Re: Lilypond crashes while compiling this (correct) file...
[EMAIL PROTECTED] writes: > David Raleigh Arnold wrote: > > > You need his permission to publish, but there is no reason to ask him > > to surrender his rights. Why do you want to do that? > > I am very unsure about the legal stuff, but I think (thought...?) that > if something was distributed along with the lilypond-archive then it HAD > to be licenced under GNU...? We can make exceptions for example files, but he must allow royalty-free distribution, and live with the fact that some people might alter the score on their own. Perhaps it's more interesting to include a snippet of the score (OTOH, if it is largely autogenerated, he might not mind.) -- Han-Wen Nienhuys | [EMAIL PROTECTED]| http://www.cs.uu.nl/~hanwen/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: SHEET MUSIC
[EMAIL PROTECTED] writes: > I think many will change their minds when they start > using an exterior file to produce the notes. Then > every .ly file becomes a template and the default .ly > file merely a receptacle. > > > > You could also try the graphical score editor NoteEdit > > which includes a sequencer the apparantly is more clever > > than midi2ly. NoteEdit can export several different > > file formats, including Lilypond files. > > > It is a good thing. Denemo, too. As of 0.1.6, rosegarden4 also has LilyPond export. It looks pretty slick. -- Han-Wen Nienhuys | [EMAIL PROTECTED]| http://www.cs.uu.nl/~hanwen/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond crashes while compiling this (correct) file...
Han-Wen Nienhuys <[EMAIL PROTECTED]> writes: > We can make exceptions for example files, but he must allow > royalty-free distribution, and live with the fact that some people > might alter the score on their own. Perhaps it's more interesting to > include a snippet of the score (OTOH, if it is largely autogenerated, > he might not mind.) If it's fully automated, he may(/can?) not mind distributing the generating program's source code? But distributing the .ly with some free license would be better. Jan. -- Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Attaching slurs to stem ends
Hello,
Could you take pity and tell me why the bottom voice slur in this
extract does not respond to my request to attach itself to the stem ends
rather than to the note heads?
\context Staff
< \context Voice = VA { \stemUp [a'8.] a16\p}
\context Voice = VB { \stemDown \property Voice.Slur \set
#'attachment = #'(stem . stem) [fis'16( gis' )a']} >
Thank you so much,
Carter
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Re: Attaching slurs to stem ends
Carter Brey <[EMAIL PROTECTED]> writes:
> Could you take pity and tell me why the bottom voice slur in this
> extract does not respond to my request to attach itself to the stem
> ends rather than to the note heads?
>
> \context Staff
> < \context Voice = VA { \stemUp [a'8.] a16\p}
> \context Voice = VB { \stemDown \property Voice.Slur \set
> #'attachment = #'(stem . stem) [fis'16( gis' )a']} >
That's because the slur direction will be UP, and there are no stems
available there, stems are down. The attachment override will not
change the slur's direction.
Change \stemUp to \voiceOne, stemDown to \voiceTwo, and you'll be
fine.
Jan.
--
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Re: Attaching slurs to stem ends
Yay. Got it, thanks a million.
CB
Jan Nieuwenhuizen wrote:
>Carter Brey <[EMAIL PROTECTED]> writes:
>
>>Could you take pity and tell me why the bottom voice slur in this
>>extract does not respond to my request to attach itself to the stem
>>ends rather than to the note heads?
>>
>>\context Staff
>>< \context Voice = VA { \stemUp [a'8.] a16\p}
>> \context Voice = VB { \stemDown \property Voice.Slur \set
>>#'attachment = #'(stem . stem) [fis'16( gis' )a']} >
>>
>
>That's because the slur direction will be UP, and there are no stems
>available there, stems are down. The attachment override will not
>change the slur's direction.
>
>Change \stemUp to \voiceOne, stemDown to \voiceTwo, and you'll be
>fine.
>
>Jan.
>
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Re: SHEET MUSIC
I have tried the following experiment. 1) Get one of your .ly files and process it. 2) Get the .midi output and process it with midi2ly 3) Check them Result: they look very different Another issue how do use the options in midi2ly, in particular the key option ACC[:MINOR] Can anyone provide an example with the syntax? Thanks Carlos - Original Message - From: "David Raleigh Arnold" <[EMAIL PROTECTED]> To: "Mats Bengtsson" <[EMAIL PROTECTED]> Cc: <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]> Sent: Monday, June 10, 2002 12:46 PM Subject: Re: SHEET MUSIC > > On Sat, 08 Jun 2002 16:37:09 Mats Bengtsson wrote: > > > HI, > > > If I hooked up a music keyboard to my computer, would lilypond be > > able to > > > write the notes I play on sheetmusic for me to print out? If so, > > how does > > > that work? > > > > Well, if you have some kind of sequencer program you > > can use the keyboard to generate a MIDI file. Lilypond > > comes with a utility called midi2ly which then can > > produce a Lilypond input file. However, you'll probably > > not want to use this route since you have to play extremely > > rhythmical to get the desired note durations and you still > > have to edit the .ly files to add slurs, dynamics and all > > other information that's printed in a score but not > > included in the MIDI file. > > I found that lilypond did slurs surprisingly well and > dynamics somewhat in 1.4.13, but > the dynamics were not very satisfactory. I suspect that > the cause of that is two voices on one staff, but playing > with the defaults might help too. > > Q. Is it possible to override the default velocity values > in the .ly file? I think many compositions might profit > from a rehash in the working directory. Can that be done? > > Midi doesn't handle unisons very well. If midiInstrment were > voice instead of staff context, it might be better, and > it would be possible to get harmonics, for example. Until > the happy day that that is fixed, the hack is to > copy your working directory's contents and make a midi > producing version of your file with each voice on a > separate staff. You might even prefer to work that > way. Your midi version of your .ly file > can also have different dynamics for each voice, which > might look rather strange in your printed version. > Of course it is extremely advisable > that each piece have its own directory anyway, so you > would copy ~/lily/yourpiece/* to ~/lily/yourpiece-midi/ > > I hope that access to the drum patches will soon be less arcane. > > All that remains is a way of including the lyrics, to make a > .kar file, and a way of writing to the header fields of > the midi file for copyright notice, etc., and lilypond > will be a formidable midi sequencer. > > > >From what I have seen on the mailing list, the people > > who have tried midi2ly have soon abandoned that > > strategy and come to the conclusion that it's faster > > to use the ordinary computer keyboard to write the > > Lilypond file directly. > > I think many will change their minds when they start > using an exterior file to produce the notes. Then > every .ly file becomes a template and the default .ly > file merely a receptacle. > > > > You could also try the graphical score editor NoteEdit > > which includes a sequencer the apparantly is more clever > > than midi2ly. NoteEdit can export several different > > file formats, including Lilypond files. > > > It is a good thing. Denemo, too. > > > Information is not knowledge. Belief is not truth. > Indoctrination is not teaching. Tradition is not evidence. > David Raleigh Arnold [EMAIL PROTECTED] > > ___ > Lilypond-user mailing list > [EMAIL PROTECTED] > http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond crashes while compiling this (correct) file...
On Tue, 11 Jun 2002 08:57:52 Han-Wen Nienhuys wrote: > [EMAIL PROTECTED] writes: > > David Raleigh Arnold wrote: > > > > > You need his permission to publish, but there is no reason to ask > him > > > to surrender his rights. Why do you want to do that? > > > > I am very unsure about the legal stuff, but I think (thought...?) > that > > if something was distributed along with the lilypond-archive then it > HAD > > to be licenced under GNU...? > > We can make exceptions for example files, but he must allow > royalty-free distribution, and live with the fact that some people > might alter the score on their own. Perhaps it's more interesting to > include a snippet of the score (OTOH, if it is largely autogenerated, > he might not mind.) That is by far the best solution. If he released XX number of measures of his piece under GNU, it would not diminish his rights to the whole one iota. The person who wrote the lyrics (not the main part of the melody) of "Lemon Tree" was able to enforce his copyright on the basis of the *single word*, "lemon" in the lyrics. It doesn't matter how it is produced, his rights apply to the music not the code. It would be wise to also modify the title to avoid unintentional harm, even though a title cannot be copyrighted. Information is not knowledge. Belief is not truth. Indoctrination is not teaching. Tradition is not evidence. David Raleigh Arnold [EMAIL PROTECTED] ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Cues
Greetings, What would be the most elegant way to override the music font size property in mid-stream? I'm thinking of places where notes are traditionally set in a smaller font for a limited time, such as for cues and cadenzas. Thanks, Carter -- +-+ |Carter Brey ([EMAIL PROTECTED])| +-+ Homepage: http://www.nyplive.org/music/orchestra/index.cfm?page=profile&personNum=7 About the only thing we have left that actually discriminates in favor of the plain people is the stork. 6:03pm up 21 days, 3:57, 3 users, load average: 0.31, 0.25, 0.12 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: SHEET MUSIC
On Tue, 11 Jun 2002 13:05:28 Carlos Garcia Suarez wrote: > I have tried the following experiment. > > 1) Get one of your .ly files and process it. > 2) Get the .midi output and process it with midi2ly > 3) Check them > > Result: they look very different > > Another issue how do use the options in midi2ly, in particular the key > option ACC[:MINOR] > > Can anyone provide an example with the syntax? > -k +2 would be D major. -k -2 would be B-flat major. Information is not knowledge. Belief is not truth. Indoctrination is not teaching. Tradition is not evidence. David Raleigh Arnold [EMAIL PROTECTED] ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics and clefs
Thanks very much for the tips. I got good results by just applying the
VerticalExtent to the tenor voice.
I like the close spacing between notes and lyrics.
Regards
Iain Phillips
Mats Bengtsson wrote:
>
> 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. In this specific example it means
> that Lilypond doesn't realize that the clef will never
> collide with the lyrics.
>
> One possible solution is to specify the vertical extent of
> each stave manually, just add the following to your example:
>
> \score{
> ...
> \paper{
> \translator{
> \StaffContext
> VerticalExtent = #'(-4 . 4)
> }
> }
> }
>
> The problem is that if you have notes lower than middle C in
> the upper stave, it will collide with the lyrics. You could
> also increase the minimal vertical extent of the other
> staves, so they get the same extent as the stave with the
> tenor clef, setting
> MinimumVerticalExtent = #'(-6 . 4)
> instead of VerticalExtent. Then, Lilypond will still increase
> the spacing if necessary if you have some notes with many
> ledger lines.
>
> In the latest development versions, the default spacing seems
> to have been increased, giving a result similar to what you
> get with the second alternative.
>
> /Mats
>
> > 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 higher?
> >
> > I append an example file.
> >
> > Thanks
> > Iain Phillips
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tuplets
Hey gang,
I have a question about macro-triplets i believe they are called..
it's when 3 halfnotes act like a triplet and take up the space of 4 quarter notes.
now i have a score which includes this
soprano = \notes \times 2/3 { c''4 c4 c4 }
alto = \notes \times 2/3 { a'4 a'4 a'4 }
but this prints out wrong...it doesn't align the notes right
it aligns the notes
o
o
ooo
in stead of
o
o
o o o
what is the correct fraction for me to use?
thanks,
Jule
--
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[EMAIL PROTECTED]
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Re: tuplets
> Hey gang,
> I have a question about macro-triplets i believe they are called..
> it's when 3 halfnotes act like a triplet and take up the space of 4 quarter notes.
>
> now i have a score which includes this
>
> soprano = \notes \times 2/3 { c''4 c4 c4 }
> alto = \notes \times 2/3 { a'4 a'4 a'4 }
>
> but this prints out wrong...it doesn't align the notes right
> it aligns the notes
>
> o
> o
> ooo
>
> in stead of
>
> o
> o
> o o o
>
> what is the correct fraction for me to use?
If you want three half notes, printed as half notes,
why not use
\times 2/3 {c2 c2 c2}
/Mats
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Re: tuplets
>
> If you want three half notes, printed as half notes,
> why not use
>
> \times 2/3 {c2 c2 c2}
>
>/Mats
>
>
>
>
Yeah I have that but it doesn't align the other ones right..
i made a diagram but it didn't come out right
o o
ooo
is what i get, while
o o
o o o
is what i need
i miscopied the score is schould be
soprano = \notes c''2 c2
> alto = \notes \times 2/3 { a'2 a'2 a'2 }
Jule
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tuplets
>o o
>ooo
>
>is what i get, while
>
>o o
>o o o
>
>is what i need
>
>i miscopied the score is schould be
>
>soprano = \notes c''2 c2
> > alto = \notes \times 2/3 { a'2 a'2 a'2 }
Lilypond is printing what you're *asking* it to print. In order to make it
print what you *want* it to print your soprano notes also need \times 2/3
and you need a skip in the middle so that you have the first and third
members of the half-note triplets. Then it should line up. This may work:
soprano = \notes \times 2/3 {c''2 s c2}
> alto = \notes \times 2/3 { a'2 a'2 a'2 }
I could also have the details wrong. I'm fairly new to Lilypond but had to
use this function.
David Bobroff
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Re: tuplets
> "Jule" == Jule Slootbeek <[EMAIL PROTECTED]> writes:
>>
>> If you want three half notes, printed as half notes,
>> why not use
>>
>> \times 2/3 {c2 c2 c2}
>>
>> /Mats
>>
>>
>>
>>
Jule>Yeah I have that but it doesn't align the other ones right..
Jule> i made a diagram but it didn't come out right
Jule> o o
Jule> ooo
Jule> is what i get, while
Jule> o o
Jule> o o o
Jule> is what i need
But what you get looks right, because when you're playing them, the
second one on top should come between the second and third one on the
bottom, not aligned with the third one.
To get what you want instead of what you say, you might have to play
with spacing rests, like:
soprano = \notes \times 2/3 {c''2 s2 c2}
--
Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ )
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233 Broadway, Cambridge, MA 02139
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Re: tuplets
Laura Conrad wrote:
>>"Jule" == Jule Slootbeek <[EMAIL PROTECTED]> writes:
>
>
> >>
> >> If you want three half notes, printed as half notes,
> >> why not use
> >>
> >> \times 2/3 {c2 c2 c2}
> >>
> >> /Mats
> >>
> >>
> >>
> >>
> Jule>Yeah I have that but it doesn't align the other ones right..
> Jule> i made a diagram but it didn't come out right
>
> Jule> o o
> Jule> ooo
>
> Jule> is what i get, while
>
> Jule> o o
> Jule> o o o
>
> Jule> is what i need
>
> But what you get looks right, because when you're playing them, the
> second one on top should come between the second and third one on the
> bottom, not aligned with the third one.
>
> To get what you want instead of what you say, you might have to play
> with spacing rests, like:
>
>
> soprano = \notes \times 2/3 {c''2 s2 c2}
>
>
yeah, but if i have a triplet of halfnotes, than those should take up the same time
as 2 half notes...just like a triplet takes up 2 quarter notes..
So if i do
soprano = \notes c''2 c2
alto = \notes \times 2/3 { a'2 a'2 a'2 }
it should just come out with the soprano line playing 2 half notes in a bar, and the
alto line playing 3 half notes in the bar, taking up exzctly the same amout of
beats as the 2 half notes. It works fine with the s in between the two notes, but if
i do \time 2/3 {} it puts a bracket ontop of the 2 half notes, and that makes it
seem to the player like it's supposed to be a triplet, while i had written it as the
alto line to be a triplet and not the alto line, which should use normal notation..
so is it a lilypond error?
Jule
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Re: tuplets
Jule Slootbeek <[EMAIL PROTECTED]> writes:
> soprano = \notes c''2 c2
> alto = \notes \times 2/3 { a'2 a'2 a'2 }
>
> it should just come out with the soprano line playing 2 half notes
> in a bar, and the alto line playing 3 half notes in the bar, taking
> up exzctly the same amout of beats as the 2 half notes.
[...]
> so is it a lilypond error?
No, it's just the state of music notation. Hulking, expensive
programs like Sibelius and Finale will give you the same effect as
Lilypond here.
The central philosophy of music notation is that notes are laid out
horizontally in the order that they are first heard, and last until
the next note, rest, or measure indicator. If I recall, this is a
hold-over from early music notation, which didn't even change the look
of the noteheads to specify duration until the 13th century or so.
In this case, since the second note of the soprano line starts to be
played before the third note of the alto line, it is spaced that way
horizontally. The musicians should be used to recognizing that both
voices will end simultaneously at the conclusion of the measure.
--
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Re: tuplets
Thanks alot for all the input, i have to admit i was wrong, and i wasn't counting
right..
I figured it out, and i will attach my .ly file with this post.
Jule
note: It's not the final composition, it's my class final for which we had to
fulfill certain requirements, so it's not something i'm planning on performing
anytime soon..:)
--
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\header {
title="Chromatic in E minor"
subtitle="Music 122 Final, Spring 2002"
composer="Jule Slootbeek"
}
stemUp = \property Voice.Stem \override #'direction = #1
stemDown = \property Voice.Stem \override #'direction = #-1
soprano = \notes \relative c'' \context Voice = soprano {
\stemUp e4 fis d d dis r e fis~fis2 g4 r g b a2 fis4 e d c
b r b r c r c r e r f r es \times 2/3 {es4 es es} es \times
2/3 {es2 s f}
bes,4 es des c des8 d es e f ges g as a,4 r cis4 r
dis2
e1~e1 \times 2/3 {fis2 b e,} e4 e b e
}
alto = \notes \relative c'' \context Voice = alto {
\stemDown g4 fis2 g4 fis r g2 a2 g4 r a g fis2 a4 r r d,
d r d r e r g r r bes r a \times 2/3 {as4 g ges} f
\times 2/3 {a2 c as}
es4 r r es f4. f8~f2 fis4 r e2 fis4 r fis2
b1~b1 \times 2/3 {ais2 fis b} b4 b fis gis
}
tenor = \notes \relative c' \context Voice = tenor {
\stemUp b2 b b4 r b2 c b4 r cis2 d c4 r r a
b r b r c r c r cis r d r c \times 2/3 {c4 c c} c \times 2/3
{c2 s des}
des4 des c c as4. as8~as2 c4 r b2 ais4 r b2
b1~b1 \times 2/3 {cis2 dis b} b4 b dis b
}
bass = \notes \relative c \context Voice = bass {
\stemDown e2 d4 e fis r4 e2 d d4 r e e d fis fis fis fis fis
g r g r a r e r fis r f r f \times 2/3 {ges g as} a \times
2/3 {ges2 ges g}
g4 r r as as8 g ges f e es d des dis4 r e2 fis4 r fis2
\times 2/3 {e2 fis gis} \times 2/3 {gis fis e} \times 2/3
{fis b, e} e4 e b e
}
\score {
\notes
< \context PianoStaff = Up {
\time 4/4
\clef treble
\key e \minor
<
\soprano
\alto
>
}
\context PianoStaff = Down {
\clef bass
\key e \minor
<
\tenor
\bass
>
\bar "|."
}
>
\paper {}
\midi {}
}
Re: tuplets
I have always seen bad spacing with this: | || * o| o * | | | | which should look like this: | || * o| o *| | || A silent rest will do nothing, but 3 invisible rests or notes will cause the right spacing. You will have to fix collisions by hand, but that is not a bad thing. Lilypond should build a summary part, similar to what has to be done to make tablature: |||| ***| I also saw this: || | ** * in the manual when there are 3 quarter notes in an incompleted measure in 4/4 time. This bug is years old. For all I know it is fixed now. Information is not knowledge. Belief is not truth. Indoctrination is not teaching. Tradition is not evidence. David Raleigh Arnold [EMAIL PROTECTED] ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
