Re: bowing change in a long trill
I guess you could wrap the tied notes into a polyphonic structure (where the
additional voice has only hidden notes) and then specify the exact location of
the upbow, like so:
Instead of eg
c''2. ~ c2.
use
{ c''2. ~ c''2. }
\new Voice { \hide c''2.\downbow \hide c''2.\upbow }
Adjust the spacers to whatever you desire.
And sorry, I can't test this right now, but it should work.
Best, Robert
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-- Flannery O'Connor
On 27 Aug 2015, at 09:53, B~M viola1...@gmail.com wrote:
Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive
attached.
The trill continues over two full bars, 27 and 28.
What I would like to do is add in a change go bow, (an up bow) but half way
through the trill
in 28. Is it somehow possible to do this by specifying the bow direction with
X Y coordinates etc ?
Paul
MilhaudCalifornienne-JM.pdf
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Re: Make a new staff occupy the same vertical space as a previous staff
Am 27.08.2015 um 15:50 schrieb Joel Ebel:
On Thu, Aug 27, 2015 at 2:53 AM, David Kastrup d...@gnu.org wrote:
Oh wow. This one is seriously annoying. If you take out all
\stopStaff, it is apparent that the TabStaff is alive through the whole
piece. This is also the case when replacing \new Line with \new
StaffGroup. This is something like the the first new context in a
group is kept alive rule. If you replace
\new TabStaff ...
with
\new DevNull {} \new TabStaff ...
the problem goes away even without \stopStaff. But that's seriously
messed up.
--
David Kastrup
That's abstract, but the result is much better. The one remaining
issue is that if the switch to RhythmicStaff occurs on a line break,
TAB is still printed on the first subsequent line. I can live with it,
but is it possible to prevent that?
Technically, the TAB is a clef.
\omit TabStaff.Clef before the first note in the RhythmicStaff does the
trick.
Yours, Simon
Simple example below. TAB is on
line 2, but not line 3.
\version 2.19.25
\new Line {
\new Devnull {}
\new TabStaff { \relative c { c1 } }
\break
\new RhythmicStaff { 1 \break 1 }
}
\layout {
\context {
\name Line
\type Engraver_group
\consists Axis_group_engraver
\accepts TabStaff
\accepts RhythmicStaff
}
\context {
\Score
\accepts Line
}
}
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Re: a basic question
Hello Paul,
I do suggest using the solution Marc provided, it’s so much easier. But
for the sake of completeness:
Am 27.08.2015 um 09:44 schrieb B~M:
Sorry to ask this silly little question. I am writing out SATB
harmonies for a music exam
and Ive decided to colour the bass in blue, just to make it a little
more distinct.
Id like everything about the bass line/voice to be blue, to this end I
use
\override NoteHead.color = #blue
\override Stem.color = #blue
\override Accidental.color = #blue
\override Rest.color = #blue
\override TextScript.color = #blue
However Ive missed some stuff. If I extend the time duration of a note
with a dot, the dot comes out
as black.
\override Dots.color
Also, if I annotate the note with say a tenuto a-- or an accent a-^
that stuff comes out black also.
\override Script.color
I assume I can change the colour of such stuff but I do not know what
its called.
There must be a \override Something.color = #blue for the annotations
Ive mentioned and the dot duration
extension ?
The solution posted by Mark will not work on anything which lives at
Score level, e.g. ledger lines and bar lines.
See attached for two different approaches on this, depending on whether
you have another voice in the same staff.
By the way, the music functions in this particular state require
v2.19.24 at least; if you’re on an earlier version, rewrite
#(define-music-function (color) (color?)
into:
#(define-music-function (parser location color) (color?)
or similarly, depending on the arguments.
If you have further problems or want some background reading in the
manuals, but can’t find it, don’t hesitate to come back :-)
HTH, Simon
\version 2.19.25
overrideColor =
#(define-music-function (ctx color) (symbol? color?)
(make-sequential-music
(map (lambda (dsc)
(propertyOverride (list ctx (car dsc) 'color) color))
all-grob-descriptions)))
\score {
\new Staff {
% try commenting the first note
c'4
\once\hide Staff.BarLine \bar | % workaround to issue 3949
\stopStaff
\overrideColor Staff #blue
\startStaff
c'4.
}
\new Staff
{
c'4
\once\hide Staff.BarLine \bar | % workaround to issue 3949
\stopStaff
\overrideColor Voice #blue
\override Staff.LedgerLineSpanner.color = #blue
\startStaff
c'4.
}
\\
{
a4
a4.
}
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Re: Make a new staff occupy the same vertical space as a previous staff
On Thu, Aug 27, 2015 at 2:53 AM, David Kastrup d...@gnu.org wrote:
Oh wow. This one is seriously annoying. If you take out all
\stopStaff, it is apparent that the TabStaff is alive through the whole
piece. This is also the case when replacing \new Line with \new
StaffGroup. This is something like the the first new context in a
group is kept alive rule. If you replace
\new TabStaff ...
with
\new DevNull {} \new TabStaff ...
the problem goes away even without \stopStaff. But that's seriously
messed up.
--
David Kastrup
That's abstract, but the result is much better. The one remaining
issue is that if the switch to RhythmicStaff occurs on a line break,
TAB is still printed on the first subsequent line. I can live with it,
but is it possible to prevent that? Simple example below. TAB is on
line 2, but not line 3.
\version 2.19.25
\new Line {
\new Devnull {}
\new TabStaff { \relative c { c1 } }
\break
\new RhythmicStaff { 1 \break 1 }
}
\layout {
\context {
\name Line
\type Engraver_group
\consists Axis_group_engraver
\accepts TabStaff
\accepts RhythmicStaff
}
\context {
\Score
\accepts Line
}
}
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Re: Re-use \chordmode for strumming patterns
There's unfortunately a problem with my idea. If I put the strumming
patterns into the same variable I use for ChordNames, it still
reserves space for them, even if I set chordChanges = ##t. See this
example for comparison. Is there any way around this? I would have
expected non-printed chords to not have impacted the spacing of
printed notes.
\version 2.19.25
\score {
\new ChordNames { \repeat unfold 32 c8 }
\relative c'' { c1 c c c}
}
\score {
\new ChordNames { \set chordChanges = ##t \repeat unfold 32 c8 }
\relative c'' { c1 c c c}
}
\score {
\new ChordNames { c1 c c c }
\relative c'' { c1 c c c}
}
On Tue, Aug 25, 2015 at 11:31 AM, Joel Ebel jbe...@mybox.org wrote:
chordRoot =
#(define-music-function (m) (ly:music?) (event-chord-reduce m))
That works perfectly!
I don't like the name. Once we come up with a nice bike shed color, we
probably should provide that function in LilyPond proper and document it
along with Pitch_squash_engraver.
I agree that this would be a handy function to exist and have
documented in section 1.1.4 of the notation reference, though I don't
have a better idea for the name. Now that I know about
event-chord-reduce, I see that this has been discussed before:
https://code.google.com/p/lilypond/issues/detail?id=185
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Re: Repeats in \parallelMusic
Thank you for this reply. Yes, it looks as if things are a lot simpler
in the latest development version of Lilypond. Still, as I do not
actually need repeats starting and ending during a bar for the piece I
am currently setting, I shall defer upgrading (and perhaps wait for
stable version 2.20).
As for Jacques suggestion
Wouldn’t all that be much simpler without \parallelMusic, with just
one variable per staff contents?
Yes, it would, but then my reasons for using \parallelMusic (for a
string quartet) are that it has other advantages in the editing, at
least from my point of view.
David
On Wed, 2015-08-26 at 17:12 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
On Wed, 2015-08-26 at 14:10 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
But suppose that the repeat should start in the middle of bar 1 and end
in the middle of bar 2. This is easily done when setting the parts
separately; but can it be done within a \parallelMusic structure? On
the face of it, the answer would seem to be no.
Or is it?
Any reason you neither try it out nor add any template to demonstrate
on? A user list is primarily a knowledge resource: making use of the
different knowledge and skill levels of the participants for overcoming
hurdles, not for running the whole track.
It should be easy enough for yourself to modify the example such that
the repeats are on partial measure positions.
With respect, I could see no obvious way in which it could be done,
which is why I asked. I suppose it was the proverbial stupid
question.
Anyway, after trying several more (im)possibilities, I found a method
that worked but produced error messages. Then I remembered Stephen
MacNeil's helpful suggestion a few months ago regarding incomplete final
bars. An example is:
\version 2.18.0
Ugh. It's likely better to return to the method that worked but
produced error messages. Possibly even to one that didn't.
There has been
Issue 4426: Remove bar checks at the end of \parallelMusic passages
This allows ending \parallelMusic at non-bar boundaries.
in version 2.19.22. There has also been
Issue 3984: Let \parallelMusic cope with \repeat .. \alternative
\parallelMusic's recursive decent only worked for comparatively simple
cases. It now should be able to deal with complex constructs
gracefully.
in version 2.19.10 so I am surprised that my example presumably even
works in 2.18.0.
The contraptions you have been using, in contrast, are fairly noisome.
\parallelMusic #'(Vone Vtwo) {
%bar 1
\set Score.measureLength = #(ly:make-moment 3/4) c''2. |
\set Score.measureLength = #(ly:make-moment 3/4) e'2. |
\repeat volta 2 {
\set Score.measureLength = #(ly:make-moment 1/4) d''4 |
\set Score.measureLength = #(ly:make-moment 1/4) f'4 |
%bar 2
\set Score.measureLength = #(ly:make-moment 4/4) e''1 |
\set Score.measureLength = #(ly:make-moment 4/4) g'1 |
%bar 3
d''1 |
f'1 |
%bar 4
\set Score.measureLength = #(ly:make-moment 3/4) c''2. |
\set Score.measureLength = #(ly:make-moment 3/4) e'2. |
}
\set Score.measureLength = #(ly:make-moment 1/4) b'4 |
\set Score.measureLength = #(ly:make-moment 1/4) d'4 |
%bar 5
\set Score.measureLength = #(ly:make-moment 4/4) c''1 |
\set Score.measureLength = #(ly:make-moment 4/4) e'1 |
}
\score {
\new Staff { \Vone }
\new Staff { \Vtwo }
}
Not exactly succinct, but it works. I am sending this to the list (a)
so that I can find it again when I actually need it (b) in case somebody
knows a neater solution to the problem.
Well, upgrading. Then the following will work just fine:
Lilypond music sheet attachment (sumb.ly)
\version 2.19.22
\parallelMusic #'(Vone Vtwo) {
%bar 1
{ c''2. |
e'2. | }
\repeat volta 2 {
d''4 |
f'4 |
%bar 2
e''1 |
g'1 |
%bar 3
d''1 |
f'1 |
%bar 4
c''2. |
e'2. |
}
b'4 |
d'4 |
%bar 5
c''1 |
e'1 |
}
\score {
\displayLilyMusic
\new Staff { \Vone }
\new Staff { \Vtwo }
}
There is, indeed, a slight complication over the most simple version,
namely the additional { ... } pair before the \repeat. The reason for
that is obvious when looking at the output of the \displayLilyMusic:
GNU LilyPond 2.19.26
Processing `sumb.ly'
Parsing...
\new Staff { { { c''2. } \repeat volta 2 {
d''4 |
e''1 |
d''1 |
c''2.
} b'4 |
c''1 } } \new Staff { { { e'2. } \repeat volta 2 {
f'4 |
g'1 |
f'1 |
e'2.
} d'4 |
e'1 } }
One can see that _most_ | events are preserved, but those at the end of
some music list are removed. This caters fine for
Re: bowing change in a long trill
Hi Paul, I forgot two more remarks: 1) great ponding! 2) you should be careful with sending potentially copyrighted material in a list. Not sure if this applies here, but ... Best, Rob __ Truth does not change according to our ability to stomach it. -- Flannery O'Connor On 27 Aug 2015, at 09:53, B~M viola1...@gmail.com wrote: Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive attached. The trill continues over two full bars, 27 and 28. What I would like to do is add in a change go bow, (an up bow) but half way through the trill in 28. Is it somehow possible to do this by specifying the bow direction with X Y coordinates etc ? Paul MilhaudCalifornienne-JM.pdf ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bowing change in a long trill
What's wrong with simply adding bowing commands to the relevant notes? -- Phil Holmes - Original Message - From: B~M To: Lilypond-User Mailing List Sent: Thursday, August 27, 2015 8:53 AM Subject: bowing change in a long trill Dear ALL, I have a long trill in a little viola piece by Milhaud which Ive attached. The trill continues over two full bars, 27 and 28. What I would like to do is add in a change go bow, (an up bow) but half way through the trill in 28. Is it somehow possible to do this by specifying the bow direction with X Y coordinates etc ? Paul -- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bowing change in a long trill
Hello Robert and Paul,
Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
Note the use of ‘s’, a spacer rest, which is semantically more correct than
\hide c''.
I used the hidden note to place the bowing sign in the correct height. I'm not
sure if s\upbow looks good if you overlay that with c ...
Try
{ c c}
\new Voice { s\upbow \hide c\downbow}
You’re right, of course. My mistake, since I forgot to delete the \new
Voice – actually, it should be within one voice:
{
c''2.\downbow ~
{ c''2. }
{ s4. s\upbow }
}
and then it’s even necessary not to have hidden notes:
http://lilybin.com/n6fwdk/2.
Yours, Simon
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Re: a basic question
Am 27.08.2015 um 17:11 schrieb Marc Hohl: Am 27.08.2015 um 16:55 schrieb Marc Hohl: Am 27.08.2015 um 14:48 schrieb Simon Albrecht: Hello Paul, [...] The solution posted by Mark will not work on anything which lives at Score level, e.g. ledger lines and bar lines. Since the OP example shows two different voices sharing one staff, I assumed that the bar lines should not change color, but why on earth live ledger lines at score level? Ok, they don't – bar lines and ledger lines both live at Staff level. But both your argumentation and my questions are still valid ;-) In some way it would be desirable for some cases to have ledger lines at Voice level, e.g. in a'' \\ c' But it becomes unwieldy soon; what about a \\ f ? The only sensible way to deal with this would be creating an association between a NoteHead and the particular LedgerLine on which it sits; then again, a case like h \\ e \\ g (always assuming treble clef) would not allow for that either. Generally, ledger lines are to be thought of as an extension to StaffSymbol – which clearly shows that they need to live in Staff. There’s always this unexpected hurdle when trying to tweak LedgerLineSpanner that it requires \stopStaff before and \startStaff again after the tweak, but that makes perfect sense once you look at it. Only perhaps it should be documented better. But that discussion would better be on the bug or devel lists. Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bowing change in a long trill
Am 27.08.2015 um 16:05 schrieb Robert Schmaus:
I guess you could wrap the tied notes into a polyphonic structure
(where the additional voice has only hidden notes) and then specify
the exact location of the upbow, like so:
Instead of eg
c''2. ~ c2.
use
{ c''2. ~ c''2. }
\new Voice { \hide c''2.\downbow \hide c''2.\upbow }
IIUC, this should be:
{
c''2.\downbow ~
{ c''2. }
\new Voice { s4. s\upbow }
}
Note the use of ‘s’, a spacer rest, which is semantically more correct
than \hide c''.
It’s possible to nicely wrap this into a music function:
%
\version 2.19.25
% music function by Simon Albrecht after an idea of David Kastrup
after = #(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{ #m { \skip $t -\tweak extra-spacing-width #empty-interval
$e } #})
\relative {
c''2.\downbow ~
%% read: after the duration of a dotted fourth note, change to upbow,
during the following note
\after 4. \upbow c
}
%
It’s an invaluable tool also for dynamics.
Yours, Simon
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Re: bowing change in a long trill
Note the use of ‘s’, a spacer rest, which is semantically more correct than
\hide c''.
I used the hidden note to place the bowing sign in the correct height. I'm not
sure if s\upbow looks good if you overlay that with c ...
Try
{ c c}
\new Voice { s\upbow \hide c\downbow}
(Or look at lilybin.com/n6fwdk/1)
Cheers, Robert
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Re: bowing change in a long trill
But I probably should have used \hideNotes instead of just \hide ... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a basic question
Am 27.08.2015 um 14:48 schrieb Simon Albrecht: Hello Paul, [...] The solution posted by Mark will not work on anything which lives at Score level, e.g. ledger lines and bar lines. Since the OP example shows two different voices sharing one staff, I assumed that the bar lines should not change color, but why on earth live ledger lines at score level? See attached for two different approaches on this, depending on whether you have another voice in the same staff. By the way, the music functions in this particular state require v2.19.24 at least; if you’re on an earlier version, rewrite #(define-music-function (color) (color?) into: #(define-music-function (parser location color) (color?) or similarly, depending on the arguments. Oh, thanks for spotting this! I do nearly all engravings with the latest unstable version, so I tend to forget the restrictions in older versions very quickly ;-) If you have further problems or want some background reading in the manuals, but can’t find it, don’t hesitate to come back :-) +1 Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: set barlines manually
Thank you Nathan! It solved my problem perfectly well! :) 2015-08-26 22:02 GMT+02:00 Nathan Ho when.possi...@gmail.com: On Wed, Aug 26, 2015 at 12:40 PM, Mátyás Seress serima...@gmail.com wrote: Hi all, how can I set barlines completely manually throughout a whole sheet music? If you have no time signatures, remove Time_signature_engraver and use \cadenzaOn. You can place bars with \bar |. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a basic question
Am 27.08.2015 um 16:55 schrieb Marc Hohl: Am 27.08.2015 um 14:48 schrieb Simon Albrecht: Hello Paul, [...] The solution posted by Mark will not work on anything which lives at Score level, e.g. ledger lines and bar lines. Since the OP example shows two different voices sharing one staff, I assumed that the bar lines should not change color, but why on earth live ledger lines at score level? Ok, they don't – bar lines and ledger lines both live at Staff level. But both your argumentation and my questions are still valid ;-) Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bowing change in a long trill
Hi Simon,
I never really checked out this structure
{ music }
{ yet more music }
Awesome, I didn't know it worked that way! And I've noticed another
advantage of your approach: although hidden, the notes in the \new Voice
construct still reserve their own space and thus place the bow command
next to the non-hidden note. yours is right on top of it.
Best,
Rob
Am 27/08/15 um 20:06 schrieb Simon Albrecht:
Hello Robert and Paul,
Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
Note the use of ‘s’, a spacer rest, which is semantically more
correct than \hide c''.
I used the hidden note to place the bowing sign in the correct height.
I'm not sure if s\upbow looks good if you overlay that with c ...
Try
{ c c}
\new Voice { s\upbow \hide c\downbow}
You’re right, of course. My mistake, since I forgot to delete the \new
Voice – actually, it should be within one voice:
{
c''2.\downbow ~
{ c''2. }
{ s4. s\upbow }
}
and then it’s even necessary not to have hidden notes:
http://lilybin.com/n6fwdk/2.
Yours, Simon
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Re: bowing change in a long trill
Am 27.08.2015 um 20:53 schrieb Robert Schmaus:
Hi Simon,
I never really checked out this structure
{ music }
{ yet more music }
Awesome, I didn't know it worked that way!
Simultaneous music within a voice – that’s also how often a \global
variable with \tempo, \key, \mark and \bar commands is used for all
voices in the score. It was quite a revelation to me also :-)
And I've noticed another
advantage of your approach: although hidden, the notes in the \new Voice
construct still reserve their own space and thus place the bow command
next to the non-hidden note.
Even the bow command of its own would require horizontal space – that’s
what the { \tweak extra-spacing-width } in my \after function (see my
earlier post in this thread) is for.
yours is right on top of it.
You’re very welcome!
Simon
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Re: Apparent bug: Bracketed TupletNumber affected by Slur
On Thu, Aug 27, 2015 at 7:10 PM, Ralph Palmer palmer.r.vio...@gmail.com
wrote:
-- Forwarded message --
From: Daniel Rosen drose...@gmail.com
Date: Thu, Aug 27, 2015 at 5:24 PM
Subject: Apparent bug: Bracketed TupletNumber affected by Slur
To: lilypond-user Mailing List (lilypond-user@gnu.org)
lilypond-user@gnu.org
The following code produces the attached output, with the TupletNumber way
down inside the Slur even though there is no apparent reason for the
avoid-slur property to matter at all-in other words, this code should
produce the same output as if the \override were commented out. (The bug
appears to manifest only when the Slur begins on the first note of the
tuplet.)
Is this a bug? I can't seem to find anything like it in the bugs list
archives.
\version 2.19.25
\relative c'' {
\tupletUp
\override TupletNumber.avoid-slur = #'outside
\tuplet 3/2 { b8( b b) }
}
DR
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Thanks for the report, Daniel Rosen. I'm forwarding this to the LilyPond
Bug list.
Ralph
My apologies to all - I should have copied Daniel Rosen and the LilyPond
mailing list.
Ralph
--
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
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Apparent bug: Bracketed TupletNumber affected by Slur
The following code produces the attached output, with the TupletNumber way down
inside the Slur even though there is no apparent reason for the avoid-slur
property to matter at all-in other words, this code should produce the same
output as if the \override were commented out. (The bug appears to manifest
only when the Slur begins on the first note of the tuplet.)
Is this a bug? I can't seem to find anything like it in the bugs list archives.
\version 2.19.25
\relative c'' {
\tupletUp
\override TupletNumber.avoid-slur = #'outside
\tuplet 3/2 { b8( b b) }
}
DR
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Re: a basic question
Am 27.08.2015 um 19:29 schrieb Simon Albrecht: [...] In some way it would be desirable for some cases to have ledger lines at Voice level, e.g. in a'' \\ c' But it becomes unwieldy soon; what about a \\ f ? The only sensible way to deal with this would be creating an association between a NoteHead and the particular LedgerLine on which it sits; then again, a case like h \\ e \\ g (always assuming treble clef) would not allow for that either. Generally, ledger lines are to be thought of as an extension to StaffSymbol – which clearly shows that they need to live in Staff. Simon, thanks for the examples and the concise summary – ledger lines are part of the staff lines, of course! Regards, Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: B Series paper
For the interested, alibaba.com is something like the amazon equivalent for manufacturing suppliers. A lot of the sellers only deal in large orders (a couple I saw had minimum orders of 3 40-foot containers [!] as their baseline). I found one supplier with a minimum of 50 packets for B4-size paper, however, with the option to negotiate. As a general (OT) tip: alibaba is *amazing* for ordering in bulk direct from manufacturers. If you ever want to buy a few thousand of something custom made, they're your new best friend. Cheers, A On Mon, Apr 20, 2015 at 8:44 AM, Andrew Bernard andrew.bern...@gmail.com wrote: Hi Brian, We could go halves in a shipping container. Andrew On 20 April 2015 at 05:29:07, Brian Barker (b.m.bar...@btinternet.com) wrote I've got this down to 19 tonnes, but I doubt that's any more useful! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Issue tracker
Daniel Rosen drose...@gmail.com writes: I've been scouring the list archives for the past half hour trying to find out where the new issue tracker is (now that the Google Code one has been frozen). Can anyone point me in the right direction? URL:http://lists.gnu.org/archive/html/bug-lilypond/ Search for [ISSUE xxx] headers. That's the current state of the new issue tracker. Work is on the way to change that. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Make a new staff occupy the same vertical space as a previous staff
Joel Ebel jbe...@mybox.org writes:
On Tue, Aug 25, 2015 at 10:26 PM, Joel Ebel jbe...@mybox.org wrote:
On Tue, Aug 25, 2015 at 9:53 PM, David Kastrup d...@gnu.org wrote:
The following appears to work here. Of course it begs the question
whether we should provide a context definition like that, possibly with
a better name, in LilyPond by default.
Is there a way to get it to stop printing TAB (vertically, in the clef
space) on subsequent lines after switching to a RhythmicStaff? See
attached example.
\version 2.19.25
\new ChordNames \chordmode {
c1 c
}
\new Line {
\new TabStaff
{
\relative c {
c4 e g c %\stopStaff
} %\stopStaff
} \stopStaff
\new RhythmicStaff
{
4 8 8~8 8 4 \break
4 4 4 4 1
}
}
\relative c' {
c1 c c c
}
\layout {
\context {
\name Line
\type Engraver_group
\consists Axis_group_engraver
\accepts TabStaff
\accepts RhythmicStaff
}
\context {
\Score
\accepts Line
}
}
Oh wow. This one is seriously annoying. If you take out all
\stopStaff, it is apparent that the TabStaff is alive through the whole
piece. This is also the case when replacing \new Line with \new
StaffGroup. This is something like the the first new context in a
group is kept alive rule. If you replace
\new TabStaff ...
with
\new DevNull {} \new TabStaff ...
the problem goes away even without \stopStaff. But that's seriously
messed up.
--
David Kastrup
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Tacet in multi-movement/include score
Hi List, I'm copying multiple movements into a single large score (its a collection of various works for liturgical use from the 18th Century: Magnificats, Psalm settings, and the like). Some movements have a brass/tympani section, others do not. I want the movements without music for the extra group to output a Tacet markup in the parts, but not to show up in the score at all (as in, their staff would be hidden). Each movement is a separate file, included in a master file. Each included file has a global variable defining key and time signature, a set of functions, a separate variable for music and lyrics, a silent voice (controlling line breaks, meter changes, tempo changes, etc.), and its own \score block for laying out all the voices. Is there a way, in such a structure, to omit staves in certain movements, without changing the \score block that structures them? Thanks for the help, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tacet in multi-movement/include score
Could you use tags? -- Phil Holmes - Original Message - From: N. Andrew Walsh To: lilypond-user Sent: Thursday, August 27, 2015 12:18 PM Subject: Tacet in multi-movement/include score Hi List, I'm copying multiple movements into a single large score (its a collection of various works for liturgical use from the 18th Century: Magnificats, Psalm settings, and the like). Some movements have a brass/tympani section, others do not. I want the movements without music for the extra group to output a Tacet markup in the parts, but not to show up in the score at all (as in, their staff would be hidden). Each movement is a separate file, included in a master file. Each included file has a global variable defining key and time signature, a set of functions, a separate variable for music and lyrics, a silent voice (controlling line breaks, meter changes, tempo changes, etc.), and its own \score block for laying out all the voices. Is there a way, in such a structure, to omit staves in certain movements, without changing the \score block that structures them? Thanks for the help, A -- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
a basic question
Sorry to ask this silly little question. I am writing out SATB harmonies for a music exam and Ive decided to colour the bass in blue, just to make it a little more distinct. Id like everything about the bass line/voice to be blue, to this end I use \override NoteHead.color = #blue \override Stem.color = #blue \override Accidental.color = #blue \override Rest.color = #blue \override TextScript.color = #blue However Ive missed some stuff. If I extend the time duration of a note with a dot, the dot comes out as black. Also, if I annotate the note with say a tenuto a-- or an accent a-^ that stuff comes out black also. I assume I can change the colour of such stuff but I do not know what its called. There must be a \override Something.color = #blue for the annotations Ive mentioned and the dot duration extension ? Paul HarmQnExamMay2005.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a basic question
Am 27.08.2015 um 09:44 schrieb B~M: Sorry to ask this silly little question. I am writing out SATB harmonies for a music exam and Ive decided to colour the bass in blue, just to make it a little more distinct. Based on a recent mail excange on a similar topic, this function may be helpful: overrideVoiceColor = #(define-music-function (color) (color?) (make-sequential-music (map (lambda (dsc) (propertyOverride (list 'Voice (car dsc) 'color) color)) all-grob-descriptions))) Call it with \overrideVoiceColor #(x11-color 'blue) in the bass voice. HTH, Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: B Series paper
Hi Ponders, In case anyone else is following this thread, I bought a ream of the Fuji A3+ paper from Officeworks that Nick recommended, and I bought an Epson Workforce WF-7610 printer that would print A3+ double-sided. The problem is, Fuji's paper is 320 x 450 mm, and Epson defines their A3+ as 329 x 483 mm, and no matter what I do, I cannot get the two to work together. Would anyone else who prints their orchestral parts and scores in house share what hardware they use? Craig On Mon, 20 Apr 2015 at 17:45 Nick Payne nick.pa...@internode.on.net wrote: On 20/04/2015 16:44, Andrew Bernard wrote: Hi Brian, We could go halves in a shipping container. For Oz users, I've just found that Officeworks sell Fuji Xerox A3+ copy paper in various weights: 90gsm, 100gsm, 120gsm, 140gsm, etc. Go to their web site at https://www.officeworks.com.au/ and search for sra3 colotech. I checked on the Fuji Xerox web site to be sure of the size, and they show that paper size as 450x320 (p.3 of http://www.fujixerox.com.au/general/content_request/paper.pdf), so folded would give 225x320, pretty close to the B4 that is unobtainable here. Works for me as I have two printers that can take that paper size. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: hej
__ Originalna poruka: Od: k...@net.hr Za: kpk1 k...@net.hr Datum: 27.08.2015 14:14 Naslov: hej safjdskfjasd ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
