Hello Andrea,
This may be possible, but I'm affraid I'm pretty much a Scheme illiterate
myself. I'd suggest you doing it in python (which is a language you seem to
know well). This is what i do.
best,
Victor.
On 4/1/07, Andrea Valle <[EMAIL PROTECTED]> wrote:
Thanks a lot Victor,
I'm working with your method 2. Really nice, to be included in docs.
I was thinking. Premise: I know nothing of lily's internals and about
scheme.
But:
As all the trick is to exactly calculate the offset of the noteheads,
wouldn't be possible to add such a calculation as a a sort of macro so to
implement \startgliss \stopgliss?
Best
-a-
On 31 Mar 2007, at 00:11, Trevor Bača wrote:
On 3/30/07, v!ctor [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote:
Hello Trevor, Andrea, all,
Back when I suggested the inclusion of this feature in Lilypond Han-Wen
gave
me a brief explanation of why this was complicated to implement. Didn't
fully understand, but in general this seems to require a major rewrite of
the way glissandi (and probably line spanners in general) operate, which
is
not trivial and would be expensive.
Since then I've found that this feature is not really necessary if you
are
willing to do some Lilypond bending. First of all, what's wrong with
Lilypond's glissandi? Why add this as a new feature?
Lilypond's requires you to beak a long glissando into short ones, which is
not a problem per se. The problem is that, since notes fall on a quantized
grid of lines and spaces, the long glissando line looks crooked or jagged.
No mortal sin, but it's *very* annoying. See attached figure
bad_gliss.png
There are 2 ways of doing straight lined glissandi.
Method 1 involves using two voices. It looks great on page, but if you do
it
this way you will find unpleasant Lilypond behavior, in addition to
constant
warnings (no harm) of clashing note columns. One of the main problems is
that using this method you are bound to have long glissandi that extend
beyond the system and Lilypond (at least till version 2.9.x) didn't know
how
to handle these automatically). So you are forced to break the glissando
at
least at system breaks anyway.
The second method I've found to be much more elegant. It uses less code
and
stick to the current Lilypond assumption of always connecting contiguous
notes. In addition, the stem always ends exactly at the glissando line.
Its
only drawback is that you need to do some calculation of where exactly in
the Y axis the inner headless notes should fall. To do this you simply
interpolate between the extreme notes of the glissando and find the
correct
Y values for the inner notes, then change NoteHead #'Y-offset for these
inner notes. Remember that this Y-offset is relative to the center line of
the staff, so you need to add or subtract the distance between the
innermost
note and the staff's center line from your calculation. Of course you
also
have to hide the heads.
See attachment good_gliss.png for example of both methods.
Here's the code for the two methods:
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\version "2.11.20"
\layout{
ragged-last = ##t
\context{\Score
\override Glissando #'bound-details #'right #'padding = #0.0
\override Glissando #'bound-details #'left #'padding = #0.0
}
}
%
-----------------------------------------------------------------------------
% normal Lilypond glissando
\new Staff="staff0"{
\new Voice="one"{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
f'8\glissando a'8]
}
}
%
-----------------------------------------------------------------------------
% method 1: use two voices. one for note heads and durations, the other
for
glissando line.
% with this method you will get -- waring: ignoring too many clashing
note
columns.
\new Staff="staff1"{
<<
\new Voice="one"{
c'8[
\once \override Voice.NoteHead #'transparent =##t
f'8 a'8]
}
\new Voice="two"{
%\override Voice.Beam #'transparent =##t
\override Voice.Stem #'transparent =##t
\override Voice.Dots #'transparent =##t
\override Voice.NoteHead #'transparent =##t
%\override LedgerLineSpanner #'transparent = ##t
c'8*2[\glissando a'8]
}
>>
}
%
-----------------------------------------------------------------------------
% method 2: use only one voice. simply hide the head of the inner note(s)
and shift Y position to the exact place.
% a) Distance form c' to a' in staff lines is a'-c' = 2.5.
% b) Since f' is exactly between c' and a', f' = 2.5/2 = 1.25 above c'.
% c) Since a' is 0.5 lines away from the staff's center line, f' should
be
Y-offset by 1.25+0.5 down. i.e. -1.75
% This gives exact placement of f'.
\new Staff="staff2"{
\new Voice="one"{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
\once \override Voice.NoteHead #'Y-offset =#-1.75
f'8\glissando a'8]
}
}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Hi Víctor,
You can get rid of the clashing note column warnings with ...
\override NoteColumn #'ignore-collision = ##t
... which exists specifically to allow us to use complex "layered"
notations in multiple voices this way.
Very neat examples!
--
Trevor Bača
[EMAIL PROTECTED]
--------------------------------------------------
Andrea Valle
--------------------------------------------------
CIRMA - DAMS
Università degli Studi di Torino
--> http://www.cirma.unito.it/andrea/
--> [EMAIL PROTECTED]
--------------------------------------------------
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