Different horizontal spacing in instrumentName and shortInstrumentName
Dear All,
I noticed that version 2.11.41 produces a different "padding" between
the instrument name and the staff depending if I use instrumentName or
shortInstrumentName. The behaviour has changed somewhere after .39
where the spacing was still OK. I haven't tested it on .40.
-Risto
%
\version "2.11.39"
\paper
{
indent = 0\mm
ragged-right = ##t
}
\relative c'
{
\set Staff.instrumentName = "S"
\set Staff.shortInstrumentName = "S"
c1 \break
c1
}
%
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Re: Different horizontal spacing in instrumentName and shortInstrumentName
Oops. I used a wrong bug list address. Sorry. On 05/03/2008, Risto Vääräniemi wrote: > I noticed that version 2.11.41 produces a different "padding" between > the instrument name and the staff depending if I use instrumentName or > shortInstrumentName. The behaviour has changed somewhere after .39 > where the spacing was still OK. I haven't tested it on .40. Anyway... I installed the .40 and made a test. The same thing happens there, too. -Risto ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing around bar lines in 2.11.38 - links to example
2008/3/4, Steve Dunlop <[EMAIL PROTECTED]>: > http://www.nerstrand.net/8lpf.pdf I cannot open your pdf :( > I'm posting the whole thing because the overall spacing situation seems > to be contributing to the problem. Could you please put all of it in a single file, and maybe post it on the list? > Sources: > > http://www.nerstrand.net/8lpf.ly > http://www.nerstrand.net/bwv558.ly > http://www.nerstrand.net/organscore.ly The second link isn't working :( Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
use the feta font in GIMP
Hi, I'd like to add some little details to finalize a score, it would be a bit too hard for me to do this with lily so I had the idea to import the pdf in the GIMP and then add the final touch. It seems I can use the fonts but an object is often called with a something like "clefs.G" (it's just an example); if I type this in the gimp I won't have a G clef but just the text. Does Anyone have an idea? Thanks a lot. -- View this message in context: http://www.nabble.com/use-the-feta-font-in-GIMP-tp15848435p15848435.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
trill notes
Hi, A generic question: * If the key is C-minor, and I want a trill on (midinotes) D# and E, what would the correct trill notes be? Es E (neutral) -or- Es Fes * Will amateur players and professional players both agree on one method? * Is the correct method suitable for each instrument? Or are there instrument which would prefer a specific one of these options? gr. Maarten ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: trill notes
Hi Maarten, A generic question: * If the key is C-minor, and I want a trill on (midinotes) D# and E, what would the correct trill notes be? Depends on the context -- i.e., which note is the "fundamental" and which is the "embellishment", as well as the underlying harmonic structure (chords, etc.). * Is the correct method suitable for each instrument? Or are there instrument which would prefer a specific one of these options? Harmonically, there is only one "correct" answer -- from a performance/engraving perspective, there may be other ways of writing it which are easier to play (based on fingering, ease of sight- reading, etc.). Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
moving notes horizontal position
A stupide question!
I just would like to move the last notes a bit more to the end(aproach to
the bar) as it can be seem in the fotolog below
http://www.fotolog.com/lilypondstudent/45749639
here is a piece of code of the melody:
8\<\( \!
\times 2/3 { \f \)} \override Script #'padding = #1 2\fermata
Thx!
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moving notes horizontal position
A stupide question!
I just would like to move the last notes a bit more to the end(aproach to
the bar) as it can be seem in the fotolog below
http://www.fotolog.com/lilypondstudent/45749639
here is a piece of code of the melody:
8\<\( \!
\times 2/3 { \f \)} \override Script #'padding = #1 2\fermata
Thx!
--
View this message in context:
http://www.nabble.com/moving-notes-horizontal-position-tp15837807p15837807.html
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Re: trill notes
I would say that in C-minor (if the harmonic structure, context etc is C-minor) I would not use Fb, but E, because the flat version of IV grade seems very strange for me, while the neutralized version of III grade is common. Kieren MacMillan wrote: Hi Maarten, A generic question: * If the key is C-minor, and I want a trill on (midinotes) D# and E, what would the correct trill notes be? Depends on the context -- i.e., which note is the "fundamental" and which is the "embellishment", as well as the underlying harmonic structure (chords, etc.). * Is the correct method suitable for each instrument? Or are there instrument which would prefer a specific one of these options? Harmonically, there is only one "correct" answer -- from a performance/engraving perspective, there may be other ways of writing it which are easier to play (based on fingering, ease of sight-reading, etc.). Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- LilyPondTool is the editor for LilyPond files. See http://lilypondtool.organum.hu ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: trill notes
Hi Bert, I would say that in C-minor (if the harmonic structure, context etc is C-minor) I would not use Fb, but E, because the flat version of IV grade seems very strange for me, while the neutralized version of III grade is common. If it's a C-minor chord, and the trill is on degree III from above, I would personally use the flattened IV: in standard Western harmony the resolution tendency of a flattened note (e.g., IV-flat) is downwards, whereas the resolution tendency of a raised note (e.g., "neutralized" III) is not. In C# minor, would you use E sharp instead of F-natural? This kind of decision is definitely context- (and, often, person-) specific: no "rule" can ever be universally helpful. Best regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: moving notes horizontal position
The question is if you want to move the note to the right or if you want
to decrease the distance from the note to the bar line.
In the former case, read the last lines of section "Horizontal spacing
overview"
in the manual. In the latter case, you may rather want to play with scaling
the durations, for example
\times 2/3 { 8 \f 8*4\)} \override Script #'padding =
#1
e'>2*1/2\fermata
or
\times 2/3 { 8*2 \f \)} \override Script #'padding =
#1
e'>2*1/2\fermata |
I actually think that the default layout corresponds fairly well to common
notation practice, though.
/Mats
Zenith wrote:
A stupide question!
I just would like to move the last notes a bit more to the end(aproach to
the bar) as it can be seem in the fotolog below
http://www.fotolog.com/lilypondstudent/45749639
here is a piece of code of the melody:
8\<\( \!
\times 2/3 { \f \)} \override Script #'padding = #1
e'>2\fermata
Thx!
--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
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: moving notes horizontal position
On Tue, 2008-03-04 at 13:57 -0800, Zenith wrote:
> A stupide question!
There are no stupid questions...
> I just would like to move the last notes a bit more to the end(aproach to
> the bar)
>
> here is a piece of code of the melody:
>
> 8\<\( \!
> \times 2/3 { \f \)} \override Script #'padding = #1 e'>2\fermata
The easiest way is perhaps to do something like this:
\times 2/3 { \f \)}
s8 2*3/4
This inserts a quaver of space between the octave Es. To make up for
this we multiple the octave E minim by 3/4. Adjust those values until
you get what you want.
(I've just removed your fermata markup to make it clearer.)
--
Mark Knoop
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Re: use the feta font in GIMP
Hi, Matthieu, I'd like to add some little details to finalize a score, it would be a bit too hard for me to do this with lily so I had the idea to import the pdf in the GIMP and then add the final touch. I don't have the knowledge to comment about the font issue, but I do have a suggestion about the choice of tools. GIMP is not well-suited for working with vector images (such as PDFs). You'd probably be better off using a desktop publishing program, Scribus being an open-source option. -- Chris Snyder Credo Music Publishing +1 616-828-4436 http://www.credomusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: use the feta font in GIMP
Hi Matthieu, I'd like to add some little details to finalize a score, it would be a bit too hard for me to do this with lily so I had the idea to import the pdf in the GIMP and then add the final touch. I used to do the same thing: I would open the Lilypond-generated PostScript file in Illustrator and add the "final touch". However, I soon found ways of accomplishing in Lilypond everything that I would do in Illustrator -- and it kept all the "tweaks" in a single file/process. So, my question is... what are your "final touches"? Perhaps we can help you keep it in Lilypond. If not, I second Chris's suggestion to avoid GIMP, in favour of a vector-based application. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: use the feta font in GIMP
2008/3/5, Kieren MacMillan <[EMAIL PROTECTED]>: > If not, I second Chris's suggestion to avoid GIMP, in favour of a > vector-based application. Inkscape is free and can directly open .ps files generated by LilyPond :) http://www.inkscape.org/ Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Clef, key and tempo only at beginning of first system?
Is it possible to write the Clef, key and tempo only at the beginning of the first system of each score? -- View this message in context: http://www.nabble.com/Clef%2C-key-and-tempo-only-at-beginning-of-first-system--tp15861066p15861066.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: Clef, key and tempo only at beginning of first system?
sdfgsdhdshd wrote: Is it possible to write the Clef, key and tempo only at the beginning of the first system of each score? Certainly! Just turn off printing of these objects somewhere after the first note (but of course before the next line break). For example, it should work do add the following lines \override Score.KeySignature #'break-visibility = #all-invisible \override Score.Clef #'break-visibility = #all-invisible after the first note (or the first bar or wherever is suitable). /Mats -- = 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: moving notes horizontal position
Well,
i just would like to move the note to the right, if possible, moving just
one note, fixing all the others and music structure!
Mats Bengtsson-4 wrote:
>
> The question is if you want to move the note to the right or if you want
> to decrease the distance from the note to the bar line.
> In the former case, read the last lines of section "Horizontal spacing
> overview"
> in the manual. In the latter case, you may rather want to play with
> scaling
> the durations, for example
> \times 2/3 { 8 \f 8*4\)} \override Script #'padding =
> #1 e'>2*1/2\fermata
> or
> \times 2/3 { 8*2 \f \)} \override Script #'padding =
> #1 e'>2*1/2\fermata |
>
> I actually think that the default layout corresponds fairly well to common
> notation practice, though.
>
>/Mats
>
> Zenith wrote:
>> A stupide question!
>>
>> I just would like to move the last notes a bit more to the end(aproach to
>> the bar) as it can be seem in the fotolog below
>>
>> http://www.fotolog.com/lilypondstudent/45749639
>>
>> here is a piece of code of the melody:
>>
>> 8\<\( \!
>> \times 2/3 { \f \)} \override Script #'padding = #1 > e'>2\fermata
>>
>> Thx!
>>
>
> --
> =
> Mats Bengtsson
> Signal Processing
> School of Electrical Engineering
> Royal Institute of Technology (KTH)
> 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-user@gnu.org
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>
>
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Re: Autobeaming with subdivision in 4/4
Hugo Flordal wrote: On Tue, 4 Mar 2008, Hans Aberg wrote: On 4 Mar 2008, at 13:20, Hugo Flordal wrote: The problem is that you want to beam differently than implied by the time signature you want to write. So you want to beam in what might be described as 8 = (1+1)+(1+1)+(1+1)+(1+1), whereas the common interpretation of 4 is (1+1)+(1+1) or perhaps 1+1+1+1. If taken literally, your beaming implies that the 4/4 has one primary accent, and on the 1/4s have secondary accents. Then each 1/4 has a yet subordinate accent on the second 1/8 of it. And LilyPond does not a dedicated function doing just that, though it might be possible to do write one. Thank you for the reply, but I'm not sure I get it... Are you saying (indirectly) that when I set the beatLength to 1/8, I implicitly change the timing to 8/8? Should I then use 8/8 beaming rules? Is that why my 4/4 auto-beam rules do not work but the */* rules do? No. LilyPond currently only has ready-made high-level functions for some standard situations, where time signature and beaming agree. In other cases one will have to use low level functions, as I showed you. Hans Aberg Well, believe it or not, it _does_ work "as it should" when I change the rules to #(override-auto-beam-setting '(end * * 8 8) 1 4 'Voice) #(override-auto-beam-setting '(end * * 8 8) 1 2 'Voice) #(override-auto-beam-setting '(end * * 8 8) 3 4 'Voice) That is to say, 8/8 instead of 4/4. But the timing is still unchanged, i.e. 4/4, just like I wanted it. (I have only tried it for the example that I posted originally, perhaps this is a freak example, I'll experiment more later.) Clearly, this is not a bug---it is an accidental feature! Right! A look into the implementation of the auto-beaming functions reveal that they determine the denominator of the time signature from the beatLength setting and the numerator by dividing the measureLength by the beatLength. I honestly don't understand why this solution was used instead of reading both values from the |timeSignatureFraction. |In general, there seems to be several unfortunate couplings between the subdivision mechanism and the automatic beaming, which prohibits certain combination of settings. /Mats | /Mats | ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
automatic beaming in tuplets
hello list, i'm a beginner at lilypond, i know enough to enter music in a simple way. i still don't know enough of the language to try elaborate tweaks, but i find that usually lilypond is smart enough to produce good output for music that's not too complex. but i suspect that automatic beaming is not working correctly in certain cases involving tuplets. i include a short snippet with the corresponding image. i'm using a recently compiled 2.11.41 on linux. in 4/4 time signature, eight notes are beamed every 4 notes (i. e. into whole notes, m.1 in the example), which is of course correct; sixteenth notes are also correctly beamed every 4 notes into quarter notes (m.2). but 16th notes quintuplets and sextuplets are beamed into whole notes, even if that means including a pair of eight notes (m3 and m4). the same with 32nd septuplets (m5). normal 32nd notes, on the other hand, are beamed every 4 notes into eight notes, while i find that beaming every 8 notes is more standard. i find other anomalies, like the 8th notes quintuplet beamed together with the preceding 8th notes (m6). as a beginner, i don't know if these are bugs, my mistakes, or if that is the intended behavior. in the last case, could i ask the authors to reconsider the criteria used for automatic beaming? i know that you can adjust the beaming manually, or even change the automatic beam behavior globally. but i think that the defaults should be chosen in a way that requires as little manual tweaks as possible. thank you for your attention. best, lj beams.ly Description: Binary data <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Spacing around bar lines in 2.11.38 - links to example (fixed)
Sorry about the bad PDF. I had FTP'd it in text mode. I have fixed the original PDF: http://www.nerstrand.net/8lpf.pdf And put all the files together into one .ly file for ease of viewing: http://www.nerstrand.net/barexample.ly And for good measure posted the PDF from the barexample.ly file: http://www.nerstrand.net/barexample.pdf And fixed the broken link: http://www.nerstrand.net/bwv558.ly Sorry for the mixup, and thanks for looking. Steve > Original Message > Subject: Re: Spacing around bar lines in 2.11.38 - links to example > From: "Valentin Villenave" <[EMAIL PROTECTED]> > Date: Wed, March 05, 2008 4:15 am > To: "Steve Dunlop" <[EMAIL PROTECTED]> > Cc: lilypond-user@gnu.org > > > 2008/3/4, Steve Dunlop <[EMAIL PROTECTED]>: > > http://www.nerstrand.net/8lpf.pdf > > I cannot open your pdf :( > > > I'm posting the whole thing because the overall spacing situation seems > > to be contributing to the problem. > > Could you please put all of it in a single file, and maybe post it on the > list? > > > Sources: > > > > http://www.nerstrand.net/8lpf.ly > > http://www.nerstrand.net/bwv558.ly > > http://www.nerstrand.net/organscore.ly > > The second link isn't working :( > > Cheers, > Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
tuplet-type groups and bar check
Hello:
It seems when ever I use a grouping like this:
\time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f d] } |
The bar check sees that as 9/20 the score I'm working with has a
quarter note and acciacatura and a 5 gouping which *should* be 5 16th
in the time of 4 making one quarter note. This should be correct, yet
I get this error. I have a feeling this may be the culprit in a repeat
volta I'm trying to trouble shoot.
There are occasions where Lilypond seems not to count acciacaturas and
grace time correctly or it gets confused. This is one where I have no
idea why it acts the way it does. What am I not seeing?
Cheers
David
--
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B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
"Music is enough for one's life time, but one life time is not enough
for music" Sergei Rachmaninov
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Re: tuplet-type groups and bar check
There's no problem with 2.11.41. What version are you using?
Ceers,
- Graham
On Wed, 5 Mar 2008 22:56:29 -0800
"David Fedoruk" <[EMAIL PROTECTED]> wrote:
> Hello:
>
> It seems when ever I use a grouping like this:
>
> \time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f
> d] } |
>
> The bar check sees that as 9/20 the score I'm working with has a
> quarter note and acciacatura and a 5 gouping which *should* be 5 16th
> in the time of 4 making one quarter note. This should be correct, yet
> I get this error. I have a feeling this may be the culprit in a repeat
> volta I'm trying to trouble shoot.
>
> There are occasions where Lilypond seems not to count acciacaturas and
> grace time correctly or it gets confused. This is one where I have no
> idea why it acts the way it does. What am I not seeing?
>
> Cheers
> David
>
> --
> David Fedoruk
> B.Mus. UBC,1986
> Certificate in Internet Systems Administration, UBC, 2003
>
>
> http://recordjackethistorian.wordpress.com
> "Music is enough for one's life time, but one life time is not enough
> for music" Sergei Rachmaninov
>
>
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