Re: Time signature fonts
On Wed, Jul 30, 2014 at 7:46 AM, Phil Holmes em...@philholmes.net wrote: I'm typesetting some madrigals from book 2 of the Musica Transalpina. Part of one of them has the passage attached. This looks like a brief 3/2 passage that reverts to 4/4 (or their perfect/imperfect mensural equivalents). I'd like to use a font for the signature that has this characteristic 3 shape. Can anyone suggest one, please? For free I find Post-Antiqua: http://www.searchfreefonts.com/free/postantiqua.htm If you're willing to pay, you could look into these on myfonts.com Jubilee Kingsrow Stanhope Pannartz Poor Richard Antique Ancienne ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: See the new music fonts in action
On Mon, Jul 28, 2014 at 10:30 AM, Mark Polesky markpole...@gmail.com wrote: Or Scordato, which means out of tune but also forgotten. The word scordatura is a derivative of this. Also scordare means detune and also forget ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: See the new music fonts in action
Or Scordato, which means out of tune but also forgotten. The word scordatura is a derivative of this. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
On Fri, Jul 25, 2014 at 12:48 PM, David Kastrup d...@gnu.org wrote: David Nalesnik david.nales...@gmail.com writes: I just discovered that typesetting a piano piece which constantly uses temporary voices is much easier in absolute mode. Switching from voice to voice no longer gives any register surprises. Absolute mode also tempts me to skip a few measures when I want to procrastinate tackling a difficult spot but still want to keep working. Well, there is always \resetRelativeOctave, and after getting the octaves wrong, at most one note needs changing to get back into synch anyway. While the make-relative macro can help a lot, designing music manipulating macros that don't do surprising things in \relative mode is also tricky. One can also use octave checks in relative mode: http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#octave-checks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Selecting Staff Size by the Font Size of the Lyrics
Br. Samuel Springuel wrote: Is there a way to tell lilypond to select the staff size so that the accompanying lyrics are printed at 17pt? Or do I simply have to play around with the staffsize settings until I find one that gets the lyrics to approximately the right size? The default point size for lyrics is 12pt. The default global staff size is 20pt. So adding this at the top of your file should do what you want: #(set-global-staff-size (* 20 17/12)) - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: something's wrong with \unset Score.proportionalNotationDuration
On Tue, Jul 22, 2014 at 10:01 PM, tisimst tisimst.lilyp...@gmail.com wrote: Karol, I've seen this kind of thing happen in other cases (but I can't remember a single one at the moment). The issue is that you must \unset the proportionalNotationDuration one note PRIOR to when it is to actually take effect. Like this: ... Not sure why this is the case, but I think there's a technical reason that it must be this way (I wish I could remember other cases where this applies... Any else remember other cases where this happens?). \set associatedVoice http://lilypond.org/doc/v2.19/Documentation/notation/stanzas#Switching-to-an-alternative-melody ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating an ly:pitch? value
Richard Shann wrote:
My problem is that the syntax for ly:make-pitch is
difficult to generate, but I can't seem to find anything
to convert a string like cis' to an ly:pitch? datum.
Richard,
I'm having trouble visualizing what you're trying to
accomplish, couldn't you just do this?
**
myPitch = cis'
myfunc =
#(define-music-function
(parser location arg)
(ly:music?)
#{ \transpose c' #myPitch #arg #})
{
c' d' e'
\myfunc { c' d' e' }
}
**
Otherwise, if for some reason you really need to convert
a string to a pitch object, here's one way to do it:
**
stringToPitch =
#(define-scheme-function
(parser location str)
(string?)
(let* ((clone (ly:parser-clone parser '() location))
(expr (ly:parse-string-expression clone str)))
(ly:make-pitch (ly:pitch-octave expr)
(ly:pitch-notename expr)
(ly:pitch-alteration expr
myPitch = \stringToPitch #cis'
myfunc =
#(define-music-function
(parser location arg)
(ly:music?)
#{ \transpose c' #myPitch #arg #})
{
c' d' e'
\myfunc { c' d' e' }
}
**
Hope this helps,
Mark
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adjusting Tie details with \magnifyMusic
How can I tell LilyPond to allow the tie on the D to come
closer to the noteheads, without resorting to manual tweaks?
I'm assuming some combination of Tie.details properties will
do the trick, but I can't figure it out, and the Tie.details
properties are not documented...
\version 2.19.9
\relative c'' {
\magnifyMusic 0.5 {
c32[~ c d~ d]
}
}
Thanks.
- Mark
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Re: temporarily disable Dot_column_engraver?
Keith OHara wrote:
Put the small notes in a temporary Voice and give that
Voice a Dot_column_engraver.
Having this engraver in both a Voice and Staff is not
problem here. You get two DotColumns, but that is what
you want, and the Dots that are caught by the DotColumn in
the Voice are not caught again by that in the Staff.
Keith,
Doing as you suggested puts the first dot directly *below*
the note head. Am I doing something wrong with my code
here?
Thanks
- Mark
\version 2.19.9
\new Staff \with {
} {
\time 6/8
\new Voice = main {
\voiceOne
\context Voice = main { b' c''2. }
\new Voice = small \with {
\consists Dot_column_engraver
} {
\voiceTwo
\magnifyMusic 0.63 {
\repeat tremolo 24 { e'64 g'64 }
}
}
\context Voice = main {
c' c''2. \\ f' a'2.
}
}
}
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Re: changing global staff size on the fly
Your code is operating in the Voice context, and you need to be in the Staff context: \set Staff.fontSize = #new-size \override Staff.StaffSymbol.staff-space = #(magstep new-size) \override Staff.StaffSymbol.thickness = #(magstep new-size) By the way, I wouldn't reduce the thickness property like this. Classical engravers did not use thinner lines when the staves were smaller. Thin staff lines are uncomfortable to read. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custos at end of piece!
Andreas Stenberg wrote:
Is there any easy way in version 2.18.2 to get a custos at
the end of the (visible) notation in mensural or petrucci
voice context?
I haven't checked 2.18.2, but this works in 2.19.5. It's a
total hack, but play around with it; it might ease your
situation.
Hope it helps.
- Mark
makeCustos =
#(define-music-function
(parser location X-offset mus)
(number? ly:music?)
#{
\once \override NoteHead.X-extent = #'(0 . 0)
\once \override NoteHead.extra-offset = #(cons X-offset 0)
\once \override NoteHead.stencil = #ly:text-interface::print
\once \override NoteHead.text = \markup { \musicglyph
#custodes.mensural.u1 }
#mus
#})
\score {
\new MensuralVoice = discantus \relative c'' {
\hide Score.BarNumber {
c1\melisma bes a g\melismaEnd f\breve
\makeCustos 1.25 f1
}
}
\new Lyrics \lyricsto discantus {
San -- ctus
}
\layout {
line-width = #80
}
}
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Re: Function for note string to fraction?
Peter Bjuhr wrote: is there already a function that converts a string 4. to the fraction '3/8', or the other-way round? I don't think you need ly:duration-string; I think you can just skip that step. And as far as I know, you do need to copy out the definition of parse-simple-duration, and above it add: #(use-modules (ice-9 regex)) The whole thing will look like this: #(use-modules (ice-9 regex)) #(define (parse-simple-duration duration-string) Parse the `duration-string', e.g. ''4..'' or ''breve.'', and return a (log dots) list. (let ((match (regexp-exec (make-regexp (breve|longa|maxima|[0-9]+)(\\.*)) duration-string))) (if (and match (string=? duration-string (match:substring match 0))) (let ((len (match:substring match 1)) (dots (match:substring match 2))) (list (cond ((string=? len breve) -1) ((string=? len longa) -2) ((string=? len maxima) -3) (else (log2 (string-number len (if dots (string-length dots) 0))) (ly:error (_ not a valid duration string: ~a) duration-string #(define (note-to-moment notestr) (let ((parsed (parse-simple-duration notestr))) (ly:duration-length (ly:make-duration (car parsed) (cadr parsed) Then you would use it like this: \set Timing.baseMoment = #(note-to-moment 4.) Hope that helps. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
accessing NoteHead from a merged note
Is there a way to access one NoteHead grob from another
NoteHead grob that it is merged with? Like this:
{
\once \override NoteHead.after-line-breaking =
#(lambda (grob)
; how to access the NoteHead grob of the
; c'' in the other voice from here?
#f)
c''4
}
\\
{ e' g' c''4 }
This is related to this post:
http://lists.gnu.org/archive/html/lilypond-devel/2014-05/msg00141.html
Thanks
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Re: Double slurs on automatic part combining
Karl Hammar wrote: Not so fast, \\ is a pain with vocal music, we want a explicit voice name for \lyricsto see below Carl Peterson wrote: Yes. The template I'm using is actually fairly robust. I've moved as many of the tweaks and customizations (such as autobeaming and shaped notes) to the layout block as possible, even to the point of creating aliased contexts to allow for alternate lyrics and for hidden voices so that each part can be a \lyricsto target. Karl and Carl (and other choral typesetters), I've added a new context to the source code called NullVoice which is designed exactly for this purpose. It's not yet available as a release, but you can get it by replacing your installed copy of ly/engraver-init.ly with: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=ly/engraver-init.ly;hb=df8a24 The documentation is not yet online, but if you can read through the texinfo code, you can learn about it here: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commitdiff;h=2537ec#patch2 I'd actually appreciate if you and the other choral typesetters test this out now, in case I've missed something, or if you have any suggestions for improvement. Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
mapping a markup-command across strings in lyricmode
I wrote a markup command which takes a string and parses
it to make a special markup. I'm leaving out the details,
but the input might look something like:
\markup \foo #abc123
I want to use this in a Lyrics context, but constantly
retyping \markup \foo # is annoying and takes up a lot
of space in my file:
\lyricmode {
\markup \foo #abc123 __ _
\markup \foo #def456
\markup \foo #ghi789 __ _ _
}
Is there a way to simplify the user interface? This would
be ideal, but I'm open to other suggestions:
\lyricmode \mapFoo {
abc123 __ _ def456 ghi789 __ _ _
}
Thanks.
- Mark
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Re: cascading font selections?
Carl Smith wrote: So, if you embed a font, remove it from your system, then try to edit the PDF, it fails? I've never tried that. That's not it either. No one is editing PDF files. Let's say I write template.ly and make that available online. Then lots of other people download template.ly and edit it for themselves, changing the filename to my-song.ly and adding their own notes or whatever. Then they compile their own .ly files on their own systems to create their own PDFs. Now let's say I design the template to use a non-standard font. If the user doesn't have that font, then I want to specify a cascading list of alternative font selections, so that I still have some degree of control over how the output looks on a variety of unknown systems. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cascading font selections?
Carl Smith wrote: If the fonts are embedded in the PDF, you only need to have them on your system when you create the file. The recipient has the fonts, they're in the PDF. Okay, I appreciate the helpfulness, but a lot of you are missing the point. The recipients will be editing the files themselves, then compiling them on their own systems. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
LilyPond Video Tutorials (Beginner)
SoundsFromSound wrote: A huge thanks to all those who helped create the documentation for LilyPond. On behalf of many who contributed to that (many of whom contributed much more than I did), you're welcome! I'm proud of my contributions, and you should be too. Hopefully your videos will ease the transition for many more users. Nice work. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
cascading font selections?
Is there a way to have a cascade of font selections, like
with CSS? In CSS, you can do things like:
{font-family:Lucida Console, Monaco, monospace}
And if Lucida Console isn't installed on a user's system,
Monaco will be looked up, and if that's not installed, then
the user's default monospace will be used.
Is there a way to do this on LilyPond? This would be very
helpful.
Thanks.
- Mark
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Re: cascading font selections?
Andrew Bernard wrote: Do you mean for input? Output to PDF embeds the font, so no requirement for it to be present in recipients system. I mean, if I write a .ly file that specifies fonts (fonts that I have on my own computer), and I give that file to somebody else to compile on his/her own computer... If they don't have those exact fonts on their system, I'd want their system to select from a list of *alternative* fonts, and not just revert to the default font. Is there a way? - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Combining graphics and text in one stencil?
David Kastrup wrote: It's called interpret-markup and you obviously need layout and props for it. One variant that gets them itself from a grob is grob-interpret-markup. Thank you. It was right under my nose but I didn't understand it; and now I do. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
printing actual ~ character in lyrics?
I know it's an odd request, but what if I actually want the ~ character to print in lyrics? None of these work: ~ '~' \~ #~ ##\~ #(string #\~) Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printing actual ~ character in lyrics?
Thomas Morley wrote:
\markup { ~ } (without ) works too.
Wow, 5 replies in 15 minutes. Some mailing list we got here!
I like this one:
tilde = \markup { ~ }
Thanks everyone.
- Mark
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Combining graphics and text in one stencil?
I'm able to write my own graphical stencils using ly:make-stencil, and I also can override stencils with text or markup using the ly:text-interface::print callback, but now I want to make one stencil with graphics *and* text, and I can't figure out how to do that. Is there some way to achieve something akin to this: (ly:make-stencil (list 'string foo)) That would be my preference. I experimented with (ly:make-stencil (list 'char ...)) but I couldn't get it to do anything. output-ps.scm is very difficult to follow with no docstrings. Ugh. Any advice is appreciated. Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
getting LedgerLineSpanner props from a NoteHead callback?
I'm trying to retrieve the value of LedgerLineSpanner.length-fraction from within a NoteHead callback, and I can't figure it out. Is there a way? Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting LedgerLineSpanner props from a NoteHead callback?
Thomas Morley wrote: I'm trying to retrieve the value of LedgerLineSpanner.length-fraction from within a NoteHead callback, and I can't figure it out. Is there a way? Hi Mark, a quick shot, seems to work, though: Harm, that was great; thanks for that! It was the System.all-elements property that I didn't know about. That's the trick. Thanks so much. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems trying to write a conditional \transpose
David Kastrup wrote:
I'm trying to write a conditional version of the \transpose
function, that would work something like this...
input = {
c c
\conditionalTransposition c c' { c c }
}
\input
= { c c c c }
\processConditionalTransposition \input
= { c c c' c' }
conditionalTransposition =
#(define-music-function (parser location from to music)
(ly:pitch? ly:pitch? ly:music?)
(set! music #{ \transpose c' c' #music #})
(set! (ly:music-property 'from-to music) (cons from to))
music)
processConditionalTransposition =
#(define-music-function (parser location music) (ly:music?)
(map-some-music
(lambda (m)
(and (music-is-of-type? m 'transposed-music)
(pair? (ly:music-property m 'from-to music))
#{ \transpose #(car (ly:music-property m 'from-to-music))
#(cdr (ly:music-property m 'from-to-music))
#(ly:music-property m 'element)
#}))
music))
David,
sorry for the delayed response. Your solution is excellent!
I'm learning so much from you.
Thanks again.
- Mark
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problems trying to write a conditional \transpose
Hi.
I'm trying to write a conditional version of the \transpose
function, that would work something like this:
input = {
c c
\conditionalTransposition c c' { c c }
}
\input
= { c c c c }
\processConditionalTransposition \input
= { c c c' c' }
And I've hit another brick wall. I experimented with some
of the functions in music-functions.scm (map-some-music,
fold-some-music, etc.), but those hard-to-follow function
descriptions slowed me down again. I've included some vain
attempts below, which are clearly wrong...
Any advice?
Thanks
- Mark
conditionalTranspose =
#(define-music-function
(parser location from to music)
(ly:pitch? ly:pitch? ly:music?)
(set! music
(make-sequential-music
(list (make-music
'Music
'type 'conditional-transposition
'from from
'to to)
music)))
music)
#(define conditional-transposition?
(lambda (music)
(eq? (ly:music-property music 'type) 'conditional-transposition)))
#(define sequential-music?
(lambda (music)
(music-is-of-type? music 'sequential-music)))
processConditionalTransposition =
#(define-music-function
(parser location music)
(ly:music?)
(let ((music-list (extract-typed-music music '(general-music
(if (list? music-list)
(for-each (lambda (a b)
(if (and (conditional-transposition? a)
(sequential-music? b))
(ly:music-transpose b ...)))
music-list
(cdr music-list)))
music))
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Re: problems with a difficult function
David, That is fantastic, thank you! It's funny, you wrote these functions with \glissandoize operating on the results of \untier, and for my particular project, I needed them in the opposite order, though I didn't realize that when I wrote my post. Anyway, I was able to modify them on my own to suit my needs, so it works perfectly now. Also, I wanted to ask you about the line: (make-music 'TextScriptEvent 'text ) That looks kludgy, is there no 'void or 'ignore sort of thing for these situations? Should there be? I guess it doesn't swallow other TextScriptEvents, and it certainly doesn't affect anything in my current project. Lastly, I was not aware that there was an 'event-chord music class. It is not listed with the other music classes: http://lilypond.org/doc/v2.17/Documentation/internals/music-classes Nor is it mentioned on the EventChord page: http://lilypond.org/doc/v2.17/Documentation/internals/eventchord Is that a mistake? Thank you so much! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: remove individual ledger line?
I wrote:
How do I tweak an individual ledger line from within a chord? Well, an hour
later, and all I've managed to achieve is printing the
staff-positions of the ledger lines that happen to have noteheads on
them (to the standard output), and while that makes me feel like a
minor genius, it seems I haven't gotten any closer to being able to
tweak these things individually. Worse yet, I see my initial question doesn't
even capture the full
extent of what I'm trying to do here. What I want to be able to do
is to tweak individual ledger lines, even if they don't have a note
attached to them. For example, in... { a } ...there are 2 ledger lines below
the treble staff to accomodate the
a-natural; I want to tweak both individually. There must be a way! Does anyone
know? Even a nudge in the right direction would help. Thanks,
Mark
\version 2.17.21 {
\override Staff.LedgerLineSpanner.before-line-breaking =
#(lambda (grob) (map display (list \n (map ly:grob-staff-position
(ly:grob-array-list (ly:grob-object grob 'note-heads)) a
} GNU
LilyPond 2.17.21
Processing `LedgerLineSpanner.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
(-8)
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `LedgerLineSpanner.ps'...
Converting to `./LedgerLineSpanner.pdf'...
Success: compilation successfully completed
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Re: remove individual ledger line?
So sorry, I'm having trouble with my email client again, hope this works.
I wrote:
How do I tweak an individual ledger line from within a chord?
Well, an hour later, and all I've managed to achieve is printing the
staff-positions of the ledger lines that happen to have noteheads on
them (to the standard output), and while that makes me feel like a
minor genius, it seems I haven't gotten any closer to being able to
tweak these things individually.
Worse yet, I see my initial question doesn't even capture the full
extent of what I'm trying to do here. What I want to be able to do
is to tweak individual ledger lines, even if they don't have a note
attached to them. For example, in...
{ a }
...there are 2 ledger lines below the treble staff to accomodate the
a-natural; I want to tweak both individually. There must be a way!
Does anyone know? Even a nudge in the right direction would help.
Thanks,
Mark
\version 2.17.21
{
\override Staff.LedgerLineSpanner.before-line-breaking =
#(lambda (grob)
(map display
(list \n
(map ly:grob-staff-position
(ly:grob-array-list (ly:grob-object grob 'note-heads))
a
}
GNU LilyPond 2.17.21
Processing `LedgerLineSpanner.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
(-8)
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `LedgerLineSpanner.ps'...
Converting to `./LedgerLineSpanner.pdf'...
Success: compilation successfully completed
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remove individual ledger line?
How do I tweak an individual ledger line from within a chord? Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
volta bracket right-edges; also RehearsalMark conflicts
Hi everyone. It's been a while!
Okay, here's the structure of a song I'm typesetting:
___
\version 2.17.20
\paper {
indent = 0
line-width = #80
tagline = ##f
}
\layout {
\context {
\Score
\override RehearsalMark.font-size = #-3
\override RehearsalMark.font-shape = #'italic
\override RehearsalMark.self-alignment-X = #RIGHT
\override RehearsalMark.outside-staff-priority = #100
\override RehearsalMark.break-visibility = #begin-of-line-invisible
}
}
\relative c'' {
\repeat volta 3 { \tempo Refrain c1 }
\alternative {
{ c \mark to Verses \bar || }
{ c \mark to Coda \bar || \break }
}
\tempo Verses c \mark to Refrain \bar :|. \break
\tempo Coda c \bar |.
}
___
___
1) How do I get the right vertical edges of the volta
spanners to print when I've overridden the bar type at those
moments? They only seem to print when there's a repeat bar
in the staff.
2) Is there a more appropriate repeat/alternative construct
for this structure where I wouldn't have to override so many
bar lines?
3) I'm abusing the \tempo command as if it were \mark,
otherwise there's a conflict between end-of-line marks and
beginning-of-line marks. Is there any way to enter 2
RehearsalMark's before and after a single bar? I wish there
were commands like \markBeforeBar and \markAfterBar to
facilitate these awkward situations. Maybe I'll request
that feature if no one has a better idea...
Thanks!
- Mark
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Re: volta bracket right-edges; also RehearsalMark conflicts
Oops, here's the picture I meant to include in the previous message.
\version 2.17.20
\paper {
indent = 0
line-width = #80
tagline = ##f
}
\layout {
\context {
\Score
\override RehearsalMark.font-size = #-3
\override RehearsalMark.font-shape = #'italic
\override RehearsalMark.self-alignment-X = #RIGHT
\override RehearsalMark.outside-staff-priority = #100
\override RehearsalMark.break-visibility = #begin-of-line-invisible
}
}
\relative c'' {
\repeat volta 3 { \tempo Refrain c1 }
\alternative {
{ c \mark to Verses \bar || }
{ c \mark to Coda \bar || \break }
}
\tempo Verses c \mark to Refrain \bar :|. \break
\tempo Coda c \bar |.
}
___
1) How do I get the right vertical edges of the volta
spanners to print when I've overridden the bar type at those
moments? They only seem to print when there's a repeat bar
in the staff.
2) Is there a
more appropriate repeat/alternative construct
for this structure where I wouldn't have to override so many
bar lines?
3) I'm abusing the \tempo command as if it were \mark,
otherwise there's a conflict between end-of-line marks and
beginning-of-line marks. Is there any way to enter 2
RehearsalMark's before and after a single bar? I wish there
were commands like \markBeforeBar and \markAfterBar to
facilitate these awkward situations. Maybe I'll request
that feature if no one has a better idea...
Thanks!
- Mark
attachment: volta-bracket.png___
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Re: volta bracket right-edges; also RehearsalMark conflicts
Hahahahahaha.
That is hilarious. You really tricked LilyPond into doing
what you want! Very clever. But seriously, there needs to
be a real way to do this, or the default needs to be changed.
Anyway, thanks for the laugh.
- Mark
From: Robin Bannister r...@dataway.ch
To: Mark Polesky markpole...@yahoo.com; lilypond-user
lilypond-user@gnu.org
Sent: Monday, June 24, 2013 1:24 AM
Subject: Re: volta bracket right-edges; also RehearsalMark conflicts
Mark Polesky wrote:
1) How do I get the right vertical edges of the volta
spanners to print when I've overridden the bar type at those
moments? They only seem to print when there's a repeat bar
in the staff.
Welcome back!
I have an amusing workaround for this particular case, but this is old [1] by
now so check out issue 1320 etc.
Instead of \bar || use:
doubleBarLineClosingVB = {
\bar |. \once \override Score.BarLine #'thick-thickness = #1.9
}
Cheers, Robin
[1] http://lists.gnu.org/archive/html/lilypond-user/2010-02/msg00488.html
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Re: Replacement suggestions for Century Schoolbook?
Urs, I missed the big discussion earlier, but has anyone mentioned FreeSerif? http://www.fontspace.com/gnu-freefont/freeserif I'm getting some good results with lyrics. I particularly like that it has all 5 of the common English ligatures 0xFB00 - 0xFB04 (ff fi fl ffi ffl). Century Schoolbook only has two (ff and fi). Some or all of these characters may get mangled in the email delivery, but here they are: 0xFB00 ff (ff) 0xFB01 fi (fi) 0xFB02 fl (fl) 0xFB03 ffi (ffi) 0xFB04 ffl (ffl) test sentence with ligatures: office flight raffle, final offer test sentence, spelled out completely: office flight raffle, final offer TeXGyreSchola has good ligature support, too: http://www.fontspace.com/gust-e-foundry/texgyreschola But I prefer the look of FreeSerif. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replacement suggestions for Century Schoolbook?
Urs Liska wrote: http://www.fontspace.com/gnu-freefont/freeserif ... test sentence with ligatures: office flight raffle, final offer test sentence, spelled out completely: office flight raffle, final offer I just could only look at the samples on the page you linked, but it looks quite good and usable. I will definitely do some tests. Thanks for the hint. On that page, there's a blue bar just above the samples with a customize box. You can copy and paste my sentence into there to see the nice-looking ligatures! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to enter notes quickly (midi keyboard available)
From: Klaus Föhl I like the lilypond notation using \relative being concise and readable. Entering on a computer keyboard is fairly quick, but still it feels that playing a melody line would be so much quicker. In particular if one does not have a typing c4 d e f g1 style but c4 d4. e8 f8. g16 c,1 What better methods exist? I don't know if this would help you, but Nicholas Sceaux wrote an interesting script to save keystrokes on emacs. Looks like he hasn't updated it in a while, so it may require some tweaking, but you can see it in action here: http://nicolas.sceaux.free.fr/lilypond/lyqi.avi Here's what looks like the manual for all this: http://nicolas.sceaux.free.fr/lilypond/lyqi.outdated.html You can browse other related files here: http://nicolas.sceaux.free.fr/lilypond/ Hope this helps. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suggestions for a Contemporary Music Font
Bernardo Barros wrote: I'm thinking of creating a font for contemporary music with the most commonly used symbols. Bernardo, I did a ton of work on this a while ago, then ended up dropping it cold. http://repo.or.cz/w/lilypond/mpolesky.git/shortlog/refs/heads/pictograms I don't know if this is helpful or not. Perhaps I took the wrong approach entirely. But I just didn't have time anymore. Let me know if this helps. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
showing lyrics without the associated voice?
Hey everyone -
Let's say I have a song with piano accompaniment:
* * * * * * * * * *
\version 2.13.59
melody = { g'4 g' g'2 }
text = \lyricmode { Blah blah blah }
RH = { e'2 e'4 e' }
LH = { \clef bass c2 c4 c }
\score {
\new Voice = mel { \melody }
\new Lyrics \lyricsto mel \text
\new PianoStaff
\new Staff = RH \RH
\new Staff = LH \LH
}
* * * * * * * * * *
I'd like to create an abbreviated score which contains the
piano part and the lyrics, but not the vocal staff. Nothing
I've tried works well, since it seems that the associated
voice needs to be displayed for the lyrics to line up
properly. Is there a way? Something like the following,
which of course doesn't work:
\score {
\new PianoStaff
\new Staff = RH \RH
\new Lyrics \lyricsto mel \text
\new Staff = LH \LH
}
Thanks!
- Mark
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Re: how to set a partial measure after the beginning of a piece?
Marc Mouries wrote: checked the doc here: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-rhythms and it says: partial command is intended to be used only at the beginning of a piece. If you use it after the beginning, some odd warnings may occur. Any pointer about how to achieve this? The fiddle piece is composed of 2 parts part 1 = 4/4 | partial 4 | notes | measure with 3 beats :| part 2 = partial 4 | partial 4 | notes | measure with 3 beats :| Can you post a png of the beginning of part 2? Perhaps there's a missing indication of first and second endings for the repeat? Two partial measures in a row is highly suspicious. Don't forget that repeat signs are not necessarily bar lines, and that they occasionally appear in the middle of a measure, perhaps creating the illusion of a partial measure. An incomplete measure in the middle of a score should be notated with a change in the time signature, and, as far as I know, NEVER with \partial. Perhaps it would make more sense to use two \score blocks, one for each part. The link Marek provided will work, but may take a while to load since it loads the whole Notation Reference. Here's a quicker link to the split version of the same section: http://lilypond.org/doc/v2.13/Documentation/notation/long-repeats Hopefully this will be enough to help you figure it out. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: arpeggio symbol placement
Peter Buhr wrote: In the following example, the arpeggio symbol appears over the time signature, about 1cm from the chord, and the finger number is to the left of the arpeggio symbol, while I want the finger number to be on the right of the arpeggio symbol. Suggestions? By the way, this is a known bug: http://code.google.com/p/lilypond/issues/detail?id=556 - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: text inside the staff close to the notes
Marc Mouries wrote: I am wondering if it is possible to write text inside the staff close to the notes or without the notes like in the attached image to show the name of the notes. Have you tried \easyHeadsOn ? It's not exactly as you describe, but perhaps it can suit your needs: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Note-heads#Easy-notation-note-heads - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
preventing DynamicText/SpanBar collisions
This is mostly a copy of a message I sent to the bug list:
http://lists.gnu.org/archive/html/bug-lilypond/2010-12/msg00092.html
* * * * * * * * * * * * * * * * * * * *
The \ppp collides with the SpanBar in the example below.
\version 2.13.43
\new StaffGroup \relative f'
\new Staff { R1 | f2\ppp r | }
\new Staff { R1 | f1 | }
Is there a good *generic* way to prevent DynamicText/SpanBar
collisions? I'd like the DynamicText and NoteColumn to move
to the right as a unit, preferably with a single setting to
put in a \layout block so as not to have to do this
repetitively in the music expression. Any suggestions?
Thanks.
- Mark
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Re: How to parenthesize a time signature
Jonathan Wilkes wrote: Is there a quick way to parenthesize a simple time signature? There's a quick way to bracketify a time signature: http://lsr.dsi.unimi.it/LSR/Item?id=169 To get real parentheses requires a little more tweaking. Maybe someone who has already done this will chime in. If not, I don't have time right now, but someone could tweak the idea in this post to accomplish it: http://lists.gnu.org/archive/html/lilypond-user/2009-05/msg00401.html - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeats and alternatives
Neil Puttock wrote: In your first example, LilyPond sees three blocks of music inside \alternative since there's an isolated barcheck between the two music parts. This is a very easy mistake to make (and an annoying one to have to figure out on your own). Can someone mention this in the docs? - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adjusting spacing between stanzas in 2.13.38
Karl Nelson wrote: \version 2.13.38 [...] % This throws: warning: cannot find property type-check % for `nonstaff-nonstaff-spacing' (backend-type?). % perhaps a typing error? \override VerticalAxisGroup #'nonstaff-nonstaff-spacing = #'((space . 30)) 'nonstaff-nonstaff-spacing was added in version 2.13.39. Either upgrade or use the old property name, 'inter-loose-line-spacing. Also, I think the example you've copied from the docs could be improved, but in the meantime, you're better off with something like this: \override VerticalAxisGroup #'nonstaff-nonstaff-spacing #'minimum-space = #10 If you want to really understand this, read the latest version of NR 4.4.1 Flexible vertical spacing within systems http://kainhofer.com/~lilypond/Documentation/notation/flexible-vertical-spacing-within-systems.html#within_002dsystem-spacing-properties and be sure to follow the links to Modifying alists and Flexible vertical dimensions (for the alist structure). Please be aware that the spacing code and docs are changing almost every day, as the spacing engine is getting refined for the next release. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace note spacing
Martin Kemp wrote: How can I move a single \grace note closer to the note that it precedes? I've tried many permutations eg. \override Score.GraceSpacing #'spacing-increment = #** but whilst I can move further away, I do not seem to be able to get closer. Not sure off the top of my head. Try adding this: \override Score.GraceSpacing #'shortest-duration-space = #0 - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: annotate-spacing causing error
Nick Payne wrote:
Lilypond barfs on this:
\paper {
annotate-spacing = ##t
system-system-spacing #'space = #3
}
Thanks. This has already been reported:
http://code.google.com/p/lilypond/issues/detail?id=1338
- Mark
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Re: changing number of lines in staff, clef and note positions
Martin Tarenskeen wrote:
To answer my own question:
changing:
\clef bass
to:
\set Staff.clefGlyph = #clefs.F
\set Staff.clefPosition = #1
\set Staff.middleCPosition = #8
did the trick.
Are you sure? Looks to me that middleCPosition should be
#5. Anyway, you can try the following code. The value for
padding is arbitrary, it just has to be negative enough to
not ever be used. By the way, I'm currently preparing a
patch to improve the documentation relevant to this topic
(vertical spacing inside a system). Soon to be posted...
- Mark
\version 2.13.36
\score {
\new PianoStaff
\new Staff \with {
\override VerticalAxisGroup #'next-staff-spacing =
#'((padding . -20)
(space . 5.5)
(minimum-distance . 5.5)
(stretchability . 0))
}
{ c'2 c' }
\new Staff {
\override Staff.StaffSymbol #'line-count = #4
\set Staff.clefGlyph = #clefs.F
\set Staff.clefPosition = #1
\set Staff.middleCPosition = #5
c'2 c'
}
}
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Re: Header separation from markup or music
Jiri Zurek wrote: I cannot figure out how to increase the space (the separation) between the header of the page and anything else on the page, which can be either lines of markup or music. The head-separation settings in the paper block does not seem to work: regardless of any value which I put there (even very large) the setting seems to be ignored and the space is always very small. Is there another setting, property, command or anything where I can set the amount of white space between the header and the rest of the page? The behavior and syntax of the spacing code is currently under revision and is being actively discussed by the developers. This is probably the worst time to try to learn the unstable version, since things in this area of the code may change from day to day. The absolute latest documentation for the unstable version (written 2 days ago, and by no means finalized) is available here: http://kainhofer.com/~lilypond/Documentation/notation/page-formatting.html ...but don't say I didn't warn you when things change again! I'd recommend one of two approaches: 1) use the stable version with its documented syntax, or 2) use the latest unstable version (now 2.13.36) and follow the latest discussion in the lilypond-devel list There are several threads going there; here's the latest: http://lists.gnu.org/archive/html/lilypond-devel/2010-10/msg00075.html - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: intervallic inversion
Stefan Thomas wrote:
Dear community,
has someone created a function, that could make
automatically an exact intervallic inversion, like in the
following example?
\version 2.12.2
original = { g4 gis a bes g1 }
inversion = { g4 ges f e g1 }
\new Staff { \clef bass \original \inversion }
Sort of.
http://www.markpolesky.com/norobots/lilypond/Webern_op27/tone-rows_09.ly
http://www.markpolesky.com/norobots/lilypond/Webern_op27/tone-rows_09.pdf
This is part of an experiment I was working on (to generate
Webern's op.27 algorithmically), but I haven't touched it in
a while. Take a look at it, see if you can work with it,
and feel free to ask me any questions. The functionality
you want should be extractable from this file one way or
another, but I'm not sure it will be obvious.
- Mark
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Re: orchestral template, please comment
Have you looked at Reinhold's OrchestralLily package? http://kainhofer.com/orchestrallily/ - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: orchestral template, please comment
Brett McCoy wrote: Have you looked at Reinhold's OrchestralLily package? http://kainhofer.com/orchestrallily/ I just tried one of the examples on that site and, sadly, the orchestrallily.ly file fails to parse under Lilypond 2.12.3, tons of syntax errors. I guess the author hasn't kept up with lilypond development, as 2.11.40 is what is listed in the file. Maybe the link I gave is out of date; it looks like he's still tweaking things: http://repo.or.cz/w/orchestrallily.git - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to typeset this split voice?
Christopher Culver wrote: I woud like to typeset the following score sample in Lilypond exactly as it appears: http://christopherculver.com/temp/score-example.png [...] The problem, however, is the second treble voice from the top, that starting on G. In the third bar, that voice splits into two as I have circled in red. I'm not a complete Lilypond novice, but I'm unsure how to organize that portion so that it appears just like in the manuscript example. Could someone give me a few pointers? Easy. That voice doesn't split at all. Since it's a 6/4 measure, the other three voices are all dotted whole notes, and the voice you've circled is a half note plus a whole note. So from top to bottom, you have: fis1. fis2 d1 bis1. dis1. The tie coming off the f-sharp half note is poorly placed since it belongs to the f-sharp whole note in the top voice. And the f-sharp half note is shifted to the right because you should never merge noteheads with a whole note. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Twelve-tone notation
Werner LEMBERG wrote: Looking at the picture, it seems to me the only part which LilyPond doesn't support is the special leger lines below the stave: though the middle C superficially looks like a G, it's positioned as if it were an E, but with the first leger missing (so the leger lines continue the line-positioning pattern outside the stave). Hauer's invention is the *second* system in the image; the lines represent the black keys on a piano keyboard. Yes, that's what Neil was describing, but I'd like to add one wrinkle. Maybe I'm wrong, but it's my understanding that the wide staff-spaces are not supposed to be twice as big, but 1.5 times. So I don't think it's quite the same dimensions as it would be by Neil's description. I think the first C is in the position of a traditional F, but the ledger lines that would normally cut through what used to be A and C now cut through what used to be G and B. Incidentally, an almost identical system is credited to Walter Steffens on p.32 of Gardner Read's Music Notation. The custom stave can be created by overriding StaffSymbol #'line-positions, then it's just a matter of mapping the notes to the correct positions with a custom layout function (via staffLineLayoutFunction). This works even for staves consisting of lines which aren't evenly spaced? Would be fun to see this in action. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help needed - missing .pdf file after running lilypond sucessfully.
MING TSANG wrote: Here below is jedit console message display. According to the message a .ps file is generated and a .pdf is generated as well. However I find the .ps file but no .pdf file on the folder where the .ly file resides. It's possible that no one here knows the answer, since this looks like a LilyPondTool issue. Your file compiles fine on my Ubuntu's command line; the pdf shows up as expected. I would try the LilyPondTool user mailing list: lily4jedit-u...@lists.sourceforge.net - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Arpeggio glyph markup
keith Luke wrote: I'm trying to add an arpeggio glyph to the left of the c whole note, but keep getting errors. You need at least two simultaneous notes for an arpeggio. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: laissezVibrer
Peter Buhr wrote:
My experience is that a whole note is inappropriate. Assume a
guitar and a bar with 4 notes. The first note is accented
(drone) to ring for the duration of the bar (or possibly
longer). The 4 notes have to add up to the time signature or
lilypond complains or generates the wrong bar. Even if black
magic is used to make lilypond produce the output with the first
note being a whole note, it is confusing to the player that the
notes don't add up to the time signature. I think it is simpler
for the composer, the player, and lilypond if the notes are
correct as played and a laissezVibrer is used to indicate the
longer duration of a note. A specific context can be heard
here:
http://www.youtube.com/watch?v=BrZTNhW44-o
There are plenty of decent ways of notating this without
\laissezVibrer, depending on the level of polyphony you're
willing to notate (see below). By the way, the second note
is E, not A (for the first two riffs at least). Great
song.
- Mark
* * * * * * * * * *
\version 2.13.34
letRing = \markup { \italic let ring }
\new Staff {
\relative e' {
r16 e^\letRing e' a, d a e' a, c a e' a, b a e a |
}
\\
\relative a {
a1 |
}
}
\new Staff {
\relative e' {
r16 e^\letRing e' a, d a e' a, c a e' a, b a e a |
}
\\
\relative a {
a2.. e'8 |
}
}
\new Staff {
\relative a {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
a16^\letRing e' e' a, d a e' a, c a e' a, b a e a |
}
\\
\relative a {
a2.. e'8 |
}
}
\new Staff {
\relative e'' {
\once \override Rest #'staff-position = #5
r8 e d e c e b4 |
}
\\
\relative a {
a2.. e'8 |
}
\\
\\
\relative e' {
\once \override Rest #'staff-position = #0
r16 e^\letRing e' a, d a e' a,
c a e' a, b[ a] \stemUp e a |
}
}
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Re: Chords with unequal durations
Jay Anderson wrote:
\new Staff \relative c'
{
\stop c \stop e g2.
}
You can also just turn off the warnings:
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Simultaneous-notes#Suppressing-warnings-for-clashing-note-columns
- Mark
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Re: laissezVibrer
Peter Buhr wrote:
I want to specify a duration (tie length) for
\laissezVibrer as in:
a4\laissezVibrer{1}
meaning put a tie of duration whole-note on the 1/4 note
a. Knowing how long to let a note ring seems essential
to describe the music for a player.
Why not just write a whole note?
Okay, I know there are some cases where it's not that
simple, but IIUC the entire point of the l.v. notation is to
tell the player *not* to stop the tone (as on the
harp)---either it will die out on its own or the string (or
whatever) will be struck again soon enough. If you want the
the note to ring for the length of a whole note, then you
should probably just write a whole note. If this would
require more voices than it's worth in your case, then you
could use a regular \laissezVibrer when the note starts, and
then a \repeatTie on the same note to show when it ends.
There are other solutions too, like using Salzedo's muffle
sign* (esp. if you're writing harp music since all harpists
should know those signs), or an x-shaped notehead to
indicate the end of the tone (as in Kurt Stone's Organ
chapter in Music Notation in the Twentieth Century).
*
http://www.harpspectrum.org/harpworks/composing_for_harp/images/sacred_harp_notation.gif
I'm curious to see your specific context...
hope this helps
- Mark
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Re: programming error: cannot align on self: empty element
Nick Payne wrote:
I have several scores that, the last time I worked on them
(using 2.13.20), built without error. Now, with 2.13.32, I
get
programming error: cannot align on self: empty element
appearing in the console log when I build the scores.
Nothing to indicate where the error is happening. The
error appears twice for every score where it happens.
Nick,
I notice this happens sometimes when I recklessly mess
around the extents. Not that the following code is
recommended practice in any way, but it is way to trigger
the error message:
\relative c' {
\override DynamicText #'Y-extent = #'(1 . 0)
c1\p
}
But there are likely other causes too. You can always
comment out large sections until the message goes away, and
narrow down the source that way, but that can get confusing
if you have variables affecting multiple parts of the code.
- Mark
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Re: (de)crescendo on items with specified volume
Dmytro O. Redchuk wrote:
I am very sorry, i can not find original post; anyway.
Original poster, please, provide a minimal example.
I've tried[1] those lines by Mark[2] with no success --
i could not reproduce error message mentioned.
I am sorry, very probably this is my fault. Please,
provide a minimal example.
Dmytro,
Since the error is with the midi engine, you need to add a
\midi block to the \score (see below).
- Mark
* * * * * * * * * *
\version 2.13.32
music = \relative c'' {
c4\f\ c c\f c |
c4\f\ c c\p c |
c4\p\ c c\p c |
c4\p\ c c\f c |
c4\p\ c\! c\ c\f |
c4\f\ c\! c\ c\p |
}
\score {
\music
\layout {}
\midi {}
}
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Re: arpeggioBracket spanning multiple voices on a single staff?
William Bajzek wrote:
My expectation and hope is that it would show the arpeggio
bracket instead of the zigzag one, but it doesn't. Can
this be done?
Yes.
- Mark
* * * * * * * * * *
arpeggioBracketStaff = {
\revert Staff.Arpeggio #'X-extent
\override Staff.Arpeggio #'stencil =
#ly:arpeggio::brew-chord-bracket
}
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
\arpeggioBracketStaff
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
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Re: Irregular 9-tuplet tremolo notation
u_li wrote:
That said, the original problem is basically not solved yet:
Is it possible to have a tremolo that doesn't repeat a pair of
notes for a regular number of times?
Nobody said it needed to be elegant...
- Mark
* * * * * * * *
\version 2.13.22
silent =
#(make-dynamic-script s)
#(set! absolute-volume-alist
(append '((s . 0))
absolute-volume-alist))
\score {
\new Voice = main \relative g'' {
\time 6/4
\voiceOne
\override TupletBracket #'stencil = ##f
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { g8[ cis g cis g cis g cis g] }
\new Voice = visible \relative cis''' {
\voiceOne
\once \override DynamicText #'stencil = #point-stencil
\times 6/9 \repeat tremolo 3 { cis8*3/2\silent g }
}
\new Voice = audible \with {
\remove Note_heads_engraver
\remove Tuplet_engraver
} \relative cis''' {
\times 6/9 { cis8 g cis g cis g cis g cis }
}
}
\layout { }
\midi {
\context {
\Staff
\remove Staff_performer
}
\context {
\Voice
\consists Staff_performer
}
}
}
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Re: 3 part fugue
Hu Haipeng wrote: I'm learning counterpoint. The 3 part fugue below is on 2 staves. I used both and new voice, but my teacher still said the result is not good. Why? You need to organize your stem directions with the commands \voiceOne, \voiceTwo, and \oneVoice. Basically, \voiceOne puts stems and slurs etc. up, and \voiceTwo puts them down. \oneVoice makes stems and everything else return to their normal behavior as when the voice is alone on its own staff. So, when two voices share one staff, set \voiceOne for the higher one and \voiceTwo for the lower one. When a voice is alone on a staff, use \oneVoice for that voice. At the beginning of a measure where another voice enters the staff that was previously holding only one voice, switch the voice that was just alone to \voiceOne (if the new voice comes from below) or to \voiceTwo (if the new voice comes from above). For the voice that switches from one staff to another, switch from \voiceTwo to \voiceOne (if the voice moves from the upper staff to the lower staff) or from \voiceOne to \voiceTwo (if the voice moves from the lower staff to the upper staff). But don't switch the voice-type at the beginning of the measure for the staff-switching voice. Instead, enter the new command just before the first note in the new staff. For the voice that was previously sharing a staff and then is left alone by the departure of the staff-switching voice, set the new alone voice to \oneVoice at the beginning of the measure after the departure (if the departing voice switches in the middle of a measure), or at the beginning of the measure containing the departure (if the departing voice switches directly at the beginning of the measure). This will ensure that the stems will be oriented properly. So in your case, at the very beginning of the score, voices one and two will share the rh staff, so set \voiceOne for voice one, and set \voiceTwo for voice two. At the same time, voice three is in the lh staff alone, so you should set \oneVoice for voice three. Then, in the last beat of measure 12, voice two switches from the rh staff to the lh staff. Immediately before that note (fis), enter \voiceOne for that voice. Now at the beginning of that measure (12) enter \voiceTwo for voice three, since it will now need downstems to accommodate its new neighbor from above. Then at the beginning of measure 13, enter \oneVoice for voice one, since it has the rh staff to itself. Hope this helps. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Moving objects using wrong extent --- a question, valid solution needed!
Dmytro O. Redchuk wrote:
I've found that it's possible to move objects (scripts,
dynamics..) with wrong Y-extent so that they start to overlay
other objects --- specifying Y-extent like #'(1 . -1) or like
that
[ ... ]
So, now i have a lot of questions, specifically:
1. Is it valid way? May this behavior be changed?
2. Which way would be more valid?
As documented in the IR, The default height of a hairpin is 0.
staff-spaces, so if you want the hairpin to make only enough space
for itself with no extra padding, you could do:
\override DynamicLineSpanner #'Y-extent #'(-0. . 0.)
If you want the surrounding items to be placed as if there were no
hairpin, use:
\override DynamicLineSpanner #'Y-extent #'(0 . 0)
Personally, I don't see the benefit in making the lower extent
higher than the upper extent. I think it makes things needlessly
confusing, and I don't think it was designed to be used that way.
Anyway, once you've overridden the DynamicLineSpanner, then you
can adjust the #'Y-offset, though I'd suggest overriding the
#'Y-offset for the Hairpin grob instead of the DynamicLineSpanner:
\override DynamicLineSpanner #'Y-extent = #'(0 . 0)
\override Hairpin #'Y-offset = #0.
So setting the Hairpin grob's #'Y-offset to its height value
(0.) centers the tip on the bottom staff-line. Adding 1 to
the Y-offset moves it up another line.
If you want to be really fancy, you could write a music function
to do all the work for you:
setHairpinPosition =
#(define-music-function
(parser location staff-position)
(number?)
#{
\once \override DynamicLineSpanner #'Y-extent = #'(0 . 0)
\once \override Hairpin #'Y-offset =
#(lambda (hairpin-grob)
(let ((hairpin-height
(ly:grob-property hairpin-grob 'height)))
(+ 2 hairpin-height (/ $staff-position 2
#})
Then you can just do:
\setHairpinPosition #0
to put the hairpin tip on the middle line. The music function
here interprets the numeric argument as a staff-position (ie.,
bottom line = -4, middle line = 0, top line = 4).
I also recommend using \once (as I've done in the above music
function). Things get really confusing when an override is still
in effect from 4 pages ago.
Okay, so the only problem with all of this is that by overriding
the DynamicLineSpanner #'Y-extent, you not only affect the Hairpin
grobs, but unfortunately also the DynamicText grobs, and off the
top of my head, I don't see a trivial way around this. This means
that if you do:
\setHairpinPosition #0 c4\f\ c c c\!
...then the f dynamic will be open to collisions, such as with
the staff itself. But maybe that won't be an issue with your
current project? I don't know.
By the way, if you want the hairpin outside the staff, you'll
probably want to set the DynamicLineSpanner's #'Y-extent to
something other than #'(0 . 0).
Well, hopefully this points you in a better direction at least.
It's a bad idea to get in the habit of abusing syntax.
Hope this helps.
- Mark
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Re: \autochange and rests
Peter Chubb wrote: how can I get \autochange to fill in the gaps in the staves with rests? Off the top of my head, I don't know of an easy way to do this. For what it's worth, elementary piano books almost always omit such rests when the texture is monophonic. But if you really want them, I think you need to enter them explicitly in separate staves. Such a feature shouldn't be impossible to implement though, and it would be a nice one to have. Maybe someone here will come up with something. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
polyphonic tuplets + accidentals = spacing mess
The accidentals in polyphonic tuplets are disrupting the
horizontal spacing here. In the example file that follows, I
wanted the notes of the second line to be typeset with the spacing
found in the first line. I tried *everything*, and humorously,
things only got further and further from the desired spacing. Now
I'm deferring to the wise sages here.
How can this be solved?
- Mark
* * * * * * * * * *
\version 2.13.22
\paper {
indent = #0
ragged-right = ##f
}
\markup desired spacing:
\relative d'' {
{ d4 d d2 }
\\
{ g,4 \times 4/7 { g16 g g g fis g g } g2 }
|
b1 | b1 | b1 |
}
music = \relative d'' {
{ d4 d8 ees d2 }
\\
{ g,4 \times 4/7 { g16 g g g fis g g } g2 }
|
b1 | b1 | b1 |
}
\markup adding an E-flat 8th note disrupts the spacing:
{ \music }
\markup with strict-note-spacing:
{
\override Score.SpacingSpanner #'strict-note-spacing = ##t
\music
}
\markup with uniform-stretching:
{
\override Score.SpacingSpanner #'uniform-stretching = ##t
\music
}
\markup with strict-note-spacing and uniform-stretching:
{
\override Score.SpacingSpanner #'strict-note-spacing = ##t
\override Score.SpacingSpanner #'uniform-stretching = ##t
\music
}
\markup with uniform-stretching and base-shortest-duration=(1/4):
{
\override Score.SpacingSpanner #'uniform-stretching = ##t
\override Score.SpacingSpanner #'base-shortest-duration =
#(ly:make-moment 1 4)
\music
}
\markup with uniform-stretching and \\newSpacingSection's:
\relative d'' {
\override Score.SpacingSpanner #'uniform-stretching = ##t
{ d4
\newSpacingSection
d8 ees
\newSpacingSection
d2 }
\\
{ g,4 \times 4/7 { g16 g g g fis g g } g2 }
|
b1 | b1 | b1 |
}
\markup with uniform-stretching and proportionalNotationDuration:
\relative d'' {
\override Score.SpacingSpanner #'uniform-stretching = ##t
{ d4
\set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
d8 ees
\unset Score.proportionalNotationDuration
d2 }
\\
{ g,4 \times 4/7 { g16 g g g fis g g } g2 }
|
b1 | b1 | b1 |
}
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Re: Arpeggio
Xavier Scheuer wrote: 2010/5/14 James Lowe james.l...@datacore.com: http://lsr.dsi.unimi.it/LSR/Search?q=arpeggio do any of these help? This one should be the right one: http://lsr.dsi.unimi.it/LSR/Item?id=294 I think it's preferable to refer users to the manual instead of the LSR, whenever possible. The snippet in question is already in the NR, with improved formatting: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Lines#Arpeggio - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting width of markup in a music function
Nathan Reed wrote: I'd like to be able to compute the width of a markup inside a music function, so that I can size another element based on the size of the markup. Can we see some code? What is the music-function for? - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental not properly notated in score
Patrick Karl wrote: Can anyone explain why the 2nd d-sharp is not notated in the music in the following snippet: [...] I understand that I could get it notated properly by writing it as dis!, but that would require that I notice the need. Remove the \partial 4 that you have inside the \repeat block. This is mentioned in the known issues at the end of the Upbeats section in the Notation Reference: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-rhythms#Upbeats - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Percussion Setups for Contemporary Music Practice
Bernardo Barros wrote: 1. Yes, pictogram symbols for percussion would be *very* useful!! That's something I would help if I had the knowledge. Are you doing with Postscript? I'll reply to this separately when I have some time. 2. I was trying to make everything in the same Staff because I though that would be much more trouble to make things work with 5 or 6 different staffs. Hum... do you think I should go for different Staffs and try to make the crossing of staffs automatic? Now I don't know which strategy to choose. The biggest advantage to using a separate staff for each instrument is that you can change the score order of the final product. So if your percussionist says it would be a lot easier to read if the woodblock and bass-drum lines were next to each other, it shouldn't be too much trouble for you to reorganize the final Score block at the end of your file. If you use a single staff, and you decide halfway through that you want to switch lines 3 and 4 out of 6, how will you do that? From your posts so far, you seem willing to experiment with advanced constructs, and LilyPond's capacity for automating things is rather robust. If you're not under time pressure to produce your score, it might be fun to get your hands dirty, so to speak. On the other hand, if your score order is inflexible and you know you'll never change it, and you need to print this piece sooner than later, you could design an instrumentName markup that lines up perfectly with the staff lines you've laid out. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Centered Stem WAS: Upward stems left to the notehead
Bernardo Barros wrote: Sometimes I think that a centralized stem would express more precisely the time-point a note occupies. So the stem is positioned in the center of the notehead. Is there a easy way to test this? Have you tried \override NoteHead #'stem-attachment = #'(0 . 0) ? - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Percussion Setups for Contemporary Music Practice
Bernardo Barros wrote: I can't do this, I guess. But is there another way to change the number of staff lines from one measure to another? Keep your overrides, just add this before each new one: \stopStaff \startStaff - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Percussion Setups for Contemporary Music Practice
Bernardo Barros wrote: 1. How can I indicate with precision in the score itself where is the location of each instrument? Perhaps with post-editing in Illustrator with arrow? Must be a more elegant solution. Perhaps a more semantic solution would be to use a different Staff (or RhythmicStaff) for each instrument, then you could set each Staff.instrumentName individually to a markup.* But that might introduce a different bag of headaches with staff switches, etc. You'd also have to get all your vertical layout options set pretty strictly. I don't imagine that being trivial, but perhaps there are some tricks I don't know. *For a while now, I've been fiddling (off and on) with a patch that would make it easier to draw your own pictograms, which would help out a lot in this situation. Hmm, maybe I should try to find time to look at that again 2. How can I change this configuration in the middle of a piece? Let's say in page 10 I want a completely different setup starting in the middle of the page or wherever is the setup change in the score. My advice: DON'T DO IT. Percussion scores are confusing enough as it is. I challenge you to find a percussionist who doesn't prefer the score order to be consistent. Do you own a copy of Music Notation in the Twentieth Century by Kurt Stone? It's indispensible. On p.216, he states very clearly: There is, however, one principle which should never be ignored: No matter which kind of notation and score order has been chosen, it must be adhered to throughout a given composition or movement. The footnote that follows directs the reader to the Handbook of Percussion Instruments by Peinkofer and Tannigel, which contains an exceptionally comprehensive sampling of percussion notation and score setups. 3. is there an easy way to determine which note is correspondent to what instrument? Maybe a fancy function will do that? I suggest using pictograms following Stone's example. I'll try to look at my pictogram code again. Honestly, if someone wants to support this, that might motivate me to budget more time for it. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Harmonica tablature
shelt...@berkeley.edu wrote:
I am new to Lilypond. Could you give me a brief
description of what the various parts of your code are
doing?
It would be hard to explain it if you've not yet seen how
music is stored in pure scheme. You'll need to use the
\displayMusic function to see what I'm talking about.
Below are two scores: one without, and one with the
\harmonicaTab music-function. Add these to the bottom of
the file in my last post. I've prepended \displayMusic
to both of them so you can see the difference in the two
scheme expressions. Look at the console output to see what
needs to be added for the numbers to appear as they do.
Then look back at the code from the file and see how much
you can figure out. Then let me know what you still don't
understand.
- Mark
* * * * * * * * * * *
\displayMusic \relative c' {
c d f
}
\displayMusic \relative c' \harmonicaTab {
c d f
}
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Re: Harmonica tablature
bradford powell wrote:
I've attached an iteration with unicode arrows to indicate
breath direction (blow or draw) and holes for a standard
C-tuning diatonic harmonica.
Veey nice work!
The other issue that I'm not happy about is how ties are
handled. Ideally a tab marking would not be present when
a there is not a new note being sounded. Alternatively, I
guess tie events could be captured and some notation made
in the tab line.
That's something to decide before too long. Is there no
standard notation for this? Here's a situation to consider;
how should this be notated?
\harmonicaTab \relative c' { c~ c~ e~ c e g }
- Mark
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Re: Harmonica tablature
shelt...@berkeley.edu wrote:
I would like to develop some harmonica tablature using
Lilypond. What I need is to put a one or two digit number
above (possibly below instead) each note in the standard
notation. I would like to have this happen automatically -
ie whenever I enter a note in the usual manner the one or
two digit number would appear as a tablature. Any
suggestions on how I might accomplish this?
How are the numbers determined according to the notes?
Since you didn't mention that, I just used the
ly:pitch-notename value for each note. I'm sure this
isn't what you want, but this should at least give you an
idea of a reasonable approach.
Hope this helps.
- Mark
\version 2.13.19
#(define (NoteEvent? music)
(equal? (ly:music-property music 'name) 'NoteEvent))
#(define (EventChord? music)
(equal? (ly:music-property music 'name) 'EventChord))
#(define (get-notename NoteEvent)
(ly:pitch-notename (ly:music-property NoteEvent 'pitch)))
#(define (make-textscript dir txt)
(make-music 'TextScriptEvent
'direction dir
'text txt))
#(define (make-tab-number NoteEvent)
(make-textscript
UP
(number-string (get-notename NoteEvent
#(define (make-tab-numbers EventChord)
(let ((elts (ly:music-property EventChord 'elements)))
(map make-tab-number (filter NoteEvent? elts
#(define (add-tab-numbers music)
(if (EventChord? music)
(set! (ly:music-property music 'elements)
(append (ly:music-property music 'elements)
(make-tab-numbers music
music)
harmonicaTab =
#(define-music-function
(parser location music)
(ly:music?)
(music-map add-tab-numbers music))
\relative c' \harmonicaTab {
c d c e d f
}
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Re: \musicglyph
Bernardo Barros wrote: I don't know, I tried yesterday. The contents could have musicglyph expressions or something like that? Feta font was not obvious to me, but I was sleepy. :-) It's all about the index... (: - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind Fingerings
Bernardo Barros wrote:
Like this?
c'^\markup \woodfing
#'(#t #t #f #t #t #t g# D##
(markup (#:natural)))
(doesn't work here)
Just make the markup(s) separate arguments (not part of
the scheme list). See the attachment.
- Mark
\version 2.13.18
#(define-markup-command
(woodfing layout props fingers accidental)
(list? markup?)
Woodwind fingerings.
(interpret-markup layout props
(markup
#:line
(#:override '(baseline-skip . 1.5)
(#:halign 1
(#:column
(#:line (#:simple
#:override '(font-size . -3)
accidental)
#:simple
#:simple
#:line (#:override '(font-size . -2)
(seventh fingers)
#:override '(baseline-skip . 1.5)
(#:column
(#:draw-circle 0.5 0.1 (first fingers)
#:draw-circle 0.5 0.1 (second fingers)
#:draw-circle 0.5 0.1 (third fingers)
#:draw-circle 0.5 0.1 (fourth fingers)
#:draw-circle 0.5 0.1 (fifth fingers)
#:draw-circle 0.5 0.1 (sixth fingers)
#:override '(font-size . -2) (eighth fingers)))
{
c'^\markup \woodfing #'(#t #t #f #t #t #t g# D#)
\natural
}
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Re: A reminder maybe?
David Raleigh Arnold wrote: I hope I didn't miss this, but has the automatic further shortening of downward stems on very low notes and of upward stems on very high notes been implemented? (There was discussion of this back in the Cretaceous.) There is some recent discussion on this topic here: http://lists.gnu.org/archive/html/lilypond-devel/2010-04/msg00085.html - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind Fingerings
Bernardo Barros wrote: Can I use a boolean as an argument? The solution I got is this. I would need a Boolean, but the manual says I can't use it. You should be able to use a boolean type-check in a music function. You should be able to use any type-check that appears in type-p-name-alist in scm/lily.scm: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob;f=scm/lily.scm#l421 (the documentation should be updated to mention this) - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind Fingerings
Bernardo Barros wrote: I tried but it didn't work. Did I made a mistake here? fing = #(define-music-function [...] Yes, the problem is that (if I understand correctly) you can't use a music function to define a markup command; you need to use a markup function: http://lilypond.org/doc/v2.13/Documentation/extending/markup-functions Let me know if anything in the documentation there is confusing. Sorry if this is not the answer you wanted! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind Fingerings
Bernardo Barros wrote: Thanks guys, thank you very much. Just one thing to make it perfect. I did with the 6 holes and 2 strings for the extra keys. But I can't do it for the natural sign. the (#:natural) in the code How can I pass this information. It isn't a string, right? It should be a markup, I think. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A reminder maybe?
David Raleigh Arnold wrote: It's a similar topic, but not the same topic. Many engravers further shortened stems on the very lowest and highest opposed notes not on the staff. To fit more systems on the page, one presumes. They can be barely a linespace long. The shortening of opposed stems now has been optimum in the midrange for a long time, IMO. A command with a minimum stem length could turn it on. The stems of successive adjacent notes would each be made longer to where the regular (already shortened) length was reached. Without specified high/low pitches it could be implemented according to the range of the music in the system. Regards, daveA Are your scheme skills decent? You could probably achieve most of the functionality you describe by playing around with the callback I attached to this post: http://lists.gnu.org/archive/html/lilypond-devel/2010-04/msg00152.html What I don't know how to do is how to detect the range of music in the current system, so that part of it might require some more advanced coding. But even without that, you could still fashion a useful solution entirely in scheme. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\mergeDifferentlyHeadedOn + \change Staff ?
In the example below, how do I get the second half-note to merge?
- Mark
\version 2.13.18
\new PianoStaff
\new Staff = upper {
{
\mergeDifferentlyHeadedOn
b8 c' d' e'
\change Staff = lower b8
\change Staff = upper c' d' e'
} \\ {
b2 \change Staff = lower b
}
}
\new Staff = lower {
\clef bass s1
}
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Re: \mergeDifferentlyHeadedOn + \change Staff ?
Mats Bengtsson wrote: or use \mergeDifferentlyHeadedOn in both staves. Thanks Mats! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: more than 2 voices using partcombine
Eby Mani wrote: If i put OrganLHTwo on \voiceThree and the remaining on \voiceOne \voiceTwo , everything seems fine, but get messed up when \voiceOne and \voiceThree share homophonic sections. It looks like the partcombine function defaults to using voiceOne and voiceTwo. I think that it shouldn't be too hard to add two new functions: partcombineUp (voiceOne + voiceThree) partcombineDown (voiceTwo + voiceFour) This would be the ideal solution. I'll ask on the developer list. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: more than 2 voices using partcombine
Eby Mani wrote:
Is it possible to combine morethan 2 voices using
\partcombine ?. Did anyone re-write this ?
I have need to combine 3 voices to a single staff, I've
tried
Don't use \partcombine. Use the funneling two different
music expressions into one context trick (see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-contexts).
Note the ... instead of { ... }. Don't know why
the Pedals context didn't work for you. In the future
post a file that compiles! I had to populate the contexts
with notes anyway to test the problem.
- Mark
* * * * * * * * * *
\version 2.12.3
global = { \time 3/4 }
OrganRHOne = { g'2 }
OrganRHTwo = { e'2 }
OrganLHOne = { c'2 }
OrganLHTwo = { g2 }
OrganLHThree = { c2 }
\new PianoStaff
\context Staff = upper
\context Voice = OrganRHi
\global
\voiceOne
\OrganRHOne
\context Voice = OrganRHii
\global
\voiceTwo
\OrganRHTwo
\context Staff = lower
\clef bass
\context Voice = OrganLHi
\global
\voiceOne
\OrganLHOne
\OrganLHTwo
\context Voice = Pedals
\global
\voiceTwo
\OrganLHThree
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Re: more than 2 voices using partcombine
Mark Polesky wrote: Don't use \partcombine. Uh, sorry. I spoke too soon. My solution will only work for entirely homophonic music. Perhaps that's what you have, but a proper solution would allow different rhythms simultaneously. I'll think about it. But if anyone else sees a solution, feel free to chime in. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: more than 2 voices using partcombine
One thing you could do is split up the parts to be combined
into homophonic and polyphonic sections. Depending on the
situation, this may be more work than it's worth, but here's
an example below.
Hope this helps.
- Mark
* * * * * * * * * *
\version 2.12.3
global = { \time 3/4 }
OrganRHOne = { g'2. g' }
OrganRHTwo = { e'2. e'}
OrganLHThree = { c2. c }
% polyphonic part
OrganLHOneA = { c'2. }
OrganLHTwoA = { g4 g g }
% homophonic part
OrganLHOneB = { c'4 c' c' }
OrganLHTwoB = { g4 g g }
\new PianoStaff
\context Staff = upper
\context Voice = OrganRHi {
\global
\voiceOne
\OrganRHOne
}
\context Voice = OrganRHii {
\global
\voiceTwo
\OrganRHTwo
}
\context Staff = lower
\clef bass
{ % start upstems
% polyphonic part
\context Voice = OrganLHi {
\global
\voiceOne
\OrganLHOneA
}
\context Voice = OrganLHii {
\global
\voiceThree
\OrganLHTwoA
}
% homophonic part
\context Voice = OrganLHi
\voiceOne
\OrganLHOneB
\OrganLHTwoB
} % end upstems
\context Voice = Pedals {
\global
\voiceTwo
\OrganLHThree
}
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Re: seeking harp notation/markup snippets and macros
Kieren MacMillan wrote: Hi all, Just wondering if anyone has done any markup macros for harp notation -- in particular, TextSpanners with graphical markup for things like rapid glissandi, etc. Couldn't find anything in the LSR or elsewhere online, and I don't want to reinvent the wheel if I don't have to. Kieren, A while ago I started a module of sorts for adding pictograms to LilyPond. I've started with percussion pictograms, but certainly the harp pictograms could use the same code. The only problem is that it's a big complicated project (because I want it to be easy and flexible), and I've not had a lot of time to work on it. As it stands, I've not incorporated Spanners specifically, so maybe there wouldn't be too much overlap with your work. I've been reluctant to post anything because it's kind of a big mess at the moment, with a lot of ideas going around. But someone else mentioned something similar recently, so I'd like to post something soon-ish... but I can't say exactly when. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Blotch in d
Graham, Your file produces *no* blotches for me with this setup: Ubuntu 9.10 LilyPond 2.12.3 evince (GNOME Document Viewer) 2.28.1 What is your setup? Does the blotch appear on paper when you print it out? Are you using any included files or have you altered the default command line options? It looks like a problem with the postscript renderer, possibly being a confusion between the Nonzero-rule and Even-odd rule. I've CC'd this to some of our font guys (Werner, Patrick, and Marc) since they might have a better understanding of this stuff. Hopefully we'll be able to sort it out soon... It certainly doesn't look good! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Blotch in d
GJO wrote: I downloaded 2.12.3 Lilypond today as I thought it may have been 2.11 version causing this problem but I still get black marks in the letter d with the version 2.12.3. http://old.nabble.com/file/p27663079/Blotch%2Bin%2BD.jpeg Can you post a minimal .ly file demonstrating this? - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transposing and changePitch
Stefan Thomas wrote:
Dear community,
in the below quoted snippet the change-Pitch-command does
not work as expected. It doesn't produce the second pitch
one octave higher!
\version 2.12.2
\include changePitch.ly
brokenoctaves = #(define-music-function (parser
location x) (ly:music?)
#{
$x \transpose c c' $x
#})
test = { \brokenoctaves c8 }
\new Staff { \changePitch \test { c' } }
Stefan,
Please reference any non-source-code macros/files/etc. when
starting a new thread. Readers unfamiliar with the topic
are forced to search for what you mean. This uses up time
that could be spent studying/answering the question, and the
reader may easily find the wrong thing. For example, which
of these 3 are you referring to?
http://lsr.dsi.unimi.it/LSR/Item?id=487
http://lsr.dsi.unimi.it/LSR/Item?id=654
http://gillesth.free.fr/Lilypond/changePitch/
- Mark
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Re: Does the lovely Introduction to the 2.12 LM exist in 2.13?
Andrew Hawryluk wrote: Yes, it has all been retained (and expanded) in the new essay, but only the PDF version is very pretty right now. Andrew, does that mean automated-engraving.itexi and automated-engraving/* can be removed from the source? We should clean that up once we're finished with it. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding curves and microtones
Stefan Thomas wrote: What do the two pairs of numbers: \hideCurvesFrom #'Voice.Accidental #'(0.3 . 0.003) #'(0 . 0) ? I changed them, but I couldn't see a significant difference and I don't understand the function of it. A hint would be great. Stefan, the original \hideCurvesFrom is here: http://lsr.dsi.unimi.it/LSR/Snippet?id=613 If you're interested, you can look at the example section at the bottom of that file. The numbers represent the padding around the object. I think the units are staff-spaces. When all four numbers are 0, the curves can touch the object but not go through it. If all four numbers are 1, then there's a padding of 1 staff-space on all sides of the object: #'(left . right) #'(bottom . top) Different values work better in different situations. Hope this helps. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding curves and microtones
Stefan Thomas wrote: Dear community, in the following snippet I have the problem, that the \hideCurvesFrom -command doesn't work well with a microtonal accidental. Is there a solution possible for this problem? Try \hideCurvesFrom #'Voice.Accidental instead of \hideCurvesFrom #'Staff.Accidental - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Contemporary music documentation
Joseph Wakeling wrote: (i) Would people be interested in having this in the docs? (ii) Any requests or suggestions for topics that should be covered? (iii) What are the restrictions on including examples from actual contemporary scores? I'm not thinking huge extracts, but maybe a couple of bars from a known work just to illustrate how a particular thing can be achieved. (iv) Anyone interested in helping out with this? I've already done a ton of work on keyboard tone-clusters and percussion pictograms, but my Windows hard drive tragically fried last week, and I won't be able to do any LilyPond work until next Wednesday at the earliest, and that's when my work starts up again, so I may be delayed quite a bit. If you're willing to wait several weeks for me to get my act together, I'm happy to help out as time permits. This is of course in addition to all the other stuff I was helping out with before I lost the hard drive (code cleanup, doc fixes, GLISS stuff, parser documentation, fixing autochange, auto clefs, smart arpeggios), all of which will now be seriously delayed. Ugh. Well at the very least, don't waste your energy on clusters or pictograms. Maybe I can have a proof of concept for one or both some time before October. And in case you're worried, I did back up most of my work, but some of it I'll have to re-do. Oh well. Hope everyone's well though! - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
