf \ $(piece)-bassoonOne.pdf \ $(piece)-bassoonTwo.pdf \ $(piece)-altosaxOne.pdf \ $(piece)-altosaxTwo.pdf \ $(piece)-tenorsax.pdf \ $(piece)-barisax.pdf \ $(piece)-hornOne.pdf \ $(piece)-hornTwo.pdf \ $(piece)-hornThree.pdf \ $(piece)-hornFour.pdf \ $(piece)-trumpetOne.pdf \ $(piece)-trumpetTwo.pdf \
Re: Rallentando and accelerando in MIDI
On Tue, 2014-12-30 at 22:04 +0100, Simon Albrecht wrote: Am 30.12.2014 13:16, schrieb David Sumbler: Further to my query (below) yesterday about varying ralls and accels in midi, how do I actually get these to work at all? At the moment the articulate script is working correctly in executing trills, slurs etc. But it ignores my rit. markings and suchlike. I have tried entering these using \mark \markup and also attaching markup to a note, but my midi files do not vary the tempo at all. What syntax should I use to enter ralls and accels in a score? It’s not wholly clear what you tried, but I’d assume that code\tempo rit./code is what you want. The difference from \mark is mainly that it lives in score and thus is printed only once above all staves, no matter how many parts have the same tempo marking. And probably articulate.ly will then interpret it correctly (yet I don’t have any experience with that). HTH, Simon Thanks for that suggestion, which I have now tried. Unfortunately it does not seem to have the hoped-for result. But it does raise another interesting question: how do I get tempo markings etc. to appear once above the score but also in each individual part? I cannot find any reference to this in the Lilypond documentation (although I am sure it must be in there somewhere). Previous pieces I have set in Lilypond have been for a single instrument or for a solo instrument with piano, so the question has not arisen before (because the markings are above the solo part in any case). Do I perhaps need to have them in something like a separate Dynamics context which can be included in each part when it is extracted? David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vertical justification of fret-diagram
Hi Jinsong,
if you like to define all fret diagrams as markup, you can place them in
an lyric line above the staff:
% -
\version 2.19.15
fret-ees = \markup {
\fret-diagram #s:0.5;6-x;5-x;4-5;3-3;2-4;1-3;c:2-1-2;
}
\new Lyrics {
\lyricmode {
\fret-ees2 \fret-ees4 \fret-ees4
}
}
\relative c'' {
\key ees \major
bes8 ees bes ees, g4 f
}
% -
A way of customizing the look of fret diagrams is shown in snippet 576:
http://lsr.di.unimi.it/LSR/Snippet?id=576
Exchanging a chord voicing is shown in snippet 810:
http://lsr.di.unimi.it/LSR/Snippet?id=810
Cheers,
Klaus
Am 31.12.2014 um 00:27 schrieb lilypond-user-requ...@gnu.org:
--
Message: 5
Date: Tue, 30 Dec 2014 15:00:06 -0800
From: Jinsong Zhao
To: LilyPond Users lilypond-user@gnu.org
Subject: vertical justification of fret-diagram
Message-ID: 54a32e76.1080...@yeah.net
Content-Type: text/plain; charset=utf-8; format=flowed
Hi there,
In the following snippet, I want to vertical justification of the three
fret-diagram.
\version 2.19.15
fret-ees = \markup {
\fret-diagram #s:0.5;6-x;5-x;4-5;3-3;2-4;1-3;c:2-1-2;
}
\relative c'' {
\key ees \major
bes8 ^\fret-ees ees bes ees, g4 ^\fret-ees f ^\fret-ees
}
I can do that by \tweak extra-offset #'(x . y). However, it's not easy
to determine the exact values of x and y. Is there a convenient way to
keep them with same base-line?
By the way, how to make the mute symbol x at the same line of the curve?
I appreciate you for any suggestions.
Best regards,
Jinsong
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automatic vertical rests centering in single-staff polyphony
Hello, I found long ago a way to center rests in single-staff polyphony. But I dont find it anymore, neither in doc or google (or did I use wrong words for searching). To be more explicit, lilypond gives naturally the first rests of the attachment (beat 2), and I try to obtain automatically the second rest (beat 4). Is there a way? Thanks in advance, Francois ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Seeking piano template: Dynamics, pedals, articulate, and MIDI
I’ve seen snippets and templates for all the parts of this, but I have
not found an example that puts everything together:
Is there somewhere a template, or a short example, for a piano score
with all of these:
* tempo markings
* treble staff
* dynamics
* bass staff
* pedal dynamics
formatted in such a way that the score can be laid out and also have a
MIDI file generated—where all of these:
* unfolded repeats
* tempo changes,
* fermata lengthening,
* volume changes, and
* pedal dynamics
will be included in the MIDI output?
My current effort looks something like this:
\score {
\context PianoStaff
\new Staff = up { \clef treble \rhmusic }
\new Dynamics = dynamics \dynamics
\new Staff = lower { \clef bass \lhmusic }
\new Dynamics = pedalDynamics \pedalDynamics
\layout{ }
}
\score {
\context PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff { \clef treble \unfoldRepeats \articulate \rhmusic }
\new Dynamics = dynamics \dynamics
\new Staff { \clef bass \unfoldRepeats \articulate \lhmusic }
\new Dynamics = pedalDynamics \pedalDynamics
% \layout{ } % uncomment for debugging
\midi { }
}
I’ve put the tempo marks in \dynamics and that gets displayed properly
and picked up in the MIDI result, but I cannot figure out how to apply
the documentation examples of fermata lengthening, volume changes, or
pedals, to the MIDI output. (I’m using VLC, Fluidsynth, and a very
large “sound font”, so I assume I would hear the result of \sustainOn
if it were in the MIDI file.)
—Joel
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Re: Just a thank you
Güntzel Schmidt guentze...@gmx.de writes: Hi everyone, I'm new to Lilypond, that's why I haven't contributed to this list, yet. I just wanted to say thank you to all those who do. By reading (and trying to understand) your posts I learn a lot, esp what Lilypond can do. Thanks for letting me participate! Cheers, Guentzel Ditto! -steven arntson ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vertical justification of fret-diagram
Hi Klaus,
Happy New Year. Thank you very much to give a easy way to typesetting
the fret-diagram. It works as what I expect.
Best,
Jinsong
On 2014/12/30 16:13, Klaus Blum wrote:
Hi Jinsong,
if you like to define all fret diagrams as markup, you can place them in
an lyric line above the staff:
% -
\version 2.19.15
fret-ees = \markup {
\fret-diagram #s:0.5;6-x;5-x;4-5;3-3;2-4;1-3;c:2-1-2;
}
\new Lyrics {
\lyricmode {
\fret-ees2 \fret-ees4 \fret-ees4
}
}
\relative c'' {
\key ees \major
bes8 ees bes ees, g4 f
}
% -
A way of customizing the look of fret diagrams is shown in snippet 576:
http://lsr.di.unimi.it/LSR/Snippet?id=576
Exchanging a chord voicing is shown in snippet 810:
http://lsr.di.unimi.it/LSR/Snippet?id=810
Cheers,
Klaus
Am 31.12.2014 um 00:27 schrieb lilypond-user-requ...@gnu.org:
--
Message: 5
Date: Tue, 30 Dec 2014 15:00:06 -0800
From: Jinsong Zhao
To: LilyPond Users lilypond-user@gnu.org
Subject: vertical justification of fret-diagram
Message-ID: 54a32e76.1080...@yeah.net
Content-Type: text/plain; charset=utf-8; format=flowed
Hi there,
In the following snippet, I want to vertical justification of the three
fret-diagram.
\version 2.19.15
fret-ees = \markup {
\fret-diagram #s:0.5;6-x;5-x;4-5;3-3;2-4;1-3;c:2-1-2;
}
\relative c'' {
\key ees \major
bes8 ^\fret-ees ees bes ees, g4 ^\fret-ees f ^\fret-ees
}
I can do that by \tweak extra-offset #'(x . y). However, it's not easy
to determine the exact values of x and y. Is there a convenient way to
keep them with same base-line?
By the way, how to make the mute symbol x at the same line of the
curve?
I appreciate you for any suggestions.
Best regards,
Jinsong
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