Horizontal movement of SustainPedal
\version 2.8.4 Mac 10.39 I am trying without success to move the sustain pedal marking horizontally. Shouldn't this be doing it? \once\override SustainPedal #'extra-offset = #'(-3.0 . 0.0) or \once\override Staff.SustainPedal #'extra-offset = #'(-3.0 . 0.0) I see reference to this working: \override Staff.PianoPedalBracket #'extra-offset = #'(2 . -2), but I am not getting it to work. I'm trying to move the symbol, not the bracket, anyway. I've also tried without success: \override SustainPedalLineSpanner #'padding = 1 and \once \override Staff.SustainPedal #'self-alignment-X = 1 Thanks for your help, Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
I know this doesn't help, but I have had the same problems trying to
get LP to work with Mac TeXShop. I have read the manual over and over,
searched other sites, and tried everything I can think of. But I must
be missing something because I haven't been able to get it to work,
either. So, I am very curious about the solution. I'm glad you asked
the question.
Michael
On Sep 16, 2006, at 6:38 AM, Peter O'Doherty wrote:
I have been using lilypond for some time now, much to my satisfaction
and without problems.
Recently, I have also started using LaTex (on TeXShop) and have been
trying to use lilypond-book, without succes.
My problem is really a beginner's one I guess as my experience with
LaTex is limited.
If I use the example given here:
http://lilypond.org/doc/v2.6/Documentation/user/lilypond/An-example-
of-a-musicological-document.html#An-example-of-a-musicological-
document
and simply paste the following into an new empty LaTex document
\documentclass[a4paper]{article}
\usepackage{graphics}
\begin{document}
Documents for @command{lilypond-book} may freely mix music and
text.
For example,
\begin{lilypond}
\relative c' {
c2 g'2 \times 2/3 { f8 e d } c'2 g4
}
\end{lilypond}
Options are put in brackets.
\begin[fragment,quote,staffsize=26,verbatim]{lilypond}
c'4 f16
\end{lilypond}
\end{document}
and click Typeset LaTex, I get the following error:
--
This is pdfeTeX, Version 3.141592-1.30.4-2.2 (Web2C 7.5.5)
\write18 enabled.
entering extended mode
(./Untitled-2.tex
LaTeX2e 2003/12/01
Babel v3.8d and hyphenation patterns for american, french, german,
ngerman, d
utch, italian, norsk, portuges, spanish, swedish, nohyphenation,
loaded.
(/usr/local/teTeX/share/texmf.tetex/tex/latex/base/article.cls
Document Class: article 2004/02/16 v1.4f Standard LaTeX document class
(/usr/local/teTeX/share/texmf.tetex/tex/latex/base/size10.clo))
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/graphics.sty
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/trig.sty)
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/graphics.cfg)
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/pdftex.def))
(./Untitled-2.aux)
(/usr/local/teTeX/share/texmf.tetex/tex/context/base/supp-pdf.tex
! Undefined control sequence.
l.9 \relative
c' {
? loading : Context Support Macros / PDF (2004.03.26)
)
! LaTeX Error: Environment lilypond undefined.
See the LaTeX manual or LaTeX Companion for explanation.
Type H return for immediate help.
...
l.8 \begin{lilypond}
?
--
Therefore, it's telling me that the lilypond environment is
undefined. Can someone help me here?
Secondly, I happend upon Nicola Vitacolonna's site where she provided
the following information:
Lilypond is a very good music notation software, which can also be
used with LaTeX. Put Lilypond.engine, Lilypond-LaTeX.engine and
convert-ly.engine into your Library/TeXShop/Engines folder to run
lilypond, lilypond-book and convert-ly, respectively, within TeXShop
(you need to remove the .txt suffix, to make the scripts executable
and to customize the LILYPONDFOLDER variable in the above files to
match your Lilypond installation path). Unfortunately,
pointing-and-clicking on a note will open your source file in the
Lilypond application (point-and-click is not compatible with TeXShop).
However, this does not work, as I get the error:
/Users/peter/Library/TeXShop/Engines/Lilypond-LaTeX.engine does not
have the executable bit set.
Does anyone have experience with the method?
Many thanks,
Peter
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Shortening ties
I have been attempting to get ties to stop short of the final notehead, but have been unsuccessful after several days of trying. So I now have to ask for help. I am attempting to get the ties of a chord to stop well short of the second note. Logic dictates, to me at least, that one of these should work: \once\override Tie #'X-extent = #'(-10 . -10) b,, b,,, 4--~ \once\override Staff.Tie #'X-extent = #'(-10 . -10) b,, b,,, 4--~ \once\override Voice.Tie #'X-extent = #'(-10 . -10) b,, b,,, 4--~ But they don't. I am not getting error messages, but the ties are not moving, either. Thanks for any help you can provide. Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shortening ties
Mats Bengtsson wrote: Try \override Tie #'details #'note-head-gap = #2.0 This worked! \override Tie #'details #'note-head-gap = #13.0 b,, b,,, 4--~ s4. a,,8\rest b,, b,,, } } If I'm not mistaken, #'X-extent represents the horizontal space APPARENTLY taken up by an object, not the actual width of the object. It's more like a padding value than a size value. . . . \once \override NoteColumn #'X-extent = #'(0 . 20) c ... However, it's important to realise that I haven't changed the physical (visual) width of the object itself -- I've only made Lilypond THINK the note is wider than it actually is, and therefore Lilypond leaves more room (padding) around it. Make sense? Best regards, Kieren. This makes perfect sense. Interestingly, when a tie is added, the tie is unaffected. It just gets longer to accommodate the extra space. So NoteColumn seems to affect only the space between noteheads, and not the space between the notehead and other objects such as a tie. Perhaps this means that TieColumn or Voice.TieColumn would affect the padding between ties, not between ties and the notehead. But I'm guessing. [From Stuart} Is that of any use? You can use LaissezVibrerTieColumn #'X-extent to lengthen them to your desired length. For some reason, perhaps the reason above, I was not able to tap into this with either: \override LaissezVibrerTieColumn #'extra-Y-extent = #'(5.0 . 3.0) b,, b,,, 4--\laissezVibrer or \override Voice.LaissezVibrerTieColumn #'extra-Y-extent = #'(5.0 . 3.0) b,, b,,, 4--\laissezVibrer I have a note that somehow I managed a while back to increase the vertical padding of the LV tie, but not the horizontal padding. (Unfortunately, this isn't documented. To find this setting, I had to look into the source code. ) /Mats I really appreciate your time and efforts. We all do. Just letting you know that I am trying very hard to figure things out on my own. For anyone interested, the excerpt in question was from Debussy: Ce qu'a vu le vent d'Ouest. Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Markup text through transparent barline
\version 2.8.4 Is there a way to write a text markup that causes part of the barline to be transparent? I am attempting to put a word in the center of a piano staff, in the middle of a right-handed repeat barline, such that the word shows through, and only that part of the barline becomes transparent. I have tried using \override BarLine #'transparent = ##t in a lot of different ways, but so far haven't gotten it to do what I am seeking. Thanks again ahead of time for your help. Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup text through transparent barline
It works! And quite well! Thank you.
Now I have to ask: How did you learn this one? I haven't seen it
documented or in the archives. :)
Michael
On Aug 13, 2006, at 9:34 PM, Kieren MacMillan wrote:
\version 2.9.14
stuff = \relative
{
\override TextScript #'extra-offset = #'(0 . -2)
c'2^\markup { test }
c2^\markup { \whiteout test }
c2^\markup { \whiteout test }
}
\score
{
\stuff
}
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Re: pasting lilypond output into a Word document
If I'm not mistaken, I believe that Word, while accepting Postscript information into a file, then translates all graphics information into BitMap before printing. I'm not sure about Publisher, but I'm guessing it does print in PS. So you might try it. Or try combining the files into an Acrobat file if you have Acrobat. Michael On Aug 9, 2006, at 5:48 PM, Jon Wild wrote: I'm in a Windows environment at the moment, and I'm adding music examples rendered by Lilypond to a Word document. I'm getting quite low printout quality. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fingerings for piano chords with slurs
\version 2.8.4 mac 10.3.9 I see in the archives that there has been a lot of discussion about the placement of fingerings. But I didn't see a solution for what I am trying to do. I was wondering if anyone had found a solution. I need to put the fingerings for all notes of the chord, above the staff, and inside the slur, stacked in a neat row. The problem, as is documented in the archives, is that, when a slur is involved, LP puts one or both of the fingerings way up. And the numbers can be quite far from one another, instead of stacked in a row like I need them. In trying to move the placement with something like \once \override Fingering #'extra-offset = #'(0.0 . -5.5) or \once \override Voice.Fingering #'padding =#3 the fingerings of the chord move together instead of separately, exasperating the problem. There does not seem to be a way of adjusting them individually. The wide distance between the numbers remains. Padding will not accept a negative number, which is what I would need. When fingerings are added below the note, padding still increases the distance from the notehead. There doesn't seem to be a way of decreasing the distance. I tried using \markup, but without success. There is reference in the archives to \rows, though no reference in the manual. That might solve my problem. But I couldn't find a syntax that worked. The only other solution I can think of is to enter fingerings as Lyrics, entered as verses so I get rows, change the font, and put the lyrics above the staff. But if I'm not mistaken, this will also put the fingerings outside the slurs instead of inside. So, I was hoping someone had a solution to offer. In case it matters, this is a piano method book written by someone else that I might be asked to typeset. So fingering placement would be vital. Thanks, Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: triangle chord notation
Here is how I understand it: Jazz/pop chord symbols are to be
considered literal. That means, the key signature is Not Ever to be
considered. A 6 is always a major sixth. A seventh is always a minor
seventh. A 9 is always a major ninth. An 11 is always a P11, and a 13
is always a major 13.
When alterations are made, the literal accidental should be used. But .
. .
But, at least in usage, this is where the system breaks down.
Sometimes, # means raised, b means lowered, from the conventions listed
above. Figuring out which is which, is usually a matter of common
sense. Though, I have run across a few that have not been clear.
Consider the following (difficult to typeset in normal text) Ab (b9).
Spelled Ab C Eb Gb Bbb (or A). b9 refers to the fact that the ninth is
not a major ninth, but is lowered from the conventional. The other
possibility is Ab {bb9). This is messy, and not appropriate for chord
symbols, which, ironically, are probably designed to simplify matters.
In regards to the Cm#7: I have always seen this written as Cm (maj 7),
making it clear that the 7th is not the conventional minor 7th. The
other possibility is Cm (♮7). However, #7 makes perfect sense when
considered with the convention. It means the seventh is raised from
the conventional. Key signatures don't count when using chord symbols.
I hope this helps :)
Michael
On Aug 8, 2006, at 2:01 PM, Rick Hansen (aka RickH) wrote:
No, the #7 notation is only valid for chords based on the melodic minor
scale. In the USA we would typically call this for example CmM7 in
Europe
they may call it Cm#7 in both cases the note stack is the same c ef g
b.
Speaking it, it's called the minor major seventh chord, check out
the song
When You Wish Upon A Star for an example.
Of course #7 makes no sense at all on major chords, because #7 is the
root!
--
View this message in context:
http://www.nabble.com/triangle-chord-notation-tf2042072.html#a5712889
Sent from the Gnu - Lilypond - User forum at Nabble.com.
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Re: triangle chord notation
We seem to be in agreement except for one concept: The idea of a jazz/pop chord symbol being based on a melodic minor scale, or any other scale for that matter, is irrelevant. There is no way for a person reading the chords to guess what form of minor mode is being invoked. Scores do not say up front: I am in melodic minor. And, it would defeat the purpose of the system anyway, that being, to be simple and practical. Those who play chord symbols tend to know some basic concepts. They can play a major chord on any note. They can make any of those chords a dominant 7th chord (E7). They know how to add a sixth as a whole step above the fifth. They know how to add a second or ninth a whole step above the root . Anything other than this is considered an alteration from those basics. In fact, it isn't even necessary to read the chord symbols very carefully. For instance, if the 6th (or 13th) is altered in any way, it's lowered. If the 7th is altered in any way, it's raised. If the 4th or 11th is altered in any way, it's raised. After the basics, the system used to explain the alterations shouldn't make a difference. After all, the alterations from these basics, can only go one direction. Jazz/Pop chord symbol readers simply know these things without thinking. As theorists, we are capable of figuring out and explaining why these alterations are the way they are. The chord reader, however, does not need to care about the key or type of minor scale. I still maintain that neither the concept of key or mode matters when reading jazz/pop chord symbols. There exists the basic chords, with 7th always referring to a dominant 7th, the standard additions of the major ninth, perfect fourth, major sixth; and then everything else is an alteration of one of those, with any alteration being only capable of going one common-sense direction. Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
LaTex and LP (undefined environment)
I am attempting to write a file in TexShop 1.43 that includes Lilypond
code. But I keep getting the error message:
! LaTeX Error: Environment LilyPond undefined.
Here are some things I've tried:
Cut and pasted directly from the LP manual.
Have tried spelling LP as LilyPond, lilypond, Lilypond, LilyPond.app,
etc.
Have used the entire path to the application, such as:
/Users/michaelm/Desktop/LilyPondFolder/LilyPond.app.
Made sure that the the TexShop file I was creating was in the the same
folder as the Lilypond application.
Have tried adding: \usepackage {lilypond}
Have tried adding to the preamble: \newenvironment (lilypond).
Have checked the archives.
I still get the same error message.
Any ideas what I'm doing wrong?
Here is an example from TexShop:
\documentclass[a4paper]{article}
\begin{document}
Documents for @command{lilypond-book} may freely mix music and text.
For example,
\begin{LilyPond }
\relative c' {
c2 g'2 \times 2/3 { f8 e d } c'2 g4
}
\end{lilypond}
Options are put in brackets.
\begin[fragment,quote,staffsize=26,verbatim] {lilypond}
c'4 f16
\end{lilypond}
\end {document}
I am hoping eventually to create tests and handouts using TexShop with
Lilypond.
Thanks for your help.
Michael
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Lyrics and centering
I am having a problem with the centering of lyrics, for which I was hoping to get some help. I cannot get the words to center underneath the proper note when a tie is involved. For instance, if a note is tied, the word is centering underneath the Two notes, and not underneath only the first note of the tie, as it should. I've tried both \set ignoreMelismata = ##t and \set melismaBusyProperties = #'(), but to no effect. I am also getting the word not centered on the first beat of the second measure, where the first beat is part a slur. One question in particular: Is it absolutely necessary use Lyricsto instead of the other lyric modes in order to get the centering I am trying to get? So far, I haven't found any examples of this. Thanks again for your help. This has certainly been the nicest user group I can remember being a part of :) That helps! Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics and centering
In regards to lyric placement, you now have me highly intrigued. So I surveyed a number of sources. Sorry about the length. G Schirmer/AMP Manual of Style and Usage (pages 88 - 89) There is no discussion of this topic. However, in most of the examples, the first note of a measure is aligned with the word such that the approximately the second letter of the word is directly underneath the note-head. This seems to be regardless of the presence of a slur or tie. This also includes a hyphenation that starts a measure; the hyphen precedes the first letter, as it would be two spaces to the left of the note-head. For all other notes, except those involving hyphens or extensions, the word is centered underneath the note-head. In the case of hyphenated words, page 82 shows an example where each part of the word except the first is aligned flush left. But, the example on page 89 shows the last word of the hyphen as centered. I'm not sure if there is a convention here, or it is just made to fit. I did not find an example of an extension that did not involve the beginning of a measure. In the case of ties, the word is not centered under the two notes; it is aligned only with the first note of the tie. Gardner Read (pages 287 - 299) There is no discussion of this topic. However, in every example except 17-8, the first word of a measure is centered underneath the note-head. It looks to me like the first note of the measures have been moved to the right to accommodate the centering of the word. In the case of hyphens, the words are still centered. In the case of extensions, some examples show the first word centered, and some show alignment of the note-head with approximately the second letter (page 292). In the case of ties, the word is not centered under the two notes; it is aligned only with the first note of the tie. FJ Haydn: Creation, Dover reprint from CF Peters edition The usage is inconsistent. The word for the first note of measures sometimes aligns with the first, second, or even third letter of the word. Sometimes, the first word is centered. It just seems to be designed to fit. There are some interesting examples on pages 156 - 157. In the case of hyphens and extensions, again, I am finding no great consistency. In the case of ties: same thing as said earlier: The word is not centered under the two notes; it is aligned only with the first note of the tie. My current issue with LP is that it is centering words underneath both notes of the tie instead of just the first. Thank you for the suggestions on how to fix that. Conclusion: I do not find any great consistencies. However, in a very general way: First words of measures are often aligned with note-heads such that approximately the second letter is aligned with the note-head. Hyphenated words are often aligned in the same way as above, but certainly not always. The first syllables, however, tend to be centered, unless it is the beginning of a measure. The first syllable of melismas are often aligned with note-heads such that approximately the second letter is aligned with the note-head. But, are also often aligned flush left. Words involving tied notes are aligned in some way to only the first note of the tie, and never to both notes of the tie. In regards to the quoted comment: Another help in reading a melisma is the proper alignment of the lyric. The word or syllable, instead of being centered under the note, should be aligned flush left with the left edge of the note-head. The only consistent example of flush left alignment in the Schirmer I can find involves hyphenation (page 82), and not a melisma. Melismas are not aligned flush left here. In the Haydn, the opposite seems to be true. Often the syllable that begins the melisma is aligned flush left, while the second syllable of hyphenated words is aligned to near the second letter. See page 107 for some interesting comparisons between melismas and hyphenated words. Overall, the words are just made to fit and made to be easily read. I do not see how an ideal algorithm could ever be designed to accommodate all this. Congratulations to the programmers of LP for doing so well with this! Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Update on changing header fonts
I wanted to post an update of my attempt at changing the fonts in the
headers, since it might be helpful to other non-programmers like
myself. It's been a real education!
Writing this code into the header part of an LP file, then running it
in LP, produced a long list of fonts that are available to LP:
#(ly:font-config-display-fonts)
Here is a short example of what it looked like:
family AppleGothic
AppleGothic:style=Regular
family Osaka
Osaka:style=Regular-Mono
family Century Schoolbook L
Century Schoolbook L:style=Bold
family Century Schoolbook L
Century Schoolbook L:style=Italic
family Helvetica CY
Helvetica
CY:style=Plain,Simple,Standard,Normale,Standaard,Normal,Texto
com˙n,Almindelig,Texto Normal
Not all the fonts on my system got listed or seem to be available. I
don't know why that is or what to do about it; That will have to be a
project for later. The font I really wanted to use, Goudy, was not one
that was listed as being available.
Cutting and pasting from the list into an LP file miraculously produced
a font change. The name from the list that LP wanted was the word after
family. Here is the code for an absurd but working example:
\header {
title= \markup { \override #'(font-name . F u t u r a )
FEUILLET D'ALBUM}
composer = \markup { \override #'(font-name . A m e r i c a n T y p
e w r i t e r ) JS Bach } }
Here is the oddity: Notice that in the font names, a space exists
between each later. I would never have guessed this as a possibility.
Thanks to everyone for your help and leading me in the right direction.
And now for my next act: Getting midi2ly to work in the Terminal.
Please stay tuned . . .
Michael
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Changing fonts in headers
This is a request for help in changing the font of the title to Goudy. Based on what I read in the manual, this is my best guess for how to do it, but is not working (unexpected override). Thanks ahead of time for any help provided.
Michael Millett
\version 2.8.0
\header {
\override header.title #'font-name = #Goudy title = FEUILLET D'ALBUM
composer = A. Scriabine, Op. 45 No 1
subtitle = [Album Leaf] }
global = {
\key ees \major
\time 3/4
}
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Changing fonts in headers
I am sorry to report that I have still not been successful in changing
the font of the headers, and request some suggestions. LP ignored the
following:
\header {
title= \markup { \override #'(font-name . Goudy) FEUILLET
D'ALBUM}
and
\header {
title= \markup { \override #'(font-name . Goudy) FEUILLET
D'ALBUM
Other combinations I've tried also have not worked.
I now wonder if LP contains a vehicle for changing the header fonts.
Does anyone know?
Thanks again for your efforts.
Michael
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First time running, cannot get to work. Request help
I have not yet been able to get LilyPond to work. For even the test
file, I get: parser error. braces don't match. This happens even though
I have directly cut and pasted from .ly files available on your web
site. I have tried numerous ways of adjusting the curly braces, but
still can't get it to work. I have tried other files available from the
website, but yet no success.
Here is the test file I have used:
{ c'4 e' g' }
Here is the response I get from Terminal:
lilypond test.ly
lilypond (GNU LilyPond) 2.2.5
Running lilypond-bin...
Now processing `test.ly'
Parsing...
/Users/michaelm/test.ly:1:1: error: parse error:
{
c'4 e' g' }
/Users/michaelm/test.ly:1:9: warning: Braces don't match:
{ c'4 e'
g' }
Failed files: test.ly
lilypond: error: LilyPond failed on input file test (exit status 1)
lilypond: warning: Running LilyPond failed. Rerun with --verbose for a
trace.
Any ideas what I am doing wrong? Thank you for your help.
Michael
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