Re: Dégroupement de durées
Le mercredi 4 mars 2015 10:23:00, vous avez écrit :
Je me suis un peu penché sur le sujet il y a deux jours et je n'ai rien
trouvé de magique.
Désolé,
Merci qd mm d'avoir pris le tps de chercher. J'ai eu une autre réponse en
privé de Nicolas, mais je remet sur la liste.
\version « 2.18.2 »
degroupement =
#(define-music-function
(parser location dur mus)
(number? ly:music?)
(music-map
(lambda (x)
(let (
(dd (ly:music-property x 'duration))
(pp (ly:music-property x 'pitch'))
)
(set! (ly:music-property x 'duration)
(ly:make-duration (log2 dur) 0 1))
#{
\unfoldRepeats { \repeat
tremolo #(/ dur 2) $x }
#}
)
)
mus
)
)
\relative c' {
\degroupement 8 {c2 d4 e4}
}
Il subsiste deux problèmes :
1)
A l’endroit \unfoldRepeats { \repeat tremolo #(/ dur 2) $x }
il faudrait remplacer le 2 par la durée de la note dans l’expression musicale.
Pour \degroupement 8 {c2 d4 e4} c’est 2 puis 4 et encore 4.
Dans mon exemple cette durée est dans la variable dd. Malheureusement c’est
une varibale de type « duration » et je ne sais pas comment la convertir en «
number » pour pouvoir faire la division. Dans l’autre sens conversion number
- « duration » j’ai fait
(ly:make-duration (log2 dur) 0 1)
2) Plus grave : le résultat n’est pas tout-à-fait le résultat escompté…
puisque l’ensemble de l’expression musicale est lui-même répété un certain
nombre de fois.
Ma solution pour la durée :
- extraire les deux premiers chiffres de duration (avec un car ou cdr ou je ne
sais plus bien quelle syntaxe) - appelons le premier l et le second d ;
- exemples :
- une blanche (2) aura une duration égaale à (1 0 1), on calcule 2^1=2
et c'est la durée ;
- une ronde (1) aura une duration égaale à (0 0 1), on calcule 2^0=1 ;
- une noire (4) : (2 0 1) -2^2=4.
On divise 8 par la durée et on a le nb de notes à écrire.
Et si j'ai des notes pointées (le nb de points est ce que j'ai nommé d) on
multiplie nbnotes par (2-1/(2^nbpoints)).
Ceci dit j'ai un message d'erreur sur \unfoldRepeats { \repeat tremolo #(/ dur
2) $x }, est-ce dû à ma version 2.16.2 ?
--
Cordialement, Daniel Cartron
« Les absents ont toujours tort de revenir. »
Jules Renard
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getting the argument list of a procedure
Hi list, I would like to be able to return the argument list of a Scheme function, say as a list of symbols. So, for example, in the case of grob-interpret-markup, I would like to retrieve '(grob text). There are a number of functions for determining information about procedures listed here: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/Procedure-Properties.html but, I see nothing to return an argument list. How would I go about doing this? Thanks! David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
exercises book
Hi, everyone! I'm trying to figure how to write a page (well, several pages) with multiple exercises (bass licks).An example is this pagehttp://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/4055621_181.jpg(of course without the fancy graphics) So, for each exercise there must be:- exercise title/number: can be Staff.instrumentName or a title on top of the staff- each exercise have both Staff and TabStaff- need to add chords on some exercises - ideally, each exercise can be forced to have a different number of bars per line I've made several tests but without success... Is there any example somewhere that explains how to get this? (I've searched a lot but I didn't find anything)Can someone guide me? Thanks a lot! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur into alternatives (lyuser: message 6 of 20)
Hello Pierre and Jan-Peter, thanks for the nice (and helpful!) welcome! Usually, I need lilypond to create midi output for choir rehearsal. So the advenced Method of pierre for the \repeatTie is a bit too much. I appreciate it, though, because /sometimes/ I need the beautiful pdfs :) Oh, and as a developer I'm used to being pointed to TFM, so feel free to just point me to the answer in the docs; both of my questions are there in the manual, I was just too dumb to find it ;) cu -- Markus ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dégroupement de durées
Oups, spéciale.
Bravo encore Nicolas.
Pierre
Le 4 mars 2015 21:27, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com a écrit :
Désolé Daniel, je t'ai un peu oublié.
Donc voilà :
\version 2.16.2
degroupement =
#(define-music-function
(parser location dur mus)
(number? ly:music?)
(music-map
(lambda (x)
(let (
(dd (ly:music-property x 'duration))
(pp (ly:music-property x 'pitch')))
(set! (ly:music-property x 'duration)
(ly:make-duration (log2 dur) 0 1))
#{
\unfoldRepeats { \repeat tremolo $(/ dur 2) $x }
#}))
mus))
\relative c' {
\degroupement 8 { c2 d4 e4 }
}
Avec mention spécial à Nicolas qui a eu l'idée géniale d'utiliser le
trémolo (j'avoue humblement ne pas y avoir du tout pensé).
Cordialement,
Pierre
Le 4 mars 2015 10:36, Daniel Cartron m...@cartron.xyz a écrit :
Le mercredi 4 mars 2015 10:23:00, vous avez écrit :
Je me suis un peu penché sur le sujet il y a deux jours et je n'ai rien
trouvé de magique.
Désolé,
Merci qd mm d'avoir pris le tps de chercher. J'ai eu une autre réponse en
privé de Nicolas, mais je remet sur la liste.
\version « 2.18.2 »
degroupement =
#(define-music-function
(parser location dur mus)
(number? ly:music?)
(music-map
(lambda (x)
(let (
(dd (ly:music-property x
'duration))
(pp (ly:music-property x 'pitch'))
)
(set! (ly:music-property x
'duration)
(ly:make-duration (log2 dur) 0 1))
#{
\unfoldRepeats { \repeat
tremolo #(/ dur 2) $x }
#}
)
)
mus
)
)
\relative c' {
\degroupement 8 {c2 d4 e4}
}
Il subsiste deux problèmes :
1)
A l’endroit \unfoldRepeats { \repeat tremolo #(/ dur 2) $x }
il faudrait remplacer le 2 par la durée de la note dans l’expression
musicale.
Pour \degroupement 8 {c2 d4 e4} c’est 2 puis 4 et encore 4.
Dans mon exemple cette durée est dans la variable dd. Malheureusement
c’est
une varibale de type « duration » et je ne sais pas comment la convertir
en «
number » pour pouvoir faire la division. Dans l’autre sens conversion
number
- « duration » j’ai fait
(ly:make-duration (log2 dur) 0 1)
2) Plus grave : le résultat n’est pas tout-à-fait le résultat escompté…
puisque l’ensemble de l’expression musicale est lui-même répété un certain
nombre de fois.
Ma solution pour la durée :
- extraire les deux premiers chiffres de duration (avec un car ou cdr ou
je ne
sais plus bien quelle syntaxe) - appelons le premier l et le second d ;
- exemples :
- une blanche (2) aura une duration égaale à (1 0 1), on calcule
2^1=2
et c'est la durée ;
- une ronde (1) aura une duration égaale à (0 0 1), on calcule
2^0=1 ;
- une noire (4) : (2 0 1) -2^2=4.
On divise 8 par la durée et on a le nb de notes à écrire.
Et si j'ai des notes pointées (le nb de points est ce que j'ai nommé d) on
multiplie nbnotes par (2-1/(2^nbpoints)).
Ceci dit j'ai un message d'erreur sur \unfoldRepeats { \repeat tremolo
#(/ dur
2) $x }, est-ce dû à ma version 2.16.2 ?
--
Cordialement, Daniel Cartron
« Les absents ont toujours tort de revenir. »
Jules Renard
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Re: Dégroupement de durées
Désolé Daniel, je t'ai un peu oublié.
Donc voilà :
\version 2.16.2
degroupement =
#(define-music-function
(parser location dur mus)
(number? ly:music?)
(music-map
(lambda (x)
(let (
(dd (ly:music-property x 'duration))
(pp (ly:music-property x 'pitch')))
(set! (ly:music-property x 'duration)
(ly:make-duration (log2 dur) 0 1))
#{
\unfoldRepeats { \repeat tremolo $(/ dur 2) $x }
#}))
mus))
\relative c' {
\degroupement 8 { c2 d4 e4 }
}
Avec mention spécial à Nicolas qui a eu l'idée géniale d'utiliser le
trémolo (j'avoue humblement ne pas y avoir du tout pensé).
Cordialement,
Pierre
Le 4 mars 2015 10:36, Daniel Cartron m...@cartron.xyz a écrit :
Le mercredi 4 mars 2015 10:23:00, vous avez écrit :
Je me suis un peu penché sur le sujet il y a deux jours et je n'ai rien
trouvé de magique.
Désolé,
Merci qd mm d'avoir pris le tps de chercher. J'ai eu une autre réponse en
privé de Nicolas, mais je remet sur la liste.
\version « 2.18.2 »
degroupement =
#(define-music-function
(parser location dur mus)
(number? ly:music?)
(music-map
(lambda (x)
(let (
(dd (ly:music-property x
'duration))
(pp (ly:music-property x 'pitch'))
)
(set! (ly:music-property x
'duration)
(ly:make-duration (log2 dur) 0 1))
#{
\unfoldRepeats { \repeat
tremolo #(/ dur 2) $x }
#}
)
)
mus
)
)
\relative c' {
\degroupement 8 {c2 d4 e4}
}
Il subsiste deux problèmes :
1)
A l’endroit \unfoldRepeats { \repeat tremolo #(/ dur 2) $x }
il faudrait remplacer le 2 par la durée de la note dans l’expression
musicale.
Pour \degroupement 8 {c2 d4 e4} c’est 2 puis 4 et encore 4.
Dans mon exemple cette durée est dans la variable dd. Malheureusement c’est
une varibale de type « duration » et je ne sais pas comment la convertir
en «
number » pour pouvoir faire la division. Dans l’autre sens conversion
number
- « duration » j’ai fait
(ly:make-duration (log2 dur) 0 1)
2) Plus grave : le résultat n’est pas tout-à-fait le résultat escompté…
puisque l’ensemble de l’expression musicale est lui-même répété un certain
nombre de fois.
Ma solution pour la durée :
- extraire les deux premiers chiffres de duration (avec un car ou cdr ou
je ne
sais plus bien quelle syntaxe) - appelons le premier l et le second d ;
- exemples :
- une blanche (2) aura une duration égaale à (1 0 1), on calcule
2^1=2
et c'est la durée ;
- une ronde (1) aura une duration égaale à (0 0 1), on calcule
2^0=1 ;
- une noire (4) : (2 0 1) -2^2=4.
On divise 8 par la durée et on a le nb de notes à écrire.
Et si j'ai des notes pointées (le nb de points est ce que j'ai nommé d) on
multiplie nbnotes par (2-1/(2^nbpoints)).
Ceci dit j'ai un message d'erreur sur \unfoldRepeats { \repeat tremolo #(/
dur
2) $x }, est-ce dû à ma version 2.16.2 ?
--
Cordialement, Daniel Cartron
« Les absents ont toujours tort de revenir. »
Jules Renard
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Re: getting the argument list of a procedure
Am Mittwoch, 04. März 2015 22:35 CET, David Nalesnik david.nales...@gmail.com schrieb: Hi list, I would like to be able to return the argument list of a Scheme function, say as a list of symbols. So, for example, in the case of grob-interpret-markup, I would like to retrieve '(grob text). There are a number of functions for determining information about procedures listed here: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/Procedure-Properties.html but, I see nothing to return an argument list. Hmm, procedure-properties will give you some info, try: (cdr (assoc 'arity (procedure-properties open))) How would I go about doing this? I doubt that guile ( 2.0) keeps track of the formal parameter names. Cheers, Ralf Mattes Thanks! David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting the argument list of a procedure
Dear David, Am Mittwoch, den 04. März 2015 um 15:35:46 Uhr (-0600) schrieb David Nalesnik: I would like to be able to return the argument list of a Scheme function, say as a list of symbols. I'm not sure I understand what exactly you're looking for. In scheme, you can assign a name to all arguments of a function and refer to it in the function body if you use dot notation. All arguments are accessible within the body as a list referred to by the symbol after the dot: (define (return-args . args) args) (return-args 1 2 3 'blah 'foo blub) - (1 2 3 blah foo blub) Does that answer your question? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Dynamics with Capitals
Hey I have been doing dynamics with capitals like
\version 2.18.2
\relative c'{
g-24_\markup{ \halign #1.3 \lower #4 \italic \fontsize #1 \bold FF}
bes-4\4_\markup {\concat \halign #.8 {\dynamic m \italic \fontsize #1
\bold F}} c d
bes4 d f a_\markup \halign #0 {\concat {\dynamic s \italic \fontsize #1
\bold F}}
}
just an example, question is there a better way I know I can create a \var
for each just wondering if there is a better looking capital F
stephen
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Re: exercises book
Hi Carlo,
I don’t get what exactly is the problem you have. Normally you would
have one score for each exercise, and each score has
%\new ChordNames \chords
\new StaffGroup \with { instrumentName = 647 }
\new Staff \music
\new TabStaff \music
And normally lily will choose a perfectly adequate number of bars per
line without any need of force. There is some method of forcing the
exact number of bars per line, you might find it on the list archives
(or someone else can point you to it).
So, where’s your problem?
Yours, Simon
Am 04.03.2015 um 22:46 schrieb Carlo Vanoni:
Hi, everyone!
I'm trying to figure how to write a page (well, several pages) with
multiple exercises (bass licks).
An example is this page
http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/4055621_181.jpg
(of course without the fancy graphics)
So, for each exercise there must be:
- exercise title/number: can be Staff.instrumentName or a title on top
of the staff
- each exercise have both Staff and TabStaff
- need to add chords on some exercises
- ideally, each exercise can be forced to have a different number of
bars per line
I've made several tests but without success...
Is there any example somewhere that explains how to get this? (I've
searched a lot but I didn't find anything)
Can someone guide me?
Thanks a lot!
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Re: getting the argument list of a procedure
On Wed, Mar 4, 2015 at 3:49 PM, Mattes r.mat...@mh-freiburg.de wrote: Am Mittwoch, 04. März 2015 22:35 CET, David Nalesnik david.nales...@gmail.com schrieb: Hi list, I would like to be able to return the argument list of a Scheme function, say as a list of symbols. So, for example, in the case of grob-interpret-markup, I would like to retrieve '(grob text). There are a number of functions for determining information about procedures listed here: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/Procedure-Properties.html but, I see nothing to return an argument list. Hmm, procedure-properties will give you some info, try: (cdr (assoc 'arity (procedure-properties open))) Yup, but I actually want the names for documentation purposes. How would I go about doing this? I doubt that guile ( 2.0) keeps track of the formal parameter names. That's too bad :( --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting the argument list of a procedure
Hi Orm, On Wed, Mar 4, 2015 at 3:54 PM, Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de wrote: Dear David, Am Mittwoch, den 04. März 2015 um 15:35:46 Uhr (-0600) schrieb David Nalesnik: I would like to be able to return the argument list of a Scheme function, say as a list of symbols. I'm not sure I understand what exactly you're looking for. In scheme, you can assign a name to all arguments of a function and refer to it in the function body if you use dot notation. All arguments are accessible within the body as a list referred to by the symbol after the dot: (define (return-args . args) args) (return-args 1 2 3 'blah 'foo blub) - (1 2 3 blah foo blub) Does that answer your question? Sorry for being opaque! What I'm trying to do (ultimately) is come up with a way to automatically document the large number of public Scheme functions (like grob::has interface or grob::name) in a similar format as used for the functions here: http://lilypond.org/doc/v2.18/Documentation/internals/scheme-functions Some of the information is easily accessible: procedure-name gives us the name of the function, procedure-documentation gives the doc string. What I'm missing is a good way to get at the names of the arguments. Now I suppose I could manipulate strings. Something like the following (just a proof-of-concept I just hacked together): #(use-modules (ice-9 regex)) #(define (find-args proc) (let* ((str (format #f ~a proc)) (s (string-match \\(.*\\) str))) (match:substring s))) #(display (find-args grob-interpret-markup)) == (grob text) However, this feels a little hacky to me, and I'm hoping that there's some better technique available to get at the names assigned to the arguments. --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamics with Capitals
Hello Stephen,
you will find this documented at
http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-attached-to-notes#dynamics
and in the thereupon following section, New dynamic marks.
However in brief:
Usually, in the classical engraving style, which stood model for
Lilypond’s defaults, dynamics are printed in lower case and in a special
font.
If you want to create an own style with capital dynamics, the dynamic
font will be no use, since it only contains the six or so letters
normally used. The custom formatting may be stored in a variable like
myff = \markup{ \halign #1.3 \lower #4 \italic \fontsize #1 \bold FF}
or, even better, made to also behave like a dynamic sign using
myffDyn = #(make-dynamic-script myff)
. They are then used by
g-24\myffDyn or
bes g4\myff.
HTH, Simon
Am 04.03.2015 um 23:18 schrieb Stephen MacNeil:
Hey I have been doing dynamics with capitals like
\version 2.18.2
\relative c'{
g-24_\markup{ \halign #1.3 \lower #4 \italic \fontsize #1 \bold FF}
bes-4\4_\markup {\concat \halign #.8 {\dynamic m \italic \fontsize
#1 \bold F}} c d
bes4 d f a_\markup \halign #0 {\concat {\dynamic s \italic \fontsize
#1 \bold F}}
}
just an example, question is there a better way I know I can create a
\var for each just wondering if there is a better looking capital F
stephen
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Polymetric Time Signature
I'm looking for an example of a time signature in the format of 3/4 = 6/8. I can find the compound meter, e.g. 1/2 + 2/4, but not with the = sign. -- Dave Higgins -- http://www.geocaching.com/profile/?guid=60ac8b65-d115-42b7-9363-f2dff0c863cf -- Creditor, n.: A man who has a better memory than a debtor. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: exercises book
Hi Simon,
thanks for the answer.Well, your code helped me. In fact, my problem was that I
was not sure I can create multiple \score {}.By creating a \score for each
exercise, inserting your code in the brakets, I was able to create the
exercises page.So, I have something like this
\score { \new ChordNames \chordsExI
\new StaffGroup \with { instrumentName = Ex 1 }
\new Staff \musicExI
\new TabStaff \musicExI
}
\score { \new ChordNames \chordsExII
\new StaffGroup \with { instrumentName = Ex 2 }
\new Staff \musicExII
\new TabStaff \musicExII
}
[...]
Now, I'll like to have each exercise on a single line, or by the way control
when to break. I'm able to avoid automatic break by adding \noBreak here and
there, but in seems not like the best way to do it. Any better way to force,
i.e., to break only after 5 bars for exercise1, 4 bars for exercise2, ...?Also,
if an exercise won't be automatically breaked, it won't fill the page width.
How to let every exercise to fill the page width? Tried ragged-last,
ragged-last-bottom on \paper definition, but it didn't work.
Many thanks!
Il Mercoledì 4 Marzo 2015 22:57, Simon Albrecht simon.albre...@mail.de
ha scritto:
Hi Carlo,
I don’t get what exactly is the problem you have. Normally you would have one
score for each exercise, and each score has
%\new ChordNames \chords
\new StaffGroup \with { instrumentName = 647 }
\new Staff \music
\new TabStaff \music
And normally lily will choose a perfectly adequate number of bars per line
without any need of force. There is some method of forcing the exact number of
bars per line, you might find it on the list archives (or someone else can
point you to it).
So, where’s your problem?
Yours, Simon
Am 04.03.2015 um 22:46 schrieb Carlo Vanoni:
Hi, everyone!
I'm trying to figure how to write a page (well, several pages) with multiple
exercises (bass licks). An example is this page
http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/4055621_181.jpg
(of course without the fancy graphics)
So, for each exercise there must be: - exercise title/number: can be
Staff.instrumentName or a title on top of the staff - each exercise have both
Staff and TabStaff - need to add chords on some exercises
- ideally, each exercise can be forced to have a different number of bars per
line
I've made several tests but without success...
Is there any example somewhere that explains how to get this? (I've searched
a lot but I didn't find anything) Can someone guide me?
Thanks a lot!
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Re: Ex Book (was: exercises book)
Stephen,
it is helpful if you basically retain the original subject, so mailing
software will recognise as belonging to the thread. This increases
comfort for the list subscribers.
Re: etc. don’t matter, also sometimes it makes sense to change the
subject and include the former one within (was: ) as I now did.
Yours, Simon
Am 04.03.2015 um 23:58 schrieb Stephen MacNeil:
like this?
\version 2.18.2
\header {
title = Bass riffs
opus =
tagline =
}
% font
\paper {
#(set-paper-size letter)
top-margin = #5
bottom-margin = #8
ragged-last-bottom = ##t
print-all-headers = ##f
% system-system-spacing #'basic-distance = #25
oddFooterMarkup = \markup {
\column {
\fill-line {
\on-the-fly #first-page \fromproperty #'header:copyright
}
\fill-line {
\on-the-fly #part-last-page \fromproperty #'header:parttagline
}
\fill-line {
\on-the-fly #first-page \fromproperty #'header:tagline
}
}
}
}
%end
\bookpart {
%% a different page breaking function may be used on each part
\header { subtitle = }
% add space
\markup { \vspace #1.5 }
% end
#(define-markup-list-command (paragraph layout props args) (markup-list?)
#:properties ((par-indent 2))
(interpret-markup-list layout props
(make-justified-lines-markup-list (cons (make-hspace-markup par-indent)
args
% music added
% Variable for Right Hand
#(define RH rightHandFinger)
%#(set-global-staff-size 20)
\score{
\new Staff \with {
\clef bass
fontSize = #3
\override StaffSymbol.staff-space = #(magstep 3)
} {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
e,-01_\markup \small \halign #-.3 \pad-markup #1 open |
f,-1_\markup \small \halign #-.3 \lower #4 first fret |
g,-3_\markup \small \halign #-.5 \lower #4 third fret
\bar |.
%end
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c,, { e1 f g }
\layout{
indent = 62
ragged-last = ##t
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Bass:}
}
}
\markuplist {
\paragraph {
some text if you want
}
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 1:}
}
}
\markup {
\paragraph {
words of wisdom
}
}
\markup {
\paragraph {
\bold Hints:
}
}
\score{
\new Staff {
\clef bass
\relative c' {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
a a a a
a a a a
a a a a
a a a a
a a a a
\bar :|.
}
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c, { a a a a
a a a a
a a a a
a a a a
a a a a }
\layout{
indent = 0
ragged-last = ##f
\context {
\Score
\remove Bar_number_engraver
}
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 2:}
}
}
\score{
\new Staff {
\clef bass
\relative c' {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
a a a a
a a a a
a a a a
a a a a
a a a a
\bar :|.
}
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c, { a a a a
a a a a
a a a a
a a a a
a a a a }
\layout{
indent = 0
ragged-last = ##f
\context {
\Score
\remove Bar_number_engraver
}
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 3:}
}
}
% Done
}
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[OT] We need LilyPond office space...
... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less painful. Hmph. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fixed width measures
Greetings all, I have asked this question on the list in the past, but no solution seems to be available. The topic is fixed width measures. I have contemporary music that has lots of complex tuplets within tuplets and rapidly varying time signatures (New Complexity School). The composer I am working with draws all his scores by hand, and uses a fixed measure width notation to help the performer understand the very complex rhythms, with a fixed physical measure length corresponding to a specific fixed interval of time. Actually, several composers do this. I have tried everything to do with proportional notation and new spacing sections but I can’t seem to succeed. Is there any way to instruct lilypond to use a fixed length, absolute size measure? I see that others have wanted this capability for fixed width measures for chord charts, overriding the lovely and subtle way that lilypond has of moving the bar lines on the page around a little for readability and aesthetics. I am attaching the smallest most simplified snippet I can make that shows unequal measures. If anybody can make something like this have fixed width measures, let me know! I am aware that this goes entirely against classical engraving principles, and all of lilypond’s aesthetic architecture, but it is 2015 now! Does this require internal code hacking of the layout engine somewhere deep down below the user level? It’s frustrating to be defeated by a man with a pencil who can simply rule lines! :-) Andrew unequal-measures.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Ex Book
like this?
\version 2.18.2
\header {
title = Bass riffs
opus =
tagline =
}
% font
\paper {
#(set-paper-size letter)
top-margin = #5
bottom-margin = #8
ragged-last-bottom = ##t
print-all-headers = ##f
% system-system-spacing #'basic-distance = #25
oddFooterMarkup = \markup {
\column {
\fill-line {
\on-the-fly #first-page \fromproperty #'header:copyright
}
\fill-line {
\on-the-fly #part-last-page \fromproperty #'header:parttagline
}
\fill-line {
\on-the-fly #first-page \fromproperty #'header:tagline
}
}
}
}
%end
\bookpart {
%% a different page breaking function may be used on each part
\header { subtitle = }
% add space
\markup { \vspace #1.5 }
% end
#(define-markup-list-command (paragraph layout props args) (markup-list?)
#:properties ((par-indent 2))
(interpret-markup-list layout props
(make-justified-lines-markup-list (cons (make-hspace-markup par-indent)
args
% music added
% Variable for Right Hand
#(define RH rightHandFinger)
%#(set-global-staff-size 20)
\score{
\new Staff \with {
\clef bass
fontSize = #3
\override StaffSymbol.staff-space = #(magstep 3)
} {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
e,-01_\markup \small \halign #-.3 \pad-markup #1 open |
f,-1_\markup \small \halign #-.3 \lower #4 first fret |
g,-3_\markup \small \halign #-.5 \lower #4 third fret
\bar |.
%end
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c,, { e1 f g }
\layout{
indent = 62
ragged-last = ##t
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Bass:}
}
}
\markuplist {
\paragraph {
some text if you want
}
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 1:}
}
}
\markup {
\paragraph {
words of wisdom
}
}
\markup {
\paragraph {
\bold Hints:
}
}
\score{
\new Staff {
\clef bass
\relative c' {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
a a a a
a a a a
a a a a
a a a a
a a a a
\bar :|.
}
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c, { a a a a
a a a a
a a a a
a a a a
a a a a }
\layout{
indent = 0
ragged-last = ##f
\context {
\Score
\remove Bar_number_engraver
}
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 2:}
}
}
\score{
\new Staff {
\clef bass
\relative c' {
\set stringNumberOrientations = #'(right)
\set fingeringOrientations = #'(left)
\stemNeutral
a a a a
a a a a
a a a a
a a a a
a a a a
\bar :|.
}
}
%% tab
\new TabStaff \with {
stringTunings = #bass-tuning
}
\transpose c c, { a a a a
a a a a
a a a a
a a a a
a a a a }
\layout{
indent = 0
ragged-last = ##f
\context {
\Score
\remove Bar_number_engraver
}
}
% end
}
% add space
\markup { \vspace #2 }
% end
\markup {
\paragraph {
\bold {Exercise 3:}
}
}
% Done
}
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Re: exercises book
Thanks for your answers Simon and Jim.
I used your function for no breaks Jim, and it's really handy. I've just
renamed it to noAutoBreak to avoid using a lilypond command name (\noBreak is
already defined). To be honest, I was quite surprised to see that I can use the
same name... Is it because this is a function, while the other one is... uhm...
a command?
About ragged-right, I wasn't able to let it work because I was putting it in
the wrong place, that is inside a \layout{ \context{} }. Putting it in \layout
or page does the trick.
Thanks a lot!
Il Giovedì 5 Marzo 2015 6:18, Jim Long lilyp...@umpquanet.com ha scritto:
On Wed, Mar 04, 2015 at 11:00:32PM +, Carlo Vanoni wrote:
Now, I'll like to have each exercise on a single line, or by the way control
when to break. I'm able to avoid automatic break by adding \noBreak here and
there, but in seems not like the best way to do it. Any better way to force,
i.e., to break only after 5 bars for exercise1, 4 bars for exercise2, ...?
Also, if an exercise won't be automatically breaked, it won't fill the page
width. How to let every exercise to fill the page width? Tried ragged-last,
ragged-last-bottom on \paper definition, but it didn't work.
Here is a function I received from this list that I think could
be of benefit to you:
noBreak =
#(define-music-function (parser location music) (ly:music?)
#{ \temporary\override
Score.NonMusicalPaperColumn.line-break-permission = ##f
#music
\revert Score.NonMusicalPaperColumn.line-break-permission
#})
Its usage is:
\noBreak { \music }
around segments of \music where you wish to forbid line breaking.
Regarding the second point, you want ragged-right = ##f, as the
attached example shows.
HTH,
Jim
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Re: [OT] We need LilyPond office space...
On Thu, 5 Mar 2015, James Harkins wrote: ... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less painful. Hmph. hjh We could invite hime to our virtual office: our mailinglist(s) :-) MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fixed width measures
Hi Andrew,
I tried some things with some success: if there are only two bars per
line and ther is no indent, the bars are _almost_ the same width. I
don’t have any idea why this is imprecise, though.
HTH, Simon
P.S. I also did some reformatting to the code, which in my eyes much
improves the readability…
Am 05.03.2015 um 01:37 schrieb Andrew Bernard:
Greetings all,
I have asked this question on the list in the past, but no solution
seems to be available. The topic is fixed width measures. I have
contemporary music that has lots of complex tuplets within tuplets and
rapidly varying time signatures (New Complexity School). The composer
I am working with draws all his scores by hand, and uses a fixed
measure width notation to help the performer understand the very
complex rhythms, with a fixed physical measure length corresponding to
a specific fixed interval of time. Actually, several composers do this.
I have tried everything to do with proportional notation and new
spacing sections but I can’t seem to succeed. Is there any way to
instruct lilypond to use a fixed length, absolute size measure?
I see that others have wanted this capability for fixed width measures
for chord charts, overriding the lovely and subtle way that lilypond
has of moving the bar lines on the page around a little for
readability and aesthetics.
I am attaching the smallest most simplified snippet I can make that
shows unequal measures. If anybody can make something like this have
fixed width measures, let me know!
I am aware that this goes entirely against classical engraving
principles, and all of lilypond’s aesthetic architecture, but it is
2015 now! Does this require internal code hacking of the layout engine
somewhere deep down below the user level? It’s frustrating to be
defeated by a man with a pencil who can simply rule lines! :-)
Andrew
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\version 2.19.16
\paper
{
% A4 version.
#(set-paper-size a4 'landscape)
indent = 0
top-margin = 20\mm
bottom-margin = 16\mm
left-margin = 16\mm
right-margin = 16\mm
myStaffSize = #20
}
aux = \repeat unfold 3 { s1*2 \break }
upper = \relative c'' {
\time 4/4
\clef treble
\key c \major
{
\voiceOne
\stemDown
\override TupletBracket.bracket-visibility = ##t
c,4 c c c |
\tupletDown
\tuplet 7/4 {c16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
c4 c c c |
bes' bes bes bes |
a a a a |
\tuplet 7/4 {c,16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
\tuplet 7/4 {c16 bes c bes c d bes }
}
\\
{
\voiceThree
\override TupletBracket.bracket-visibility = ##t
\tuplet 9/8 { c8[ d e f g f d b c] } |
\tuplet 7/8 { d f g a e f c } |
\tuplet 13/8 { d g bes a f c d a' f d e d g }
\tuplet 3/8 { f d cis } |
\tuplet 5/8 { cis ees d f d } |
}
}
lower = \relative c' {
\time 4/4
\clef bass
\key c \major
\voiceOne
c,1 |
bes |
a |
g |
a |
bes |
}
\score {
\new PianoStaff
\new Staff = treble \new Voice
\upper
\aux
\new Staff = bass \lower
\layout {
\context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/20)
\override SpacingSpanner.uniform-stretching = ##t
}
}
}
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Re: Polymetric Time Signature
Found it: #(define ((time-equals-time up down upp downp) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ( (#:column (up down)) #:vcenter = (#:column (upp downp))) On 03/04/2015 05:25 PM, Dave Higgins wrote: I'm looking for an example of a time signature in the format of 3/4 = 6/8. I can find the compound meter, e.g. 1/2 + 2/4, but not with the = sign. -- Dave Higgins -- Creditor, n.: A man who has a better memory than a debtor. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] We need LilyPond office space...
Am 05.03.2015 um 08:27 schrieb Urs Liska: Am 5. März 2015 08:22:11 MEZ, schrieb Simon Albrecht simon.albre...@mail.de: See http://lilypondblog.org/2014/05/independent-meters/ ;-) One might redirect him there, but IIUC there have been fruitless attempts already to do so… Not really. I tried to comment on the Finale blog, which wasn't published, that's all. Maybe I should once more try to get hold of an email address and write him (I think there should be people in my address book who can help me with this). Cool :-) But it's better to wait a little with this: we're on a good way to set up a reliable library infrastructure for LilyPond, and when that's in place we should start with a contemporary notation lib before contacting people like him. Cool as well :-) Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: exercises book
Am 05.03.2015 um 00:00 schrieb Carlo Vanoni:
Hi Simon,
thanks for the answer.
You’re very welcome.
Well, your code helped me. In fact, my problem was that I was not sure
I can create multiple \score {}.
See
http://lilypond.org/doc/v2.18/Documentation/notation/input-structure
for more information. Well, the LM section
http://lilypond.org/doc/v2.18/Documentation/learning/introduction-to-the-lilypond-file-structure
doesn’t explicitly say this, only it speaks about “every \score block”,
which allows the conclusion that there may be more than one…
By creating a \score for each exercise, inserting your code in the
brakets, I was able to create the exercises page.
So, I have something like this
\score
{
\new ChordNames \chordsExI
\new StaffGroup \with { instrumentName = Ex 1 }
\new Staff \musicExI
\new TabStaff \musicExI
}
\score
{
\new ChordNames \chordsExII
\new StaffGroup \with { instrumentName = Ex 2 }
\new Staff \musicExII
\new TabStaff \musicExII
}
[...]
Now, I'll like to have each exercise on a single line, or by the way
control when to break. I'm able to avoid automatic break by adding
\noBreak here and there, but in seems not like the best way to do it.
Any better way to force, i.e., to break only after 5 bars for
exercise1, 4 bars for exercise2, ...?
Yes, you’ll find it if you search the manuals for “line-break-permission”.
Also, if an exercise won't be automatically /broken/, it won't fill
the page width. How to let every exercise to fill the page width?
Tried ragged-last, ragged-last-bottom on \paper definition, but it
didn't work.
Actually, ragged-last should work… see
http://lilypond.org/doc/v2.18/Documentation/notation/line-length#index-ragged_002dlast-2
just set to ##f, either in \paper or in \layout.
Good night, Simon
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Re: exercises book
On Wed, Mar 04, 2015 at 11:00:32PM +, Carlo Vanoni wrote:
Now, I'll like to have each exercise on a single line, or by the way control
when to break. I'm able to avoid automatic break by adding \noBreak here and
there, but in seems not like the best way to do it. Any better way to force,
i.e., to break only after 5 bars for exercise1, 4 bars for exercise2, ...?
Also, if an exercise won't be automatically breaked, it won't fill the page
width. How to let every exercise to fill the page width? Tried ragged-last,
ragged-last-bottom on \paper definition, but it didn't work.
Here is a function I received from this list that I think could
be of benefit to you:
noBreak =
#(define-music-function (parser location music) (ly:music?)
#{ \temporary\override
Score.NonMusicalPaperColumn.line-break-permission = ##f
#music
\revert Score.NonMusicalPaperColumn.line-break-permission
#})
Its usage is:
\noBreak { \music }
around segments of \music where you wish to forbid line breaking.
Regarding the second point, you want ragged-right = ##f, as the
attached example shows.
HTH,
Jim
\version 2.18.2
noBreak =
#(define-music-function (parser location music) (ly:music?)
#{ \temporary\override
Score.NonMusicalPaperColumn.line-break-permission = ##f
#music
\revert Score.NonMusicalPaperColumn.line-break-permission
#})
% example:
\paper {
ragged-right = ##f
}
musicOne = { R1*4 R1*4 }
musicTwo = { R1*4 R1*4 }
musicThree = { R1*4 R1*4 }
musicFour = { R1*4 R1*4 }
\score {
\musicOne
}
\score {
{ \musicTwo \musicThree }
}
\score {
\noBreak { \musicTwo \musicThree }
}
\score {
\musicFour
}
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Re: [OT] We need LilyPond office space...
See http://lilypondblog.org/2014/05/independent-meters/ ;-) One might redirect him there, but IIUC there have been fruitless attempts already to do so… Best, Simon Am 05.03.2015 um 03:17 schrieb James Harkins: ... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less painful. Hmph. hjh ___ 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: [OT] We need LilyPond office space...
Am 5. März 2015 07:40:52 MEZ, schrieb Martin Tarenskeen m.tarensk...@zonnet.nl: On Thu, 5 Mar 2015, James Harkins wrote: ... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less painful. Hmph. hjh We could invite hime to our virtual office: our mailinglist(s) :-) Well, we wouldn't want to show off our support center but rather the shiny atrium with the wall-mount HD screens, isn't it? But more seriously: in a way it would be good for LilyPond to have a more clearly visible entity people could relate to. This is something we noticed at the Musikmesse last year. Urs MT ___ 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: Fixed width measures
At 11:37 05/03/2015 +1100, Andrew Bernard wrote: I have asked this question on the list in the past, but no solution seems to be available. The topic is fixed width measures. I have contemporary music that has lots of complex tuplets within tuplets and rapidly varying time signatures (New Complexity School). The composer I am working with draws all his scores by hand, and uses a fixed measure width notation to help the performer understand the very complex rhythms, with a fixed physical measure length corresponding to a specific fixed interval of time. Actually, several composers do this. I have tried everything to do with proportional notation and new spacing sections but I can't seem to succeed. Is there any way to instruct lilypond to use a fixed length, absolute size measure? I see that others have wanted this capability for fixed width measures for chord charts, overriding the lovely and subtle way that lilypond has of moving the bar lines on the page around a little for readability and aesthetics. I am attaching the smallest most simplified snippet I can make that shows unequal measures. If anybody can make something like this have fixed width measures, let me know! I am aware that this goes entirely against classical engraving principles, and all of lilypond's aesthetic architecture, but it is 2015 now! Does this require internal code hacking of the layout engine somewhere deep down below the user level? It's frustrating to be defeated by a man with a pencil who can simply rule lines! :-) o Insert indent = 0 - so that your first system is the same length as the other. o Change the value in proportionalNotationDuration = #(ly:make-moment 1/20) to 1/28 - following the advice in the Notation manual: How do we select the right reference duration to pass to proportionalNotationDuration? Usually by a process of trial and error, beginning with a duration close to the fastest (or smallest) duration in the piece. Now I see three systems, each with two bars of exactly equal length. At smaller staff sizes, I can see two systems of three bars each - but they are not quite of equal length. The problem seems to be the time signature, occurring in only the first system. Can you put up with no time signature? Or with time signatures in both systems? Or (probably best) with an invisible time signature (to take up appropriate space) in subsequent systems? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Adjusting Lyrics to center them
I am working with Orthodox liturgical music. Below is a one of the
pieces I am working with. In this and all of my current pieces, I would
like the lyrics to fall somewhat closer to the median between the staves
if at all possible. Thanks.
-Michael Dykes
\version 2.16.0
\include english.ly
\include gregorian.ly
\layout {
\context{
\Score \override SpacingSpanner #'packed-spacing = ##f
}
\context{
\Lyrics \override LyricHyphen #'minimum-distance = #2.2
\override LyricSpace #'minimum-distance = #0.8
}
}
\header {
title = \markup {
\override #'(font-name . URW Chancery L) \fontsize #5.0 \bold
{ Octoëchos ~ Hymns of the Resurrection } }
subtitle = \markup {
\override #'(font-name . URW Chancery L) \fontsize #4.5 \bold
{ Apolytikion (Dismissal Troparion) } }
poet = \markup {
\override #'(font-name . Arial Black) \fontsize #1.75 \bold
{ Abbreviated ''Greek'' Chant } }
composer = \markup {
\override #'(font-name . Arial Black) \fontsize #1.75 \bold
{ Tone 2 } }
}
% #(set-global-staff-size 22)
global = {
\key f \major
\override Staff.NoteHead #'style = #'altdefault
\override Staff.TimeSignature #'stencil = ##f
%\override Staff.BarLine #'stencil = ##f
\set Score.defaultBarType = empty
\bar |.
}
move = { \bar \break }
soprano = \relative c'' {
\global
% Music follows here.
g4 a2 a4 a a a a a a bf c2(bf) a2 \divisioMinima
a4 a a a a a a a a a g2 f1 \divisioMaxima
g4 a2 a4 a a a bf c2 bf a \divisioMinima
a4 a a a a g2 g4 g f1 \finalis
a4 a a a a g a bf2(a4 bf) a2 g4 g f\breve \bar |.
}
alto = \relative c' {
\global
% Music follows here.
e4 f2 f4 f f f f f f f f1 f2 \divisioMinima
f4 f f f f f f f f f e2 c1 \divisioMaxima
e4 f2 f4 f f f f4 f2 f f \divisioMinima
f4 f f f f e2 e4 e c1 \finalis
f4 f f f f d f f1 f2 e4 e c\breve \bar |.
}
tenor = \relative c' {
\global
% Music follows here.
bf4 c2 c4 c c c c c c d ef2(d) c2 \divisioMinima
c4 c c c c c c c c c bf2 a1 \divisioMaxima
bf4 c2 c4 c c c d ef2 d c \divisioMinima
c4 c c c c bf2 bf4 bf a1 \finalis
\bar |.
}
bass = \relative c {
\global
% Music follows here.
c4 f2 f4 f f f f f f bf, a2(bf) f' \divisioMinima
f4 f f f f f f f f f c2 f1 \divisioMaxima
c4 f2 f4 f f f bf, a2 bf f' \divisioMinima
f4 f f f f c2 c4 c f1 \finalis
f4 f f f f g f bf2(f4 bf,) c2 c4 c f\breve \bar |.
}
verse = \lyricmode {
% Lyrics follow here.
When Thou didst de -- scend to death, O Life Im -- mor -- tal,
Thou didst slay hell with the splen -- dor of Thy God -- head!
And when from the depths Thou didst raise the dead,
all the Pow -- ers of Heav -- en cried out:
''O Giv -- er of Life! Christ our God,__ Glo -- ry to Thee!''
}
\score {
\new ChoirStaff
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { S A}
}
\new Voice = soprano { \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
\new Lyrics \lyricsto soprano \verse
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { T B }
}
\clef bass
\new Voice = tenor { \voiceOne \tenor }
\new Voice = bass { \voiceTwo \bass }
\layout { ragged-last=##t
#(layout-set-staff-size 22)
}
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 145 4)
}
}
}
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Re: Dégroupement de durées
Le mercredi 4 mars 2015 21:27:57, vous avez écrit :
Désolé Daniel, je t'ai un peu oublié.
Donc voilà :
\version 2.16.2
.../...
Avec mention spécial à Nicolas qui a eu l'idée géniale d'utiliser le
trémolo (j'avoue humblement ne pas y avoir du tout pensé).
Oui mais il y a toujours les mêmes mais qu'avant :
- le c est dégroupé en 4 croches, comme le d et le e, alors que ça devrait
être 4 2 2 ;
- le tout est répété 4 fois, ce n'est pas ça le résultat recherché.
En fait ce que je cherche à avoir est encore un peu plus compliqué, alors
j'explique tout. En reprenant c1 d f2 g d e.
music = {
\time 4/4
c1 d f4 g d e
}
et \degroupement doit donner :
{
c8 r c r c r c r
d r d r d r d r
f r f r g r g r
d r d r e r e r
}
la durée de chaque note et silence est la moitié du dénominateur de time, et
leur nombre dépend de la durée de la note écrite. Et ça doit marcher pour des
durées pointées, et soyons fous, jusqu'à trois points, la formule est écrite,
reste à la faire rentrer dans du scheme...
Et ça ne s'arrêtera pas là si j'y arrive, à terme ça devrait être :
c,8^C r c gc ...
Bien du plaisir en vue, n'est-ce pas ?
--
Cordialement, Daniel Cartron
« Les dix meilleures années de la vie d'une femme? Entre vingt-cinq et vingt-
six ans. »
RIP
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Re: [OT] We need LilyPond office space...
Am 5. März 2015 08:22:11 MEZ, schrieb Simon Albrecht simon.albre...@mail.de: See http://lilypondblog.org/2014/05/independent-meters/ ;-) One might redirect him there, but IIUC there have been fruitless attempts already to do so… Not really. I tried to comment on the Finale blog, which wasn't published, that's all. Maybe I should once more try to get hold of an email address and write him (I think there should be people in my address book who can help me with this). But it's better to wait a little with this: we're on a good way to set up a reliable library infrastructure for LilyPond, and when that's in place we should start with a contemporary notation lib before contacting people like him. Urs Best, Simon Am 05.03.2015 um 03:17 schrieb James Harkins: ... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less painful. Hmph. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: staffSize music function unreliable at LP v2.19.16
Hello,
a possible workaround would be to insert
\layout {
\context { \Voice
\override Stem.neutral-direction = #'()
\consists Melody_engraver }
}
It computes the stem direction for neutral-position (i.e. normally the
center staff line) and here also the wrongly flipped f’s such as to suit
the surrounding notes.
HTH, Simon
Am 03.03.2015 um 15:37 schrieb Cynthia Karl:
The following snippet:
\version 2.19.15
staffSize = #(define-music-function (parser location new-size) (number?)
#{
\set fontSize = #new-size
\override StaffSymbol #'staff-space = #(magstep new-size)
\override StaffSymbol #'thickness = #(magstep new-size)
#})
Ab = \relative c' { f4 g a b }
\score {
\new Staff \with { \staffSize #2 { \Ab }
\layout {}
}
produces at LP v2.19.15:
but at LP v2.19.16 produces:
Besides being wrong (see, e.g., Behind Bars by Elaine Gould, p.13),
this causes many scores to require an additional page.
Applying convert-ly to the above snippet changes only the \version number.
I tried all values for new-size between -8 and +8; the only ones that
failed were -4 and 2.
(The staffSize music-function was kindly contributed by Eluze in 2013
on this list to overcome limitations of layout-set-staff-size.)
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Re: Slur into alternatives
Sorry ... I was too fast ;)
I meant
{ a'1\repeatTie }
Am 04.03.2015 um 15:01 schrieb Jan-Peter Voigt:
Hi Markus,
you can use
{ a'1\repeatSlur }
HTH
Jan-Peter
Am 04.03.2015 um 14:58 schrieb lyuser.theg...@spamgourmet.com:
Hello,
Being quite a rookie in music notation and lilypond in general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9:12: warning: cannot end slur
{ a'1
) }
What I would like to have is a slur - indication in 2) like I have it
in the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal - maybe
that's
important for the solution?
Thanks for your help,
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Re: Slur into alternatives (lyuser: message 3 of 3 -last one!-)
Hello
{ a'1\repeatTie }
Great, and so quick :)
Many thanks!
cu
--
Markus
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Difference between ~ and ( ) ?
Hello, what is the difference between ~ and ( ) ? a1 ~ | a1 is rendered just like a1 ( | a1 ), but in the midi output I hear to notes in the latter case and only one in the former... Thanks! -- Markus Grunwald https://www.the-grue.de Fragen zur Mail? https://www.the-grue.de/mail_und_co https://www.the-grue.de/~markus/markus_grunwald.gpg ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Non-printing score-wide dynamics
On Wed, Mar 4, 2015 at 12:39 PM, David Sumbler da...@aeolia.co.uk wrote: What I want is for the individual instruments' dynamics to remain with and apply to them, but simultaneously to allow any dynamics in the normally invisible midiStaff to apply to all of them. Is this possible? You could try creating a variable (a music expression) that consists of nothing but spacer rests and (invisible) dynamics. Then add that variable to every staff in your score. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Non-printing score-wide dynamics
Yes, I now see that 'mid' is treated as a stand-alone music expression,
so that Staff and Voice contexts are added automatically. This is
confirmed by adding \mid to the printed output.
So my original question now becomes: how can I add dynamics to the 'mid'
staff and have them applied to all staves?
I have tried creating a 'mid' staff explicitly, thus:
midiStaff =
\new Staff {
\time 4/4
\new Voice \with { \remove Dynamic_engraver } {
\mid
}
}
and in the \midi block I put:
\midi {
\context {
\Score
\consists Dynamic_engraver
\consists Dynamic_performer
}
}
But this did not work. The dynamics in midiStaff seem to be ignored
altogether in midi, although they do appear in the printed score if I
add \midiStaff to the relevant \score block and the context changes to
the \layout block. But then with this context change the dynamics from
all of the instruments appear above the top stave.
What I want is for the individual instruments' dynamics to remain with
and apply to them, but simultaneously to allow any dynamics in the
normally invisible midiStaff to apply to all of them. Is this possible?
David
On Tue, 2015-03-03 at 16:37 +, Kevin Barry wrote:
Hi David,
I wasn't really able to make sense of everything you said. Have you
considered using a global variable that is in every staff? That can be
useful for adding things (you could put your invisible dynamics in it
for instance).
As for your question about the mid context I'm not sure exactly what
you have done, but it sounds like it's just a standalone music
expression? I would need to see more code to be sure.
Kevin
On Tue, Mar 3, 2015 at 4:12 PM, David Sumbler da...@aeolia.co.uk
wrote:
The first 2 bars of a score are as follows:
invP = \tweak stencil ##f \p
\parallelMusic #'(mid Vone Vtwo Va Vc) {
% bar 0
\tempo 4 = 152 \partial 2 r2 |
\tempo Allegro non troppo 4 = 152 \partial 2 r2 |
\tempo Allegro non troppo 4 = 152 \partial 2 r2 |
\tempo Allegro non troppo 4 = 152 \partial 2 r8 a\f
a a |
\tempo Allegro non troppo 4 = 152 \partial 2 r2 |
% bar 1
r1 |
r2 r8 a\f a a |
r8 a\f a a b4- a |
bf4- a g8 f e d |
d8\f a' d f a f d a\invP |
The mid item is a dummy staff (there is no actual staff)
which I use
for tweaking tempi for the midi output: using this I can
simulate rits,
fermatas etc. For the printed score and parts it is not
referenced at
all.
Also in bar 1 I have \invP, which as can be seen produces an
invisible
'piano' marking: this is simply to avoid the articulate
script's
annoying warnings about ambiguous dynamics (which would be
less annoying
if they told you exactly where in the music the problem arose!
)
However, I have another dynamic problem which it would be nice
to get
around. Later in the music there is a passage marked dim.;
in
addition, each bar has hairpins and . The interpretation
of these up
and down dynamics within a more general diminuendo is easy for
musicians, but understandably opaque for articulate.ly.
I can get rid of the warnings about this by putting the dim.
into the
parts as a markup, rather than as a dynamic. But, although it
is not of
vital importance, I wondered if there is some way I could
mimic the
effect of the diminuendo (perhaps by using \f, \mf, \mp etc.
successively) in much the same way as I can mimic a
rallentando by using
successive \tempo markings in the 'mid' context.
Actually, I am not really sure what kind of context 'mid' is
anyway. I
do not define it anywhere else: I simply include it with the
four actual
staves (which are defined with \new Staff etc.) in the \score
block
which precedes the \midi command.
How might I add dynamics to 'mid' which would affect all the
voices, in
the same way as \tempo changes do?
David
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Slur into alternatives
Hello,
Being quite a rookie in music notation and lilypond in general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9:12: warning: cannot end slur
{ a'1
) }
What I would like to have is a slur - indication in 2) like I have it in the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal - maybe that's
important for the solution?
Thanks for your help,
--
Markus
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Re: Slur into alternatives
Hi Markus,
you can use
{ a'1\repeatSlur }
HTH
Jan-Peter
Am 04.03.2015 um 14:58 schrieb lyuser.theg...@spamgourmet.com:
Hello,
Being quite a rookie in music notation and lilypond in general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9:12: warning: cannot end slur
{ a'1
) }
What I would like to have is a slur - indication in 2) like I have it in the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal - maybe that's
important for the solution?
Thanks for your help,
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Re: Difference between ~ and ( ) ?
Hi, See : - http://www.lilypond.org/doc/v2.18/Documentation/music-glossary/tie - http://www.lilypond.org/doc/v2.18/Documentation/music-glossary/slur Cheers, Pierre 2015-03-04 15:55 GMT+01:00 lyuser.theg...@spamgourmet.com: Hello, what is the difference between ~ and ( ) ? a1 ~ | a1 is rendered just like a1 ( | a1 ), but in the midi output I hear to notes in the latter case and only one in the former... Thanks! -- Markus Grunwald https://www.the-grue.de Fragen zur Mail? https://www.the-grue.de/mail_und_co https://www.the-grue.de/~markus/markus_grunwald.gpg ___ 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: Difference between ~ and ( ) ?
Hi Markus, there is a difference between slurs and ties. A tie means concat two notes (they have to be of the same pitch). A slur says, move from one note to another and keep them tight. Hm, this is not really accurate ;) And yes, that means, the recommendation of the repeatTie is a misuse ... but it works. Cheers, Jan-Peter Am 04.03.2015 um 15:55 schrieb lyuser.theg...@spamgourmet.com: Hello, what is the difference between ~ and ( ) ? a1 ~ | a1 is rendered just like a1 ( | a1 ), but in the midi output I hear to notes in the latter case and only one in the former... Thanks! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur into alternatives
Hi Jan-Peter,
I know that this is a standard solution ; personnally, I'm not a big fan
simply because this tie looks like... a tie ;)
So I'd suggest two options :
1. With \repeatTie plus a vertical tweak
2. With a hidden grace note.
So here it goes:
\version 2.18.2
%% option 1:
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
a'1
-\tweak Y-offset #0.2 % = for a better 'slur' look.
^\repeatTie
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 {
Alternative slur with
\bold\typewriter\with-color #blue \\repeatTie
:
}
}
}
}
%% Option 2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
\acciaccatura { % = slured grace note
\once\slurUp % slur shows 'up'
\once\hideNotes b'1 % = hide starting note
}
a'1
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 { Here with a hidden grace note: }
}
}
}
Cheers,
Pierre
2015-03-04 15:04 GMT+01:00 Jan-Peter Voigt jp.vo...@gmx.de:
Sorry ... I was too fast ;)
I meant
{ a'1\repeatTie }
Am 04.03.2015 um 15:01 schrieb Jan-Peter Voigt:
Hi Markus,
you can use
{ a'1\repeatSlur }
HTH
Jan-Peter
Am 04.03.2015 um 14:58 schrieb lyuser.theg...@spamgourmet.com:
Hello,
Being quite a rookie in music notation and lilypond in general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9:12: warning: cannot end slur
{ a'1
) }
What I would like to have is a slur - indication in 2) like I have it in
the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal - maybe that's
important for the solution?
Thanks for your help,
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Re: Slur into alternatives
Oups, forgot to say 'Hi' to Markus...
So Hi Markus and welcome to the list !
Cheers,
Pierre
2015-03-04 16:09 GMT+01:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Hi Jan-Peter,
I know that this is a standard solution ; personnally, I'm not a big fan
simply because this tie looks like... a tie ;)
So I'd suggest two options :
1. With \repeatTie plus a vertical tweak
2. With a hidden grace note.
So here it goes:
\version 2.18.2
%% option 1:
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
a'1
-\tweak Y-offset #0.2 % = for a better 'slur' look.
^\repeatTie
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 {
Alternative slur with
\bold\typewriter\with-color #blue \\repeatTie
:
}
}
}
}
%% Option 2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
\acciaccatura { % = slured grace note
\once\slurUp % slur shows 'up'
\once\hideNotes b'1 % = hide starting note
}
a'1
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 { Here with a hidden grace note: }
}
}
}
Cheers,
Pierre
2015-03-04 15:04 GMT+01:00 Jan-Peter Voigt jp.vo...@gmx.de:
Sorry ... I was too fast ;)
I meant
{ a'1\repeatTie }
Am 04.03.2015 um 15:01 schrieb Jan-Peter Voigt:
Hi Markus,
you can use
{ a'1\repeatSlur }
HTH
Jan-Peter
Am 04.03.2015 um 14:58 schrieb lyuser.theg...@spamgourmet.com:
Hello,
Being quite a rookie in music notation and lilypond in general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9:12: warning: cannot end slur
{ a'1
) }
What I would like to have is a slur - indication in 2) like I have it
in the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal - maybe
that's
important for the solution?
Thanks for your help,
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Re: Slur into alternatives
Hi Pierre,
of course. As I mentioned in the just sent mail to Markus, repeatTie is
kind of a misuse, but repeatSlur doesn't exist. I most times use \shape
or some derivate like in the snippet from the list, I found in my archive.
Cheers,
Jan-Peter
Am 04.03.2015 um 16:09 schrieb Pierre Perol-Schneider:
Hi Jan-Peter,
I know that this is a standard solution ; personnally, I'm not a big
fan simply because this tie looks like... a tie ;)
So I'd suggest two options :
1. With \repeatTie plus a vertical tweak
2. With a hidden grace note.
So here it goes:
\version 2.18.2
%% option 1:
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
a'1
-\tweak Y-offset #0.2 % = for a better 'slur' look.
^\repeatTie
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 {
Alternative slur with
\bold\typewriter\with-color #blue \\repeatTie
:
}
}
}
}
%% Option 2
{
% I want a slur from the b to the c in 1) and to the a in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{
\acciaccatura { % = slured grace note
\once\slurUp % slur shows 'up'
\once\hideNotes b'1 % = hide starting note
}
a'1
%% Description:
\tweak self-alignment-X #RIGHT
\mark\markup
\with-color #red
\fontsize #-2 { Here with a hidden grace note: }
}
}
}
Cheers,
Pierre
2015-03-04 15:04 GMT+01:00 Jan-Peter Voigt jp.vo...@gmx.de
mailto:jp.vo...@gmx.de:
Sorry ... I was too fast ;)
I meant
{ a'1\repeatTie }
Am 04.03.2015 um 15:01 schrieb Jan-Peter Voigt:
Hi Markus,
you can use
{ a'1\repeatSlur }
HTH
Jan-Peter
Am 04.03.2015 um 14:58 schrieb lyuser.theg...@spamgourmet.com
mailto:lyuser.theg...@spamgourmet.com:
Hello,
Being quite a rookie in music notation and lilypond in
general, I have a
problem:
\version 2.18.2
{
% I want a slur from the b to the c in 1) and to the a
in 2)
\repeat volta 2 { b'1 ( }
\alternative
{
{ c''1 ) }
{ a'1 ) }
}
}
This gives me a warning:
slur_to_next_alternative.ly:9
http://slur_to_next_alternative.ly:9:12: warning: cannot
end slur
{ a'1
) }
What I would like to have is a slur - indication in 2)
like I have it in the
sheet that I'm trying to set in lilypond.
Oh, and the final result will be part of a choir rehearsal
- maybe that's
important for the solution?
Thanks for your help,
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\version 2.15.40
shapeTieColumn =
#(define-music-function (parser location all-offsets) (list?)
#{
\once \override TieColumn #'after-line-breaking =
#(lambda (grob)
(let ((ties (ly:grob-array-list (ly:grob-object grob 'ties
(for-each
(lambda (tie offsets-for-broken-pair)
(let* ((orig (ly:grob-original tie))
(siblings (ly:spanner-broken-into orig)))
(for-each
(lambda (piece offsets-for-piece)
(if (pair? offsets-for-piece)
(set! (ly:grob-property piece 'control-points)
(map
(lambda (x y) (coord-translate x y))
(ly:tie::calc-control-points piece)
offsets-for-piece))
))
(if (null? siblings)
(list orig)
siblings)
offsets-for-broken-pair)))
ties all-offsets)))
#})
shapeLaissezVibrerTieColumn =
#(define-music-function (parser location all-offsets) (list?)
#{
\once \override LaissezVibrerTieColumn #'before-line-breaking =
#(lambda (grob)
(let ((ties (ly:grob-array-list (ly:grob-object grob 'ties
(for-each
(lambda (tie offsets-for-piece)
(if (pair? offsets-for-piece)
(set! (ly:grob-property tie 'control-points)
(map
(lambda (x y)
