Re: can \markup locate an embedded graphics file using include path?
On Tue, 2015-01-27 at 11:57 +, Graham King wrote:
Many of my scores embed a small EPS file using (somewhat simplified):
\markup { \epsfile #X #10 #path/to/file.eps }
This is proving a bit of an obstacle to portability as path/to
(relative or absolute) is installation-specific.
Is it possible to put file.eps (or the equivalent graphic in any other
format) in the \include path? Something like:
\markup { \epsfile #X #10 \include file.eps }
I've tried various formats and wrappers without success so far.
Well, I've managed to get somewhere by wrapping the contents of a PS
file thus:
myLogo=# the-whole-of-the-ps-file
but the logo then appears in the lilypond output without the rest of the
score!
OK, time to try a different approach.
Does anyone know how to derive the absolute path of a file that has been
\include'd ?
In other words:
\include foo
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Re: Transposition of instruments
Am 27.01.2015 um 17:25 schrieb Marco Oros: I would like to write something for trumpet and clarinet and I know, that this musical instruments are tunned in various pitches, they can't use C-key, as for example notation for piano. So, It means, that I must write c-major song in as-major for clarinet, or it is automatically transposed of stave parameter? You can write a c-major song in c-major (concert-pitch) and use \transpose to generate the required notes. This is described here: http://www.lilypond.org/doc/v2.19/Documentation/notation/changing-multiple-pitches.html#transpose Best regards Helge signature.asc Description: OpenPGP digital signature ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange behaviour with dotted note before gregorian music
Here it is.
Franck
2015-01-27 12:46 GMT-05:00, James Lowe p...@gnu.org:
Hello
On 27/01/15 16:05, Ali Cuota wrote:
Hello again,
version 2.18.0
I have a western-notation piece that finishes with a dotted-note a4.
(very last note)
then a gregorian piece.
both comes in a book.ly with include ...
Compiling the sole gregorian is ok
Compiling the book makes the gregorian have dotted (augmentum) at
every notes except \pes
This is note so terriffic since putting a s8*1/1000 at the western
piece or at the beginning of the gregorian piece solves the problem,
but I would say this is a bug...
Franck
can you provide a tiny example please?
James
\version 2.18.0
\score {
\relative c'' { \time 6/8 \partial 4.
a4. a4. \bar ||
}
\addlyrics{
bla bla
}
\layout {
indent = #0
ragged-last = ##f
}
}\version 2.18.0
% #(set-global-staff-size 18)
% #(set! paper-alist (cons '(mi tamaño . (cons (* 200 mm) (* 130 mm))) paper-alist))
#(set-default-paper-size letter)
\paper {
#(set-paper-size letter)
two-sided = ##t
inner-margin = 20 \mm
outer-margin = 15 \mm
top-margin = 20\mm
bottom-margin = 12\mm
% print-page-number = ##f
% head-separation = 0\mm
foot-separation = 0\mm
% page-count = 62
% #(ly:set-option 'point-and-click #f)
}
\layout {
\context {
\Score
\remove Bar_number_engraver }
ragged-last = ##f
}
\header {
dedication = Catedral Primada de Bogotá
title = Canta con nosotros
subtitle = Cantoral del Coro Polifónico
subsubtitle = Edición 2015
tagline =
}
\include dotted.ly
\include grego.ly
\layout {
\context {
\Score
% \remove Bar_number_engraver }
% ragged-last = ##t
}
}
\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus
{
\clef vaticana-do3
d
\[ d \pes e \]
d
\finalis
%%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing = #'((basic-distance . 6))
\override StanzaNumber.font-size = #-3.4
}
\lyricsto cantus
{
Re -- bla -- bla.
}
\layout {
ragged-last = ##f
system-count = 2
#(layout-set-staff-size 30)
\context {
\Score
\override SpacingSpanner.packed-spacing = ##t
}
\context {
\VaticanaStaff
\override StaffSymbol.color = #black
\override LedgerLineSpanner.color = #black
\override StaffSymbol.staff-space = #1.4 %(magstep 5)
\override VaticanaLigature.thickness = #1.3
}
\context {
\Lyrics
\override LyricText.font-size = #-2.6
}
}
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Re: sus7 chords in \chordmode
On Mon, 2015-01-26 at 18:48 -0600, Tim McNamara wrote: The main problem for me with “x7sus4” as a chord name is its length; when there are four chord names in a bar, every character counts in terms of legibility. There is a patch LilyPond that typesets chord symbols in a compact way. http://code.google.com/p/lilypond/issues/detail?id=4154 this would enable LilyPond to compete with proprietary programs in this area. Richard ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ritardando and accelerando
Hi Peter, Hi Joram,
How about:
\version 2.18.2
\layout {
ragged-last = ##t
}
#(define (text-spanner-start-stop mus)
(let ((elts (ly:music-property mus 'elements)))
(make-music 'SequentialMusic 'elements
(append
(list (make-music 'TextSpanEvent 'span-direction -1))
(reverse (cdr (reverse elts)))
(list (make-music 'TextSpanEvent 'span-direction 1))
(list (last elts))
rit = #(define-music-function (parser location music)(ly:music?)
#{
\override TextSpanner.bound-details.left-broken.text = ##f
\override TextSpanner.bound-details.left.text = rit.
$(text-spanner-start-stop music)
#})
ritAtempo = #(define-music-function (parser location music)(ly:music?)
#{
\override TextSpanner.bound-details.left-broken.text = ##f
\override TextSpanner.bound-details.left.text = rit.
\override TextSpanner.bound-details.right-broken.text = ##f
\override TextSpanner.bound-details.right.text = a Tempo.
$(text-spanner-start-stop music)
#})
\transpose c c' {
\key bes\major
r4 f f g8 a
bes4 c' a f
r4 bes a f
\rit {
ees4 d8 ees f4 ees
\break
d2 c
s1 s
}
\bar |.
}
\transpose c c' {
\key bes\major
r4 f f g8 a
bes4 c' a f
r4 bes a f
\ritAtempo {
ees4 d8 ees f4 ees
\break
d2 c
s1
}
s
\bar ||
}
2015-01-27 8:42 GMT+01:00 Peter Danemo petedom...@gmail.com:
How do I get rid of the second ritardando?
Try to add: \override TextSpanner.bound-details.left-broken.text = ##f
HTH,
Pierre
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Re: Ritardando and accelerando
Hi Pierre! Wow, Looks perfect! I’ll study how you did that and try to understand. /P Peter Danemo +46-70-653 21 91 E-post: petedom...@gmail.com Web: danemo.com 27 jan 2015 kl. 09:56 skrev Pierre Perol-Schneider pierre.schneider.pa...@gmail.com: ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: CHanging key.size, accidental.size and stem.size in gregorianMusic
Thank you Franck,
For some reason, I did not find any way to change the flexa stem length.
For more details see gregorian.ly file and:
http://www.lilypond.org/doc/v2.19/Documentation/internals/vaticana_002dligature_002dinterface
Here's where I am so far:
\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus
{
\clef vaticana-do3
f
\[ g \pes a \] a
-\tweak Y-offset #-.3 -\tweak font-size #2 \ictus
d' c'
\[ c' \flexa
\tweak Accidental.X-offset #-4.7 bes
\] a
\[ a
-\tweak Y-offset #2.2 -\tweak thickness #4 \episemInitium
\flexa g \episemFinis \]
\divisioMaior
s a \tweak Accidental.X-offset #-1.4 bes a
\[ g \flexa f \] e
\[ f \flexa e \] \augmentum d
\finalis
%%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
et nu -- bes plu -- _ ant Jus -- _ tum.
}
\layout {
ragged-last = ##f
#(layout-set-staff-size 40)
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
\context {
\VaticanaStaff
\override StaffSymbol.color = #black
\override LedgerLineSpanner.color = #black
\override StaffSymbol.staff-space = #2 %(magstep 5)
\override VaticanaLigature.thickness = #1.3
}
\context {
\Lyrics
\override LyricText.font-size = #-3
}
}
}
HTH,
Pierre
2015-01-27 3:42 GMT+01:00 Ali Cuota alicuota...@gmail.com:
Hello,
Here it is, although this is a little longer. The attachment is what I get.
I need bigger gregorian scores to fit in the rest of the book (common
western notation).
\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus {
\override Staff.StaffSymbol.color = #black
\override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
\override NoteHead.font-size = #4
\clef vaticana-do3
f
\[ g \pes a \] a
-\tweak Y-offset #-.2 \ictus
d' c'
\[ c' \flexa
\tweak Accidental.X-offset #-5.2 bes
\] a
\[ a
-\tweak Y-offset #1.8 \episemInitium
\flexa g \episemFinis \]
\divisioMaior
s a \tweak Accidental.X-offset #-1.4 bes a
\[ g \flexa f \] e
\[ f \flexa e \] \augmentum d
\finalis
%%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
et nu -- bes plu -- _ ant Jus -- _ tum.
}
\layout {
ragged-last = ##f
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
\context {
\Lyrics
\override LyricText #'font-size = #1
}
}
}
2015-01-26 16:34 GMT-05:00, Schneidy pierre.schneider.pa...@gmail.com:
Hi Franck,
please provide a compilable example.
Cheers,
Pierre
-
~Pierre
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html
Sent from the User mailing list archive at Nabble.com.
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Re: sus7 chords in \chordmode
From: Tim McNamara tim...@bitstream.net This has perhaps become off-topic and I don?t wish to prolong that; however, I have to take issue with the idea that ?sus? could somehow apply to the 7th. It can?t. Suspensions specifically apply to replacing the 3rd with either the 4th or the 2nd (the latter being rare except in folk music played on guitar in the first position, and even then only a few chords lend themselves to this). The 7th cannot be suspended; it can be flatted or natural, in which case this is by convention denoted as a 7th or major 7th; the term ?sus? is never applied to the 7th. There should be no possible ambiguity when ?sus? and ?7? are used in the same chord. Thanks to everyone so interested in the appellation of half-baked chords. On the whole, I agree with Tim that the alleged ambiguity of the sus7 symbol in a Jazz chart is baseless. Except he said it in about 75% fewer words that I would have. I've read what everyone has to say, but no one has yet presented a reasonable alternative interpretation for what this symbol could possibly mean, in the context of a Jazz chart. If the context were something other than a Jazz chart, I would agree that the other possibilities discussed are very reasonable and preferable. I agree that we've (I've) gotten way off topic for lilypond proper. Athough it is useful to hear what other people's experiences are, in terms of what symbols their musicans are and are not familiar with, and the various interpretations for these chord symbols. From: Richard Shann rich...@rshann.plus.com The main problem for me with ?x7sus4? as a chord name is its length; when there are four chord names in a bar, every character counts in terms of legibility. There is a patch LilyPond that typesets chord symbols in a compact way. http://code.google.com/p/lilypond/issues/detail?id=4154 Tim, if this still doesn't get you what you need, let me know and I can try to help. Thanks, David Elaine Alt 415 . 341 .4954 *Confusion is highly underrated* ela...@flaminghakama.com self-immolation.info skype: flaming_hakama Producer ~ Composer ~ Instrumentalist -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ritardando and accelerando
2015-01-27 7:12 GMT+01:00 Noeck noeck.marb...@gmx.de:
[...]
PS: Wouldn’t it be nice to have these commands (or similar):
b1\startText rit. c e,\stopText
Hi,
try:
\version 2.19.15 % is needed!
startMyTextSpan =
#(define-event-function (parser location txt mus)((markup? )ly:music?)
(if (and (string? txt) (string-null? txt))
#{ \startTextSpan #}
#{
-\tweak TextSpanner.bound-details.left.text $txt
\startTextSpan
#}))
\relative c' {
c1
\startMyTextSpan \markup \with-color #red whatever
d
e
f
g\stopTextSpan
\override TextSpanner.bound-details.left.text = TEXT
c1
\startMyTextSpan
d
e
f
g\stopTextSpan
}
HTH,
Harm
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Hungarian Gregorian
Dear Listmembers,
Could you help me, how can I creat something like this?
https://drive.google.com/file/d/0BzQDuwMSrodQU19yRTVLM0F3ZHM/view?usp=sharing
I found something simmilar in version 2.19.15 here
http://lilypond.org/doc/v2.19/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions
just above Ancient and modern from one source but the noteheads are still
not close enough.
They should be exactly next to eachother.
Thank you very much!
Sister Judit
This is what I could create, but it is quite weak:
chantEgy = \relative c' {
\override NoteHead.style = #'default
\[ g a h c \]
c h a g \divisioMinima
\[ h4 \virga a g \] d' c h a g \divisioMinima
\finalis
}
verba = \lyricmode {
Lo -- _ _ _ rem ip -- sum do -- lor _ _ sit a -- men a -- men
}
\markup { 3 }
\score {
\new VaticanaStaff
\override VaticanaStaff.StaffSymbol #'line-count = #5
\new VaticanaVoice = melody \chantEgy
% \new VaticanaVoice = melody \chantKettő
\new Lyrics = one \lyricsto melody \verba
\layout {
\context {
\VaticanaStaff
\override StaffSymbol.color = #black
\override LedgerLineSpanner.color = #black
}
}
}
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Re: Ritardando and accelerando
2015-01-27 9:56 GMT+01:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Hi Peter, Hi Joram,
How about:
\version 2.18.2
\layout {
ragged-last = ##t
}
#(define (text-spanner-start-stop mus)
(let ((elts (ly:music-property mus 'elements)))
(make-music 'SequentialMusic 'elements
(append
(list (make-music 'TextSpanEvent 'span-direction -1))
(reverse (cdr (reverse elts)))
(list (make-music 'TextSpanEvent 'span-direction 1))
(list (last elts))
Hi Pierre,
this will fail under certain circumstances:
#(define (text-spanner-start-stop mus)
(let ((elts (ly:music-property mus 'elements)))
(make-music 'SequentialMusic 'elements
(append
(list (make-music 'TextSpanEvent 'span-direction -1))
(reverse (cdr (reverse elts)))
(list (make-music 'TextSpanEvent 'span-direction 1))
(list (last elts))
ritAtempo = #(define-music-function (parser location music)(ly:music?)
#{
\override TextSpanner.bound-details.left-broken.text = ##f
\override TextSpanner.bound-details.left.text = rit.
\override TextSpanner.bound-details.right-broken.text = ##f
\override TextSpanner.bound-details.right.text = a Tempo.
$(text-spanner-start-stop music)
#})
\relative c' {
c1
\ritAtempo {
d8 d d d d d d d
d8 d d d d d d d
}
c1
}
\relative c' {
c1
\ritAtempo {
\repeat unfold 8 d8
\repeat unfold 8 d8
}
c1
}
There was a discussion here:
http://lilypond.1069038.n5.nabble.com/review-of-a-Mutopia-file-why-TabStaff-gives-error-here-td136690.html
Though, we didn't found a real sollution.
Cheers,
Harm
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Re: strange behaviour with dotted note before gregorian music
On 27/01/15 18:25, Ali Cuota wrote: Here it is. Hardly a 'tiny' example http://lilypond.org/tiny-examples.html Can you at least get rid of the cruft that isn't anything to do with the problem? I.e. a single file would help to determine if the problem is to do with the 'include' function or not. Are all those lyric override settings necessary to show the problem, is the ragged-last setting needed? ditto system count and all those context overrides etc etc etc). The point is that the more complex your example the less likely that it will even be looked at let alone acknowledged as a bug. James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeats - Strange behavior??
2015-01-27 23:35 GMT+01:00 Chris Trahan trahan.ch...@gmail.com:
I have two examples in the following code.
The fist one shows a repeated section starting at measure 4.
The second shows the same code, except that a double bar ends measure 3. In
this case, the repeated section is not correct.
Is this a bug or by design?
Hi,
it's hardcoded in repeat-acknowledge-engraver.cc not to set the
'which-bar-property (i.e. the opening repeat-sign, taken from the
relevant context-property), if the user sets an own 'which-bar, i.e.
in this case: \bar ||
So it's by design prefering the users choice ;)
\version 2.18.2
\score {
\relative c'' {
%% When a double bar is added, the repeat is not correct.
\repeat unfold 3 {c d e f} \bar || \break
use \bar .|:-|| instead, see NR ;)
\repeat volta 2 {
s4^Not correct
\repeat unfold 3 {g a b c}
}
}
}
HTH,
Harm
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Re: 1. Refrain before verses 2. words for descant
James,
James E. Bradley wrote
1. What do I need to do to have a refrain before the verses, so that the
stanza numbering is with the verses and not the refrain? For refrains in
the middle or end, I just lengthen one of the verses, and it works out ok.
Two things:
1. The stanza number shows up anywhere you put the \set stanza code, so
just put that after the refrain (if it's part of the same voice as the
verses).
2. You can set the current bar number at any time using:
\set Score.currentBarNumber = #N
where N is the number you want. Information about this can be found in NR:
bar-number
http://www.lilypond.org/doc/v2.18/Documentation/source/Documentation/notation/bars#bar-numbers
.
2. What do I need to do to get words printing for a descant?
The same way you did it for the other voices. Just make a \new Voice in
the descant staff and use \lyricsto to assign it (see below for a cleaned
up version of your sample code).
The sopranoTune and altsopranoTune are the same notes, but are used to
lessen the hassle of alligning words to notes when you want to use
eighth notes with bars, but have words for each note.
I would advise NOT doing it this way. You will ALWAYS get warnings and/or
errors when you compile the score. One way to do this correctly is to use
\skip N when you want a note to be skipped (where N is the note duration)
in the lyric placement, simply align a lyric verse to a separate voice (like
the alto voice in your sample code for verse 2), or use a NullVoice for
alignment purposes since it doesn't get printed (see the section of the NR
focused on lyrics
http://www.lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics.html#polyphony-with-shared-lyrics
for an example of how to use it).
Now, to answer your question about putting the refrain before the verses,
here's what I do (not the only way, mind you). If you look at the time-line
of the score, here's what I'd recommend:
1. Create another staff/voice with its own lyrics (if there are any)
2. Add spacers/rests to the other voices for the duration of the refrain
PRIOR to their time
3. Hide all empty staves
The score should look like this:
|---(refrain notes)---|---(spacers or nothing at all)---|
|---(refrain lyrics)---|---(spacers or nothing at all)---|
|--(spacers)--|---(soprano/alto staff)---|
|--(spacers)--|-(stanza 1 lyrics)|
|--(spacers)--|-(stanza 2 lyrics)|
|--(spacers)--|(tenor/bass staff)|
You can manually put in a \break in between the refrain and the rest of
the score, or you can let LP figure that out. I think, since it's a hymn,
that you'll probably put it in yourself, though.
Here's how I would code up your sample score (everything I explained above):
%---
\version 2.18.2
\language english
\header
{
title = Sample
}
global = {
\key g \major
\time 4/4
\numericTimeSignature
% hides the metronome mark
% (but won't hide text like Andante)
\set Score.tempoHideNote = ##t
\tempo 4 = 120
}
refrainTune = \relative c' {
c4 c c c \bar || \break
}
refrainLyrics = \lyricmode {
I am the refrain
}
descantTune = \relative c'' {
s1 |
\repeat unfold 2 {
a4 a a a |
}
}
descantLyrics = \lyricmode {
\repeat unfold 2 {
I am the descant
}
}
soparanoTune = \relative c'' {
s1 |
\set Score.currentBarNumber = #1
\repeat unfold 2 {
b8 [ b b ] b [ b ] b [ b b ] |
}
}
altoTune = \relative c' {
s1 |
\repeat unfold 2 {
d4 d d d
}
}
%{
if you really want to connect the tenor and bass notes,
only put notes here if the voice is a different duration
than in bassTune, otherwise use spacers
%}
tenorTune = \relative c' {
s1 |
\repeat unfold 2 {
s1 |
}
}
%{
all bass notes and all tenor notes that have the same musical
duration as the bass should be put in this variable
%}
bassTune = \relative c {
s1 |
\repeat unfold 2 {
fs, b'4 fs e' q q8\noBeam q |
}
}
verseOneLyrics = \lyricmode {
\set stanza = #1.
\repeat unfold 2 {
la la la la la la la la
}
}
verseTwoLyrics = \lyricmode {
\set stanza = #2.
\repeat unfold 2 {
da da da da
}
}
\score {
\new Staff {
\new Voice = refrain
\global
\refrainTune
}
\new Lyrics \lyricsto refrain \refrainLyrics
\new Staff {
\new Voice = descant
\global
\descantTune
}
\new Lyrics \lyricsto descant \descantLyrics
\new Staff = women
\new Voice = soprano
\voiceOne
\global
Re: strange behaviour with dotted note before gregorian music
2015-01-27 23:07 GMT+01:00 James Lowe p...@gnu.org: On 27/01/15 18:25, Ali Cuota wrote: Here it is. Hardly a 'tiny' example http://lilypond.org/tiny-examples.html Can you at least get rid of the cruft that isn't anything to do with the problem? I.e. a single file would help to determine if the problem is to do with the 'include' function or not. Are all those lyric override settings necessary to show the problem, is the ragged-last setting needed? ditto system count and all those context overrides etc etc etc). The point is that the more complex your example the less likely that it will even be looked at let alone acknowledged as a bug. James James, is right. Remove all the stuff not needed to show the problem. A really tiny example would mean, that the problem would disappear, if you'd remove any further sign. Nevertheless I had a look into it. I didn't compile it. Because too much work on a non-tiny example ;) Though from reading the code: The normal file has 4. as last duration. LilyPond remembers this and will start the next musical-expression with this duration (the gregorian one), unless it's specified different. So you should specify the duration of the first note of the gregorian code and be done. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
isolated repeats or other signs
Hi: I am looking for a way to use isolated repeat symbols to bracket an except of music I am setting (specifically, using three such symbols, the excerpt, and three such symbols) Alternatively, could use one double-percent symbol at each end, without the dots... Mike Dean ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When does a grob gets its paper-column?
Hi Urs, On Tue, Jan 27, 2015 at 6:19 AM, Urs Liska u...@openlilylib.org wrote: Hi, in an engraver I have a reference to the current grob. It seems that while in the acknowledgers routing this grob doesn't have a paper column set while in the finalze routine it has. Is that correct, and I have to wait until the finalize stage until I can retrieve the rhythmic location of a grob? Are you trying to _acknowledge_ the paper column? Then I would think it would matter which context the Scheme engraver lives in. You can always get the relevant NonMusicalPaperColumn by using (ly:context-property context 'currentCommandColumn) and the PaperColumn with 'currentMusicalColumn. From the IR: currentCommandColumn (graphical (layout) object) Grob that is X-parent to all current breakable (clef, key signature, etc.) items. currentMusicalColumn (graphical (layout) object) Grob that is X-parent to all non-breakable items (note heads, lyrics, etc.). HTH, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Key signature and key cancellation need to be aligned
On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote:
2015-01-27 12:56 GMT+01:00 David Sumbler da...@aeolia.co.uk:
I use Staff.printKeyCancellation = ##f in my score.
At one point the key changes from C major (concert) to C minor. As the
piece is for a standard saxophone quartet, this means that 2 of the
instruments change from D major (notated) to D minor, and the other 2
change from A major to A minor.
A minor, of course, is the open key with no sharps or flats, and,
notwithstanding the negation of printKeyCancellation, Lilypond correctly
prints a key cancellation at this point on the 2 staves that require it.
The other 2 parts, in which the key changes from 2 sharps to 1 flat,
correctly do not get a key cancellation.
So far, so good.
The problem is that the actual key signatures on the 2 staves that have
them are not vertically aligned with the key cancellations on the other
2 staves. Instead, they are printed after the key cancellations. In
other words, each of the 2 key signatures is printed as if there were an
invisible key cancellation preceding it on the stave. This looks wrong,
and I should like them to appear above and below the actual key
cancellations on the other 2 staves.
I have experimented with changing KeySignature.X-offset (which had no
effect) and KeySignature.extra-offset. The latter works, but
unfortunately the position of the time signature and music which follow
remain unchanged, so that there is now an unnecessary gap after the key
signatures/cancellations.
How can I get the effect I want, and get Lilypond to take account of the
change in the position of the key signatures?
David
Hi David,
how about a minimal example?
-Harm
Here we are, then: the following illustrates the problem.
\version 2.18.0
\language english
\new StaffGroup
\new Staff \relative c'' {
\transposition bf
\time 3/4
\key d \major
a2 r4 |
\key d \minor
\time 2/4
R2 |
}
\new Staff \relative c'' {
\transposition ef
\time 3/4
\key a \major
gs2 r4 |
\key a \minor
\time 2/4
R2 |
}
\layout {
\context {
\Staff printKeyCancellation = ##f
}
}
David
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Re: ScholarLY - introduction and call for collaboration
I must immediately excuse myself for not reading the blog post first and seeing that ScholarLY is a part of openlilylib. But I still wonder about the rest. -- View this message in context: http://lilypond.1069038.n5.nabble.com/ScholarLY-introduction-and-call-for-collaboration-tp171140p171152.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
ScholarLY - introduction and call for collaboration
Hi all, usually I don't advertise Scores of Beauty posts here, but every now and then there's an exception to the rule. I have just published a post introducing my new LilyPond library ScholarLY, which intends to become a powerful toolkit for scholarly edition workflows. The first building block that is in a usable state by now is \annotate, a set of functions to annotate musical content and to maintain annotations directly within the LilyPond input files. This can on the one hand _significantly_ increase efficiency in scholarly workflows, and on the other hand it can be used as a kind of in-source issue tracker for any kind of LilyPond project. I suggest anybody interested in scholarly editing having a look at the post at http://lilypondblog.org/2015/01/introducing-scholarly/ and consider joining the project. There is much more to be done, but also to be discussed and designed. So don't hesitate to come up with suggestions, questions and issues, even when you won't contribute a single line of code. Of course I have already had enormous benefits through the (Scheme) competence on this list. Many thanks to everybody, you'll know who I mean ... Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Repeats - Strange behavior??
I have two examples in the following code.
The fist one shows a repeated section starting at measure 4.
The second shows the same code, except that a double bar ends measure 3.
In this case, the repeated section is not correct.
Is this a bug or by design?
\version 2.18.2
\language english
\score {
\relative c'' {
\repeat unfold 3 {c d e f} \break
\repeat volta 2 {
s4^Correct Repeat
\repeat unfold 3 {g a b c}
}
}
}
\score {
\relative c'' {
%% When a double bar is added, the repeat is not correct.
\repeat unfold 3 {c d e f} \bar || \break
\repeat volta 2 {
s4^Not correct
\repeat unfold 3 {g a b c}
}
}
}
Thanks,
Chris
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Re: Key signature and key cancellation need to be aligned
2015-01-27 12:56 GMT+01:00 David Sumbler da...@aeolia.co.uk: I use Staff.printKeyCancellation = ##f in my score. At one point the key changes from C major (concert) to C minor. As the piece is for a standard saxophone quartet, this means that 2 of the instruments change from D major (notated) to D minor, and the other 2 change from A major to A minor. A minor, of course, is the open key with no sharps or flats, and, notwithstanding the negation of printKeyCancellation, Lilypond correctly prints a key cancellation at this point on the 2 staves that require it. The other 2 parts, in which the key changes from 2 sharps to 1 flat, correctly do not get a key cancellation. So far, so good. The problem is that the actual key signatures on the 2 staves that have them are not vertically aligned with the key cancellations on the other 2 staves. Instead, they are printed after the key cancellations. In other words, each of the 2 key signatures is printed as if there were an invisible key cancellation preceding it on the stave. This looks wrong, and I should like them to appear above and below the actual key cancellations on the other 2 staves. I have experimented with changing KeySignature.X-offset (which had no effect) and KeySignature.extra-offset. The latter works, but unfortunately the position of the time signature and music which follow remain unchanged, so that there is now an unnecessary gap after the key signatures/cancellations. How can I get the effect I want, and get Lilypond to take account of the change in the position of the key signatures? David Hi David, how about a minimal example? -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rehearsal marks and grace notes at the beginning of bars
From: Cynthia Karl pck...@mac.com
Subject: Re: Rehearsal marks and grace notes at the beginning of bars
I am wondering if I am missing something about the character of
the problem and the solution that makes you recommend the grace
note rest approach, rather than tweaking the order of the grace
notes and rehearsal mark in the part that actually has them?
Did you not notice what happened to the key signature in my third
example? Not pretty.
I guess I paid insufficient attention to that.
What I am recommending is simply what the Notation Manual recommends:
This can be remedied by inserting grace skips of the
corresponding durations in the other staves.
I think that your solution will not always fix the problem satisfactorily.
Yes, a robust solution would be best.
HTH.
Very much, thanks.
Accepting that this is an appropriate and expected task to do whenever
writing grace notes (yikes!), this leads me to a more general question: is
there a way to apply such a fix programmatically?
I'll use this as an opportunity to ask for guidance on how to approach
this. Here is how I would approach it, given my current
scheme/lilypond/scheme-in-lilypond (lack of) prowess.
Any suggestions or clarifications would be appreciated.
1) Define a procedure insertSegment, that inserts the specified segment in
the specified music expression at the specified location.
This relies on a few functions, which I suspect must already exist, but
which I am unsure of, so I just made up names:
musicSubString: A function that extracts a segment of a music from one
specified location to another
musicLength: A function for finding out the length of a musical segment
musicConcatenate: A way to concatenate music expressions
insertSegment = #(define-music-function
(parser location originalPart location segment)
(ly:music? % guessing about the data type of a
musical duration
ly:duration? ly:music?)
#{
(define partOne (musicSubString $originalPart 0 $location))
(define partTwo (musicSubString $originalPart $location (musicLength
$originalPart)))
(define fixedPart (musicConcatenate $partOne $segment $partTwo))
% Returning the value
$fixedPart
#})
2) Apply this procedure insertSegment to the various instruments
clarinet = \relative { ... }
trumpet = \relative { ... }
cello = \relative { ... }
graceUpdate = \relative{ \grace s8 }
% Can we include music variables in scheme lists like this?
(define instruments (\clarinet \trumpet \cello))
% Still not sure how to define the location within a music expression.
(define graceLocation 143)
% Apply the procedure to each instrument
(map
(lambda (instrument)
% Can I interweave scheme with use of music functions like this?
% Is this procedure's argument variable local,
% or is it a reference to the actual data being operated on?
% Here, I'm assuming that it is a reference, so this assigment will
stick
instrument = \insertSegment instrument { \graceLocation } {
\graceUpdate }
)
instruments
)
Thanks,
David Elaine Alt
415 . 341 .4954 *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: strange behaviour with dotted note before gregorian music
James,
you are right, I just wanted to answer fast between 2 appointments.
Here it is
Franck
2015-01-27 17:07 GMT-05:00, James Lowe p...@gnu.org:
On 27/01/15 18:25, Ali Cuota wrote:
Here it is.
Hardly a 'tiny' example
http://lilypond.org/tiny-examples.html
Can you at least get rid of the cruft that isn't anything to do with the
problem? I.e. a single file would help to determine if the problem is to
do with the 'include' function or not.
Are all those lyric override settings necessary to show the problem, is
the ragged-last setting needed? ditto system count and all those context
overrides etc etc etc).
The point is that the more complex your example the less likely that it
will even be looked at let alone acknowledged as a bug.
James
\version 2.18.0
\include dotted.ly
\include grego.ly\version 2.18.0
\score {
\relative c'' { \time 6/8 \partial 4.
a4. a4. \bar ||
}
\addlyrics{
bla bla
}
}\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus
{
\clef vaticana-do3
d
\[ d \pes e \]
d
\finalis
}
\new Lyrics
\lyricsto cantus
{
Re -- bla -- bla.
}
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Re: ScholarLY - introduction and call for collaboration
I am all in favor of the collaboration, but I wonder if I might pessimistically ask why we use so many discrete projects and repositories. It seems to me that we could accomplish much more by using one git project instead of having openlilylib, the LSR, and our newest projects, ScholarLY and GASP. On top of all these projects, I've noticed that a few LP users have their own repos of snippets and tools. Wouldn't the beginning to intermediate user of LilyPond be benefited by the ability to find all of these resources under one roof? Even the advanced user might more willingly contribute to the various projects if they were all right there in front of him/her. Assuming it is an idea of the different projects having separate 'missions,' why not broaden our horizons? I hope I haven't angered anyone who fills differently than I do. These are just the thoughts of an admitted beginner. -- View this message in context: http://lilypond.1069038.n5.nabble.com/ScholarLY-introduction-and-call-for-collaboration-tp171140p171149.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Key signature and key cancellation need to be aligned
2015-01-28 0:16 GMT+01:00 David Sumbler da...@aeolia.co.uk:
On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote:
2015-01-27 12:56 GMT+01:00 David Sumbler da...@aeolia.co.uk:
I use Staff.printKeyCancellation = ##f in my score.
At one point the key changes from C major (concert) to C minor. As the
piece is for a standard saxophone quartet, this means that 2 of the
instruments change from D major (notated) to D minor, and the other 2
change from A major to A minor.
A minor, of course, is the open key with no sharps or flats, and,
notwithstanding the negation of printKeyCancellation, Lilypond correctly
prints a key cancellation at this point on the 2 staves that require it.
The other 2 parts, in which the key changes from 2 sharps to 1 flat,
correctly do not get a key cancellation.
So far, so good.
The problem is that the actual key signatures on the 2 staves that have
them are not vertically aligned with the key cancellations on the other
2 staves. Instead, they are printed after the key cancellations. In
other words, each of the 2 key signatures is printed as if there were an
invisible key cancellation preceding it on the stave. This looks wrong,
and I should like them to appear above and below the actual key
cancellations on the other 2 staves.
I'm not sure, if I agree. I'd be interested in scans from good
editions dealing with the problem.
I have experimented with changing KeySignature.X-offset (which had no
effect) and KeySignature.extra-offset. The latter works, but
unfortunately the position of the time signature and music which follow
remain unchanged, so that there is now an unnecessary gap after the key
signatures/cancellations.
How can I get the effect I want, and get Lilypond to take account of the
change in the position of the key signatures?
David
Hi David,
how about a minimal example?
-Harm
Here we are, then: the following illustrates the problem.
Thanks.
I've only a very tedious and manually workaround for you. See below.
If the situation differs you will have to adjust the values again.
Maybe with the need to add other overrides of this kind.
Hopefully someone comes up with a better idea.
\version 2.18.0
\language english
\new StaffGroup
\new Staff \relative c'' {
\transposition bf
\time 3/4
\key d \major
a2 r4 |
%% insert:
\once \override Score.KeyCancellation.space-alist.key-signature =
#'(extra-space . -2.4)
\once \override Score.KeySignature.space-alist.time-signature =
#'(extra-space . 2.6)
\key d \minor
\time 2/4
R2 |
}
\new Staff \relative c'' {
\transposition ef
\time 3/4
\key a \major
gs2 r4 |
\key a \minor
\time 2/4
R2 |
}
\layout {
\context {
\Staff printKeyCancellation = ##f
}
}
David
HTH,
Harm
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Re: sus7 chords in \chordmode
On Sun, Jan 25, 2015 at 07:18:52PM -0600, Tim McNamara wrote:
I have repeatedly run into difficulties getting Lilypond to properly render
sus7 chord names in \chordmode. It comes up with silly things like G7sus4
3??? and the like. What is the correct syntax to get a simple ???Gsus7??? to
print? I???ve tried every combination I can think of.
(By the way, I am also using the pop-chords exception list as I don???t like
the Ignatzek standard that is the default in Lilypond).
Are you asking for the \chordmode input syntax, or the
markup syntax to use in your chord exceptions list?
I can't vouch for whether pop-chords Does The Right Thing (tm) or
not, but
c:sus4.7
is the syntax that works for Lilypond proper.
Jim
\score {
\new ChordNames \chordmode { c1:sus4.7 }
c'
}
x.pdf
Description: Adobe PDF document
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Key signature and key cancellation need to be aligned
I use Staff.printKeyCancellation = ##f in my score. At one point the key changes from C major (concert) to C minor. As the piece is for a standard saxophone quartet, this means that 2 of the instruments change from D major (notated) to D minor, and the other 2 change from A major to A minor. A minor, of course, is the open key with no sharps or flats, and, notwithstanding the negation of printKeyCancellation, Lilypond correctly prints a key cancellation at this point on the 2 staves that require it. The other 2 parts, in which the key changes from 2 sharps to 1 flat, correctly do not get a key cancellation. So far, so good. The problem is that the actual key signatures on the 2 staves that have them are not vertically aligned with the key cancellations on the other 2 staves. Instead, they are printed after the key cancellations. In other words, each of the 2 key signatures is printed as if there were an invisible key cancellation preceding it on the stave. This looks wrong, and I should like them to appear above and below the actual key cancellations on the other 2 staves. I have experimented with changing KeySignature.X-offset (which had no effect) and KeySignature.extra-offset. The latter works, but unfortunately the position of the time signature and music which follow remain unchanged, so that there is now an unnecessary gap after the key signatures/cancellations. How can I get the effect I want, and get Lilypond to take account of the change in the position of the key signatures? David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
can \markup locate an embedded graphics file using include path?
Many of my scores embed a small EPS file using (somewhat simplified):
\markup { \epsfile #X #10 #path/to/file.eps }
This is proving a bit of an obstacle to portability as path/to (relative
or absolute) is installation-specific.
Is it possible to put file.eps (or the equivalent graphic in any other
format) in the \include path? Something like:
\markup { \epsfile #X #10 \include file.eps }
I've tried various formats and wrappers without success so far.
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Re: Repeats - Strange behavior??
Message: 6
Date: Wed, 28 Jan 2015 00:02:13 +0100
From: Thomas Morley thomasmorle...@gmail.com
To: Chris Trahan trahan.ch...@gmail.com
Cc: LilyPond User Group lilypond-user@gnu.org
Subject: Re: Repeats - Strange behavior??
Message-ID:
CABsfGyW9kO7-oi1O_=-o-3_cqhjet6slgasy2gmzhb9kpdn...@mail.gmail.com
Content-Type: text/plain; charset=UTF-8
2015-01-27 23:35 GMT+01:00 Chris Trahan trahan.ch...@gmail.com:
I have two examples in the following code.
The fist one shows a repeated section starting at measure 4.
The second shows the same code, except that a double bar ends measure 3. In
this case, the repeated section is not correct.
Is this a bug or by design?
Hi,
it's hardcoded in repeat-acknowledge-engraver.cc not to set the
'which-bar-property (i.e. the opening repeat-sign, taken from the
relevant context-property), if the user sets an own 'which-bar, i.e.
in this case: \bar ||
So it's by design prefering the users choice ;)
Das ist Quatsch! The user simply wanted the section of music before the
repeated section to end with a double bar. He didn't want the opening
repeat-sign to be suppressed. :(
\version 2.18.2
\score {
\relative c'' {
%% When a double bar is added, the repeat is not correct.
\repeat unfold 3 {c d e f} \bar || \break
use \bar .|:-|| instead, see NR ;)
Why shouldn't it be changed to work like the 99% would like? Let those who
want the current behavior use, say, \bar ~://? to indicate that they don't
want the usual opening repeat-sign to appear. The others don't want to delve
into the arcana of the various bar signs. They just want the section before a
repeat section to end with a double-bar.
\repeat volta 2 {
s4^Not correct
\repeat unfold 3 {g a b c}
}
}
}
HTH,
Harm
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When does a grob gets its paper-column?
Hi, in an engraver I have a reference to the current grob. It seems that while in the acknowledgers routing this grob doesn't have a paper column set while in the finalze routine it has. Is that correct, and I have to wait until the finalize stage until I can retrieve the rhythmic location of a grob? TIA Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: CHanging key.size, accidental.size and stem.size in gregorianMusic
Hello Pierre,
Merci, many thanks. The plica is ok this way, so I will use these
settings for the remaining of the project.
Its a choir-book with modern and polyphonic music, and essentials of
gregorian, for Colombia (hopefully then for the whole latin-America).
Franck
2015-01-27 3:31 GMT-05:00, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Thank you Franck,
For some reason, I did not find any way to change the flexa stem length.
For more details see gregorian.ly file and:
http://www.lilypond.org/doc/v2.19/Documentation/internals/vaticana_002dligature_002dinterface
Here's where I am so far:
\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus
{
\clef vaticana-do3
f
\[ g \pes a \] a
-\tweak Y-offset #-.3 -\tweak font-size #2 \ictus
d' c'
\[ c' \flexa
\tweak Accidental.X-offset #-4.7 bes
\] a
\[ a
-\tweak Y-offset #2.2 -\tweak thickness #4 \episemInitium
\flexa g \episemFinis \]
\divisioMaior
s a \tweak Accidental.X-offset #-1.4 bes a
\[ g \flexa f \] e
\[ f \flexa e \] \augmentum d
\finalis
%%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
et nu -- bes plu -- _ ant Jus -- _ tum.
}
\layout {
ragged-last = ##f
#(layout-set-staff-size 40)
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
\context {
\VaticanaStaff
\override StaffSymbol.color = #black
\override LedgerLineSpanner.color = #black
\override StaffSymbol.staff-space = #2 %(magstep 5)
\override VaticanaLigature.thickness = #1.3
}
\context {
\Lyrics
\override LyricText.font-size = #-3
}
}
}
HTH,
Pierre
2015-01-27 3:42 GMT+01:00 Ali Cuota alicuota...@gmail.com:
Hello,
Here it is, although this is a little longer. The attachment is what I
get.
I need bigger gregorian scores to fit in the rest of the book (common
western notation).
\version 2.18.0
\include gregorian.ly
\score {
\new VaticanaVoice = cantus {
\override Staff.StaffSymbol.color = #black
\override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
\override NoteHead.font-size = #4
\clef vaticana-do3
f
\[ g \pes a \] a
-\tweak Y-offset #-.2 \ictus
d' c'
\[ c' \flexa
\tweak Accidental.X-offset #-5.2 bes
\] a
\[ a
-\tweak Y-offset #1.8 \episemInitium
\flexa g \episemFinis \]
\divisioMaior
s a \tweak Accidental.X-offset #-1.4 bes a
\[ g \flexa f \] e
\[ f \flexa e \] \augmentum d
\finalis
%%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
et nu -- bes plu -- _ ant Jus -- _ tum.
}
\layout {
ragged-last = ##f
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
\context {
\Lyrics
\override LyricText #'font-size = #1
}
}
}
2015-01-26 16:34 GMT-05:00, Schneidy pierre.schneider.pa...@gmail.com:
Hi Franck,
please provide a compilable example.
Cheers,
Pierre
-
~Pierre
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strange behaviour with dotted note before gregorian music
Hello again, version 2.18.0 I have a western-notation piece that finishes with a dotted-note a4. (very last note) then a gregorian piece. both comes in a book.ly with include ... Compiling the sole gregorian is ok Compiling the book makes the gregorian have dotted (augmentum) at every notes except \pes This is note so terriffic since putting a s8*1/1000 at the western piece or at the beginning of the gregorian piece solves the problem, but I would say this is a bug... Franck ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rehearsal marks and grace notes at the beginning of bars
On Jan 26, 2015, at 6:08 PM, Flaming Hakama by Elaine
ela...@flaminghakama.com wrote:
Patrick,
Thanks for your explanation and advice.
The only question I have is in terms of what you consider to be the
appropriate fix, which amounts to adding grace note rests to every other
part.
In this case, it is not much of an issue since this is just a trio piece.
But if I were working on a larger orchestration, this seems like kind of a
lot of work, modifying every other part, rather than just modifying the one
part that has the grace notes.
I am wondering if I am missing something about the character of the problem
and the solution that makes you recommend the grace note rest approach,
rather than tweaking the order of the grace notes and rehearsal mark in the
part that actually has them?
Did you not notice what happened to the key signature in my third example? Not
pretty. Why it doesn’t happen in your “fixed” example I don’t know. What I am
recommending is simply what the Notation Manual recommends:
This can be remedied by inserting grace skips of the corresponding
durations in the other staves.”
I think that your solution will not always fix the problem satisfactorily.
Thanks,
From: Cynthia Karl pck...@mac.com mailto:pck...@mac.com
Subject: Re: Rehearsal marks and grace notes at the beginning of bars
From: Flaming Hakama by Elaine ela...@flaminghakama.com
mailto:ela...@flaminghakama.com
To: lilypond-user@gnu.org mailto:lilypond-user@gnu.org
Subject: Rehearsal marks and grace notes at the beginning of bars
Hello everyone,
I ran into a problem today when I had an instrument with grace notes.
It made rehearsal marks between different instruments not line up, printing
duplicate rehearsal marks.
The fix was to put the grace notes before the rehearsal mark.
I was just wondering if this was expected behavior.
See v.2.19.15 Notation Manual, Section 1.2.6, Special rhythmic concerns,
subsection Grace notes, subsubsection Known issues and warnings: Grace
note synchronization can also lead to surprises. You just ran into a
surprise.
LilyPond has problems when (I think) it gets into negative time on one staff
and not on a concurrent one. Grace notes apparently lead to negative time
after bar lines. The following snippet is equivalent to yours with all the
stuff irrelevant to your issue removed, and shows the four possible cases:
\version 2.19.5
violinOK = \relative c'' {
\mark\default \grace e16 e4 r r2
}
violinBroken = \relative c'' {
\grace e16 \mark\default e4 r r2
}
clarinetBroken = \relative c' {
\mark\default R1
}
clarinetFixed = \relative c' {
\mark\default \grace s16 R1
}
global = { \key g\major }
\score {
\new Staff { \global \clarinetBroken }
\new Staff { \global \violinOK }
}
\score {
\new Staff { \global \clarinetFixed }
\new Staff { \global \violinOK }
}
\score {
\new Staff { \global \clarinetBroken }
\new Staff { \global \violinBroken }
}
\score {
\new Staff { \global \clarinetFixed }
\new Staff { \global \violinBroken }
}
In my viewpoint, the original violin part wasn't broken, so it didn't need
fixing. The clarinet part needed the fixing. So what you call violinBroken
I call violinOK, your clarinet is my clarinetBroken, my clarinetFixed, which
you don't have, follows the cited warnings, and your violinFixed is my
violinBroken.
HTH.
David Elaine Alt
415 . 341 .4954 Confusion is
highly underrated
ela...@flaminghakama.com mailto:ela...@flaminghakama.com
self-immolation.info http://self-immolation.info/
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
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Transposition of instruments
Hi! I have one question. I would like to write something for trumpet and clarinet and I know, that this musical instruments are tunned in various pitches, they can't use C-key, as for example notation for piano. So, It means, that I must write c-major song in as-major for clarinet, or it is automatically transposed of stave parameter? Thank You, Marco.i ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange behaviour with dotted note before gregorian music
Hello On 27/01/15 16:05, Ali Cuota wrote: Hello again, version 2.18.0 I have a western-notation piece that finishes with a dotted-note a4. (very last note) then a gregorian piece. both comes in a book.ly with include ... Compiling the sole gregorian is ok Compiling the book makes the gregorian have dotted (augmentum) at every notes except \pes This is note so terriffic since putting a s8*1/1000 at the western piece or at the beginning of the gregorian piece solves the problem, but I would say this is a bug... Franck can you provide a tiny example please? James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hungarian Gregorian
Dear S. Judit,
I read already your first post, and I fear I cannot help with this.
But I would like to know what/who is this notation good for.
Thanks in advance,
Franck
2015-01-27 14:49 GMT-05:00, Rita Composer ritacompo...@gmail.com:
Dear Listmembers,
Could you help me, how can I creat something like this?
https://drive.google.com/file/d/0BzQDuwMSrodQU19yRTVLM0F3ZHM/view?usp=sharing
I found something simmilar in version 2.19.15 here
http://lilypond.org/doc/v2.19/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions
just above Ancient and modern from one source but the noteheads are still
not close enough.
They should be exactly next to eachother.
Thank you very much!
Sister Judit
This is what I could create, but it is quite weak:
chantEgy = \relative c' {
\override NoteHead.style = #'default
\[ g a h c \]
c h a g \divisioMinima
\[ h4 \virga a g \] d' c h a g \divisioMinima
\finalis
}
verba = \lyricmode {
Lo -- _ _ _ rem ip -- sum do -- lor _ _ sit a -- men a -- men
}
\markup { 3 }
\score {
\new VaticanaStaff
\override VaticanaStaff.StaffSymbol #'line-count = #5
\new VaticanaVoice = melody \chantEgy
% \new VaticanaVoice = melody \chantKettő
\new Lyrics = one \lyricsto melody \verba
\layout {
\context {
\VaticanaStaff
\override StaffSymbol.color = #black
\override LedgerLineSpanner.color = #black
}
}
}
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Re: Key signature and key cancellation need to be aligned
Thomas Morley thomasmorley65 at gmail.com writes: 2015-01-28 0:16 GMT+01:00 David Sumbler david at aeolia.co.uk: On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote: 2015-01-27 12:56 GMT+01:00 David Sumbler david at aeolia.co.uk: The problem is that the actual key signatures on the 2 staves that have them are not vertically aligned with the key cancellations on the other 2 staves. Instead, they are printed after the key cancellations. In other words, each of the 2 key signatures is printed as if there were an invisible key cancellation preceding it on the stave. This looks wrong, and I should like them to appear above and below the actual key cancellations on the other 2 staves. This is listed as a bug http://code.google.com/p/lilypond/issues/detail?id=448 maybe with a workaround that you like. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
