Re: Grand Advanced Stylesheet Project (GASP)
On Mon, 19 Jan 2015, Urs Liska wrote: Am 18.01.2015 um 20:42 schrieb Kieren MacMillan: My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. There could be a hierarchy of different building blocks, and the actual include file would pick from them what it needs and optionally add more items to the stylesheet. I like the ideas of such stylesheets. Would also be great to use when integrated in the Frescobaldi templates. But before needing all kinds of includes for different kinds of scores: I think there is still enough room for improvement for the raw default LilyPond output - without needing extra include files. -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
Speaking as a newbie, I also love this idea, as I’m understanding it. I had been surprised not to find a template for the “lead sheets” I’ve been making. On Jan 18, 2015, at 6:59 PM, Tom Cloyd tomcloydm...@gmail.com wrote: I have to say that I like this idea a LOT. Like Urs' suggestion too. Seems like this should just be a part of the package - kind of an adjunct to the exceptional documentation that has always been a part of Lily. Tom (classic guitar) On Sun, Jan 18, 2015 at 4:58 PM, Tom Cloyd tomcloydm...@gmail.com wrote: I have to say that I like this idea a LOT. Like Urs' suggestion too. Seems like this should just be a part of the package - kind of an adjunct to the exceptional documentation that has always been a part of Lily. Tom (classic guitar) On Sun, Jan 18, 2015 at 3:05 PM, Urs Liska u...@openlilylib.org wrote: Am 18.01.2015 um 20:42 schrieb Kieren MacMillan: Hello all! I recently sent a post about my choral piece, and had to *not* use my choral stylesheet. Seeing what the default output looks like lit a fire under my butt to get a stylesheet project going ASAP — I haven’t really seen a default Lilypond score (as opposed to tiny snippets) in at least two years, and had honestly forgotten how unelegant it looks. My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. By way of an example, my choral_octavo stylesheet results in the attached screenshot (which shows the top ½ of the first score page of my setting of “When You Are Old and Grey”). To my eye, that is significantly superior to the default output. I realise that a lot of the final, fine-detail decisions would be subjective… But I offer that there would be many benefits to including with the standard distribution a well-crafted (e.g., with default fonts, better spacing parameters, better titling options and layout, etc.) hierarchical collection of default stylesheets that individuals could call with a simple (e.g.) \stylesheet “choral_octavo” and then extend (e.g., incorporating non-standard fonts, etc.) as needed/desired. Would anyone be interested in working on this with me? I definitely am. However, I'm not sure if integrating it into LilyPond itself is necessarily the right direction. Maybe having it as a semi-official library would be more manageable? A suggestion regarding the interface: how about \include stylesheets/choral/octavo.ily There could be a hierarchy of different building blocks, and the actual include file would pick from them what it needs and optionally add more items to the stylesheet. Urs All the best, 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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- ~ Love is the only force which can make things one without destroying them. … Some day, after mastering the winds, the waves, the tides and gravity, we shall harness.. the energies of love, and then, for the second time in the history of the world, man will have discovered fire. ~ Pierre Teilhard de Chardin ~ Tom Cloyd, MS MA LMHC (WA) Psychotherapist (therapist, training, research) Spokane, Washington, U.S.A: (435) 272-3332 t...@tomcloyd.com (email) TomCloyd.com (website) ~ -- ~ Love is the only force which can make things one without destroying them. … Some day, after mastering the winds, the waves, the tides and gravity, we shall harness.. the energies of love, and then, for the second time in the history of the world, man will have discovered fire. ~ Pierre Teilhard de Chardin ~ Tom Cloyd, MS MA LMHC (WA) Psychotherapist (therapist, training, research) Spokane, Washington, U.S.A: (435) 272-3332 t...@tomcloyd.com (email) TomCloyd.com (website) ~ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org
Re: instrumentSwitch and addInstrumentDefinition use
Hi Keith,
Thanks for adding the issue to the tracker — it’s a great starting place.
You have to admit that this does (accidentally) make it sound a bit like you
are looking for a convenient way to write music with no regard for the
instrument.
Not at all. I inhabit [at least] three roles in the creation of my works
(especially my musical theatre works): composer, arranger, and engraver. As
Composer-Kieren writes the music — with the desired instrument in mind [!!!] —
Arranger-Kieren is mapping those instruments to players in the pit. Meanwhile,
Engraver-Kieren is waiting with baited breath to see how difficult it will be
to output the score and parts. ;)
Consider the West Side Story” wind parts, for example:
Reed I = Piccolo, Flute, Alto Saxophone, Clarinet in Bb, Bass Clarinet
Reed II = Clarinet in Eb, Clarinet in Bb, Bass Clarinet
Reed III = Piccolo, Flute, Oboe, English Horn, Tenor Saxophone, Baritone
Saxophone, Clarinet in Bb, Bass Clarinet
Reed IV = Piccolo, Flute, Soprano Saxophone, Bass Saxophone, Clarinet in Bb,
Bass Clarinet
Reed V: Bassoon
More to the point:
Clarinet in Bb is played by Reeds I, II, III and IV
Bass Clarinet is played by Reeds I, II, III and IV
Piccolo is played by Reeds I, III, and IV
Flute is played by Reeds I, III, and IV
I wouldn’t dare suggest that Leonard Bernstein (and Sid Ramin, etc.) originally
composed and/or orchestrated “West Side Story with no regard for the
instrument, would you?! As any working composer/arranger/orchestrator will tell
you, the more likely scenario is that Berstein composed the music exactly as he
heard in his head — instruments and all — and the parts got divided up as best
suited the logistics of the players in a pit orchestra.
I do see, though, that the convenience also makes it easier to make drafts
and see how the fingerings work out on alto flute or C flute, whether it is
easier to switch instruments a few measures earlier, etc.
I can honestly say that such concerns as fingerings *never* cross my mind. (I
actually don’t know enough about the technical requirements/issues of each
instrument to think that way!) I simply compose music for the instrument which
has the timbre I want to hear at that moment — it’s up to the player(s) to work
out the technical issues, in my opinion.
I think the best way needs no music functions, just variables to set up the
instrument-switches.
Yes!!! That would seem to be the best way, IMO.
If you type in concert pitch
…which I *always* do… (I have literally never entered “written”, i.e.,
transposed, notes into Lilypond.)
you can apply a \transpose to written-pitch directly to the input notes.
Hmmm… I’ll have to look at this more closely and get back to you. It still
seems too convoluted to be the most elegant solution.
This does have the variable reedPlayer storing written pitches, where we
recommend storing concert pitches
I would much rather code in concert pitches.
You can think primarily in concert pitch, run \new Staff \reedPlayer through
Lilypond to see how the fingerings work out, and move \switchClarinet and the
\transpose {...} around as needed to make the arrangement work out.
Again, my instrument-switching decisions are never based on such things —
they’re always based on timbral considerations.
Still, I think I must be missing something fundamental… It really seems to me
that \addInstrumentDefinition already has [almost?] everything we need: the
shortInstrumentName is there, the clef is there (in case a change is needed),
the cue name is there, the transposition is there, etc.
So what is stopping us from making something very similar to the OP’s original
code Do The Right Thing™?
%%
\version 2.19.15
\language english
\addInstrumentDefinition #cl Bflat
#`(
(instrumentTransposition . ,(ly:make-pitch 0 0 -200))
(shortInstrumentName . Cl. in Bb)
(clefGlyph . clefs.G)
(middleCPosition . -6)
(clefPosition . -2)
(instrumentCueName . ,(make-bold-markup Cl. in Bb))
(midiInstrument . clarinet)
)
\addInstrumentDefinition #piccolo
#`(
(instrumentTransposition . ,(ly:make-pitch 1 0 0))
(shortInstrumentName . Picc.)
(clefGlyph . clefs.G)
(middleCPosition . -13)
(clefPosition . 2)
(instrumentCueName . ,(make-bold-markup Picc))
(midiInstrument . flute)
)
global = {
\key d \major
s1*2
}
%%% This is how I want to code the concert pitches:
wind_notes = {
\instrumentSwitch “piccolo”
d'4 e' fs' g' |
\instrumentSwitch cl Bflat
d'4 e' fs' g' |
}
\score {
\new Staff \global \wind_notes
}
%%
There is a problem with the above [concert-pitch] snippet: Lilypond thows an
error [warning: No such instrument: “piccolo”], even though it shouldn’t,
intuitively. Why is that?
The big problem, of course, is when we want to output a **transposed part**.
How can we generate the transposed part — complete with key signature change —
with minimal effort on the part of the coder (= Engraver-Kieren)?
In a
Re: instrumentSwitch and addInstrumentDefinition use
On Mon, Jan 12, 2015 at 07:29:39AM -0500, Kieren MacMillan wrote: Hi Keith, I guess you enter the notes in concert pitch, then ? Yes — I can’t imagine entering it any other way and maintaining my sanity. :) I certainly understand that as being the most common need. However I am not a composer. I am in the position of either adapting an existing book for younger players who may not be able to play all the instruments in a book or fixing my own book so the page turns are better maybe because of cuts. . Sometimes I am just creating parts and maybe scores from existing hard to read parts. I usually want to just get music that already exists into the computer. Even though my transposition skills are fine it's safer to enter the music directly as written. Do you use the \quoteDuring mechanism (as below) or Jan-Peter's auto-transposing engraver to generate the engraved pitches for each instrument? I often use \quoteDuring for parts of what I do avoid entering a doubled passage more than once.. So I am saying that I would like any new features for instrument switching to suit my need to not always enter the notes in concert pitch. I don't really think that be a problem. Paul Neither. I simply use \transpose. (I was planning to look at Jan-Peter’s engraver, but haven’t yet had the time.) Your snippet is quite helpful and hint-ful — I’m going to see if I can twist it to my needs. Thanks! Kieren. ___ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
Hi Urs (et al.), Maybe having it as a semi-official library would be more manageable? Sure… whatever works best! A suggestion regarding the interface: how about \include stylesheets/choral/octavo.ily” Okay. There could be a hierarchy of different building blocks, and the actual include file would pick from them what it needs and optionally add more items to the stylesheet. Hmmm… I’d need to see it in action to see if that could really Do The Right Thing™. Let’s say we want the following choral stylesheets: octavo, letter in portrait orientation, and letter in landscape orientation. What’s the hierarchy, and how does the stylesheet put it all together? Then, when I want to make a stylesheet that mimics (e.g.) Barenreiter's octavo choral scores, how does that work? Obviously, this is related to my (our) Henle-Beethoven stylesheet discussions from last year. We’d want the library to include piano solo stylesheets for letter in both portrait and landscape orientations, and concert (9x12) in both orientations. Then if we wanted to extend to a Henle house style, and narrow that to “Henle piano folios ca. 1950” (with Abraham’s awesome new font, of course!), how does that work? Looking forward to making this a reality! 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: Grand Advanced Stylesheet Project (GASP)
Am 2015-01-19 um 09:44 schrieb Kieren MacMillan kieren_macmil...@sympatico.ca: Hi all, I had been surprised not to find a template for the “lead sheets” I’ve been making. Yes! Let’s start making a list of the “big picture” targets: piano solo instrument solo/part orchestra score choir, a cappella choir plus piano piano + voice, art song piano + voice + guitar chords, popular chamber score (2-4 players) piano chamber score with cue staves pipe organ solo lead sheet Other obvious ones? I most often use lead sheet (one or two voices, lyrics and guitar chords, more stanzas below) or the same for choir (i.e. 4 voices, guitar chords, additional stanzas). I also prepared a template for rounds - while they fit easily into a general lead sheet for printing, they need a bit more work for multi-voice MIDI output. But I didn’t use it often enough to be content with it yet. I can provide my templates and include file, they serve me rather well, but I don’t think they will fit some majority, and are a mixture of different kinds of settings that you’ll better decouple: - spacing - fonts - header - hide everything that I don’t need/like (no indent of first line, no measure numbering, no page numbers) - chord display (e.g. lowercase letters for minor chords, no symbol for maj7) - MIDI setup (instrument, volume, stereo settings) - shortcuts for some common tweaks (e.g. chords in braces, smaller or cross note heads...) My templates contain a lot of commented lines with commands/tweaks that I sometimes use, so that I don’t need to look them up again. That might fit templates in Frescobaldi, but isn’t suitable for stylesheets that you just include without looking at them. Greetlings, Hraban --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
On 01/18/2015 09:44 PM, Kieren MacMillan wrote: Other obvious ones? Melody + chords (tunes, e.g. Irish or old-timey) Instrument + piano (accompanied instrument solo) ~crism -- Chris Maden, text nerd URL: http://crism.maden.org/ Surround hate and force it to surrender. GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
On Sun, 18 Jan 2015 22:44:29 -0500 Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Other obvious ones? choir (4 voices) + guitar chords (names) I have a set of templates that I currently use for this. I can define the melodies, and one or more lyrics for each melody. All is automatically combined into the final score depending on what is defined and wht not. Also automatically added is a metronome track (midi only) based on the chords. It is definitely not perfect, but works for me. -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
Hi all, I had been surprised not to find a template for the “lead sheets” I’ve been making. Yes! Let’s start making a list of the “big picture” targets: piano solo instrument solo/part orchestra score choir, a cappella choir plus piano piano + voice, art song piano + voice + guitar chords, popular chamber score (2-4 players) piano chamber score with cue staves pipe organ solo lead sheet Other obvious ones? 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: Grand Advanced Stylesheet Project (GASP)
On Sun, Jan 18, 2015 at 8:44 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Let’s start making a list of the “big picture” targets: piano solo instrument solo/part orchestra score choir, a cappella choir plus piano piano + voice, art song piano + voice + guitar chords, popular chamber score (2-4 players) piano chamber score with cue staves pipe organ solo lead sheet Other obvious ones? - solo instrument + solo instrument (solo part is cue staff) I assume the goal is mostly for setting sensible defaults for a specific type of score and less about building the structure. So you'd still need to manually build the scores and staves. Correct? -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Command Line call to LilyPond with PDF auto open
On Sat, 17 Jan 2015 22:58:53 -0800 Matthew James Briggs matthew.james.bri...@gmail.com wrote: Oops this is actually superfluous because the preview app on Mac OS X updates with any changes as soon as I click on it, so just leaving the pdf open when compiling works no problem. So do many viewers on other platforms. E.g., evince on Linix. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
I have to say that I like this idea a LOT. Like Urs' suggestion too. Seems like this should just be a part of the package - kind of an adjunct to the exceptional documentation that has always been a part of Lily. Tom (classic guitar) On Sun, Jan 18, 2015 at 4:58 PM, Tom Cloyd tomcloydm...@gmail.com wrote: I have to say that I like this idea a LOT. Like Urs' suggestion too. Seems like this should just be a part of the package - kind of an adjunct to the exceptional documentation that has always been a part of Lily. Tom (classic guitar) On Sun, Jan 18, 2015 at 3:05 PM, Urs Liska u...@openlilylib.org wrote: Am 18.01.2015 um 20:42 schrieb Kieren MacMillan: Hello all! I recently sent a post about my choral piece, and had to *not* use my choral stylesheet. Seeing what the default output looks like lit a fire under my butt to get a stylesheet project going ASAP — I haven’t really seen a default Lilypond score (as opposed to tiny snippets) in at least two years, and had honestly forgotten how unelegant it looks. My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. By way of an example, my choral_octavo stylesheet results in the attached screenshot (which shows the top ½ of the first score page of my setting of “When You Are Old and Grey”). To my eye, that is significantly superior to the default output. I realise that a lot of the final, fine-detail decisions would be subjective… But I offer that there would be many benefits to including with the standard distribution a well-crafted (e.g., with default fonts, better spacing parameters, better titling options and layout, etc.) hierarchical collection of default stylesheets that individuals could call with a simple (e.g.) \stylesheet “choral_octavo” and then extend (e.g., incorporating non-standard fonts, etc.) as needed/desired. Would anyone be interested in working on this with me? I definitely am. However, I'm not sure if integrating it into LilyPond itself is necessarily the right direction. Maybe having it as a semi-official library would be more manageable? A suggestion regarding the interface: how about \include stylesheets/choral/octavo.ily There could be a hierarchy of different building blocks, and the actual include file would pick from them what it needs and optionally add more items to the stylesheet. Urs All the best, 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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- ~ Love is the only force which can make things one without destroying them. … Some day, after mastering the winds, the waves, the tides and gravity, we shall harness.. the energies of love, and then, for the second time in the history of the world, man will have discovered fire. ~ Pierre Teilhard de Chardin ~ Tom Cloyd, MS MA LMHC (WA) Psychotherapist (therapist, training, research) Spokane, Washington, U.S.A: (435) 272-3332 t...@tomcloyd.com (email) TomCloyd.com (website) ~ -- ~ Love is the only force which can make things one without destroying them. … Some day, after mastering the winds, the waves, the tides and gravity, we shall harness.. the energies of love, and then, for the second time in the history of the world, man will have discovered fire. ~ Pierre Teilhard de Chardin ~ Tom Cloyd, MS MA LMHC (WA) Psychotherapist (therapist, training, research) Spokane, Washington, U.S.A: (435) 272-3332 t...@tomcloyd.com (email) TomCloyd.com (website) ~ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: box around notes
Hi Klaus, On Sat, Jan 17, 2015 at 9:54 AM, Klaus Blum benbigno...@gmx.de wrote: Hi David, one more big THANK YOU for your fast reply. You're very welcome! Yes, it was very helpful. I have updated music-boxer-stencil so that it works again with the boxEngraver. Finally I did some cleanup to my messy code in make-box.d). Looks great! I like how you fixed the boundaries of the fill---looks much better. I've streamlined two of the variable definitions in music-boxer-stencil. I think you will also find it very helpful if you use line breaks and indentation to clarify the structure of if-expressions and such. As I was looking at this, I went ahead and changed the formatting to help me follow the code. See attached excerpt. Hope this helps! David #(define (make-box thick padding filled fill-color open-on-left open-on-right xext yext) (let* ((xext (interval-widen xext padding)) (yext (interval-widen yext padding))) (ly:stencil-add (if filled (ly:make-stencil (list 'color fill-color (list 'round-filled-box (- (- (car xext) thick)) (+ (cdr xext) thick) (- (car yext)) (cdr yext) 0.0) xext yext)) empty-stencil) (if ( thick 0) (make-filled-box-stencil (cons (- (car xext) thick) (+ (cdr xext) thick)) (cons (- (car yext) thick) (car yext))) empty-stencil) (if ( thick 0) (make-filled-box-stencil (cons (- (car xext) thick) (+ (cdr xext) thick)) (cons (cdr yext) (+ (cdr yext) thick))) empty-stencil) (if (and (not open-on-right) ( thick 0)) (make-filled-box-stencil (cons (cdr xext) (+ (cdr xext) thick)) yext) empty-stencil) (if (and (not open-on-left) ( thick 0)) (make-filled-box-stencil (cons (- (car xext) thick) (car xext)) yext) empty-stencil) ))) #(define (music-boxer-stencil grob) (let* ((elts (ly:grob-object grob 'elements)) (refp-X (ly:grob-common-refpoint-of-array grob elts X)) (X-ext (ly:relative-group-extent elts refp-X X)) (refp-Y (ly:grob-common-refpoint-of-array grob elts Y)) (Y-ext (ly:relative-group-extent elts refp-Y Y)) (padding (ly:grob-property grob 'padding 0.3)) (thick (ly:grob-property grob 'thickness 0.1)) (filled (ly:grob-property grob 'filled #f)) (fill-color (ly:grob-property grob 'fill-color grey)) (offset (ly:grob-relative-coordinate grob refp-X X)) ; (left-bound (ly:spanner-bound grob LEFT)) ; (right-bound (ly:spanner-bound grob RIGHT)) ; (break-dir-L (ly:item-break-dir left-bound)) ; (break-dir-R (ly:item-break-dir right-bound)) ; (open-on-left (if (= 1 break-dir-L) #t #f)) ; (open-on-right (if (= -1 break-dir-R) #t #f)) (open-on-left (and (ly:spanner? grob) (= 1 (ly:item-break-dir (ly:spanner-bound grob LEFT) ; (open-on-left ; (if (ly:spanner? grob) ; (if (= 1 (ly:item-break-dir (ly:spanner-bound grob LEFT))) ;#t #f) ; #f)) (open-on-right (and (ly:spanner? grob) (= -1 (ly:item-break-dir (ly:spanner-bound grob RIGHT) ;(open-on-right ;(if (ly:spanner? grob) ; (if (= -1 (ly:item-break-dir (ly:spanner-bound grob RIGHT))) ; #t #f) ; #f)) (stil (make-box thick padding filled fill-color open-on-left open-on-right X-ext Y-ext)) ) (ly:stencil-translate-axis stil (- offset) X) ) )___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Order of contexts over staves
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext = label }
The problem is that the dynamics appear above the ossia stave, rather than
the main one. Is there any way to change the order they appear on, on the
page?
Thanks.
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Re: Command Line call to LilyPond with PDF auto open
Thank you! I will look into that. I do actually use Frescobaldi for LP, now that I think of it. It's really only a problem for LaTeX and Gregorio, for me, I guess. Still, I will look into it. On Jan 18, 2015, at 6:50 AM, Kevin Barry barr...@gmail.com wrote: On Sun, Jan 18, 2015 at 12:47 PM, Conor Cook conor.p.c...@gmail.com wrote: Is there a way on Windows to do so? Neither my program, Foxit, or the built-in allows that. Sumatrapdf is an auto-updating pdf reader for windows. Maybe take a look at that. Or use frescobaldi! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practice(s) for divisi choral works
Hi all, Following up on this thread from December… Attached is an example containing the choral parts from the first verse of my “Wither’s Carol”. (If you’re interested, you can find more information on the piece, including a recording, at http://kierenmacmillan.info/withers-carol/.) My goal is to design a mechanism/structure which gives the engraver-user “complete flexibility” when it comes to the final layout (e.g., the octavo layout will almost certainly be quite different from the full score layout, viz-a-viz breaks and thus system content). If you look at the score, you’ll see that the absolute minimum Staff+Lyric requirements are: 1 Staff + 1 Lyrics (below for SATB) for mm. 1-8; 2 Staff + 2 Lyrics (one between for SAT, one below for B) for mm. 9-12; 2 Staff + 4 Lyrics (above and below upper for S and A, above and below lower for T and B) for mm. 13-15; 1 Staff + 1 Lyrics (below for SATB) for mm. 16-17. Of course, they can all be expressed using 4 Staff + 4 Lyrics — and mm 13-15 probably *should* be expressed that way (since the “minimum” might be unnecessarily confusing). However, I want to structure the Lilypond code such that I can *choose* — or, better yet, let Lilypond choose — which setup to use, based on spacing needs, line and page breaks, etc. The setup should support markups (a la \partcombine) and end-of-system arrows to indicate splitting/combining, and so on. My first instinct is to break the shared content into a variable (only if absolutely necessary), use \addQuote etc. to populate the other parts, and use \showStaff and \letStaffVanish to indicate where 2 and/or 4 staves are absolutely necessary. But I also know there are new DivisibleStaff mechanisms (which I have not looked into in depth yet) that may be useful. I think the best solution may be of wider interest, so I would like to brainstorm this little example with anyone who is interested in doing so, with an eye to releasing a “Best Practice” example once we’re done. Thanks, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info WithersCarol_example.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Printing titles at a consistent size
My current project is a quartet. The score and each of the 4 parts are in separate \book blocks. I have #(set-global-staff-size 16) before the score \book, and #(set-global-staff-size 20) before the first of the 4 part \book blocks which follow. Today I turned my attention to formatting the titles etc. which come at the top the first page of each book. Because I did not find the default layout very satisfactory, I decided to rewrite 'bookTitleMarkup' (using the default in titling-init.ly as a starting point), and my version is now included in a global /paper block before any of the /book blocks. Of course, I then realized that the different staff sizes between the score and parts affects the titles also. I was able to restore the titles in the score to the size I want by adding '\fontsize #2' to each of the title items. So far so good. However, after a lot of experimenting I have not found a way to increase the baseline-skip value just for the titles in the score. Perhaps someone can tell me how to achieve this. But is there perhaps a better way of getting the titles to appear the same size in the score and parts, despite the different staff sizes in the music that follows the titles? David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Command Line call to LilyPond with PDF auto open
On Sun, Jan 18, 2015 at 12:47 PM, Conor Cook conor.p.c...@gmail.com wrote: Is there a way on Windows to do so? Neither my program, Foxit, or the built-in allows that. Sumatrapdf is an auto-updating pdf reader for windows. Maybe take a look at that. Or use frescobaldi! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Command Line call to LilyPond with PDF auto open
Is there a way on Windows to do so? Neither my program, Foxit, or the built-in allows that. On Jan 18, 2015, at 2:01 AM, Johan Vromans jvrom...@squirrel.nl wrote: On Sat, 17 Jan 2015 22:58:53 -0800 Matthew James Briggs matthew.james.bri...@gmail.com wrote: Oops this is actually superfluous because the preview app on Mac OS X updates with any changes as soon as I click on it, so just leaving the pdf open when compiling works no problem. So do many viewers on other platforms. E.g., evince on Linix. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Command Line call to LilyPond with PDF auto open
On 18 Jan 2015, at 07:54, Matthew James Briggs matthew.james.bri...@gmail.com wrote: When calling LilyPond from the command line (I'm on Mac OS X) like this exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond pathtomy.ly is there a flag to tell the program to open the compiled PDF when it's finished like the GUI program does? I use a script ‘lilypond' in the PATH containing: exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond $@“ Then run from the command line: lilypond name.ly open name.pdf In the past, Preview has not updated properly, but it can be useful anyhow, to get the document front. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Grand Advanced Stylesheet Project (GASP)
Hello all! I recently sent a post about my choral piece, and had to *not* use my choral stylesheet. Seeing what the default output looks like lit a fire under my butt to get a stylesheet project going ASAP — I haven’t really seen a default Lilypond score (as opposed to tiny snippets) in at least two years, and had honestly forgotten how unelegant it looks. My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. By way of an example, my choral_octavo stylesheet results in the attached screenshot (which shows the top ½ of the first score page of my setting of “When You Are Old and Grey”). To my eye, that is significantly superior to the default output. I realise that a lot of the final, fine-detail decisions would be subjective… But I offer that there would be many benefits to including with the standard distribution a well-crafted (e.g., with default fonts, better spacing parameters, better titling options and layout, etc.) hierarchical collection of default stylesheets that individuals could call with a simple (e.g.) \stylesheet “choral_octavo” and then extend (e.g., incorporating non-standard fonts, etc.) as needed/desired. Would anyone be interested in working on this with me? All the best, 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: Is cross voice parenthesis arpeggios possible?
Am 18.01.2015 um 19:08 schrieb Thomas Morley:
2015-01-18 18:31 GMT+01:00 Samuel DA MOTA da.mota@gmail.com:
Hi,
On the following documentation, it explains how to create arpeggios
across notes in different voices.
http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio
I tried to tweak the example to get parenthesis arpeggios across
voices, with no success.
Can anyone help me?
--
Samuel DA MOTA
Do you mean?:
\version 2.19.15
staffArpeggioParenthesis = {
\override Staff.Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override Staff.Arpeggio.X-extent = #ly:grob::stencil-width
\revert Staff.Arpeggio.dash-definition
}
\new Staff
\with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
\staffArpeggioParenthesis
\new Voice { \voiceOne e' g4\arpeggio d f d f2\arpeggio }
\new Voice { \voiceTwo d, f2\arpeggio g b2\arpeggio }
}
The predefined arpeggioParenthesis is made for Bottom-context.
Simply add the correct context to the definition.
Hm.
How should anyone know this or find this out?
From the referenced page from the NR it clearly looks like arpeggios
are exclusively styled using the predefined commands, so when that
doesn't help it's hard to see that it is possible at all.
If you already know that predefined commands are actually shorthands for
overriding grob properties you may think about following the link See
also: Internals reference to
http://lilypond.org/doc/v2.19/Documentation/internals/arpeggio
On this page you would have to realize that
stencil (stencil):
ly:arpeggio::print
The symbol to print.
is the property you are looking for, which is far from self-evident IMO
(I would actually expect some property setting a 'style or whatever).
And even if you'd already know that overriding the stencil might be what
you're looking for, how would you know what to use to override it with?
Where is ly:arpeggio::brew-chord-slur documented? In any case nowhere
you'd reach it on that track.
I would consider following the link arpeggio-interface to
http://lilypond.org/doc/v2.19/Documentation/internals/arpeggio_002dinterface
but there is absolutely nothing that helps.
Apart from the current example of someone looking for an
arpeggioParenthesis this once more shows how difficult it is to get
one's way through the documentation.
In short: this leads to asking on lilypond-user to be the most promising
approach. Usually you'll get an answer here but I think there should be
ways to make all this information easier to retrieve. Unfortunately I
don't have a clue how one could do that ...
Urs
HTH,
Harm
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--
Urs Liska
www.openlilylib.org
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Re: Is cross voice parenthesis arpeggios possible?
Exactly,
That's perfect. Thanks!
Might be worth to add this example to the documentation, or at the
very least to the LSR.
What do you think?
Regards,
--
Sam
On 18/01/2015, Thomas Morley thomasmorle...@gmail.com wrote:
2015-01-18 18:31 GMT+01:00 Samuel DA MOTA da.mota@gmail.com:
Hi,
On the following documentation, it explains how to create arpeggios
across notes in different voices.
http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio
I tried to tweak the example to get parenthesis arpeggios across
voices, with no success.
Can anyone help me?
--
Samuel DA MOTA
Do you mean?:
\version 2.19.15
staffArpeggioParenthesis = {
\override Staff.Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override Staff.Arpeggio.X-extent = #ly:grob::stencil-width
\revert Staff.Arpeggio.dash-definition
}
\new Staff
\with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
\staffArpeggioParenthesis
\new Voice { \voiceOne e' g4\arpeggio d f d f2\arpeggio }
\new Voice { \voiceTwo d, f2\arpeggio g b2\arpeggio }
}
The predefined arpeggioParenthesis is made for Bottom-context.
Simply add the correct context to the definition.
HTH,
Harm
--
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Re: Printing titles at a consistent size
Hi David, But is there perhaps a better way of getting the titles to appear the same size in the score and parts, despite the different staff sizes in the music that follows the titles? \markup \abs-fontsize … is your friend. =) 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: Printing titles at a consistent size
On Sun, 2015-01-18 at 11:25 -0500, Kieren MacMillan wrote:
Hi David,
But is there perhaps a better way of getting the titles to appear the
same size in the score and parts, despite the different staff sizes in
the music that follows the titles?
\markup \abs-fontsize …
is your friend. =)
Hope this helps!
Kieren.
This seems a promising idea, and I was cross with myself that I had not
spotted \abs-fontsize for myself.
But now that I have tried it, I am getting a bizarre result: the titles
in the score are as specified in my version of bookTitleMarkup; but
although the parts have the correct font-sizes, both vertical spacing of
the lines and horizontal spacing of individual letters is abnormal, and
is in proportion to the staff-size set. Try as I might, I can't work
out why this is happening.
The basic structure I have, missing out everything that appears to be
irrelevant, is this:
\version 2.18.0
%'include' file containing definition of myBookTitleMarkup
titleStr = Title
subtitleStr = Subtitle
\paper {
bookTitleMarkup = \myBookTitleMarkup
}
#(set-global-staff-size 16)
\book {
\bookOutputName score
\header {
title= \titleStr
subtitle = \subtitleStr
}
\score { }
\layout { }
}
#(set-global-staff-size 20)
\book {
\bookOutputName part1
\header {
title= \titleStr
subtitle = \subtitleStr
}
\score { }
\layout { }
}
%(Other parts follow)
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Is cross voice parenthesis arpeggios possible?
Hi, On the following documentation, it explains how to create arpeggios across notes in different voices. http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio I tried to tweak the example to get parenthesis arpeggios across voices, with no success. Can anyone help me? -- Samuel DA MOTA ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Printing titles at a consistent size
Hi David, I am getting a bizarre result: the titles in the score are as specified in my version of bookTitleMarkup; but although the parts have the correct font-sizes, both vertical spacing of the lines and horizontal spacing of individual letters is abnormal, and is in proportion to the staff-size set. I don’t think (though am not 100% positive) that you can use both #(set-global-staff-size 16) and #(set-global-staff-size 20) in the same file, and expect it to behave rationally. n.b. I have different files entirely for my score and parts, because they almost always have such drastically different geometries, spacing parameters, etc. Cheers, 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: Is cross voice parenthesis arpeggios possible?
2015-01-18 18:31 GMT+01:00 Samuel DA MOTA da.mota@gmail.com:
Hi,
On the following documentation, it explains how to create arpeggios
across notes in different voices.
http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio
I tried to tweak the example to get parenthesis arpeggios across
voices, with no success.
Can anyone help me?
--
Samuel DA MOTA
Do you mean?:
\version 2.19.15
staffArpeggioParenthesis = {
\override Staff.Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override Staff.Arpeggio.X-extent = #ly:grob::stencil-width
\revert Staff.Arpeggio.dash-definition
}
\new Staff
\with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
\staffArpeggioParenthesis
\new Voice { \voiceOne e' g4\arpeggio d f d f2\arpeggio }
\new Voice { \voiceTwo d, f2\arpeggio g b2\arpeggio }
}
The predefined arpeggioParenthesis is made for Bottom-context.
Simply add the correct context to the definition.
HTH,
Harm
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Re: Printing titles at a consistent size
Hi, if I am not mistaken, there was some discussion and a solution how to get the line space consistent for different settings of the staff space within the discussion about a new Mutopia tagline. Unfortunately, I can not find it anymore. But I think it involved having a zero baseline-skip: \override #'(baseline-skip . 0 ) Perhaps, some keywords in this mail could help to find some more hints. HTH, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grand Advanced Stylesheet Project (GASP)
Am 18.01.2015 um 20:42 schrieb Kieren MacMillan: Hello all! I recently sent a post about my choral piece, and had to *not* use my choral stylesheet. Seeing what the default output looks like lit a fire under my butt to get a stylesheet project going ASAP — I haven’t really seen a default Lilypond score (as opposed to tiny snippets) in at least two years, and had honestly forgotten how unelegant it looks. My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. By way of an example, my choral_octavo stylesheet results in the attached screenshot (which shows the top ½ of the first score page of my setting of “When You Are Old and Grey”). To my eye, that is significantly superior to the default output. I realise that a lot of the final, fine-detail decisions would be subjective… But I offer that there would be many benefits to including with the standard distribution a well-crafted (e.g., with default fonts, better spacing parameters, better titling options and layout, etc.) hierarchical collection of default stylesheets that individuals could call with a simple (e.g.) \stylesheet “choral_octavo” and then extend (e.g., incorporating non-standard fonts, etc.) as needed/desired. Would anyone be interested in working on this with me? I definitely am. However, I'm not sure if integrating it into LilyPond itself is necessarily the right direction. Maybe having it as a semi-official library would be more manageable? A suggestion regarding the interface: how about \include stylesheets/choral/octavo.ily There could be a hierarchy of different building blocks, and the actual include file would pick from them what it needs and optionally add more items to the stylesheet. Urs All the best, 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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Order of contexts over staves
Phil Holmes writes:
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext = label }
The problem is that the dynamics appear above the ossia stave, rather
than
the main one. Is there any way to change the order they appear on, on
the
page?
I see what you are thinking, and I see what LilyPond is thinking.
The Dynamics context starts before the ossia, but has only spacers in it
until the ossia Staff starts.
LilyPond put the Dynamics above the main Staff, then later put the
ossia Staff just above the main Staff, squeezing under the Dynamics.
You could
\new Staff \with {alignAboveContext = dn } ...
\new Dynamics = dn ...
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Re: Is cross voice parenthesis arpeggios possible?
2015-01-18 19:35 GMT+01:00 Urs Liska u...@openlilylib.org:
Am 18.01.2015 um 19:08 schrieb Thomas Morley:
2015-01-18 18:31 GMT+01:00 Samuel DA MOTA da.mota@gmail.com:
Hi,
On the following documentation, it explains how to create arpeggios
across notes in different voices.
http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio
I tried to tweak the example to get parenthesis arpeggios across
voices, with no success.
Can anyone help me?
--
Samuel DA MOTA
Do you mean?: [...]
The predefined arpeggioParenthesis is made for Bottom-context.
Simply add the correct context to the definition.
Hm.
How should anyone know this or find this out?
From the referenced page from the NR it clearly looks like arpeggios are
exclusively styled using the predefined commands, so when that doesn't help
it's hard to see that it is possible at all.
If you already know that predefined commands are actually shorthands for
overriding grob properties you may think about following the link See also:
Internals reference to
http://lilypond.org/doc/v2.19/Documentation/internals/arpeggio
On this page you would have to realize that
stencil (stencil):
ly:arpeggio::print
The symbol to print.
is the property you are looking for, which is far from self-evident IMO (I
would actually expect some property setting a 'style or whatever).
And even if you'd already know that overriding the stencil might be what
you're looking for, how would you know what to use to override it with?
Where is ly:arpeggio::brew-chord-slur documented? In any case nowhere you'd
reach it on that track.
I would consider following the link arpeggio-interface to
http://lilypond.org/doc/v2.19/Documentation/internals/arpeggio_002dinterface
but there is absolutely nothing that helps.
Apart from the current example of someone looking for an arpeggioParenthesis
this once more shows how difficult it is to get one's way through the
documentation.
In short: this leads to asking on lilypond-user to be the most promising
approach. Usually you'll get an answer here but I think there should be ways
to make all this information easier to retrieve. Unfortunately I don't have
a clue how one could do that ...
Urs
Hi Urs,
best solution would be to have an easy to understand and easy to
document input-code.
Something like \shape:
[-]\shape displacements item (from NR)
Where 'item' is some kind of curve.
(When people struggle with \shape then because of the 'displacements',
not for 'item')
I tried to find something like that for 'arpeggioParenthesis' with the
possibility to specify the context, but let it default to 'Bottom.
I'm ashamed I couldn't figure how to use a function with an optional
argument for it.
Best I found is:
#(define* (parenthesized-arpeggio #:optional (ctx Bottom))
#{
\override #ctx . Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override #ctx . Arpeggio.X-extent = #ly:grob::stencil-width
\revert #ctx . Arpeggio.dash-definition
#})
But it seems it isn't possible to use it like:
\parenthesized-arpeggio Staff
(like a music-function)
@David K, any chance to make it work?
You can use it with the following syntax, though:
$(parenthesized-arpeggio)
or
$(parenthesized-arpeggio Staff)
etc
Using it with cross-Staff-Arpeggios in PianoStaff will require an
additional _manual_ override for 'X-extent, though.
The default-procedure, 'ly:grob::stencil-width' returns a warning and
bad output.
A bug?
Cheers,
Harm
Full code and examples:
\version 2.19.15
#(define* (parenthesized-arpeggio #:optional (ctx Bottom))
#{
\override #ctx . Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override #ctx . Arpeggio.X-extent = #ly:grob::stencil-width
\revert #ctx . Arpeggio.dash-definition
#})
\relative c'' {
$(parenthesized-arpeggio)
g b d g4\arpeggio
g b d g4\arpeggio
g b d g4\arpeggio
}
\new Staff
\with {
\consists Span_arpeggio_engraver
}
\relative c'' {
\set Staff.connectArpeggios = ##t
\new Voice {
\voiceOne
g b d g4\arpeggio
g b d g4\arpeggio
$(parenthesized-arpeggio Staff)
g b d g4\arpeggio
}
\new Voice {
\voiceTwo
g,4\arpeggio
g4\arpeggio
g4\arpeggio
}
}
\new PianoStaff
\relative c'' {
\set PianoStaff.connectArpeggios = ##t
\new Staff {
g b d g4\arpeggio
g b d g4\arpeggio
$(parenthesized-arpeggio PianoStaff)
%% X-extent has to be set manual,
%% using 'ly:grob::stencil-width' will return a warning and
%% not convincing output
\override PianoStaff.Arpeggio.X-extent = #'(-1 . 0)
g b d g4\arpeggio
}
\new Staff {
g,4\arpeggio
g4\arpeggio
Re: Grand Advanced Stylesheet Project (GASP)
On Sun, Jan 18, 2015 at 2:42 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all! I recently sent a post about my choral piece, and had to *not* use my choral stylesheet. Seeing what the default output looks like lit a fire under my butt to get a stylesheet project going ASAP — I haven’t really seen a default Lilypond score (as opposed to tiny snippets) in at least two years, and had honestly forgotten how unelegant it looks. My idea is that we have a basic set of stylesheets for the main types of scores — e.g., piano solo, organ solo, instrumental solo/part, choir, full score, etc. — which can be \include-d by the user to give a truly beautiful default appearance right out of the box. Would anyone be interested in working on this with me? All the best, Kieren. Hi, Kieren - Wonderful idea. Although my time and expertise are quite limited, I would like to help. I would also like to see a piano/solo instrument stylesheet (template?) and an updated string quartet stylesheet. What can I do? All the best, Ralph -- Ralph Palmer Brattleboro, VT USA palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is cross voice parenthesis arpeggios possible?
Thomas Morley thomasmorle...@gmail.com writes:
I'm ashamed I couldn't figure how to use a function with an optional
argument for it.
Best I found is:
#(define* (parenthesized-arpeggio #:optional (ctx Bottom))
#{
\override #ctx . Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override #ctx . Arpeggio.X-extent = #ly:grob::stencil-width
\revert #ctx . Arpeggio.dash-definition
#})
But it seems it isn't possible to use it like:
\parenthesized-arpeggio Staff
(like a music-function)
@David K, any chance to make it work?
The normal optional argument definition style will work just fine. The
problem is that with the optional argument coming _last_, you cannot
omit it implicitly.
You then have to write \parenthesized-arpeggio \default
which is not really much of a saving as compared to spelling Bottom
out.
--
David Kastrup
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Re: Order of contexts over staves
Hi again,
How about :
\version 2.19.15
myOssia = \relative c' {
R1*2
\new Staff
\with { alignAboveContext = #essai \magnifyStaff #5/7 }
{ c4 c c c }
R1
R1*5
}
myMusic = \relative c' {
c1 c c c c c c c
}
myDynamics = {
s1\f s s\p s\f s
\break
s s\p s\pp
}
\score {
\new Staff = essai \myOssia
\new Staff = label \myMusic
\new Dynamics \with { alignAboveContext = #label } \myDynamics
\layout {
\context {
\Score
\override VerticalAxisGroup.remove-first = ##t
%\override SystemStartBar.collapse-height = #1
}
\context {
\Staff \RemoveEmptyStaves
}
}
}
See attached png
Cheers,
Pierre
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Re: Order of contexts over staves
Phil Holmes wrote Sunday, January 18, 2015 8:29 PM
- Original Message -
From: Phil Holmes m...@philholmes.net
To: lilypond-user@gnu.org
Sent: Sunday, January 18, 2015 3:11 PM
Subject: Order of contexts over staves
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext = label }
The problem is that the dynamics appear above the ossia stave, rather than
the main one. Is there any way to change the order they appear on, on the
page?
Thanks.
Trevor has requested an example to help look into this. This is fairly
minimal:
[snip minimal example]
The attached image shows the proble of the dynamic being over the ossia,
rather than the permanent stave.
Thanks Phil,
It really is so much more tempting to investigate the question when there is
a ready-made minimal example to get one started ;) Three replies already!
Well, in the end Keith beat me to it, with both the explanation and the way to
fix the issue.
Trevor
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Re: Printing titles at a consistent size
2015-01-18 22:38 GMT+01:00 David Sumbler da...@aeolia.co.uk: On Sun, 2015-01-18 at 12:40 -0500, Kieren MacMillan wrote: Hi David, I am getting a bizarre result: the titles in the score are as specified in my version of bookTitleMarkup; but although the parts have the correct font-sizes, both vertical spacing of the lines and horizontal spacing of individual letters is abnormal, and is in proportion to the staff-size set. I don’t think (though am not 100% positive) that you can use both #(set-global-staff-size 16) and #(set-global-staff-size 20) in the same file, and expect it to behave rationally. n.b. I have different files entirely for my score and parts, because they almost always have such drastically different geometries, spacing parameters, etc. Well, it certainly doesn't seem to behave rationally! I have tried all sorts of permutations and positioning of set-global-staff-size and bookTitleMarkup, and nothing I have tried works as I wish. This seems strange, because the Notation Reference says To set the staff size globally for all scores in a file (or in a book block, to be precise), use set-global-staff-size. This seems to imply that different global-staff-sizes can be used for different book blocks. This seemed to work perfectly: I found that set-global-staff-size only seems to work outside a book block, so I placed it immediately before the start of the relevant books. And, until I started started trying to sort the titles out, it seemed to do exactly what I wanted it to. Since the problem with the titles arose, I have also tried using layout-set-staff-size and changing the font size of the music. But this still leaves the spacing of the staves unchanged as well as the font-size of text marks. It seems perfectly normal to me to want smaller staves for the score and larger ones for the parts that actually have to be read by players, yet to have the titles appearing the same on both. Is there really no straightforward way of achieving this in Lilypond? (I'm sure I never used to have this kind of difficulty in my days of using Score!) David Hi David, you would increase your chance for an early and meaningful answer, if you'd post a minimal and _compilable_ code-example. I tested putting #(set-global-staff-size ...) into different books in the same file. It worked as documented in the NR up to 2.14.2 (although a warning was printed), 2.16 and above return strange things. Congratulations, you discovered a new bug (at least a quick glance on the tracker offered no matching issue) Nevertheless, I'd not use 'set-global-staff-size anyway. With 2.19.15 you could use \magnifyStaff or http://lsr.di.unimi.it/LSR/Item?u=1id=862 may of some help as well -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is cross voice parenthesis arpeggios possible?
2015-01-18 23:11 GMT+01:00 David Kastrup d...@gnu.org:
Thomas Morley thomasmorle...@gmail.com writes:
I'm ashamed I couldn't figure how to use a function with an optional
argument for it.
Best I found is:
#(define* (parenthesized-arpeggio #:optional (ctx Bottom))
#{
\override #ctx . Arpeggio.stencil = #ly:arpeggio::brew-chord-slur
\override #ctx . Arpeggio.X-extent = #ly:grob::stencil-width
\revert #ctx . Arpeggio.dash-definition
#})
But it seems it isn't possible to use it like:
\parenthesized-arpeggio Staff
(like a music-function)
@David K, any chance to make it work?
The normal optional argument definition style will work just fine. The
problem is that with the optional argument coming _last_, you cannot
omit it implicitly.
You then have to write \parenthesized-arpeggio \default
which is not really much of a saving as compared to spelling Bottom
out.
--
David Kastrup
Thanks for the explanations!
I have to admit that I had forgotten about these limitation totally.
Cheers,
Harm
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Re: Order of contexts over staves
- Original Message -
From: Phil Holmes m...@philholmes.net
To: lilypond-user@gnu.org
Sent: Sunday, January 18, 2015 3:11 PM
Subject: Order of contexts over staves
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext = label }
The problem is that the dynamics appear above the ossia stave, rather than
the main one. Is there any way to change the order they appear on, on the
page?
Thanks.
Trevor has requested an example to help look into this. This is fairly
minimal:
{
\new Staff = label
\new Voice { \repeat unfold 4 c''4
{
R1 r2 r4 c''4
}
{
\new Staff \with {
\remove Time_signature_engraver
alignAboveContext = #label
\override StaffSymbol #'staff-space = #(magstep -3)
fontSize = #-2
}
\new Voice {
r2 a'2 \repeat unfold 3 a'4 r4
}
}
\repeat unfold 4 c''4
}
\new Dynamics \with { alignAboveContext = label }
{
s1 s1 s2 s4 s4 \ff s1
}
}
The attached image shows the proble of the dynamic being over the ossia,
rather than the permanent stave.
--
Phil Holmes
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Re: Order of contexts over staves
Hi Phil, Hi Trevor,
If that helps here are other trials I was working on.
Noting found yet though.
\version 2.19.15
myOssia = \relative c' { c4 c c c }
myMusic = \relative c' {
c1 c
\new Staff \with {
\magnifyStaff #5/7
alignAboveContext = #label
}
\new Voice = ossia \with {
\remove Dynamic_engraver
\remove Dynamic_align_engraver
}\myOssia
c
c c c c c c
}
myDynamics = {
% here's a very bad workaround:
%\override DynamicText.extra-offset = #'(0 . -8.5)
s1\f s s\p s\f s
\break
s s\p s\pp
}
\score {
\new GrandStaff
\new Dynamics \myDynamics
\new Staff = label \myMusic
\layout {
\context {
\Dynamics
alignBelowContext = #ossia
}
}
}
\markup\vspace #5
myOssiaBis = \relative c' {
s1*2
\new Voice \with {
\remove Dynamic_engraver
\remove Dynamic_align_engraver
\magnifyStaff #5/7
}
c
s1*7
}
myMusicBis = \relative c' {
c1 c c c c c c c
}
myDynamicsBis = {
s1\f s s\p s\f s
\break
s s\p s\pp
}
\score {
\new Devnull = ossia \myOssiaBis
\new GrandStaff = label
\new Staff \myMusicBis
\new Dynamics \myDynamicsBis
\layout {
\context {
\Devnull
alignAboveContext = #label
}
\context {
\Dynamics
%alignBelowContext = #ossia
alignAboveContext = #label
}
}
}
Cheers,
Pierre
2015-01-18 21:29 GMT+01:00 Phil Holmes m...@philholmes.net:
- Original Message - From: Phil Holmes m...@philholmes.net
To: lilypond-user@gnu.org
Sent: Sunday, January 18, 2015 3:11 PM
Subject: Order of contexts over staves
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext = label }
The problem is that the dynamics appear above the ossia stave, rather than
the main one. Is there any way to change the order they appear on, on the
page?
Thanks.
Trevor has requested an example to help look into this. This is fairly
minimal:
{
\new Staff = label
\new Voice { \repeat unfold 4 c''4
{
R1 r2 r4 c''4
}
{
\new Staff \with {
\remove Time_signature_engraver
alignAboveContext = #label
\override StaffSymbol #'staff-space = #(magstep -3)
fontSize = #-2
}
\new Voice {
r2 a'2 \repeat unfold 3 a'4 r4
}
}
\repeat unfold 4 c''4
}
\new Dynamics \with { alignAboveContext = label }
{
s1 s1 s2 s4 s4 \ff s1
}
}
The attached image shows the proble of the dynamic being over the ossia,
rather than the permanent stave.
--
Phil Holmes
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Re: instrumentSwitch and addInstrumentDefinition use
On Tue, 13 Jan 2015 05:54:48 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I understand that in realistic cases you probably have the notes in one
variable and options for arrangements in another parallel sequence
flute_notes = {c'2 c'' }
arrangementB = {s1*4 \prep_alto_flute s1*4 \switch_alto_flute s1*8 }
and it is not so convenient to break flute_notes into segments for the
individual \transpose{}s.
Correct on both counts.
(n.b. I *do* break flute_notes up when absolutely necessary… but I definitely
wouldn’t call it “convenient”.)
You have to admit that this does (accidentally) make it sound a bit like you
are looking for a convenient way to write music with no regard for the
instrument.
I do see, though, that the convenience also makes it easier to make drafts and
see how the fingerings work out on alto flute or C flute, whether it is easier
to switch instruments a few measures earlier, etc.
I tried to make a concrete enhancement request
http://code.google.com/p/lilypond/issues/detail?id=4264
Well, if the notes are right there, and you can put them in {},
\instrument_alto_flute { ... } \instrument_tenor_sax { ... }
then we (including the braver non-programmers among us) can write music
functions to set up for the new instrument and transposes the stuff in {} using
the usual LilyPond commands.
Is that the best way?
I think the best way needs no music functions, just variables to set up the
instrument-switches. If you type in concert pitch you can apply a \transpose
to written-pitch directly to the input notes.
prepClarinet = { \set Staff.shortInstrumentName=Clar
^\markup\italic\center-align pick up clarinet }
switchClarinet = { ^\markup\boldClarinet
\once\set Staff.whichBar = ||
\transpositionUpdateKey bes }
reedPlayer = \transpose c c' {
c4 d e f
\prepClarinet
R1
\switchClarinet
\transpose bes c' {
c4 d e f
} }
This does have the variable reedPlayer storing written pitches, where we recommend
storing concert pitches in the manual, but that causes no problem once we learn to use
\tranposition bes . For example \addQuote reed \reedPlayer supplies
cue-notes that will be printed in concert pitch for, say, the violin player to time his
entry.
I happen to like to include \key changes with the notes, so I would have a \key
after the \switchClarinet, but you might prefer to have \transpositionUpdateKey
generate that.
You can think primarily in concert pitch, run \new Staff \reedPlayer through
Lilypond to see how the fingerings work out, and move \switchClarinet and the
\transpose {...} around as needed to make the arrangement work out.
The instrumentSwitch mechanism we had before seemed less convenient than the
way you wrote your \play_alto above, and it did not handle the transpositions
which is the tricky bit.
Yes… After Han-Wen had completed the sponsored programming (back in 2006, I
believe), I came to that sad realization.
We can't blame your sponsorship for this one.
You reported that LilyPond stopped noticing \set Staff.instrumentName during
the music
http://lists.gnu.org/archive/html/lilypond-devel/2006-06/msg00277.html
and, while fixing that, the programmers added the unnecessary instrumentSwitch
package.
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Re: Printing titles at a consistent size
On Sun, 2015-01-18 at 12:40 -0500, Kieren MacMillan wrote: Hi David, I am getting a bizarre result: the titles in the score are as specified in my version of bookTitleMarkup; but although the parts have the correct font-sizes, both vertical spacing of the lines and horizontal spacing of individual letters is abnormal, and is in proportion to the staff-size set. I don’t think (though am not 100% positive) that you can use both #(set-global-staff-size 16) and #(set-global-staff-size 20) in the same file, and expect it to behave rationally. n.b. I have different files entirely for my score and parts, because they almost always have such drastically different geometries, spacing parameters, etc. Well, it certainly doesn't seem to behave rationally! I have tried all sorts of permutations and positioning of set-global-staff-size and bookTitleMarkup, and nothing I have tried works as I wish. This seems strange, because the Notation Reference says To set the staff size globally for all scores in a file (or in a book block, to be precise), use set-global-staff-size. This seems to imply that different global-staff-sizes can be used for different book blocks. This seemed to work perfectly: I found that set-global-staff-size only seems to work outside a book block, so I placed it immediately before the start of the relevant books. And, until I started started trying to sort the titles out, it seemed to do exactly what I wanted it to. Since the problem with the titles arose, I have also tried using layout-set-staff-size and changing the font size of the music. But this still leaves the spacing of the staves unchanged as well as the font-size of text marks. It seems perfectly normal to me to want smaller staves for the score and larger ones for the parts that actually have to be read by players, yet to have the titles appearing the same on both. Is there really no straightforward way of achieving this in Lilypond? (I'm sure I never used to have this kind of difficulty in my days of using Score!) David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
