Re: lilypond, guile, qt integration
I forward this to lilypond-devel, which is more appropriate for discussions about this experimental feature. As far as I know, this experimental feature was introduced in 2004, see http://lists.gnu.org/archive/html/lilypond-devel/2004-05/msg00160.html but hasn't been maintained since then and it seems that all remainders of this experiment has been removed in the current source code. Perhaps you could use the SVG backend for something useful. /Mats Matevž Jekovec wrote: Hi guys. The last time I checked LilyPond supported guile as a gtk frontend (a simple canvas actually) where Lilypond rendered its work. I don't know if I completely understood the concept now, but I'm looking for a Qt4 widget which LilyPond renders to. What I would like is to create a print preview option in Canorus which exports notes to Lily fileformat and runs it. My current plan is to export the notes, run Lily and launch an external PDF viewer to show the preview and/or print it. This brings lots of problems beside (PDF viewer is external, what if user doesn't have any, application is cross-platform etc.). So I thought any of you guys already worked on this or have some experience on it. Regards. -Matevž ___ 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: Natural forced alteration not played on midi file
This seems very strange. Have you verified that the result is correct in the
printed output? I really hope you that you have read and understood
the warning in
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Accidentals-and-key-signatures#Accidentals-and-key-signatures
If you still have a problem, could you please send a small example to the
mailing list, which illustrates the problem. The following example works
well here, both the MIDI and printed output coincide:
\version "2.10.0"
\score{
\relative c'{
\key f \major
bes b c d es e f g a bes
}
\midi{}
\layout{}
}
/Mats
LEDOCQ-BOCCART wrote:
Hi,
I 've written a piece in F major which contains b bemol notes an b
natural ones (using Lilypond 2.10.23)
The Midi generated file - simply activated in the following code -
\midi {
}
plays the piece OK except for the b natural which are played b bemol
i.e. 1/2 tone too low.
Is there a way to correct to get the correct tune?
Thanks for answering
Charlie
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Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: fontsize of dynamik
Just override the font-size property on the corresponding layout object.
The font size actually used is the sum of the value given by fontSize and
font-size (these values are still counted relative to the overall staff
size).
kleiner = {\set fontSize = #-3 \override DynamicText #'font-size = #+3 }
normal = {\unset fontSize \revert DynamicText #'font-size }
\relative { \kleiner bes8_\markup {\italic "as fast as possible"}\f b
bes cis \normal r2 }
/Mats
Stefan Thomas wrote:
Dear Lilypond-users,
how can I change the fontsize of the "forte" in the below qoted file
to normal size?
kleiner = \set fontSize = #-3
normal = \unset fontSize
\relative { \kleiner bes8_\markup {\italic "as fast as possible"}\f b
bes cis \normal r2 }
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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
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Re: Natural forced alteration not played on midi file
Another possibility is that he's using a language that defines "b"
as "bes" (instead of "h" for "b").
A minimal example will clear this up immediately.
Cheers,
- Graham
On Mon, 28 Jan 2008 10:07:05 +0100
Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> This seems very strange. Have you verified that the result is correct
> in the printed output? I really hope you that you have read and
> understood the warning in
> http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Accidentals-and-key-signatures#Accidentals-and-key-signatures
>
> If you still have a problem, could you please send a small example to
> the mailing list, which illustrates the problem. The following
> example works well here, both the MIDI and printed output coincide:
>
> \version "2.10.0"
> \score{
> \relative c'{
> \key f \major
> bes b c d es e f g a bes
> }
> \midi{}
> \layout{}
> }
>
> /Mats
>
> LEDOCQ-BOCCART wrote:
> > Hi,
> >
> > I 've written a piece in F major which contains b bemol notes an b
> > natural ones (using Lilypond 2.10.23)
> > The Midi generated file - simply activated in the following code -
> >
> > \midi {
> > }
> >
> > plays the piece OK except for the b natural which are played b
> > bemol i.e. 1/2 tone too low.
> >
> > Is there a way to correct to get the correct tune?
> >
> > Thanks for answering
> >
> > Charlie
> >
> >
> > ___
> > 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
> =
>
>
>
> ___
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Re: fontsize of dynamik
Dear Mats,
thanks, it worked!
Mats Bengtsson schrieb:
Just override the font-size property on the corresponding layout object.
The font size actually used is the sum of the value given by fontSize and
font-size (these values are still counted relative to the overall
staff size).
kleiner = {\set fontSize = #-3 \override DynamicText #'font-size = #+3 }
normal = {\unset fontSize \revert DynamicText #'font-size }
\relative { \kleiner bes8_\markup {\italic "as fast as possible"}\f b
bes cis \normal r2 }
/Mats
Stefan Thomas wrote:
Dear Lilypond-users,
how can I change the fontsize of the "forte" in the below qoted file
to normal size?
kleiner = \set fontSize = #-3
normal = \unset fontSize
\relative { \kleiner bes8_\markup {\italic "as fast as possible"}\f
b bes cis \normal r2 }
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again: as fast as possible
Dear Lilypondusers,
I've read the mail concerning the slashed beams under
http://lists.gnu.org/archive/html/lilypond-user/2006-12/msg00253.html.
But there is one thing, that isn't convincing for me:
in my opinion the slash is too short.
Is there a possibility to make it longer?
For myself I made experiments with postscript. I made a macro for the slash:
slash = \markup {
\postscript #"0.1 setlinewidth
-0.3 1 moveto
2.5 4.5 lineto
stroke" }
But now the starting position and the length are not always, what I need.
Is it possible to write a macro for the "moveto" and the "lineto" in the
markup command?
I'm thinking of something like
slashposition = {position of "moveto" position of "lineto"}
Thanks for any advice!
Stefan
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Re: again: as fast as possible
Have you seen
http://lists.gnu.org/archive/html/lilypond-user/2007-04/msg00422.html
See also the first solution of
http://lists.gnu.org/archive/html/lilypond-user/2006-12/msg00921.html
with Han-Wen's follow-up, if you want to make a parameterized
markup command.
/Mats
Stefan Thomas wrote:
Dear Lilypondusers,
I've read the mail concerning the slashed beams under
http://lists.gnu.org/archive/html/lilypond-user/2006-12/msg00253.html.
But there is one thing, that isn't convincing for me:
in my opinion the slash is too short.
Is there a possibility to make it longer?
For myself I made experiments with postscript. I made a macro for the
slash:
slash = \markup {
\postscript #"0.1 setlinewidth
-0.3 1 moveto
2.5 4.5 lineto
stroke" }
But now the starting position and the length are not always, what I need.
Is it possible to write a macro for the "moveto" and the "lineto" in
the markup command?
I'm thinking of something like
slashposition = {position of "moveto" position of "lineto"}
Thanks for any advice!
Stefan
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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
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Lilypond Ancient notation
Essayez ceci: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Ancient-notation#Ancient-notation Gordon+ -- Fr. Gordon Gilbert Penetanguishene, ON ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: modern glissando
As others have already pointed out, you seem to have some strange
email program that removes all backslashes from your email. I
strongly encourage you to find some alternative email program that
handles backslashes better, to avoid confusion on this mailing list.
In your example below, I don't understand why you have specified the
\voiceOne,
which, among others, causes the misplaced rests that you are asking about.
If you try without the \voiceOne,
\version "2.11.34"
\relative c {
\clef bass << { r8 bes \mf \>\glissando \hideNotes c \! s8 | } \new
Voice { s4 \unHideNotes r4 } >> }
the collision avoidance routines in LilyPond will still move the quarter
note rest
to avoid collision with the invisible note at the end of the glissando.
One solution
is to manually specify the rest location using the \rest command (see
Sect. "Rests"
in the manual).
/Mats
[EMAIL PROTECTED] wrote:
Dear lilypond-users,
a question concerning modern glissando.
Why is in the below quoted file the position of the quarter rest so high?
What can I do to change this?
Thanks for Your help!
version "2.11.34"
relative c {
clef bass << { voiceOne r8 besmf>glissando hideNotes c! s8 | } new Voice { voiceOne
s4 unHideNotes r4 } >> }
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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
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Re: independent spacing
Because of the modular structure of LilyPond, it might be possible to
obtain what
you describe by moving a number of engravers from the Score level to the
Staff level, but my intuition tells me that it's very likely that you
break something
fundamental if you really move all spacing related stuff to the Staff
level.
So, my guess is that it's best to keep to some kind of mathematical
relationship
between the staves. Then, the simplest solution is to scale the
durations, for example
kleiner = {\set fontSize = #-3}
normal = {\unset fontSize}
\relative <<
{ \kleiner bes8*5/7_\markup {\italic "as fast as possible"} b bes cis
s8*8/7 \normal r2 | }
{\newSpacingSection c4 g' c2 | }
>>
You need some simple math to make the durations match in the end.
For example, in the code above, we have 4 shortened eighth notes that
only take 4*5/7 = 20/7 of the duration of an ordinary eighth note, so to
fill half
the measure (4*7/7 = 28/7 eighth note durations) you have to fill in with
(28-20)/7 = 8/7 eighth note durations of spacer notes. Alternatively, you
could also have scaled the duration of the half note correspondingly.
I hope you have read the section on Polymetric notation, which explains
different tricks to use in these situations. For example, I could have
used the \compressMusic function instead of scaling each duration
separately.
Also, if you read the section on Manual beams, you will find some
information
on the \featherDurations function, which cannot only be used together with
feathered beams, but just scales the duration of each of a sequence of notes
so that the total duration remains the same, but the horizontal placement
corresponds to an accelerando or ritardando with the specified ratio
between
the duration of the first and last note.
/Mats
Stefan Thomas wrote:
Dear Lilypond-Users,
I have a question concerning horizontal space in different staves.
I would like to have the horizontal spacing in the first staff
completely independent from the spasing in the second.
It means, I don't want to have the 2nd bes at the same time as the g
in the second voice.
Is there a possiblitie to reach this aim?
Here a short example:
kleiner = \set fontSize = #-3
normal = \unset fontSize
\relative << { \kleiner bes8_\markup {\italic "as fast as possible"} b
bes cis \normal r2 }
{\newSpacingSection c4 g' c2 } >>
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Signal Processing
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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
=
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adding to context voice conflicts with instrumentname
Dear all
By means of the (simplified) code below, I wish to hide some part of the
original music using "\context Voice = ...". It is important that the
original notes and the hide/unhide specifications remain separated
(ideally they come at the end of the score-block)
Problem: this stops working when I add an instrumentname to the original
data. Suddenly, the additions go in a separate Staff. Does anyone knows
where this conflict arises, so that I can sort it out?
Many thanks
Simon
Musicology Department
K.U.Leuven (Belgium)
--- CODE ---
\version "2.10.33"
\score { <<
\new Staff {
\set Staff.instrumentName = "name"% OMITTING THIS LINE ...
\new Voice = "V" { d'2 e' f' g' f' e' d'1 }
}
% other Staves and Voices go here
\context Voice = "V" { s2 \hideNotes s1 \unHideNotes }% ...
MAKES THIS LINE WORK PROPERLY
>> }
Disclaimer: http://www.kuleuven.be/cwis/email_disclaimer.htm
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acciaccatura stem direction
Hi, could someone help me with this: I have a polyphonic piece of music(2 voices), so basically voice #1=stems up, voice #2=stems down. Now I want acciaccatura notes in voice #2 to have their stems pointing up. Is there any way to redefine this behavior or do I have to explictitly put \stemup \stemdown into each acciaccatura? Thanks... -- View this message in context: http://www.nabble.com/acciaccatura-stem-direction-tp15097942p15097942.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: acciaccatura stem direction
One solution is to add the following definition at the top of your file:
startAcciaccaturaMusic = {
s1*0(
\override Stem #'stroke-style = #"grace"
\once \override Stem #'direction = #UP
}
(I have used the default definition from the file .../ly/grace-init.ly
as a starting
point).
/Mats
irenicus wrote:
Hi,
could someone help me with this: I have a polyphonic piece of music(2
voices), so basically voice #1=stems up, voice #2=stems down. Now I want
acciaccatura notes in voice #2 to have their stems pointing up. Is there any
way to redefine this behavior or do I have to explictitly put \stemup
\stemdown into each acciaccatura?
Thanks...
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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]
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Re: independent spacing
Dear Mats,
thanks for Your long and informative answer.
I think I will try it with the scaling of Durations.
The real example is indeed a little more complex, because I have the
fast as possible sections at the same time with feathered beams, which
is, I think, mathematically more complex, but I will find a convincing
solution.
Again, thanks.
I think, I'm becoming more and more experienced.
Stefan
Mats Bengtsson schrieb:
Because of the modular structure of LilyPond, it might be possible to
obtain what
you describe by moving a number of engravers from the Score level to the
Staff level, but my intuition tells me that it's very likely that you
break something
fundamental if you really move all spacing related stuff to the Staff
level.
So, my guess is that it's best to keep to some kind of mathematical
relationship
between the staves. Then, the simplest solution is to scale the
durations, for example
kleiner = {\set fontSize = #-3}
normal = {\unset fontSize}
\relative <<
{ \kleiner bes8*5/7_\markup {\italic "as fast as possible"} b bes cis
s8*8/7 \normal r2 | }
{\newSpacingSection c4 g' c2 | }
>>
You need some simple math to make the durations match in the end.
For example, in the code above, we have 4 shortened eighth notes that
only take 4*5/7 = 20/7 of the duration of an ordinary eighth note, so
to fill half
the measure (4*7/7 = 28/7 eighth note durations) you have to fill in with
(28-20)/7 = 8/7 eighth note durations of spacer notes. Alternatively, you
could also have scaled the duration of the half note correspondingly.
I hope you have read the section on Polymetric notation, which explains
different tricks to use in these situations. For example, I could have
used the \compressMusic function instead of scaling each duration
separately.
Also, if you read the section on Manual beams, you will find some
information
on the \featherDurations function, which cannot only be used together
with
feathered beams, but just scales the duration of each of a sequence of
notes
so that the total duration remains the same, but the horizontal placement
corresponds to an accelerando or ritardando with the specified ratio
between
the duration of the first and last note.
/Mats
Stefan Thomas wrote:
Dear Lilypond-Users,
I have a question concerning horizontal space in different staves.
I would like to have the horizontal spacing in the first staff
completely independent from the spasing in the second.
It means, I don't want to have the 2nd bes at the same time as the g
in the second voice.
Is there a possiblitie to reach this aim?
Here a short example:
kleiner = \set fontSize = #-3
normal = \unset fontSize
\relative << { \kleiner bes8_\markup {\italic "as fast as possible"}
b bes cis \normal r2 }
{\newSpacingSection c4 g' c2 } >>
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Error trapping \chordmode in LP 2.11.37 for Windows
Hi all,
just about tore out my hair trying to figure out what was going on - I had a
simple little score for the Danish Amen - wouldn't compile, gave no error
messages in the log. I had cloned a much larger more complex piece into a
template, then edited to produce this. Finally, 45 minutes later, after
rebooting, checking for structure line-by-line, stripping out anything I
wasn't using, I finally decided to check my syntax...
...and sure enough, I had entered a chord as ees/bes4 instead of ees4/bes.
Fixed that and it worked great.
I've been relying on LP's log files to tell me when I'm messing up the
syntax. Once bitten twice shy, I guess. But still, even if it's a low
priority fix for you all, it seems like syntax errors like these should be
caught and reported in the log. So I'm reporting here, and hoping someone
will agree it's a bug and add it to the bug list.
I'll paste the files below. They're pretty small, but larger than your
typical snippet:
---begin ly file---
\version "2.11.36"#
(set-global-staff-size 13)
pipeSymbol = \bar "|"
\header {
title = "Danish Amen"
composer = "trad"
arranger = "."
poet = "."
source = "public domain composition"
copyright = "."
style = "acclamation"
maintainer = "Jay Ricketts"
maintainerEmail = "jay.ricketts (at) gmail.com"
lastupdated = "2008/Jan"
footer = "2008/1/28-1244"
}
mychords= \chordmode {
ees2 bes c:min g:min f:min/aes ees/bes4 bes:7 ees1
}
sopranoNotes = \relative {
\time 4/4
\key ees \major \clef treble \set Staff.midiInstrument = "voice oohs"
\bar ".|"
g'2 f ees d c4 f ees d ees1
\bar "|."
}
altoNotes = \relative {
\time 4/4
\key ees \major \clef treble \set Staff.midiInstrument = "voice oohs"
ees2 d c bes aes4 c bes ~ bes bes1
}
tenorNotes = \relative {
\time 4/4
\key ees \major \clef bass \set Staff.midiInstrument = "voice oohs"
bes2 bes g g f4 aes g aes g1
}
bassNotes = \relative {
\time 4/4
\key ees \major \clef bass \set Staff.midiInstrument = "voice oohs"
}
verseOne = \lyricmode {
A -- men, a -- men, a - - - men.
}
\score { {
<<
\new ChordNames \mychords
\context Staff = TrebStaff
<<
\context Voice = SVoice {\voiceOne \sopranoNotes }
\context Voice = AVoice {\voiceTwo \altoNotes}
>>
\context Lyrics = verseone \lyricsto SVoice \verseOne
\context Staff = BassStaff
<<
\context Voice = TVoice {\voiceOne \tenorNotes}
\context Voice = BVoice {\voiceTwo \bassNotes}
>>
>> } \layout { \paper {
system-count = #1
}
} }
---end ly file---
---begin log file---
# -*-compilation-*-
Changing working directory to: `C:/Documents and
Settings/mibjrr0/Desktop/LPFiles'
Processing `C:/Documents and Settings/mibjrr0/Desktop/LPFiles/Danish Amen.ly
'
Parsing...
---end log file---
Oh, and thanks again for a really great program.
Best,
Jay Ricketts
Music Director
St. Paul's Episcopal Church
Romeo, MI
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pedal position
Dear Lilypond-users,
in the below quoted snippet I'm not happy with the vertical priority of
the pedal-symbols and theDynamic.
I would like to have the "pp" , the crescendo hairpin etc. above the
pedal-signs. But I dont know ho to do.
"\once \override DynamicLineSpanner #'outside-staff-priority = #1"
doesn't work. What can I do?
Here is the short example:
\relative c''' {
\once \override DynamicLineSpanner #'outside-staff-priority = #1
c2~\pp\sustainDown \times 2/3 {c4 b bes} |
aes8\< f \times 2/3 {d8-. bes8-. ges8-.\p\sustainUp } r2 | }
Thanks for any advice,
Stefan
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Re: Tons de psaume
I'm sorry but "\markup" is not yet my best friend
I propose this code for Sr Catherine .
Amitiés de Paris
\version "2.11.37"
\header{
title = "Je bénirai le Seigneur"
subtitle = "Ps 33, 2-3, 4.6, 9.12, 14-15"
}
%%% PREMIERE PARTITION : LA LIGNE DU REFRAIN %%%
\relative c'
{
\clef treble
\key d \major
\time 4/4
\times 2/3 {d8^\markup { \italic Refrain } e fis} \times 2/3 {g fis e} d4.
d8 \times 2/3 {b' a g} a2.\fermata\bar "||"
\break
}
\addlyrics
{
Je bé- ni- rai le Sei- gneur tou- jours et par- tout.
}
% UN PEU DE MISE EN PAGE POUR AERER %
\markup
{ }
%%% PARTITION DES COUPLETS %%%
\relative c'
{
\clef treble
\key d \major
%% La commande ci-dessous permet de faire disparaître le "temps à la clef"
%%%
\override Staff.TimeSignature #'transparent = ##t
%%% La commande ci-dessous permet de réaliser des partitions sans mesure. Il
faut insérer \bar "|" pour forcer à insérer la barre de mesure%%%
\cadenzaOn
fis\breve^\markup { \italic Couplets } e4 \bar "|"
fis\breve b4 \bar "|"
b\breve a4 \bar "|"
g\breve d4 e a1
%%% Si on désire revenir à de la musique mesurée, on met \cadenzaOff %%%
\fermata
\bar "||"
}
\markup { }
%%% PAROLES DES COUPLETS
%%Couplet1
\markup { \fontsize #1 { Je bénirai le Seigneur en tout \bold temps } }
\markup { \fontsize #1 { Sa louange sans cesse en ma \bold bou- che} }
\markup { \fontsize #1 { Je me glorifierai dans le Sei \bold -gneur :
} }
\markup { \fontsize #1 { Que les pauvres m'entendent et \italic\bold soient
\italic\bold en \bold fê- te } }
\markup { }
%% Couplet2
\markup { \fontsize #1 { Magnifiez avec moi le Sei- \bold gneur } }
\markup { \fontsize #1 { Exaltons tous ensemble son \bold nom. } }
\markup { \fontsize #1 { Qui regarde vers lui resplendi- \bold ra,}}
\markup { \fontsize #1 { Sans ombre ni trouble \italic\bold au \italic\bold
vi- \bold sa- ge.}}
\markup { }
%% Couplet 3
\markup { ... }
Sr Catherine wrote:
>
> Bonjour,
> Je souhaite, avec Lilypond, écrire des tons de psaume, pour le chant de
> l'office.
> Pour cela, j'ai besoin d'une portée, avec une clé de sol, de ne pas avoir
> de
> temps à la clé, de mettre des "longa", des rondes, des noires, calées avec
> des
> barres de mesure.
> Je n'ai pas réussi à le faire avec la syntaxe !
> Pourriez-vous m'aider ?
> Merci !
> Sr Catherine
>
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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