question about font size

2015-09-10 Thread Haipeng Hu
Hello,
  I'm preparing two orchestral works for a competition. The music is
ok, but I have problem with title page because I can't see the actual
words. Could anyone tell me how Lilypond deal with absolute fontsize
(\abs-fontsize)? Is the value for pt or px? In Microsoft Word, it
deals with pt. So if Lilypond is using pt, I can learn the title page
documents given by our music publisher. Thank you in advance!

Regards
Haipeng

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Re: Strange tie problem

2015-06-24 Thread Haipeng Hu
On 6/24/15, David Kastrup d...@gnu.org wrote:
 Jacques Menu imj-muz...@bluewin.ch writes:

 Hello Haipeng,

 Replacing r4 by s4 removes the stem problem, but the tie one remains :

  
 {
   c2.\mf\
   ~
   c2
 }
 \new Voice \voiceTwo { s4 g2 ~ g2 }
   

 Let me format this differently to illustrate what is going wrong here:

 
{ c2.\mf\ ~ c2 }
\new Voice \voiceTwo
{ s4 g2 ~ g2 }


 In a nutshell, the _only_ music inside of \new Voice is \voiceTwo.  So
 we can equally well leave it away, resulting in

 
{ c2.\mf\ ~ c2 }
{ s4 g2 ~ g2 }


 all in a single Voice.  Now we start one tie at the start of the phrase,
 and one tie after the first quarter note while the first tie has not yet
 finished.

 You either want to write

   \new Voice { \voiceTwo s4 ... }

 or

   \new Voice \with \voiceTwo { s4 ... }

 (the last works only since issue 3547, version 2.17.27).

 --
 David Kastrup

Thank you David! After just replacing all \new Voice \voiceTwo to \new
Voice { \voiceTwo ... }, all such notehead stem rest problems are
gone, including the tie error. The log file is now very clean, only
unimportant midi programming errors are there.

Haipeng

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want to report problem of musicxml2ly

2015-06-08 Thread Haipeng Hu
Hello,
  I'm using musicxml2ly to process a large orchestral piece, to see
how the composer deals with percussion parts with various kinds of
pitched and unpitched instruments switched in the middle of the piece.
But musicxml2ly reports lots of problems, and  ends up with failure. I
remember Reinhold ever played main role on musicxml2ly and
orchestrallily, but I don't know whether he's still active now. The
xml file is large even after archiving, so I can't place it here.
Could you please tell me who I can contact?

Regards
Haipeng

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beaming problem

2015-05-29 Thread Haipeng Hu
Hello,
  I'm now composing an orchestral work, in which there are plenty of
meter changes such as 5/4 and 6/4. Since I'm blind, I gave part of it
to a teacher, and he told me that the beaming in 5/4 and 6/4 is
incorrect. He told me the beaming must be clear for performance, so
5/4 must be 3/4+2/4, and 6/4 3+3. So, please look at the two pictures
in zipped attachment. The one was directly from Lilypond, and the
other from Sibelius, in which I imported the midi file. The beaming in
Sibelius is correct, while in Lilypond, all 16th notes are grouped as
4th. I checked the time-signature-setting.scm, and found the setting
for 6/4 is wrong. Although the comment says for 32nd notes, the line
below it still groups 16ths as 4ths. Is this a mistake? Could anyone
check the theory book for beaming rules and correct the scm file? I
myself modified it and added 5/4, but don't know whether the problem
has been solved.
Thank you in advance!

Regards
Haipeng

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Re: beaming problem

2015-05-29 Thread Haipeng Hu
Thank you for your explanation, and I can manage how I want now.

Regards
Haipeng

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Re: Strange harp problem

2015-05-10 Thread Haipeng Hu
Thank you. Does this mean it's a bug of Lilypond?

Regards
Haipeng

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Strange harp problem

2015-05-10 Thread Haipeng Hu
Hello,
  I'm composing a piece. The attached harp part is ok until the last
two lines of each part. When I comment out them, there is no error.
When I leave them to be compiled, the following error appears, and I
can't figure out what's wrong at all:
programming error: no note heads for the line spanner on neighbor
line? Confused.
continuing, cross fingers
What's wrong on earth?

Regards
Haipeng
\version 2.18.2

str = \change Staff = rh
stl = \change Staff = lh

  #(set-global-staff-size 17)
  harprh = \relative c' {
\clef treble \key f \minor \numericTimeSignature \time 4/4
\showStaffSwitch
  % intro
r2 f ees c bes\arpeggio\laissezVibrer | R1 |
r2 f ees c aes\arpeggio\laissezVibrer | R1 |
r2 g c, bes g\arpeggio | R1^\markup { C \smaller \flat , G \smaller \flat } |
r2 aes ges ees aes,\arpeggio\laissezVibrer |
R1^\markup { C \smaller \natural }^colla parte |
r2 f ees c bes\arpeggio\laissezVibrer |
R1^\markup { G \smaller \natural } |
r2 g f d c\arpeggio\laissezVibrer\fermata | R1 | R1 |
  % rehearsal 1
R1^\markup { D \smaller \sharp , G \smaller \sharp } | R1 |
\tuplet 3/2 2 { r4 c'4\p f, r2 c'4 } |
\tuplet 3/2 2 { f, r c' f, r c' } |
f,4 c'8( f, c' f, c' f,) |
c' f,4 q q q |
q\mf f c f,\arpeggio c f, c\arpeggio f, c f,\arpeggio |
c f, c\arpeggio f, c f, r2 |
s1 |
  % rehearsal 2
R1^\markup { D \smaller \flat , G \smaller \natural } |
c' f, c1\arpeggio |
\stl \tuplet 3/2 4 { aes,,8( ees' g \str c ees g } c4) r |
\str R1^\markup { G \smaller \flat } |
\stl \tuplet 3/2 4 { aes,,8( ees' f \str c' ees f } c'4) r |
s2. r4 | s2.^\markup { G \smaller \natural } r4 |
s2. r4 | s2. r4 |
  % rehearsal 3
R1 | R1 | R1 | R1 |
\time 3/4 R2.*4 |
\time 4/4 R1 | R1 | R1 |
  % rehearsal 4
s1*10 | s1*2^\markup { G \smaller \flat } |
s1*2^\markup { G \smaller \natural } |
\stl \tuplet 3/2 4 { c,,,8( c' \str g' bes c ees f c ees f g c } |
ees4) r r2 | R1*3 |
  }

  harplh = \relative c, {
\clef bass \key f \minor \numericTimeSignature
  % intro
r2 f c' f\arpeggio\laissezVibrer | R1 |
r2 f c' f\arpeggio\laissezVibrer | R1 |
r2 ees c' ees\arpeggio | R1 |
r2 ces ces' ees\arpeggio\laissezVibrer | R1 |
r2 bes' f'\arpeggio\laissezVibrer |
R1 | r2 c g'\arpeggio\laissezVibrer\fermata |
R1 | R1 |
  % rehearsal 1
R1*4 | R1 | R1 | R1 |
r2 c f c'4\arpeggio c, f c'\arpeggio |
\tag #'score { f32 gis aes bes c dis ees32*18\glissando \str f''4 | }
\tag #'midi { \tuplet 9/8 4 { f,,,32 gis aes bes c dis ees f gis aes bes c dis ees f gis aes bes } \tuplet 10/8 { c dis ees f gis aes bes c dis ees } f4 | }
  % rehearsal 2
\stl R1 |
des aes' f'1\arpeggio |
s2 r | R1 | s2 r |
ges8( des'16 ges \str \tuplet 5/4 { bes des ees ges aes } bes4) \stl r |
f,,16( c' ees f \str \tuplet 5/4 { aes bes c ees aes } f4) \stl r |
\tuplet 3/2 4 { des,,8( aes' f' \str aes bes des } f4) \stl r |
\tuplet 3/2 4 { f,,8( c' f \str aes c aes' } f4) \stl r |
  % rehearsal 3
R1 | R1 | R1 | R1 |
R2.*4 | R1 | R1 | R1 |
  % rehearsal 4
\tuplet 3/2 4 { f,,8( c' f \str bes c ees f bes, c ees f bes |
c bes f ees c bes f' ees c bes \stl f c) |
f,( c' f \str aes bes c f c ees f aes bes |
c bes aes f ees c f ees c aes \stl f c) |
ees,( c' g' \str bes c ees f c ees f g bes |
ees c bes g f ees g f ees c \stl g c,) |
des,( aes' f' \str aes bes des aes' f des bes aes f) |
\stl c,( g' ees' \str g bes c g' f ees c bes g) |
\stl aes,( c f \str aes bes c aes' f ees c bes aes) |
\stl des,,( aes' f' \str aes bes des aes' f ees des bes aes) |
\stl bes,( f' bes \str des ees f des' bes f ees des bes) |
\stl ges,( des' ges \str bes des ees bes' ges ees des bes ges) |
\stl f,( c' f \str aes c f aes f c aes \stl f c) |
des,( aes' f' \str aes bes des aes' f des aes \stl f aes,) } |
s2 r | R1 | R1*3 |
  }

  dynamics = \relative c' {
  % intro
s1*13\mp |
  % rehearsal 1
s1*3 | s1*3\cresc |
s2\mf s\ | s1 | s2.\mp\ s4\mf |
  % rehearsal 2
s1 |
s1*7\mf | s2.\ s4\mp |
  % rehearsal 3
s1*4 | s2.*4 | s1*3 |
  % rehearsal 4
s1*7\f | s1\ |
s1\mf | s1*3\cresc |
s1*2\f | s1\ | s1*4\mf |
  }

  \score {
\new PianoStaff = harp \with {
  instrumentName = Arpa
  shortInstrumentName = Arp. } 
  \set PianoStaff.connectArpeggios = ##t
  \new Staff = rh { \keepWithTag #'score \harprh }
  \new Dynamics { \dynamics }
  \new Staff = lh { \keepWithTag #'score \harplh }

\layout {}
\midi {}
  }
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