RUSSIA - MUSIC ENGRAVING
Hello from S-Peterburg (RUSSIA).WE OFFER OUR SERVICE – MUSIC ENGRAVING.1 page will cost – 04.00-08.00 USD or EURO.We can do a set 2000-4000 pages for one month. __Used software: FINALE, SIBELIUS, COREL DRAW, PAGEMAKER, PHOTOSHOP, CUBASE, SOUND FORGE, COOL EDIT etc. Typesetting and editing Extract of parts from scores Restorations of manuscripts Transpose Print Copying Translation of scores in MIDI files Arrangement Recording on CD & Tape Translation of MIDI files in WAV and MP3 Sound designing__You can send your manuscript to us by air mail (express mail, UPS).You can send your manuscript to us by file (PDF, TIF, etc.) We can return the completed work as a file attachment by email, or by post ona diskette, CD or hard copy. Our customers: RUSSIA Mariinsky Theatre, S-Peterburg Philarmony, S-Peterburg Capella, Lenfilm. BELORUSSIA Minsky Theatre, Belorusfilm, Musica Russica (USA), Mel Bay Publication (USA), Encore (USA), Score-on-line (France), F i b o n a c c I (Belgium), Donemus (Holandy), Amazing Music World (Danmark), Carus-Verlag (Germany), Concert Music Publications (Germany), Notensatzdienst Freiburg (Germany). Conductors Temircanov, Gergiev, Anisimov, Paulavichus _ WE ARE READY TO COOPERATION. Best regardsGennadyBelolepetsky Gennadyp. o. box Nr.613199397 S-PeterburgRUSSIATel/fax - 7 (812) 3505264www.notation.spb.ru[EMAIL PROTECTED]
Line breaking and fingering
Hellow, I am using lilypond 1.5.71 on windows machine. I would like to ask for your experiences concerning manual line breaking and fingering placement, 1. How can I break to a new line just before a grace note? (See the example below in the upper voice. If I quote the grace note away, everything goes fine. For now, it seems to be unable to start a new line with a grace note.) 2. How can I put the fingering indication not only above or bellow a note but also beside it? (This happens sometimes if I want to finger for every note in an arpeggio.) 3. For guitar player, sometimes string indication is needed. It is shown by a circle around the string number above or bellow a note. How do I draw this? In the example I used text markup to put "(2)" (B string) above fis8. But it's not really as desired as convention. I would appreciate any hint from you, -Minh. __ Do You Yahoo!? HotJobs - Search Thousands of New Jobs http://www.hotjobs.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Flat symbol in the header
On Sat, 15 Jun 2002, Jan Nieuwenhuizen wrote:
> Rune Zedeler <[EMAIL PROTECTED]> writes:
>
> > Marco Caliari wrote:
> >
> >> \header{instrument="Instruments in Bb"}
> >
> > \header { instrument = "Instruments in B$\\flat$" }
>
> Fwiw, using feta characters, like this, should also work:
>
>\header{
>instrument="instruments in B\fetachar\fetaflat"
>}
>
>\score{
>\notes\relative c'' { c }
>}
>
> But, for some reason, the \fetafont and \fetachar macro definitions
> have been turned off in lilyponddefs.tex (can we turn them back on, please?).
>
> Remove comment characters '%', like so:
>
> %% The feta characters
> \input feta20.tex
>
> \font\fetasixteen=feta16
> \def\fetafont{\fetasixteen}
> \def\fetachar#1{\hbox{\fetasixteen#1}}
>
> Greetings,
> Jan.
>
>
Hi.
\fetachar\fetaflat in the headers does not work with ly2dvi of Lily 1.6.0.
lilyponddefs.tex is OK (i.e., without %)
--
Marco
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line breaking and fingering
(Oops, I forgot to attach the code)
Hellow,
I am using lilypond 1.5.71 on windows machine. I would like to ask for
your experiences concerning manual line breaking and fingering
placement,
1. How can I break to a new line just before a grace note? (See the
example below in the upper voice. If I quote the grace note away,
everything goes fine. For now, it seems to be unable to start a new
line with a grace note.)
2. How can I put the fingering indication not only above or bellow a
note but also beside it? (This happens sometimes if I want to finger
for every note in an arpeggio.)
3. For guitar player, sometimes string indication is needed. It is
shown by a circle around the string number above or bellow a note. How
do I draw this? In the example I used text markup to put "(2)" (B
string) above fis8. But it's not really as desired as convention.
I would appreciate any hint from you,
-Minh.
\version "1.5.71.jcn2"
\include "paper16.ly"
\score {
\notes \relative c''' \sequential {
\property Staff.midiInstrument = "acoustic guitar (nylon)"
\time 6/8
\key e \major
\property Staff.NoteCollision \override #'merge-differently-dotted =
##t
\context Staff
<
\context Voice = VA {
\stemUp
a4 fis8^#"(2)"
[dis8^#'(lines "II" " ") e8.^#'(lines "I" " ") gis16-4] %|
gis4-4 fis8^#'(lines "II" " ") fis4 r8 | \break %1
grace %doesn't
work well
cis'8.-4^#'(lines "IX" " ") dis16-4 dis8-4
dis4-4 cis8 %|
[b8.-1^#'(lines "VII" " ") \grace cis8()e16-4 e8]
e4-4 e16-4( \glissando )fis16-4 \break %2
}
\context Voice = VB {
\stemDown
[a,16-2 fis,16_1 b16_1 dis16_1 fis16-4 b,16_1]
[fis16-4_3 a16_1 gis16_1 b16_0 gis16 gis'16] %|
[e,16_2 b'16_0 gis16_1 b16_0 fis'16-1 cis16-1]
[fis,,16-1 cis'16 fis16 a16 fis16 cis16] | \break %1
[cis'16_3 e16-1 gis16-1 dis'16 dis16 a16-2]
[b,16_1 fis'16-3 a16-2 dis16 cis16-4 b,16-0] %|
[b8_3 e'16
gis,16-1]
[b,16_1 e16-1 gis16-1 e16-1] r8 \break %2
}
>
}
\midi {
\tempo 4=64
}
\paper {
textheight = 270.0\mm
linewidth = 180.0\mm
}
}
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Re: Flat symbol in the header
On Sat, 15 Jun 2002, Jan Nieuwenhuizen wrote:
> Rune Zedeler <[EMAIL PROTECTED]> writes:
>
> > Marco Caliari wrote:
> >
> >> \header{instrument="Instruments in Bb"}
> >
> > \header { instrument = "Instruments in B$\\flat$" }
>
> Fwiw, using feta characters, like this, should also work:
>
>\header{
>instrument="instruments in B\fetachar\fetaflat"
>}
>
>\score{
>\notes\relative c'' { c }
>}
>
> But, for some reason, the \fetafont and \fetachar macro definitions
> have been turned off in lilyponddefs.tex (can we turn them back on, please?).
>
> Remove comment characters '%', like so:
>
> %% The feta characters
> \input feta20.tex
>
> \font\fetasixteen=feta16
> \def\fetafont{\fetasixteen}
> \def\fetachar#1{\hbox{\fetasixteen#1}}
>
> Greetings,
> Jan.
>
>
Hi.
\fetachar\fetaflat in the headers does not work with ly2dvi of Lily 1.6.0.
lilyponddefs.tex is OK (i.e., without %)
--
Marco
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Re: Flat symbol in the header
> Hi. > > \fetachar\fetaflat in the headers does not work with ly2dvi of Lily 1.6.0. > lilyponddefs.tex is OK (i.e., without %) Yes, the problem is that lilyponddefs.tex isn't included before the title is typeset, in the LaTeX wrapper file created by ly2dvi. One way to solve the problem is to copy the lines from lilyponddefs.tex into titledefs.tex. /Mats ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: line breaking and fingering
> (Oops, I forgot to attach the code)
> Hellow,
> I am using lilypond 1.5.71 on windows machine. I would like to ask for
> your experiences concerning manual line breaking and fingering
> placement,
> 1. How can I break to a new line just before a grace note? (See the
> example below in the upper voice. If I quote the grace note away,
> everything goes fine. For now, it seems to be unable to start a new
> line with a grace note.)
Looks like a bug to me.
> 2. How can I put the fingering indication not only above or bellow a
> note but also beside it? (This happens sometimes if I want to finger
> for every note in an arpeggio.)
See the the example file input/test/script-horizontal.ly.
> 3. For guitar player, sometimes string indication is needed. It is
> shown by a circle around the string number above or bellow a note. How
> do I draw this? In the example I used text markup to put "(2)" (B
> string) above fis8. But it's not really as desired as convention.
We do not have any supported for circles around text of rehearsal
marks in Lilypond, but you could always use inline TeX code. Try
c^"\\textcircled{5}"
/Mats
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Re: line breaking and fingering
On Tue, 20 Aug 2002 12:43:40 Mats Bengtsson wrote:
> > (Oops, I forgot to attach the code)
> > Hellow,
> > I am using lilypond 1.5.71 on windows machine. I would like to ask for
> > your experiences concerning manual line breaking and fingering
> > placement,
> > 1. How can I break to a new line just before a grace note? (See the
> > example below in the upper voice. If I quote the grace note away,
> > everything goes fine. For now, it seems to be unable to start a new
> > line with a grace note.)
>
> Looks like a bug to me.
>
> > 2. How can I put the fingering indication not only above or bellow a
> > note but also beside it? (This happens sometimes if I want to finger
> > for every note in an arpeggio.)
>
> See the the example file input/test/script-horizontal.ly.
>
> > 3. For guitar player, sometimes string indication is needed. It is
> > shown by a circle around the string number above or bellow a note. How
> > do I draw this? In the example I used text markup to put "(2)" (B
> > string) above fis8. But it's not really as desired as convention.
>
> We do not have any supported for circles around text of rehearsal
> marks in Lilypond, but you could always use inline TeX code. Try
> c^"\\textcircled{5}"
Thanks a lot, I didn't know how to do that either.
I got a *much* better result with this (1.4.13):
_""_"\\textcircled{\\textsc{e}}"
or
^""^"\\textcircled{\\small{6}}"
Apparently an extra empty line is necessary because
of the font change, because the circle ran into a beam
without it.
Information is not knowledge. Belief is not truth.
Indoctrination is not teaching. Tradition is not evidence.
David Raleigh Arnold [EMAIL PROTECTED]
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tab
I don't think I stated the case nearly strongly enough. The syntax for tab is clever, but still unacceptable. Entering tab by using a 1 for the 6th string, 5 for the 2nd string, etc., simply won't do. Even if a "ratiug" (backwards guitar) is set up, there is a serious drawback, because the number of strings on a guitar has varied in the past and continues to do so in the present. The guitar of Fuenllana was EBGD. That still exists as a baritone uke and tiple. The baroque guitar is EBGDA. The modern standard is EBGDAE. The Russian guitar, which originated in France, where Coste (1830's) wrote for it, is EBGDAED. There are also other seven, eight and ten string (courses) guitars out there. Anyone wanting to have versions for guitars with different numbers of strings has to change all of his numbers. This also applies to some other stringed instruments. This is a serious usability issue. Please fix this *now*. String number 1 *must* be the first string which belongs at the top line of the tablature. I know changing it is ugly, but not changing it is uglier, believe me, so the sooner you change it the better. My ox is not gored. My purpose in this harangue is entirely unselfish. I have no intention of doing historical editions ever, so I will never use guitar tab, and I will use something like d g b c s for banjo strings anyway. You should change it because it will make lilypond better, and if you don't change it it will make lilypond less good, and the longer you delay the worse it will be. 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: tab
David Raleigh Arnold wrote: > The syntax for tab is clever, but still unacceptable. > > Entering tab by using a 1 for the 6th string, 5 for > the 2nd string, etc., simply won't do. [...] > Please fix this *now*. String number 1 *must* be > the first string which belongs at the top line of > the tablature. I know changing it is ugly, but > not changing it is uglier, believe me, so the > sooner you change it the better. I don't know anything about string enumerations - but if David is right about this we should really change this NOW - before 1.6.1. Lamy...? -Rune ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: tab
[EMAIL PROTECTED] writes: > > Entering tab by using a 1 for the 6th string, 5 for > > the 2nd string, etc., simply won't do. > [...] > > Please fix this *now*. String number 1 *must* be > > the first string which belongs at the top line of > > the tablature. I know changing it is ugly, but > > not changing it is uglier, believe me, so the > > sooner you change it the better. > > I don't know anything about string enumerations - but if David is right > about this we should really change this NOW - before 1.6.1. (I myself would make this configurable via some direction property.) -- 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: tab
David Raleigh Arnold wrote: > 2. How does one get rid of the stems in the tab? \property TabStaff.Stem \override #'transparent = ##t I must agree that this is a bit tricky - and badly documented - though... Setting the property on a higher level does not work because the TabStaff then reverts the setting (don't really understand what is going on). Setting the property in Voice level does not work either because TabStaves contain no voices. Your other 2 questions are being thought of. -Rune ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: tab
On Tue, 20 Aug 2002 20:28:43 Rune Zedeler wrote: > > Entering tab by using a 1 for the 6th string, 5 for > > the 2nd string, etc., simply won't do. > I don't know anything about string enumerations - but if David is right > about this we should really change this NOW - before 1.6.1. > Lamy...? > Thanks much. The scholarly poster is right that there are historical instances of putting the first string at the bottom, but English renaissance lute tablature and all modern tabs have the first string at the top so the low notes will be on the bottom. *No one alive* is really used to the upside down systems. Of course the lute isn't around much any more, largely on account of tab. Pitch wasn't the issue anyway, just the definition of the first string, which doesn't vary for stringed instruments, fretted or not. Of course a left handed player has his first string closest to his left hand instead of his right, but it's still the 1st string. And I really would like to know how to get rid of the stems in the tab. Having stems in both tab and notation is just clutter. Tab is fingering, not notation, and nothing can change that. How about a short cut like this example for banjo? Today the C or 4th string is usually tuned to a D, and the "s" is for short string. Or maybe "x" or "e" for extra G would be better? Naaah. \defStrings d'=d b=b g=g d=c g'=s or \defStrings d'=d b=b g=g d=4 g'=5 which would set the note of each string, starting with the first, to an identifier, which could perfectly well be a number. Six string guitar would be: \defStrings e'=1 b=2 g=3 d=4 a,=5 e,=6 for those who would use the true pitch with "G_8". I don't know whether you have taken into account the fact that guitar transposes an octave, sorry, I've never used \treble for guitar music. Some people here are typesetting with \treble and some with G_8. I would rather that a musician could tell what octave music was in without having to know what the instrument is, but I do not have history on my side, so I am against the idea of making a choice for others. :-) 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: tab
David Raleigh Arnold wrote: > Thanks much. The scholarly poster is right that there are > historical instances of putting the first string at the > bottom, but English renaissance lute tablature and all > modern tabs have the first string at the top so the > low notes will be on the bottom. *No one alive* is really > used to the upside down systems. > > Of course the lute isn't around much any more, largely > on account of tab. > I suspect I may be 'the scholarly poster', and regret that my post went to Mr. Arnold alone, a byproduct of the way my mailer chooses the to whom for a reply. Here is the text of my post: [begin quote] It is worth noting that a single approach to tab is a Bad Thing(TM) regardless of _which_ approach it is. Those of us who use tab a lot know that there are many different ways of tabbing even for a single instrument. Specifically, the lute: Modern tab notation, especially in ASCII form, tends to use numbers in the spaces between lines. The spaces, therefore, represent the strings. In general, they are high-string to top space. This is quite easy to do with ASCII, although tiresome to try to read. French tab uses letters, laid on lines which represented strings. The highest pitched string is on the top space. a is an open string, b is the first fret. This was popular amongst the English Lutenist Songwriter's school as well, so most lutenists who were exposed to tab via that literature will want to see it. Spanish tab uses numbers, usually laid over the line rather but also in spaces. The highest pitched string is on the bottom of the tab staff. These latter two standards alone (and I think something that has persisted for a few hundred years probably deserves the honor of being called a standard, certainly, if modern notation, a mere baby, does) lead to an immense number of systems: Letters or numbers as fret indicators; top pitch on top or bottom line; fret indicators on the lines or in spaces between the lines; whether to have lines encompassing highest and lowest strings if they are on spaces... Now add timing (which much modern tab does not, making it almost useless unless the person reading the tab already knows the music entabbed, ie, useless for newly-composed music). Because of the difficulty of notating long periods, most tab that notates time at all does it with duration-indicators that are divide-by-2, 4 or 8 of how the music might 'normally' be notated. Thus contemporary scores exist in keyboard notation with minims (look like diamond-shaped half-notes) and in lute tab with single-flag stems, a 4:1 time-notation difference. Whole notes floating over a tab staff ... well... look silly. An additional difficulty is how to deal with 'extra strings'. If the strings aren't fingered, they are traditionally notated by a single character or set of characters under the bottom string's area. In french tab, the general tendency was to treat the seventh string and even the eighth as if it were just another fingerable string. (ie, 'a' for the open string on a line of its own). More strings were treated a bit differently, often by a/ a// a/// or a\ a\\ a\\\ notations in the space below the staff. When the lute grew more strings (in the baroque period) numbers were used, usually starting with 4. This can get quite out of hand, by the way, especially since the counting of 'diapasons', the extra courses, can start at the seventh or the tenth or... well, anywhere. Now, the tendency might be to say, "Lily is for notating modern stuff", and dis the entire subject. As a counter to this, I note that Lily is perfectly good for notating Bach's concertos, cantatas, overatures and sonatas... even the violin partitas. But it cannot properly notate the lute versions. It is my belief that a system within lilypond for sensibly making tab notation is possible. However, I have to admit that my years of FORTH, various basics, and C have not prepared me for C++ and the incessant object oriented paradigm. So if someone who is able to read lily's internals and code, and who wants to have some fun implementing tab so that it is as versatile and functional as tab has been for centuries, I'd love to collaborate. raybro [end quote] While it is easy to wave a hand and dis the lute and all tab systems other than banjo and guitar, it is the aim of Lilypond to typeset beautiful music notation, and anything that makes that goal easier should be appropriate to consider. The claim that nobody alive reads spanish notation is erroneous, at least from a few moments ago when I checked my pulse. More importantly, it addresses the question of whether printing and presenting early music is appropriate in any form. Can it be that we should only print renaissance music in score or piano-reduction form? Perhaps it is desirable that all music only be published in one or the other of those forms. On the other hand, Lilypond _does_ have fonts and clefs for printing white mensural notation and neumes, and now
Re: tab
[EMAIL PROTECTED] writes:
>[good points snipped]
> Now, the tendency might be to say, "Lily is for notating modern stuff",
> ..
> While it is easy to wave a hand and dis the lute and all tab systems
> other than banjo and guitar, it is the aim of Lilypond to typeset
> beautiful music notation, and anything that makes that goal easier
> should be appropriate to consider.
Lilypond is for notating music, as broadly defined as possible. I use
only technical reasons for (not) including code. If someone can come
up with a *good* implementation for flexible tab, then I'll integrate it.
(And lilypond is for reading email:
\header { foo = #(system "pine") }
:-)
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tagline and copyright headers in a one-page piece
Is there any way to display both a \header{tagline} and \header{copyright}
when the music is only one page? Currently LilyPond treats a one-page
piece as being just the last page (so it displays the tagline but not
copyright).
I tried looking at share/lilypond/tex/source/titledefs.tex , but I don't
know how to add "if only one page, then
\renewcommand{\@oddfoot}{\parbox{\textwidth}{\mbox{}\thecopyright
\mbox{}\makelilypondtagline}}%
"
I _could_ make tagline into "copyright string \\ tagline string" for
the one-page piece, but then I couldn't have a standardized header
for all my pieces.
- Graham Percival
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tab
I feel the need to try again. Some of this is almost clear. :-) Tab is fingering. There are different types of fingering: 1. Actual finger indication, 0-4 for strings, 1-5 for keyboard. Not part of tablature, notation only. 2. String indication. Digit or lettercap inside a ring. Do re mi in ring is sometimes used in violin music, but it's hard to read and therefore hard to like. Villa-Lobos, a Brazilian, used lettercaps. Good enough for me. In tablature, normally 1st string is at top of the tabStaff. 3. Fret indication. Rare in notation except for harmonics. Part of tablature. 4. Position indication, with or without bar. It is the fret that the first finger is at. There are various ways of indicating it but the fret is always a number of some sort. Roman numerals are unfortunately common for that. Notation only. All of these may appear in notation, but only 2 and 3 in tab. A pitch and a string certainly can determine a fret indication to go in the tab, but you need an identifier for each string. The most straightforward way of doing that is to number the strings with the first, closest to the left hand, on the top of the staff. The first string is always defined in that physical way, so other ways are confusing. \stringDef c, g,, etc. c, is the open 1st string then, by default a zero on the top line. --0-- -- -etc Using the identifier of your choice: \stringDef c,=x g,,=r more strings and you could write c,4-x instead of c,4-1, but it's the same thing in the tab, because it's still the first string. But strings have frets. The default, still using the x string: \fretDef 0 1 2 3 4 5 6 7 8 9 10 11 12 etc. \fretDef 0 (shortcut) open 0 semitones 1 2 3 4 5 6 7 8 9 note c, d, e,f, g, a, c,4-x d,4-x (still the x string) --0--2-- --- Not the default: \fretDef a b c d e f g h i j k l m n o etc open 0 semitones 1 2 3 4 5 6 7 8 9 note c, d, e,f, g, a, c,4-x d,4-x --a--c--- The fretDef in the common case maps numbers to the open string and its frets, which correspond to the open string note and a list of semitones. The point is that the \fretDef determines what is printed for each semitone going up the string. If there is no semitone, put a placeholder. I'm using an x, but absolutely anything would do because its printing would simply be an error. fretDef is necessary because there are instances of using letters instead of numbers to indicate frets, a strange situation (archlutes) where you would want a few notes in reverse order, cases where the frets might not be chromatic, and cases where the strings are of unequal length so the first fret *of that string* is not the fret you want to indicate in the tab. Banjo works this way. The open 5th string (left column) and the 5th fret on the 1st string are the *same note*, and of course the 1st and 5th strings have the same note at every higher fret. 54321 = physical string = which is open = 1st fret 0 6 7 8 For the 5th string then: \stringDef d' b g d g' \fretDef 0 \fretDef 0 \fretDef 0 \fretDef 0 \fretDef 0 6 7 8 9 etc or \fretDef 0 6 But if the frets are not chromatic, it's still easiest to map to semitones. Dulcimer 321 string (I think--this is a zither and may well be numbered differently.) 000 open semitone but nothing there 111 first fret at whole step. (ton) semitone no fret 222 333 444 \stringDef c,=x g,,=r g,,=y \fretDef 0 x 1 x 2 3 x 4 \fretDef 0 x 1 x 2 3 x 4 \fretDef 0 x 1 x 2 3 x 4 note c' d' e'f' g' (first string only) So: c,4-x gets --0-- - etc. cis,4-x gets you an x on the line, but that doesn't matter because you shouldn't have written the cis, because it is not possible to play it, because there is no fret there. c,4-x d,4-x e,4-x f,4-x gets you 0--1--2--3-- - Map the strings and map the frets and anything using western notes can be done. -- 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
