Re: Text extender in repeat
Hi Andy,
2015-06-02 18:25 GMT+02:00 Jayaratna jayara...@gmail.com:
Dear Lilypondians,
I found a solution to a similar problem given years ago on the mailing
list,
but I can't understand it. Maybe it works on earlier versions?
Where is it?
Could you provide us any link?
Here is my point, last bar extender should begin at the beginning of the
bar, not before:
Here's a simple one:
\version 2.18.2
%% repeat extender:
voltaExt = \markup\concat { \hspace #-2 \transparent . }
\score {
\new Staff \relative c'' {
\time 2/1
\repeat volta 2 {
r4 g4 d'2. a4 bes2~
bes a2 g1~
}
\alternative{
{ g2 fis4 e fis1 d'1 c2 bes}
{ g\repeatTie fis4 e fis1 }
}
\bar |.
}
\addlyrics {
of Prin- ces all __ _ _
the __ _ flow'r.
Who took a-
%% volta 2
\voltaExt __ the __ _ flow'r.
}
}
Hope this helps,
Cheers,
Pierre
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Re: Hairpin at an angle, parallel to glissando line
Hi,
How about simply draw lines?
E.g.:
\version 2.18.2
{
\override Staff.Clef.stencil = ##f
\once\override Staff.TimeSignature.transparent = ##t
\time 1/8
a''8
-\tweak style #'trill
\glissando
\time 3/16
a16
-\markup
\with-dimensions #'(0 . 0) #'(1 . 0) {
\combine
\draw-line #'(-8 . 5.9)
\draw-line #'(-8 . 4.5)
}
s
}
Cheers,
Pierre
2015-06-02 1:37 GMT+02:00 David G castle.cub...@gmail.com:
Thanks for your help both.
In fact I've typeset them as two normal glissando lines rather than
rotating the hairpin - it's a bit of a hack but I think it's less fiddly
than the rotation property - if the layout changes at all I would have to
modify all the rotation tweaks by hand if I did it that way.
With my code the lines are drawn directly to invisible notes and therefore
are reasonably resilient to changes. If anyone would like to see a snippet
let me know and I'll clean it up to post it!
On 27 May 2015 at 07:19, Nick Payne nick.pa...@internode.on.net wrote:
On 26/05/2015 20:17, Jacques Menu wrote:
Hello David,
Maybe this snippet can help you :
http://lsr.di.unimi.it/LSR/Item?id=562
JM
Le 26 mai 2015 à 08:53, David G castle.cub...@gmail.com a écrit :
Hello all,
Does anyone have any tips for achieving the effect in the attached image?
image.png
Effectively I want to make it automatically parallel to the glissando -
there are two or three in the piece I'm engraving.
Hairpins have a rotation property. Here's an example of rotating a
hairpin 20 degrees anti-clockwise. The second and third parameters specify
the point about which the rotation occurs, with zero for both values being
rotation about the centre of the hairpin.
f d16-\tweak rotation #'(20 0 0)^\
Nick
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Re: Text extender in repeat
Hum, 'looks like the extender accepts 'null'...
So even more simple :
...
\addlyrics {
of Prin- ces all __ _ _
the __ _ flow'r.
Who took a-
%% volta 2
\tweak self-alignment-X #LEFT
\markup \null __ the __ _ flow'r.
}
...
Cheers,
Pierre
2015-06-02 22:42 GMT+02:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Hi Andy,
2015-06-02 18:25 GMT+02:00 Jayaratna jayara...@gmail.com:
Dear Lilypondians,
I found a solution to a similar problem given years ago on the mailing
list,
but I can't understand it. Maybe it works on earlier versions?
Where is it?
Could you provide us any link?
Here is my point, last bar extender should begin at the beginning of the
bar, not before:
Here's a simple one:
\version 2.18.2
%% repeat extender:
voltaExt = \markup\concat { \hspace #-2 \transparent . }
\score {
\new Staff \relative c'' {
\time 2/1
\repeat volta 2 {
r4 g4 d'2. a4 bes2~
bes a2 g1~
}
\alternative{
{ g2 fis4 e fis1 d'1 c2 bes}
{ g\repeatTie fis4 e fis1 }
}
\bar |.
}
\addlyrics {
of Prin- ces all __ _ _
the __ _ flow'r.
Who took a-
%% volta 2
\voltaExt __ the __ _ flow'r.
}
}
Hope this helps,
Cheers,
Pierre
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Re: can baseline-skip be absolute?
I use a solution as below. This is great! Thanks. 1. Any thought about submitting a patch for inclusion in the main distro? No time currently, sorry. 2. Maybe along with Mike Solomon’s \absFontSize function (which has proven invaluable to me): [...] Nice! Maybe someone can collect all this stuff in one file and add it to the LSR so that it eventually gets migrated to lilypond proper? 3. With those two additions, what would remain that was not absolutely-sizeable? Currently, I don't miss something :-) Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
tuplet beam
use [ ]
eg
%%%
\version 2.18.0
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key g \major
\time 6/8
\tempo \markup {Variation 5}
\set Timing.beamExceptions = #'()
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 1 1 1 1 1 )
\override TupletNumber #'stencil = ##f
\override TupletBracket #'bracket-visibility = ##f
\partial 8 r8 |
\tuplet 3/2 {r16 d'-3 c b [bes-3 a] } g8-.
\tuplet 3/2 {r16 c-3 b a [gis g-2 ]} fis8-. |
}
\new Staff = lower
\relative c {
\clef bass
\key g \major
\time 6/8
\partial 8 \clef treble b''_3 d-1 8^. |
}
}
%%%
HTH
Stephen
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Re: Making Feta number glyphs monospaced (tabular)
Hello Karol! I was thinking of changing side bearings only. I looked into *.mf files of Feta and noticed that there is some kerning data applied to number glyphs. So I would: 1) remove kerning 2) set the same glyph width for all numbers. Any progress? And I wonder how time signatures like 12/16 are aligned in Baerenreiter, Peters scores. I own none of these editions and it can be hard to answer that as time signatures like 12/16 are fairly rare. Try to find an engraving of Bach's 5th French Suite (in G major, BWV 816); the Gigue uses a 12/16 time signature. Another example, also using a 12/16 signature, is the 11th variation in the Goldberg variations, BVW 988. Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Generate multiple score from a single music expression
Consider this musical expression a b c d e f g a It is possible whitout rewriting it multiple times and marking opportunely the music generate multiple scores like the followings: 1) a b c d 2) c d e f 3) a b c d e f g Thank you, g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Generate-multiple-score-from-a-single-music-expression-tp177398.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: Generate multiple score from a single music expression
There would probably different approaches, but maybe they are just too heavy. Could you give us a little bit more context to understand what you are after actually? Am 02.06.2015 um 15:52 schrieb Gianmaria Lari: Consider this musical expression a b c d e f g a It is possible whitout rewriting it multiple times and marking opportunely the music generate multiple scores like the followings: 1) a b c d 2) c d e f 3) a b c d e f g Thank you, g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Generate-multiple-score-from-a-single-music-expression-tp177398.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generate multiple score from a single music expression
At 06:52 on 02 Jun 2015, Gianmaria Lari wrote: Consider this musical expression a b c d e f g a It is possible whitout rewriting it multiple times and marking opportunely the music generate multiple scores like the followings: 1) a b c d 2) c d e f 3) a b c d e f g This (and more) is possible with http://gillesth.free.fr/Lilypond/extractMusic/ -- Mark Knoop ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: adding tagged markup to mmrest-of-length
Hi Simon, after some trial and error and \displayMusic I got the attached solution with a music function. I look forward to checking it out — thanks! It would have been nicer to receive an attachment ready for opening in frescobaldi and starting work, though. I had to write some context and restore some auto-corrected ' and before I could have a go. My apologies. It was such an arcane request, I figured either someone already had the answer at their fingertips, or they wouldn’t even try to solve the problem. Next time, I will not underestimate the enthusiasm of people like you on the list: I will provide a minimal example to start from. Thanks again, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is SMuFL's cClefCombining LilyPond's varC clef?
Urs Liska u...@openlilylib.org writes: Am 01.06.2015 um 10:31 schrieb bobr...@centrum.is: I suspect the combining refers to the adding of the elements of the older/French style C clef to the G clef to represent tenor clef. This was just confirmed by Daniel Spreadbury, yes. I remember that we had some old clef discussion about some mensural clef provided by LilyPond and mimicking a manuscript several years ago. It turned out that the clef in question was indeed two overlayed C clefs, one for the soprano voice and one for alto (or mezzo?): both were entered in the same staff but with different vertical offsets so that either voice, even though combined into one staff, weas written in the key the respective singers were accustomed to. That's not as much a combining as a combined clef, however. No idea whether this is related. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generate multiple score from a single music expression
Thank you Urs and thank you Mark for you answers. The situation is the following. I have a two page score that I created with lilypond. For study reasons I would like to split it in multiple parts. Parts could overlap. Each part will be like a separate exercise printed in succession. Each part will have an associated midi file. I thought that maybe it is possible to mark begin/end split point and then refer them to generate the parts... I didn't think to the solution proposed by Mark that looks very interesting. I'm checking :) -- View this message in context: http://lilypond.1069038.n5.nabble.com/Generate-multiple-score-from-a-single-music-expression-tp177398p177405.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: tuplet beam
your welcome
Stephen
On Tue, Jun 2, 2015 at 12:05 PM, Mark Stephen Mrotek carsonm...@ca.rr.com
wrote:
Stephen,
Thank you .
Mark
*From:* Stephen MacNeil [mailto:classicalja...@gmail.com]
*Sent:* Tuesday, June 02, 2015 4:49 AM
*To:* carsonm...@ca.rr.com; Lilypond-User Mailing List
*Subject:* tuplet beam
use [ ]
eg
%%%
\version 2.18.0
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key g \major
\time 6/8
\tempo \markup {Variation 5}
\set Timing.beamExceptions = #'()
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 1 1 1 1 1 )
\override TupletNumber #'stencil = ##f
\override TupletBracket #'bracket-visibility = ##f
\partial 8 r8 |
\tuplet 3/2 {r16 d'-3 c b [bes-3 a] } g8-.
\tuplet 3/2 {r16 c-3 b a [gis g-2 ]} fis8-. |
}
\new Staff = lower
\relative c {
\clef bass
\key g \major
\time 6/8
\partial 8 \clef treble b''_3 d-1 8^. |
}
}
%%%
HTH
Stephen
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Re: Dynamic mark at the end of a bar
this one centers it
Long =
#(define-music-function
(parser location str dyn)
(number? string?)
#{
-\markup
{
\halign #-1
\rotate #180
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
\vcenter
\dynamic $dyn
}
#}
)
{
c''4_\Long #-15.5 f
}
{
c''4_\Long #-15.5 p
}
{
c''4_\Long #-15.5
}
On Tue, Jun 2, 2015 at 12:20 PM, Stephen MacNeil classicalja...@gmail.com
wrote:
it works on one note and an none - i added dynamic markup for you
Long =
#(define-music-function
(parser location str dyn)
(number? string?)
#{
-\markup
{
\halign #-1
\rotate #180
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
\dynamic $dyn
}
#}
)
{
c''4_\Long #-15.5 f
}
{
c''4_\Long #-15.5 p
}
{
c''4_\Long #-15.5
}
Stephen
On Tue, Jun 2, 2015 at 11:47 AM, David Sumbler da...@aeolia.co.uk wrote:
Thanks to all for your consideration of the problem I have been having
in placing a dynamic at the end of a bar.
Stephen's 2 solutions are quite effective in some cases, but so far as I
can see cannot be made to work when there is a single note (e.g. a
semibreve) which has to carry the hairpin.
The solution using \afterGrace is not dissimilar (or so it seems to me)
to David's original suggestion of using a parallel music expression with
spacer rests to position the final dynamic.
The trouble is, that these are all in one sense work-arounds, and might
give problems where the music in question is to be used in both a score
and parts. Of course, this difficulty can easily be got around by using
tags to create 2 different versions, one for the score and one for the
part.
Why do I refer to all of these as work-arounds? It is because none of
them actually directly achieves what we want. Whether it is my dynamic
at the end of a bar (which some people seem to consider unorthodox,
though I disagree) or a pair of grace-notes after a trill, we know where
the item should appear: it is just before the barline (or the following
note, if it is not at the end of a bar). All the work-arounds fake this
by placing the object in relation to a note or rest which occurs near
the end of the bar, and then if necessary adjusting the horizontal
offset. And, so far as I can see, we cam only find the correct values
by trial and error. Even then we might have to change them because of
later editing.
There is absolutely nothing at all wrong with this. But it would be
nice if we could just place the object where we actually want it, i.e.
in relation to the bar-line, and know that that is where it is going to
appear no matter what might happen with the spacing of the bar during
editing or compilation.
David
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Re: Dynamic mark at the end of a bar
Thanks to all for your consideration of the problem I have been having in placing a dynamic at the end of a bar. Stephen's 2 solutions are quite effective in some cases, but so far as I can see cannot be made to work when there is a single note (e.g. a semibreve) which has to carry the hairpin. The solution using \afterGrace is not dissimilar (or so it seems to me) to David's original suggestion of using a parallel music expression with spacer rests to position the final dynamic. The trouble is, that these are all in one sense work-arounds, and might give problems where the music in question is to be used in both a score and parts. Of course, this difficulty can easily be got around by using tags to create 2 different versions, one for the score and one for the part. Why do I refer to all of these as work-arounds? It is because none of them actually directly achieves what we want. Whether it is my dynamic at the end of a bar (which some people seem to consider unorthodox, though I disagree) or a pair of grace-notes after a trill, we know where the item should appear: it is just before the barline (or the following note, if it is not at the end of a bar). All the work-arounds fake this by placing the object in relation to a note or rest which occurs near the end of the bar, and then if necessary adjusting the horizontal offset. And, so far as I can see, we cam only find the correct values by trial and error. Even then we might have to change them because of later editing. There is absolutely nothing at all wrong with this. But it would be nice if we could just place the object where we actually want it, i.e. in relation to the bar-line, and know that that is where it is going to appear no matter what might happen with the spacing of the bar during editing or compilation. David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generate multiple score from a single music expression
Am 02.06.2015 um 17:50 schrieb Gianmaria Lari: Thank you Urs and thank you Mark for you answers. The situation is the following. I have a two page score that I created with lilypond. For study reasons I would like to split it in multiple parts. Parts could overlap. Each part will be like a separate exercise printed in succession. Each part will have an associated midi file. I thought that maybe it is possible to mark begin/end split point and then refer them to generate the parts... I didn't think to the solution proposed by Mark that looks very interesting. I'm checking :) I think the solution Mark referenced is along the lines that I would have thought. And probably such a solution would have been overkill - if it hadn't been already made conveniently available. I think that will be what you need. Good luck Urs -- View this message in context: http://lilypond.1069038.n5.nabble.com/Generate-multiple-score-from-a-single-music-expression-tp177398p177405.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: tuplet beam
Stephen,
Thank you .
Mark
From: Stephen MacNeil [mailto:classicalja...@gmail.com]
Sent: Tuesday, June 02, 2015 4:49 AM
To: carsonm...@ca.rr.com; Lilypond-User Mailing List
Subject: tuplet beam
use [ ]
eg
%%%
\version 2.18.0
\score {
\new PianoStaff
\new Staff = upper
\relative c'' {
\clef treble
\key g \major
\time 6/8
\tempo \markup {Variation 5}
\set Timing.beamExceptions = #'()
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = #'(1 1 1 1 1 1 )
\override TupletNumber #'stencil = ##f
\override TupletBracket #'bracket-visibility = ##f
\partial 8 r8 |
\tuplet 3/2 {r16 d'-3 c b [bes-3 a] } g8-.
\tuplet 3/2 {r16 c-3 b a [gis g-2 ]} fis8-. |
}
\new Staff = lower
\relative c {
\clef bass
\key g \major
\time 6/8
\partial 8 \clef treble b''_3 d-1 8^. |
}
}
%%%
HTH
Stephen
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Re: Dynamic mark at the end of a bar
it works on one note and an none - i added dynamic markup for you
Long =
#(define-music-function
(parser location str dyn)
(number? string?)
#{
-\markup
{
\halign #-1
\rotate #180
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
\dynamic $dyn
}
#}
)
{
c''4_\Long #-15.5 f
}
{
c''4_\Long #-15.5 p
}
{
c''4_\Long #-15.5
}
Stephen
On Tue, Jun 2, 2015 at 11:47 AM, David Sumbler da...@aeolia.co.uk wrote:
Thanks to all for your consideration of the problem I have been having
in placing a dynamic at the end of a bar.
Stephen's 2 solutions are quite effective in some cases, but so far as I
can see cannot be made to work when there is a single note (e.g. a
semibreve) which has to carry the hairpin.
The solution using \afterGrace is not dissimilar (or so it seems to me)
to David's original suggestion of using a parallel music expression with
spacer rests to position the final dynamic.
The trouble is, that these are all in one sense work-arounds, and might
give problems where the music in question is to be used in both a score
and parts. Of course, this difficulty can easily be got around by using
tags to create 2 different versions, one for the score and one for the
part.
Why do I refer to all of these as work-arounds? It is because none of
them actually directly achieves what we want. Whether it is my dynamic
at the end of a bar (which some people seem to consider unorthodox,
though I disagree) or a pair of grace-notes after a trill, we know where
the item should appear: it is just before the barline (or the following
note, if it is not at the end of a bar). All the work-arounds fake this
by placing the object in relation to a note or rest which occurs near
the end of the bar, and then if necessary adjusting the horizontal
offset. And, so far as I can see, we cam only find the correct values
by trial and error. Even then we might have to change them because of
later editing.
There is absolutely nothing at all wrong with this. But it would be
nice if we could just place the object where we actually want it, i.e.
in relation to the bar-line, and know that that is where it is going to
appear no matter what might happen with the spacing of the bar during
editing or compilation.
David
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Text extender in repeat
Dear Lilypondians,
I found a solution to a similar problem given years ago on the mailing list,
but I can't understand it. Maybe it works on earlier versions?
Here is my point, last bar extender should begin at the beginning of the
bar, not before:
\version 2.18.2
\score {
\new Staff \relative c'' { \time 2/1
\repeat volta 2 {
r4 g4 d'2. a4 bes2~
bes a2 g1~
}
\alternative{
{ g2 fis4 e fis1
d'1 c2 bes}
{g\repeatTie fis4 e fis1 }
}
\bar |.
}
\addlyrics { \lyricmode {
of Prin- ces all
__ _ _
the __ _ flow'r.
Who took a- __
_ the __ _ flow'r.
} }
}
http://lilypond.1069038.n5.nabble.com/file/n177410/provina.png
TIA,
Andy
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Text-extender-in-repeat-tp177410.html
Sent from the User mailing list archive at Nabble.com.
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Re: Dynamic mark at the end of a bar
Hi David, On Tue, Jun 2, 2015 at 10:47 AM, David Sumbler da...@aeolia.co.uk wrote: Thanks to all for your consideration of the problem I have been having in placing a dynamic at the end of a bar. Stephen's 2 solutions are quite effective in some cases, but so far as I can see cannot be made to work when there is a single note (e.g. a semibreve) which has to carry the hairpin. The solution using \afterGrace is not dissimilar (or so it seems to me) to David's original suggestion of using a parallel music expression with spacer rests to position the final dynamic. The trouble is, that these are all in one sense work-arounds, and might give problems where the music in question is to be used in both a score and parts. Of course, this difficulty can easily be got around by using tags to create 2 different versions, one for the score and one for the part. Why do I refer to all of these as work-arounds? It is because none of them actually directly achieves what we want. Whether it is my dynamic at the end of a bar (which some people seem to consider unorthodox, though I disagree) or a pair of grace-notes after a trill, we know where the item should appear: it is just before the barline (or the following note, if it is not at the end of a bar). All the work-arounds fake this by placing the object in relation to a note or rest which occurs near the end of the bar, and then if necessary adjusting the horizontal offset. And, so far as I can see, we cam only find the correct values by trial and error. Even then we might have to change them because of later editing. There is absolutely nothing at all wrong with this. But it would be nice if we could just place the object where we actually want it, i.e. in relation to the bar-line, and know that that is where it is going to appear no matter what might happen with the spacing of the bar during editing or compilation. The approach I suggested is of course faking what you want, . Dynamics are attached to notes, spacers by LilyPond's convention, so I introduce a combination of spacers to allow me to attach a dynamic to a spacer which will get the dynamic in the right spot. Given LilyPond's spacing routines, this placement will probably require tweaking. The only alternative to placing the dynamic using spacers and SimultaneousMusic I see would be to create an alternate routine for typesetting such a combination. In the case of a hairpin with dynamic on a single, untied note, both would be attached to the note (rather than one to s1*0 as you do above--which could suggest a multi-strand approach), but the hairpin's length and the dynamic's X-offset from its parent would be calculated in relation to each other. David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
