On 2021-07-09 1:22 pm, ming tsang wrote:
I try to run the following lilypond code.
\version "2.23.3"
\markup { \note #"16" #1 }
The markup command was changed (in version 2.22, I think) so that you
now specify a duration, not a string:
\markup \note { 16 } #UP
-- Aaron Hill
\override ChordName.extra-offset = #'(0 . -1)
}
\score {
<<
\new ChordNames \with \chordsOnStaff \harmony
\new Staff \tune
>>
}
-- Aaron Hill
On 2021-07-10 7:15 pm, ming tsang wrote:
I copied the snippet from the lilypond snippet repository. There is no
lilypond version information.
Last I checked, the LSR was only up-to-date with 2.18.2.
-- Aaron Hill
On 2021-07-10 8:46 pm, Aaron Hill wrote:
On 2021-07-10 7:15 pm, ming tsang wrote:
I copied the snippet from the lilypond snippet repository. There is
no
lilypond version information.
Last I checked, the LSR was only up-to-date with 2.18.2.
And confirmed at the bottom of the Contributing
ments properties.
-- Aaron Hill
"2.22"
tune = \relative c'' {
\clef treble
\partial 8 d8~
\repeat volta 2 { d1 | }
\alternative {
{ r2 r4 r8 d8\repeatTie | }
{ c1 }
}
}
\score {
<<
\new Staff \tune
>>
}
--[end]--
Did you mean to use \laissezVibrer?
-- Aaron Hill
On 2021-04-30 4:17 am, Aaron Hill wrote:
On 2021-04-30 3:39 am, David Sumbler wrote:
I want to be able to insert a note of the same pitch as the preceding
one. I don't mind what form the pitch information is in, so long as I
can use it to create a new note. It could, for example
property. expand-repeat-notes! is the internal procedure that carries
over the most recent pitch. So long as you insert these events early
enough, LilyPond should do the heavy lifting for you.
-- Aaron Hill
eft...
How could I do that?
P.S.: I don't wanna use skips.
Can each line be a separate score?
If so, put each in a \markup, and then right-align all the markups.
\score-lines will take a single score and return a markup list, with
each line in the score as its own markup.
-- Aaron Hill
;.|:" ".|")
That makes it more closely match the existing ".|:-||" as defined in
bar-line.scm:
(define-bar-line ".|:-||" "||" ".|:" ".|")
-- Aaron Hill
s = aboveI \lyricsto upper { Up -- per one }
\context Lyrics = aboveII \lyricsto upper { Up -- per two }
\context Lyrics = belowI \lyricsto lower { Low -- er one }
\context Lyrics = belowII \lyricsto lower { Low -- er two } >>
\new Lyrics is used four times because we need four distinct Lyrics
lines (two stanzas each for two voices).
-- Aaron Hill
'elements)
(ly:music-property second 'elements)))
first))
ka = \mergeChords \ja \jb
kb = \mergeChords \ja \jc
kc = \mergeChords \jb \jc
\new Voice \fixed c' { \ka[ \kb \kc] }
Could be some hidden quirks with this approach, but it does seem to
allow the manual beaming to work.
-- Aaron Hill
Consider:
\version "2.22.0"
foo = \markup { lorem ipsum }
\markup \bold \foo
\new Staff \with { instrumentName = \foo }
{ g'^\markup \italic \foo }
-- Aaron Hill
-- Aaron Hill
rum-style =
#(alist->hash-table
'((bassdrum default "tenuto" -1)
(snare diamond #f 0)
(hihat cross #f 1)))
\new DrumStaff
\with { drumStyleTable = #custom-drum-style }
\drummode { bd4 hh8 8 sn2 }
-- Aaron Hill
ashed-path #0.25 #samplePath
\markup
\override #'(on . 0.2)
\override #'(off . 0.2)
\override #'(line-cap-style . butt)
\dashed-path #0.25 #samplePath
-- Aaron Hill
\tweak details.note-head-gap #(- 0.2 (/ further 2))
\tweak extra-offset #(cons (/ further 2) 0)
\laissezVibrer #})
\fixed c' { \time 3/4
\repeat percent 2 {
b2 c'4
g8 a b2 \extendedLaissezVibrer #4
}
\bar "|."
}
-- Aaron Hill
if something like this might work for you:
\version "2.22.0"
\new Voice
\with { \consists "Pitch_squash_engraver" }
{
\improvisationOn \omit Stem
\repeat unfold 8 { 4 }
}
-- Aaron Hill
e, so it should read "Odin
Rounded". I tested it on Ubuntu, but it should work the same on
Windows.
-- Aaron Hill
] in the
Notation reference.
[1]:
http://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords#index-chordNameExceptions-2
-- Aaron Hill
\time 4/4 \key f \major \tempo 4=100 }
chordNames = \chordmode { f1:maj7 e:7 a:m bes/c }
\score {
<<
\new ChordNames \chordNames
\new Staff <<
\new NullVoice \global
\slashesForMusic 4 \chordNames
>>
>>
\layout {}
\midi {}
}
-- Aaron Hill
cally, I should
have used ,NATURAL in place of zero in the original list since that is
also a magic number.
-- Aaron Hill
2 NATURAL))
(v . ,(ly:make-pitch -1 3 NATURAL))
; ...
))
\language "numeric-english"
{ zero'4 four'8 five' two'2 }
\language "numeric-roman"
{ z'4 iv'8 v' ii'2 }
NOTE: I've abbreviated the definitions above, but you should be able to
continue the patterns as needed.
-- Aaron Hill
\override Score.BarNumber.break-visibility = #all-visible
\set Score.currentBarNumber = 7
R1*3 \bar "||" \skipBarNumbers 3 R1*2
}
-- Aaron Hill
to compile.
-- Aaron Hill
test.midi
Description: MIDI audio
ce trans grob source)
(if (= 0 (modulo (bar-num) 2))
(ly:grob-set-property! grob 'transparent #t))
\new Staff
\with { \consists \hideEveryOtherBarLine }
\repeat unfold 10 { b'1 }
-- Aaron Hill
rs needed.
%% -
NOTE: I only used a colon above as it was not yet a defined symbol.
However, colons are used in LilyPond syntax as the short-hand for
tremolo repeats. So, almost certainly a different character would be
better.
-- Aaron Hill
On 2021-03-13 6:11 am, Christian Masser wrote:
[...]
mySoloChordsA = \chords {
c1 f g c
}
[...]
I think you want \chordmode, not \chords, when defining the variables.
\chords { ... } is shorthand for \new ChordNames \chordmode { ... } if I
recall.
-- Aaron Hill
glissandi, then the
arguments should be lists of numbers, each value corresponding to a
particular glissando. Shown above is an untangling of the crossing
glissandi, which the coloring should make clearer.
P.S. I am ignoring the possibility of broken glissandi, as they are not
supported by default.
-- Aaron Hill
, if you need a mixture of Hairpins that either extend to the
note or stop at the barline, then you might want to define a helper
variable:
extend = -\tweak to-barline ##f \etc
\fixed c' { \time 3/4 g2 a8 \extend \< b | \time 2/4 cis'2 \! }
-- Aaron Hill
On 2021-03-01 7:13 am, Robin Bannister wrote:
And if you are fed up with baseline-skip you can set it to 0,
and it then stays 0 whatever the font-size.
[...]
no-bs = #'(baseline-skip . 0)
[...]
Was there intention behind that variable name? ;-)
-- Aaron Hill
irpin grob))
\new Staff \with {
\consists \extendHairpinsAcrossTimeSignature
}
\fixed c' {
| \time 3/4 g2 a8 \< b | cis'2 \! r4
| d'4 \> cis' b | \time 2/4 ais2 \!
| g4 fis8 \< g | \time 3/4 a8 \! b a2 \>
| g4 \! f e | \time 2/4 d2 \bar "|."
}
-- Aaron Hill
KE_MUSIC ("RestEvent", @$);
else
n = MY_MAKE_MUSIC ("NoteEvent", @$);
set_property (n, "duration", $2);
set_property (n, "drum-type", $1);
$$ = n->unprotect ();
}
-- Aaron Hill
.22.0"
"\\@" =
#(define-music-function
(staff-position music)
(integer? ly:music?)
#{ \tweak staff-position #staff-position #music #})
\new DrumStaff \drummode { bd4 sn \@4 r4 r8 \@-4 r }
Not sure if \@ is a good name for this, but it is conveniently short
like \=.
-- Aaron Hill
ruler #'(0.9 0.6 0.3) #CENTER #'(-1 . 1)
Staff.TimeSignature
\stencil-guide \horizontal-ruler #CENTER #'(-1 . 1) NoteHead
\stencil-guide \vertical-ruler #green #LEFT #'(-1 . 1) Accidental
bes4 a8 g 2
}
-- Aaron Hill
} |
\repeat tremolo 12 { <> <> } |
}
Your chord syntax appears incorrect. Consider:
\version "2.22.0"
\language "english"
\relative
{ \time 3/4 \clef bass
\repeat tremolo 12 { b,32 ds } |
\repeat tremolo 12 { 32 } |
}
-- Aaron Hill
.5-
\set chordNameExceptions =
#customChordNameExceptionsUsingChordMode
d:m7.5-
}
-- Aaron Hill
.
Maybe 875 [1]?
[1]: http://lsr.di.unimi.it/LSR/Item?id=875
-- Aaron Hill
yzzy 78.9)
#(format #t "\nxyzzy = ~s" xyzzy)
Parsing...
xyzzy = 123
xyzzy = -456
xyzzy = 78.9
Success: compilation successfully completed
-- Aaron Hill
rotates the content while keeping the normal paper
dimensions. The latter swaps the height and width values without
rotation. See [1].
[1]:
http://lilypond.org/doc/v2.22/Documentation/notation/paper-size-and-automatic-scaling
-- Aaron Hill
ning (*location*)
"\\extract does not understand '~s'" which)
music
foo = { c }
\fixed c' {
\extract first event-chord \foo
\extract last note-event \foo
\extract all note-event \foo
\extract all-as-chord note-event \foo
}
-- Aaron Hill
":|]"
}
It is possible to add some padding to the BarLine:
\once \override Staff.BarLine.extra-spacing-width = #'(-2 . 0)
\bar ":|]"
-- Aaron Hill
-- Aaron Hill
||"
You might need to be specific about context:
\override Staff.BarLine...
^^
-- Aaron Hill
sten (cons xoff yoff)))
pocoRitMarkup =
\markup \whiteout \tiny \italic "poco rit."
pocoRit =
-\tweak stencil \overlayMarkup \pocoRitMarkup \etc
{ b'4 \pocoRit \< 4 4 4 \! }
-- Aaron Hill
the position
while we are looking for a full-time replacement for our previous
director. Unfortunately, it seems there are fewer folks entering the
music ministry these days, and the pandemic certainly has not been
helping.
-- Aaron Hill
is even possible), and the LSR snippet certainly is not doing
that. It is replacing the stencil for a bass clef, but you still say
\clef bass.
-- Aaron Hill
curveto 2.64 -0.54 2.54 -0.64 2.42 -0.64
curveto 2.30 -0.64 2.20 -0.54 2.20 -0.42
curveto 2.20 -0.30 2.30 -0.20 2.42 -0.20
closepath)
round round #t)
(cons -0.1 2.65)
(cons -1.3 1))
-- Aaron Hill
, and rounded.)
LSR 1090 [1] is a snippet I wrote to utilize an actual hyphen (or really
anything you want) from a font in place of simply drawing a rectangle.
[1]: https://lsr.di.unimi.it/LSR/Item?id=1090
-- Aaron Hill
otch Gaelic, Manx, Welsh, Breton, and Cornish poets
into their native languages for singing in each Celtic
country and at Pan-Celtic Festivals."
}
-- Aaron Hill
of arithmetic expressions.
You should quasiquote:
\markup \path #0.4
#`((moveto 0 0) (lineto -30 ,(* 2 25))
(lineto -20 80) (closepath))
-- Aaron Hill
rcent 12 { c''4 }
\unset Timing.defaultBarType
r4
\bar "|."
}
}
-- Aaron Hill
ic))
asdf = { b'4\p b'4\mp b'4\ff b'4\sfz }
{ \asdf \noDynamics \asdf }
-- Aaron Hill
-- Aaron Hill
LyricText preceding the LyricHyphen.
-- Aaron Hill
. Find and select a character, and the status bar
will list its Alt+Numpad code if supported. Keep a cheat sheet nearby
with the ones you use most often; though it should not take long before
muscle memory takes over. In my work, I type "blessèd" enough that I
have ALT+0232 memorized.
on the parenthetical "details" link
for each section, which then will give you the link to its PDF. Once
you are on one of these pages, there is a banner with links to the other
details pages.
[1]: http://lilypond.org/manuals.html
-- Aaron Hill
e
systems, which if you do want measures to line up, that would be the way
to go. With the second, each staff is completely isolated from one
another. In the example above, I added color to each staff so you can
better see the effect.
-- Aaron Hill
edDirectly \markup "Compiled directly..."
\ifCompiledDirectly \score { { b'4 4 2 } }
The logic is simple: check to see if the command-line arguments contain
the name of the file being processed.
-- Aaron Hill
/doc/v2.22/Documentation/notation/writing-text#text-spanners
-- Aaron Hill
t-set-staff-size 15) } }
\score { \foo \layout { #(layout-set-staff-size 20) } }
\score { \foo \layout { #(layout-set-staff-size 25) } }
}
-- Aaron Hill
tBracket.edge-height = #'(0.7 . 0)
\once \override TupletBracket.shorten-pair = #'(0 . -1)
\once \override TupletBracket.padding = 3
\tuplet 5/4 { a16[ bes16] }
\time 4/8
r8
}
-- Aaron Hill
result via two steps, first mapping the note names
to dummy pitches chosen to be unique, then replacing those
with the real pitches, adding the articulations at the
same time.
Sigh... you got there before me. :)
It is funny how similar our approaches were.
-- Aaron Hill
ot support the generic note names as they are
processed before the top-level handler. For now, you would have to
manually specify the pitch:
\key #(ly:make-pitch 0 1 0) \major %{ equiv. to \key d \major %}
-- Aaron Hill
;) within
midiEmph?
-- Aaron Hill
w.com/questions/2535760/python-try-except-comma-vs-as-in-except#2535770
-- Aaron Hill
message
"programming error: bounds of this piece aren't breakable"
What's the "right" way to achieve this?
\version "2.20.0"
\relative c' {
c1~
\repeat volta 2 {
c2 e2|
g2 c,2(<>)|
}
}
You should use one of the "semi-ties", specifically \laissezVibrer.
-- Aaron Hill
me . "IM FELL Great Primer, Italic")
"IM FELL Great Primer, Italic"
\override #'(font-name . "IM FELL Great Primer SC")
"IM FELL Great Primer SC"
}
To your other question, the command-line option -dshow-available-fonts
(see the usage documentation for details) will output all of the fonts
LilyPond can see.
-- Aaron Hill
could be that your version of the IM FELL family is named
differently. I got mine from Google's OFL collection [2].
[2]: https://github.com/google/fonts/tree/main/ofl
-- Aaron Hill
arkup \concat { #text "\"" } #})))
\asdf
}
{
\override Score.BarNumber.before-line-breaking =
#(lambda (grob)
(let ((text (ly:grob-property grob 'text)))
(ly:grob-set-property! grob 'text
#{ \markup \concat { #text "\"" } #})))
\asdf
}
-- Aaron Hill
rts markup directly:
title = \markup \concat { "Lorem ipsum" " / " \smaller "dolor sit amet"
}
-- Aaron Hill
yricsto melody { \set stanza = "5." Lo -- rem ips --
um. }
\new Lyrics \lyricsto melody { \set stanza = "6." Lo -- rem ips --
um. } >>
The principle is simply to hack the StanzaNumber and then increase the
spacing between two Lyrics lines.
-- Aaron Hill
the -- must appear directly after the text, you will
need to apply this override before the text.
-- Aaron Hill
}
-- Aaron Hill
would be that \voice would be itself a music function:
voice = #(define-music-function (n) (index?)
(context-spec-music (make-voice-props-set (1- n)) 'Voice))
<< { \voice1 b'4 c'' } \\ { \voice2 g'2 } >>
%%%%
-- Aaron Hill
.\( }
\alternative {
{ 2.\)
-\shape #'((6 . 0.5) (5 . -0.5) (2 . -1) (0 . 0)) ^\( }
{ 2.\) }
}
}
-- Aaron Hill
On 2021-10-24 8:05 am, Thomas Morley wrote:
Am So., 24. Okt. 2021 um 16:35 Uhr schrieb Aaron Hill
Let me take a stab at converting the print routine to Scheme.
Would be great !!
Sorry for the delay... took me some time to figure out why there was an
error with cross-staff right-side Y
". And it turns out there is more than just padding that
will affect your calculation. Try setting a stencil in either
bound-details, as that will also shorten the effective spanner line.
Arrows, however, seem to overlay on the line without changing its
length.
Let me take a stab at converting the print routine to Scheme.
-- Aaron Hill
not disturbing any
preexisting association for one particular version.
Drag-and-drop should ignore file association. Instead, Windows will
simply invoke the target program or shortcut, passing the absolute path
to each source file after any arguments specified within the shortcut.
-- Aaron Hill
as the eighth notes are plenty to keep the two
texts away from each other.
This seems to fix the second measure, unless I am misunderstanding what
you need:
tempos = {
s2^\atempo
s2^\rit
\once \textLengthOn s2^\atempo
s2^\rit
}
-- Aaron Hill
mpo
s2^\rit
s2^\atempo
s2^\rit
}
notes = \relative c'{
c2. d8 b
c2. g8 b
}
othernotes = \relative c'{
e8 f g a g2 c2 b
}
\score {
<<
\new Staff << \tempos \notes >>
\new Staff {\othernotes}
>>
}
\score {
\new Staff << \tempos \notes >>
}
\score {
\new Staff << \tempos \othernotes >>
}
-- Aaron Hill
nts if you
are running an older version:
addTieStart =
#(define-music-function (parser location m) (ly:music?)
^^^
-- Aaron Hill
ost direct and minimally disruptive
method.
-- Aaron Hill
behavior of the site is sound for such cases, so no one feels they have
to enable JS if they do not wish. That might mean the standard styling
needs to be black and white if that creates the least friction for
users.
-- Aaron Hill
cument.body.classList.remove('colors');
} else {
document.body.classList.add('colors');
}
}
Toggle Colors
int
main()
{
printfclass="punctuation">("Hello,
World!\n");
return
0;
}
-- Aaron Hill
://developer.mozilla.org/en-US/docs/Web/API/Window/localStorage
-- Aaron Hill
selecting a color scheme carries an expectation
that it should persist.
-- Aaron Hill
new Staff \music >>
-- Aaron Hill
Another option is to simply set the total number of systems for your
score. LilyPond will naturally spread out music if it is constrained to
meet a minimum system count:
\paper { system-count = 2 }
{ \notes }
%%%%
-- Aaron Hill
ak outside-staff-priority #599
^\markup \bold "Below!"
-\tweak outside-staff-priority #601
^\markup \bold "Above!"
} }
-- Aaron Hill
er->string. But for
anything fancier, the formatted printing functionality is quite powerful
and worth learning:
\markup #(format #f "~{~a fish~^, ~}." '(one two red blue))
-- Aaron Hill
scheme
entirely.
If it helps to have a data point, I exclusively use the PDF manuals for
my reference (apart from searching the code base directly).
-- Aaron Hill
satisfied. Perhaps there is a subtle
bug in the layout logic.
The easy fix is to specify minimum-distance as well. If you like 5.5 as
a basic-distance, just match that value.
-- Aaron Hill
On 2021-11-16 11:37 am, Jean Abou Samra wrote:
Or use this:
https://lists.gnu.org/archive/html/lilypond-user/2021-01/msg00058.html
That's clever. :)
-- Aaron Hill
org on the TO: or CC: for
visibility.)
Another option is to treat the piece as a cadenza. Just know that you
will need to manually insert \bar "" in places to permit line breaks.
-- Aaron Hill
ff context instead of
\omitting the BarLine grob.
-- Aaron Hill
chive/html/lilypond-user/2012-03/msg00296.html
[2]:
https://lists.gnu.org/archive/html/lilypond-user/2017-01/msg00196.html
-- Aaron Hill
ncil #orig #}
#{ \override $grob-path . stencil = #proc #})
\new Staff
\with {
\consists Measure_counter_engraver
\boxify MeasureCounter
}
{
\boxify Staff.Clef
\startMeasureCount
fis'4 g'8 a' \once \boxify Accidental bes'2 cis''4 d''2.
\stopMeasureCount
}
-- Aaron Hill
.
-- Aaron Hill
for
RhythmicStaff, just be more specific:
\new Voice {
\boxify RhythmicStaff.MeasureCounter
...
}
%% ...or... %%
\new RhythmicStaff
\with { \boxify MeasureCounter }
{ ... }
%% ...or... %%
\layout {
\context {
\RhythmicStaff
\boxify MeasureCounter
}
}
-- Aaron Hill
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