Re: lengthening broken ties
On Mon, Feb 16, 2015 at 11:46 AM, David Nalesnik david.nales...@gmail.com
wrote:
Spacing rods are created between columns--PaperColumn (PC) and
NonMusicalPaperColumn (NMPC). The distance that these rods enforce is from
the beginning of one column to the next. So, if we have two notes, there
is a distance set between two PCs. For ties at the beginning of the line,
the rod governs a NMPC on the left and the PC on the right that is
associated with the NoteHead. So when you set minimum-distance or
minimum-distance-after-break In the latter case, minimum-distance specifies
a rod of that length between the beginning of the line and the PC; the tie
is drawn within whatever space is available to it. So, in effect, you're
saying move the NoteColumn to this staff position.
[Bad proofreading:]
Spacing rods are created between columns--PaperColumn (PC) and
NonMusicalPaperColumn (NMPC). The distance that these rods enforce is from
the beginning of one column to the next. So, if we have two notes, there
is a distance set between two PCs. For ties at the beginning of the line,
the rod governs a NMPC on the left and the PC on the right that is
associated with the NoteHead. In the latter case, minimum-distance
specifies a rod of that length between the beginning of the line and the
PC; the tie is drawn within whatever space is available to it. So, in
effect, you're saying move the NoteColumn to this staff position.
Where does that nice extra space come from that LilyPond gives to the
default tie after the time signature? TimeSignature.extra-spacing-width.
(That quantity--0.8, by default--is simply dded into the rod's width.)
Now, perhaps, minimum-distance after a break could be conceived of as an
_offset_, rather than an absolute value replacing whatever's there. The
tie's length would change by that much. This at least approximates what we
think minimum-distance is doing, though it's still an illusion.
You can visualize what happens with your example using the code below. (I
have changed minimum-distance-after-break to minimum-distance so that
others can look who don't have access to current master.)
The interesting values here are in red--they are the required distances:
the rods.
Two things to notice:
(1) the offset note in the chord doesn't figure in the rod's width;
(2) minimum-distance takes effect when it is larger than what LilyPond
would put there. The last tie gets a rod of 11.26; put 11.27 and it
changes.
%
\version 2.19.15
\paper {
line-width = 50\mm
}
\relative c'' {
bes des e g1 ~ \break q \break
\once\override Tie.minimum-length = 10
bes des e g1 ~ \break q \break
\time 4/4 bes des e g1 ~ \break \time 3/4 q2. \break
\once\override Tie.minimum-length = 10
\time 4/4 bes des e g1 ~ \break \time 3/4 q2. \break
}
\layout {
\context {
\Score
\override PaperColumn.stencil = #ly:paper-column::print
\override NonMusicalPaperColumn.stencil = #ly:paper-column::print
}
}
%%
Hope this at least clarifies the problem!
David
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Re: lengthening broken ties
Hi Werner,
On Mon, Feb 16, 2015 at 1:59 AM, Werner LEMBERG w...@gnu.org wrote:
DN wrote:
From your analysis it appear that LilyPond is taking the entire
NonMusicalPaperColumn into account rather than just the right
extent. I'll have a look. (This could be major!)
That's not quite it. As near as I can tell:
Spacing rods are created between columns--PaperColumn (PC) and
NonMusicalPaperColumn (NMPC). The distance that these rods enforce is from
the beginning of one column to the next. So, if we have two notes, there
is a distance set between two PCs. For ties at the beginning of the line,
the rod governs a NMPC on the left and the PC on the right that is
associated with the NoteHead. So when you set minimum-distance or
minimum-distance-after-break In the latter case, minimum-distance specifies
a rod of that length between the beginning of the line and the PC; the tie
is drawn within whatever space is available to it. So, in effect, you're
saying move the NoteColumn to this staff position.
Where does that nice extra space come from that LilyPond gives to the
default tie after the time signature? TimeSignature.extra-spacing-width.
(That quantity--0.8, by default--is simply dded into the rod's width.)
Now, perhaps, minimum-distance after a break could be conceived of as an
_offset_, rather than an absolute value replacing whatever's there. The
tie's length would change by that much. This at least approximates what we
think minimum-distance is doing, though it's still an illusion.
You can visualize what happens with your example using the code below. (I
have changed minimum-distance-after-break to minimum-distance so that
others can look who don't have access to current master.)
The interesting values here are in red--they are the required distances:
the rods.
Two things to notice:
(1) the offset note in the chord doesn't figure in the rod's width;
(2) minimum-distance takes effect when it is larger than what LilyPond
would put there. The last tie gets a rod of 11.26; put 11.27 and it
changes.
%
\version 2.19.15
\paper {
line-width = 50\mm
}
\relative c'' {
bes des e g1 ~ \break q \break
\once\override Tie.minimum-length = 10
bes des e g1 ~ \break q \break
\time 4/4 bes des e g1 ~ \break \time 3/4 q2. \break
\once\override Tie.minimum-length = 10
\time 4/4 bes des e g1 ~ \break \time 3/4 q2. \break
}
\layout {
\context {
\Score
\override PaperColumn.stencil = #ly:paper-column::print
\override NonMusicalPaperColumn.stencil = #ly:paper-column::print
}
}
%%
Hope this at least clarifies the problem!
David
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Partcombine and large intervals
Not top posting
Partcombine splits chords where the interval is greater than a ninth:
\partcombine
{ \relative c' { c d e f g a b c d e f g a b } }
{ \relative c' { c c c c c c c c c c c c c c } }
Another post (from 2006)
http://lists.gnu.org/archive/html/bug-lilypond/2006-02/msg00046.html
reported this and was told it's expected behaviour. I can't find this
documented anywhere: is it?
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Re: bar number for \partial 4
Sorry, it is LSR. I had been using this ambitious d it served me well. Next time I will search LSR, then NR. Sent from my iPhone On Feb 16, 2015, at 10:16 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 16:13, schrieb MING TSANG: Thank you. Yes I did try the snippet and did not find any sample. What snippet? An example of what? The Notation Reference is often the first place to go. Yours, Simon Immanuel, Ming. On Monday, February 16, 2015 10:09 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 15:55, schrieb MING TSANG: Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this. (1) This is contradicting both musical logics and general usage, so why not change it? Of course I don’t know your reason to keep so close to the model. (2) \set Score.currentBarNumber – see http://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers (2) how to code repeat tremolo for a chord? ges'' as c es1:64 or \repeat tremolo 64 ges'' as c es64 – see http://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats. This is really easy to find, either through the chapter list or in the index at “tremolo”. Did you even try? HTH, Simon Immanuel, Ming ___ 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: Caesura in Rehearsal Mark over each line of system
That works quite nicely. Thank you!
I had been using \include satb.ly, so I had to recreate the \score
{}, but it was good practice to combine \lyrics and multiple parts to
one staff.
~Conor
On Thu, Feb 12, 2015 at 6:32 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Conor,
In the particular score I am working on, I have only this one mark (it's
about 30 measures long total).
What would an example of your suggestion look like, as I can see your
concern applying down the road.
Snippet included below.
1. In both scores, the breath mark appears in all Staff contexts (because
it’s in \global, which is included in every Staff).
2. In the second score with the Mark_engraver moved to the Staff context
level, the ‘A’ rehearsal mark is above every Staff — likely not desired
behaviour.
In general, the \global variable should contain everything that you want in
every Voice — like time signatures, tonalities, etc. — and engravers should
be \consist-ed at the appropriate level to display the grobs where they are
needed/desired.
Hope this helps!
Kieren.
_
\version 2.19.15
\paper {
ragged-right = ##f
}
global = {
\key d \minor
\tempo Lugubrioso 4=22
\time 4/4
s1
\time 3/4
s4*3
\breathe
\mark \default
\time 5/8
s8*5
\breathe
\time 4/4
s1
}
theNotes = {
c''1
c''2.
c''4. ~ 4
c''1
}
\markup With Mark_engraver at the Score level (= default):
\score {
\new Staff \global \theNotes
\new Staff \global \theNotes
}
\markup With Mark_engraver moved to the Staff level:
\score {
\new Staff \global \theNotes
\new Staff \global \theNotes
\layout {
\context {
\Score
\remove Mark_engraver
}
\context {
\Staff
\consists Mark_engraver
}
}
}
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www: http://www.kierenmacmillan.info
email: i...@kierenmacmillan.info
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Re: Caesura in Rehearsal Mark over each line of system
Conor Cook wrote Monday, February 16, 2015 5:14 PM
I had been using \include satb.ly, so I had to recreate the \score
{}, but it was good practice to combine \lyrics and multiple parts to
one staff.
Perhaps you had other reasons for recreating the \score { }, but
if it was just to add a global to every staff the satb.ly built-in
template uses the Time variable for this purpose - it is included in
every staff. Might have saved you some effort, but I've just
realised the documentation in the Learning Manual doesn't mention
this.
Trevor
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Write result of abc2ly to standard output
Hi, when you use musicxml2ly and midi2ly you can write the output to stdout by this command: | ||--output=-| For abc2ly this doesn't work. Is there any workaround? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Encapsulating tweak and markup in a variable
Hello Klaus and Pierre,
Magnificent, didn’t think of those possibilities…
Thanks a lot!
JM
Le 13 févr. 2015 à 15:47, Klaus Blum benbigno...@gmx.de a écrit :
P.S.: You can also pass parameters to that function:
% ---
\version 2.18.2
F = #(define-music-function (parser location text) (string?)
#{
-\tweak TextScript.self-alignment-X #CENTER
-\markup\large\bold\with-color #magenta $text
#})
{g2 \mf ^\F1E}
% - or: ---
\version 2.18.2
F = #(define-music-function (parser location col text) (color? string?)
#{
-\tweak TextScript.self-alignment-X #CENTER
-\markup\large\bold\with-color $col $text
#})
{g2 \mf ^\F #magenta 1E}
%
...just discovered Pierre's response. That's really easier!
Cheers,
Klaus
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RE:strange phenomenon from guitar bends snippet Vol 145 issue 124
I noticed in a past post Vol 145 issue 124 you were trying to remove tab
from the guitar bends. Anyway I don't ever use tab myself and modified the
ily file so there is no tab. if you still need it or find it helpful here
it is. Let me know if it was helpful or if you found a better solution.
cheers
Stephen
\version 2.16.2 % absolutely necessary!
\header {
snippet-title = Guitar string bending notation
snippet-author = Marc Hohl
snippet-source = http://code.google.com/p/lilypond/issues/detail?id=1196;
snippet-description = \markup {
This snippet allows to typeset bend symbols -
typically used on guitar - on Staff and TabStaff.
While issue 1196 aims to create a specific engraver
for bends, this snippet leverages the slur engraver.
}
% add comma-separated tags to make searching more effective:
tags = guitar, bend, string bending
% is this snippet ready? See meta/status-values.md
status = undocumented
}
% TODO:
% - draw dashed line for \holdBend
% - enable consecutive bend ups
% - simplify \preBend and \holdBend usage
% - ...
%#(display \nbend.ly ─ 2011-03-11 (revised: 2013-07-16)\n\n)
%%% sizes and values (to be changed/adapted):
#(define bend-line-thickness 0.1)
#(define bend-arrow-curvature-factor 0.35)
%#(define y-distance-from-tabstaff-to-arrow-tip 2.75)
#(define consecutive-bends-arrow-height 2.75)
#(define bend-arrowhead-height 1.25)
#(define bend-arrowhead-width 0.8)
#(define y-distance-from-staffline-to-arrow 0.35)
%%% internal commands
#(define (quarterdiff-string quarterdiff)
(let ((wholesteps (floor (/ quarterdiff 4
(string-append (case wholesteps
((0) )
(else (number-string wholesteps)))
(case (modulo quarterdiff 4)
((1) ¼)
((2) ½)
((3) ¾)
(else )
%%% markup commands
#(define-markup-command (pointedSlur layout props thickness bx by mx my ex
ey)
(number? number? number? number? number? number? number?)
(interpret-markup layout props
(markup #:postscript
(ly:format ~f setlinewidth
~f ~f moveto
~f ~f lineto
~f ~f lineto stroke thickness bx by mx my ex ey
#(define-markup-command (drawBendArrow layout props
thickness begin-x middle-x end-x begin-y end-y arrow-lx arrow-rx arrow-y
outstring)
(number? number? number? number? number? number? number? number? number?
string?)
(interpret-markup layout props
(markup #:postscript
(ly:format ~f setlinewidth
~f ~f moveto
~f ~f lineto
~f ~f ~f ~f ~f ~f curveto
stroke
~f ~f moveto
~f ~f lineto
~f ~f lineto
closepath fill
thickness
begin-x begin-y
middle-x begin-y
middle-x begin-y end-x begin-y end-x arrow-y
arrow-lx arrow-y
end-x end-y
arrow-rx arrow-y)
#:hspace 0
#:translate (cons (- end-x 1.2) (+ end-y 0.5))
#:fontsize -2
#:bold
;; changed:
;#:center-column (outstring)
outstring
)))
#(define-markup-command (drawHoldBendWithArrow layout props
thickness begin-x begin-y end-x end-y arrow-lx arrow-rx arrow-y outstring)
(number? number? number? number? number? number? number? number? string?)
(interpret-markup layout props
(markup #:postscript
(ly:format ~f setlinewidth
~f ~f moveto
~f ~f lineto
stroke
~f ~f moveto
~f ~f lineto
~f ~f lineto
closepath fill
~f ~f moveto
~f ~f lineto
stroke
thickness
begin-x begin-y
begin-x arrow-y
arrow-lx arrow-y
begin-x end-y
arrow-rx arrow-y
begin-x end-y
end-x end-y)
#:hspace 0
#:translate (cons (- begin-x 1.2) (+ end-y 0.5))
#:fontsize -2
;; Why does it work here??
#:bold #:center-column (outstring
#(define-markup-command (drawHoldBendArrowOnly layout props
thickness begin-x begin-y end-x end-y arrow-lx arrow-rx arrow-y outstring)
(number? number? number? number? number? number? number? number? string?)
(interpret-markup layout props
(markup #:postscript
(ly:format ~f setlinewidth
~f ~f moveto
~f ~f lineto
stroke
~f ~f moveto
~f ~f lineto
~f ~f lineto
closepath fill
thickness
begin-x begin-y
begin-x arrow-y
arrow-lx arrow-y
begin-x end-y
arrow-rx arrow-y)
#:hspace 0
#:translate (cons (- begin-x 1.2) (+ end-y 0.5))
#:fontsize -2
;; Why does it work here??
#:bold #:center-column (outstring
%% The markup-command 'draw-dashed-line' was implemented with version 2.17.x
%% TODO: use 'draw-dashed-line' instead. See also 'tie::draw-hold-bend'
below.
#(define-markup-command (drawDashedLine layout props
thickness begin-x end-x line-y)
(number? number? number? number?)
;; TODO: draws a full line instead of a dashed line
(interpret-markup layout props
(markup #:postscript
(ly:format ~f setlinewidth
~f ~f moveto
~f ~f lineto
stroke
thickness begin-x line-y end-x line-y
%%% callbacks
#(define (slur::draw-pointed-slur grob)
(let* ((control-points (ly:grob-property grob 'control-points))
(direction (ly:grob-property grob 'direction))
(first-point (car control-points))
(second-point (cadr control-points))
(third-point (caddr control-points))
(forth-point (cadddr control-points))
(first-x (+ (car first-point) 0.125)) ;; due to David's proposals
Re: Write result of abc2ly to standard output
On Mon, 16 Feb 2015, Peter Bjuhr wrote: Hi, when you use musicxml2ly and midi2ly you can write the output to stdout by this command: --output=- For abc2ly this doesn't work. Is there any workaround? abc2ly --output=/dev/stdout infile.abc works for me on Linux. Don't know about Mac or Windows. -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Write result of abc2ly to standard output
On 2015-02-16 21:56, Martin Tarenskeen wrote: when you use musicxml2ly and midi2ly you can write the output to stdout by this command: --output=- For abc2ly this doesn't work. Is there any workaround? abc2ly --output=/dev/stdout infile.abc works for me on Linux. Don't know about Mac or Windows. Thanks, Martin! I'm afraid the workaround must be platform independent... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange d.g. notation
Hello David and Pierre, The instrument name is actually Viola da gamba (Viola) », so you’re probably right : the octaviation would be done only if one plays specifically the voila da gamba and not the modern alto. Thanks for your help! JM Le 16 févr. 2015 à 22:49, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com a écrit : Hi Jacques, da gamba ? For a specific tessitura ? Cheers, Pierre 2015-02-16 18:00 GMT+01:00 Menu Jacques imj-...@bluewin.ch mailto:imj-...@bluewin.ch: Hello folks, In the viola score of a Telemann quartet in G minor, I find this notation. Does anyone know what it means? Thanks for your help! JM Strange d.g. notation.png ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user 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 d.g. notation
At 18:00 16/02/2015 +0100, Jacques Menu wrote: In the viola score of a Telemann quartet in G minor, I find this notation [d.g. 8va bassa]. Does anyone know what it means? One clue is the end of the 8va bassa in the middle of bar 73. If this had the usual meaning, it would suggest a somewhat strange run with a leap of a seventh at one point. The German for double stopping appears to be Doppelgriffen. Could this therefore be a German-Italian composite meaning col 8va bassa? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange d.g. notation
Hi Jacques, On Mon, Feb 16, 2015 at 4:21 PM, Menu Jacques imj-...@bluewin.ch wrote: Hello David, It’s TWV_43:g1 http://imslp.org/wiki/Quartetto,_TWV_43:g1_(Telemann,_Georg_Philipp), but the manuscripts at: http://imslp.org/wiki/Quartetto,_TWV_43:g1_(Telemann,_Georg_Philipp) don’t seem to be quite the same work. Well, not quite the same work. This excerpt (from page 26 of the PDF) looks like the second excerpt you posted. A musicological mystery? (Sorry about the image quality.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Git/Lilypond workflow
Thank you, Urs and Simon. I have begun taking a look at the git process, and will continue to dive into those posts. Very exciting, regardless! ~Conor -- View this message in context: http://lilypond.1069038.n5.nabble.com/Git-Lilypond-workflow-tp171764p171989.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar number for \partial 4
Please note I did not type ambitious d when I use iphone 5 to send the email. I don't know what ambitious d meant. Sorry. On Monday, February 16, 2015 12:22 PM, Using tsan...@rogers.com wrote: Sorry, it is LSR. I had been using this ambitious d it served me well. Next time I will search LSR, then NR. Sent from my iPhone On Feb 16, 2015, at 10:16 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 16:13, schrieb MING TSANG: Thank you. Yes I did try the snippet and did not find any sample. What snippet? An example of what? The Notation Reference is often the first place to go. Yours, Simon Immanuel, Ming. On Monday, February 16, 2015 10:09 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 15:55, schrieb MING TSANG: Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this. (1) This is contradicting both musical logics and general usage, so why not change it? Of course I don’t know your reason to keep so close to the model. (2) \set Score.currentBarNumber – see http://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers (2) how to code repeat tremolo for a chord? ges'' as c es1:64 or \repeat tremolo 64 ges'' as c es64 – see http://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats. This is really easy to find, either through the chapter list or in the index at “tremolo”. Did you even try? HTH, Simon Immanuel, Ming ___ 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 d.g. notation
On Mon, Feb 16, 2015 at 11:00 AM, Menu Jacques imj-...@bluewin.ch wrote: Hello folks, In the viola score of a Telemann quartet in G minor, I find this notation. Does anyone know what it means? Maybe da gamba? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange d.g. notation
On Mon, Feb 16, 2015 at 3:56 PM, Menu Jacques imj-...@bluewin.ch wrote: Hello David and Pierre, The instrument name is actually Viola da gamba (Viola) », so you’re probably right : the octaviation would be done only if one plays specifically the voila da gamba and not the modern alto. It looks like a number of his quartets are available in manuscript or 18th century editions at IMSLP. Maybe this one is there. --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange d.g. notation
Am 16.02.2015 22:55, schrieb Brian Barker: At 18:00 16/02/2015 +0100, Jacques Menu wrote: In the viola score of a Telemann quartet in G minor, I find this notation [d.g. 8va bassa]. Does anyone know what it means? One clue is the end of the 8va bassa in the middle of bar 73. This is certainly meant to apply in bar 73 only to the first five notes, which gives a leap of a sixth perfectly alright. If this had the usual meaning, it would suggest a somewhat strange run with a leap of a seventh at one point. The German for double stopping appears to be Doppelgriffe. Could this therefore be a German-Italian composite meaning col 8va bassa? In a viola part? With that fast notes? Certainly not. Yours, Simon Albrecht ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange d.g. notation
Hello David, It’s TWV_43:g1 http://imslp.org/wiki/Quartetto,_TWV_43:g1_(Telemann,_Georg_Philipp), but the manuscripts at: http://imslp.org/wiki/Quartetto,_TWV_43:g1_(Telemann,_Georg_Philipp) http://imslp.org/wiki/Quartetto,_TWV_43:g1_(Telemann,_Georg_Philipp) don’t seem to be quite the same work. JM Le 16 févr. 2015 à 23:04, David Nalesnik david.nales...@gmail.com a écrit : On Mon, Feb 16, 2015 at 3:56 PM, Menu Jacques imj-...@bluewin.ch mailto:imj-...@bluewin.ch wrote: Hello David and Pierre, The instrument name is actually Viola da gamba (Viola) », so you’re probably right : the octaviation would be done only if one plays specifically the voila da gamba and not the modern alto. It looks like a number of his quartets are available in manuscript or 18th century editions at IMSLP. Maybe this one is there. --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Staffs extending past the end of music
I'm writing a piece in verse/refrain form, in which the verse is a single singer (Cantor) and a cello, while the refrain has SATB harmony as well. I'd like the line to break at the end of the refrain (this is accomplished by \bar ||\break) and cleanly end the SATB staves, but clefs and lines are drawn on the next line, even though there is no music and they end before the first barline. I'm using barchecks and it compiles without warnings, so I've ruled out having more music than fits in the measure, which is sometimes responsible for a similar issue. My question, then, is how do I fix this? Bonus points if I can still end the line and the staffs in the middle of a measure. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staffs extending past the end of music
On 02/16/2015 06:09 PM, Simon Albrecht wrote:
Hello Tyler,
1. sorry for being an incorrigible nitpick, but the plural of “staff”
is “staves” ;-)
2. It’s exceedingly difficult to understand your problem without an
example. Could you please send one? At best an attached .ly file (if
it’s included in the message body, it might suffer inappropriate
reformatting on its way), and .png or .pdf showing the output.
I have the code, as well as the PDF and midi, on github at
https://github.com/tbear2500/Psalm51.
In addition, I've attached a PNG showing the problem.
The organization of my code works as follows: defs.lyi has some
definitions I use in all my projects to make writing music easier, and
is included by every other .lyi. The actual music is contained in the
other various .lyi files. template.lyi contains time changes and other
things that should affect each part in exactly the same manner.
score.ly includes all other files and has the \score{} block and
actually does the work of creating the PDF and midi files.
Tyler
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Re: Staffs extending past the end of music
OK.
I think what you want is \RemoveEmptyStaves, to be inserted in
\layout{
\context{ \Staff
\RemoveEmptyStaves } }
HTH, Simon
Am 17.02.2015 01:21, schrieb Tyler A Stank:
On 02/16/2015 06:09 PM, Simon Albrecht wrote:
Hello Tyler,
1. sorry for being an incorrigible nitpick, but the plural of “staff”
is “staves” ;-)
2. It’s exceedingly difficult to understand your problem without an
example. Could you please send one? At best an attached .ly file (if
it’s included in the message body, it might suffer inappropriate
reformatting on its way), and .png or .pdf showing the output.
I have the code, as well as the PDF and midi, on github at
https://github.com/tbear2500/Psalm51.
In addition, I've attached a PNG showing the problem.
The organization of my code works as follows: defs.lyi has some
definitions I use in all my projects to make writing music easier, and
is included by every other .lyi. The actual music is contained in the
other various .lyi files. template.lyi contains time changes and
other things that should affect each part in exactly the same manner.
score.ly includes all other files and has the \score{} block and
actually does the work of creating the PDF and midi files.
Tyler
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Re: Staffs extending past the end of music
Hello Tyler, 1. sorry for being an incorrigible nitpick, but the plural of “staff” is “staves” ;-) 2. It’s exceedingly difficult to understand your problem without an example. Could you please send one? At best an attached .ly file (if it’s included in the message body, it might suffer inappropriate reformatting on its way), and .png or .pdf showing the output. Yours, Simon Am 17.02.2015 00:39, schrieb Tyler Stank: I'm writing a piece in verse/refrain form, in which the verse is a single singer (Cantor) and a cello, while the refrain has SATB harmony as well. I'd like the line to break at the end of the refrain (this is accomplished by \bar ||\break) and cleanly end the SATB staves, but clefs and lines are drawn on the next line, even though there is no music and they end before the first barline. I'm using barchecks and it compiles without warnings, so I've ruled out having more music than fits in the measure, which is sometimes responsible for a similar issue. My question, then, is how do I fix this? Bonus points if I can still end the line and the staffs in the middle of a measure. ___ 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: \sustainOff\sustainOn produces inconsistent MIDI results
On Sun, Feb 15, 2015 at 02:58:11AM -0700, bensonby wrote: I have the same problem too. As a quick solution, I split the note into two with a tie, one for sustainOff and one for sustainOn. If there are no real solutions, I guess someone may write a function to automatically achieve this, say, \sustainOffOn [...] Hmm, that's not a bad idea. What if the function that breaks a note into two tied parts, like you said, also manipulates the grobs so that it still renders as if it's the original note? Not sure if this is actually achievable, but it *seems* that it should be possible with a sufficiently clever Scheme function... (I'm currently cutting my teeth on using Scheme in lilypond.) Having a function that automatically does this is essential for me, since I use this a LOT in my piece, and it would be far too tedious to manually split every note where the problem occurs. Or I could try to locate the source of the problem in the lilypond code and fix it there... I'm not sure which one would require more effort, though, since I first have to understand enough of the code to figure out where it might have gone wrong. :-P T -- If blunt statements had a point, they wouldn't be blunt... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Partcombine and large intervals
Phil Holmes mail at philholmes.net writes: Partcombine splits chords where the interval is greater than a ninth: [...] it's expected behaviour. I can't find this documented anywhere: is it? Only recently. Dan made the behavior adjustable and then I added a user-interface for version 2.19.16. https://code.google.com/p/lilypond/issues/detail?id=4198 I only documented the behavior in the brief function docstring : partcombine - chord-range [number-pair] part1 (music) part2 (music) Take the music in /part1/ and /part2/ and return a music expression containing simultaneous voices, where /part1/ and /part2/ are combined into one voice where appropriate. Optional /chord-range/ sets the distance in steps between notes that may be combined into a chord or unison. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scheme problem?
I wrote this finally. Thank you for suggestion.
T
\version 2.18.2
tremps = #
1.5 setlinewidth
0.08 0.08 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
#(define (z-trem grob)
(let* (
(gstem (ly:grob-parent grob X))
(gnotehead (ly:grob-property gstem 'cause))
(dur (ly:grob-property gnotehead 'duration-log))
(dir (ly:grob-property grob 'direction))
;;offset value
(ofs (if (= 1 dir) -1 1))
(ofs (if (= 0 dur) 0 ofs))
)
(display ofs)
(newline)
(grob-interpret-markup grob
(markup (
#:translate (cons 0 ofs)
#:postscript tremps
))
)
))
\score {
\transpose c c' {
\override Flag #'stencil = #modern-straight-flag
\override Stem #'length = #10
\override StemTremolo #'stencil = #z-trem
c1:64 c8: c4: c16: c4: c8: c16: c8:
\transpose c c' {
c1:64 c8: c4: c16: c4: c8: c16: c8:
\transpose c c' {
c1:64 c8: c4: c16: c4: c8: c16: c8:
}
}
}
}
2015-02-13 6:58 GMT+09:00 Simon Albrecht simon.albre...@mail.de:
Am 12.02.2015 um 17:00 schrieb takumi ikeda:
Hi Kevin,
Thank you for your reply. But the part of (if (= UP dir) -0.5 0.5)
seems to not working...
BTW, How can I learn the syntax like (ly:duration-log
(ly:music-property music 'duration))? I found the documentation
lilypond.org/doc/v2.19/Documentation/internals/scheme-functions but it
says only Function: ly:duration-log dur. Is dur an data type?
Where is the reference of dur?
dur serves as a placeholder for an argument. You should find it again in
the explanatory text on the function, which is sometimes very short. In
fact, the argument referenced here as dur is of type ly:duration? - that's
the data type. Durations may be created through the scheme function
ly:make-duration.
HTH, Simon
2015-02-12 22:13 GMT+09:00 Kevin Barry barr...@gmail.com:
Hi Takumi,
Is this what you want?
\version 2.18.2
tremps = #
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
z-trem =
#(define-music-function (parser location music) (ly:music?)
#{
\override StemTremolo.stencil =
#(lambda (grob)
(let* (
(dur-log (ly:duration-log (ly:music-property music
'duration)))
(dir (ly:grob-property grob 'direction))
)
(grob-interpret-markup grob
(markup
(
#:translate (cons 0 (if (= 0 dur-log)
0
(if (= UP dir) -0.5 0.5)))
#:postscript tremps
)
)
)
)
)
$music
#}
)
\new Staff {
\z-trem
c'1:32 c''8: f'16: g': c''8: c'4: c''16:
}
On Thu, Feb 12, 2015 at 12:44 PM, takumi ikeda i...@de-dicto.net wrote:
Hello all,
I am trying the following code but I got Wrong type: () error.
I would like to avoid translating tremolos when the note is whole note.
Writing Scheme is quite difficult for me. Any help would be appreciated.
Takumi
\version 2.18.2
tremps = #
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
z-trem =
#(define-music-function (parser location music) (ly:music?)
#{
\override StemTremolo.stencil =
#(lambda (grob)
(let* (
(dur-log (ly:grob-property grob 'duration-log))
(dir (ly:grob-property grob 'direction))
)
(grob-interpret-markup grob
(markup
(
#:translate (cons 0 (if (= 0 dur-log) 0
(if (= UP dir) -0.5 0.5)))
#:postscript tremps
)
)
)
)
)
$music
#}
)
\new Staff {
\z-trem
c'1:32 c''8: f'16: g': c''8: c'4: c''16:
}
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Re: bar number for \partial 4
Am 16.02.2015 15:55, schrieb MING TSANG: Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this. (1) This is contradicting both musical logics and general usage, so why not change it? Of course I don't know your reason to keep so close to the model. (2) \set Score.currentBarNumber -- see http://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers (2) how to code repeat tremolo for a chord? ges'' as c es1:64 or \repeat tremolo 64 ges'' as c es64 -- see http://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats. This is really easy to find, either through the chapter list or in the index at tremolo. Did you even try? HTH, Simon Immanuel, Ming ___ 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
bar number for \partial 4
Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this.(2) how to code repeat tremolo for a chord? Immanuel,Ming___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar number for \partial 4
Thank you. Yes I did try the snippet and did not find any sample.Immanuel,Ming. On Monday, February 16, 2015 10:09 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 15:55, schrieb MING TSANG: Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this. (1) This is contradicting both musical logics and general usage, so why not change it? Of course I don’t know your reason to keep so close to the model. (2) \set Score.currentBarNumber – seehttp://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers (2) how to code repeat tremolo for a chord? ges'' as c es1:64 or \repeat tremolo 64 ges'' as c es64 – seehttp://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats. This is really easy to find, either through the chapter list or in the index at “tremolo”. Did you even try? HTH, Simon Immanuel, Ming ___ 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: bar number for \partial 4
Am 16.02.2015 16:13, schrieb MING TSANG: Thank you. Yes I did try the snippet and did not find any sample. What snippet? An example of what? The Notation Reference is often the first place to go. Yours, Simon Immanuel, Ming. On Monday, February 16, 2015 10:09 AM, Simon Albrecht simon.albre...@mail.de wrote: Am 16.02.2015 15:55, schrieb MING TSANG: Hi, lilyponder, (1) I am transcribe a score that it count the \partial 4 measure as bar #1. How to achieve this. (1) This is contradicting both musical logics and general usage, so why not change it? Of course I don’t know your reason to keep so close to the model. (2) \set Score.currentBarNumber – see http://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers http://lilypond.org/doc/v2.18/Documentation/notation/bars#bar-numbers (2) how to code repeat tremolo for a chord? ges'' as c es1:64 or \repeat tremolo 64 ges'' as c es64 – see http://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats http://lilypond.org/doc/v2.18/Documentation/notation/short-repeats#tremolo-repeats. This is really easy to find, either through the chapter list or in the index at “tremolo”. Did you even try? HTH, Simon Immanuel, Ming ___ lilypond-user mailing list lilypond-user@gnu.org mailto: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: bar number for \partial 4
Hi Ming, Hi Simon,
2015-02-16 15:55 GMT+01:00 MING TSANG tsan...@rogers.com:
(1) I am transcribe a score that it count the \partial 4 measure as bar
#1. How to achieve this.
This will also do the job:
\version 2.18.2
{
\time 4/4
\set Timing.measureLength = #(ly:make-moment 1/8)
| % mes 1
s8
\unset Timing.measureLength
| % mes 2
s1
| % mes 3
s
\break
| % mes 4
s
| % mes 5
s
}
Cheers,
Pierre
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Re: CueDuringWithClef problems
Hello Kevin,
Thanks a lot, and a nice day!
JM
Le 16 févr. 2015 à 09:14, Kevin Barry barr...@gmail.com a écrit :
Hi JM,
To remove the error messages you should replace the R2 with r2 in the cue
part.
To get the slurs etc to appear you should replace Staff.quotedEventTypes with
Staff.quotedCueEventTypes
hth,
Kevin
On Mon, Feb 16, 2015 at 7:16 AM, Menu Jacques imj-...@bluewin.ch
mailto:imj-...@bluewin.ch wrote:
Hello folks,
I can’t get the slurs in « Largo_Flute » nor R2 in the argument to
\cueDuringWithClef to be displayed in the following example.
Here is the log contents:
Starting lilypond 2.19.15 [CueVoiceExample.ly http://cuevoiceexample.ly/]...
Traitement de «
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExample.ly
http://cuevoiceexample.ly/ »
Analyse...
Interprétation en cours de la musique...
Interprétation en cours de la musique...
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExample.ly
http://cuevoiceexample.ly/:18:58: Avertissement : échec du contrôle de
mesure (barcheck) à 1/2
\cueDuringWithClef #Largo_Flute #UP #treble { R1 |
R2 }
Pré-traitement des éléments graphiques...
Interprétation en cours de la musique...
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExample.ly
http://cuevoiceexample.ly/:18:58: Avertissement : échec du contrôle de
mesure (barcheck) à 1/2
\cueDuringWithClef #Largo_Flute #UP #treble { R1 |
R2 }
Sortie MIDI vers « CueVoiceExample.midi »...
Détermination du nombre optimal de pages...
Répartition de la musique sur une page...
Dessin des systèmes...
Sortie mise en page vers « CueVoiceExample.ps »...
Conversion à « ./CueVoiceExample.pdf »...
Compilation menée à son terme, avec succès.
Completed successfully in 1.1.
Thanks for you help!
JM
CueVoiceExample.png
\version 2.19.15
Largo_Flute = \relative g'' {
d32 [ ( c32 d32 es32 ) f8 -! ] r4
c32 [ ( a32 c32 e32 ) f8 -! ] r4 | % 144
bes,32 [ ( g32 bes32 d32 ) es!8 -! ] r4
}
\addQuote Largo_Flute { \Largo_Flute }
Largo = \relative d'' {
\clef alto \key bes \major \time 4/4 | % 1
\tempo Largo
\new CueVoice {
\set instrumentCueName = Fl.
}
\cueDuringWithClef #Largo_Flute #UP #treble { R1 | R2 }
r16 c,16 [ f16 c16 ] a16 [ a32 bes32 c16 a16 ] \break | % 3
}
\score {
\new Staff
\set Staff.quotedEventTypes = #'(note-event articulation-event
crescendo-event rest-event
slur-event dynamic-event)
\context Staff
\context Voice = Largo { \Largo }
\layout {}
% To create MIDI output, uncomment the following line:
\midi {}
}
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Re: CueDuringWithClef problems
Hi JM,
To remove the error messages you should replace the R2 with r2 in the cue
part.
To get the slurs etc to appear you should replace Staff.quotedEventTypes
with Staff.quotedCueEventTypes
hth,
Kevin
On Mon, Feb 16, 2015 at 7:16 AM, Menu Jacques imj-...@bluewin.ch wrote:
Hello folks,
I can’t get the slurs in « Largo_Flute » nor R2 in the argument to
\cueDuringWithClef to be displayed in the following example.
Here is the log contents:
Starting lilypond 2.19.15 [CueVoiceExample.ly]...
Traitement de « /Users/menu/Documents/LaTeX/PartitionsLilypond/
CueVoiceExample.ly »
Analyse...
Interprétation en cours de la musique...
Interprétation en cours de la musique...
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExample.ly:18:58:
Avertissement : échec du contrôle de mesure (barcheck) à 1/2
\cueDuringWithClef #Largo_Flute #UP #treble { R1 |
R2 }
Pré-traitement des éléments graphiques...
Interprétation en cours de la musique...
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExample.ly:18:58:
Avertissement : échec du contrôle de mesure (barcheck) à 1/2
\cueDuringWithClef #Largo_Flute #UP #treble { R1 |
R2 }
Sortie MIDI vers « CueVoiceExample.midi »...
Détermination du nombre optimal de pages...
Répartition de la musique sur une page...
Dessin des systèmes...
Sortie mise en page vers « CueVoiceExample.ps »...
Conversion à « ./CueVoiceExample.pdf »...
Compilation menée à son terme, avec succès.
Completed successfully in 1.1.
Thanks for you help!
JM
\version 2.19.15
Largo_Flute = \relative g'' {
d32 [ ( c32 d32 es32 ) f8 -! ] r4
c32 [ ( a32 c32 e32 ) f8 -! ] r4 | % 144
bes,32 [ ( g32 bes32 d32 ) es!8 -! ] r4
}
\addQuote Largo_Flute { \Largo_Flute }
Largo = \relative d'' {
\clef alto \key bes \major \time 4/4 | % 1
\tempo Largo
\new CueVoice {
\set instrumentCueName = Fl.
}
\cueDuringWithClef #Largo_Flute #UP #treble { R1 | R2 }
r16 c,16 [ f16 c16 ] a16 [ a32 bes32 c16 a16 ] \break | % 3
}
\score {
\new Staff
\set Staff.quotedEventTypes = #'(note-event articulation-event
crescendo-event rest-event
slur-event dynamic-event)
\context Staff
\context Voice = Largo { \Largo }
\layout {}
% To create MIDI output, uncomment the following line:
\midi {}
}
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