accessing broken part of frameextender
Hello all, I'm trying to modify the broken part of FrameExtender in the frameEngraver-bars-and-boxes.ily code. \alterBroken fails with an error stating that it is not a spanner. So, how to access and modify the broken part, after the system break? Thanks, Neil ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
tupletbracket on staff
I'm engraving a piece with a very large staff consisting mostly of white space. The tuplet brackets would look much better inside / on top of the staff instead of outside, in this case. Are there overrides that would permit the tuplet brackets to be engraved on top of the staff? Thanks! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation problem
Thanks Simon. Sample code:
\transpose c c' { << {
<f'' e''>16 q q q q q q q q q q q \times 2/3 { q8 q q }
} \\ {
\times 2/3 { des'4 des'8 } \times 2/3 { b8\rest <ces'' bes'>8 q }
\times 2/3 { q q q } q q
} >> }
On Mon, Sep 21, 2015 at 5:07 PM, Simon Albrecht <simon.albre...@mail.de>
wrote:
> On 22.09.2015 00:51, Neil Thornock wrote:
>
>> See the two attached images for my problem spot.
>>
>> I'd like something more like the Finale output, but no matter what
>> combination of proportional notation options I try, it won't budge. It
>> seems like the ledger lines are too greedy.
>>
>> Also, I have no idea how to get the flats in the lower voice to appear
>> *before* the *previous* note of the top voice, which seems to me like a
>> more elegant solution in this case.
>>
>> Any advice? I can't figure this out.
>>
>
> It seems you’ve found a super difficult case.
> Can you please post the LilyPond code you used for the second image (<
> http://lilypond.org/tiny-examples.html>)?
>
> Yours, Simon
>
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proportional notation problem
See the two attached images for my problem spot. I'd like something more like the Finale output, but no matter what combination of proportional notation options I try, it won't budge. It seems like the ledger lines are too greedy. Also, I have no idea how to get the flats in the lower voice to appear *before* the *previous* note of the top voice, which seems to me like a more elegant solution in this case. Any advice? I can't figure this out. Thanks. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation problem
HACK-O-MATIC! I don't like it. But it works.
\new StaffGroup <<
\new Staff { \overrideProperty
Score.NonMusicalPaperColumn.line-break-system-details #'((Y-offset . 20)
(alignment-distances . (0))) \transpose c c' { \voiceOne <f'' e''>16 q q q
q16*1/2 \hideNotes c16*1/2 \unHideNotes q16 q q q q q q \times 2/3 { q8 q q
} } }
\new Staff \transpose c c' { \times 2/3 { des'4 des'8 } \times 2/3 {
b8\rest <ces'' bes'>8 q } \times 2/3 { q q q } q q }
>>
On Mon, Sep 21, 2015 at 5:12 PM, Neil Thornock <neilthorn...@gmail.com>
wrote:
> Thanks Simon. Sample code:
>
> \transpose c c' { << {
> <f'' e''>16 q q q q q q q q q q q \times 2/3 { q8 q q }
> } \\ {
> \times 2/3 { des'4 des'8 } \times 2/3 { b8\rest <ces'' bes'>8 q }
> \times 2/3 { q q q } q q
> } >> }
>
>
> On Mon, Sep 21, 2015 at 5:07 PM, Simon Albrecht <simon.albre...@mail.de>
> wrote:
>
>> On 22.09.2015 00:51, Neil Thornock wrote:
>>
>>> See the two attached images for my problem spot.
>>>
>>> I'd like something more like the Finale output, but no matter what
>>> combination of proportional notation options I try, it won't budge. It
>>> seems like the ledger lines are too greedy.
>>>
>>> Also, I have no idea how to get the flats in the lower voice to appear
>>> *before* the *previous* note of the top voice, which seems to me like a
>>> more elegant solution in this case.
>>>
>>> Any advice? I can't figure this out.
>>>
>>
>> It seems you’ve found a super difficult case.
>> Can you please post the LilyPond code you used for the second image (<
>> http://lilypond.org/tiny-examples.html>)?
>>
>> Yours, Simon
>>
>
>
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Re: system separator markup position
I found a kludge-solution:
I created a new top staff, created a 0-line staff, removed all the other
stencils, and then placed that staff directly overlapping with the top of
the tall staff with explicit positioning. Whew! It works well enough.
On Wed, Jan 7, 2015 at 11:59 AM, Neil Thornock neilthorn...@gmail.com
wrote:
In the following snippet, I've created an extra-tall staff, which is
messing with the placement of the system separator markup.
Is there some way around this? Like moving the position of the system
separator or assigning some different Y-extent to something?
\paper { system-separator-markup = \slashSeparator }
{
\override Staff.StaffSymbol #'line-positions = #'(14 -14)
c'1 \break
c'
}
{ c'1 c' }
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Re: system separator markup position
Thanks for the suggestion. While it does avoid the collision, it doesn't center the separator between staves. I believe the separator is spaced evenly between the vertical midpoint of each surrounding staff (line-position 0), and so when the bottom staff is that tall, it encroaches on the separator. It would be better if the separator were centered between the bottom line of the staff above it and the top line of the staff below it, or maybe calculated from the staves's actual Y-extent. On Wed, Jan 7, 2015 at 2:34 PM, David Nalesnik david.nales...@gmail.com wrote: On Wed, Jan 7, 2015 at 3:02 PM, David Nalesnik david.nales...@gmail.com wrote: Hi Neil, On Wed, Jan 7, 2015 at 1:57 PM, Neil Thornock neilthorn...@gmail.com wrote: I found a kludge-solution: I created a new top staff, created a 0-line staff, removed all the other stencils, and then placed that staff directly overlapping with the top of the tall staff with explicit positioning. Whew! It works well enough. Why not add something like the following to your \paper block: system-system-spacing.basic-distance = 24 I suggest this because it appears (in scm/page.scm) that the separator markup is placed after the positions of the systems on the page have been determined and therefore has no influence on vertical spacing. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
system separator markup position
In the following snippet, I've created an extra-tall staff, which is
messing with the placement of the system separator markup.
Is there some way around this? Like moving the position of the system
separator or assigning some different Y-extent to something?
\paper { system-separator-markup = \slashSeparator }
{
\override Staff.StaffSymbol #'line-positions = #'(14 -14)
c'1 \break
c'
}
{ c'1 c' }
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Fwd: shapeTieColumn
See the exchange below between myself and David. Hoping for an elegant
solution to this problem.
-- Forwarded message --
From: David Nalesnik david.nales...@gmail.com
Date: Thu, Oct 16, 2014 at 11:18 AM
Subject: Re: shapeTieColumn
To: Neil Thornock neilthorn...@gmail.com
Hi Neil,
On Thu, Oct 16, 2014 at 11:05 AM, Neil Thornock neilthorn...@gmail.com
wrote:
Hi David,
Not sure this is worth an email to the Lily list...
I'm using your shapeTieColumn function. After a line break, the function
works only if it is not the top staff of a system. So this breaks:
{ s1 \break c' d' e'8.~ \shapeTieColumn #'((()) (()) (((0 . -4) (0 .
1) (0 . 0) (0 . 0))) (()) (())) c' d' e' }
Any ideas?
I've been poking around with this, and I really have no idea. It _should_
work.
I added two print lines to the function to check if the offsets are
happening. They are. Run the following on your snippet:
function for offsetting control-points of a TieColumn
%
shapeTieColumn =
#(define-music-function (parser location all-offsets) (list?)
#{
\once \override TieColumn #'after-line-breaking =
#(lambda (grob)
(let ((ties (ly:grob-array-list (ly:grob-object grob 'ties
;(display ties) (newline)
(for-each
(lambda (tie offsets-for-broken-pair)
(let* ((orig (ly:grob-original tie))
(siblings (ly:spanner-broken-into orig)))
(format #t before: ~a~% (ly:grob-property orig
'control-points))
(for-each
(lambda (piece offsets-for-piece)
(if (pair? offsets-for-piece)
(set! (ly:grob-property piece 'control-points)
(map
(lambda (x y) (coord-translate x y))
(ly:tie::calc-control-points piece)
offsets-for-piece
(if (null? siblings)
(list orig)
siblings)
offsets-for-broken-pair)
(format #t after: ~a~% (ly:grob-property orig
'control-points))
))
ties all-offsets)))
#})
%
The problem also happens when the \break isn't manual. Try:
{
\repeat unfold 8 { R1 }
c' d' e'8.~
\shapeTieColumn #'( (()) (()) ( ((0 . 4) (0 . 1) (0 . 0) (0 . 0
c' d' e' r8 r2 \repeat unfold 8 { R1 }
}
My only guess is that the tweaking is happening at the wrong time--too
late? Even though 'control-points is showing a change, the item has already
been finished?
Honestly, I'm at a loss here. You might want to forward this to the lists
to see if someone else has an idea.
Best,
David
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multimeasuerrest breve too wide
The double whole rest forces the measure too wide in this example, as if
making room for notes that aren't there. Any ideas how to shorten the
measure up to be, at least, no longer than the other measures?
{ c'4 s1.. c'4 s1.. c'4 s1.. }
{ \time 8/4 c'4 r r2 r1 R\breve c'4 r r2 r1 }
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Re: multimeasuerrest breve too wide
I found some related ugliness. If the spacers are changed to rests, the
problem goes away.
{ c'4 s2. c'4 s2. c'8 s2.. c'16 s2... }
{ R1*4 }
Using transparent rests won't work for me because I need a beam extending
over the whole top staff, like so:
{ c'8[ s2.. c'8 s2.. c'8] s2.. }
A rest breaks the beam and a spacer breaks the spacing, so I'm stuck.
On Fri, Sep 12, 2014 at 6:06 AM, Neil Thornock neilthorn...@gmail.com
wrote:
The double whole rest forces the measure too wide in this example, as if
making room for notes that aren't there. Any ideas how to shorten the
measure up to be, at least, no longer than the other measures?
{ c'4 s1.. c'4 s1.. c'4 s1.. }
{ \time 8/4 c'4 r r2 r1 R\breve c'4 r r2 r1 }
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Re: multimeasuerrest breve too wide
Thanks Phil. It does make the layout consistent, but it does so by widening
all measures, and I was trying to find a way to narrow them down to avoid
spilling over to so many pages.
I have a different solution for now involving percent repeats, but the
default layout weirdness is still disconcerting...
On Fri, Sep 12, 2014 at 7:30 AM, Phil Holmes m...@philholmes.net wrote:
Sublimely ugly, but this works:
{ c'8[ \hide Rest \repeat unfold 7 r8 c'8 \repeat unfold 7 r8 c'8] \repeat
unfold 7 r8 }
--
Phil Holmes
- Original Message - From: Neil Thornock
To: Lilypond users
Sent: Friday, September 12, 2014 1:27 PM
Subject: Re: multimeasuerrest breve too wide
I found some related ugliness. If the spacers are changed to rests, the
problem goes away.
{ c'4 s2. c'4 s2. c'8 s2.. c'16 s2... }
{ R1*4 }
Using transparent rests won't work for me because I need a beam extending
over the whole top staff, like so:
{ c'8[ s2.. c'8 s2.. c'8] s2.. }
A rest breaks the beam and a spacer breaks the spacing, so I'm stuck.
On Fri, Sep 12, 2014 at 6:06 AM, Neil Thornock neilthorn...@gmail.com
wrote:
The double whole rest forces the measure too wide in this example, as if
making room for notes that aren't there. Any ideas how to shorten the
measure up to be, at least, no longer than the other measures?
{ c'4 s1.. c'4 s1.. c'4 s1.. }
{ \time 8/4 c'4 r r2 r1 R\breve c'4 r r2 r1 }
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Re: Sibelius Software UK office shuts down
It is easy to see how these events could help lilypond long-term, but it's also easy for any response from us to be interpreted negatively. Let the Sibelius users have their personal moment of pain/mourning; if they need open-source music notation, they will certainly be able to find us without our help. From my perspective, the loss of Sibelius is bad for *everyone* with a stake in music. I never used Sibelius; I never liked it. But many did, and many found their first creative voice through the software. I don't think its retraction will leave a void that will simply be filled by something else. It's a possible sign that music -- the type many of us are involved in -- is losing in the greater culture war. It's not LilyPond vs Sibelius vs Finale but rather Quality Music vs Cheap Entertainment. We're losing. -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sibelius Software UK office shuts down
It's a possible sign that music -- the type many of us are involved in -- is losing in the greater culture war. It's not LilyPond vs Sibelius vs Finale but rather Quality Music vs Cheap Entertainment. Uncompromising artistic discipline certainly has its pedagogical usefulness, but when Orwellian concepts begin to creep in-- like a vague war apparently dragging on for decades yet with heroes in perpetual danger of defeat-- maybe it's time to come out of the woodshed. No, that's not what I mean... Orchestras are going bankrupt, record labels are going out of business, bands have much less chance of making income now than before... Beatles were one of the top iTunes downloads 2 years ago. How is a musician of today with a vision -- of any type -- supposed to make it these days (unless holed up in a woodshed at some university, heaven forbid)? Cheap entertainment is ruining the industry, with streaming, downloading, piracy galore, etc. Unfortunately, the cheap is forced on many musicians now, since the $2 required for quality productions just isn't worth it. Sibelius was good for us. Many of my students came to music because of software like Sibelius. A precious few came to LilyPond because of the music. This opportunism is a bit mis-guided. I think we ought to be fighting to save Sibelius as much as anything. We're losing. War is Peace. :) -Jonathan -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University -- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user End of lilypond-user Digest, Vol 117, Issue 20 ** ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\change Staff in Voice context
Hi all,
I'm wondering why, in the snippet below, the staff change does not
affect the mid voice throughout. It returns to the top staff in the
next measure.
Is there a way to have the staff change affect the entire voice throughout?
%%%
aa = \transpose c c' {
{ c'1 } \context Voice = mid { \change Staff = lo c4 d e f~ }
{ d'1 } \context Voice = mid { f4 e d c }
}
bb = { s1*2 }
\new Staff = hi { \aa }
\new Staff = lo { \bb }
--
Neil Thornock, D.M.
The recent premiere of ...and a bunch of other stuff:
http://www.youtube.com/watch?v=LQtvPet3k8c
Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: suppress time sig automatically
Thank you David, that's brilliant! It works. On Sun, Jun 24, 2012 at 8:20 AM, David Nalesnik david.nales...@gmail.com wrote: Hi again, Here's a Scheme engraver which should hopefully do what you want: The logic of that last engraver seemed a little convoluted to me, so not wanting to leave well enough alone:) I came up with this: \version 2.14.2 suppressExtraTimeSig = #(lambda (ctx) (let ((time-sig '())) `((acknowledgers (time-signature-interface . ,(lambda (engraver grob source-engraver) (set! time-sig (cons grob time-sig) (finalize . ,(lambda (trans) (reduce (lambda (elem prev) (if (equal? (ly:grob-property elem 'fraction) (ly:grob-property prev 'fraction)) (begin (ly:grob-suicide! elem) prev) elem)) '() (reverse time-sig)) (set! time-sig '())) -David -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
suppress time sig automatically
I'm using music expressions, each with their own time signatures, in random orderings. I won't know when two measures will have the same time signature in a row, so I'm wondering if there is some way to check for the time sig of the previous measure and, if it is the same as the current measure, turn off the stencil for the current measure. Is there an auto setting for this? Or do I need scheme (which I'm not good at)? -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: status of release 2.16.0
According to this list: http://code.google.com/p/lilypond/issues/list it looks like critical issues were found. Not sure why nothing was mentioned on the website. On Fri, May 18, 2012 at 4:51 PM, Tom Cloyd tomcloydm...@gmail.com wrote: I've had it marked on my calendar for days that May 17 is the scheduled release date, If no Critical bugs are found... (Ly website). The website in no way indicates that this occurred, nor are there any announcements that I can find on this list. Can someone provide a status update re: this event, please? t. ~ Tom Cloyd, MS MA t...@tomcloyd.com (435) 272-3332 St. George/Cedar City, Utah ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \cadenzaOff and accidentals
In my mind, the real bug is that \cadenzaOff does not seem to turn the
cadenza off immediately, but rather one measure later. I'm not sure
why it behaves as it does.
In any case, I always turn the cadenza off a full measure before I
actually want it turned off.
On Mon, Mar 5, 2012 at 1:48 AM, David Bobroff bobr...@centrum.is wrote:
I'm re-framing my query regarding accidental behavior following \cadenzaOff.
After some discussion about this on bug- it is quite clear that
'\cadenzaOff' *only* affects counting/timing and '\bar' *only* paints a
graphic of a bar line. Currently, if an accidental appears in the cadenza
it will be visibly canceled if the key signature value of the note is used
in the next measure even if '\cadenzaOff \bar |.' is present. Musically
this should not happen. Since a bar line has gone by the key signature is
back in force.
This post in on -user to see if anyone has a solution; how do I suppress the
accidental cancellation in the following example?
I've posted this to bug- to suggest that LilyPond should probably understand
this.
Example:
%%%
\version 2.14.2
\relative c'
{
\key c \major
\time 2/4
c2 ~
\cadenzaOn
c4 \teeny d8-[ es f g-] \normalsize a4-\fermata
\cadenzaOff
\bar |
e2 % how to suppress accidental cancellation here?
}
%%%
-David
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Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: \cadenzaOff and accidentals
Normal from what perspective? Where it left off before \cadenzaOn or simply that it starts back at '0' immediately \cadenzaOff I'm wondering if we need something (a sentence of two) in the NR to avoid what is obviously something that does confuse people. I still have not figured out the exact reasoning behind this. But it does not seem to be much more than stop advancing time in measure start advancing time in measure again. If there is no material left to fill the bar, the measure will not get full. Actually, it resets timing to 0, so even if the bar has some notes before \cadenzaOn, they don't get counted toward the timing once \cadenzaOff is reached. So it is not stop advancing time in measure to resume later, but rather stop counting altogether and then reset to 0. I would think that once the timing is reset to 0, as \cadenzaOn does, it should automatically insert a barline at that point and treat the subsequent material as a new measure (thus avoiding problems with accidentals). I really think this is a design flaw. -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tabloid papersize
While we're at it, it would be nice to enable ledger (17x11) -- noted in paper.scm but not included for some reason. On Wed, Feb 29, 2012 at 3:51 AM, James pkx1...@gmail.com wrote: hello, On 29 February 2012 08:18, Martin Tarenskeen m.tarensk...@zonnet.nl wrote: Hi, In NR 4.1.2 I read: Common paper sizes are available, including a4, letter, legal, and 11x17 (also known as tabloid). It is known, but lilypond does not allow to use it! #(set-default-paper-size tabloid) It's quite easy (even for me) to add this line: (tabloid . (cons (* 11.0 in) (* 17.0 in))) to the list in paper.scm, as an alias for 11x17, which should also stay. If this is ok, can someone add this in a next Lilypond release ? Added as http://code.google.com/p/lilypond/issues/detail?id=2365 -- -- James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: time signature question
Can I just say to Kieren: This is awesome (your brief replies below, I mean). You're a great example. On Mon, Feb 27, 2012 at 6:41 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi David, if you think a bounty is exaggerated I thought nothing of the sort. In short, it was a five-minute job because of work I did I had no doubt that was true. I'm going to be sending you a payment soon. Thanks again, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
dashed beam
Has anybody ever tried to come up with a dashed beam? I'm not sure the best way -- I would try PostScript, but I don't know how to cap the line end with a vertical, rather than perpendicular-to-the-line, stroke... -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Increment bar number after cadenza
I always use \cadenzaOff a measure before the cadenza actually ends -- then I get the barline I want and the correct measure number... On Wed, Feb 22, 2012 at 9:06 AM, ornello dominik.hoer...@fun.de wrote: Works perfectly. Many thanks -- View this message in context: http://old.nabble.com/Increment-bar-number-after-cadenza-tp33371658p33371909.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dashed beam
Thanks Carl.
I'm not sure I quite get the path usage -- how would it be different
from using \markup {\beam ... multiple times? The beam would have
enough dashes to make multiple calls of one object too tedious.
Spending time figuring out the beaming code might be a good place for
me to start learning to hack away at Lily.
On Wed, Feb 22, 2012 at 11:10 AM, Carl Sorensen c_soren...@byu.edu wrote:
On 2/22/12 8:44 AM, Neil Thornock neilthorn...@gmail.com wrote:
Has anybody ever tried to come up with a dashed beam?
I'm not sure the best way -- I would try PostScript, but I don't know
how to cap the line end with a vertical, rather than
perpendicular-to-the-line, stroke...
Don't use PostScript; do use the path stencil that LilyPond provides.
Draw a parallelogram, not a line. The path command will automatically
take care of the necessary rounding.
But you might consider modifying the ly:beam::print code that is found in
lily/beam.cc, or alternatively the Lookup::beam code that is found in
lily/lookup.cc in order to add a dashed parameter and create multiple
stencils.
HTH,
Carl
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Re: LilyBin Launch
I'm reaching it just fine... On Fri, Feb 10, 2012 at 6:56 PM, Nils l...@nilsgey.de wrote: Dropbox file management features are meager right now. Soon I'll add things like deleting files, saving PDFs, and other stuff. Please contribute feature requests to this thread! Trevor can I send text to lilybin via http or another protocol/api? I want to do a shellscript to upload data and get the url back from your server. Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tremolos between two whole notes
As far as getting the look you want, you need to use a combination of
Beam #'gap, Beam #'positions, Beam #'extra-offset, and NoteHead
#'stem-attachment. I've gotten very nice results with those
overrides. It's a pain, but it's worth avoiding the horrible default.
Hope that helps,
Neil
On Fri, Feb 3, 2012 at 9:00 AM, Brent Annable brentanna...@gmail.com wrote:
Hello everyone,
I have a question, and perhaps a suggestion. I just typeset the following
tremolo between two whole notes:
\score {
\relative c'' {
\repeat tremolo 16 { gis32 b }
}
}
and was quite disappointed by the fact that Lilypond places the tremolo
beams horizontally and above the notes in question. I much prefer the look
of the first tremolo in this image:
http://media.wiley.com/assets/25/94/0-7645-5105-1_1309.jpg
with the beams tilted and occupying the space in-between the whole notes. I
read through the manual and searched for some snippets, but couldn't find
any reference to this tremolo style at all. Is there any relatively simple
way of achieving this look that I'm missing? And if not, could a tremolo
style option perhaps be added for those who prefer them this way?
Brent.
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Re: Experimental Web-based Lilypond Editor
Way-hay awesome. Firefox 4, works great... On Fri, Feb 3, 2012 at 7:47 AM, Stan Sanderson stans...@gmail.com wrote: On Feb 3, 2012, at 7:28 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi all, This is a pretty amazing prototype! Congratulations and thanks to all involved. Has anyone tested this on an iPad or other tablet? Just curious. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Well, not exactly an extensive test, but see http://lily.sytes.net/h2c3iv/5 for a quick proof of concept on my iPad! Stan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accidental style - cancel note within chord
Yes, that makes sense. How do I submit an enhancement request? To bugs? On Tue, Nov 29, 2011 at 7:47 PM, Keith OHara k-ohara5...@oco.net wrote: Neil Thornock neilthornock at gmail.com writes: Is there a way to create an accidental style that checks for *simultaneous* pitches in any octave, resulting, in this example, in a natural on the top note? No, unfortunately; the information available to the accidental-setting rule is only the set of accidentals in /previous/ notes and key signature. An unfortunate design choice, but one I can forgive because in traditional music simultaneous conflicting accidentals are rare. No doubt, you know how to force accidentals. f! fis! I don't see an enhancement request to solve this problem; the closest is http://code.google.com/p/lilypond/issues/detail?id=1134. The manual does explain the limitation in the section on Pitches::DisplayingPitches::AutomaticAccidentals. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
accidental style - cancel note within chord
I've been frustrated with the available accidental styles. While I
could do all this manually -- ugh!
The modern and neo-modern approaches are best aligned with my
sensibilities, but there is one situation in which I think they fall
short.
If I write the following:
{ #(set-accidental-style 'neo-modern) ees e' }
The second note gets a natural -- I like it. If I write:
{ #(set-accidental-style 'neo-modern) ees e' }
The top note gets nothing -- no accidental -- which seems to me
inconsistent. Is there a way to create an accidental style that
checks for *simultaneous* pitches in any octave, resulting, in this
example, in a natural on the top note?
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Re: accidental style - cancel note within chord
While I'm at it, try the following:
{ #(set-accidental-style 'neo-modern) ees e' ees e' ees e' ees
e' ees e' }
Yuck! I don't think this should ever be the result of any accidental
rule (e-flat only on the first bottom note, e-natural on every note
*except* the first note).
On Tue, Nov 29, 2011 at 10:57 AM, Neil Thornock neilthorn...@gmail.com wrote:
I've been frustrated with the available accidental styles. While I
could do all this manually -- ugh!
The modern and neo-modern approaches are best aligned with my
sensibilities, but there is one situation in which I think they fall
short.
If I write the following:
{ #(set-accidental-style 'neo-modern) ees e' }
The second note gets a natural -- I like it. If I write:
{ #(set-accidental-style 'neo-modern) ees e' }
The top note gets nothing -- no accidental -- which seems to me
inconsistent. Is there a way to create an accidental style that
checks for *simultaneous* pitches in any octave, resulting, in this
example, in a natural on the top note?
--
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No Stopping, Standing, or Parking:
http://neilthornock.net/mp3s/nostopping.mp3
Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: explicit staff positions for all pages
It didn't work -- I still get skylines pushing things around. I'd love to just say: This many systems per page, at these positions... but this time around I suppose I'll do the manual breaks... On Wed, Nov 2, 2011 at 7:54 AM, Carl Sorensen c_soren...@byu.edu wrote: Try adding negative padding to avoid the bumping from the extended skylines. Carl On 11/2/11 7:09 AM, Neil Thornock neilthorn...@gmail.com wrote: Hi Carl, Thanks for the advice. Unfortunately the skylines nudge some systems around, like with slurs or pitches high off the staff. Is there a way to give all systems (or staves) the exact same X-extent and ignore skylines/bounding boxes of other grobs? And, to your PS -- I'd love to! Lily has, for better or worse, become half of my professional life... On Tue, Nov 1, 2011 at 4:45 PM, Carl Sorensen c_soren...@byu.edu wrote: On 11/1/11 2:58 PM, Neil Thornock neilthorn...@gmail.com wrote: Hi all, I'm wondering if I can somehow explicitly define system positions for all pages upfront, without having to define every system. The publisher for this piece wants all systems/staves at exactly the same positions on the page. I'm just hoping there's a shortcut instead of explicit indications for all systems. Define your staff-staff-spacing and system-system-spacing variables with zero stretchability and zero padding. HTH, Carl P.S. I've been thinking about trying to start a LilyPond hackers club on campus and see if we could get some of our CS students involved. Are you interested? -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: explicit staff positions for all pages
THANK YOU CARL! That's brilliant. Actually, I failed to comprehend the necessity of top-system in the equation... so this works greatly. On Fri, Nov 4, 2011 at 3:42 PM, Carl Sorensen c_soren...@byu.edu wrote: On 11/4/11 1:00 PM, Neil Thornock neilthorn...@gmail.com wrote: It didn't work -- I still get skylines pushing things around. I'd love to just say: This many systems per page, at these positions... but this time around I suppose I'll do the manual breaks... On Wed, Nov 2, 2011 at 7:54 AM, Carl Sorensen c_soren...@byu.edu wrote: Try adding negative padding to avoid the bumping from the extended skylines. Carl On 11/2/11 7:09 AM, Neil Thornock neilthorn...@gmail.com wrote: Hi Carl, Thanks for the advice. Unfortunately the skylines nudge some systems around, like with slurs or pitches high off the staff. Is there a way to give all systems (or staves) the exact same X-extent and ignore skylines/bounding boxes of other grobs? I've attached a file that worked for me. I set minimum distance = basic-distance, stretchability = 0, and padding to a big negative number. As you can see when you run the code, the first 2 pages have 5 systems, all of which lie at the same positions, even though note heads collide. You may need to do the same thing within the systems; I haven't done that here. HTH, Carl -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
explicit staff positions for all pages
Hi all, I'm wondering if I can somehow explicitly define system positions for all pages upfront, without having to define every system. The publisher for this piece wants all systems/staves at exactly the same positions on the page. I'm just hoping there's a shortcut instead of explicit indications for all systems. Thanks! Neil -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: wind instrument transposition (was Good work, Keith!)
I've been a pianist for 45 years and a clarinetist for 40, so I am comfortably aware of transposition issues, but what you're saying doesn't explain the issues I pointed out. If a piece is in concert D and I am asked to play it on my Bb clarinet, my music should have a key signature of E. If I am asked to shift to an A clarinet, the key signature of the music should shift to F. That rule has not been followed in the Dvorak. That rule has never held for horns. Even composers as recent as Ravel never used key signatures in a horn part; I have never seen one, in my time teaching orchestration. It's simply one of the idiosyncrasies of orchestration. I have Ravel's orchestration of Mussorgsky open right now: G# minor key signature, but the Horns in F have none; they get accidentals strewn all over the place. Same in Debussy. Same for all composers everywhere all the time. I think it's mostly a matter of tradition. A long, long time ago, neither key signatures nor accidentals would have been necessary; it would all have been diatonic, with horns crooked (transposed) to the right key. And some lazy horn player probably protested if they ever got one :) -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
automatically adjust bar numbers upwards
Hi all,
By default, it appears that bar numbers, in order to occupy their
horizontal space, will push measure content to the right if necessary.
In the code below, the C that begins measure 2 begins some way into
the measure to allow room for the huge number 2. This gets very ugly
in my orchestra score, where only 3 staves in the system have bar
numbers.
{
\override Score.BarNumber #'break-visibility = #'#(#f #t #t)
\override Score.BarNumber #'font-size = #7
\override Score.BarNumber #'self-alignment-X = #LEFT
c'''1 c'''4 c''' c''' c'''
}
I'd like the measure number to be offset upwards so as not to impact
horizontal spacing. I can do it manually every time it occurs; but
I'm wondering if there's a way to automatically set some behavior
where the bar number moves itself up, rather than moving everything
else to the right. (I assume this is Scheme-able?)
Thanks!
Neil
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Re: Lilypond lobbying?
It may be that the will want the FinSib file of the winning piece and only have editing capabilities with one of those two formats. Still, it's sad. On Thu, Aug 18, 2011 at 6:42 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all, Here's an idea: Since they're not asking for submission of the original Sibelius/Finale file (only the PDF paper score), can we make Lilypond look like Finale? Maybe by writing a Scheme engraver to randomly make horrible anti-Lilypond engraving choices, with a parameter setting for Finale input user experience level? ;) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to prevent page number appearing on back of title page?
This solution might help: http://www.mail-archive.com/lilypond-user@gnu.org/msg34399.html On Sat, Apr 16, 2011 at 9:45 AM, madMuze camero...@yahoo.com wrote: If I add a blank page on the back of the ToC, so that the first piece starts on a right-hand page, I'm getting a page number of 0 appearing on that supposedly blank page. How can I prevent that? I've been using: % hdr-delay #(define (hdr-delay layout props arg) (define (ancestor layout) (let ((parent (ly:output-def-parent layout))) (if (not (ly:output-def? parent)) layout (ancestor parent) ) ) ) (if (not ( (chain-assoc-get 'page:page-number props -1) 2)) (interpret-markup layout props arg) empty-stencil ) ) I do not understand this code, having harvested it from messages regarding title pages and headers, etc. (search the forum for negative page numbers, I think). I then monkeyed around until it works for me, preventing a header/footer from happening until the page number =2. In the header/footer, I use: \on-the-fly #hdr-delay instead of \on-the-fly #not-first-page. Does this work for you? David -- View this message in context: http://old.nabble.com/How-to-prevent-page-number-appearing-on-back-of-title-page--tp31411388p31413532.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. No Stopping, Standing, or Parking: http://neilthornock.net/mp3s/nostopping.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: first attempt
Probably the fist thing you did wrong was not read the learning manual :)
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Tutorial#Tutorial
Otherwise, you need braces...
melody = \relative { c' }
On Wed, Apr 13, 2011 at 7:33 PM, Andrew Wood awoo...@comcast.net wrote:
syntax error unexpected NOTENAME_PITCH
What did I do wrong? melody = \relative c'
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Re: first attempt
Nope, I'm reading cross-eyed! Nevermind previous response...
Actually, it's very difficult to answer a question without a
functioning snippet of code (or at least thorough explanation).
But I'm glad you solved your problem. :)
Neil
On Wed, Apr 13, 2011 at 8:55 PM, Neil Thornock neilthorn...@gmail.com wrote:
Probably the fist thing you did wrong was not read the learning manual :)
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Tutorial#Tutorial
Otherwise, you need braces...
melody = \relative { c' }
On Wed, Apr 13, 2011 at 7:33 PM, Andrew Wood awoo...@comcast.net wrote:
syntax error unexpected NOTENAME_PITCH
What did I do wrong? melody = \relative c'
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Composition/Theory
Brigham Young University
--
Neil Thornock, D.M.
No Stopping, Standing, or Parking:
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Assistant Professor of Music
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Brigham Young University
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Re: Shorthand notation for multi-measure rests in music with frequent meter changes ?
I can't answer your question, but I have two responses to the dilemma. First, R2. is more compact than R1*3/4, and R1*2 is better than R1*8/4. Same with R4*5 vs R1*5/4. Also, if you happen to use Vim -- I keep all my time signatures in a separate file from the notes. It's then simple to map time signatures to keystrokes; entering time signatures can be very very fast. So I hit the letter A and I get \time 1/4 s4. Quick and maybe not helpful answer, but there you go. On Wed, Feb 16, 2011 at 11:53 AM, Michael Ellis michael.f.el...@gmail.com wrote: I'm currently transcribing parts from music with frequently changing meters and segments where a part is resting. The sequence below is typical. \time 3/4 R1*3/4 | \time 3/8 R1*3/8 | \time 4/4 R1*8/4 | % 2 bars \time 3/8 R1*3/8 | Does anyone know how to write a music function that will support a more compact notation? Being able specify the time signature changes and rests shown above with a syntax like the following would be a nice timesaver. mmr = #(define-music-function ) \mmr 3/4 3/8 2*4/4 3/8 ... The best I've been able to cobble together is too messy to be useful because of the need to use the # sign before arguments, etc. In particular, I haven't found any way to pass a bare fraction like 3/4 into a music function. Thanks, Mike ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature? Bug? (third and final part)
See this related snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=301
The only fix I have found is to set the X-extent to 0 and to use
offsets to get the mark back to its original vertical position, if
needed. Collisions, yes, but it's a hack that fixes the issue.
On Sun, Feb 6, 2011 at 9:46 PM, Colin Campbell c...@shaw.ca wrote:
On Sun, 2011-02-06 at 10:32 -0500, Mike Solomon wrote:
To round out my feature/bug tryptych (yes, this is the day that I make my
score not look crappy...sorry for all the traffic @ once...)
\relative c'' { b1 \stopStaff \override Staff . StaffSymbol #'line-count =
#1 \startStaff \tempo Langsam b1 b1 b1 }
\relative c'' { b1 \stopStaff \override Staff . StaffSymbol #'line-count =
#1 \startStaff b1 b1 b1 }
Is there any way to keep the tempo indication w/o extending the staff symbol?
Added as http://code.google.com/p/lilypond/issues/detail?id=1506
Colin
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Re: Feature? Bug? (third and final part)
You need to set the tempo's X-extent to 0.
On Sun, Feb 6, 2011 at 8:32 AM, Mike Solomon mike...@ufl.edu wrote:
To round out my feature/bug tryptych (yes, this is the day that I make my
score not look crappy...sorry for all the traffic @ once...)
\relative c'' { b1 \stopStaff \override Staff . StaffSymbol #'line-count = #1
\startStaff \tempo Langsam b1 b1 b1 }
\relative c'' { b1 \stopStaff \override Staff . StaffSymbol #'line-count = #1
\startStaff b1 b1 b1 }
Is there any way to keep the tempo indication w/o extending the staff symbol?
Cheers,
MS
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The recent BYU Symphony Orchestra performance of Plutoids:
http://neilthornock.net/mp3s/plutoids.mp3
Assistant Professor of Music
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Brigham Young University
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Re: failed fondu command
Thank you James! I didn't have Fondu installed... somehow the command silently fails from the terminal. On Fri, Feb 4, 2011 at 2:53 AM, James Lowe james.l...@datacore.com wrote: Neil -Original Message- From: Neil Thornock neilthorn...@gmail.com Date: Thu, 3 Feb 2011 16:20:01 -0700 To: lilypond-user lilypond-user@gnu.org Subject: failed fondu command '/Library/Fonts/Baskerville.dfont'' failed (32512) 32512 I seem to remember is something like 'failed to find/execute ... ' So it could be a PATH related issue or something similar. Why that would make a difference when running the CLI I am not sure but that is all I can tell you from that error. James -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
scaled fonts don't work
Hi all, Here's another (maybe related?) issue... The score looks great on 12.3 (of course), until I try to scale the fonts, like this: 6#(define fonts 7 (make-pango-font-tree 8 Baskerville 9 Nimbus Sans 10 Luxi Mono 11 (/ 14 20) 12 ) And then once processed, only straight lines show -- no noteheads or alphanumeric characters. What's missing? Thanks! -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scaled fonts don't work
So, I actually just downloaded the binary and it works fine... for some reason the port appears to be defective. On Fri, Feb 4, 2011 at 8:21 AM, Neil Thornock neilthorn...@gmail.com wrote: Hi all, Here's another (maybe related?) issue... The score looks great on 12.3 (of course), until I try to scale the fonts, like this: 6 #(define fonts 7 (make-pango-font-tree 8 Baskerville 9 Nimbus Sans 10 Luxi Mono 11 (/ 14 20) 12 ) And then once processed, only straight lines show -- no noteheads or alphanumeric characters. What's missing? Thanks! -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
failed fondu command
I recently installed 2.12.3 from darwinports. I've been using Baskerville font in my scores just fine, but now I get this error message: Layout output to 'mollus.ps'... `cd /var/tmp/tmp.0.0KUXyc fondu -force '/Library/Fonts/Baskerville.dfont'' failed (32512) error: failed files: mollus.ly I can run the command fine on command line; so I'm not sure why this would be failing. Any thoughts? Thanks! Neil -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vim
Absolute dittos. The keymapping is great -- even just typical things I would otherwise type, like time signatures. Personally I don't like syntax coloring -- I turned it off ages ago. But vim rocks with lilypond. On Fri, Dec 3, 2010 at 10:58 AM, michael webster semiqua...@mac.com wrote: in recent comments folks have discouraged vim - I have learned vim (MacVim) specifically for Lilypond use and have found it terrific. I have mapped commands to send to lilypond and view pdf or open midi output in Quicktime player. The syntax coloring is a pain to install but works. vims capabilities (eg finding other instances of text the cursor is on, folding, navigation) and plugins (snippets, alignment) are super useful in a Lilypond context. So I just wanted to encourage anyone who is serious about longer projects to consider vim - like Lilypond it has a steep learning curve but you can be very productive once you have it going. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions regarding page numbers
1. Title pages: If I want to set page number to -1 to start the music at
the second piece of paper, how can I force the number 0 to hide at the back
of title page?
Do this (which works great for me in the 2.12 versions). You will
need to modify the code if you don't want the page numbers positioned
this way:
\paper {
first-page-number = -2 % set to whatever
#(define (print-positive-page-number layout props arg)
(if ( (chain-assoc-get 'page:page-number props -1) 1)
(create-page-number-stencil layout props arg)
empty-stencil))
oddHeaderMarkup = \markup \fill-line {
\on-the-fly #not-first-page \fromproperty #'header:instrument
\bold \fontsize #2 \on-the-fly #print-positive-page-number
\fromproperty
#'page:page-number-string
}
evenHeaderMarkup = \markup \fill-line {
\bold \fontsize #2 \on-the-fly #print-positive-page-number
\fromproperty
#'page:page-number-string
\on-the-fly #not-first-page \fromproperty #'header:instrument
}
}
--
Neil Thornock, D.M.
The recent BYU Symphony Orchestra performance of Plutoids:
http://neilthornock.net/mp3s/plutoids.mp3
Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: random music
Good luck with Strasheela! I keep trying to crack my brain over it, and it just has not happened yet. Lilypond I get. Python I get. Mozart has been tough for me... Josh Parmenter had been working on a SuperCollider-to-lily project. I'm not sure where he's at with it, but if you know SC, that could be a very attractive possibility for this type of work. On Tue, Jul 20, 2010 at 1:47 PM, Mike Blackstock blackstock.m...@gmail.com wrote: Me too I've long been interested in this; I'd like to be able to generate endless sight-reading exercises/material for guitarists, perhaps in the form of duos with the computer playing one of the parts just to keep things interesting. I've downloaded but haven't yet looked at Strasheela (http://strasheela.sourceforge.net/strasheela/doc/index.html), thinking it might be something useful for such a project. Plus I think Graham has expertise in it. -Mike On Tue, Jul 20, 2010 at 2:02 PM, Martin Tarenskeen m.tarensk...@zonnet.nl wrote: On Tue, 20 Jul 2010, Mike Solomon wrote: For what it's worth... I do a lot of exactly this: aleatoric composition in Lilypond. () I use Python for all of my aleatory and have Python spit out lilypond-parseable code. There is no good reason for this aside from the fact that, for me, thinking creatively in Python is easier and faster than thinking creatively in Scheme. That's what I was thinking. Doing such things in Python is probably easier. But the thought of a lilypond input file that produces random output files all by itself just intrigues me. -- Martin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: large source occupying on myfinal composition
Not that this is very *helpful* but when I've had this situation, I process the first half of the score separate from the second half, adjusting page numbers if needed. I had to do this with my orchestra piece -- it ended up saving an hour of processing time! On Thu, Jul 15, 2010 at 4:51 AM, Graham Percival gra...@percival-music.ca wrote: There are some attempts to optimize the speed; one simple patch reduces the time required by something like 40%. But you should expect such problems from an unstable development version. Cheers, - Graham On Thu, Jul 15, 2010 at 06:22:56PM +0800, 胡海鹏 - Hu Haipeng wrote: Hello, I finally finish my concert overture, which has just 250 measures, 34 pages. The compiling is a nightmare! When I used normal way, the computer turned into a circumstance like it was about to crash. Then I used Process Tamer, a small util program to reduce source wasting. At first, it's ok to do anything while compiling, but after 5 minutes, the computer again became very slow. Then I went away to listen to The Firebird. After its 45 minutes' music, Lilypond was still compiling. I checked the task manager, and found it first used around 120M of RAM, but then continuous ascend to over 520M, and then fall to 330M, and up to 472... After another about 50 minutes, The score was at last ready. The whole process took about 110 minutes!!! I'd like to know why Lilypond should use such a large memory, since cpu is not taken too much (but instead, system idle process.exe took very large percent (up to 94%) of cpu). I think I must buy a Win7 machine with 4 core cpu and 8gb RAM, otherwise I can't write a piece like The Firebird, which will burn my current machine into dust :-) Regards Haipeng -- A:uIeOuOD--oIIo/O *Aa.NOEIa:ONuC,?'ouA:Ei 1/4thAd--L-? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: large source occupying on myfinal composition
Yes, I just put skipTypesetting at the end of whichever lines are necessary and then comment/uncomment them as needed. Very fast. I should say, in response to Graham's comment, that I have noticed this behavior on the stable version -- the only one I've used for some time now. On Thu, Jul 15, 2010 at 1:55 PM, Urs Liska lilyp...@ursliska.de wrote: And of course you make heavy use of \set Score.skipTypesetting = ##t ? So you don't have to wait so often ... Best Urs Am 15.07.2010 21:04, schrieb Neil Thornock: Not that this is very *helpful* but when I've had this situation, I process the first half of the score separate from the second half, adjusting page numbers if needed. I had to do this with my orchestra piece -- it ended up saving an hour of processing time! On Thu, Jul 15, 2010 at 4:51 AM, Graham Percival gra...@percival-music.ca wrote: There are some attempts to optimize the speed; one simple patch reduces the time required by something like 40%. But you should expect such problems from an unstable development version. Cheers, - Graham On Thu, Jul 15, 2010 at 06:22:56PM +0800, 胡海鹏 - Hu Haipeng wrote: Hello, I finally finish my concert overture, which has just 250 measures, 34 pages. The compiling is a nightmare! When I used normal way, the computer turned into a circumstance like it was about to crash. Then I used Process Tamer, a small util program to reduce source wasting. At first, it's ok to do anything while compiling, but after 5 minutes, the computer again became very slow. Then I went away to listen to The Firebird. After its 45 minutes' music, Lilypond was still compiling. I checked the task manager, and found it first used around 120M of RAM, but then continuous ascend to over 520M, and then fall to 330M, and up to 472... After another about 50 minutes, The score was at last ready. The whole process took about 110 minutes!!! I'd like to know why Lilypond should use such a large memory, since cpu is not taken too much (but instead, system idle process.exe took very large percent (up to 94%) of cpu). I think I must buy a Win7 machine with 4 core cpu and 8gb RAM, otherwise I can't write a piece like The Firebird, which will burn my current machine into dust :-) Regards Haipeng -- A:uIeOuOD--oIIo/O *Aa.NOEIa:ONuC,?'ouA:Ei 1/4thAd--L-? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: line break in unequal bars
Thanks Neil for the clarification on the breakable beams. Hadn't known that before. BTW, there's only one voice in the lower stave (there's no voice separator between the scaled notes and the skips). That was my hunch -- but I'm not sure what to call the unscaled material. It is in a separate something, right? What is it, if not a voice? -- Neil Thornock, D.M. The recent BYU Symphony Orchestra performance of Plutoids: http://neilthornock.net/mp3s/plutoids.mp3 Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: line break in unequal bars
See modifications to your code below. It seems like something with
Forbid_line_break_engraver should work instead of the *0, but I can't
figure it out. This does work, though.
On 6/22/10, Hans Roels hans.ro...@base.be wrote:
Hello,
Does anyone know how to force a line break in the attached example
with two simultaneous staffs in a different tempo? The problem is
that there is no exact simultaneous point (between the unrelated
tempi). A invisible barline with a break just before a split point
(within the bar) doesn't work. I also tried adding an extra empty
staff with spacing but also without any result...
Hans R
\layout {
\context {
\Score
\remove Timing_translator
\remove Default_bar_line_engraver
}
\context {
\Staff
\consists Timing_translator
\consists Default_bar_line_engraver
}
}
\relative c'
\new Staff {
\time 4/4
r4^\markuptempo=54 b'2.~ | % 1
b4 c2 a4~ | % 2
a r2. | % 3
\break
r4 b2.~ | % 4
b4 c4. a8 d4~ | % 5
d2. cis4~ | % 6
cis r2. | % 7
b1 | % 8
c | % 9
g | % 10
}
\new Staff { { %two voices, one w/out scaleDurations, to get
proper break point
\time 54/84
\set Staff.timeSignatureFraction = #'(4 . 4)
\scaleDurations #'(54 . 84)
{
b8^\markuptempo=84 b b b b b b b16 es | % 1
d8 d d b16 es d8 b16 es d8 b16 es | % 2
d8 d b b d b b b | % 3
gis gis gis gis gis gis gis gis16 fis' | % 4
% multiply offending duration by 0, add spacer to allow break
dis8 dis dis gis,16 fis' dis8 gis,16*0 s16 fis' dis8 gis,16 fis' | % 5
dis8 dis dis dis fis dis dis dis | % 6
b8 b b b b b b b16 es | % 7
d8 d d b16 es d8 b16 es d8 b16 es | % 8
d8 d b b d b b b | % 9
gis gis gis gis gis gis gis gis16 fis' | % 10
dis8 dis dis gis,16 fis' dis8 gis,16 fis' dis8 gis,16 fis' | % 11
dis8 dis dis dis fis dis dis dis | % 12 }
}
{ s1*3 \bar } % new voice to get proper split point
}
--
Neil Thornock, D.M.
The recent BYU Symphony Orchestra performance of Plutoids:
http://neilthornock.net/mp3s/plutoids.mp3
Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: unalign candanza like multimeasure improvisation
Maybe you want proportional notation:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Proportional-notation#Proportional-notation
A bit involved, but worth the effort once you get it working right.
On 5/19/10, tiM Sportny tiporic...@hotmail.com wrote:
Niel Thornock:
Hi Tim,
How does it get worse? I've done similar things, scaling durations
in the free part, with perfectly acceptable results. I'm not sure
here which exact problems you are encountering.
It's not that LP does anything wrong, I'm looking for a way to let LP do it
wrong. So in the example below, i want equal spacing between the eights, no
matter what's happening in the improvisation measure below it. Looking at
the example the notes in the upper measure are making room for what
happens in the improvisation measure below it. But since i don't care about
timing i'd prefer the notes to be equidistant. And this also works the other
way around. The glissando from the low to the ases is making room for two
eights above, making the glissando wider, but again, I don't want LP to care
about that.
With getting worse i mean that the stuff i've tried (like temporarily
setting the timing off) only has side effects and not the intended result.
On Wed, May 19, 2010 at 10:10 AM, tiM Sportny wrote:
Dear List,
I'm trying to write down improvisation clues that have to be played
within a few measures. Since these are just clues/suggestions there is no
need to align the notes with other staves, i.e. I don't want it to be
aligned.
In the example below, the only thing LP should care about is that the
total size of the upper measures matches the total size of the
improvisation measure below it. It shouldn't care about which note
comes first, since the one playing the solo, shouldn't care about it
either. (of course this is just a silly simplified example).
Has anyone had any experience with this? I've tried a lot of things, but
it only seemed to get worse and worse.
Best Regards,
Tim
\version 2.12.0
improv = { \relative c''{ \scaleDurations #'( 16 . 17 ){ b8[ des b deses
b des b deses b deses b] ases4 \glissando ases' \glissando a, }}}
\score {
\new StaffGroup
\new Staff {
\repeat unfold 8 b8
\repeat unfold 8 b8
\repeat unfold 8 b8
\repeat unfold 8 b8
}
\new Staff {
R1
\cadenzaOn
\improv
\cadenzaOff
\bar |
R1
}
\layout {
\context {
\Score
\remove Timing_translator
\remove Default_bar_line_engraver
\remove Bar_number_engraver
}
\context {
\Staff
\consists Timing_translator
\consists Default_bar_line_engraver
}
}
}
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Neil Thornock, D.M.
The recent BYU Symphony Orchestra performance of Plutoids:
http://neilthornock.net/mp3s/plutoids.mp3
Assistant Professor of Music
Composition/Theory
Brigham Young University
_
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--
Neil Thornock, D.M.
The recent BYU Symphony Orchestra performance of Plutoids:
http://neilthornock.net/mp3s/plutoids.mp3
Assistant Professor of Music
Composition/Theory
Brigham Young University
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Re: partcombine and/or engraver question
Hi Kieren, Well, I'm clueless about how to help with your issue. But congrats on the premiere/recording! On Mon, Mar 8, 2010 at 7:36 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi all, I write [and engrave] a lot of choral music. There's one big thing I want to do in Lilypond, and wanted to get some opinions on the matter... In my choral music, there are often large sections of unison and two-part writing, as well as four- and [complex] eight-part writing. That is to say, often the music can be completely represented on a single staff, but usually it needs two or three or four, and every once in a while it requires eight (i.e., one staff per vocal part). In a perfect world, I would like to indicate [in the .ly code] where a Voice *requires* its own Staff context, and then have Lilypond make the Staff-generating [partcombine?] decisions automatically, in order to get the best overall spacing. So (e.g.) if half-way through a system a unison section would [need to] break into four staves, either Lilypond would back-quote the unison music to fill the first half of the system, or insert a break at that point and respace the section accordingly, so that the split happens at the beginning of the new system. [I hope I've adequately explained what I'm looking for.] Right now, I'm using a somewhat complex combination of \quoteDuring [drawing from a unison variable] and manual breaks to accomplish this task. But I was hoping there might be a way to get it automated, mostly or fully. Since it would impact horizontal as well as vertical spacing, I imagine that: 1. The logic/algorithm/code would have to be in an engraver, and maybe even in C++, as opposed to in a Scheme function. 2. It might require multiple passes [like the old two-pass spacing macro]. 3. What I'm asking for might not be possible at all. Any suggestions or comments would be greatly appreciated. Cheers, Kieren. p.s. At the U.S. premiere (and CD recording) of my Fantasy Variations this past weekend in Arizona, I got more compliments on the score/parts -- yay, Lilypond! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Check out the newly designed website! http://neilthornock.net Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical dashed line conecting notes
This may be more cumbersome than you want, but it's what I have used. It could be scheme-ified to dodge having to write all this out every time, but here it is anyway. \once \override TextSpanner #'extra-offset = #'(0 . -5) \once \override TextSpanner #'(bound-details right padding) = #9 \once \override TextSpanner #'rotation = #'(90 -1 0) c'\startTextSpan c' c' c' c' c'\stopTextSpan Best Neil On Thu, Mar 4, 2010 at 6:50 PM, Caio Barros caio.bar...@gmail.com wrote: That looked very nice, but I still think that dashed lines work better because it is already used by other composers (like Stockhausen to quote a famous name) and it is not confused with anything else like a barline or a glissando. I got my problem solved with other solution, but I still would like to see this done. 2010/3/4 Robin Bannister r...@dataway.ch Here is an example of the arpeggio approach (not dashed). Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Check out the newly designed website! http://neilthornock.net Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur shapes
I always use (not tested): \override Slur #'positions = #'(10 . 10) or whatever numbers force the slur to give an acceptable result. On Thu, Mar 4, 2010 at 5:49 AM, Phil Holmes em...@philholmes.net wrote: If I use the snippet attached, the slur over the notes goes way higher than I'd want and makes the stave spacing in my score poor. I've tried using: \shapeSlur #'(x1 y1 x2 y2 x3 . .x4 y4) [well, actually \shapeSlur #'(0 -2.5 -1 3.5 0 0 0 -2.5) ] but get an error: error: unknown escaped string: `\shapeSlur' Does anyone have any ideas on how to get a less extreme shape to the slur, please? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Check out the newly designed website! http://neilthornock.net Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RemoveEmptyStaffContext erases previous setting
My understanding is that LilyPond can only take one \layout block -
no? So any subsequent layout block will override the previous one.
Have you tested this with settings other than RemoveEmptyStaffContext,
to see if two layout blocks will work under any other condition?
I don't think it's buggy at all. You just need separate layout blocks
for different components of your project. I always have one for
scores and a different one for parts.
On Fri, Feb 5, 2010 at 8:14 AM, Reinhold Kainhofer
reinh...@kainhofer.com wrote:
I found out the hard way that apparently adding \RemoveEmptyStaffContext
globally to a score will erase some previous settings. In particular, if you
have:
\layout {
\context { \Staff
ignoreFiguredBassRest = ##f
}
}
\layout {
\context { \RemoveEmptyStaffContext }
}
then the score will still use ignoreFiguredBassRest=##t (which is the
default). If you don't add the RemoveEmptyStaffContext, then ##f is used.
Attached is an example file displaying this behavior.
Is this a bug? In my eyes, it is quite severe, because it means you can't
trust lilypond any more. If you check e.g. the individual parts (which do not
add the RemoveEmptyStaffContext) for errors, you cannot be sure any more that
the full score or e.g. the choral score are correct, too!
Cheers,
Reinhold
PS: What is the reason anyway to have
ignoreFiguredBassRest = ##t
for the Staff context? Bass figures on rests ARE used and have a well-defined
meaning (namely that they take the next bass note as reference, but play the
harmony on the rest already). It seems that Han-Wen added this feature a while
ago and set the default to ##t, but didn't really give any good reason to
silently discart bass figures on rests...
So, are there any reasons against making ##f the default (i.e. NOT silently
discarding vital bass figures)???
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* Edition Kainhofer Music Publishing, http://www.edition-kainhofer.com/
* LilyPond music typesetting software, http://www.lilypond.org/
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Re: sustainOff apparantly does not seem to work in bracket style
{
% define Dynamics context
\context {
\type Engraver_group
\name Dynamics
\alias Voice
\consists Output_property_engraver
\consists Piano_pedal_engraver
\consists Script_engraver
\consists New_dynamic_engraver
\consists Dynamic_align_engraver
\consists Text_engraver
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
pedalSustainStrings = #'(Ped. *Ped. *)
pedalUnaCordaStrings = #'(una corda tre corde)
\override DynamicLineSpanner #'Y-offset = #0
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists Text_spanner_engraver
}
\context {
\PianoStaff
\accepts Dynamics
\override TupletBracket #'bracket-visibility = ##f
}
}
}
\score {
\new PianoStaff
\new Staff = RH \RH \dynamics
\new Staff = LH \LH \dynamics
\new Dynamics = pedal \pedal
\midi {
\context {
\type Performer_group
\name Dynamics
\consists Piano_pedal_performer
}
}
}
\paper {
paper-height = 28\cm
ragged-last = ##t
}
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Re: TextSpanner in Large Ensemble
Something like this:
\new Staff \context Voice \with { \remove Text_spanner_engraver } { \music }
for each staff where you don't want it. There are other ways, but
this works for me.
On Mon, Dec 21, 2009 at 12:13 PM, craigbakalian
craigbakal...@verizon.net wrote:
Hi,
Is there a way to get a TextSpanner to only display on the top staff of
a large ensemble the same way the \tempo works? I have an
Accelerando... that is spreading the staves of a large score too far
apart if it is on every staff. And, the accelerando has to be in all
parts - of course. Would it have something to do with \startTextSpan
and \stopTextSpan?
Craig Bakalian
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Re: TextSpanner in Large Ensemble
Kieren, Good call, and quite elegant, so... seconded. -- Neil Thornock, D.M. Check out the newly designed website! http://neilthornock.net Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
clarinet tab?
Hi all,
Is the clarinet tablature posted to the LSR working? I don't see the
usual graphic on LSR, and I can't get it to work on my machine:
GNU LilyPond 2.12.1
Processing `tabtest.ly'
Parsing...
tabtest.ly:3:27: error: GUILE signaled an error for the expression
beginning here
\markup \clarTab ##t #'() #
'((Rlittle . ) (Llittle . )
tabtest.ly:6:1: end of file in string constant
tabtest.ly:3:28: error: syntax error, unexpected '('
\markup \clarTab ##t #'() #'
((Rlittle . ) (Llittle . )
error: failed files: tabtest.ly
I can't figure out what's going wrong...
Thanks much
Neil
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Re: clarinet tab?
Thanks Kristof for the reply.
I found one big clue to the problem: findfont fails trying to find
some Japanese font or something. A postscript file is produced
without errors, but ps2pdf fails with findfont. I have to run:
ps2pdf -dNOSAFER file.ly
to produce the pdf.
Does anybody know anything more about this issue? Does some piece of
software need an upgrade?
On Thu, Dec 17, 2009 at 11:26 AM, kristof lauwers
kristof.lauw...@logosfoundation.org wrote:
hi,
for me it's working.
in the line below, a closing bracket is missing in the end. maybe that's the
problem?
\markup \clarTab ##t #'() #
'((Rlittle . ) (Llittle . )
greetings,
Kristof
At 18:56 2009-12-17, you wrote:
Hi all,
Is the clarinet tablature posted to the LSR working? I don't see the
usual graphic on LSR, and I can't get it to work on my machine:
GNU LilyPond 2.12.1
Processing `tabtest.ly'
Parsing...
tabtest.ly:3:27: error: GUILE signaled an error for the expression
beginning here
\markup \clarTab ##t #'() #
'((Rlittle . ) (Llittle . )
tabtest.ly:6:1: end of file in string constant
tabtest.ly:3:28: error: syntax error, unexpected '('
\markup \clarTab ##t #'() #'
((Rlittle . ) (Llittle . )
error: failed files: tabtest.ly
I can't figure out what's going wrong...
Thanks much
Neil
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i...@kristoflauwers.domainepublic.net
http://kristoflauwers.domainepublic.net
http://myspace.com/xofxof
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Re: bug with LSR Item #233 (hairpin with centred dynamics)?
Could it be that the hairpin here is defined in a Voice, rather than a Staff, context? I really have no idea, just one thought that might put you onto something... On Tue, Dec 15, 2009 at 9:58 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi all, It appears that the snippet http://lsr.dsi.unimi.it/LSR/Item?id=233 does not respect the Staff fontSize (e.g., as set in a \with block). 1. What's the explanation? 2. What's a workaround? Thanks, Kieren. [p.s. v2.13.8 if it matters…] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Check out the newly designed website! http://neilthornock.net Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page numbering
I asked a similar question some time ago which Mats answered most
successfully, with scheme code. page number thornock should bring
it right to the top.
Neil
On Thu, Dec 3, 2009 at 2:06 PM, Nick Payne nick.pa...@internode.on.net wrote:
In the example below, I have found that if I have multiple pieces with a
table of contents, I have to use first-page-number = 0 in the paper section
to have the first piece start on page 1. Is there a better way of doing
this?
The main problem is that if I use print-first-page-number = ##t, in order to
get a page number on the first page of each piece, then I get a page number
of 0 appearing on the TOC page. How can I turn that off but still get all
other pages numbered?
Also, if you keep adding pieces to the book until the TOC uses more than one
page, then you have to use first-page-number = -1, first-page-number = -2,
etc, in order to have the first piece start on page 1, and need some way of
hiding the page numbers on all the TOC pages.
%==
\version 2.13.8
\paper {
first-page-number = 0
print-first-page-number = ##t
oddHeaderMarkup = \markup \fill-line { }
evenHeaderMarkup = \markup \fill-line { }
oddFooterMarkup = \markup { \fill-line {
\bold \fontsize #3 \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string } }
evenFooterMarkup = \markup { \fill-line {
\bold \fontsize #3 \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string } }
ragged-right = ##t
ragged-bottom = ##t
ragged-last-bottom = ##t
}
\header {
title = Overall Title
subtitle = Overall Subtitle
}
\markuplines \table-of-contents
\bookpart { \header {
subtitle = Piece One
composer = Person One
}
\tocItem \markup { 1. Piece One }
\relative c' { \time 4/4
c1
\pageBreak
c
}
}
\bookpart { \header {
subtitle = Piece Two
composer = Person Two
}
\tocItem \markup { 1. Piece Two }
\relative c' { \time 4/4
c1
\pageBreak
c
}
}
\bookpart { \header {
subtitle = Piece Three
composer = Person Three
}
\tocItem \markup { 3. Piece Three }
\relative c' { \time 4/4
c1
\pageBreak
c
}
}
%==
Nick
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Re: vim vagaries
To use vim there is nothing to set up -- you just start typing in vim, save the file, and process it. But you might be referring to setting up syntax highlighting, which is actually not a necessary part of the process, but may be helpful. If all you want to do is use vim, then you just start using vim. On 11/10/09, J. jonathangood...@bezeqint.net wrote: Hi Again evrey body, I'm happy to say that with because of the help you gave me I was not only able to get jedit up and running for lilypond but was encouraged to succede in setting up emacs too! Vim though is somthing else. I looked at the directions on the lilypond site for setting it up but, because of my noviciate I got confused with all the places and symbols. i.e. can you add all the lilpond things into the place where vim is (/user/bin/share/vim) or have to make a ~/.vim and how does one modify the files when the're found. [Whew!] Would appreciat some help like you gave last time. Jonnie -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beginner Questions
Hi Kale,
Please reply to the list and not directly to the previous poster.
Also, these snippets are good, but they should also be complete - we
should be able to render it without error.
As a general comment, all your questions are plainly addressed in the
docs and archives. The docs are big, but once you learn your way
around they will be your best friend.
4 sixteenth notes are typically joined with one beam when place on a
single staff. I would like to have 2 sixteenth notes on one staff
joined to two sixteenth notes on another staff with a single beam. In
the example below, how would I have all notes joined by a single beam?
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Common-notation-for-keyboards#Common-notation-for-keyboards
How can I place additional space between a barline and the note
immediately following it? Preferably this would effect the entire
score rather than a single instance (although its a short song, so it
is not a problem)
Search for barline note space on the list archives and you'll find
lots of help.
Also this:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/BarLine#BarLine
Also, a new question. Neither of these text spanners are rendering,
but I'm also not getting any error messages out of them.
I'm not sure about this one... we need complete snippets.
\cadenzaOn
\override TextSpanner #'(bound-details left text) =
\markup { \upright continue at liberty,
lacking a marked pulse }
\times 2/3
{ cs,8\startTextSpan gs' ds' }
s1 s s s\stopTextSpan
also:
\override TextSpanner #'(bound-details left text) =
\markup { \upright 3'' }
s2\startTextSpan
\bar |
gs8\stopTextSpan
Hope that helps a little!
Neil
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Re: Need something like a TextSpan, but one that goes to the end of a measure . . .
I don't see this behavior. Can you provide a snippet?
Try this:
{ \override TextSpanner #'to-barline = ##t c\startTextSpan c c c R1
c4\stopTextSpan c c c }
which I think does what you want.
Neil
On 11/6/09, Matthew Probst matt...@yak.org wrote:
I'm trying to mark up a score that alternates rapidly between notated and
improvised sections. I had planned to use a TextSpan to mark these, kind of
like this;
Solo +
Where the + is a downward line, closing it like a bracket. The solo
sections
might start anywhere within a measure, and might end anywhere within a
measure.
The problem with my use of TextSpan is that I can't figure out how to get
the
line to go to the very end of a measure containing a whole rest. The line
only
goes to the middle of the whole rest and stops. I guess the same would
apply
for any other rest at the end of a measure, over which this construct is
used;
if the span ends on a rest at the end of a measure, I'd prefer that the line
would reach until the end of the containing measure.
I've tried looking through the reference and snippet guide for guidance, but
I'm
not sure of what terminology to even search for. I looked into the
alternate
endings; might they be appropriate? If not, what constructs should I be
researching to find out how to do this?
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Re: tempo mark in large score for each group
You would do something like:
\new Staff \with {\consists Rehearsal_mark_engraver}
I can't recall if that is the exact name of the engraver right off.
Of course, that would put all \marks above the given staff.
On 10/30/09, Kieren MacMillan kieren_macmil...@sympatico.ca wrote:
Hi Jay,
I just checked Honegger's score for Jeanne d'Arc and tempo marks
are above the top staff and then below for the strings. I've
looked in the manual 2.12 and snippets and I don't see a way to do
this.
I tried setting it for the top instrument in each group and that
did not work.
What about creating a custom RehearsalMarks context, and then adding
it to your score at the bottom?
It would only have to \consist of a couple of engravers...
Hope this helps!
Kieren.
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Re: Slur through a rest
Well I haven't tested this, but I generally have troubles with slurs that cross staves, such as you have here. What you want to use are the control-points and probably some type of offset. A good implementation of cross-staff slurs someday will be wonderful. It obviously has to do with grace notes, and I saw a relevant email here: http://lists.gnu.org/archive/html/bug-lilypond/2005-10/msg00040.html but what does it mean to sync grace notes across staves? I think he means that you need spacer grace notes in every staff at the same location as the actual grace notes. You should see the break problem go away if you do. Hang in there -- I used Finally for 13 years but will never go back now that I've gotten Lilypond under my belt. The output is simply too beautiful. -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cancelling \RemoveEmptyStaffContext
Unless you're dealing with a great number of previously-existing
files, I would put this type of information in its own file (maybe
with other layout prefs) and then create two versions of that file.
I'm sure you know the trick, and it is cumbersome, but it only need be
done once.
Otherwise, that's the limit of my Pond'ering at this point!
Neil
On Fri, Sep 18, 2009 at 8:58 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Reinhold,
it might work to revert the changes that RESC does to the Staff context:
\context {
\Staff
\consists Axis_group_engraver
\remove Hara_kiri_engraver
\revert Beam #'auto-knee-gap
\revert VerticalAxisGroup #'remove-empty
}
After all, \RESC is just a shortcut for certain changes to the \Staff
context::
RemoveEmptyStaffContext = \context {
\Staff
\remove Axis_group_engraver
\consists Hara_kiri_engraver
\override Beam #'auto-knee-gap = #'()
\override VerticalAxisGroup #'remove-empty = ##t
}
I ended up discovering that on my own just now — but thanks for the
confirmation!
Is there any way that *doesn't* require knowing what's in \RESC, so that my
scores are future-proofed?
Thanks,
Kieren.
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Re: Questions about Stem #'length
If you don
On Wed, Sep 16, 2009 at 10:30 AM, Marc Hohl m...@hohlart.de wrote:
Hi,
I tried to manipulate the length of the stems but I got strange results.
Please compile the following file:
---
\version 2.13.3
test = \relative c {
{ c4 ( d\5 ) e ( f ) } \\ g,1
{ e''4 ( f ) e ( f ) } \\ { c4 ( d ) c ( d ) }
e4\1 ( f\1 ) f\1 ( e\1 )
e\2 ( f\2 ) f\2 ( e\2 )
e\3 ( f\3 ) f\3 ( e\3 )
e\4 ( f\4 ) f\4 ( e\4 )
e,\5 ( f\5 ) f\5 ( e\5 )
e\6 ( f\6 ) f\6 ( e\6 )
\set doubleSlurs = ##t
e\6 b'\5 e\4 2 ( f\6 c'\5 f\4 )
}
\score { % standard behaviour
\new Staff { \clef G_8 \test }
\new TabStaff
\new TabVoice = 1 { s1*2 }
\new TabVoice = 2 { s1*2 }
\test
}
\score { % changed layout
\new Staff { \clef G_8 \test }
\new TabStaff
\new TabVoice = 1 { s1 }
\new TabVoice = 2 { s1 }
\test
\layout {
\context {
\TabVoice
\override Slur #'direction = #UP
\override Stem #'length = #0
}
\context {
\Voice
\override Slur #'direction = #UP
\override Stem #'length = #0
}
\context {
\TabStaff
\override NoteColumn #'ignore-collision = ##t
}
}
}
-
Despite the settings for Stem #'length, some of the stems are still visible;
moreover, the slurs in the first tablature line show a strange behavior:
in the first measure, the slurs in the upper voice are attached to the fret
numbers,
whereas the second measure has slurs attached to the stems.
Why are the stems still (partly) visible?
Thanks in advance
Marc
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Re: Questions about Stem #'length
Sorry about the last one!...
If you don't want stems at all:
\override Stem #'stencil = ##f
On Wed, Sep 16, 2009 at 10:30 AM, Marc Hohl m...@hohlart.de wrote:
Hi,
I tried to manipulate the length of the stems but I got strange results.
Please compile the following file:
---
\version 2.13.3
test = \relative c {
{ c4 ( d\5 ) e ( f ) } \\ g,1
{ e''4 ( f ) e ( f ) } \\ { c4 ( d ) c ( d ) }
e4\1 ( f\1 ) f\1 ( e\1 )
e\2 ( f\2 ) f\2 ( e\2 )
e\3 ( f\3 ) f\3 ( e\3 )
e\4 ( f\4 ) f\4 ( e\4 )
e,\5 ( f\5 ) f\5 ( e\5 )
e\6 ( f\6 ) f\6 ( e\6 )
\set doubleSlurs = ##t
e\6 b'\5 e\4 2 ( f\6 c'\5 f\4 )
}
\score { % standard behaviour
\new Staff { \clef G_8 \test }
\new TabStaff
\new TabVoice = 1 { s1*2 }
\new TabVoice = 2 { s1*2 }
\test
}
\score { % changed layout
\new Staff { \clef G_8 \test }
\new TabStaff
\new TabVoice = 1 { s1 }
\new TabVoice = 2 { s1 }
\test
\layout {
\context {
\TabVoice
\override Slur #'direction = #UP
\override Stem #'length = #0
}
\context {
\Voice
\override Slur #'direction = #UP
\override Stem #'length = #0
}
\context {
\TabStaff
\override NoteColumn #'ignore-collision = ##t
}
}
}
-
Despite the settings for Stem #'length, some of the stems are still visible;
moreover, the slurs in the first tablature line show a strange behavior:
in the first measure, the slurs in the upper voice are attached to the fret
numbers,
whereas the second measure has slurs attached to the stems.
Why are the stems still (partly) visible?
Thanks in advance
Marc
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Re: Question from a mac user
What's your exact OS? On Thu, Jun 4, 2009 at 7:15 PM, sam samfra...@yahoo.com wrote: When I install the software and open the app, none of the menu items display. Has anyone else run into this and how can I fix it? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: missing glissando features (bugs?)
See if anything here helps: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Glissando#Glissando Also search the archives for glissando and bound-details - the answer is in there. Good luck! Neil On Sat, May 2, 2009 at 7:20 AM, Marc Hohl m...@hohlart.de wrote: I have made some observations concerning \glissando: 1) accidentals are not recognised properly; I know this is in the bug list and there are workarounds, see http://lists.gnu.org/archive/html/bug-lilypond/2005-08/msg00235.html 2) the glissando line between half steps should indicate the direction; e.g. a glissando line between c and c# should raise a bit and not be parallel to the staff lines; 3) in tablature, the glissando is always indicated upwards, but it should be drawn in respect to the fret number; e.g. 3/5\3, not 3/5/3; Should (2) and (3) be considered as bugs? I have found a request from 9/2005: http://lists.gnu.org/archive/html/bug-lilypond/2005-09/msg00112.html and it seems to me that this has been partly implemented (the lines betweeen fret numbers are now sloped, so there _has_ been some progress). Are there any hints/workarounds to solve this problem? Thanks in advance, Marc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Reinhold The only problems appear when trying to create Reinhold good-looking full scores for the conductor (part I agree. I don't, actually... In my experience, LilyPond *is* capable of producing scores of the highest caliber. However, I often spend so much time tweaking the score to get it to look perfect that it really becomes a labor of love. I think until LilyPond is able to achieve that perfect type of score with minimal effort, employers at firms that produce music scores will rely on software that is more intuitive and gives quicker results - they have to pay someone for their time to notate this stuff. Meanwhile, I am convinced LilyPond's output is capable of much greater beauty than anything else out there... but I frankly don't think it will ever touch a very large user base (compared to you-know-who). I am curious who out there is in a professional music-related position that relies on Lilypond when Finale or Sibelius is also an option provided by the employer. I'm one. Just curious who else. For whatever it's worth. -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius (was Review of Valentin's Opera)
I will agree with many of the preceding posts that entry of notes, slurs, etc, is faster for me in Lily than in Finale. However, with every new piece I have to devise a new hack to accomplish a certain advanced thing - even as simple a thing as a slanted hairpin or a cross-staff slur, which I simply must have every now and then. I can spend huge amounts of time developing the hack and then significantly more time adjusting it just right in the actual score. I don't compose nearly the quantity I used to because LilyPond really puts me through the ringer with certain notational difficulties. But OF COURSE it's worth it, because no other software produces as professional a result. That said, I keep waiting for the day when I've developed all the hacks I'll ever need and can remember them long enough that I don't ever have to snoop them out again. Or when all this stuff will be built into the software. Whew! But Chris's comment is a real clincher for me: The way that music is entered for LilyPond causes me to think in a more musical way - there have been times when I've been stumped as to how to tell Lily to engrave something, only to realize that even if I did get it exactly as the composer wanted, the music would be confusing to read. LilyPond makes it much easier for me to work in my dual editor+engraver role. From a compositional point of view, Finale encourages the worst kind of laziness. LilyPond, by the manner in which it encourages a focus on the notational details, makes me think more critically toward my musical material. LilyPond also encourages a kind of healthy perfectionism, because control over any element of the score *is* possible. Finale keeps resetting to certain bad defaults, and eventually the typesetter caves and goes with it. But with Lily I can't be lazy about it. And that has translated itself into my composition work. It's been a heaven send that way. -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [SOLVED] Re: (simulating) a spanner with multiple stops
Thanks Wilbert, this looks quite useful. I could see it inconvenient
if one wants both a textspanner in this way AND a decresc. But usable
anyway.
This puts me to wondering though: If dynamic spanners can be chained
like this, how hard would it be to get textspanners to behave the same
way?
Anybody have any idea?
Thanks!
Neil
On Fri, Mar 27, 2009 at 8:06 AM, Wilbert Berendsen lily...@xs4all.nl wrote:
Op donderdag 26 maart 2009, schreef Wilbert Berendsen:
I try to write something like:
poco . . . . . a . . . . . . poco . . . . . . descresc.
Solved, the trick is quite easy:
\relative c' {
\set decrescendoSpanner = #'text
\set decrescendoText = poco
c\ c c c
\set decrescendoText = a
c\ c c c
\set decrescendoText = poco
c\ c c c
\set decrescendoText = decresc.
c\ c\! c c
}
Cc-ing Neil as this is usable maybe.
best regards,
Wilbert Berendsen
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Re: feathered midbeam direction change
Oops, to the whole list now...
In response to my own question, one can just set the positions of the
main beam as well, so actually, I think this works rather well. It's
certainly cleaner than Finale... Thanks Trevor for putting me on it
again!
\version 2.12.1
\new Staff { { \oneVoice \override Beam #'positions = #'(1 . 3.5)
c'8*1/2[ d' e' f' g' a' b' c'' d''] }
\new Voice { \oneVoice \override Beam #'positions = #'(1 . 1.2)
c'8*1/2[ d' e' f' g'] }
\new Voice { s4 \override Beam #'positions = #'(1.2 . 3.5) \stemUp
g'8*1/2[ a' b' c'' d''] }
}
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feathered midbeam direction change
Hello list! I've used the grow-direction property successfully in several cases. But it only grows a beam in one direction. I'd like to have a beam grow toward the middle of the beamed group and then go the other direction toward the end. I'm ready to graduate from endless tweaking to get this effect. So my questions: Is there a way to slope each individual beam manually (like just the middle beam in 32nd notes)? I can use the #'beaming property to get all kinds of interesting beams, but I'd like to slope them independent of each other. Related, I suppose is: How does the grow-direction property of beams *work*? Can I access that functionality manually? Any other tips/hacks? Thanks, Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: feathered midbeam direction change
Thanks Trevor;
For the record:
\version 2.12.1
\new Staff { { \oneVoice c'8*1/2[ d' e' f' g' a' b' c'' d''] } \new Voice
{ \oneVoice \override Beam #'positions = #'(1 . 1.2) c'8*1/2[ d'
e' f' g'] } \new Voice
{ s4 \override Beam #'positions = #'(1.2 . 3.5) \stemUp g'8*1/2[
a' b' c'' d''] }
r8. r4
}
Which does indeed work, and is somewhat similar to what I have been
doing (although you prompted a cleaner solution). Those beam
positions though... ugh.
But I'm glad it's at least possible. Are there any elegant solutions out there?
Is there a way to get the position of the beam after it's been set?
Thanks!
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textspanner with middle texts
Hello all, I have another question (two in one day, sheesh!). I recall seeing a post a couple of years ago in which someone got a spanner that had texts in the middle, like so: a b __ c d The texts could attach at specific rhythmic points. I think it was Schemed... if I remember correctly, that is. Does anyone remember this? I've scoured the lists to no avail. In any case, any hackers that have a solution? Right now I'm trying to align a whiteout markup with zeroed Y-extent over an extant textspanner, but often I get funny-looking half dashes and whatnot. Ugh, once this score gets finished... -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: expressive marks alignment, accent position
1) In the following snippet, I'd like the accents to be placed above the
staff :
{
d'1- d'2- a'- a'1-
}
First off, articulations are Script objects, so only Script overrides
will have any effect. See if perusing this page lends any clues:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Script#Script
Good luck!
Neil
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Re: Orphaned pages
I always include a dummy score after my main score, something as simple as:
\score { \mypiecehere }
\pageBreak
{c1}
It forces the spacing routine to spread systems evenly across all pages.
Good luck!
On Wed, Feb 25, 2009 at 8:28 AM, David Bobroff bobr...@centrum.is wrote:
Håvar Skaugen wrote:
Hello
Thanks for developing lilypond. I have begun to typeset all my music with
lilypond and I'm very content with the results. However, there's one feature
I'm missing:
Is it possible to make lilypond avoid orphaned pages; pages that have only
one staff or system. These orphaned pages often appear when I make
individual parts from my scores. Would it be possible for lilypond to
automatically detect orphaned pages and make the staff size slightly smaller
until the page disappears?
Check section:
4.1.2 Page formatting
...in the docs. I think system-count and/or page-count will do what you
want.
David
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Re: dynamics below lyrics ?
Well, first off, lyrics in vocal music always go above the staff. But to do what you want, if I understand correctly, you must create a new context just for dynamics to put below the lyrics. The piano-centered dynamics might help. However, I recently did something similar by attaching all dynamics to a staff with the following overrides: \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0) \override Staff.TimeSignature #'stencil = ##f \override Staff.Clef #'stencil = ##f \override Staff.StaffSymbol #'Y-extent = #'(0 . 0) \override Staff.Hairpin #'Y-extent = #'(-1 . 1) \override Staff.DynamicText #'Y-extent #'(-1 . 1) \stopStaff And then all the dynamics attached to spacers. There may be better ways of accomplishing this, but it worked quite well for me. On Wed, Feb 25, 2009 at 8:26 AM, François Labadens francois.labad...@gmail.com wrote: I would have to put the dynamics below the lyrics... How can I do that ? Automatically, the order is: Dynamics, then Lyrics... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Orphaned pages
Is there some reason that you don't use
\paper {
ragged-last-bottom = ##f
}
?
Yes... I've found that often the final page in such a score gets
cheated in the number of systems assigned to it. So I may have 5
systems on all my other pages and only 3 on the last page. That's
what I remember, anyway. The dummy score for layout seems to invoke
different - and more consistent - routines.
But I'm perfectly happy with it. I do wish it were easier to force
number of systems per page but let LilyPond take care of things like
spacing between systems, etc.
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Re: Total invisibility
I cannot have that (i.e. it's a personal choice to minimize the number of changes from one project to another) because the Staff is exported from the contents file: Hence at the score level, I just want to see a variable \staves (which is a StaffGroup); but no reference to the internal drone or pipes. Two comments: First, the great thing about a program like LilyPond is that one is not constrained to templates. You create your own that works for you. Second, the problem is that you may learn over the course of several projects that your current template is somehow deficient. Much better to improve your template now and save yourself potential hours of working around an old template that may not suit all your needs. I can foresee many types of workflow for large projects, but I for one like to have many small files that feed into one or more parent files. Editing is much easier that way (at least in vim) and it offers maximum flexibility in the end. But it's taken a couple years to get a template I'm happy with. I know that's not too helpful - but I've never regretted a few hours' work getting my templates right. Good luck! Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Total invisibility
In the end, fo the problem that started this thread, I just needed to add
this
\tag #'no-layout {
\context Staff = Drone {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\droneStaff
}
to my StaffGroup, and this
\removeWithTag #'no-layout \staves
instead of just \staves to my \score block (the one with \layout{}).
Gotta love easy fixes!
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Re: end measure with incomplete note vale
Perhaps: \bar |. On Fri, Jan 23, 2009 at 8:58 AM, Ezequiel Sierra esie...@gmail.com wrote: hello im transcribing a hym and i see that the first measure is \partial 4 but the last one is a 2. how can i close the measure at the end of the hym it stays open. Eze ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stopwatch time in markup
See the change below:
\version 2.12.1
{
\mark \markup \rounded-box {
\small { 4'33\ }
}
c'2
}
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Re: Thin bars
What does the hard-copy print-out look like? Here's a start; there are other (and lengthier) discussions as well. http://www.mail-archive.com/lilypond-user@gnu.org/msg15017.html http://www.mail-archive.com/lilypond-user@gnu.org/msg32997.html -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting rests with specified vertical position to common rests
That option will be available in the next released version. Cheers, Reinhold Hot dog, I can't believe it was that easy. I've wondered about the same problem on various of my search and replace missions :) Thanks Reinhold! Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cueDuring as one voice
Hello, I'm writing a cue part which I would like to appear as one voice. The problem with \cueDuring is that it creates a new voice and I can't get ties, stems, etc., to behave as if it were one voice. The problem with \quoteDuring is that I can't find a way to reduce the size of the music on the full-size staff and get it to look like cues do with \cueDuring (esp. 16th-note beams). So: Is there a way to tell cues in \cueDuring to have neutral stem, slur, and tie directions and rest placement? Or is there a way to manually reduce the size of the music in \quoteDuring to look like it would using \cueDuring? Thanks for any input. Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cueDuring as one voice
Never mind... I just learned about CueVoice :) Neil On Wed, Jan 7, 2009 at 1:59 PM, Neil Thornock neilthorn...@gmail.comwrote: Hello, I'm writing a cue part which I would like to appear as one voice. The problem with \cueDuring is that it creates a new voice and I can't get ties, stems, etc., to behave as if it were one voice. The problem with \quoteDuring is that I can't find a way to reduce the size of the music on the full-size staff and get it to look like cues do with \cueDuring (esp. 16th-note beams). So: Is there a way to tell cues in \cueDuring to have neutral stem, slur, and tie directions and rest placement? Or is there a way to manually reduce the size of the music in \quoteDuring to look like it would using \cueDuring? Thanks for any input. Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpins not lining up
If you begin the decrescendo at the same note as you end the crescendo, LilyPond will automatically make sure that they are vertically aligned. If you really want the decrescendo to begin on the next note, my best proposal is to increase the staff-padding. Another cheap hack if you want them horizontally aligned but don't want them beginning/ending on the same note: e\ d \once \override Hairpin #'transparent = ##t c\ d\e c\! -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpins in Polyphony?
Ah, yes, the separate voices.
I usually avoid the \\ construct.
Try it with {}\new Voice {\voiceTwo} like so:
{b8 cis d4-.\ cis-.}\new Voice {\voiceTwo }
On Mon, Jan 5, 2009 at 7:52 AM, Dmytro O. Redchuk brownian@gmail.comwrote:
2009/1/5 Jay Hamilton jay...@linuxquestions.net:
I'm having trouble placing the end and beginning of hairpins inside
polyphony
I looked at the snippets found something but didn't really understand how
what was there is different from what I've done.
here's a line of the work, notes and all are correct however the cresc
should end in the middle of 3rd full measure and then a decres to the end
Thanks for looking this over.
Sorry, can not test with 2.10.25.
So, i guess things are like this:
1. Voices inside .. brackets are dynamically created.
2. So, \! d-.\ in {b8 cis d4-.\! d-.\ cis-.}\\ is
(silently?!) ignored.
3. Crescendo d g b4\ ends with f d'2\!
Try to create separate voice for dynamics:
dyn = {
\partial 4
s4 s2 \ s4 \! \
s2 s4 \! \ s
% ...
}
Something like this.
Jay
\version 2.10.25
\header {
title = Allemand a 4 (1603)
composer = Melchior Franck
}
upper = \relative c' {
\clef treble
\key c \major
\time 4/4
#(set-global-staff-size 25)
\override Staff.TimeSignature #' style = #' ()
\partial 4
d g4\p^\markup {Allegretto}
g b-.g d'-.\ a-. g b-.\e g c2d g b4\ f a
{b8 cis d4-.\! d-.\ cis-.}\\{g4 a g e} f d'2\! r4 \bar :|:
}
lower = \relative c {
\clef bass
\key c \major
\time 4/4
\override Staff.TimeSignature #' style = #' ()
g' b4-.g d'-. g b f d' g d' c,2 g'4 a c
{d2 g,4 a }\\{g4 f e a } d, a2 r4
}
\score {
\context PianoStaff
\context Staff = upper \upper
\context Staff = lower \lower
\layout {ragged-right = #t }
\midi { \tempo 4=42 }
}
Yours-
Jay
Jay Hamilton
www.soundand.com
206-328-7694
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Re: downloading
Have you read the learning manual/tutorial? http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/index Am 05.01.2009 um 20:13 schrieb andy: Hi. I downloaded version 2.12 for my G$ with mac 0s x 10.3.9. the download went smooth but then I couldn't figure out how to actually get started on a composition. I got past the pdf part. when I clicked on one of the note heads on the pdf page it just re-opened the instructions page. what do I do? -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
quoteduring and hidenotes
Hello all, I am writing a part in which I need to use \quoteDuring... but the part I'm quoting has \hideNotes in it which show up in the quoted destination. What must I do to get the \hideNotes to work during the quote? I can't see an obvious event to include in quotedEventTypes... I don't even know if that's the approach to take. Any wisdom? Thanks, Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lylipond and space-time notation
I'm no expert, but you should start with the docs on proportional notation: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Proportional-notation#Proportional-notation Read the entire Horizontal Spacing chapter. Better yet, read all the docs! neil On Sat, Dec 27, 2008 at 10:22 AM, Han-Wen Nienhuys hanw...@gmail.comwrote: -- Forwarded message -- From: João Pais jmmmp...@googlemail.com Date: Fri, Dec 26, 2008 at 8:35 PM Subject: Lylipond and space-time notation To: han...@xs4all.nl Hello, I wanted to ask about Lylipond's ability to work with space-time notation. That is, with notation that is distributed in the layout according to a fixed horizontal grid representing time. For example, here are some pages of Benedict Mason's Ensemble piece, for 3 metrically independent ensembles. The grid above in the page has a fixed format throughout the score, so that each page has 10'' of music in it, independently of it's coordination with the current metrical strucutre (which is different in each of the 3 ensembles, and sometimes also divided among each ensemble - pages 4 to 7). [Note: the score I present is just an example. I am enquiring only about the horizontal notation principle, and not of the possibility of joining several music types with different metrics. Although information about that would also be interesting to consider.] This file was made in Sibelius, where all several laborious techniques of faking and layouting were necessary to produce this score. In the end result, it makes sense to say that the layout was 'imposed' on the score, and not the other way. What I concretely wanted to know is: is it possible (or in the future, planned to) to make the 'real time duration' of the music to decide on the horizontal layout of the score? For example, in traditional notation the same piece is notated with the same layout if the tempo is 4th = 120 or 4th = 40. Would it be possible to make the score layout itself differently just by changing the tempo - and with it the duration? In case the answer is positive, did you also consider cases when the page divisions don't match with the metrical division? What happens to bar lines in the end of a system, how are empty spaces in the beginning of the next filled up? And how is that reflected (or not) in the part extraction? Best regards, João Pais -- Friedenstr. 58 10249 Berlin (Deutschland) Tel +49 30 42020091 | Mob +49 162 6843570 jmmmp...@googlemail.com | skype: jmmmpjmmmp -- Han-Wen Nienhuys - han...@xs4all.nl - http://www.xs4all.nl/~hanwenhttp://www.xs4all.nl/%7Ehanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
