Am Dienstag, 4. März 2008 schrieb Timothy C Litwiller:
Thanks so much for that. It looks like it is working very well.
You're welcome. Note, however, that the clef you are generating is effectively
the same as treble_8, since the C clef defines the position of the middle
c. So I suppose the
Reinhold Kainhofer wrote:
Am Dienstag, 4. März 2008 schrieb Timothy C Litwiller:
Thanks so much for that. It looks like it is working very well.
You're welcome. Note, however, that the clef you are generating is effectively
the same as treble_8, since the C clef defines the position
* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
\version 2.11.41
myclef = {
\set Staff.clefGlyph = #clefs.neomensural.c
\set Staff.clefPosition = #1
\set Staff.middleCPosition = #1
}
#(set! supported-clefs (cons '(neomensural-cc . (clefs.neomensural.c 1 0)) supported-clefs))
\context Staff
Thanks so much for that. It looks like it is working very well.
Reinhold Kainhofer wrote:
Am Montag, 3. März 2008 schrieb Timothy C Litwiller:
no, here is a scan of the upper left corner that he wrote by hand
http://www.arkansascabinetsolutions.com/the_presence.gif
There are two
I am try to set a piece that a friend wrote recently
it is what we call a Mens Quartet vocal piece.
The top line of notes above the words is almost right if I use \clef
neomensural-c4 or c3 c4 is on the line above the space where we need it
and c3 is on the line below where we need it.
what
Are you looking for the octave-transposed treble clef?
\clef treble_8
e.g. http://www.musicbyandrew.ca/data/emmanuel.pdf
Andrew
On Sun, Mar 2, 2008 at 6:09 PM, Timothy C Litwiller [EMAIL PROTECTED] wrote:
I am try to set a piece that a friend wrote recently
it is what we call a Mens Quartet
no, here is a scan of the upper left corner that he wrote by hand
http://www.arkansascabinetsolutions.com/the_presence.gif
Andrew Hawryluk wrote:
Are you looking for the octave-transposed treble clef?
\clef treble_8
e.g. http://www.musicbyandrew.ca/data/emmanuel.pdf
Andrew
On Sun, Mar 2,
= #clefs.F
\set Staff.middleCPosition = #6
\set Staff.clefPosition = #2
\set Staff.clefOctavation = #0
%\clef bass
\lower
}
}
But it doesn't change the position of the notes or the clefs. What is
here wrong? I tried as in NR 1.1.3.1
Greetings
Till
as specified. So what do you think is wrong?
Trevor D
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Till Rettig
Sent: 01 March 2008 14:52
To: lilypond-user Mailinglist
Subject: LSR how to move clefs
-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Till Rettig
Sent: 01 March 2008 14:52
To: lilypond-user Mailinglist
Subject: LSR how to move clefs on uneven staff lines?
Hi, I tried to get the clef right for this
example from lsr:
upper = \relative c'' {
c1 d e f
}
lower = \relative c
Message-
From: Till Rettig [mailto:[EMAIL PROTECTED]
Sent: 01 March 2008 18:22
To: [EMAIL PROTECTED]
Cc: lilypond-user Mailinglist
Subject: Re: LSR how to move clefs on uneven staff lines?
OK, yes, it does work... :-) what I meant was with the settings of middleC =7
and clef position =1
As a little help, there is an LSR snippet that takes given notes and
applies
the same rhythm to them (i.e. it applies certain durations to the passed
notes), so I suppose it should be able to adjust it to your needs:
http://lsr.dsi.unimi.it/LSR/Item?id=346
You have that, too
Mats Bengtsson-4 wrote:
till wrote:
2. There is a lot of threads here on the list. You can play with all
sorts
of spacing but nothing is yet really convincing. The most simple
workaround
appears to be to scale all note durations to a singe duration, eg. 1/8,
which can be achieved
Hi Till,
So this is no easy way to scale all notes to the same duration.
No, but a Scheme-savvy person (Mats? or you, Till?) should be able to
whip up something like
unifyDuration = #(define-music-function (parser location music duration)
(ly:music?
Am Donnerstag, 21. Februar 2008 schrieb Kieren MacMillan:
Hi Till,
So this is no easy way to scale all notes to the same duration.
No, but a Scheme-savvy person (Mats? or you, Till?) should be able to
whip up something like
unifyDuration = #(define-music-function (parser location music
Thank you, this is really good! I had first problems with the bar lines --
they made the notes really spacy (though closer together than without this
option). But I switched on the cadenza mode and it looks really as it should
look! The disadvantage is that now you will have to set line breaks
Oh wow, this looks even easier than the scheme function I was going to
write to scale everything. Is this in the lsr? If not, perhaps the
cadenza settings could be put in and it could be added. If you'd like
a real example I can submit one of the transcriptions I'm doing when I
finish.
Benedict Singer schrieb:
Oh wow, this looks even easier than the scheme function I was going to
write to scale everything. Is this in the lsr?
No, I didn't yet do anything, I send an example of tight spacing to the
list some times.
If not, perhaps the cadenza settings could be put in and it
till wrote:
2. There is a lot of threads here on the list. You can play with all sorts
of spacing but nothing is yet really convincing. The most simple workaround
appears to be to scale all note durations to a singe duration, eg. 1/8,
which can be achieved by appending the note duration:
2008/2/12, till [EMAIL PROTECTED]:
2. There is a lot of threads here on the list. You can play with all sorts
of spacing but nothing is yet really convincing. The most simple workaround
appears to be to scale all note durations to a singe duration, eg. 1/8,
which can be achieved by appending
of the available clefs quite match the
source material. Can these also be replaced?
Thanks in advance for answers to any or all of these questions!
Ben
Hi,
1. I don't really know what you want: do you want to print first the time
signature and then the clef? It probably goes only by shifting
clefs.
The color of clefs is grey, so children can re-draw it with a pencil or pen.
After practising with re-drawing, children can write his/her own violin
clefs onto the gaps between the
pre-written ones.
I am a new lilypond user and I can't know the Scheme language. I wrote this
lilypond file
I'm trying to write an arpeggio on a piano system that begins in the
bass clef and continues in the treble clef with the same beam for the
eight notes. In other words, there are a series of eighth notes in
the arpeggio. The ones in the bass clef have note stems going down
from the beam and the
Hello,
maybe placing your arpeggio in separate voice and changing staves during
arpeggio would help - seek section 7.1.2 of the manual - Manual Staff
Switching.
Tomas Valusek
Carl Youngblood napsal(a):
I'm trying to write an arpeggio on a piano system that begins in the
bass clef and
Nick Bailey wrote:
My understanding was that the f dots are the vestiges of the two lines in the
letter F... is that not the case? Hence the C clef and G clef wouldn't have
them
AFAIK, the dots are usefull when the music is handwritten: it is sometime
difficult to read the exact position of
What does AFAIK stand for?
Certainly, the dots make practical, besides systematical and
didactical, sense in handwriting music; this in itself is a good
reason to transfer their use to typeset music, which should reflect
the way it is written by hand.
Also, that music theory is at the
As far as I know, it stands for as far as I know.
Regarding the typesetting practice, I often view handwriting as more or less
clumsy attempts to imitate what is done in well typeset printed music,
not the
other way around.
/Mats
Manuel wrote:
What does AFAIK stand for?
Certainly, the
As a matter of fact, I've always written every C and F clef with two
dots, and it is indeed very useful (since there are many C clefs, and
two F clefs, but only one G clef in modern music).
AFAIK : As Far As I Know
IMHO : In My Humble Opinion
(maye this should be integrated in lilypond docs
handwriting. In the same way that instruments
imitate, and should imitate, the cantabile of the human voice, a
printed score should, I believe, approach as much as possible the
expressive aesthetic of the handwritten music: you will agree with
the concept of typeset signs - clefs, staves, etc
Manuel libros at limay.de writes:
I take a different view on this matter. I think that painting was the
first way of writing, letters being a later development. The first
attempts to typesetting music were clumsy indeed, but even now, when
typeset music is quite good, no printed score
On 11/29/06, Arvid Grøtting [EMAIL PROTECTED] wrote:
Manuel libros at limay.de writes:
I take a different view on this matter. I think that painting was the
first way of writing, letters being a later development. The first
attempts to typesetting music were clumsy indeed, but even now, when
Am 29/11/2006 um 12:46 schrieb Arvid Grøtting:
Manuel libros at limay.de writes:
I take a different view on this matter. I think that painting was the
first way of writing, letters being a later development. The first
attempts to typesetting music were clumsy indeed, but even now, when
= #'()
}
}
\score{
\relative c'{
\mark \default
c1 d e f f e d c \break
\mark \default
c1 d e fis fis e d c \break
}
}
Also, I notice that only the F-clef has its two points; but I say that
every clef should have them, like the Soprano and French Soprano clefs
do in the big Bachausgabe
Am 28/11/2006 um 10:40 schrieb Mats Bengtsson:
Also, I notice that only the F-clef has its two points; but I say
that every clef should have them, like the Soprano and French
Soprano clefs do in the big Bachausgabe. How do I put this
necessary points to my clefs?
Are you saying
).
I've no authoritative source for this though.
Nick/.
I'm not sure, but you are probably right, I have seen G and F clefs
with dots, but not C clefs and I recall only one instance of G clefs.
Yet I use the dots because they make good logical sense and
facilitate precise handwriting
have them, like the Soprano and French Soprano
clefs do in the big Bachausgabe. How do I put this necessary points
to my clefs?
Best,
Manuel
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On Wednesday 18 January 2006 07.40, amhso (sent by Nabble.com) wrote:
I'm new to all this lilypond. I used to use noteworhty so this is a big
change for me. anyways... Picture of my situation . I don't get how to
format all this stuff. feels like programming. How do i make the second
clef
this message in context: Re: Double clefs?
Sent from the Gnu - Lilypond - User forum at Nabble.com.
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in context: Double clefs?
Sent from the Gnu - Lilypond - User forum at Nabble.com.
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Mats Bengtsson wrote :
An alternative solution that goes more to the source of the actual problem
is to do something like
\override Score.BarLine #'space-alist = #'(
(time-signature . (extra-space . 0.75))
(custos . (minimum-space . 2.0))
An alternative solution that goes more to the source of the actual problem
is to do something like
\override Score.BarLine #'space-alist = #'(
(time-signature . (extra-space . 0.75))
(custos . (minimum-space . 2.0))
(clef .
Hello,
When specifying a clef change after a bar (for exemple a repeat bar),
the clef is placed before the bar. I would like to know if there is a
mean to ask a clef change to be placed after the bar.
Thanks in advance for your help !
--
This order is specified by the break-align-orders property of the
BreakAlignment object, see
http://lilypond.org/doc/v2.6/Documentation/user/out-www/lilypond-internals/BreakAlignment.html#BreakAlignment
So, to modify this for clef changes in the middle of a line, for example,
you could do;
Mats Bengtsson wrote :
This order is specified by the break-align-orders property of the
BreakAlignment object, see
http://lilypond.org/doc/v2.6/Documentation/user/out-www/lilypond-internals/BreakAlignment.html#BreakAlignment
Thanks for your help. That works ; however, with a :|: bar, when
. . . however, with a :|: bar, when
inverting the order, the clef is almost stuck to it...
You might try
\once \override Staff.Clef #'extra-X-extent = #'(-2 . 1)
\clef tenor
which would give you 2 more units of space to the left of the
clef symbol and 1 more unit of space to the
[EMAIL PROTECTED] a écrit :
You might try
\once \override Staff.Clef #'extra-X-extent = #'(-2 . 1)
\clef tenor
which would give you 2 more units of space to the left of the
clef symbol and 1 more unit of space to the right of the clef.
(tenor: sorry, I deleted so much e-mail
I can't help you with the lyrics question, but:
(Pre-question: is there a mode where the key signature is not shown, but
all accidentals are printed? This seems to be the common way to write
horn parts, but I don't see how to do it in Lilypond except to
manipulate the key signatures myself.)
Hello all,
I'm typesetting horn parts to an oratorio.
(Pre-question: is there a mode where the key signature is not shown, but
all accidentals are printed? This seems to be the common way to write
horn parts, but I don't see how to do it in Lilypond except to
manipulate the key signatures
a property called full-size-change.
The order of clefs, bar lines, time signatures and so on is determined
by the BreakAlignment object. In the Regression Test for version 2.2.x,
you can find an example called ambitus.ly that shows how to change the
default order. Unfortunately, this example has been
I'm engraving a simple piece-- it's a demonstration of middle C with
various clefs, and it looks like this:
\clef treblec'1
\clef alto c'
\clef tenor c'
\clef bass c'
After each whole note, there is a small clef, a bar line, and then the
next note. Is there a way to a) make
On Sunday 21 March 2004 02:25, David Bobroff wrote:
Why does lilypond do small clefs in the middle of a line by default
instead of regular?
It is common engraving practice. As to why it is common practice I
can only speculate that a full sized clef would appear bulky and out
of place
.
Question 2:
Why does lilypond do small clefs in the middle of a line by default
instead of regular? Aren't small clefs supposed to be for changing clef
without having to change the key signature, so the whole idea is *not*
to have a new key sig appear? Isn't that what they're for? If you
change
Why does lilypond do small clefs in the middle of a line by default
instead of regular?
It is common engraving practice. As to why it is common practice I can
only speculate that a full sized clef would appear bulky and out of
place, or that it would have appeared bulky and out of place
I'm trying to center the piano's instrument name between the bass and
treble clefs, but I'm having trouble. Here is my code:
\context PianoStaff
\context Staff=up \context Voice
{
\property Staff.instrument = \markup
I would like to use the treble clef down an octave (G_8) for the tenor
voice in transcribing a choral piece. I notice that the lyrics are
placed lower than when a simple treble clef is used, as if they are
trying to avoid clashing with the 8 below the clef. Is there a way I
can get the lyrics
One feature of Lilypond is that it adjusts the spacing
between different staves and between staves and lyrics
based on the vertical extent of each stave. The problem
is that the highest and lowest object of a stave is used
to determine the spacing, even though they may be
separated horizontally.
When I process an .ly file, the output is there except for special things
such as
noteheads and clefs. It seems I am missing some PS fonts. Here is the bug
report file:
+ echo
+ mkdir -p /home/JohnGarcia
+ cd
+ pwd
/home/JohnGarcia
+ ls -l
total 105
-rw-r--r--1 John Gar unknown 400
Nicholas Blah Hill [EMAIL PROTECTED] writes:
When I process an .ly file, the output is there except for special things
such as
noteheads and clefs. It seems I am missing some PS fonts. Here is the bug
report file:
There's something strange with your Cygwin installation. Maybe you
should
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