text markup underlining
XP + lily 2.10 Hi list ! Coming from the french list where we are several to seeking a simple way of underlining text : Is there a simple way to underline text in markups (and everywhere else, such as headers) ? I've seen in the list something like \\underline, but it doesn't work at all. I'd be very surprised to learn that something as simple as \bold or \italic doesn't exist for underlining... Best regards ! JMarc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two staves one stops with repeat the other continues
Of course it's possible, I just copied most of the code from your
"working" example,
since it probably is a good idea anyway to use separate macro
definitions (identifiers)
for the two parts. To get volta brackets also on the second stave, you
have to add the
setting voltaOnThisStaff = ##t. Here comes a new version of the full
example.
\version "2.8.4"
\header {
title = "Little Chaconne"
composer = "Jay Hamilton"
copyright = "CC lic 2.5 some rights reserved Jay Hamilton 2007"
tagline = "see http://creativecommons.org/licenses/by-nd/2.5/";
}
#(set-global-staff-size 30)
\layout{
\context{
\Score
\remove Repeat_acknowledge_engraver
\remove Default_bar_line_engraver
}
\context{
\Staff
\consists Repeat_acknowledge_engraver
\consists Default_bar_line_engraver
}
}
cello = \relative c'
{
\set Staff.instrument = "cello"
\clef bass
\key c \major
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 3 {g,4 d' a c b d g,e'\break d b g a }
\alternative{{c d a2}{c4 d g,2}} \bar "|."
}
violin = \relative c'
{
\set Staff.instrument = "violin"
\clef treble
\key c \major
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 2 {g'8 a b4 a8 b c4| b8 c d4 g8 fis e4 |d8 c b4 c8 b a b}
\alternative{{c8 e d2.| g8 fis e4 e8 fis g fis | e d4. b8 b c d|
g8 fis g c g e a,4}{c8 b a4 g2}}
}
\score{
<<
\new Staff \cello
\new Staff \with{voltaOnThisStaff = ##t} \violin
>>
\layout{}
\midi { \tempo 4=60 }
}
/Mats
Jay Hamilton wrote:
Mats- Yes your new example works fine. I'm guessing that having two different
endings on the second line is just not possible and that is why you left it the
'older' way which is a pity as the version with endings is a bit clearer for my
students.
Anyway I am going to sit down and examine all your examples and learn what each
one is and does thank you for the education.
Jay
Jay Hamilton
www.soundand.com
206-328-7694
--- [EMAIL PROTECTED] wrote:
From: Mats Bengtsson <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED]
CC: lilypond-user@gnu.org
Subject: Re: Two staves one stops with repeat the other continues
Date: Wed, 14 Feb 2007 22:06:57 +0100
I didn't use \relative mode in the simple example I sent
earlier. Here's a version of your code that hopefully
works better.
\version "2.8.4"
\header {
title = "Little Chaconne"
composer = "Jay Hamilton"
copyright = "CC lic 2.5 some rights reserved Jay Hamilton 2007"
tagline = "see http://creativecommons.org/licenses/by-nd/2.5/";
}
#(set-global-staff-size 30)
\layout{
\context{
\Score
\remove Repeat_acknowledge_engraver
\remove Default_bar_line_engraver
}
\context{
\Staff
\consists Repeat_acknowledge_engraver
\consists Default_bar_line_engraver
}
}
cello = \relative c'
{
\set Staff.instrument = "cello"
\clef bass
\key c \major
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 3 {g,4 d' a c b d g,e'\break d b g a }
\alternative{{c d a2}{c4 d g,2}} \bar "|."
}
violin = \relative c'
{
\set Staff.instrument = "violin"
\clef treble
\key c \major
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 2 {g'8 a b4 a8 b c4
b8 c d4 g8 fis e4
d8 c b4 c8 b a b\coda
c e d2.
g8 fis e4 e8 fis g fis
e8 d4. b8 b c d\break
g fis g a g e a,4^\markup {\italic "da capo"} }
c8\coda b a4 g2 \bar "|."
}
\score{
<<
\new Staff \cello
\new Staff \violin
>>
\layout{}
\midi { \tempo 4=60 }
}
/Mats
Jay Hamilton wrote:
Here's the file, first off I don't get why the octaves are all messed up but
mostly the endings for the second line are missing. Let me know what you think
is the problem.
Thanks
Jay
\layout{
\context{
\Score
\remove Repeat_acknowledge_engraver
\remove Default_bar_line_engraver
}
\context{
\Staff
\consists Repeat_acknowledge_engraver
\consists Default_bar_line_engraver
}
}
\score{
<<
#(set-global-staff-size 30)
\new Staff {\clef bass
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 3 {g, d' a c b d g, e' d b g a} \alternative{{c d a2}{c4 d g,2}}
}
\new Staff { \clef treble
\time 4/4
\override Staff.TimeSignature #' style = #' ()
\repeat volta 2 {g'8 a b4 a8 b c4| b8 c d4 g8 fis e4 |d8 c b4 c8 b a b}
\alternative{{c8 e d2.| g8 fis e4 e8 fis g fis | e d4. b8 b c d|
g8 fis g c g e a,4}{c8 b a4 g2}} }
}
The following is what I got to work and even that isn't as nice/clear as what I
think I've coded above. But at least you can see the notes in the right
octaves.
\version "2.8.4"
\header {
title = "Little Chaconne"
composer = "Jay Hamilton"
copyright = "CC lic 2.5 some rights reserved Jay Hamilton 2007"
tagline = "see http://creativecommons.org/licenses/by-nd/2.5/";
}
melody = \relative c'
{
\set Staff.instrument = "cello"
\clef bass
\key c \major
\time 4/4
#(set-global-staff-size 35)
\override Staff.TimeSignature #' style = #' ()
\repeat volta 3 {g,4 d' a c b d g,e'\break d b g a }
\alternative{{c d a2}{c4 d g,2}} \bar
Re: text markup underlining
Unfortunately, there is no simple way to do the underlining for the moment as far as I know. I wouldn't be surprised if this is supported in Pango (i.e. the font handling software package used by LilyPond), and in that case it's probably not so difficult to add it to LilyPond. See also http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00140.html for a somewhat related issue. /Mats Jean-marc LEGRAND wrote: XP + lily 2.10 Hi list ! Coming from the french list where we are several to seeking a simple way of underlining text : Is there a simple way to underline text in markups (and everywhere else, such as headers) ? I've seen in the list something like \\underline, but it doesn't work at all. I'd be very surprised to learn that something as simple as \bold or \italic doesn't exist for underlining... Best regards ! JMarc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.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 lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: The best way to create a songbook?
Hi,
i'm using LaTeX with lilypond-book and am quite happy with it, but you
should go with a recent version of lilypond, especially if you're on
windows, as i had a lot of trouble with the 2.8.x series. I chose to go
with LaTeX and lilypond-book, because i wanted to add pictures and
background graphics to my songbook.
I keep each song in an own .ly file and include them with
\lilypondfile[staffsize=20]{song.ly}
The numbers to the songs can be set with LaTeX counters
regards
rene
Am Mittwoch, den 14.02.2007, 20:51 +0100 schrieb Dominic Neumann:
> Hi,
>
> I´m quite new to lilypond but I´m already fascinated. I want to layout
> a whole songbook with about 200 songs. Until now I worked with
> Sibelius and now I´m thinking of typesetting that songbook with
> lilypond. But there are some things to consider and I hope you can
> help me a bit:
>
> 1) Should I only work with lilypond or better mit LaTeX and
> lilypond-book (I already work with LaTeX)? There are not many texts to
> add to the songbook.
> I want to have a song number next to each song (on the top outer
> corner of the page).
>
> 2) If I do it without LaTeX, only using lilypond: I think it would be
> a good way to have one file for each song in the songbook. But there
> are other problems: The identifiers I use for verselyrics or harmonies
> have to be unique project-wide, don´t they?
> In that case I could try to do it without identifiers - that wouldn´t
> be a big problem.
>
> At first, these are my question - I think, later there´ll be more ...
>
> Thanks
>
> tabster
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
>> In this rhythmic snippet, the "perferatory" spacing on only the very >> first system collapses down to nothing (compared to the remaining >> three systems). Is there any way to control this amount of >> system-initial spacing and make it equal that of the remaining three >> systems? > > Aha. The solution is to \remove Separating_line_group_engraver in the > Staff context. I guess that's probably how Trevor found this solution, but just for the record: Looking for more information on the above-mentioned Separating_line_group_engraver, I have just discovered that section 8.4.3 of the manual(which is significantly entitled "proportional notation" ;)) deals with this issue. It also mentions two other overrides which might prove useful to the folks working with proportional notation (which I personally have never done). Thanks for the hint, Trevor. Cheers Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
On 2/15/07, Maximilian Albert <[EMAIL PROTECTED]> wrote: >> In this rhythmic snippet, the "perferatory" spacing on only the very >> first system collapses down to nothing (compared to the remaining >> three systems). Is there any way to control this amount of >> system-initial spacing and make it equal that of the remaining three >> systems? > > Aha. The solution is to \remove Separating_line_group_engraver in the > Staff context. I guess that's probably how Trevor found this solution, but just for the record: Looking for more information on the above-mentioned Separating_line_group_engraver, I have just discovered that section 8.4.3 of the manual(which is significantly entitled "proportional notation" ;)) deals with this issue. It also mentions two other overrides which might prove useful to the folks working with proportional notation (which I personally have never done). Thanks for the hint, Trevor. Hi Max, Check chapter 11.4 in the next couple of days for a substantial expansion of the proportional docs, which goes into a considerable amount of detail on all of these settings, complete with pairs of contrasting examples. Note, too, that the proportional docs are moving out of chapter 8 "Advanced notation" and into chapter 11 "Spacing issues". At least in the 2.11.x version of the manual ... Trevor. -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond 2.10.17-1: lilypond-book ImportError
Hi, when executing lilypond-book contained in Lilypond.app (Mac OS X), I get the following error: Traceback (most recent call last): File "/Applications/TeX/LilyPond.app/Contents/Resources/bin/lilypond-book", line 44, in ? import lilylib as ly ImportError: No module named lilylib Is some file missing from the distribution? Nicola ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
Trevor Bača schrieb: > Hi Max, > > Check chapter 11.4 in the next couple of days for a substantial > expansion of the proportional docs, which goes into a considerable > amount of detail on all of these settings, complete with pairs of > contrasting examples. Am I correct to suppose that these changes are penned by you? In any case, I would like to thank you (probably on behalf of a lot of other users as well) for pointing out so many useful facts in recent mails (very aptly put at that) and especially for the amount of work you have recently invested in clearing up and expanding certain parts of the documentation. Thanks! Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to align markup \column to the right
Oh yes I see
hmm
A old solution is
\override Staff.InstrumentName #'space-alist =
#'((left-edge extra-space . 0.0))
but no work with "2.8.8"
sorry !
\relative c' {
\override Staff.InstrumentName #'space-alist =
#'((left-edge extra-space . 0.0))
\set Staff.instrument =
\markup {
\column { \right-align { \tiny { A Bela Bartok 1940 }}}
}
c4 d e f g a b c
}
Well, due to other bugs in lilypond, I use 2.8 - which has this buggy.
Bert
Martial írta:
Hi
You don't obtain this (see image joint) with the syntaxe ?
\relative c' {
\set Staff.instrumentName =
\markup {
\column { \right-align { \tiny {
"A""Bela" "Bartok" "1940" }}
}
}
c4 d e f g a b c}
That doesn't work correctly for me. It puts the text too much to the
left of the score.
Bert
Martial írta:
hi
try this :
\set Staff.instrumentName =
\markup {
\column {
\right-align {"A" \tiny "Bela" \tiny "Bartok" "1940" }
}}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond info file compilation
I'm the lilypond packager for Fedora, and recently received a bug report (https://bugzilla.redhat.com/bugzilla/show_bug.cgi?id=225410) that the lilypond entries in the main info file /usr/share/info are trying to find the info files in /usr/share/info/lilypond. If I just want them all installed in /usr/share/info, is there some configure or make option that I can invoke so that the info files are built this way to start with. Nothing I have tried seems to work other than running "sed -e s,lilypond/,, -i *.info" on the files before they are packaged, but this is kind of an ugly solution. Quentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
On 2/15/07, Maximilian Albert <[EMAIL PROTECTED]> wrote:
Trevor Bača schrieb:
> Hi Max,
>
> Check chapter 11.4 in the next couple of days for a substantial
> expansion of the proportional docs, which goes into a considerable
> amount of detail on all of these settings, complete with pairs of
> contrasting examples.
Am I correct to suppose that these changes are penned by you? In any
case, I would like to thank you (probably on behalf of a lot of other
users as well) for pointing out so many useful facts in recent mails
(very aptly put at that) and especially for the amount of work you have
recently invested in clearing up and expanding certain parts of the
documentation. Thanks!
Thanks, Max. Yeah, I've just finished up a lot of writing on vertical
spacing and proportional notation (which is really a type of
horizontal spacing).
You're right that I've been on the list a lot recently. I'm between
pieces right now for a couple of days and I figured that maybe
updating the docs and answering some questions would be a good way to
give back to the project a little bit. I've gotten an incredible
amount of help from everybody on the list now for almost two years,
and my last two scores wouldn't be what they are without lots of input
from Mats, Graham, Han-Wen, and everyone.
FWIW, I thought maybe initially I would tackle a rewrite of all of
chapter 11, but I got (kinda) confounded trying to straighten out the
different settings in \paper and \layout, and so I contented myself
with the vertical and horizontal spacing stuff.
But FWIW, I think I can now explain the following question, which had
eluded me for a long time:
Question: The indent setting works in *either* a \layout block or a
\paper block. The horizontal-shift setting works *only* in a \paper
block. Why?
(And the at-home audience is invited to try answering this question
before reading on. This is an excellent check to see if you understand
this particular part of the program's structure.)
< scroll down for spoiler >
OK, intuitively would certainly wouldn't think that indent and
horizontal-shift are somehow structurally different. One moves the
first system to the right. The other moves all systems to the right.
But they are structurally different.
The first observation is that ALL of the \layout and \paper settings
that we use (like indent, horizontal-shift, ragged-right,
ragged-bottom, between-system-padding, all that stuff) can go into a
\paper block. Surprised? Try running some tests on sample files. If
you're used to thinking that indent "belongs" in a \layout block, it
can be a surprise to find out that indent can just as happily live in
a \paper block.
(The meanings of indent in \layout versus \paper differ, but we'll get
to that in a moment.)
The second observation is that only a "special subset" of the \layout
and \paper settings that we use can go in a \layout block. An example
of such a \layout-allowable setting is indent.
So this means that \layout is a much more exclusive club that \paper
-- \paper will let almost anybody in, but \layout is really picky.
(Equivalently, \layout settings are a true subset of \paper settings.)
So what makes \layout picky? In order to work in a \layout block, a
setting must be *able to change from one score to the next score to
the next*. Thinking about indent, it is certainly possible to stick
three short scores on a page and have the first one be indented 0, the
second one be indented 50, and the third one be indented 100.
%%% BEGIN %%%
\version "2.11.18"
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { indent = #0 }
}
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { indent = #50 }
}
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { indent = #100 }
}
%%% END %%%
This intputfile makes perfect sense and renders great. And this makes
our point that indent can vary from one score to the next score to the
next score, even with all three scores sharing a single page.
Now consider horizontal-shift. Can horizontal-shift vary from one
score to the next to the next with all scores sharing a page? No. By
definition, that is impossible because horizontal-shift is defined as
affecting *all systems of music on a page*. If one page of ouput has 6
sytstems, then horizontal-shift will shift all 6 systems no matter
whether all 6 systems belong to one score, to two scores, to three
scores, or to more scores.
Therefore it makes no sense whatsoever to have an input file like this:
%%% BEGIN %%%
\version "2.11.18"
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { horizontal-shift = #0 }
}
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { horizontal-shift = #50 }
}
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { horizontal-shift = #100 }
}
%%% END %%%
This inputfile makes no sense. But -- quite unfortunately -- the file
compiles without issuing a warning. You should try running the file.
Because it compiles but the horizont
Re: lilypond info file compilation
Quentin Spencer wrote: I'm the lilypond packager for Fedora, and recently received a bug report (https://bugzilla.redhat.com/bugzilla/show_bug.cgi?id=225410) that the lilypond entries in the main info file /usr/share/info are trying to find the info files in /usr/share/info/lilypond. If I just want them all installed in /usr/share/info, is there some configure or make option that I can invoke so that the info files are built this way to start with. Nothing I have tried seems to work other than running "sed -e s,lilypond/,, -i *.info" on the files before they are packaged, but this is kind of an ugly solution. I believe that the fink maintainer had a similar problem; the fink patch contains lines such as: diff -ruN lilypond-2.10.12-orig/Documentation/user/lilypond.tely lilypond-2.10.1 2/Documentation/user/lilypond.tely -* LilyPond: (lilypond/lilypond). The GNU music typesetter. +* LilyPond: (lilypond). The GNU music typesetter. Have a look at the fink patch for lilypond and lilypond-unstable. HTH, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
problem with \repeat and \alternative
Hi,
I have a song with repeats and different endings. There´s a first
ending and one for the 2nd and 3rd time, but if I do it like that:
BEGIN
\version "2.10.16"
\relative c'' {
c1
\repeat volta 3 {
c4 c c c
}
\alternative {
{
% first ending
d d d e
}
{
% 2nd and 3rd ending
d c b a
}
}
}
END
I get a box named "1.-2." and one named "3.". Thats how it´s described
in the docs. But how to change this behavior? If I double the part for
2nd and 3rd ending I get three boxes - one for 1., one for 2. and one
for 3. - thats noch what I want, b/c 2 and 3 are the same.
Dominic
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem with repeat and alternative
Read the section on Manual repeat commands.
/Mats
Quoting Dominic Neumann <[EMAIL PROTECTED]>:
Hi,
I have a song with repeats and different endings. There´s a first
ending and one for the 2nd and 3rd time, but if I do it like that:
BEGIN
\version "2.10.16"
\relative c'' {
c1
\repeat volta 3 {
c4 c c c
}
\alternative {
{
% first ending
d d d e
}
{
% 2nd and 3rd ending
d c b a
}
}
}
END
I get a box named "1.-2." and one named "3.". Thats how it´s described
in the docs. But how to change this behavior? If I double the part for
2nd and 3rd ending I get three boxes - one for 1., one for 2. and one
for 3. - thats noch what I want, b/c 2 and 3 are the same.
Dominic
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond info file compilation
Quentin Spencer escreveu: > I'm the lilypond packager for Fedora, and recently received a bug report > (https://bugzilla.redhat.com/bugzilla/show_bug.cgi?id=225410) that the > lilypond entries in the main info file /usr/share/info are trying to > find the info files in /usr/share/info/lilypond. If I just want them all > installed in /usr/share/info, is there some configure or make option > that I can invoke so that the info files are built this way to start > with. Nothing I have tried seems to work other than running "sed -e > s,lilypond/,, -i *.info" on the files before they are packaged, but this > is kind of an ugly solution. > > Quentin > Hi, Lilypond uses images in the info files. You should be installing the info files with it's accompanying 400-odd PNG files. Then, putting it into a subdirectory does make sense. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
Trevor Bača wrote: [... a very long and equally excellent description concerning the scope of layout settings ...] > In the end I think Han-Wen is right that the naming of \layout and > \paper is unfortunate. All the settings in \layout and \paper are very > clearly "page layout" settings, which clashes verbally with both the > reserved words "\layout" and "\paper". Maybe the following two slight > changes would help: > > 1. Rename \layout and \paper to \score-layout and \book-layout, > respectively. This will force "single-score" users to be aware that > there's this \book construct that they never explicitly use. BUT it > has the tremendous improvement of explaining why some page layout > settings live in one place and not the other. > > 2. Allow no \book-layout settings in a \score-layout block at all (as > they are ineffectual anyway). This will make clear that there *is* a > distinction between the two blocks, which is hidden now by the silent > pass-overs. > > 3. Keep the allowable (scoped) positions of the newly renamed > \score-layout and \book-layout exactly the same as they are now. That > is, \score-layout will be able to live at any of three levels of scope > -- inside a single score (affecting only that score), or inside a book > (providing defaults for all scores living inside that book), or at > toplevel (providing defaults for all scores living inside all books > living inside that inputfile). Likewise, \book-layout would be able to > live at any of two levels of scope -- inside a book (affecting just > that one book), or at toplevel (providing defaults for all books > living inside that inputfile). This sounds like a great and truly helpful proposal. However, when I was casually following the recent discussion about renaming the paper block (being even much more ignorant about the issue than you were when starting it) I thought the same about each and every one of the successively refined proposals you made in that thread. ;) So I better wait for the people with true insight to respond. But if it turns out to be accepted by the developers then I strongly support it. (BTW, the same is true of your "comment to the gurus" made earlier in your mail). Thanks again. You live and learn. Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Vertical position of lyrics
Hi all, is there an easy way to set the vertical distance of a lyrics line from the corresponding staff? In my score the lyrics are too far away from the staff. Lilyond 2.11.18 on SUSE 10.2 I can send the source if this is non-trivial. Best regards, Robert Memering ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling the very first bit of "preferatory" spacing?
On 2/15/07, Maximilian Albert <[EMAIL PROTECTED]> wrote:
Trevor Bača wrote:
[... a very long and equally excellent description concerning the scope
of layout settings ...]
> In the end I think Han-Wen is right that the naming of \layout and
> \paper is unfortunate. All the settings in \layout and \paper are very
> clearly "page layout" settings, which clashes verbally with both the
> reserved words "\layout" and "\paper". Maybe the following two slight
> changes would help:
>
> 1. Rename \layout and \paper to \score-layout and \book-layout,
> respectively. This will force "single-score" users to be aware that
> there's this \book construct that they never explicitly use. BUT it
> has the tremendous improvement of explaining why some page layout
> settings live in one place and not the other.
>
> 2. Allow no \book-layout settings in a \score-layout block at all (as
> they are ineffectual anyway). This will make clear that there *is* a
> distinction between the two blocks, which is hidden now by the silent
> pass-overs.
>
> 3. Keep the allowable (scoped) positions of the newly renamed
> \score-layout and \book-layout exactly the same as they are now. That
> is, \score-layout will be able to live at any of three levels of scope
> -- inside a single score (affecting only that score), or inside a book
> (providing defaults for all scores living inside that book), or at
> toplevel (providing defaults for all scores living inside all books
> living inside that inputfile). Likewise, \book-layout would be able to
> live at any of two levels of scope -- inside a book (affecting just
> that one book), or at toplevel (providing defaults for all books
> living inside that inputfile).
This sounds like a great and truly helpful proposal. However, when I was
casually following the recent discussion about renaming the paper block
(being even much more ignorant about the issue than you were when
starting it) I thought the same about each and every one of the
successively refined proposals you made in that thread. ;) So I better
wait for the people with true insight to respond. But if it turns out to
be accepted by the developers then I strongly support it. (BTW, the same
is true of your "comment to the gurus" made earlier in your mail).
Ugh. I retract.
There's a very key point that's been wrong (still!) in my thinking on
this. I'm wrong about the levels of scope at which \layout and \paper
can currently live.
Here's what my thinking on scoping has been:
> 3. Keep the allowable (scoped) positions of the newly renamed
> \score-layout and \book-layout exactly the same as they are now. That
> is, \score-layout will be able to live at any of three levels of scope
> -- inside a single score (affecting only that score), or inside a book
> (providing defaults for all scores living inside that book), or at
> toplevel (providing defaults for all scores living inside all books
> living inside that inputfile). Likewise, \book-layout would be able to
> live at any of two levels of scope -- inside a book (affecting just
> that one book), or at toplevel (providing defaults for all books
> living inside that inputfile).
This isn't right. I was thinking that \layout blocks can live at any
of the three levels of scope below:
%%% THREE WRONG LEVELS OF SCOPE FOR \layout %%%
\layout { } "top-level \layout block"
\book {
\layout { } "book-level \layout block"
\score {
... music ...
\layout { } "score-level \layout block"
}
}
%%% END %%%
But "book-level" \layout blocks do not, in fact, exist. If you write a
book-level \layout block, lily will simply tell you to use a
(book-level) \paper block instead. For example:
%%% BEGIN %%%
\version "2.11.18"
\book {
\layout { indent = #50 }
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { }
}
\score {
\repeat unfold 20 { c'4 c'4 c'4 c'4 }
\layout { }
}
}
%%% END %%%
GNU LilyPond 2.11.18
Processing `0120.ly'
Parsing...
0120.ly:5:3: error: need \paper for paper block
\layout { indent = #50 }
So damn.
Note, just for reference, that while a \paper block can *not* live at
score level, a \paper block can appear either at book level or top
level. So the correct assessment of the different levels of scope for
\layout and \paper blocks is given by this table.
\layout \paper
top level YES YES
book level NO YES
score level YES NO
So nevermind. I've been trying to get to a point where we (and the
docs) can refer to "score layout" settings (like indent) and "book
layout" settings (like horizontal-shift) and not have settings
"migrating" between the \layout and \paper blocks. But trying to
produce two disjunt groups of settings gets confounded by the fact
that \paper not only holds settings that are *inherently* "book
layout" settings (like horizontal-shift) but also holds settings that
are inherently "score layout" settings (like indent) *when, and only
when, you want s
Fixed width measures (or another good way to do this)
I'm working on some unmetered music that essentially needs to fall into two columns--cantor on the left, congregation on the right. It would be great if I could get all the measures to be of the same width so that the columns would line up neatly. Searching the mailing list, the only solution I found is to add a row of invisible 32nd notes (or whatever duration I like) in each measure. Since all the measures aren't the same musical length, I'd have to do some hefty duration-scaling to make it come out right, and I'd rather not if there's another way to do this. Is there? Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
beaming in 6/8
Hi,
I started using lilypond some weeks ago, the results look great so
far, but by now I have accumulated a few questions. I'll post them one
by one.
Take a look at the following snippet:
\version "2.10.7"
\score {<<\time 6/8 \relative c' {c8. d16 e f | #(set-time-signature
12 16 '(3 3 3 3)) c8. [d16 e f]}>>}
Is there a way to achieve the second look in 6/8? That is, can I have
a single beam between the dotted 8th and the first 16th, and double
beams all the way between the 16th? Could this be achieved by changing
the meter but not displaying it?
Thanks,
Imre
PS: Win XP, Lily 2.10.7
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fixed width measures (or another good way to do this)
I suggest programming lilypond to format ragged right ##f (justified) single bars of length 4 inches for each the cantor and congregation. Then use lilypond-book to make individual eps (or pdf) files. You can then paste those images into a larger document in the two 4 inch each columns you are looking for. Or, you can use latex (or pdflatex) to make the two column format. If you send some samples, I'd be glad to play around with it. I'm getting better at the lilypond-book stuff. Fred Leason On Feb 15, 2007, at 7:43 PM, Geoff Horton wrote: I'm working on some unmetered music that essentially needs to fall into two columns--cantor on the left, congregation on the right. It would be great if I could get all the measures to be of the same width so that the columns would line up neatly. Searching the mailing list, the only solution I found is to add a row of invisible 32nd notes (or whatever duration I like) in each measure. Since all the measures aren't the same musical length, I'd have to do some hefty duration-scaling to make it come out right, and I'd rather not if there's another way to do this. Is there? Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Different notehead types sharing a stem in double-stops
Hello,
For string instruments, double-stops that involve all four chords are usually
written with quarter-note heads for the bottom two notes, even if the rest of
the chord is a half note. This is because the bottom two chords are struck only
momentarily, like grace notes. Consider, for example:
\paper { ragged-right = ##t }
\new Score \relative c' {
\clef treble \key g \minor \time 3/4 \cadenzaOn
r4\< \times 2/3 { d'8[ e\tenuto( f\tenuto)] } \bar "|"
2\f g''4 g \bar "|"
\cadenzaOff
}
Here all four heads should touch the same upward stem, and the lower G and D
should have filled-in heads, while the B-flat and upper G should have open
heads. But, I can't figure out how to entice Lilypond to do such a thing. I
tried separate voices, but Lilypond either split the stems (reasonable if they
actually were different parts) or complained of note collisions (when I tried
forcing the stem directions). In any case, the crescendo wouldn't end on the
forte with the anonymous separate voices hack. I figure there's a way to
override the note heads, but I can't make out the necessary scheme. Any ideas?
Thanks,
Michael Culbertson
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical position of lyrics
somewhere around this location in the documentation
lilypond-2.11.12-1.documentation/Documentation/user/lilypond/Vocal-
ensembles.html#Vocal-ensembles
it illustrates that
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
\override VerticalAxisGroup #'minimum-Y-extent =
#'(-3 . 3)
}
}
has something to do with the location of lyrics to the staff. I
suggest playing around with that.
On Feb 15, 2007, at 5:12 PM, Robert Memering wrote:
Hi all,
is there an easy way to set the vertical distance of
a lyrics line from the corresponding staff?
In my score the lyrics are too far away from the
staff.
Lilyond 2.11.18 on SUSE 10.2
I can send the source if this is non-trivial.
Best regards,
Robert Memering
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond 2.10.17-1: lilypond-book ImportError
You explicitly called lilypond-book. I suspect you do not have the bin directory in your PATH. lilypond-book reads your PATH to find where lilylib is located. Your path should look like this: PATH=/Library/Frameworks/Python.framework/Versions/Current/bin:.:/opt/ local/bin:/opt/local/sbin:/usr/local/bin:/usr/local/sbin:/usr/X11R6/ bin:/bin:/sbin:/usr/bin:/usr/sbin:/Applications/LilyPond.app/Contents/ Resources/bin:/usr/local/bin:/usr/local/teTeX/bin/powerpc-apple- darwin-current I do this by adding the following two lines to my /etc/profile file: PATH="$PATH:/Applications/LilyPond.app/Contents/Resources/bin" export PATH There are more elegant ways of doing this, but this works. Good luck! Fred Leason On Feb 15, 2007, at 11:02 AM, nicola wrote: Hi, when executing lilypond-book contained in Lilypond.app (Mac OS X), I get the following error: Traceback (most recent call last): File "/Applications/TeX/LilyPond.app/Contents/Resources/bin/lilypond-book", line 44, in ? import lilylib as ly ImportError: No module named lilylib Is some file missing from the distribution? Nicola ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Different notehead types sharing a stem in double-stops
On Fri, Feb 16, 2007 at 03:37:16AM +, Michael Culbertson wrote:
> Hello,
>
> For string instruments, double-stops that involve all four chords are
> usually
> written with quarter-note heads for the bottom two notes, even if the rest of
> the chord is a half note. This is because the bottom two chords are struck
> only
> momentarily, like grace notes. Consider, for example:
>
> \paper { ragged-right = ##t }
> \new Score \relative c' {
> \clef treble \key g \minor \time 3/4 \cadenzaOn
> r4\< \times 2/3 { d'8[ e\tenuto( f\tenuto)] } \bar "|"
> 2\f g''4 g \bar "|"
> \cadenzaOff
> }
>
> Here all four heads should touch the same upward stem, and the lower G and D
> should have filled-in heads, while the B-flat and upper G should have open
> heads. But, I can't figure out how to entice Lilypond to do such a thing. I
> tried separate voices, but Lilypond either split the stems (reasonable if they
> actually were different parts) or complained of note collisions (when I tried
> forcing the stem directions). In any case, the crescendo wouldn't end on the
> forte with the anonymous separate voices hack. I figure there's a way to
> override the note heads, but I can't make out the necessary scheme. Any
> ideas?
>
> Thanks,
> Michael Culbertson
I'm not able to construct an example for you, but I think the \tweak
command might do just what you want. Check section 9.3.5 of the 2.11
manual (it should alkso work in 2.10).
--
=
Cameron Horsburgh
=
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
\n in strings causes errors
Hi,
I'm using Lilypond 2.11.18-1 on Mac OS X Intel 10.4.8.
If I have the following:
\header {
copyright = "A\nB"
}
I get the following error message, even though the Lilypond doc says
strings may include newlines as \n:
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+100A, file
/Applications/Lilypond/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf//CenturySchL-Roma.otf
continuing, cross fingers
Newline is a non-printable character, so I guess the font left out its name.
What I'm really trying to do is have a multiline, single-spaced
copyright message, so I can spell out the Creative Commons license as
it's recommended to be printed:
copyright = \markup { \teeny \center-align
{ "Copyright © 1994 Michael David Crawford"
"This work is licensed under the Creative Commons Attribution-Share
Alike 2.5 License."
"To view a copy of this license, visit"
"http://creativecommons.org/licenses/by-sa/2.5/";
"or send a letter to"
"Creative Commons, 543 Howard Street, 5th Floor, San Francisco,
California, 94105, USA." } }
\center-align double-spaces the lines of text, so the above takes up a
lot of space. I haven't found a way yet to single-space it.
Thanks for your help,
Michael David Crawford
[EMAIL PROTECTED]
http://www.geometricvisions.com/
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
