Again: Fonts in \header, LateX-Commands
Thank you for the link:
http://www.ctan.org/tex-archive/info/lshort/english/lshort.pdf
I did not have the time to spend 131 minutes :-) to study the whole
introduction, but in only one minute I was able to change the
appearance of "title" to sans serif etc. by inserting the following.
title = "\\textsf {Title}"
This does work for all header fields except "composer" and "piece".
These stay with the small caps font. What am I missing / doing wrong
here?
Thank you
Thomas
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Again: Fonts in \header, LateX-Commands
Thomas Scharkowski wrote:
Thank you for the link:
http://www.ctan.org/tex-archive/info/lshort/english/lshort.pdf
I did not have the time to spend 131 minutes :-) to study the whole
introduction, but in only one minute I was able to change the
appearance of "title" to sans serif etc. by inserting the following.
title = "\\textsf {Title}"
This does work for all header fields except "composer" and "piece".
These stay with the small caps font. What am I missing / doing wrong
here?
The problem is that the font shape and the font family are two
orthogonal kind of properties in LaTeX. Lilypond itself specifies
the font shape to be small caps whereas you tried setting the font
family to sans serif. Unfortunately, this combination of small caps
and sans serif doesn't exist in a normal TeX installation.
The simple solution should be to say
composer = "\\normalfont\\textsf{Com Poser}"
/Mats
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Trill endings
On Tue, 27 Jan 2004 [EMAIL PROTECTED] wrote:
> Hello.
>
>
> I've just started using LilyPond. Thanks a lot for such a nice (and Free) software.
>
>
> In my first copist work, I encountered a measure (in 4/4) which I tried to represent
> with the
> following code:
>
> c8 g g4^\trill ( \acciaccatura { f16[ g] ) } f8 c' c4^\trill ( \acciaccatura { b16[
> c] ) } | b8
>
> Now, here the grace notes are used to figure how the trill ends (as I didn't find
> out another
> way to do it) and not as ornamentation of the following note.
> For the first trill, which appears in the middle of the measure, the resulting
> output is satisfactory;
> but for the second (which is the last note in the measure), the "ending" (i.e. the
> grace notes) are
> taken over to the following measure, which is definitely not what I want.
>
> Is there a right way to do this?
in the manual in the section grace-notes:
If you want to end a note with a grace, then the standard trick is
to put the grace notes after a "space note", e.g.
\context Voice {
<< { d1^\trill ( }
{ s2 \grace { c16[ d] } } >>
c4)
}
> Also, in the sheet from which I'm copying, they put these "trill endings" between
> parentheses. Is
> it possible to do that with LilyPond?
see the file input/regression/molecule-hacking.ly in
/usr/share/doc/lilypond/examples or on the webpage.
hth, regards,
sb
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Chords vertic placement with repeats
Is is possible to place the chord names inside the "repeat frames" (don't know the english term...)? |---| |1. cmg7 | instead of cmg7 |---| |1. | -- Tom Cato Amundsen <[EMAIL PROTECTED]> GNU Solfege - free eartraining, http://www.gnu.org/software/solfege/ ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 2 lilypond-book fragments on a single line
Maybe you have been hurt by the bug described in http://mail.gnu.org/archive/html/bug-lilypond/2003-10/msg00030.html This has been fixed in 2.1 but it seems it was never backported to 2.0. Even when this bug is solved, you'll find some problems with this approach. When I try it with a recent 2.1.x version, the fragment is actually printed on the same line as the first score line of the piece, but there are two problems left: - The indentation of the first line of the piece has to match the length of the incipit fragment, otherwise the right margin won't be even. One solution would be to include the fragment in a TeX box of a specified length and set the indentation of the piece accordingly. - The vertical alignment is not what you want. It looks as if the vertical center of the fragment is aligned with the vertical center of the first score line including the lyrics, which means that it ends up about at the height of the second line of the first verse of the lyrics. Again, there are (La)TeX tricks to align objects according to upper edge instead of the ordinary text baseline, but since you have don't have the same clef in the incipit as on the full piece, it wouldn't match exactly anyway. I'm afraid I don't know any good solution. /Mats Laura Conrad wrote: In converting to 2.0, I have to write more shell scripts to make my incipits work, so I figured I might do a major redesign to make them look better as well as work in 2.0. What I want to do now is use the ambitus engraver next to the modern clef for indicating the range, and have a separate lily file that has the first note with the original clef, time signature, note value, etc. This is much more straightforward than having the incipit in the same file as the rest of the music, and having to tell lily all kinds of things like changing the notehead style, having the lyrics start on the real first note, etc. Also, the ambitus engraver does a better job than my notes with transparent stems, which got lily's spacing algorighm applied to them. Anyway, I have the files set up, and they look pretty good individually, but my problem now is: How do I get lilypond-book to print the (usually one-note) fragment, and then continue with the piece on the same line? Attached is an example: ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
lilypond-mode with XEmacs
Has anyone gotten lilypond-mode to work with XEmacs?
Here are the pertainant lines from my init.el file:
begin
(setq load-path (cons "/usr/share/xemacs/21.4.12/site-packages/lisp/lilypond/"
load-path))
(setq auto-mode-alist (cons '("\\.ly$" . lilypond-mode) auto-mode-alist))
(autoload 'lilypond-mode "lilypond-mode.el")
(gnuserv-start)
end
All I get is this message on the status line:
File mode specification error: (error "Autoloading failed to define function
lilypond-mode")
The file "lilypond-mode.el" is definitely in
/usr/share/xemacs/21.4.12/site-packages/lisp/lilypond/
[EMAIL PROTECTED]:/usr/share/xemacs/21.4.12/site-packages/lisp/lilypond> ls
lily*
lilypond-font-lock.el lilypond-init.el lilypond.words.el
lilypond-indent.el lilypond-mode.el
[EMAIL PROTECTED]:/usr/share/xemacs/21.4.12/site-packages/lisp/lilypond>
Any suggestions, hints, ideas?
TIA,
Maury
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Betr: Stanza Number Request
Is it possible to rotate text before the Staffs. In choir music printing I use, it is quite common to print a text like "Chor" rotated by 90 degree ccw. Is this something that can be done with lilypond. Bye, Ruud >-- Oorspronkelijk bericht -- >From: Han-Wen Nienhuys <[EMAIL PROTECTED]> >Date: Tue, 27 Jan 2004 20:20:58 +0100 >To: "Rob V" <[EMAIL PROTECTED]> >Subject: Stanza Number Request >Cc: [EMAIL PROTECTED] >Reply-To: [EMAIL PROTECTED] > > >[EMAIL PROTECTED] writes: > Thanks for the reply. I tried using Instrument and Instr to get stanza numbers, and it worked pretty well. I've included what I tried below. > > However, you'll notice that the stanza numbers are dropped vertically abo >t a half of a space compared to the rest of the text. Is it possible to adjust this? I'll think of a better way. We should probably have a LyricsVoice . vocalName = #"Sopr. " with a different formatting properties set. For now, you >an fiddle with self-alignment-Y. -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.xs4all.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mai >man/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Multimeasure rests
A question: In music that is used by non-musicians, like for example hymnes in a songbook, it is quite common to use a way of displaying multi measure rests (with skipBars set to ##t), which are shorter than 10 measures in length, but display in the same style as the display style shown by lilypond for multi measure rests longer than 10 measures. So one long rest-bar with a number above it. Can I instruct lilypond to do this for all multi-measure rests? TIA, Ruud ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Multimeasure rests
Ruud van Silfhout wrote: A question: In music that is used by non-musicians, like for example hymnes in a songbook, it is quite common to use a way of displaying multi measure rests (with skipBars set to ##t), which are shorter than 10 measures in length, but display in the same style as the display style shown by lilypond for multi measure rests longer than 10 measures. So one long rest-bar with a number above it. Can I instruct lilypond to do this for all multi-measure rests? \property Score.MultiMeasureRest \override #'expand-limit = #1 Paul Scott ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Install now works but...
Hello all, I did get 2.1.15 (newest for mac) to work! Here is the newest problems. When I start the Terminal I now get this: Welcome to Darwin! TEXMF: Undefined variable. <-- this did not appear before. When I try to run Lilypond on a file I get this: Analyzing melody-chords.tex... Running latex... Running dvips...lilypond: error: `dvips' failed (status 1) lilypond: error: The error log is as follows: [EMAIL PROTECTED]: warning: Failed to make PS file. Rerun with --verbose for a trace. DVI output to `melody-chords.dvi'... MIDI output to `melody-chords.midi'... Everything seems fine up to the point where Lilypond calls dvips to convert the dvi file to a ps and pdf file. Is this something that would have got changed in the installation? Sorry if this is not the appropriate place to ask this question but if so where should I ask it? Walter Hofmeister ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
How to get Guile 1.6.4-9.RPM
I am trying to start as a user of Lilypond, and have downloaded the version 2.0.0*. But to install it, I must have a newer version of guile than the one which came with my RedHat 9 installation of Linux. On the Home page of Lilypond there is a link to Rawhide to get a newer version of guile. But when I try to connect to the site I always get the message: "There are too many connected users. Please try later." I also tried to download and compile source code for guile-1.6.4-9. But my system and the RPM will not acknowledge it. Can you give me any clue to how I can get guile-1.6.4-8.rpm for RedHat ? Anfinn Kolberg ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Install now works but...
Hello, Am Mittwoch, 28. Januar 2004 22:24 schrieb Walter Hofmeister: > Hello all, > Everything seems fine up to the point where Lilypond calls dvips to convert > the dvi file to a ps and pdf file. Is this something that would have got > changed in the installation? Sorry if this is not the appropriate place to > ask this question but if so where should I ask it? Could you please run lilypond --verbose for more information? This is IMHO a font problem... > > Walter Hofmeister Regards Jan -- OpenPGP public key available: http://home.arcor.de/jan.kohnert/gnupg_publickey.asc Key-Fingerprint: BA8E 11D1 FE7C 9353 7276 5375 486E 9BED 2B03 DF29 pgp0.pgp Description: signature ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to get Guile 1.6.4-9.RPM
Anfinn A. Kolberg wrote: > Can you give me any clue to how I can get guile-1.6.4-8.rpm for RedHat ? RPMFind.net http://rpmfind.net/linux/rpm2html/search.php?query=guile&submit=Search+... -- Daniel Ashton PGP key available http://Daniel.AshtonFam.org mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org mailto:[EMAIL PROTECTED] ICQ# 9445142 http://ZephyrBrass.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Install now works but...
On 1/28/04 1:38 PM, "Jan Kohnert" <[EMAIL PROTECTED]> wrote: > Hello, > > Am Mittwoch, 28. Januar 2004 22:24 schrieb Walter Hofmeister: >> Hello all, > >> Everything seems fine up to the point where Lilypond calls dvips to convert >> the dvi file to a ps and pdf file. Is this something that would have got >> changed in the installation? Sorry if this is not the appropriate place to >> ask this question but if so where should I ask it? > > Could you please run lilypond --verbose for more information? This is IMHO a > font problem... > >> >> Walter Hofmeister > > Regards Jan > > -- Jan, Here is the lilypond output with the "--verbose" command set: lilypond (GNU LilyPond) 2.1.15 Opening pipe `/sw/bin/lilypond-bin --version ' Opening pipe `kpsexpand \$TEXMF' Opening pipe `kpsewhich -expand-path=\$T1FONTS' Invoking `/sw/bin/lilypond-bin -I /Users/walterhofmeister/Documents/Lilypond/Music\ files/Chord-mel_solos/Test -I /Users/walterhofmeister/Documents/Lilypond/Music\ files/Chord-mel_solos/Test -I /Users/walterhofmeister/Documents/Lilypond/Music\ files/Chord-mel_solos/Test -H dedication -H title -H subtitle -H subsubtitle -H footer -H head -H composer -H arranger -H instrument -H opus -H piece -H metre -H meter -H poet -H texttranslator -H papersize -H textheight -H pagenumber -H language -H latexheaders -H latexoptions -H linewidth -H latexpackages -H unit -H orientation --verbose melody-chords' lilypond_datadir: `/sw/share/lilypond' local_lilypond_datadir: `/sw/share/lilypond/2.1.15' localedir: `/sw/share/locale' LILYPONDPREFIX: `' [/sw/share/lilypond/2.1.15/scm/define-music-types.scm][/sw/share/lilypond/2. 1.15/scm/output-lib.scm][/sw/share/lilypond/2.1.15/scm/c++.scm][/sw/share/li lypond/2.1.15/scm/chord-ignatzek-names.scm][/sw/share/lilypond/2.1.15/scm/ch ord-entry.scm][/sw/share/lilypond/2.1.15/scm/chord-generic-names.scm][/sw/sh are/lilypond/2.1.15/scm/molecule.scm][/sw/share/lilypond/2.1.15/scm/new-mark up.scm][/sw/share/lilypond/2.1.15/scm/bass-figure.scm][/sw/share/lilypond/2. 1.15/scm/music-functions.scm][/sw/share/lilypond/2.1.15/scm/define-music-pro perties.scm][/sw/share/lilypond/2.1.15/scm/auto-beam.scm][/sw/share/lilypond /2.1.15/scm/chord-name.scm][/sw/share/lilypond/2.1.15/scm/define-translator- properties.scm][/sw/share/lilypond/2.1.15/scm/translation-functions.scm][/sw /share/lilypond/2.1.15/scm/script.scm][/sw/share/lilypond/2.1.15/scm/drums.s cm][/sw/share/lilypond/2.1.15/scm/midi.scm][/sw/share/lilypond/2.1.15/scm/be am.scm][/sw/share/lilypond/2.1.15/scm/clef.scm][/sw/share/lilypond/2.1.15/sc m/slur.scm][/sw/share/lilypond/2.1.15/scm/font.scm][/sw/share/lilypond/2.1.1 5/scm/define-grob-properties.scm][/sw/share/lilypond/2.1.15/scm/define-grobs .scm][/sw/share/lilypond/2.1.15/scm/define-grob-interfaces.scm][/sw/share/li lypond/2.1.15/scm/paper.scm] Now processing: `melody-chords.ly' Parsing...[/sw/share/lilypond/2.1.15/ly/init.ly[/sw/share/lilypond/2.1.15/ly /declarations-init.ly[/sw/share/lilypond/2.1.15/ly/nederlands.ly][/sw/share/ lilypond/2.1.15/ly/chord-modifiers-init.ly][/sw/share/lilypond/2.1.15/ly/scr ipt-init.ly][/sw/share/lilypond/2.1.15/ly/scale-definitions-init.ly][/sw/sha re/lilypond/2.1.15/ly/grace-init.ly][/sw/share/lilypond/2.1.15/ly/midi-init. ly[/sw/share/lilypond/2.1.15/ly/performer-init.ly]][/sw/share/lilypond/2.1.1 5/ly/engraver-init.ly][/sw/share/lilypond/2.1.15/ly/dynamic-scripts-init.ly] [/sw/share/lilypond/2.1.15/ly/spanners-init.ly][/sw/share/lilypond/2.1.15/ly /property-init.ly]][/Users/walterhofmeister/Documents/Lilypond/Music files/Chord-mel_solos/Test/melody-chords.ly[/sw/share/lilypond/2.1.15/fonts/ afm/feta20.afm][/sw/share/lilypond/2.1.15/fonts/tfm/feta20.tfm]Interpreting music...[3]elapsed time: 0.12 seconds Element count 155 (spanners 11) Preprocessing graphical objects... Grob count 223 [/sw/share/lilypond/2.1.15/fonts/afm/parmesan20.afm][/sw/share/lilypond/2.1. 15/fonts/tfm/parmesan20.tfm] Calculating line breaks... [/sw/share/texmf/fonts/tfm/public/cm/cmss12.tfm][/sw/share/texmf/fonts/tfm/p ublic/cm/cmss8.tfm][/sw/share/texmf/fonts/tfm/ams/symbols/msam10.tfm]Global shortest duration is 1/8 Optimal demerits: 5.903325 paper output to `melody-chords.tex'... Element count 100.[0] ((gc-time-taken . 35) (cells-allocated . 268339) (cell-heap-size . 884736) (bytes-malloced . 923739) (gc-malloc-threshold . 1489059) (gc-times . 5) (gc-mark-time-taken . 10) (gc-sweep-time-taken . 25) (cells-marked . 554880) (cells-swept . 4399360) (cell-heap-segments (3358720 . 3342336) (12492800 . 8298496) (15364096 . 12496896)))Interpreting music...elapsed time: 0.02 seconds MIDI output to `melody-chords.midi'... Track ... [0][1] ]] Analyzing melody-chords.tex... Invoking `(( latex \\nonstopmode \\input melody-chords.latex >&2 ) >&- )'This is TeX, Version 3.14159 (Web2C 7.4.5) LaTeX2e <2001/06/01> Babel and hyphenation patterns for american, french, german, ngerman, n ohyphenation, loaded. (./melody-chords.latex (/sw/share/texmf/tex/latex/base/article.cls D
confused about transposing
I have a chart I have transcribed for tenor sax. Now I would like to transpose it to trombone, bass clef. I read the little bit in the manual about transposing on page 87 but am confused by the pics - the sample code shows \transpose c g' \transpose c f' but the pics show a staff transposed into A and G, from D. I would expect to see the samples transposed into g and f, I guess. Anyway, I need some tips on going from Bb Tenor to Trombone. Thanks, Chip ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
[Fwd: Re: confused about transposing]
--- Begin Message --- Chip, The important thing to understand about the \transpose function is that the two note names following the \transpose represent the interval of transposition. To transpose from music written in C to music appropriate for a Bb instrument, you must end up with music in the key of D. This infers that the music must 'move up' by a whole tone, because the Bb instrument is essentially 'playing a whole tone flat': when you finger C on a Bb instrument, a concert Bb comes out. By recognizing that the music must go up one whole tone, you can say \transpose c d \transpose bes c \transpose f g etc. Any of those \transpose intervals will move the music from its current key up to the next key by a whole tone. This works regardless of the original key. For \transpose ees f the following will happen: \key c major becomes d major and all notes are moved up one whole tone \key f major becomes g major and all notes are moved up one whole tone etc. Likewise, the manual example, \transpose c g' moves the key up by a fifth, and each note up by a fifth, so the example music (in D) is moved to G. Note that notation of two notes separated by a fifth requires adding the ' to ensure that it goes up (rather than down a fourth). The answer to your specific question is dependent on information I don't have, so here's my guesses: either your chart was originally in Lilypond, and you successfully used the \transpose function to move it from something (and I'd guess it was C?) to Bb for tenor sax; or your original chart was transposed from whatever key it was originally in to a lilypond score which is now \key bes major; or your charts are all on paper, and you just want to enter the notes from the Bb sax part, and then use \transpose to shift it to bass clef. That's assuming, in all cases, that you're talking tenor/bass trombone, moving to bass clef rather than tenor, and not that you're aiming at an alto trombone in alto clef :) Case 1: The chart was originally in lilypond in C, and has been \transpose c d to make the Bb part. I'm assuming also that this Bb part is in treble clef, and that the trombone will be reading bass clef, non-transposing. (By the way, if it's someone who plays bari treble-clef parts, especially on valve trombone, he/she may be quite prepared to read the tenor sax part as it stands.) Also, there are two more possibilities that are important here: a) you wrote the part using relative notation or b) you wrote the part using absolute notation (ie, each note is marked to indicate absolute pitch). For case 1a, remove the \transpose function with it's two note names. Change the note that indicates the relative reference so it is an octave lower (ie, c' to c or c to c,). Change the clef to bass instead of treble or which ever of it's aliases you might have used. For case 2a, change the \transpose from whatever it is to c c, and change the clef from treble to bass. Case 2: The chart was originally on paper, and was transposed to Bb when entered, so that there is no standing \transpose function. In this case, add \transpose bes c, and change the clef to bass. Case 3: all current charts are on paper, and you want to make a lilypond version. Again, two sub-cases: a) you have the original C part and b) you don't. Case 3a: when entering the notes, use relative notation and make the relative statement relative an octave lower than normal. Ie, if the first note in the chart is c' (middle C) then notate it 'c', with the relative reference c, Case 3b: when entering the notes, use a \transpose bes c,(note this , is not a comma in the sentence structure, but a c,) and a relative reference appropriate to a trumpet (ie, if the first note is c'', make your relative for c'', then notate the first note as just c). Any of these _ought_ to work properly. If they don't, though, I apologize, and you get to analyze why it didn't, and adjust properly. Please, if you have to do that, write the list and tell us? raybro chip wrote: I have a chart I have transcribed for tenor sax. Now I would like to transpose it to trombone, bass clef. I read the little bit in the manual about transposing on page 87 but am confused by the pics - the sample code shows \transpose c g' \transpose c f' but the pics show a staff transposed into A and G, from D. I would expect to see the samples transposed into g and f, I guess. Anyway, I need some tips on going from Bb Tenor to Trombone. Thanks, Chip ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user --- End Message --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: confused about transposing
chip wrote:
> I have a chart I have transcribed for tenor sax. Now I would like to
> transpose it to trombone, bass clef. I read the little bit in the manual
> about transposing on page 87 but am confused by the pics - the sample
> code shows
> \transpose c g'
> \transpose c f'
I was fighting this concept too. What I concluded is that you should
say "\transpose [the notes I write as] c [to a typeset] bf". Instead of
thinking of the instrument transposition, think of the relative keys.
If your original is in C major (for tenor sax) then your trombone part
will be in B-flat major. ergo,
\transpose c bf
Or make a rule to say the from and to instruments in the opposit order:
In your case, I think you want to
\transpose [to a] c [instrument from a] bf [instrument's part]
Developers, this is confusing to those of us who are transposing for (or
from) a non-C instrument (trumpet, clarinet, sax, etc.) I want to say:
\transpose c bf
and get a trumpet part from, say, a piano part. I'm thinking "I have a
C part, I need B-flat part." Buf it seems to need to be the other way
around.
If you're actually transposing to change the key of the piece, rather
than on behalf of an instrument, then the way you've made lilypond work
already makes sense. I guess you want me to say "I have a part in the
key of C major, I need a part in the key of D major." My confusion is
that the first note/key matches the instrument (C), but the second moves
in the opposite direction. (D instead of B-flat.)
Could you add an additional keyword that works "right" for us
instrumental arrangers? Perhaps \instr-trans ? I need to be able to
say "these are notes for a C instrument, please typeset them to be
played by a B-flat (or F or E-flat or A) instrument." Chip needs to be
able to say "these are notes for a B-flat instrument, please typeset
them to be played by a C instrument."
Chip, in your case, try
\transpose c bf (if you're using english, or
\transpose c bes otherwise)
The part I'm working on tonight is a trombone part being transposed for
French Horn. This also gives you an example of the \clef command that
you need (you'll need bass instead of treble). It begins with these lines:
\version "2.1.15"
\include "english.ly"
\paper {
papersize = "letter"
}
#(set-global-staff-size 20)
\score {
\notes
\transpose f c' {
\relative c' {
\key df \major
\clef treble
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make-moment 1 4)
af--\pp af-- af8( gf) af4-- | af8( gf) af af af( gf) af af |
\time 1/4 gf( af) | \time 4/4
--
Daniel Ashton PGP key available http://Daniel.AshtonFam.org
mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org
mailto:[EMAIL PROTECTED] ICQ# 9445142 http://ZephyrBrass.com
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: [Fwd: Re: confused about transposing]
David Rogers wrote: On 2004/01/28, William R. Brohinsky wrote: ...(a very comprehensive answer to the transposition question)... But, wouldn't he have to transpose DOWN a tone, when moving from a Bflat-notated instrument to a C-notated one? So - \transpose c bes, ? Absolutely right, David. Sorry, Chip. After all that very nice (and actually correct) verbiage about moving the music 'up' when going from concert to Bb, I blew going 'back down' when going from Bb back to concert. (actually, down by a ninth, from notated Bb tenor sax to bass-clef trombone). Thanks for the correction! raybro ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: [Fwd: Re: confused about transposing]
Thanks for the tips guys, that helps alot. Got the piece transposed fine. FWIW, I am transcibing a piece, used my tenor sax to write the tenor parts, put that into lily, now transposed and printed the 'bone parts, which are nearly a double of the t-sax parts, only a few minor changes. I don't play the bone so I transcribe either on my sax or on a guitar, whichever is easier for the song. (The music I am transcibing is various Latino music - salsa, merengue, cumbia, ranchera, etc.) Regards, Chip William R. Brohinsky wrote: David Rogers wrote: On 2004/01/28, William R. Brohinsky wrote: ...(a very comprehensive answer to the transposition question)... But, wouldn't he have to transpose DOWN a tone, when moving from a Bflat-notated instrument to a C-notated one? So - \transpose c bes, ? Absolutely right, David. Sorry, Chip. After all that very nice (and actually correct) verbiage about moving the music 'up' when going from concert to Bb, I blew going 'back down' when going from Bb back to concert. (actually, down by a ninth, from notated Bb tenor sax to bass-clef trombone). Thanks for the correction! raybro ___ 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
