composing Scheme identifiers?
Hello,
I currently work on a mass setting by Palestrina. The music is stored in
variables sopranoK, altoK, tenorK, bassK, sopranoVerseK, …, sopranoG,
altoG, etc. etc. for the different parts and movements. Now since I need
a separate \score block for each movement, but these score blocks will
all be identical except for the single letter appended to the variables,
I thought it would be elegant to define a music function like (in short)
scoreSetup =
#(define-music-function
(parser location letter)
(string?)
#{
\score {
\new Staff = bassus \with { instrumentName = bassus }
% this is supposed to give the same result as @code{\bassK} for example…
#(string-identifier (string-append bass $letter))
}
#}
)
Unfortunately, there is no such procedure like string-identifier in
Scheme and string-symbol doesn’t work. Can you help me (as a newbie in
Scheme) to find a working solution?
Thanks in advance,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Multiple lily versions on ubuntu
Hello, I recently exchanged Windows for Lubuntu on my computer. Lilypond 2.18.0 is already installed and I want to add 2.19.3, but when I run the installing file, it requires that I uninstall the old versions before installing the new one. However, I want to have both at hand, as it seems to me is common use (correct me if I'm mistaken). So first, is it a good idea just to rename the existing directory into /lilypond_2.18.0 and thus escape the problem? And second, wouldn't it be handy to provide for multiple lily versions installed at the same time or at least make this an easily available option in the installation process (like --keepold for example)? Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right-to-Left
Am 03.03.2014 23:06, schrieb Schneidy: Ok ! Well, please find herewith a first attempt. It's far from perfect; I still cannot find a way to flip all/part of all grobs, but it does the job ! Since I don't know how to read arabic nor arabic music please forgive my poor example Cheers, ~Pierre http://lilypond.1069038.n5.nabble.com/file/n160071/Hosam.png Hosam.ly http://lilypond.1069038.n5.nabble.com/file/n160071/Hosam.ly PS. here's a link you may also be interested in: https://ufal.mff.cuni.cz/~smrz/elixir-thesis.pdf -- View this message in context: http://lilypond.1069038.n5.nabble.com/Right-to-Left-tp160055p160071.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 For what I know the point about right-to-left scripts is that the writing isn't simply mirrored, but the glyphs in themselves remain, only to be arranged the other way round. Which I think might have to be implemented at a much more basic level... (In XeTeX this feature is available, so as far as text is concerned, one might take a solution or ideas from there.) However this is on text and I don't know anything about music typesetting conventions. -- Simon Albrecht, Kirchenmusikstudent ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple lily versions on ubuntu
Thanks, Shane and Wilbert, for the advice. I got it now and everything works fine. Good night, Simon Am 04.03.2014 00:07, schrieb Shane Brandes: This is usually what I do. I use Frescobaldi as a front end and then I can install multiple versions of lilypond in what ever folders I feel like and just use the edit/preferences/lilypond preferences where you can change the default Lilypond version which is easier than monkeying around with moving directories or links. Just make sure it points to the usr/bin/lilypond of what ever version you are wishing to use at the moment. Shane On Mon, Mar 3, 2014 at 6:29 AM, Simon Albrecht simon.albre...@mail.de wrote: Hello, I recently exchanged Windows for Lubuntu on my computer. Lilypond 2.18.0 is already installed and I want to add 2.19.3, but when I run the installing file, it requires that I uninstall the old versions before installing the new one. However, I want to have both at hand, as it seems to me is common use (correct me if I'm mistaken). So first, is it a good idea just to rename the existing directory into /lilypond_2.18.0 and thus escape the problem? And second, wouldn't it be handy to provide for multiple lily versions installed at the same time or at least make this an easily available option in the installation process (like --keepold for example)? Best regards, Simon ___ 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: Repeat Box
Am 05.03.2014 16:09, schrieb David
Nalesnik:
Hi Nike,
On Wed, Mar 5, 2014 at 8:00 AM, Nike
Hedges engravea...@gmail.com
wrote:
Hi,
Sorry I sent two topics simultaneously.
I also want to write boxes which express the part
to be repeated.
Like:
An excerpt from Murail "Territoires de l'oubli"
This isa littlecomplex case, in which the notes
of the left (starting) boxare tobe repeated up to
the right (ending)box and the notesare tobe
gradually changed from the left to the right.
Even at least I want to write two elements,a box
surrounding notes and a line which starts from the box
and ends with an arrow.
Does anybody know how to do them?
You can use the frame engraver here:
http://www.mail-archive.com/lilypond-user%40gnu.org/msg83249.html
There's no option for ending with a box as in the
Murail example, but you could add another frame around
those notes, and supress the arrow and bracket. (I think
there's an option for that. It's been a long time since
I've looked at this, though.)
Hope this helps,
David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Great to see there are already solutions accessible for such
non-traditional notation forms!
Why is this not in the LSR or even in http://lilypond.org/doc/v2.18/Documentation/notation/graphical-notation?
If we dont yet have an elaborate documentation there, it would be a
notable progress to have at least a collection of examples, I think.
--
Simon Albrecht, Kirchenmusikstudent
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text above Chord
My first idea was
\version 2.18.0
\new ChordNames \with { \consists Text_engraver }
\chordmode { c1:7 ^text }
c''1
but the text is not printed because of
error: unrecognized string, not in text script or \lyricmode
\chordmode { c1 :7 ^text
}
I don't know how to fix that...
Am 06.03.2014 11:20, schrieb David Kastrup:
Lukas Rytz lukas.r...@gmail.com writes:
Hello
The example below prints text below the chord.
How can I print the text above the chord?
Thanks!
Lukas
\version 2.18.0
\new ChordNames \chordmode { c1:7 }
c''1^text
I am not saying that this is a good idea. No, sir. But if a textscript
from a staff is supposed to move above a chord name, the chord name
needs to be an element of the staff, too.
You'll probably need to play around quite a bit with the
outer-staff-priority of a number of objects (like giving text scripts a
much larger one and increasing that of the chord names until they move
outside of slurs, fingerings, and similar folderol).
And of course, your chord names will not be in one line, but placed at a
height where they will fit.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
--
Simon Albrecht, Kirchenmusikstudent
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
markuplist and markup
Hello, is there any possibility to include \markuplist commands inside \markup? I’m trying to use a \table-of-contents with reduced line-width, centered on the page and with a box around it, if possible. All of these are easily feasible with \markup commands, but not with \markuplist. Did I overlook some „integration” feature or should I suggest creating one? Thanks for everything, Simon -- Simon Albrecht, Kirchenmusikstudent ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markuplist and markup
I’m so sorry. I just misunderstood something, or my brain was fuzzy, but
actually it all works.
Have a nice day!
Am 10.03.2014 15:08, schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
is there any possibility to include \markuplist commands inside
\markup? I’m trying to use a \table-of-contents with reduced
line-width, centered on the page and with a box around it, if
possible. All of these are easily feasible with \markup commands, but
not with \markuplist. Did I overlook some „integration” feature or
should I suggest creating one?
I have no idea what you are talking about. Care for an actual example?
You can use \table-of-contents anywhere in a markup where you could use
a markup list enclosed in { ... }. Neither \markup or \markuplist are
something one uses within markup or markup lists: they are just telling
LilyPond when it is in music typesetting mode that it should switch to
markup mode for a moment.
--
Simon Albrecht, Kirchenmusikstudent
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Winterreise
Am 12.03.2014 10:28, schrieb Urs Liska: Am 12.03.2014 10:23, schrieb Jan Warchoł: 2014-03-12 10:17 GMT+01:00 Urs Liska urs.li...@schoenberg-lieder.de: I'd be really interested in such a project, but I have to say that I could only really consider it if it is sufficiently crowdfunded beforehand. And I think it would be expensive. I'd be interested, too! Actually, at Waltrop 2012 we were thinking about a Kickstarter campaign, but didn't decide anything then... And i think that a recording is **very** important from the crowdfunding point of view, because that's something _anyone_ can consume, as opposed to sheet music. Really, i think that a recording would make success 3 times more likely. Anyway, we shall see how this campaign turns out, and then what commissions we may get after the award. So i've marked the beginning of May as look at Winterreise again :) Yes, and we can't start such an undertaking as a duo project. To be promising it should be backed by a number of contributors right from the start. And with contributors I don't mean hired copyists. Best Urs I’m a bit sceptical about this for two reasons: – For all the great achievements that have been made in creating lilypond, I think you will all consent that it is still far from reaching the quality level represented by hand-engraving from the end of 19th to the middle of 20th century. An example of this is the Winterreise edition by Max Friedländer on IMSLP http://imslp.org/wiki/Winterreise,_D.911_%28Schubert,_Franz%29 (which is of course insatisfactory in textual matters). – We nowadays go very far in refinement of editorial methods and preparing ever new Urtext editions, which often differ from each other only in details sometimes insignificant for actual music making and for getting the actual meaning of the music. Don’t misunderstand me: there are of course Urtext editions which do in fact shed a new light on the music and provide significant novelties. And if on top of that the typographical quality is acceptable or even nice (yes, it does occur, even without lilypond, in rare cases), I also buy them. But with Bach for example, I think most volumes of the old Bach complete edition http://imslp.org/wiki/Bach-Gesellschaft_Ausgabe_%28Bach,_Johann_Sebastian%29 maintain a really high scientific standard on top of being beautiful, and they are freely available already, which to me makes the earlier mentioned Open Goldberg/WTC campaign somewhat needless. To come back on the Winterreise topic, on the above linked IMSLP site there is also the edition by Mandyczewski (also from a Breitkopf Härtel complete edition), whose editorial work I consider to be level to that of most modern „Urtext” editions. The drawbacks are in this case: there is no medium/low voice edition, and the engraving is very nice, but too airy for my taste and thus also takes more pages than necessary for many pieces, which makes a practical inconvenience for the pianist. So I do see the possibility of bringing together the best available typographical and scientific quality and make a „Winterreise” edition meeting all needs. However it’s not like there isn’t already a very good edition in the public domain. (And it’s not a silly idea either to buy the very affordable Urtext edition by Peters, which takes the original, unsurpassed layout of the Friedländer edition and adds changes necessitated by textual revision, and then have it in fine print quality also.) To conclude this: I’m under the impression that it would be better to focus on less-known music, of which there are no good editions already (like you did with Fried!) and perhaps live with the thought that having to pay for sheet music is perfectly fair and corresponds to the value of the product. Or I’m simply lacking your musicological proficiency and my estimate about the necessity of a new edition of Schubert’s Winterreise is incorrect? After all, I am judging it more from the artist’s than from the scientist’s point of view. Best regards, Simon Albrecht ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markuplist and markup
Well, now you ask, I did find it difficult to figure out what
\markuplist actually does. As the command overviews in NR A.10 and A.11
are separated, I thought \markuplist and \markup were actually different
things and somehow incompatible. As I now take it, it’s rather like
\markuplist splits the markup contained in its argument and makes every
line be a separate object. Is this correct?
Perhaps I try some suggestions for clarification in the docs:
– Include NR A.11 as a subdivision in NR A.10 in order to make clear
that \markup and \markuplist are not alien to each other.
– Rewrite NR 1.8.3, section „Multi-page markup”. Perhaps it’s easier to
understand if one uses just one opening paragraph and then two or three
examples. One proposal (in my second-language English...):
Standard markup objects are not breakable. Therefore, some special
commands are available which make a separate object out of every markup
line and thus permit page breaks to be inserted inbetween:
[first example:]
\markuplist {
foo
\line { bar bar }
\column { \line { baz }
\line { bla } }
}
[second example:]
\markuplist {
\column-lines {
many
lines
\line { of text }
}
}
[third example: the one already included]
\markuplist {
\justified-lines {
A very long text of justified lines.
...
}
\wordwrap-lines {
Another very long paragraph.
...
}
...
}
An exhaustive list of markup list commands can be found in Text markup
list commands.
Eventually, one might add after the third example a remark like
Markup list commands can be used inside \markup at the expense of
losing their breakability.
If a markup command has a markup list as its argument, it is applied to
every element of the markup list separately, perhaps even with an example.
However I think the only case where this makes sense is with
\table-of-contents, so if no one objects and knows of other applications
worth adding them to the NR, I’d rather make a remark in 3.2.5 Table of
contents. This should probably be at the end of the section, by adding a
paragraph and example after the current last example:
\table-of-contents can also be used inside normal \markup, in order to
combine it with markup commands:
\book {
\markup {
\override #'(line-width . 30)
\box \column \table-of-contents
}
\tocItem \markup { Allegro }
\tocItem \markup { Largo }
\markup \null
}
Note the \column before \table-of-contents: without it, a box would be
drawn around every line of the table of contents.
Or is this rather a case for the LSR?
Please give your opinion.
Best regards,
Simon
PS. I cc’ed the bug list since the doc enhancement should perhaps be
discussed there.
Am 10.03.2014 17:17, schrieb David Kastrup:
Simon Albrechtsimon.albre...@mail.de writes:
is there any possibility to include \markuplist commands inside
\markup? I’m trying to use a \table-of-contents with reduced
line-width, centered on the page and with a box around it, if
possible. All of these are easily feasible with \markup commands, but
not with \markuplist. Did I overlook some „integration” feature or
should I suggest creating one?
I have no idea what you are talking about. Care for an actual example?
You can use \table-of-contents anywhere in a markup where you could use
a markup list enclosed in { ... }. Neither \markup or \markuplist are
something one uses within markup or markup lists: they are just telling
LilyPond when it is in music typesetting mode that it should switch to
markup mode for a moment.
I’m so sorry. I just misunderstood something, or my brain was fuzzy,
but actually it all works.
The question is whether there is something in the docs that would have
contributed to a misunderstanding, or whether there could have been
something in the docs that would have prevented it.
--
Simon Albrecht, Kirchenmusikstudent
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grace notes causing extra space in other staves
Am 13.03.2014 03:16, schrieb carltesta: Hello Everyone, I have a measure written below, the top staff of the piano has three beamed grace notes and it seems to be affecting the spacing of the sixteenth notes in the bottom staff. Is there anything I could do so that the unsightly space in the middle of those sixteenth notes goes away? Thanks, Carl Actually, there is \override Score.SpacingSpanner.strict-grace-spacing = ##t for this (see NR 1.2.6 Grace Notes http://lilypond.org/doc/v2.18/Documentation/notation/special-rhythmic-concerns#grace-notes, in Selected Snippets). Unfortunately, this spacing method doesn't take accidentals into account, so it can't be used in the present case. So I presume you have to accept the default output, unless someone else has a more intelligent solution? Regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords
Am 16.03.2014 17:52, schrieb Kieren MacMillan: Hi, I wonder why the notation of minor as lowercase seems to be only known in German folk circles … It’s known here, too — at least in my circles — but avoided, mostly because at a glance it can be hard to tell c from C. =) As in all notation, ambiguity is to be avoided at all costs. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user I’m under the impression that this debate is very old, widespread and unlikely to end in onemindedness, so it’s just advisable to provide different options, which will let everyone have his will, and which is also the present LilyPond policy in this matter, so no need for thorough changes. Greetings, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords
Am 17.03.2014 00:15, schrieb Kieren MacMillan: Hi Simon, I’m under the impression that this debate is very old, widespread and unlikely to end in onemindedness True. so it’s just advisable to provide different options, which will let everyone have his will That doesn’t logically follow! :) Well-considered and concensus- (if not totality-) based standards are almost always superior to The Wild West approach. Cheers, Kieren. Right you are – „let everyone have his will” was definitely exaggerated. Only I think this is one of the few questions where it’s really difficult to establish a standard. Plus: there’s still some leap between the lilypond standard output – which one may usually take as „standard” indeed – and other options which are available if one looks for them. Good night, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: Replace dot symbol?
Am 17.03.2014 00:28, schrieb Paul Morris: David Stephen Grant wrote Paul, this certainly cleans things up! Thank you. A minor follow up question - in this code the cross notehead dot glyph is being printed and offset through markup - would it be possible to replace the symbol directly (\once \override Dots #'stencil = #??), ensuring that the new glyph would be printed in the exact same position? Hmm... you could draw the x stencil directly using Scheme, which would give you some more control over its appearance (line thickness, size). But it looks like that in itself does not position it automatically where you want it. If you're running 2.19.2 you can use make-path-stencil to do this, as shown below. In 2.18 there are these two other options shown in these snippets: http://lsr.di.unimi.it/LSR/Item?id=623 http://lsr.di.unimi.it/LSR/Item?id=891 Below I've used ly:stencil-translate to move the x to the right manually by 0.65 (If you change that to 0 you'll see where it's placed by default, centered on the right edge of the notehead.) Maybe there is a way to find out exactly how far over LilyPond places dots relative to the notehead? I'm not sure how though... Interesting question: the Internals Reference says the stencil for Dots is ly:dots::print. But where is this defined? Where can I look it up? Good night, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Am 17.03.2014 19:00, schrieb Matthias Hüsken:
On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
Mini example please
~Pierre
Sorry, forgot to post one.
During shortening some code into a mini example, I was actually able
to solve my problem. I'm posting it anyway because I'm not sure it's
the most elegant or clever was of doing.
Short repetition of what I want to achieve:
* a StaffGroup consisting of two Staffs
[the plural is staves, sorry for mentioning]
* a ChordLine in between
* Fixed distances between the staffs
* the ChordLine centered in between.
I can't shake the feeling that my approach may be a bit too
brute-force, but at least it works for me :) If someone has a better
approach, I'd be interested in trying it.
Thanks,
Matthias
It’s nice to see that \new Score \with {} now actually works. I wasn’t
aware of that. Brilliant!
Regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Am 17.03.2014 20:22, schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
Am 17.03.2014 19:00, schrieb Matthias Hüsken:
On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
Mini example please
~Pierre
Sorry, forgot to post one.
During shortening some code into a mini example, I was actually able
to solve my problem. I'm posting it anyway because I'm not sure it's
the most elegant or clever was of doing.
Short repetition of what I want to achieve:
* a StaffGroup consisting of two Staffs
[the plural is staves, sorry for mentioning]
* a ChordLine in between
* Fixed distances between the staffs
* the ChordLine centered in between.
I can't shake the feeling that my approach may be a bit too
brute-force, but at least it works for me :) If someone has a better
approach, I'd be interested in trying it.
Thanks,
Matthias
It’s nice to see that \new Score \with {} now actually works.
When did it ever _not_ work?
I tried it in one of my scores and it didn’t and doesn’t work. I’ll go
troubleshooting and minimizing then...
I wasn’t aware of that. Brilliant!
Well, nothing one cannot do by either changing the \layout context
definition of Score, or by just putting \override Score.xxx at the start
of the music.
In more complex situations with \include and several scores in one file
it _is_ useful or even necessary, if you want to have one \layout
definition for all scores in common, but for example remove the
Mark_engraver (from Score) only for one of the scores. At least I did
not find an alternative for \with in this particular case.
Cheers, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Am 17.03.2014 20:42, schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
In more complex situations with \include and several scores in one
file it _is_ useful or even necessary, if you want to have one \layout
definition for all scores in common, but for example remove the
Mark_engraver (from Score) only for one of the scores. At least I did
not find an alternative for \with in this particular case.
\score {
...
\layout {
\context { \Score
\remove Mark_engraver
}
}
}
This only changes \layout for the given score.
I didn't make myself clear:
I have a separate .ly file containing a \layout block which is applied
to all scores using
\score {
...
\include layout.ly
}
(I tried using an identifier:
myLayout = { \context {...}
\context {...}
}
\score {
...
\layout {
\context {...}
\myLayout
}
}
but multiple errors occurred and
warning: Music unsuitable for output-def
was issued, so I abandoned the try, thinking there would probably some
principal restriction I don't understand)
So as it is, I can't include another layout block with modifications
only for this particular score but for the score being printed twice.
The solution would have been \new Score \with {}, but as I said there
were some errors also and I don't know why. I'll have another look at
that one in order to find out and come up with a minimal example in case
the issue doesn't clear itself in the making.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I expand lyrics...
Am 18.03.2014 20:17, schrieb Kevin Tough: Hey Thanks, when I first read the manual I thought Lilypond's symbol to spread or center a lyric between two note values was the double underscore. No matter how I placed or spaced it this naturally didn't work. Now I see from playing with your example that the slur does do the job in this case. In the case of a slur or melisma I take it that the lyric starts at the first note value. Is there any other simple way to center a lyric between two note values? There are two other methods: f4 f f f | f e e e |e d d e | d2\melisma g2\melismaEnd | \break and Oh, what fun it | is to ride in_a | one horse o -- pen | sleigh. __ _ | (the single underscore is like an empty syllable to a note) By the way, in all of these methods the lyrics syllable is not centered on the entire melisma, but instead left-aligned on the first note of the melisma (as opposed to centering the syllables on the notes if there isn’t a melisma). Best regards and happy christmas preparation, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: + utf-8 characters on file name
Am 18.03.2014 21:05, schrieb Fredrik Wallberg:
Hi Ming,
someone with more knowledge about Unicode (and Windows) could perhaps
explain why that happens, but since you also asked for a workaround:
Instead of using \bookOutSuffix, you could try with \bookOutputName, like this:
\book {
\bookOutputName +中国曲子+
Which works fine over here (version 2.18, Mac OSX 10.8.4).
However, especially encoding issues are likely to depend on the
operating system.
/ Fredrik
And Ming, please note that it is compulsory on bug-lilypond and strongly
advised also on lilypond-user that you use Minimal examples
http://lilypond.org/website/tiny-examples.html. It often makes
understanding the problem and testing solutions much easier. So in the
current case, the file could have been as short as
\version 2.19.3
\bookOutputSuffix SA+TB
{ c' }
, which by the way shows the same behavior on linux.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics hyphens question
You might be interested in the following thread: http://lists.gnu.org/archive/html/lilypond-devel/2013-12/msg00425.html This thread went private after a time, and I proposed the attached solution. Mike S. had suggested the use of a new grob to collect syllables, and this is what I did. The new grob is called LyricWord, and it groups syllables and hyphens. Collecting grobs like this allows for fairly easy manipulation. The file contains some *bonus* functions which illustrate stuff you can with the new LyricWord grobs. Amazing! This is a fix for issue 2458 http://code.google.com/p/lilypond/issues/detail?id=2458, isn't it? There is no entry in the tracker yet. Will this make it into the code base? Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Palestrina: Missa Brevis
Hello, just a little announcement: I have completed my re-engraving of the Missa Brevis by Palestrina and posted it http://imslp.org/wiki/Missa_Brevis_%28Palestrina,_Giovanni_Pierluigi_da%29#IMSLP318571 on imslp.org. The text is derived from the 19th century scientific edition on the same site, with minor changes of mine, and for practical purposes I used modern clefs and transposed it a tone down, from F to E flat. Also, editorial annotations are typeset in grey, which I find the best method of clearly discerning them from the original text. And I believe LilyPond served me very well in preparing really good looking music :-) I thought there might perhaps be someone on this list, who would be interested in a short look... Cheers and happy lilyponding Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
Am 22.03.2014 02:45, schrieb Anthony Youngman:
And I don't tend to dig deep into all the esoteric settings - there
are so many of them that I don't understand, that I tend to shy away
from them. I shouldn't, but I'd rather just use standard bells and
whistles - when I need to use all sorts of fancy over-ride tricks to
achieve effects that I see in pretty much *all* the printed music I
play, it puts me off.
Well, redefining paper variables is actually not really advanced.
If you want to understand better what LilyPond does and how you can
alter the output, you’ll be well advised to read in the Notation
Reference on the website and collect what information you need – in most
cases there is an explanation there, except for more extravagant wishes.
Of course this costs time until you have an overview, but it will reward
the effort.
That said, I'll play with this and see what it does - I've got a piece
I've been working on that I had to muck about with and force.
Oh - and sorry Phil, page-count = 1 didn't work. Although iirc I put
it in \layout{} not \paper{}. Unless that was the wrong place to put it?
Yes. page-count is a paper variable and can only be set in \paper {}.
That's another place for confusion - I get the impression that some
settings work fine in either, others only seem to work in the layout
section, maybe others only work in the paper section?
Cheers,
Wol
___
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: minor chords (and a possible transition to a new topic)
Am 22.03.2014 11:01, schrieb Anthony: Well, I've put in a fair bit of time and effort over the years. The problem, as always, is finding time to play, and also remembering what worked last time :-) Many moons ago, I proofread the entire main manual about three times! I've dug into the code and tried to contribute. Unfortunately, like most power tools, lily is not very friendly to light users - that's just the nature of the beast. True. To dig deeper, one also needs experience with or interest in programming – that is, in some kind of mathematical/logical thinking. And since most (or many) people have a pronounced dislike against maths and are happy to never have to look below the surface of their OS, this is an important point… Well, there are the templates in Frescobaldi which make it easy as long as one follows the exact path indicated, but this is rarely a long time… ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ambitus - emphasizing pitch
Am 09.03.2014 22:09, schrieb Thomas Morley:
\new Voice
\with { \consists Ambitus_engraver keySignature = #'() }
\relative c'' {
\key c \minor
ees,2 dis'
}
I just had another look at this, because I wanted to use it myself, and
found out there is no documentation on this (it’s an optional second
argument for \consists specifying properties of the engraver, isn’t
it?). Intentionally? There might be other applications also.
Regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ambitus - emphasizing pitch
Am 23.03.2014 20:06, schrieb Thomas Morley:
2014-03-23 18:50 GMT+01:00 Simon Albrecht simon.albre...@mail.de:
Am 09.03.2014 22:09, schrieb Thomas Morley:
\new Voice
\with { \consists Ambitus_engraver keySignature = #'() }
\relative c'' {
\key c \minor
ees,2 dis'
}
I just had another look at this, because I wanted to use it myself, and
found out there is no documentation on this (it's an optional second
argument for \consists specifying properties of the engraver, isn't it?).
Intentionally? There might be other applications also.
Regards, Simon
Hi Simon,
you're wrong.
There are two _different_ entries in \with { ... }
The first adds the Ambitus_engraver to the Voice.
The second sets the keySignature to an empty list on voice level and
is _read_ by the Ambitus_engraver.
keySignature is _always_ read by that engraver, setting it to an empty
list results in printed accidentals.
Better readable would have been:
\with {
\consists Ambitus_engraver
keySignature = #'()
}
Cheers,
Harm
Now I know the better, thank you.
You live and learn…
Regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
Am 24.03.2014 03:39, schrieb Mike Dean:
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries.
All rights reserved.
}
Perhaps you'd also like to try
\version 2.19.3
\paper { #(set-paper-size a6) }
\header {
copyright = \markup \center-column {
\wordwrap-lines { rather long text which is supposed
to be broken into lines where necessary;
note that wordwrap-lines is required,
else the paragraph will be left-bound in itself
and center-aligned to other elements
in \center-column {} }
\char ##x00a9
\wordwrap { rather long text which is supposed
to be broken into lines where necessary;
here, wordwrap results in a left-bound paragraph }
}
}
\markup \null
Best regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Discussing typographical standards (was: Tuplet notehead shared...)
Am 24.03.2014 13:33, schrieb Richard Shann:
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
The following is completely off-topic, but I'd like to share some
observations I often make and thoughts I have and ask for your opinion:
Looking at this score confirms me in my opinion that LilyPond default
output alone is no guarantee for a good-looking result in accordance
with typographical good use. This may be partly due to an older lilypond
version used, but there are some basic issues I see with this:
-- For what I know of best practice in typography, it is normally
unnecessary to use slurs for indicating melismata. Beaming
(\autoBeamOff, melismata with []), placement of syllables and
hyphenation/extender lines make the lyrics assignment unambiguous and
easy to read in all but the most complex cases (that is, when the
rhythmic complexity requires that the beaming corresponds to beat groups
and legibility would suffer in the opposite case---which will rarely
occur before 1900).
Certainly I know that the Lily authors knew what they were doing, when
they recommended using slurs for this purpose. This is used in excellent
hand-engraved editions as well, I think especially later in the 20th
century. Nevertheless I vote for the supposedly older use, as described
before.
-- The default Denemo output reflects the now common, but faulty
practice of writing syl- la- ble instead of syl - la - ble (with the
hyphens centered between syllables). The corresponding Lilypond code
would be { syl -- la -- ble }, see Learning Manual, Aligning lyrics to a
melody
http://lilypond.org/doc/v2.18/Documentation/learning/aligning-lyrics-to-a-melody.
-- The beginning of the first recitative is a good example where
inserting a line break at half-measure would significantly improve the
visual impression by a more even horizontal spacing. I found that it was
common in traditional hand-engraved scores to do such mid-measure breaks
(if measures aren't rather short), and thus I am often using \bar at
half-measure. Sometimes I even use an extra voice for something like
\repeat unfold 35 { s2 \bar s2 } and thus create more flexibility in
line-breaking. The disadvantage is that there is no possibility to
differ in likeliness between mid-measure and full-measure breaks, which
would then be desirable.
-- As always, the default margins are too small. This is already being
discussed as issue 3808
http://code.google.com/p/lilypond/issues/detail?id=3808 and will
hopefully be changed soon. I once read a comprehensive article
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (in German) on
this topic from the German Tex user group's magazine, and the author
pointed out that in medieval manuscripts and renaissance prints an
outstandingly pleasing appearance is achieved by page margins which
cover up half of the page's space! This is luxury, of course, and
usually unaffordable, but I find it evident that having unusually
large margins (and simple ratios between the measurements of the page
and margins, and the top-margin smaller than the bottom-margin and so
on...) much improves the look of the page. It might necessitate to
decrease staff size, though, but anyway 16 pt are no way too small.
-- In order to increase legibility and clarity it's also much advisable
to use at least one StaffGroup, e.g.
\new StaffGroup {
\new Staff = fl {}
\new StaffGroup {
\new Staff = vl1 {}
\new Staff = vl2 {}
}
...
}
Using LilyPond unfortunately doesn't in itself guarantee flawless
typography (as Denemo advertises itself). You need to use it correctly
also, following the instructions in the manuals...
I hope I haven't been too moralist there, nor too extensive... sorry
if I have.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-first accidental style
Am 24.03.2014 15:45, schrieb Rutger Hofman: Right, so there is a new style dodecaphonic-no-repeat from 2.19.3 onwards. But it does something else than the style dodecaphonic-first that I wrote about, long ago. dodecaphonic-no-repeat suppresses accidentals for immediately repeated notes. dodecaphonic-first suppresses accidentals for any notes that already occurred earlier in the bar. My opinion is that there is still good use for dodecaphonic-first; the main reason is that wiping out undesired accidentals leaves visible traces because it consumes horizontal space. This I find very interesting: even if the accidental’s stencil is turned off, it still takes up horizontal space. Seems like a bug, doesn’t it? Greetings, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
You might check imslp.org, which often is a source for excellent engravings. I have no idea whether there is a scientifically approvable edition there. My thoughts referred in particular to the 19th century complete editions for example of Bach which combine unsurpassed typographical excellence and beauty with scholarly text. There are some who say that the NBA (New Bach Edition) does not give a significant advantage over that. Best, Simon Am 25.03.2014 07:23, schrieb Urs Liska: When the idea or selling point of a campaign is to provide a free edition it can be argued what that is needed for when there already _are_ good editions freely available. Then one should really find a good surplus over existing editions. This could for example be the possibility to make modifications like new arrangement of voices or transpositions. Don't know how this relates to your ideas, though. Urs Paul Tannous ptann...@hotmail.com schrieb am 25.03.2014: Urs Liska wrote: I recently made a similar suggestion with the Winterreise, and some commented it problematic to create new free editions of pieces that already exist in good free editions. Urs *Urs, * *Do you recall why others found this to be problematic? * *Thanks,* *Paul T.* -- Diese Nachricht wurde mit *K-@ Mail* https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2 gesendet. ___ 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: Discussing typographical standards
Am 26.03.2014 11:11, schrieb Urs Liska:
Am 25.03.2014 01:10, schrieb Simon Albrecht:
The following is completely off-topic, but I'd like to share some
observations I often make and thoughts I have and ask for your opinion:
Looking at this score confirms me in my opinion that LilyPond default
output alone is no guarantee for a good-looking result in accordance
with typographical good use.
Let me throw in a few comments although many things have already been
discussed.
Of course LilyPond's default output is no guarantee for a perfect
result. Everybody is working towards it but there's still a long way
to go. On the other hand I'd say that no competitor so far reaches a
comparable level as LilyPond when it comes to the default output.
I never put doubt to that. I’m as fond as anyone of what Lily can do.
As have been discussed some of the issues you note are user errors,
but I'd really stress that there are things where you simply can have
different styles/opinions or different solutions depending on the
historical period of your music.
So I think having a program produce perfect results by default isn't
completely achievable.
That’s why I rather considered this an impulse for debate.
This may be partly due to an older lilypond
version used, but there are some basic issues I see with this:
-- For what I know of best practice in typography, it is normally
unnecessary to use slurs for indicating melismata. Beaming
It has been discussed but I'd like to repeat that this is a matter of
historical style and personal preference (of
composer/editor/engraver/publisher). Therefore a tool can't produce
perfect results by default, the question is rather whether your tool
provides convenient ways to realize what you chose to do. And LilyPond
does this.
-- The beginning of the first recitative is a good example where
inserting a line break at half-measure would significantly improve the
visual impression by a more even horizontal spacing. I found that it was
common in traditional hand-engraved scores to do such mid-measure breaks
(if measures aren't rather short), and thus I am often using \bar at
half-measure. Sometimes I even use an extra voice for something like
\repeat unfold 35 { s2 \bar s2 } and thus create more flexibility in
line-breaking. The disadvantage is that there is no possibility to
differ in likeliness between mid-measure and full-measure breaks, which
would then be desirable.
This can be argued about. But I think it is good that LilyPond by
default only breaks lines at barlines because when you start breaking
mid-bar it becomes an aesthetically very complex issue.
What I would find useful is an option with that you can allow LilyPond
to break mid-measure at certain points. For example that you say: In
4/4 time you may also break in the middle, or In 9/8 time you may
break also at the 4th and 7th quaver.
This would make it possible to have a more flexible breaking (on
request, not by default) without having to write and include a
dedicated extra voice.
This is exactly what I’d like to propose; it is important that the
mid-bar breaks get some demerit against full-bar breaks, though.
-- As always, the default margins are too small. This is already being
discussed as issue 3808
http://code.google.com/p/lilypond/issues/detail?id=3808 and will
hopefully be changed soon. I once read a comprehensive article
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (in German) on
this topic from the German Tex user group's magazine, and the author
pointed out that in medieval manuscripts and renaissance prints an
outstandingly pleasing appearance is achieved by page margins which
cover up half of the page's space! This is luxury, of course, and
usually unaffordable, but I find it evident that having unusually
large margins (and simple ratios between the measurements of the page
and margins, and the top-margin smaller than the bottom-margin and so
on...) much improves the look of the page. It might necessitate to
decrease staff size, though, but anyway 16 pt are no way too small.
As has been mentioned there are significant differences between text
and music typesetting. In particular I'd like to add that the
Satzspiegel discussion for text documents is very tightly tied to
legibility issues that circle around the number of characters per line
and the leading between them. The relation between these parameters is
extremely important for how the eye moves from one line to the next.
Therefore it is necessary to have large margins if the page is large
and the font is small, as it is with nowadays default arrangement of
A4 paper and 11-12 point text fonts. It is more or less impossible to
create good margins from the readability POV that don't look
ridiculous on A4 paper.
But this is a completely different thing with music.
That said, I also find the default margins too small ;-)
I forgot one sentence there, in which I would have made clear that of
course
Lyrics: \set associatedVoice
Hello,
I've got a problem: I'm typesetting a Brahms lied where some melismata
are only for one stanza and not for the other. Now look at the following
example (output attached):
\version 2.19.3
\new Staff
\new Voice = one { \voiceOne c'4 c' c'8 c' c'4 }
\new Voice = two { \voiceTwo s4 s c' s }
\new Lyrics \lyricsto one {
foo \set associatedVoice = two
foo \set associatedVoice = one
bar
bar
}
The associated voice has to be set one syllable early, which I did, only
the lyrics come back to voice one one note early: it should be for
the last quaver and not for the second crotchet. It seems to me that the
roots of this problem lie very deep. An optimal fix would of course be
to make the effect of \set associatedVoice enter immediately rather than
one syllable later, but this is probably far away.
Can anyone think of a workaround?
In case someone might ask why this is necessary, I attach what I already
have of the entire lied also. The \makeOctaves function is from LSR 445
http://lsr.di.unimi.it/LSR/Snippet?id=445 and I added it to
scm/music-functions.scm or a similar one in order to always have it at hand.
Best regards,
Simon
associatedVoice problem.pdf
Description: Adobe PDF document
\version 2.19.3
\language deutsch
#(set-global-staff-size 18)
%{ \satzspiegel definiert das Seiten-
verhältnis des Satzspiegels
(Zeilenlänge:Satzspiegelhöhe).
% topMarginFactor ist das Verhältnis
oberer Rand:Papierhöhe.
% Es wird so berechnet, dass:
%%% die oberen Ecken des Satz-
spiegels auf den Diagonalen
gedachter Doppelseiten
%%% und die unteren Ecken auf
den Diagonalen der Einzelseite liegen.
% Daraus folgt bei DIN-Papier-
formaten, dass das Satzspiegelseiten-
verhältnis Zeilenlänge:Satzspiegel-
höhe gröÃer als 1:1,414⦠(Wurzel
aus 2) sein muss, und zwar je breiter
die Seitenränder, desto mehr. %}
satzspiegel = #'(2 . 3)
% Standard 2/3
% Varianten: kleiner sind 5/8 und 3/5
topMarginFactor = #( /
(- (cdr satzspiegel)
(* (car satzspiegel) (sqrt 2)))
(- (* 4 (cdr satzspiegel))
(* 3 (car satzspiegel) (sqrt 2))) )
\paper {
#(set-paper-size a4)
two-sided = ##f
top-margin = #(*
paper-height
topMarginFactor)
% In den folgenden Verhältnissen
% steckt wohl die Qualität
% dieser Konstruktionsweiseâ¦
bottom-margin = #(* top-margin 2)
left-margin = #(* top-margin (sqrt 2))
right-margin = #(* top-margin (sqrt 2))
fonts = #(make-pango-font-tree
Linux Libertine O
Linux Biolinum O
Ubuntu Mono
(/ (* staff-height pt) 2.5))
}
\header {
title = Es wohnet ein Fiedler
composer = Johannes Brahms (1833â1897)
piece = Original in a
opus = WoO 33, Nr. 36
}
\layout {
\context {
\Score
\remove Bar_number_engraver
}
\context {
\Voice
\override TextScript.whiteout = ##t
\override TextScript.layer = 5
\consists Melody_engraver
\override Stem #'neutral-direction = #'()
}
}
ru = #(define-music-function
(parser location num mus)
(number? ly:music?)
#{ \repeat unfold $num $mus #} )
leftLyr = \once\override LyricText.self-alignment-X = #LEFT
diff = #(define-music-function
(parser location mus1 mus2)
(ly:music? ly:music?)
#{ { \voiceOne $mus1 \oneVoice }
\context Voice = aux { \voiceTwo $mus2 } #} )
alt = #(define-music-function
(parser location lyr)
(ly:music?)
#{ \set associatedVoice = aux
$lyr
\set associatedVoice = voice #} )
global = {
\key c \major
\time 4/4
\partial 4
\tempo Lebhaft, doch nicht zu rasch
}
voice = \transpose a fis \relative c'' {
\global
\autoBeamOff
\repeat volta 2 {
e,4
a gis8 gis a4 h8 h
c4 h8 a h4 r8 e,
a4 gis8 gis a4 h8 h
c4 \diff { h8[ a] } { h8 a } h4 e,8 g
c4 \diff { c8 c } { c4 } g4 r8 e'
e[ d] \diff { d[ c] } { d c } h4 r8 h |
c4 \diff { h8[ a] } { h a } gis4 r8 e |
\diff { a gis a h c[ h] a } { a[ gis] a[ h] c[ h a] } d |
c8[ h] a gis }
\alternative {
{ a4 r | r2 r4 }
{ a4 r } }
R1 r2 r4 \bar .|:-||
%\pageBreak
}
auxVoice = \relative {
\autoBeamOff
\repeat volta 2 { s4 s1*8 s2 }
\alternative { { s4*5 } { s2 } }
s4*7
% st. 3+4
%\repeat volta 2 { s4 s1*9 }
%\alternative { { s4*3 } { s4*3 } }
}
verseOne = \lyricmode {
\set stanza = 1.
Es woh -- net ein Fied -- ler zu Frank -- furt am Main,
der keh -- ret von lus -- ti -- ger Ze -- che heim,
und er trat auf den Markt,
was schaut er dort,
was schaut er dort?
Der schö -- nen Frau -- en schmaus -- ten gar viel an dem Ort.
\skip 1
}
verseTwo = \lyricmode {
\set stanza = 2.
Du buck -- lich -- ter Fied -- ler, nun fied -- le uns auf,
wir wol -- len dir zah -- len des \alt { Loh -- nes } voll -- auf!
Ei -- nen
Re: Lyrics: \set associatedVoice
Am 28.03.2014 03:57, schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
Hello,
I've got a problem: I'm typesetting a Brahms lied where some melismata
are only for one stanza and not for the other. Now look at the
following example (output attached):
\version 2.19.3
\new Staff
\new Voice = one { \voiceOne c'4 c' c'8 c' c'4 }
\new Voice = two { \voiceTwo s4 s c' s }
\new Lyrics \lyricsto one {
foo \set associatedVoice = two
foo \set associatedVoice = one
bar
bar
}
The associated voice has to be set one syllable early, which I did,
only the lyrics come back to voice one one note early: it should
be for the last quaver and not for the second crotchet. It seems to me
that the roots of this problem lie very deep. An optimal fix would of
course be to make the effect of \set associatedVoice enter immediately
rather than one syllable later, but this is probably far away.
Can anyone think of a workaround?
Just keep the same associated voice throughout for the variant with most
syllables, flipping it between \voiceOne, \voiceTwo and \oneVoice as
needed.
I lean towards not using \lyricsto here but just placing the durations
in the lyrics. That makes the timing unproblematic and robust against
slurs/beams/whatever, saving a lot of fiddling.
Maybe a cute LSR entry would be a Lyric_time_translator which is placed
in a lyricsto-governed context and then writes out the source file with
proper durations in all its lyrics so that you can then use this and
drop the lyricsto.
Then you need to get only one stanza synchronized at a time...
Associated voices still are good for not just aligning on the time but
note values.
In case someone might ask why this is necessary, I attach what I
already have of the entire lied also. The \makeOctaves function is
from LSR 445 http://lsr.di.unimi.it/LSR/Snippet?id=445 and I added
it to scm/music-functions.scm or a similar one in order to always have
it at hand.
Non-compilable examples are a nuisance.
Sorry for that.
You can just add
makeOctaves =
#(define-music-function (parser location oct mus) (integer? ly:music?)
(make-relative (mus) mus
#{ \transpose c' $(ly:make-pitch oct 0 0) $mus $mus #}))
Excellent! This seems to be just as powerful as LSR 445 while being far
less complicated… or do I overlook something?
to the code. As opposed to LSR445, it should work fine with chords and
also absolute music.
And many thanks for the explanations.
Yours, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: avoiding collisions between rest and stems when writing multiple expressions
Am 28.03.2014 18:04, schrieb Jordan B:
Hello - When writing multiple expressions, I find the rest collides
with the stem of notes. Like so:
\version 2.14.2
Please consider upgrading to the current stable version, 2.18.2. There
are many and great improvements in there.
\relative c' {
\clef bass
%the quarter rest is bumping against the dotted half note
b1
fis2. { r4 d' fis d fis}
}
Is there a better way to write this so this does not happen?
The reason is that you have only one voice. If you read the logfile,
you'll see it complains about rests and noteheads being on one stem,
which is forbidden. In this case, you need something like
\relative c' {
\clef bass
b1
{ r4 d fis q }
\\
{ fis,2. }
}
For more information, consult the learning manual and other introductory
texts on lilypond.org, especially I'm hearing voices
http://lilypond.org/doc/v2.18/Documentation/learning/i_0027m-hearing-voices.
Thanks!
Jordan
Have fun with Lilypond!
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Paper variables in scheme function
Hello,
I'm just creating a style sheet and want to create a scheme function
which sets the paper margins. However it seems the paper variables
aren't bound and I don't know why. A simple example would be:
\version 2.19.3
test =
#(define-scheme-function (parser location num) (number?)
#{ \paper {
top-margin = #(* num paper-height)
}
#}
)
\test 0.1
{ c'1 }
Help is very much appreciated :-)
Regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Paper variables in scheme function
Am 28.03.2014 20:44, schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
Hello,
I'm just creating a style sheet and want to create a scheme function
which sets the paper margins. However it seems the paper variables
aren't bound and I don't know why. A simple example would be:
\version 2.19.3
test =
#(define-scheme-function (parser location num) (number?)
#{ \paper {
top-margin = #(* num paper-height)
}
#}
)
\test 0.1
{ c'1 }
Help is very much appreciated :-)
It is a scoping problem: the scope of # inside of #{ ... #} is that of
the embedding. Try something like
test =
#(define-scheme-function (parser location num) (number?)
#{ \paper { top-margin
$(* num (module-ref (current-module) 'paper-height)) } #})
\paper { \test 0.9 }
{ c'1 }
I am somewhat irritated that a plain
\test 0.9
does not work just as well. I thought I had done something to make that
work at one point of time, but apparently not so.
Attached you find the resulting function with a test score; the
'portrait version now works perfectly, only I can’t get the 'landscape
version to work as well (but I don’t need it for current work).
All the best,
Simon
% copyright by Simon Albrecht 2014
% licensed as Creative Common (BY-SA)
\version 2.19.3
%% use inside \paper {}
typeArea =
#(define-scheme-function
;; size: optional paper size specification as defined in scm/paper.scm
;; orientation: 'portrait or 'landscape
;; ratio: typeAreaWidth/typeAreaHeight
examples:
portrait: standard 3/2, smaller would be 8/5 and 5/3
landscape: standard 5/4, smaller would be 6/5, larger 4/3
(parser location sz orientation ratio)
((string? a4) symbol? rational?)
(_i Calculate paper margins for DIN A paper formats so that:
â the width-to-height ratio of the type area is @var{ratio}
â the upper corners of the type area are on the diagonals of imaginary double pages
â the lower corners of the type area are on the diagonals of the page
which is supposed to make a pleasant visual appearance)
(cond
((and (eq? orientation 'portrait) ( ratio (sqrt 2)))
(ly:warning Type area ratio has to be larger than square root
of 2 (1,414â¦). Using default margins))
((and (eq? orientation 'landscape) ( ratio (sqrt 2)))
(ly:warning Type area ratio has to be smaller than square root
of 2 (1,414â¦). Using default margins))
(else
(cond ((eq? orientation 'portrait)
#{ \paper {
#(set-paper-size sz)
top-margin = $(*
(module-ref (current-module) 'paper-height)
(/ (- (numerator ratio)
(* (denominator ratio) (sqrt 2)))
(- (* 4 (numerator ratio))
(* 3 (denominator ratio) (sqrt 2))) ))
bottom-margin = #(* (module-ref (current-module) 'top-margin) 2)
left-margin = #(* (module-ref (current-module) 'top-margin) (sqrt 2))
right-margin = #(* (module-ref (current-module) 'top-margin) (sqrt 2)) }
#} )
((eq? 'orientation 'landscape)
#{ \paper {
#(set-paper-size sz orientation)
left-margin = $(*
(module-ref (current-module) 'paper-width)
(/ (- (numerator ratio)
(* (denominator ratio) (sqrt 2)))
(- (* 1.5 (numerator ratio))
(* 2 (denominator ratio) (sqrt 2))) ))
right-margin = #(module-ref (current-module) 'left-margin)
bottom-margin = #(* 0.5 (module-ref (current-module) 'left-margin) (sqrt 2))
top-margin = #(* (module-ref (current-module) 'bottom-margin) 0.5) }
#} )))
))
\paper {
\typeArea #'landscape #5/4
}
{ c'1 }___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unspecified starting volume for decrescendo
Am 29.03.2014 15:50, schrieb Phil Holmes: - Original Message - From: Alberto Simões al...@alfarrabio.di.uminho.pt To: lilypond lilypond-user@gnu.org Sent: Saturday, March 29, 2014 2:45 PM Subject: unspecified starting volume for decrescendo Hi. I have a music that starts with fis4.^\ d\! But lilypond complains when generating the MIDI file: piano+voz.ly:28:14: warning: (De)crescendo with unspecified starting volume in MIDI. Well, I had the same some days ago and just ignored the warning… but then, as a matter of fact I needed MIDI output only for proofreading and thus dynamics didn’t matter for that… Some way to shut him? :-) Cheers ambs Put in a dynamic. How can you decrescendo without knowing a starting point? Often a decrescendo hairpin just implies that you start a little louder than before, like a stretched accent. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Once only custos
Am 01.04.2014 09:43, schrieb Jacques Menu:
Hello Simon,
With:
\layout { ragged-right = ##t }
\new Staff
\with {
\consists Custos_engraver
\override Custos.stencil = ##f
}
\relative c' {
g'1 \override Staff.Custos.style = #'mensural
\break
d a' f'1
b1
\once\override Staff.Custos.stencil = ##t
\break
d a' f'1
}
the custo doesn’t show up unfortunately.
Sorry, I should have tried it myself. If you read the log output Lily
generates, you see that ##t isn’t allowed as a value for Custos.stencil.
So, you can look it up in the Internals reference, section 3.1.32, and
look up the default value for the Custos stencil, which gives you
\once\override Staff.Custos.style = #ly:custos::print
and the output then is as desired.
(\once\revert was another idea I had, but \once and \revert don’t seem
to go together.)
Happy Lilyponding,
Simon
JM
Le 31 mars 2014 à 23:06, Simon Albrecht simon.albre...@mail.de a écrit :
Am 31.03.2014 16:15, schrieb Jacques Menu:
Hello,
I’d like to display a custo at the end of one line only to help, but not for
the whole score.
Couldn’t find an equivalent of:
\once\override Staff.Custos.style = #’mensural
though.
Thanks for the help!
Jacques Menu
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
You might try
\layout {
\context { \Staff
\consists Custos_engraver
\override Custos.stencil = ##f
}
}
and then turn the stencil on again by \once\override Staff.Custos.stencil = ##t
only in the particular place where you want it.
HTH,
Simon
PS. Please do remember to always cc the list again unless you want to
make a private remark; the info is then available to all.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
The pleasantry of Lilyponding
Hello Lilypond aficionados, some days ago I sat in a regional train, two young guys opposite me talking about computer games they were playing. At which I found an answer to the question why I find it worthwile investing many and often tedious hours in music typesetting with LilyPond: It’s actually a game! You’ve got some task set, there are obstacles to remove, sometimes you encounter dead ends or leap to another level, there are funny spots in docs or issue tracker, you may suffer disappointments or achieve success, and in the end there stands the score as a reward. It’s like a mixture of a logical puzzle and a strategy game, with the pleasant side effect that it is not just for fun, but you get a result which can be ported to real life and has an actual use for other people! Besides some bit of artwork continues to live in there, only it’s not achieved through handicraft as in earlier centuries, but through logics, computing and (more or less industrial) printing. While working on your files, you may enjoy some of the music you’re typesetting, plus the beauty of Lilypond’s music engraving. So after all it is not as nerdy as may seem… All the best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: The pleasantry of Lilyponding
Am 02.04.2014 22:10, schrieb Daniel Rosen: -Original Message- From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Tuesday, April 01, 2014 10:42 AM To: lilypond user list Subject: The pleasantry of Lilyponding Hello Lilypond aficionados, It’s like a mixture of a logical puzzle and a strategy game, with the pleasant side effect that it is not just for fun, but you get a result which can be ported to real life and has an actual use for other people! Besides some bit of artwork continues to live in there, only it’s not achieved through handicraft as in earlier centuries, but through logics, computing and (more or less industrial) printing. While working on your files, you may enjoy some of the music you’re typesetting, plus the beauty of Lilypond’s music engraving. So after all it is not as nerdy as may seem… All the best, Simon Right, because logical puzzle and strategy video games aren't nerdy at all. :-P DR I didn't say it was not nerdy. But not _so_ nerdy... Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Whiteout Sextuplet
Am 03.04.2014 00:45, schrieb Graeme Lee:
On 3-Apr 8:59, Joshua Nichols wrote:
Hello all,
I'm having trouble with this:
global = { \override TupletNumber.whiteout = ##t }
Use
\omit TupletNumber
If you want it back:
\undo \omit TupletNumber
Whiteout is a different thing: it doesn't turn the stencil off, but
prints a white background to the grob.
Best, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Whiteout box function by Thomas Morley / need help
Am 06.04.2014 16:38, schrieb Kieren MacMillan: Hi all, Function I'm asking for would allow to control the width of whiteout box. Just to note [again] that I would much prefer a whiteout function that followed the glyph outline (with a padding or margin parameter), rather than a rectangle. +1 This is important, for example because the dynamic f reaches far beyond the whiteout box. All the best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement of Dynamics
Am 09.04.2014 16:17, schrieb MING TSANG:
David,
Thank you for the link. It is good to know that new Voice can be
use instead of \new Staff.
Voice and Staff are different things. If you write \new Voice and don't
explicitly create a Staff context, it will be created automatically. Thus,
\new Voice = melody {
a1 a4. a8 a2
}
\new Lyrics \lyricsto melody {
These are the words
}
is the same as
\new Staff {
\new Voice = melody {
a1 a4. a8 a2
}
}
\new Lyrics \lyricsto melody {
These are the words
}
See also
http://lilypond.org/doc/v2.18/Documentation/learning/introduction-to-the-lilypond-file-structure.
The Learning Manual provides a very useful introduction into such
fundamental concepts used in LilyPond and it will help you a lot in
understanding how LilyPond works.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LSR connection
Am 15.04.2014 22:12, schrieb Federico Bruni: 2014-04-15 22:05 GMT+02:00 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com mailto:pierre.schneider.pa...@gmail.com: Hi, Does anyone have access to the LSR ? Hi Pierre I can access to it here: http://lsr.di.unimi.it/LSR/Search Hi, no problem for me either. Bonne nuit, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Ubuntu 14.04 update and lilypond
Hello, today I installed the update to newly released Ubuntu 14.04 (from previous 13.04) and at the end of the process stands the removal of software packages not needed anymore. The packages which are removed by default include Guile 1.8 (which I take to be the version currently required by Lilypond) and at least one version of Lilypond itself (I have 2.18.0 and 2.19.3 installed and couldn’t discern which was to be removed, but as both are current versions, none should be removed, should it?). So it seems to be important to skip that part of the upgrade and leave the deprecated packages where they are, at least I did. I couldn’t see an option for removing only part of the packages suggested for removal, either. Just thought this might be helpful to others. And correct me if I’m mistaken ;-) Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ubuntu 14.04 update and lilypond
Am 20.04.2014 23:23, schrieb Simon Albrecht: Hello, today I installed the update to newly released Ubuntu 14.04 (from previous 13.04) and at the end of the process stands the removal of software packages not needed anymore. The packages which are removed by default include Guile 1.8 (which I take to be the version currently required by Lilypond) and at least one version of Lilypond itself (I have 2.18.0 and 2.19.3 installed and couldn’t discern which was to be removed, but as both are current versions, none should be removed, should it?). I correct myself: 2.16.2 is also still installed, so it was probably that. Nevertheless, I’d like to keep it. So it seems to be important to skip that part of the upgrade and leave the deprecated packages where they are, at least I did. I couldn’t see an option for removing only part of the packages suggested for removal, either. Just thought this might be helpful to others. And correct me if I’m mistaken ;-) Best regards, Simon ___ 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: Move tie to the end(top) of the stem
Alternatively, use the override inserted below.
Best, Simon
Am 22.04.2014 00:40, schrieb Conor Cook:
Does the tie need to connect the eeses? This looks good, but maybe not to your
specs.
\version 2.18.2
\new Staff {
\key bes \major
\time 5/4
{
aes aes'4 bes bes' aes aes'
bes bes'8[ c' c'' ees' ees'' bes bes']
} \\
{
\override Stem.length = #8.0
\stemDown ees'2. ees'4^~ ees'8 r8
}
}
Best,
Conor Cook
On Apr 21, 2014, at 5:01 PM, Knute Snortum ksnor...@gmail.com wrote:
I have a piece I'm typesetting where an internal voice needs a tie, but
\tieDown isn't enough. The tie spanner needs to be at the bottom (in this
case) of the stems. Here is a snippet that illustrates the problem:
\version 2.18.2
\new Staff {
\key bes \major
\time 5/4
{
aes aes'4 bes bes' aes aes'
bes bes'8[ c' c'' ees' ees'' bes bes']
} \\
{
\override Stem.length = #8.0
\stemDown ees'2.
\once\override Tie.staff-position = #-9
ees'4 ~ ees'8 r8
}
}
Knute Snortum
(via Gmail)
___
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
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Once only custos
Bonsoir Jacques,
I don’t know why you altered the suggestion I sent you:
Am 06.05.2014 17:06, schrieb Jacques Menu:
Hello Simon,
Thanks for your answer.
With:
%
\version 2.18.1
\layout {
ragged-right = ##t
\context { \Staff
\consists Custos_engraver
uncomment the following line
% \override Staff.Custos.stencil = ##f
}
}
\relative c' {
d1
b1
and replace style by stencil in the following line.
\once\override Staff.Custos.style = #ly:custos::print
\break
a1
\break
f1
}
%
Unfortunately, I just noticed that this doesn’t work as expected – the
\once doesn’t seem to come into effect (Does anybody know why?).
But thus you simply write
\relative c' {
d1
b1
\revert Staff.Custos.stencil
\break
a1
\override Staff.Custos.stencil = ##f
\break
f1
}
and it works like expected.
HTH,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An old claveciniste's notation
Am 06.05.2014 21:18, schrieb Richard Shann: On Wed, 2014-05-07 at 00:11 +1000, Andrew Bernard wrote: If you are engraving coulés I wager you are going to need pincé and all the usual suspects as well! Yes, I don't know whether using mordents etc will be sufficient for this job, or whether new glyphs will be needed. Has LilyPond used for typesetting the French clavecinistes does anyone know? I didn't manage to track down the list of glyphs available (it's in the documentation somewhere) but I don't think they include the various 18th c ornaments. Richard Nicolas Sceaux wrote a series of posts on lilypondblog.org on this subject: http://lilypondblog.org/2013/08/adding-ornamentations-to-note-heads-part-1/ % and parts 2/3 HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Redefining parentheses
Hello Evgeny,
sorry I forgot to cc the list in my first reply, actually it’s always
useful to do so.
Well, I experimented some more, and I can explain why it’s so
complicated: the overrides need to come before the first note and the
slur needs to be started after the first note since this is a post-event
(meaning that it comes after the note to which it belongs).
But finding a solution is somewhat over my head. I made another try at
creating a music function:
sn = #(define-music-function (parser location mus muss)
(ly:music? ly:music?)
#{ \newSpacingSection \override Score.SpacingSpanner.spacing-increment = #0
$mus
#(make-span-event 'SlurEvent START)
$muss
#(make-span-event 'SlurEvent STOP)
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
#}
)
\relative {
c' d e f
\sn c { d e f }
}
But Lily won’t accept the post-events in the music function like that.
So I pass the question on to the music-function-and-scheme cracks on the
list ;-)
Best regards, Simon
Am 05.05.2014 22:57, schrieb shtangencirkul:
Hello, Simon, thank you for you answer.
But this redefining haven't Slur. I need function with no_space only
under Slur, but *with* slur.
I try use #(make-span-event 'SlurEvent START) in your variant,
but this line get error: unexpected post-event
thank you,
Evgeny
2014-05-06 0:24 GMT+04:00 Simon Albrecht simon.albre...@mail.de
mailto:simon.albre...@mail.de:
Am 04.05.2014 23:17, schrieb shtangencirkul:
Hello, can you help me -
I need redefining ( and ) with folowing parameters:
1. Saving usual Slur (and Beam, Stem etc.).
2. No space (or minimum) between notes _only _under the slur.
(Like Kievan Ligature in Ancient notation, but on the usually
default-style Staff)
Now I use this function:
SN = #(define-music-function (parser location music) (ly:music?)
#{
\newSpacingSection \override
Score.SpacingSpanner.spacing-increment = #0
#music
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
% In this variant NEXT FIRST NOTE after this function haven't
space too,
% and I insert invisible objects (bars) for spacing.
% Strange solve, I see, but I can`t find something else yet.
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
#})
--
All working fine for nonmetric Russian or Byzantic Orthodox
Church songs
(One Voice with Ison (is a drone note) ) with cadenza and some
layot tweaks.
But code look like:
\SN{ c1 (c2 c4 c1)} for each slured notes.
I think about redefining ( and ) for simplifying code and for
future compatibility.
=
I saw examlpe with redefinig
( = \melisma
melisma = #(context-spec-music (make-property-set
'melismaBusy #t) 'Bottom) in /usr/hare/lilypond/current ,
but I understand how can I hack this code for my task.
Thank you.
___
lilypond-user mailing list
lilypond-user@gnu.org mailto:lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hello,
I think it should be as easy as
( = { \newSpacingSection \override
Score.SpacingSpanner.spacing-increment = #0 }
) = {
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
% In this variant NEXT FIRST NOTE after this function haven't
space too,
% and I insert invisible objects (bars) for spacing.
% Strange solve, I see, but I can`t find something else yet.
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
}
\relative { c' d e f
\SN { c d e f }
( c d e f )
}
Does that do what you want?
Best, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Re: Redefining parentheses
please don’t forget the CC...
Original-Nachricht
Betreff:Re: Redefining parentheses
Datum: Wed, 07 May 2014 14:11:53 +0400
Von:Evgeny shtangencir...@gmail.com
An: Simon Albrecht simon.albre...@mail.de
Hello, Simon, thank you.
This code more elegancy, but I hope lily-scheme let me find more simply
solve.
Var 1 Redefining (, but I think it's not possible.
Var 2 writing function like your last code. \sn c {c d}
Var 3 redefining \[ brackets like my second answer \[c (c d)\] - it
work and look fine.
Var 3a hack default ligature without redefining \[ and \]
Var 4 create function like \cadenzaOn or \slurDown and write it at start
position of code. (And create function for turning off )
Thank you,
Evgeny
Simon Albrecht simon.albre...@mail.de 7 мая 2014 г. 2:51:47 написал:
Hello Evgeny,
sorry I forgot to cc the list in my first reply, actually it’s always
useful to do so.
Well, I experimented some more, and I can explain why it’s so
complicated: the overrides need to come before the first note and the
slur needs to be started after the first note since this is a
post-event (meaning that it comes after the note to which it belongs).
But finding a solution is somewhat over my head. I made another try at
creating a music function:
sn = #(define-music-function (parser location mus muss)
(ly:music? ly:music?)
#{ \newSpacingSection \override Score.SpacingSpanner.spacing-increment
= #0
$mus
#(make-span-event 'SlurEvent START)
$muss
#(make-span-event 'SlurEvent STOP)
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
#}
)
\relative {
c' d e f
\sn c { d e f }
}
But Lily won’t accept the post-events in the music function like that.
So I pass the question on to the music-function-and-scheme cracks on
the list ;-)
Best regards, Simon
Am 05.05.2014 22:57, schrieb shtangencirkul:
Hello, Simon, thank you for you answer.
But this redefining haven't Slur. I need function with no_space only
under Slur, but *with* slur.
I try use #(make-span-event 'SlurEvent START) in your variant,
but this line get error: unexpected post-event
thank you,
Evgeny
2014-05-06 0:24 GMT+04:00 Simon Albrecht simon.albre...@mail.de
mailto:simon.albre...@mail.de:
Am 04.05.2014 23:17, schrieb shtangencirkul:
Hello, can you help me -
I need redefining ( and ) with folowing parameters:
1. Saving usual Slur (and Beam, Stem etc.).
2. No space (or minimum) between notes _only _under the slur.
(Like Kievan Ligature in Ancient notation, but on the usually
default-style Staff)
Now I use this function:
SN = #(define-music-function (parser location music) (ly:music?)
#{
\newSpacingSection \override
Score.SpacingSpanner.spacing-increment = #0
#music
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
% In this variant NEXT FIRST NOTE after this function haven't
space too,
% and I insert invisible objects (bars) for spacing.
% Strange solve, I see, but I can`t find something else yet.
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
#})
--
All working fine for nonmetric Russian or Byzantic Orthodox
Church songs
(One Voice with Ison (is a drone note) ) with cadenza and some
layot tweaks.
But code look like:
\SN{ c1 (c2 c4 c1)} for each slured notes.
I think about redefining ( and ) for simplifying code and
for future compatibility.
=
I saw examlpe with redefinig
( = \melisma
melisma = #(context-spec-music (make-property-set
'melismaBusy #t) 'Bottom) in /usr/hare/lilypond/current ,
but I understand how can I hack this code for my task.
Thank you.
___
lilypond-user mailing list
lilypond-user@gnu.org mailto:lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hello,
I think it should be as easy as
( = { \newSpacingSection \override
Score.SpacingSpanner.spacing-increment = #0 }
) = {
\newSpacingSection \revert Score.SpacingSpanner.spacing-increment
% In this variant NEXT FIRST NOTE after this function haven't
space too,
% and I insert invisible objects (bars) for spacing.
% Strange solve, I see, but I can`t find something else yet.
\once \override Score.BarLine.transparent = ##t
\bar \noBreak \bar \noBreak
}
\relative { c' d e f
\SN { c d e f }
( c d e f )
}
Does that do what you want?
Best, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trill span problem
Am 09.05.2014 00:06, schrieb Peter Bjuhr:
On 2014-05-08 16:22, Knute Snortum wrote:
I have a problem with sequential trill spans. they seems to be just
a little too long and therefore they stagger vertically. I would
think the solution is to shorten the trill span but I'm not sure how
to do this.
\version 2.18.2
\relative c''' {
\time 2/4
| f2 \startTrillSpan \ppp
| d2 \startTrillSpan
| c4 \startTrillSpan d \startTrillSpan
| c4 \startTrillSpan b \startTrillSpan
| c2 \startTrillSpan
| b2 \startTrillSpan
| a2 \startTrillSpan
| f2 \startTrillSpan
}
I don't know if it's the best solution, but you can try adding
\override TrillSpanner.bound-details #'right #'padding = #1.9
Or \override TrillSpanner.bound-details.right.padding = 1.9 with the
very convenient new 2.18 syntax.
before all the trills.
Best
Peter
Best, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Canonical[ish] place to get pop-chords.ly or jazz-chords.ly? Also, chords advice?
But, of course, you'll find it documented in the Notation Reference: http://lilypond.org/doc/v2.18/Documentation/notation/chord-notation and http://lilypond.org/doc/v2.18/Documentation/notation/common-chord-modifiers. Thus, following your examples, you write f1:m7 or ef1:6.9. Best regards, Simon Am 10.05.2014 23:00, schrieb rif: Actually, I'm still not really finding what I want in the snippets repository. I don't see how I can [for instance] get a minor 7th chord symbol. I just want to say The chord here is F-7 [or Eb-6/9], without having to write out all the notes of the chord, which is what seems to happen in the snippets examples... On Sat, May 10, 2014 at 1:25 PM, Knute Snortum ksnor...@gmail.com mailto:ksnor...@gmail.com wrote: Well, the latter. But if you search for jazz chords you find a pretty good function. I haven't tried it, but I may soon as I have wanted to use LilyPond for transcribing jazz music and lead sheets. Knute Snortum (via Gmail) On Sat, May 10, 2014 at 9:47 AM, rif r...@mit.edu mailto:r...@mit.edu wrote: Are you suggesting that the file pop-chords.ly http://pop-chords.ly can be obtained from the snippets repository? If so, I don't yet see how. Or are you just suggesting that the snippets repository contains many useful and interesting examples, in which case I agree completely? rif On Sat, May 10, 2014 at 8:42 AM, Knute Snortum ksnor...@gmail.com mailto:ksnor...@gmail.com wrote: lsr.di.unimi.it/LSR/ http://lsr.di.unimi.it/LSR/ Also, if the LSR search isn't working the way you want: in Google: site:lsr.di.unimi.it/LSR/ http://lsr.di.unimi.it/LSR/ Knute Snortum (via Gmail) On Sat, May 10, 2014 at 7:31 AM, Tim McNamara tim...@bitstream.net mailto:tim...@bitstream.net wrote: On May 10, 2014, at 9:11 AM, rif r...@mit.edu mailto:r...@mit.edu wrote: Apparently I can get just say f:7.9- to get an F7b9. Hooray! Still wondering if there's a canonical place for pop-chords. On Sat, May 10, 2014 at 7:06 AM, rif r...@mit.edu mailto:r...@mit.edu wrote: I see many references to this on the mailing list, but are these files anywhere standard? I grabbed an old jazz-chords.ly http://jazz-chords.ly from some mailing list message, but then it didn't work when I included it, and it had no version number so I couldn't figure out how to convert it. What I actually want to do: single line melodies with chord symbols. I'm using the Simple lead sheet from http://lilypond.org/doc/v2.16/Documentation/snippets/chords as an example, but I cannot for the life of me figure out how to do things like get an F7b9 symbol in there. Most of the chords examples I find lying around seem to be built around the idea that you want to show a bunch of pitches of a chord and then get the name automatically? What am I missing? The Lilypond Snippet Repository (a.k.a LSR) is a very helpful place to look for this sort of thing. I don't have the URL handy on my iPad but the name ought to be enough to help you find it via a web search. ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org mailto: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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple marks
Am 12.05.2014 14:11, schrieb Carlo Vanoni:
Hi everyone,
I'm using this nice function to add a right-aligned text that states
the number of repeats of a repeat block:
repeatMark =
#(define-music-function
(parser location volte visible)
(number? boolean?)
(if visible
#{
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once \override Score.RehearsalMark #'font-size = #0
\mark \markup $(string-join (list repeat (number-string volte)
times))
#}
#{ #}
))
It is called with this code at the end of a section
\repeatMark #4 ##t% writes repeat 4 times
I usually wrote section name using a markup on single notes
(a1^\markup{ \bold Intro}). Now I'm separating the various song
sections in different variables. Since the same section can be used,
e.g., as a chorus and during the solo, I need to write the section
name using a \mark before the section in the main score. This
unfortunately generates a multiple mark error when repeats are involved.
The following might help you:
http://lists.gnu.org/archive/html/lilypond-user/2011-08/msg00157.html
It defines a multi-mark-engraver, which allows to have more than one
mark at the same point of time.
HTH, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: relative pitch with song sections
Am 15.05.2014 18:53, schrieb Brian Barker: At 06:30 15/05/2014 +1000, Nick Payne wrote: I would say, based on my fairly extensive collection of guitar scores, collected over about 40 years, that there are probably more commercially engraved editions that omit the 8 than those that show it. This is surely no different from the practice with tenor staves in SATB scores, where the 8 under the tenor's treble clef is indeed more often omitted than included. But in vocal music with more than four parts, and especially where the number of staves shown can vary from system to system, those little 8s are a significant help to the eye - apart from being technically required. Elaine Gould describes these 8s as optional, but adds (in the context of a full score) the modified clef makes it easier to identify the position of instruments with such transpositions in a score. Brian Barker At first I was also inclined towards saying that it’s correct to add the 8 and it doesn’t hurt anyone, so why not just leave it where Lily puts it by default. Then I thought of a counter-example: some orchestra instruments (most notably double basses, but also contrabassoons and maybe others) to sound an octave lower than written, and the very best of hand-engraved scores all don’t have a clef modifier (i.e. an 8 below – or above – the clef). The (hand-engraved and overwhelmingly well done) UE score of Mahler’s 7th symphony, which also scores a guitar in its fourth movement, has no clef modifier for the guitar also, but uses an explanatory text below the instrument name, which states that the guitar shall sound an octave lower than written. I say this because this kind of scores for me represent the very summit of engraving art and should IMHO serve as a reference before anything else. That notwithstanding one may of course reconsider the case, also because it really isn’t more than a nitpick, to be honest. All the best, Simon Albrecht ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI dynamics parsing error
I recently encountered this problem in a composition of my own and just
ignored the warning, because the MIDI dynamics rendition did not have
any importance for me.
As a matter of fact, this notation may seem illogical, but there are
many occurences of it, and many have asked what it means. I find it
pretty straightforward, once you have an idea of its use: With a
decrescendo, its meaning is similar to an accent, only perhaps more
gentle and espressivo; that is to say, start a little above the dynamic
you previously had and return to it by means of a diminuendo. With a
crescendo, there is some ambiguity: either you return to the dynamic
value from before the crescendo, or you stay where you arrived through
the crescendo. Other interpretations may be possible, but I don't think
unambiguity needs to be avoided, since it's a question of style also: in
the 18th century and beginning 19th, dynamics are specified with
increasing exactness, but for a long time remain incomprehensive and
from later perspective leave gaps, which the performer is required to
fill himself. And it would be inadequate to eliminate these seeming
inconsequencies, which are typical. As I said, I was very happy to have
this in a composition of my own (which was actually kept in some early
19th century style) and it expressed exactly what I meant. So don't be
over-correct :-)
Simon Albrecht
Am 16.05.2014 18:15, schrieb Phil Holmes:
Well, LilyPond has the same problem as a performer would. If you're
crescendoing, at what dynamic are you starting from?
--
Phil Holmes
- Original Message -
*From:* Knute Snortum mailto:ksnor...@gmail.com
*To:* lilypond-user@gnu.org mailto:lilypond-user@gnu.org
*Sent:* Friday, May 16, 2014 3:21 PM
*Subject:* MIDI dynamics parsing error
Short Description: I get an error from LilyPond that it can't
figure out the MIDI volume to start a crescendo with in some
situations.
Details: The error message is...
(De)crescendo with unspecified starting volume in MIDI.
{ bf4 %{ \mf %}
\ a16 ( \sf gf' f ef ) bf4 %{ \mf %} \ a16 ( \sf gf' f ef ) }
programming error: Impossible or ambiguous (de)crescendo in MIDI.
continuing, cross fingers
The source code is...
\version 2.18.2
\language english
upper = \relative c {
| gf16-. \f ef-. df-. cf-. bf ( \sf df cf af )
gf-. \sf ef-. df-. cf-. bf ( \sf df cf af )
|
{ bf4 %{ \mf %} \ a16 ( \sf gf' f ef ) bf4 %{ \mf %} \ a16 (
\sf gf' f ef ) }
\\
{ af, f16 q q q a4 af f16 q q q a4 }
}
\score {
\new Staff = up {
\clef treble
\upper
}
\layout {
}
\midi {
\tempo 4 = 120
}
}
If you uncomment the \mf in line nine, the problem goes away. At
first I thought this was because of the two voices, but when I
compile the \relative part by itself, that is, no \score section,
there is no warning.
I'm assuming this is a bug in LilyPond and adding the \mf dynamic
mark is a workaround. If not, please show me the correct way to do
this.
Since Mussorgsky didn't write the \mf, I want to hide it, but
\hide Dynamics doesn't seem to work. How would I do this, or is
there a better way around this problem?
Knute Snortum
(via Gmail)
___
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
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Warning: Midi channels wrapped around Warrning Remapping modulo 16.
Hello Sebastian, it seems to me like you would require more than 16 midi channels (which normally correspond to the staves in your score) and midi doesn't support more than 16. So the output which would have gone to channel #17 is actually put into channel #1 (and inherits its instrument, dynamics etc. properties), #18 is redirected to #2 etc. (that's the modulo 16 part). So either, if this isn't a problem for you (because all staves use the same midi instrument for example), just ignore the warning [1] or try using an extra score for midi, which combines some of the staves into voices of one staff, so you don't have more than 16 staves in total. HTH, Simon [1] or use the scheme function ly:expect-warning: #(ly:expect-warning MIDI channel wrapped around) #(ly:expect-warning remapping modulo 16) (somehow this doesn't suppress all the warnings, but only the first one of a kind; I'll ask about that in a separate mail) Am 17.05.2014 21:45, schrieb Sebastian Canagaratna: Hi: I'm using Lilypond 2.16.2 I get the above warning sometimes. Is this a bug? Or am I doing something wrong? I can't detect the error, and the midi seems OK. Sebastisn ___ 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
#(ly:expect-warning )
Hello,
I just tried to suppress a series of expected warnings, but the scheme
function seems to suppress only the first of a kind. See attached file.
Why is this?
Best regards,
Simon
\version 2.19.3
#(ly:expect-warning MIDI channel wrapped around)
#(ly:expect-warning remapping modulo 16)
\score {
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\new Staff { c'1 }
\midi { }
}___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [bug?] Unnecessary avoid-slur warning
See also http://code.google.com/p/lilypond/issues/detail?id=3729 – it’s
the same, only that it’s about accidentalSuggestion, not about
trillPitchAccidental. Perhaps you add a comment there?
Best, Simon
Am 20.05.2014 05:44, schrieb James Harkins:
It appears that LilyPond 2.18.2 prints a warning if a trill pitch
occurs under a slur, regardless of the chance of collision.
\relative c' {
% OK
\pitchedTrill d2\startTrillSpan ~ e d4. r8\stopTrillSpan
% warning: Ignoring grob for slur: TrillPitchAccidental. avoid-slur
not set?
% But the slur is nowhere near colliding with the trill pitch accidental!
c4 ( \pitchedTrill d4\startTrillSpan e ~ d4. ) r8\stopTrillSpan
}
This fixes it:
\override TrillPitchAccidental.avoid-slur = #'inside
But shouldn't this be a default? When would you seriously want a trill
pitch accidental to be outside the slur? Not to mention that it would
make no sense to put the trill pitch accidental outside, and the trill
pitch head inside.
Small issue, work-around-able, but seems a bit untidy.
hjh
___
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: MIDI dynamics parsing error
Am 20.05.2014 15:41, schrieb Knute Snortum: (Note: the above code still emits a warning: Programming error: impossible or ambiguous (de) crescendo) One of the things I really liked about LilyPond was the ability to compile sheet music and MIDI from the same source. It seems to me that this behavior is getting away from that value. I would think that in piano and choral music if you create a temporary voice, not only do you want the original dynamic to carry over into the temporary, you want any dynamic mark to carry over back into the original after the temporary is over. If I understand you correctly, the only way to set a dynamic change while temporary voices are active is to set the mark on one voice, set and omit it on the other(s), and set and omit it on the original voice once the temporary voices are done. This seems unnecessarily complex for a situation that I would think happens many times. Perhaps it’s possible to move the Dynamics_engraver and _performer to staff level for this purpose? Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: #(ly:expect-warning )
Am 18.05.2014 13:46, schrieb David Nalesnik: Hi Simon, On Sun, May 18, 2014 at 5:57 AM, Simon Albrecht simon.albre...@mail.de mailto:simon.albre...@mail.de wrote: Hello, I just tried to suppress a series of expected warnings, but the scheme function seems to suppress only the first of a kind. See attached file. Why is this? Each call suppresses a single instance, so you need to repeat it for each warning. I don't know the rationale for this. Now you say it: it does make sense, since when there is one occurence of a warning that you already know of and want to suppress, you might still be happy to see it when the same warning is issued another time from an unrelated reason. In any case, you could put something like this at the head of your file. I guess copy-and-paste would be equally effective :) #(define (suppress message x) (let loop ((c x)) (if ( c 0) (begin (ly:expect-warning message) (loop (1- c)) #(suppress MIDI channel wrapped around 5) #(suppress remapping modulo 16 5) Note there's also a warning for expected error NOT encountered. HTH, David Thanks a lot, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Draw a box spanning multiple staves
Am 21.05.2014 11:24, schrieb Urs Liska: Hi, for analysis purposes I'd like to draw (e.g.) boxes around objects on different staves (see attachment). Is there a straightforward and particularly robust way to do that with LilyPond itself (the image was postprocessed)? Hello Urs, sorry for not being able to test this myself, but you might look in the thread at http://www.mail-archive.com/lilypond-user%40gnu.org/msg83249.html, in which a Frame_engraver was created – for another purpose, but with similar results, I think. HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem: incompatible Lilypond and Guile
Am 22.05.2014 22:36, schrieb rm damerell: Dear colleagues, I have a problem due (I think) to a bad mixture of versions of Lilypond and Guile. Versions are: L-Ubuntu 12.04 guile-2.0.5+1-1 (most recent version I found in Ubuntu repository) Lilypond 2.18.2 (From lilypond.org) Lilypond still works with Guile v1.8 (which is unfortunate since this will cease to be supported in some upcoming Linux distributions). See http://code.google.com/p/lilypond/issues/detail?id=1055. I don’t know whether there’s currently any work on this. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [WAS: Re: handbells] Tabulating notes used in a score
Am 26.05.2014 03:47, schrieb David Nalesnik:
Hi all,
FWIW, here's something which tabulates the notes used in an excerpt
and presents them in ascending order.
I think this might be useful in handbell music (which the example
assuredly is not).
Any suggestions for improving this are welcome.
Congratulations! Very interesting.
The version statement should be \version 2.19, since the music
contains standalone durations like @code{ ees4~ 16 }, which can’t be
handled by 2.18.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: frets and lyrics
Am 27.05.2014 15:40, schrieb paul bedaride:
I would be something like this (but this doesn't work)
\version 2.16.2
\include predefined-ukulele-fretboards.ly
http://predefined-ukulele-fretboards.ly
theChords = \chordmode {
g g g g g
}
verseI = \lyricmode {
\set stanza = #1.
This is the first verse
}
\score {
\context ChordNames { \theChords }
\context FretBoards = testVoice {
\set Staff.stringTunings = #ukulele-tuning
\theChords
}
\new Lyrics = lyricsI {
\lyricsto testVoice \verseI
}
\layout { }
}
You might also use manual syllable durations as in
http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-vocal-music#manual-syllable-durations.
Thus you're independent of either associatedVoice or lyricsto.
No reason there to advise against lilypond -- it works very well without
any actual notes in the output :-)
Best, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shifted notehead won't merge with same pitch from other voice
Am 29.05.2014 09:53, schrieb Urs Liska:
Am 29.05.2014 09:15, schrieb Javier Ruiz-Alma:
I'm typesetting the attached music using four voices. However, a
shifted quarter note refuses to merge with the half-note from other
voice. I suspect it has to do with both having same stem direction,
but how does one tell LP to merge anyway? Force-shifting notecolumn
didn't seem to do the trick.
\version 2.18.2
\relative c' {
\key g \minor
{ \stemDown \hideNotes c8_~ \unHideNotes c2 }
\\
{ \stemUp c8[ d fis bes a] }
\\
{ \mergeDifferentlyHeadedOn \stemUp s8 d,2 }
\\
{ \mergeDifferentlyDottedOn s4 fis4. }
}
I don't know the answer off my head.
But what you're showing is exactly the example from the end of the
Learning Manual.
It's hard to find through the table of contents, so you might make use
of this direct link ;-)
http://www.lilypond.org/doc/v2.18/Documentation/learning/real-music-example
Rereading this, I notice that the Moderato marking in the example
would probably be more accurately and straightforwardly coded as
\tempo Moderato
bes2.
than as
bes2.^\markup { \bold Moderato } .
Accordingly, the second sentence in the paragraph after the fourth music
example should be changed from The tutorial showed how to add bold text
with the |\markup| command, so adding Moderato in bold is easy. to
The tutorial showed how to add a tempo indication with the |\tempo|
command, so adding Moderato is easy.
I'm not familiar with the patching process etc. so, if there are no
objections to this, could someone apply the change, please?
Best regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shifted notehead won't merge with same pitch from other voice
Am 29.05.2014 20:40, schrieb Pierre Perol-Schneider: 2014-05-29 12:43 GMT+02:00 Thomas Morley thomasmorle...@gmail.com mailto:thomasmorle...@gmail.com: How about: \tweak #'duration-log #1 Of course Harm (even with \tweak duration-log #1 ;) (or \tweak duration-log 1 !!!) It's just something I'm not use to. Cheers, Pierre ___ 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
Dynamic text/staff symbol overlap
Hello,
in places with tight vertical spacing it's often useful and best
practice to have the dynamic text overlap slightly with the staff symbol
lines. I tried to reproduce this with something like the following:
\version 2.19
\relative {
\once \override DynamicText.outside-staff-priority = ##f
\once \override DynamicText.X-offset = #-1
\once \override DynamicText.Y-offset = #-1
c'^\f
}
Of course the Y-offset command doesn't override the collision avoidance.
I thought disabling outside-staff-priority would do that, but still the
offset doesn't have any effect. What do I overlook?
TIA, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic text/staff symbol overlap
Am 05.06.2014 22:17, schrieb Karol Majewski:
Of course it is DynamicText.
try:
\once \override DynamicText.extra-offset = #'(-1 . -1)
I know about that, but as extra-offset is applied after creating the
layout, the whole point of saving space is lost.
Karol
- Original Message -
*From:* Simon Albrecht mailto:simon.albre...@mail.de
*To:* lilypond user list mailto:lilypond-user@gnu.org
*Sent:* Thursday, June 05, 2014 8:57 PM
*Subject:* Dynamic text/staff symbol overlap
Hello,
in places with tight vertical spacing it's often useful and best
practice to have the dynamic text overlap slightly with the staff
symbol lines. I tried to reproduce this with something like the following:
\version 2.19
\relative {
\once \override DynamicText.outside-staff-priority = ##f
\once \override DynamicText.X-offset = #-1
\once \override DynamicText.Y-offset = #-1
c'^\f
}
Of course the Y-offset command doesn't override the collision
avoidance. I thought disabling outside-staff-priority would do that,
but still the offset doesn't have any effect. What do I overlook?
TIA, Simon
___
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: Dynamic text/staff symbol overlap
Am 05.06.2014 23:02, schrieb Karol Majewski:
And how about:
\version 2.19
\relative {
\once \override DynamicLineSpanner #'Y-offset = #2.5
\once \override DynamicLineSpanner #'outside-staff-priority = ##f
c'^\f
}
Very good! That's the one I overlooked.
Thanks,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: avoid-slur does not apply on a tie.
Am 14.06.2014 07:29, schrieb Pierre Perol-Schneider: 2014-06-13 23:53 GMT+02:00 Ralph Palmer palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com: I think this is, on fact, a slur, not a tie. If the sounding of the notes is separate, as would be implied by the staccato dots, that should make it a bowing slur, not a tie. Ralph Thnaks Ralph ! Strange, I was told that was a vibrato :( Interpretation is a different issue, I think. But the ly representation may well be a slur, even if it is actually played as a vibrato or whatever articulation one might apply. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tags on tweaks
Am 15.06.2014 12:29, schrieb Orm Finnendahl:
Hi,
just to verify: I assume it is always necessary to tag a complete
music expression, or can just tweaks themselves get tagged?
You may insert the tag itself as a post-event using -\tag before the
tweak, yet the tag will then apply both to the tweak and the following
expression.
This gives you
%%%
\version 2.19
music = {
\clef G
r4 { fis'''8
-\tag score -\tweak X-offset #-2.5 \f
-\tag part \f [ }
ees'' c' a''' ] r4
}
{
\keepWithTag score \music
\keepWithTag part \music
}
Well, it's a bit shorter.
If there are many instances of the problem, you might wrap this into a
music function:
\version 2.19
%sctw = score tweak...
sctw = #(define-music-function
(parser location prop val mus)
(symbol? number? ly:music?)
#{ -\tag score -\tweak $prop $val $mus
-\tag part $mus #} )
music = {
\clef G
r4 fis'''8 -\sctw X-offset #-2.5 \f [ ees'' c' a''' ] r4
}
{
\keepWithTag score \music
\keepWithTag part \music
}
%
HTH, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: music
Am 17.06.2014 18:12, schrieb keira mccook: I have dyslexia and i find it hard to read sheet music.I am starting uni in September to study music. I've been instructed to improve my reading but it seems impossible.is there any way you can help. Hello Keira, I don’t know if this is the right place to search for help with your problem. LilyPond is a music typesetting program, and it’s firstly intended to produce sheet music which follows usual standards, though with better typographical quality and thus also distinctly better readable than most other typesetting available. Nevertheless I don’t think it will be a substantial support in your case. The only thing which comes to my mind (and which has something to do with LilyPond) is Clairnote, an alternative notation system which claims to be easier to read in principle: http://www.clairnote.org. I’ve no idea whether this is in fact an improvement, and less so, if it comes to your case. Else I can only say: – Improvise! Improvisation is often underestimated and an extremely valuable way of making music. It does of course depend on the kind of music you’re in: it’s possible to improvise in (almost) every style, but for some it’s more common. And it’s important to have a good teacher, I think. – Or learn by heart! It’s what blind musicians do, and most certainly it’s not only a disadvantage of not being able to read sheet music, but it also allows a much deeper understanding of the music, both intellectually and emotionally, than if you only ever read the music from sheets. I hope these small thought are of some use to you. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [DOC] 1.3.1 Expressive marks attached to notes, has v.2.16 format
Am 26.06.2014 09:39, schrieb Pierre Perol-Schneider: Hi James, Sorry, I should have written syntax instead of format 2014-06-26 9:27 GMT+02:00 James pkx1...@gmail.com: Can you be a bit more specific as I don't understand what you are stating? 'Creating a delayed turn' ... \once \override AccidentalSuggestion #'outside-staff-priority = ##f \once \override AccidentalSuggestion #'avoid-slur = #'inside \once \override AccidentalSuggestion #'font-size = #-3 \once \override AccidentalSuggestion #'script-priority = #-1 ... should be : ... \once \override AccidentalSuggestion.outside-staff-priority = ##f \once \override AccidentalSuggestion.avoid-slur = #'inside \once \override AccidentalSuggestion.font-size = #-3 \once \override AccidentalSuggestion.script-priority = #-1 ... or even : ... \once \override AccidentalSuggestion.font-size = -3 \once \override AccidentalSuggestion.script-priority = -1 Attention: this only works with non-negative numbers as the - is parsed as a post event identifier, not as a minus. So it’s still necessary to spell out the hash sign for negative numbers. Else you’re certainly right. Best, Simon (I added this as a comment in the issue tracker, also)l ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [DOC] 1.3.1 Expressive marks attached to notes, has v.2.16 format
So sorry, wrong list… Am 26.06.2014 12:53, schrieb Simon Albrecht: Am 26.06.2014 09:39, schrieb Pierre Perol-Schneider: \once \override AccidentalSuggestion #'outside-staff-priority = ##f \once \override AccidentalSuggestion #'avoid-slur = #'inside \once \override AccidentalSuggestion #'font-size = #-3 \once \override AccidentalSuggestion #'script-priority = #-1 ... should be : ... \once \override AccidentalSuggestion.outside-staff-priority = ##f \once \override AccidentalSuggestion.avoid-slur = #'inside \once \override AccidentalSuggestion.font-size = #-3 \once \override AccidentalSuggestion.script-priority = #-1 ... or even : ... \once \override AccidentalSuggestion.font-size = -3 \once \override AccidentalSuggestion.script-priority = -1 Attention: this only works with non-negative numbers as the - is parsed as a post event identifier, not as a minus. So it’s still necessary to spell out the hash sign for negative numbers. Else you’re certainly right. Best, Simon (I added this as a comment in the issue tracker, also) ___ 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: [DOC] 1.3.1 Expressive marks attached to notes, has v.2.16 format
Am 26.06.2014 13:33, schrieb David Kastrup: And he's right with that as well... Have you actually tried it? My mistake again. Sorry for being pert and not checking first. I wasn’t aware that your parser improvements had gone so far… Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Crescendos, sforzandos, and impossible MIDI volumes
Am 27.06.2014 20:42, schrieb Knute Snortum:
I want to start a discussion about this and maybe get a change into
LilyPond.
Currently, you can get an impossible (de)crescendo error in LilyPond
if your crescendo has a \sf in the middle [1]. It stops the crescendo
and if you restart it, ending in any dynamic mark, you get an error.
This is because a \sf has a MIDI volume of 100% and this volume
continues afterward.
My understanding of a sforzando is that it is an accent. So my
feeling is that it shouldn't act like a dynamic marking. The MIDI
volume of 100% is fine for the note this marking is on, but then the
volume should go back to where it was before the sforzando and the
crescendo should continue.
I agree that the MIDI volume should go back to the previous value
(whatever that is...) after \sf. This correctly reflects its musical
meaning for what I think. However, I don't think it is wrong for \sf to
stop a (de)crescendo. In any case, it makes much more sense to me to
start another one after the \sf than for a (de)crescendo to continue
through the \sf. So it's essentially good for \sf to be interpreted as
dynamic mark.
I am getting the impression that we are reaching the boundaries of an
automatic, numerical determination of the intended dynamic values. In
other words, ambiguities arise, which are no problem for a human
interpreter, who may then decide in accordance with the context (for
better or worse...), and needn't be eradicated, as I already stated in a
similar discussion.
What do you think of defining \sf so that it plays only the affected
note, say, 30% louder than the surroundings? Which leads to problems if
the previous volume isn't precisely defined, as in Knute's example:
\relative c' {
c4 \p \cresc d e f |
g a b c |
% crescendo arriving at 70% ?
d \sf \cresc c b a |
% d played at 100%, the next crescendo starting again from 70% ?
g f e d \f |
c1
}
(Note that I have no idea how this is currently or might in future be
implemented...)
Just my 2cts,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: With \markup { \score { can I separately control the score size?
Am 29.06.2014 19:10, schrieb Paul Morris: Hi all, Is this way of scaling a score (by putting it inside a markup) the best way to do it, if you want to keep all of the proportions strictly consistent at different sizes? The approach in the staffSize snippet does not keep the proportions consistent, which becomes apparent at larger sizes (perhaps this should be noted in the snippet text). The set-global-staff-size approach also seems to leave the staff lines and stems proportionally thinner at larger sizes. … which is a good thing, since it preserves the optical impression instead of keeping the numerical proportions. If the proportions would remain the same independent of the staff size, small staves would look too light and be more difficult to read, and large staves would become too heavy and appear clumsy. It’s the same with text fonts, by the way: high quality typefaces (e.g. the TeX standard Latin Modern font as used also in LilyPond) usually have different shapes for different font sizes. Thus large headers get thinner lines, more detail etc. and small annotations or whatever get broader lines and less detail for the sake of legibility and a consistent visual appearance. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text inside hairpin
Am 30.06.2014 08:41, schrieb Janek Warchoł: You're welcome :) Maybe i should add this function to official LilyPond? Good idea, I think! Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rest collisions
Am 01.07.2014 20:50, schrieb bart deruyter:
Hi all,
I've got an issue here with rests.
I have three voice score with rests in the second voice . There simply
is not enough space for the rest between the highest and the lowest
note, so I tried to move the rest to the left using:
\once \override Rest #'extra-offset = #'(-1 . 0)
Is there a way to solve this, or another method that should be used to
solve this kind of problem? Or is it common to hide the rest in these
cases?
I've added screen captures.
Try
\version 2.18
{ d''4 d'' } \\
{ f'4 f' } \\
{
% extra-offset is applied after the layout
% has been made, so it can't handle collisions,
% while X-offset can.
\once\override Rest.X-offset = -1
% the following is a shortcut to explicitly
% set the staff-position of the rest
a'4\rest
% just decide which looks better to you in context
\once\override Rest.X-offset = 1.5
b'\rest }
%
And have a look at http://lilypond.org/tiny-examples.html. It makes
helping you much easier.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Issue on packed-spacing?
Well, of course this reminded me of \textLengthOff and \textLengthOn,
which normally serve to control this behaviour.
However, with packed-spacing, \textLengthOff has no effect at all, while
\textLengthOn slightly increases the spacing between notes, or basically
it seems to me that it increases padding after the text and before the
following note-column.
I used the following code:
\version 2.19.8
\paper { ragged-rigth = ##t ragged-last = ##t }
\relative c' {
\override Score.SpacingSpanner.packed-spacing = ##t
%\textLengthOn
c8 c c-\markup { some very very very very very very long text } c c c
c c |
\repeat unfold 24 {c}
}
%%%
Best regards, Simon
Am 03.07.2014 12:20, schrieb Phil Holmes:
- Original Message - From: Abel Cheung abelche...@gmail.com
To: lilypond-user@gnu.org
Sent: Thursday, July 03, 2014 10:40 AM
Subject: Re: Issue on packed-spacing?
OK, maybe it's clearer to attach image.
On Thu, Jul 3, 2014 at 5:35 PM, Abel Cheung abelche...@gmail.com
wrote:
The artifact here is (forget the ragged-rigth typo), when using
packed-spacing, the whole note with markup is stretched horizontally
in an insane way to cope with the markup size, and I wonder if this is
the designed behavoir of lilypond.
On Thu, Jul 3, 2014 at 4:08 PM, Urs Liska u...@openlilylib.org wrote:
Am 03.07.2014 10:03, schrieb Abel Cheung:
Hi,
Is this the desired behavior of SpacingSpanner.packed-spacing ? (I'm
using 2.18.2)
\paper { ragged-rigth = ##t ragged-last = ##t }
\relative c' {
\override Score.SpacingSpanner #'packed-spacing = ##t
c8 c c-\markup{some very very very very very very long text}
c c c c
c |
\repeat unfold 24 {c}
}
Looks like a bug to me.
--
Phil Holmes
___
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
Dot-separated list as music function argument
Hello everybody,
I just wrote a music function to mark grobs as editorial addition by
colouring them grey. See the code and an example:
\version 2.19.8
ed = #(let
((string-or-list?
(lambda (grob)
(or (string? grob)
(list? grob)
(define-music-function
(parser location grob mus)
(string-or-list? ly:music?)
#{ \override $grob . color = #(x11-color 'grey40)
$mus
\revert $grob . color #}
)
)
\relative { \ed NoteHead c' \ed #'(Staff Accidental) { cis dis } es }
%
The 2.18 changes document says that #'(Staff Accidental) and
Staff.Accidental were now interchangeable, however if I replace it in
the second function call, I get errors (unexpected . etc.). Is there a
way to avoid this in the coding of the function or should it be
considered a bug?
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unclear topic
Am 08.07.2014 16:16, schrieb Federico Bruni: Hi Michael Problems in translated manuals should be reported on the translation list. The german translation is not updated as far as I know, since I've seen some reports from german users in the last year. Last commit of Till Paala was in october 2012. Unfortunately these reports can't be useful if nobody works on them. Would you like to help with upgrading the german translation? I can help you to understand the workflow. During the summer I might have time and a good mind to help. I’ll ask for assistance then. Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unclear topic
Am 08.07.2014 23:38, schrieb Federico Bruni: 2014-07-08 18:49 GMT+02:00 Simon Albrecht simon.albre...@mail.de mailto:simon.albre...@mail.de: Am 08.07.2014 16:16, schrieb Federico Bruni: Hi Michael Problems in translated manuals should be reported on the translation list. The german translation is not updated as far as I know, since I've seen some reports from german users in the last year. Last commit of Till Paala was in october 2012. Unfortunately these reports can't be useful if nobody works on them. Would you like to help with upgrading the german translation? I can help you to understand the workflow. During the summer I might have time and a good mind to help. I’ll ask for assistance then. Yours, Simon Great! I'll probably be away from keyboard during summer, but you'll find some translator ready to help you. I attach my easy guide for lilypond translators. Hope that it will help Thanks, Federico. I’ll delve into that when I find the time. One nitpick: at the beginning of your .rst file, there is a broken link to the LSR: it should now read http://lsr.di.unimi.it/. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dot-separated list as music function argument
Many thanks for the responses, Thomas and David.
And sorry for the messy code layout… I’ll see if I can change that.
Yours, Simon
Am 08.07.2014 15:50, schrieb Thomas Morley:
2014-07-08 13:39 GMT+02:00 Simon Albrecht simon.albre...@mail.de:
Hello everybody,
I just wrote a music function to mark grobs as editorial addition by
colouring them grey. See the code and an example:
\version 2.19.8
ed = #(let
((string-or-list?
(lambda (grob)
(or (string? grob)
(list? grob)
(define-music-function
(parser location grob mus)
(string-or-list? ly:music?)
#{ \override $grob . color = #(x11-color 'grey40)
$mus
\revert $grob . color #}
)
)
\relative { \ed NoteHead c' \ed #'(Staff Accidental) { cis dis } es }
%
The 2.18 changes document says that #'(Staff Accidental) and
Staff.Accidental were now interchangeable, however if I replace it in the
second function call, I get errors (unexpected . etc.). Is there a way to
avoid this in the coding of the function or should it be considered a bug?
Best regards,
Simon
Hi,
use the predicate symbol-list-or-symbol?
Below a working version, displaying some info as well:
\version 2.19.8
ed =
#(define-music-function (parser location grob mus)
(symbol-list-or-symbol? ly:music?)
;; displaying some info:
(format #t \nI'm the list: \t\t\t~a
My first entry is: \t~a
My next entry is: \t~a
My first entry is a symbol? \t~a
My next entry is a symbol? \t~a
grob
(car grob)
(if (not (null? (cdr grob)))
(cadr grob)
none)
(symbol? (car grob))
(if (not (null? (cdr grob)))
(symbol? (cadr grob))
none found))
(newline)
;; coloring the grob(s)
#{
\override $grob . color = #(x11-color 'grey40)
$mus
\revert $grob . color
#})
\relative { \ed NoteHead c' \ed #'(Staff Accidental) { cis dis } es }
\relative { \ed NoteHead c' \ed Staff.Accidental { cis dis } es }
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
List defect?
Hello, now there definitely seems to be something wrong with mail delivery on the list. Some people already reported they were not receiving some posts at all. With me, some posts pop up another time two days or so after they were originally sent (including my own). Do any of you know what might be going on? And where to eventually report this buggy behaviour? Yours, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Barline at beginning of lines of music.
Am 11.07.2014 18:49, schrieb Richard Shann: For chord charts a barline is wanted at the start of each line of music - \bar | is, of course ignored in this position. Can anyone suggest how to force printing a barline here (after the time signature, if any). Incidentally, the documentation is slightly misleading on this point: http://www.lilypond.org/doc/v2.18/Documentation/notation/bars#index-bar-lines says This and other special bar lines may be inserted manually at any point. Maybe it should be specified that this is a point of _time_. This makes clear that the relation to actual output is not immediate. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stem length in polyphony
Am 13.07.2014 11:29, schrieb Pierre Perol-Schneider:
Hi Bart,
2014-07-13 10:52 GMT+02:00 bart deruyter bart.deruy...@gmail.com
mailto:bart.deruy...@gmail.com:
I've attached an image and a .ly example.
Here's what I'd do :
\version 2.18.2
global = {
\key e \minor
\time 2/4
}
upper = \relative e' {
\global
s2 |
\bar |.
}
lower = \relative e {
\global
e4
dis8 dis |
}
centerup = \relative e' {
\global
d16\rest g fis e fis8 fis |
}
centerlow = \relative e {
\global
s16 b' a g
\override Beam.positions = #'(-3.5 . -3)
\tweak NoteColumn.force-hshift #1.1
a16 b
\tweak NoteColumn.force-hshift #1.1
a[ b] |
\revert Beam.positions
}
\new Staff {
\clef treble_8
\upper \\ \lower \\ \centerup \\ \centerlow
}
Personally, I find it better not to change the beaming itself, but
rather to shift the lower one, as attached.
Best, Simonl
\version 2.18.2
global = {
\key e \minor
\time 2/4
}
upper = \relative e' {
\global
s2 |
\bar |.
}
lower = \relative e {
\global
e4
\override Beam.positions = #'(-5.5 . -5.5) % or similarâ¦
dis8 dis |
\revert Beam.positions
}
centerup = \relative e' {
\global
d16\rest g fis e fis8 fis |
}
centerlow = \relative e {
\global
s16 b' a g
a16 b a b |
}
\new Staff {
\clef treble_8
\upper \\ \lower \\ \centerup \\ \centerlow
}___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tenorized treble clef
Am 27.07.2014 16:30, schrieb Janek Warchoł:
Hi,
LilyPond has a treble clef with added C-clef-like stuff:
{ \clef tenorG c' }
(http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00661.html)
However, it seems to me that these added lines should be positioned
half a staff-space lower. After all, C clef indicates the position of
middle C:
{ \clef tenor c' }
The way we have it right now, the extra claws point to d instead of
c. I see that the engraved example provided in the thread linked
above has this positioning, but I think that's a mistake on the
clef-punch manufacturer's side. What do you think?
I think there is a misunderstanding here which originates in a logical
inconsistency of this design:
For all I know, this clef has only been in use in France in the first
half of the twentieth century (examples I have seen are from the late
1930’s), and quite exactly in the shape that Lily now reproduces, with
the “claws” pointing to the fourth line (counted from the bottom), as
they do with the tenor clef. However, the “claws” are not actually
indicating the position of the middle (or any other) c, but rather serve
as a mere reminiscence of the specific tenor clef and the reader is
supposed to conclude that the following notes are in a tenor register,
that is, an octave lower as with a normal g clef. And indeed it is
confusing and, strictly speaking, wrong that the g and c clefs mixed in
this shape contradict each other.
So, nothing wrong in Lily’s adaptation there, only I have my doubts if
it’s really a good idea to reactivate this clef, except for nostalgia
reasons ;-)
Best regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpin inside slur?
Am 27.07.2014 23:17, schrieb pls: On 27.07.2014, at 22:18, Phil Holmes m...@philholmes.net mailto:m...@philholmes.net wrote: I don't know. My guess: there is no reasonable slur that will miss the hairpin if the hairpin is inside the slur, so Lily does the best compromise. Thanks, Phil! It's actually an excerpt of a real-life example I'm trying to re-engrave. There is probably no automated solution for this case so I might use the \shape function. And there's always the question if it's really a good idea to follow the example even in such details as the shape of one slur. Often it makes more sense to take some liberty and find one's own solutions. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple stanzas to selection of melody
Am 28.07.2014 21:47, schrieb Marten:
Dear all,
Trying to typeset a song I am faced with the following problem for which I
can;t find a solution in the manual or snippet repository. I kindly request
your help.
I'm typesetting a song with one staff, where the refrain comes first and
spans multiple lines of notes; after that come 3 stanzas. I'd like the song
text to be placed under the stanza melody, but I don't want to add empty
lines to the refrain. I'm looking for a solution with one \score block. Can
this be done?
In a sketch:
=several notes, line 1 =
Text to refrain, line 1
=several notes, line 2 =
Text to refrain, line 2
=several notes, line 3 =
Text to stanza 1, line 3
Text to stanza 2, line 3
Text to stanza 3, line 3
=several notes, line 4 =
Text to stanza 1, line 4
Text to stanza 2, line 4
Text to stanza 3, line 4
To me it would seem logical to change the name of the Voice in line 3, and
the associate the lyrics of the stanzas with the voice name in line 3. But
I don't knwo how to do this.
Hello Marten,
I agree that LilyPond does not have a satisfying interface for such
situations (i.e. any situation with repeats, which get different text on
different times, or with changing number of stanzas, as in your example).
I’ve made three examples which should do what you want, the first two
are similar, the third isn’t. Explanations are in the code, and more to
be found in the learning manual
http://lilypond.org/doc/v2.18/Documentation/learning/songs and
notation reference
http://lilypond.org/doc/v2.18/Documentation/notation/vocal-music.
Hope that helps,
Simon
\version 2.19.8
#(set-default-paper-size a6 'landscape)
% here, lyric syllables are automatically assigned to notes
% by \lyricsto
% the refrain text is written next to the second stanza
% in order to be vertically centered if there is no
% line break at the beginning of the stanza
% in the other stanzas, the refrain must be skipped
% by one underscore per missing syllable
melody = \relative { \time 3/4 c'4 d e f2. d4 e f g2. \break
bes4 a g f( g8 f) e[( d]) g4( e) d c2. }
stanzaOne = \lyricmode { _ _ _ _ _ _ _ _
\set stanza = 1.
This is the text of stan -- za one }
stanzaTwo = \lyricmode { This is the text of the re -- frain.
\set stanza = 2.
This is the text of stan -- za two. }
stanzaThree = \lyricmode { _ _ _ _ _ _ _ _
\set stanza = 3.
This is the text of stan -- za three. }
\score {
\new Voice = melody \melody
\new Lyrics \lyricsto melody \stanzaOne
\new Lyrics \lyricsto melody \stanzaTwo
\new Lyrics \lyricsto melody \stanzaThree
}\version 2.19.8
#(set-default-paper-size a6 'landscape)
% here, the lyric syllable durations are manually entered and
% \lyricsto avoided. This allows skipping the refrain more easily.
melody = \relative { \time 3/4 c'4 d e f2. d4 e f g2. \break
bes4 a g f( g8 f) e[( d]) g4( e) d c2. }
stanzaOne = \lyricmode { \skip 2.*4
\set stanza = 1.
This4 is the text2 of4 stan2 -- za4 one. }
stanzaTwo = \lyricmode { This4 is the text2. of4 the re -- frain.2.
\set stanza = 2.
This4 is the text2 of4 stan2 -- za4 two. }
stanzaThree = \lyricmode { \skip 2.*4
\set stanza = 3.
This4 is the text2 of4 stan2 -- za4 three. }
\score {
\new Voice \melody
\new Lyrics \stanzaOne
\new Lyrics \stanzaTwo
\new Lyrics \stanzaThree
}\version 2.19.8
#(set-default-paper-size a6 'landscape)
% This is an entirely different layout and slightly more elegant, I think.
% Here, new contexts are created in parallel to the music at the point
% where the stanzas begin.
refrain = \lyricmode { \set stanza = 1.â3.
This4 is the text2. of4 the re -- frain.2. }
stanzaOne = \lyricmode { \set stanza = 1.
This4 is the text2 __ of4 stan2 -- za4 one. }
stanzaTwo = \lyricmode { \set stanza = 2.
This4 is the text2 __ of4 stan2 -- za4 two. }
stanzaThree = \lyricmode { \set stanza = 3.
This4 is the text2 __ of4 stan2 -- za4 three. }
melody = \relative { \time 3/4 c'4 d e f2. d4 e f g2. \break
\new Lyrics \stanzaOne
\new Lyrics \stanzaTwo
\new Lyrics \stanzaThree
{ bes4 a g f( g8 f) e[( d]) g4( e) d c2. } }
\score {
\new Voice \melody
\new Lyrics \refrain
}___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple stanzas to selection of melody
Am 29.07.2014 01:28, schrieb Marten: Hello Abraham, Simon, Thanks for your solutions and quick replies :) I decided to try to implement Simon's third solution, as it explicitly keeps the melody of the stanzas together with their texts. Ingenious - hadn't thought about a solution like that. I have two question about it though: 1. If I use \addlyrics instead of \new Lyrics for the stanzas, an ambitus will be rendered for the stanza and the refrain *separately* (a layout block activating the ambitus, must of course be added). If I use \new Lyrics, as in your solution, only one ambitus for the entire song is rendered (expected behaviour). Why is this so? I find the question a bit confusing. Looking at Abrahams example (in the answer he wrote) makes me wonder why you use separate voices for refrain and verse. I can’t see any necessity to do so and it contradicts the logic of the music: after all, refrain and stanza are not sung by different singers. If you use two different voices, it’s only natural that each gets an ambitus of its own. What would you expect? 2. If the stanza melody begins with a rest, the text gets aligned under the rest. Why? Please try once more to understand the difference in the mechanisms of my first and second examples: in the one with \addlyric, an association between lyrics and the voice is created and each syllable is associated with one note (thus, rests are skipped). The other way does not use direct relation between lyrics and notes: both are entered separately, with their own durations, and it’s up to you to get the alignment in time correct. Lilypond will print everything at the point of time where you put it, and if a rest and a lyric syllable come at the same point of time, they will be aligned. I hope you tried at least to understand the topic yourself from the lenghty and fully sufficient description in the manuals, to which I pointed you. Sometimes it takes a little time to comprehend, but it will save the time of the friendly persons on this list who help you with real problems. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How split SA staff into two staff - each now has two voices?
Hello,
I’d like to suggest rearranging the instrument names in LSR 650 using
\center-column (more elegant in my eyes). Attached you find an updated
version of the file. Do you approve?
Best, Simon
Am 01.08.2014 15:10, schrieb Phil Holmes:
- Original Message - From: Janek Warchoł
janek.lilyp...@gmail.com
To: Phil Holmes m...@philholmes.net
Cc: Abraham Lee tisimst.lilyp...@gmail.com; MING TSANG
tsan...@rogers.com; lilypond-user mailinglist
lilypond-user@gnu.org; David Kastrup d...@gnu.org
Sent: Friday, August 01, 2014 1:19 PM
Subject: Re: How split SA staff into two staff - each now has two voices?
Hi,
2014-08-01 12:13 GMT+02:00 Phil Holmes m...@philholmes.net:
- Original Message - From: Janek Warchoł
janek.lilyp...@gmail.com
% I'm not 100% satisfied with this code, but i think it's better
% than the snippet in the docs. Maybe someone would like
% to submit an update? I don't really have enough time now.
It's a snippet from the LSR and will be updated considerably anyway
in the
next build. You might like to check out
http://lsr.di.unimi.it/LSR/Item?id=650
Thanks for info, Phil.
Well, the new version of the snippet suffers from exactly the same
problem as the old version, except _more so_. The fact that the
snippet defines *three* separate staff contexts for the Low parts,
which don't split _at all_, is a complete and utter abomination, and
it almost gave me a heart attack. This is unbelievably ugly, and
against good programming practices.
I have expanded my code from my previous email to also show two staves
converging into one (see attached). Please note that i didn't have to
make *any* changes to the \score block structure - i have just added
commands for new arrows and written more music to the _existing_
variables. I believe this proves my code is superior to the one from
the snippet.
cheers,
Janek
=
I've updated the LSR with your snippet: the code base will have this
following an LSR import.
--
Phil Holmes
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
#(define-markup-command (arrow-at-angle layout props angle-deg length fill)
(number? number? boolean?)
(let* (
(PI-OVER-180 (/ (atan 1 1) 34))
(degrees-radians (lambda (degrees) (* degrees PI-OVER-180)))
(angle-rad (degrees-radians angle-deg))
(target-x (* length (cos angle-rad)))
(target-y (* length (sin angle-rad
(interpret-markup layout props
(markup
#:translate (cons (/ target-x 2) (/ target-y 2))
#:rotate angle-deg
#:translate (cons (/ length -2) 0)
#:concat (#:draw-line (cons length 0)
#:arrow-head X RIGHT fill)
splitStaffBarLineMarkup = \markup \with-dimensions #'(0 . 0) #'(0 . 0) {
\combine
\arrow-at-angle #45 #(sqrt 8) ##t
\arrow-at-angle #-45 #(sqrt 8) ##t
}
splitStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob splitStaffBarLineMarkup)
0))
\break
}
convDownStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . -.13)\arrow-at-angle #-45 #(sqrt 8) ##t
}#})
0))
\break
}
convUpStaffBarLine = {
\once \override Staff.BarLine.stencil =
#(lambda (grob)
(ly:stencil-combine-at-edge
(ly:bar-line::print grob)
X RIGHT
(grob-interpret-markup grob #{
\markup\with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(0 . .14)\arrow-at-angle #45 #(sqrt 8) ##t
}#})
0))
\break
}
\paper {
ragged-right = ##t
short-indent = 10\mm
}
sIandII = \markup { \vcenter S \vcenter \center-column { I II } }
aIandII = \markup { \vcenter A \vcenter \center-column { I II } }
sanda = \markup \center-column { S A }
tandb = \markup \center-column { T B }
separateSopranos = {
\set Staff.instrumentName = \aIandII
\set Staff.shortInstrumentName = \aIandII
\splitStaffBarLine
\change Staff = up
}
convSopranos = {
\convDownStaffBarLine
\change Staff = shared
\set Staff.instrumentName = \sanda
\set Staff.shortInstrumentName = \sanda
}
sI = {
\voiceOne
\repeat unfold 4 f''2
\separateSopranos
\repeat unfold 4 g''2
\convSopranos
\repeat unfold 4 c''2
}
sII = {
s1*2
\voiceTwo
\change Staff = up
\repeat unfold 4 d''2
}
aI = {
\voiceTwo
\repeat unfold 4 a'2
\voiceOne
\repeat unfold 4 b'2
\convUpStaffBarLine
\voiceTwo
\repeat unfold 4 g'2
}
aII = {
s1*2
\voiceTwo
\repeat unfold 4 g'2
}
ten = {
\voiceOne
\repeat unfold 4 c'2
\repeat unfold 4 d'2
\repeat
Re: How split SA staff into two staff - each now has two voices?
Am 01.08.2014 16:49, schrieb Janek Warchoł: 2014-08-01 16:39 GMT+02:00 Simon Albrecht simon.albre...@mail.de: Hello, I’d like to suggest rearranging the instrument names in LSR 650 using \center-column (more elegant in my eyes). Attached you find an updated version of the file. Do you approve? Definitely. Not using \center-column was a laziness on my part. I thought so ;-) Have a nice summer. Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dotted breve (and longa etc.)
Am 18.08.2014 12:40, schrieb Jayaratna: Yes, c\breve. gives out an error. Can’t confirm that on Ubuntu with Lily 2.19.8. What version and system are you using? What kind of error message did you get? Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Add lyrics after n measures
Am 29.08.2014 um 16:58 schrieb Jacques Menu: Hello Marco, Always copy the list in your messages, to let the them know. Put as many \skip as you have notes in the melody in the first 8 bars if you use \addlyrics or \lyricsto, Much more convenient: use _ for every note without a lyric syllable. (in place of \skip) otherwise use skip2. eight times for example. HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine/divisi framework - let the fun begin!
Am 29.08.2014 um 08:53 schrieb Keith OHara: Janek Warchoł janek.lilypond at gmail.com writes: I'm working on putting together a set of functions for handling parts that split into multiple voices and/or staves Attachment (definitions.ily): text/x-lilypond, 2359 bytes Attachment (example.ly): text/x-lilypond, 825 bytes Attachment (example.pdf): application/pdf, 33 KiB I like the way 'definitions.ily' uses parallel music constructions to ensure that the parts re-synchronize even if there is a note missing in the input. You should do something similar for the \together segments. As you have it now, the together segments are un-tagged, so are included in all three staves (two of which are not printed). But if someone uses these definitions with music that uses tags for some other purpose, the tagged music will be left out. A problem which always comes up when trying to use tags in more than one layer. A workaround is the use of \removeWithTag in place of \keepWithTag, e.g. replace \keepWithTag together.part by \removeWithTag divI.divII.score , if you understand what I mean. (in complex projects, finding the right solution so all the included files and tags and layout definitions etc. work together well is likely a headache; but when the solution finally is there and it compiles as it should, relief is great...) Or is it worth a thought to add support for different layers of tagging? For example - \tag, \tagA and \tagB or - \tag 1 foo and \tag 2 bar (optional third argument). Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Upbeat as full measure or not?
Furthermore, there is the rule that, if there is an upbeat, upbeat and
last measure of the piece must add up to one full bar. I’m not sure
where it comes from and how widely it is obeyed, but at least for a
“classical” period in the 18th to 20th centuries it’s to be regarded as
standard. So as the last measure of the piece referred to contains a
whole note, I’d rather not write an upbeat, but fill it up to make the
first measure.
What’s more, I think an upbeat of three quarter notes’ length is hard to
grasp at first sight and thus irritates the reader.
HTH, Simon
Am 02.09.2014 um 12:43 schrieb Malte Meyn:
Another idea if it’s unclear what the composer wanted:
The first beat of measures 6 and 40 is not the ending of the phrase
before, but the beginning of a new one (phrases end in 5 and 39). So
in my opinion this measure “Bleibe” doesn’t have an “upbeat character”.
On 02.09.2014 12:36, Malte Meyn wrote:
I think this is not a matter of engraving rules but you should follow
the composer. (If I was the composer I would prefer a version with a
full measure beginning with a rest in this case. But I’m not Albert
Becker.) I’ve seen both versions in different pieces from different
composers.
Also, your version 1 is wrong. Soprano and Tenor must have r4 r2; I’m
pretty sure that one never writes full measure rests in a partial
measure.
On 02.09.2014 12:21, Alexander Kobel wrote:
Dear all,
I wonder whether a large partial measure should be notated as a full
measure (rest+upbeat) or a partial measure. More specifically, it's
the
beginning of the following piece:
- version 1, as partial
http://www3.cpdl.org/wiki/images/6/6c/Becker-albert_bleibe-abend-will-es-werden.pdf
- version 2, as full measure
http://www3.cpdl.org/wiki/images/archive/6/6c/20140721085342%21Becker-albert_bleibe-abend-will-es-werden.pdf
It's a time 4/4 { r4 c c c }-style beginning; for time 2/2 { r4 c c
c },
or time 4/4 { r8 c c c c4 c }, I'd prefer a full measure, but here my
intuition is gone. What looks more sound to your eye? Or could
anybody
consult a copy of Gould or similar?
Thanks,
Alexander
___
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
___
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: How to control beamed stem length to avoid collision?
Hello Steve,
admittedly this is not easy to figure out.
\once \override Beam.positions = #'(-3.5 . -3.5)
is what you want here. It specifies the y position of the left and right
ends of the beam in staff-space units.
Yours,
Simon
Am 04.09.2014 um 20:11 schrieb st...@linuxsuite.org:
Howdy!
For some reason lilypond ( 2.18.0) doesn't get this correct
straight
out of the box, though there is lots of room for slightly shorter stems...
shouldn't
need to move the note column...
http://www.gooeytar.com/projects/test/granada_test.pdf
How do I fix this stem collision?
Using this thing will lengthen stems but not shorten them
\once \override Stem.details.beamed-lengths = #'(7)
\once \override Stem.details.beamed-lengths = #'(2)
Code below..
thanx - steve
\version 2.18.0
\paper { }
\header { }
#(set-global-staff-size 19)
first = \relative c' {
\set Staff.instrumentName = Guitar
\set Staff.connectArpeggios = ##t
\key e \major
\tempo Allegretto
\tuplet 3/2 { e16([ fis e) } d8]~ d8~ |
}
second = \relative c' {
\once \override Beam.positions = #'(-3.5 . -3.5)
g b 8 g b g b |
}
third = { }
fourth = \relative c {
g4.
}
guitar = \first \\ \second \\ \third \\ \fourth
global = {
\clef G_8
\time 3/8
\set harmonicDots = ##t
\set Staff.connectArpeggios = ##t
}
\score {
\new StaffGroup \with {
\consists Span_arpeggio_engraver
\override StaffGrouper #'staff-staff-spacing =
#'((basic-distance . 12)
(minimum-distance . 8)
(padding . 2))
}
\global \guitar
\layout { }
}___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use my roman font digits for time signature
Hello,
how about:
\version 2.19.12
\new Staff \with { \override TimeSignature.font-name = #Garamond
\override TimeSignature.font-size = 1.5 }
{ \time 3/4 r4 r r
\time 7/8 r r r r8 }
It helps if you include some working example code.
HTH, Simon
Am 05.09.2014 um 07:51 schrieb Jayaratna:
Dear members,
I'd like to use my roman font digits for proportional symbols in a
Renaissance score. Ho do I replace the Feta font digits with my Roman
Garamond ones?
I've looked at this post, but it does not work with replacing my font:
http://lilypond.1069038.n5.nabble.com/Change-time-signature-font-td146251.html
Thank you,
A
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Use-my-roman-font-digits-for-time-signature-tp166073.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
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cross-staff voice with modified context.
Hello Hwaen,
the code you provided doesn’t compile for me (with 2.19.12, but it has
nothing to do with the version). Please send working code.
Yours, Simon
Am 05.09.2014 um 15:36 schrieb Hwaen Ch'uqi:
Greetings All,
What is the best way of achieving a cross-staff voice where one of the
staves must be modified? I fear that I may be missing something very
fundamental. Please see the code below, and thank you for any help.
Hwaen Ch'uqi
\version 2.18.2
\score{
\new PianoStaff
\new Staff = up {
\key des \major \time 2/4 \clef treble \relative c'{
{
f4 es
}
\\
{
s2
}
}
}
\new Staff = down \with{
\consists Span_arpeggio_engraver
}
\key des \major \time 2/4 \clef bass \relative c'{
\set Staff.connectArpeggios = ##t
{
aes,16 des \change Staff = up \voiceTwo f aes \change Staff =
MyCustomStaff \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
}
\\
{
des,,2
}
}
}
___
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
