Re: Old LilyPond versions
2008/4/8 Graham Percival <[EMAIL PROTECTED]>: > On Tue, 8 Apr 2008 17:37:16 +0200 > "Valentin Villenave" <[EMAIL PROTECTED]> wrote: > > > Thank you very much for these comments. I do think we need to talk > > more about this issue. > > No, we most certainly do *not* need to bloody talk about this > issue. We "talk" about it approximately twice a year. We, > collectively, spend about 20 hours "talking" (reading/writing > emails on the subject). And at the end of all that "talk", > absolutely nothing changes. Graham: I believe you are actually the one who brought this debate up :-) I understand your fear of losing time and resources in "counterproductive-ness". But I don't think it was justified here... You misunderstood me. I meant "we need to talk about this in the LilyReport". Now, if you are willing to propose other topics and contribute some articles on your own (e.g. "Why Do So Many People Waste Their Time Doing Useless Stuff Instead Of Writing Documentation"), you'll be welcome :-) Besides, my initial question was not "is the conversion process reliable enough" but "are you missing some features/engraving rules/fonts or whatever from the old versions". Laura was answering this precise question, and made an interesting point (almost on a "philosophical" level, I could say), that is "what to do when your project evolves slower than the tool you use to work on it?" And accordingly to your conversion-pointless-debates-every-six-months rule, I should have already seen five or six discussions like this one; I do not remember having seen so many of these (the only one I can remember is actually the link I gave above). Oh and by the way, this week I tried to understand how convert-ly worked, and submitted a proposal with a patch: I didn't get any answer in days, until John finally noticed it. But that might very well be what you call another counterproductive-ness thing :-( Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OOoLilypond instilation problems and coding help
Hi Levi
You have taken this example from a section of the manual which has not been
updated recently, and I can see why it might be confusing - if you remove
the two statements which create the Voice contexts the example still works
perfectly in the more recent versions of the LilyPond. If you have not
already done so, please read section 3.2.1 in the 2.11 Learning Manual
called "I'm hearing Voices", but here's an explanation of this particular
piece of code.
First, all notes -must- be contained in a Voice. If a Voice is not defined
explicitly one is created behind the scenes.
To explain, first consider the example with the two lines beginning \new
DrumVoice removed.
The construction following \drummode contains two bars of music. The first
bar ( bd4 sn4 bd4 sn4) goes into a default Voice context, as one has not
been explicitly created for it. This is followed by a << ...\\ ...>>
construct for the second bar. This construct places { \repeat unfold 16
hh16 } in a Voice called "1" and { bd4 sn4 bd4 sn4 } in a Voice called "2".
If these voices have not been explicitly defined they are created "behind
the scenes" automatically with these names. The music in these two voices
is then played in parallel, both in bar 2. Two voices are required because
the rhythms are different.
Finally, in earlier versions of LilyPond, the voices "1" and "2" had to be
explicitly defined before they could be used, hence the explicit
declarations \new Voice etc in the example you quoted. The {s1*2} following
simply enters two bars of skip notes, and these are in parallel with the
rest of the music due to the << .. >> round the contents of \DrumStaff.
HTH. I'm afraid I can't help with Open Office though.
Trevor D
- Original Message -
From: "Levi Hendricks" <[EMAIL PROTECTED]>
To: ; <[EMAIL PROTECTED]>
Sent: Wednesday, April 09, 2008 4:14 AM
Subject: OOoLilypond instilation problems and coding help
I am running windows XP (with sp2) and open office v 2.0.2 . I followed the
instructions on using lilypad with open office. I have downloaded (and
written in) the lilypond script as well as the open office macro, i
installed the macro as said in the instructions, but when i press alt m an
error orccurs. The message is this: "BASIC syntax error. Dimension
specifications do not match." it highlights a portion of the
code:"SortStringArray(sTemplate" approximately 4/5ths the way down the page.
I cant get the macro to work, can anyone help me?
On another note, I am reading the tutorial and manuals for lilypond, but am
having trouble assimilating all the information. I have done some html and
java programing so im no stranger to computer code, but the "voices" concept
is giving me trouble. I am using this program to write percussion music for
lessons that I am giving, and if someone could help me disect some code this
would be great:
\new DrumStaff <<
\new DrumVoice = "1" { s1 *2 }
\new DrumVoice = "2" { s1 *2 }
\drummode {
bd4 sn4 bd4 sn4
<<
{ \repeat unfold 16 hh16 }
\\
{ bd4 sn4 bd4 sn4 }
>>
}
>>
here is what I understand: DrumStaff creates a staff, thats simple. drummode
initiates the acceptance of sn bd hh etc. as valid input. I also understand
that there is a measure of alternating bd/sn hits for 4 beats before the
'polyphonic' measures. I understand that the polyphonic measure uses two
'voices, one that is just the hh and one that is the bd and sn.
Here is what I don't understand: the creation of \new DrumVoice = "1" { s1
*2 }. Why do i need to create new drum voices. And if im not referencing
them later, how does the code know which one is which. Are "1" and "2"
simply names, or do they have do do with stem directions, or what? and what
in heck does {s1 *2} mean?
Thank you for your help. I am new at using lilypad, i stumble across it and
don't know anyone else who can help me. This is the first time I've used
this mailing list so even if you cant help me, letting me know that I've
succeeded in asking for help would be nice. thanks.
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Re: OOoLilypond instilation problems and coding help
Thanks again, Mats.
Actually, I did try it myself, and was fooled into thinking it worked by not
reading the error messages and just looking at the pdf output. I'd
carelessly left the pdf open from the previous run with the \new DrumVoice
statements in, so it wasn't changed and when I opened it again it looked
like it had worked. :(
Ah well, we now all have a good explanation which I can use somewhere in the
manuals.
Trevor
Mats Bengtsson wrote
Trevor Daniels wrote:
Hi Levi
You have taken this example from a section of the manual which has not
been updated recently, and I can see why it might be confusing - if you
remove the two statements which create the Voice contexts the example
still works perfectly in the more recent versions of the LilyPond.
No! If you try it yourself, you'll see that it fails. The reason that
these lines are needed here is
quite intricate and has to do with the fact that you want two DrumVoice
contexts, not ordinary
Voice contexts. The <<{...} \\ {...}>> construct that's used here, will
automatically create two
Voice contexts named "1" and "2", if these don't already exist. If you
explicitly defining contexts
with these names yourself, then LilyPond will use these two contexts in
the <<{...} \\ {...}>>
construct. This trick is used here to fool LilyPond to use DrumVoice
contexts instead.
/Mats
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Re: OOoLilypond instilation problems and coding help
Trevor Daniels wrote:
Hi Levi
You have taken this example from a section of the manual which has not
been updated recently, and I can see why it might be confusing - if
you remove the two statements which create the Voice contexts the
example still works perfectly in the more recent versions of the LilyPond.
No! If you try it yourself, you'll see that it fails. The reason that
these lines are needed here is
quite intricate and has to do with the fact that you want two DrumVoice
contexts, not ordinary
Voice contexts. The <<{...} \\ {...}>> construct that's used here, will
automatically create two
Voice contexts named "1" and "2", if these don't already exist. If you
explicitly defining contexts
with these names yourself, then LilyPond will use these two contexts in
the <<{...} \\ {...}>>
construct. This trick is used here to fool LilyPond to use DrumVoice
contexts instead.
/Mats
If you have not already done so, please read section 3.2.1 in the
2.11 Learning Manual called "I'm hearing Voices", but here's an
explanation of this particular piece of code.
First, all notes -must- be contained in a Voice. If a Voice is not
defined explicitly one is created behind the scenes.
To explain, first consider the example with the two lines beginning
\new DrumVoice removed.
The construction following \drummode contains two bars of music. The
first bar ( bd4 sn4 bd4 sn4) goes into a default Voice context, as one
has not been explicitly created for it. This is followed by a <<
...\\ ...>> construct for the second bar. This construct places {
\repeat unfold 16 hh16 } in a Voice called "1" and { bd4 sn4 bd4 sn4 }
in a Voice called "2". If these voices have not been explicitly
defined they are created "behind the scenes" automatically with these
names. The music in these two voices is then played in parallel, both
in bar 2. Two voices are required because the rhythms are different.
Finally, in earlier versions of LilyPond, the voices "1" and "2" had
to be explicitly defined before they could be used, hence the explicit
declarations \new Voice etc in the example you quoted. The {s1*2}
following simply enters two bars of skip notes, and these are in
parallel with the rest of the music due to the << .. >> round the
contents of \DrumStaff.
HTH. I'm afraid I can't help with Open Office though.
Trevor D
- Original Message - From: "Levi Hendricks"
<[EMAIL PROTECTED]>
To: ; <[EMAIL PROTECTED]>
Sent: Wednesday, April 09, 2008 4:14 AM
Subject: OOoLilypond instilation problems and coding help
I am running windows XP (with sp2) and open office v 2.0.2 . I
followed the instructions on using lilypad with open office. I have
downloaded (and written in) the lilypond script as well as the open
office macro, i installed the macro as said in the instructions, but
when i press alt m an error orccurs. The message is this: "BASIC
syntax error. Dimension specifications do not match." it highlights a
portion of the code:"SortStringArray(sTemplate" approximately 4/5ths
the way down the page. I cant get the macro to work, can anyone help me?
On another note, I am reading the tutorial and manuals for lilypond,
but am having trouble assimilating all the information. I have done
some html and java programing so im no stranger to computer code, but
the "voices" concept is giving me trouble. I am using this program to
write percussion music for lessons that I am giving, and if someone
could help me disect some code this would be great:
\new DrumStaff <<
\new DrumVoice = "1" { s1 *2 }
\new DrumVoice = "2" { s1 *2 }
\drummode {
bd4 sn4 bd4 sn4
<<
{ \repeat unfold 16 hh16 }
\\
{ bd4 sn4 bd4 sn4 }
>>
}
>>
here is what I understand: DrumStaff creates a staff, thats simple.
drummode initiates the acceptance of sn bd hh etc. as valid input. I
also understand that there is a measure of alternating bd/sn hits for
4 beats before the 'polyphonic' measures. I understand that the
polyphonic measure uses two 'voices, one that is just the hh and one
that is the bd and sn.
Here is what I don't understand: the creation of \new DrumVoice = "1"
{ s1 *2 }. Why do i need to create new drum voices. And if im not
referencing them later, how does the code know which one is which. Are
"1" and "2" simply names, or do they have do do with stem directions,
or what? and what in heck does {s1 *2} mean?
Thank you for your help. I am new at using lilypad, i stumble across
it and don't know anyone else who can help me. This is the first time
I've used this mailing list so even if you cant help me, letting me
know that I've succeeded in asking for help would be nice. thanks.
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Re: Colored hairpins?
Trevor Daniels wrote:
Tim Reeves wrote
Well, it helps some, but why do I get an error when I try the same
thing with hairpins?
error: syntax error, unexpected EVENT_IDENTIFIER
r4 d4 \p d d | \repeat "unfold" 4 {d1~} | d1 \once
\override Hairpin #'color = #blue \cr | d1 | d1 \f
The error is due to the \cr not being attached to a note, not the
override.
It sometimes helps to attach dynamics to a zero-length spacer note -
s1*0.
In this specific case, though, the simple solution is to insert the \cr
before the \once \override
instead of after (obvious to Trevor, but perhaps not to all readers).
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Re: Colored hairpins?
Tim Reeves wrote
Well, it helps some, but why do I get an error when I try the same thing
with hairpins?
error: syntax error, unexpected EVENT_IDENTIFIER
r4 d4 \p d d | \repeat "unfold" 4 {d1~} | d1 \once
\override Hairpin #'color = #blue \cr | d1 | d1 \f
The error is due to the \cr not being attached to a note, not the override.
It sometimes helps to attach dynamics to a zero-length spacer note - s1*0.
and where can I put the variable redDyn in my .ly file? Everywhere I try
seems to give me errors, which is why I just put the \override right in
with the music.
Here's your example adjusted to work:
blueDyn = \once \override Hairpin #'color = #blue
\relative c'' {
r4 d4 \p d d |
\blueDyn s1*0 \cr
\repeat "unfold" 4 {d1~} | d1 | d1 | d1 \f
}
Finally, when does one have to include the context, like \once \override
Voice.DynamicText #'color = #blue?
For this, read the Learning Manual ... :)
Thanks for your help.
Tim Reeves
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Re: Old LilyPond versions
Graham Percival wrote:
On Wed, 09 Apr 2008 00:21:36 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:
Quoting Graham Percival <[EMAIL PROTECTED]>:
2) it would of course be nice to automate this. At the moment, I
can't see why this would take more than five hours. Maybe 15
hours if the person had never touched python before.
See
http://lists.gnu.org/archive/html/bug-lilypond/2007-12/msg00156.html
I don't think the problem is that easy, especially since the music
expression may in the general case contain an arbitrarily deep
nesting of {} and <<>>, which means that you cannot use regular
expressions.
I'm not really comfortable with regular expressions, so I wasn't
going to suggest this anyway. :) As for nesting, we could
simply count the number of { } and << >> to figure out when the
expression is over.
I actually implemented such a solution in convert-ly in the conversion
rules for version 1.9.0, to
be able to handle the conversion of the old markup syntax that used
nested parentheses (like Scheme),
so this might be useful as a source of inspiration.
Note that what you propose is a proper solution of Issue 518 in the bug
tracker.
/Mats
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Re: lilypond-user Digest, Vol 65, Issue 34
Till Rettig wrote I don't know, what these slurs mean, I came up with the following editiorial items: 1. annotational accidentals 2. ligature brackets [I think they should be here, and not together with the ligatures] 3. Barock rhythm indication 1 is the same as 6.1, maybe 2 is the same as 6.2 (?), and by the topic 3 is the same as 6.3 . Suggested accidentals sounds good, but the others I wouldn't call "suggested", since they are about how to interpret the notes, not an addition/suggestion by the editor as the accidentals are. So I would go for: 6.2 Brackets indicating ligatures" or "Ligature brackets" 6.3 Rhythmic Barock notation -- or something the like. Hopefully this doesn't get now too complicated - I guess issues will clear up when we are actualy working on that section. OK, draft 8 will say: .6 Editorial markings .1 Annotational accidentals (was Musica ficta accidentals) (2.8.4) .2 Ligature brackets (was Ligatures) (2.8.2.4) .3 Baroque rhythmic notation (new) (new - KH) Many thanks to you and Karl. Karl - if you meant something different by "slurs", let me know and I'll add it. Till Trevor D ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
combining parts
Is it possible to combine four parts into two voices on one staff,
ideally with one voice stems up and the other voice stems down? I've
gotten as far as two voices combined into one voice with stems in the
direction I want, but every time I add the other voice, I either lose
the two voice configuration, or I lose the stem settings. For
reference, I've been playing with the following as my example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver} {\OneAB}
\new Voice = "2" \with {\remove Rest_engraver} {\TwoAB}>>, and
<<{\OneAB}\\{\TwoAB}>>, and various things involving \stemUp and
\stemDown, and I just can't seem to get it work.
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Re: cannot find lilypond icon on my desktop after installation (window xp)
Hi, all: My objective is to use .abc text file with Chinese character lyrics as input so that I can obtain music sheet with Chinese lyrics printed / displayed. I search the internet, theere is a chinese.tcl a TCL script. I do not know TCL. I read from Lilypond web page that it is able to to display / print Chinese lyrics. Thank you Tim and Mats. This will become a long learning process for me. Thanks, Ming. - Original Message From: Mats Bengtsson <[EMAIL PROTECTED]> To: Tim Litwiller <[EMAIL PROTECTED]> Cc: ming tsang <[EMAIL PROTECTED]>; lilypond-user@gnu.org Sent: Tuesday, April 8, 2008 10:48:05 AM Subject: Re: cannot find lilypond icon on my desktop after installation (window xp) Tim Litwiller wrote: > > Lilypond by it's self is a command line program that processes an > input file and outputs a "engraving". With lilypondtool that is a > pdf, > other options let it also output midi files and image files. > Still, a normal installation on Windows leaves an icon on the desktop. Also, if you open a command prompt and run the command lilypond-windows -dgui then you should see the same thing as normally happens when you double-click on the LilyPond icon, namely that the very primitive text editor "LilyPad" is opened with a simple test example file. No matter if you follow Tim's advice or use your existing solution, don't expect to be able to do anything useful with the program until you have read the Tutorial (i actually recommend you to click on the Documentation link for version 2.11 even if you have installed version 2.10 and click on the "Learning Manual" there, since it's been more or less completely rewritten and improved compared to the documentation for version 2.10). /Mats > > > > ming tsang wrote: >> I download and installed lilypond_3.10.33-1.mingw.exe >> >> I did not see lilypond icon. >> I tried to execute c:\Program >> Files\LilyPond\usr\bin\lilypond-windows.exe, but >> no lilypond screen displayed. Is this the right program to >> execute? >> >> >> >> ___ >> 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 -- = 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 = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Metronome marks
Hi Matthias,
see the snippet below, there is also a snippet in the lsr, but I
can't find it...
\version "2.10.15"
\new Staff {
\time 4/4 \override Staff.TimeSignature #'style = #'()
\relative c'{
c4^\markup { { \score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"\remove "Staff_symbol_engraver"
} {
d'8[ d']
} \layout { ragged-right = ##t indent = 0} } \lower #6 { "=" }
\score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"\remove "Staff_symbol_engraver"
} {
\times 2/3 { d'4 d'8 }
} \layout { ragged-right = ##t indent = 0} }
}
}
} }
hth
ole
\version "2.10.15"
\new Staff {
\time 4/4 \override Staff.TimeSignature #'style = #'()
\relative c'{
c4^\markup { { \score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"\remove "Staff_symbol_engraver"
} {
d'8[ d']
} \layout { ragged-right = ##t indent = 0} } \lower #6 { "=" }
\score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"\remove "Staff_symbol_engraver"
} {
\times 2/3 { d'4 d'8 }
} \layout { ragged-right = ##t indent = 0} }
}
}
} }
%%%
Am 08.04.2008 um 19:09 schrieb Matthias Loitsch:
Hi!
I'm new to this list, and quite new to lilypond too.
I'm trying to change the tempo in a song, and I can't find how to
do so...
What I want to do, is not a normal metronome tempo change, but I
want a
triplet to become a quarter note.
I found how to set the tempo with a metronome marking (\tempo
4=120), and I
found the syntax to display an eigth note becoming a quarter note:
\markup {
(
\smaller \general-align #Y #DOWN \note #"8" #1
=
\smaller \general-align #Y #DOWN \note #"4" #1
) }
But how can I use this with a triplet? I tried \note #"12" and
\note #"4/3"
but they both don't work...
Is there a way to get a triplet with \note ? Or do I need a completely
different approach?
Thank you in advance,
Matthias
--
Matthias Loitsch
http://www.youtube.com/watch?v=yAUYaweNQME
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Re: convert text encodings (was: Old LilyPond versions)
Am 2008-04-08 um 20:28 schrieb Graham Percival: You're talking about the old LaTeX accents -> utf-8 ? Manual conversion is necessary with current convert-ly. I can think of three ways to automate it. They're all kind-of hackish, but they'd work in theory. It just needs somebody to translate that theory into practice. Conversion of "LaTeX encoding" to any other encoding, esp. UTF-8 is easy. I've a little script ready for such - but it converts whole files, I don't know if it will affect LilyPond commands. Here: http://www.fiee.net/texnique/?menu=0-2-2&lang=en you can download the "mab2bib" archive, it includes "utf2latex.py". Just rename that to "latex2utf.py" (or any other encodings, like "latin12utf" or "macroman2utf", it analyzes its filename when called). It should work with all encodings that Python knows of. Normally LaTeX is not one of them, so the also included "latex.py" must reside in the same directory. Have fun! Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Parentheses around a ChordName and unending LyricExtenders
Salutations, y'all!
I have two questions.
How do I put parentheses around a ChordName grob generated from a
\new ChordNames { } staff? I'm typesetting some of my cousin's
compositions for her and she insists this is very important. The
only thing that I've found that comes close to doing what I want is
to omit the chords to be parenthesized from the ChordNames context
and then tack them on as above-staff markups in the appropriate places
—which looks bad because the parenthesized chord markup grobs are not
properly aligned vertically with the ChordName grobs. Any help here?
Second question. I have found that when I am typesetting a song with
multiple verses but a common refrain, that it looks much better not
to have the refrain lyrics repeated on each verse's Lyrics staff
above and below each other, but instead to only display the refrain
once in a single Lyrics staff context. The trouble with this is that
I have verses whose final syllables must be followed by lyric
extenders __
I have found that if I do not put any additional words or syllables
after a lyric extender (in the same Lyrics staff context) and where
the music continues onward after the lyric extender should stop, then
the lyric extender will just go on indefinitely!! That's definitely
not what I want.
Any advice on how I can get my verse Lyric staffs to terminate
gracefully at the start of my chorus/refrain without shooting off
their closing lyric extenders?
Thanks,
Christopher
P.S. I'm not sure how much or how little of my lilypond source or
output is necessary or useful for me to send along with my email, and
what the best way to do that is (i.e. attachments or links or
whatnot), so just let me know what other materials you need to help
me crack this problem and I'll send them along as soon as I can.
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Re: combining parts
The simplest solution is
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
\score {
\new Staff <<
\new Voice <<\voiceOne \ErsteStimme \ZweiteStimme>>
\new Voice <<\voiceTwo \DritteStimme \VierteStimme>>
>>
}
This solution will even combine rests if they happen in one and the same
voice.
However, if you have simultaneous rests in all the four parts, then you
will see
them duplicated, which may or may not be what you want. There have been
several workarounds proposed in the mailing lists and LSR to merge the
rests.
/Mats
James E. Bailey wrote:
Is it possible to combine four parts into two voices on one staff,
ideally with one voice stems up and the other voice stems down? I've
gotten as far as two voices combined into one voice with stems in the
direction I want, but every time I add the other voice, I either lose
the two voice configuration, or I lose the stem settings. For
reference, I've been playing with the following as my example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver} {\OneAB}
\new Voice = "2" \with {\remove Rest_engraver} {\TwoAB}>>, and
<<{\OneAB}\\{\TwoAB}>>, and various things involving \stemUp and
\stemDown, and I just can't seem to get it work.
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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 + Python + Mac
Hello I've been using lilypond for a while now, but I do have some problems with my mac version. Everything was just fine until I install and uninstall apple developper utilities. Now, when I launch lilypond, an error message pops up telling me that lilypond finds no module named "os". I thought this module was a python one, called with "from os import *", so I call the os module using python in the terminal, and everything seems ok. So my question is, is there a special path in whitch Lilyponds look for the python utilities with an apple computer. I checked up my python files, and everything seems ok. Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 65, Issue 34
Trevor: ... > OK, draft 8 will say: > >.6 Editorial markings > .1 Annotational accidentals (was Musica ficta accidentals) > (2.8.4) > .2 Ligature brackets (was Ligatures) > (2.8.2.4) I don't regard ligature brackets as an editorial thing, since it is just the modern way to write a ligature. > .3 Baroque rhythmic notation (new) > (new - KH) We don't have lilypond examples of this. I have seen this in a Novello score for Purcells Dido. So I suggest we drop this for the moment. (Though an ossia section might show what the editor want.) ... > Karl - if you meant something different by "slurs", let me know and I'll add > it. For editorial markings I would consider everything (in the score) that the editor adds that was not in the source, like accidentals, slurs, etc. So for slurs (accid., etc.), we have the slurs which are in the source, and they are engraved normally, and we have the slurs that the editor think should be there for some reason, and they should be engraved in differently, to mark them as "this was not in the source". There are a few different styles for editorial markings, from the top of my head, smaller, within brackets/parentheses, smaller with a stroke, possible a few more. So the editorial markings could be anything. Also, I have not done much editorial markings, I been mostly interested of imitating the historic sources. If I would write anything about it, I must do some research, to find out dominant styles and how to implement them in lilypond, so I consider that more as an future project. For the moment I suggest we don't have subsection, we write down what we have readily available. If it grows to big, then we can split it. Perhaps the best way to proceed is to start writing an overview of the editorial process (not suitable for the Notational Reference?). I have started such a project, but it won't be ready soon, perhaps to the summer or autum. Regards, /Karl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining parts
My gosh, thank you. You have no idea how long I tried to get that to
work. And I'm perfectly happy with \remove Rest_engraver.
On 09.04.2008, at 15:23, Mats Bengtsson wrote:
The simplest solution is
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
\score {
\new Staff <<
\new Voice <<\voiceOne \ErsteStimme \ZweiteStimme>>
\new Voice <<\voiceTwo \DritteStimme \VierteStimme>>
>>
}
This solution will even combine rests if they happen in one and the
same voice.
However, if you have simultaneous rests in all the four parts, then
you will see
them duplicated, which may or may not be what you want. There have
been
several workarounds proposed in the mailing lists and LSR to merge
the rests.
/Mats
James E. Bailey wrote:
Is it possible to combine four parts into two voices on one staff,
ideally with one voice stems up and the other voice stems down?
I've gotten as far as two voices combined into one voice with stems
in the direction I want, but every time I add the other voice, I
either lose the two voice configuration, or I lose the stem
settings. For reference, I've been playing with the following as my
example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver}
{\OneAB} \new Voice = "2" \with {\remove Rest_engraver} {\TwoAB}>>,
and <<{\OneAB}\\{\TwoAB}>>, and various things involving \stemUp
and \stemDown, and I just can't seem to get it work.
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=
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: Parentheses around a ChordName and unending LyricExtenders
Christopher Johnson wrote:
Salutations, y'all!
I have two questions.
How do I put parentheses around a ChordName grob generated from a \new
ChordNames { } staff? I'm typesetting some of my cousin's
compositions for her and she insists this is very important. The only
thing that I've found that comes close to doing what I want is to omit
the chords to be parenthesized from the ChordNames context and then
tack them on as above-staff markups in the appropriate places—which
looks bad because the parenthesized chord markup grobs are not
properly aligned vertically with the ChordName grobs. Any help here?
Popular question! See
http://lists.gnu.org/archive/html/lilypond-user/2008-03/msg00275.html
However, note that with the upcoming LilyPond version 2.11.44, you will
be able to use
\parenthesize f:sus4
Second question. I have found that when I am typesetting a song with
multiple verses but a common refrain, that it looks much better not to
have the refrain lyrics repeated on each verse's Lyrics staff above
and below each other, but instead to only display the refrain once in
a single Lyrics staff context. The trouble with this is that I have
verses whose final syllables must be followed by lyric extenders __
I have found that if I do not put any additional words or syllables
after a lyric extender (in the same Lyrics staff context) and where
the music continues onward after the lyric extender should stop, then
the lyric extender will just go on indefinitely!! That's definitely
not what I want.
I couldn't repeat the problem here. Test case:
verse = \relative c' { c d e f }
refrain = \relative c' { e d c2 }
verselyrics = \lyricmode { A B C D __ }
refrainlyrics = \lyricmode { and the rest }
\score{
<<
\new Staff { \new Voice = "v" \verse \new Voice = "r" \refrain }
\new Lyrics << \lyricsto "v" \verselyrics \lyricsto "r" \refrainlyrics >>
>>
}
P.S. I'm not sure how much or how little of my lilypond source or
output is necessary or useful for me to send along with my email, and
what the best way to do that is (i.e. attachments or links or
whatnot), so just let me know what other materials you need to help me
crack this problem and I'll send them along as soon as I can.
It's always a good idea to prepare a small but complete example and
include a copy of the .ly code
in the email. This makes it much easier to realize what problem you have
and to try different
solutions without first having to invent an example yourself.
/Mats
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Number over the percent repeat?
In a percent repeat, can I get the number of measures to be repeated over the
double percent sign?
\time 4/4
\repeat percent 2 { d8 f4 d8 e4 e | d2 csharp }
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Re: Number over the percent repeat?
It's the second example in the 2.11 docs.
Cheers,
- Graham
On Wed, 9 Apr 2008 14:36:06 + (UTC)
Stan Mulder <[EMAIL PROTECTED]> wrote:
> In a percent repeat, can I get the number of measures to be repeated
> over the double percent sign?
>
> \time 4/4
> \repeat percent 2 { d8 f4 d8 e4 e | d2 csharp }
>
>
>
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Re: Parentheses around a ChordName and unending LyricExtenders
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 9. April 2008 schrieb Mats Bengtsson:
> Christopher Johnson wrote:
> > Salutations, y'all!
> >
> > I have two questions.
> >
> > How do I put parentheses around a ChordName grob generated from a \new
> > ChordNames { } staff? I'm typesetting some of my cousin's
> > compositions for her and she insists this is very important. The only
> > thing that I've found that comes close to doing what I want is to omit
> > the chords to be parenthesized from the ChordNames context and then
> > tack them on as above-staff markups in the appropriate places—which
> > looks bad because the parenthesized chord markup grobs are not
> > properly aligned vertically with the ChordName grobs. Any help here?
>
> Popular question! See
> http://lists.gnu.org/archive/html/lilypond-user/2008-03/msg00275.html
> However, note that with the upcoming LilyPond version 2.11.44, you will
> be able to use
> \parenthesize f:sus4
Yes, but notice that the parenthesis is way too small for my taste. The
parenthesis is the right size for note heads and accidentals, but not for
other parenthesized objects...
> > I have found that if I do not put any additional words or syllables
> > after a lyric extender (in the same Lyrics staff context) and where
> > the music continues onward after the lyric extender should stop, then
> > the lyric extender will just go on indefinitely!! That's definitely
> > not what I want.
>
> I couldn't repeat the problem here. Test case:
I suppose it's the same problem described here:
http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00040.html
A quick workaround is to place a "" in those lyrics voices, where no refrain
will be shown:
http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00043.html
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung "Jung-Wien", http://www.jung-wien.at/
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Re: Number over the percent repeat?
Graham Percival wrote:
It's the second example in the 2.11 docs.
As I interpreted the question, Stan wants to typeset a "2" over the
double percent in
\repeat percent 2 { d8 f4 d8 e4 e | d2 csharp }
and a "4" in
\repeat percent 2 { c1 | d | e | f | }
/Mats
Cheers,
- Graham
On Wed, 9 Apr 2008 14:36:06 + (UTC)
Stan Mulder <[EMAIL PROTECTED]> wrote:
In a percent repeat, can I get the number of measures to be repeated
over the double percent sign?
\time 4/4
\repeat percent 2 { d8 f4 d8 e4 e | d2 csharp }
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--
=
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: combining parts
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Mittwoch, 9. April 2008 schrieb James E. Bailey: > My gosh, thank you. You have no idea how long I tried to get that to > work. And I'm perfectly happy with \remove Rest_engraver. Doesn't the rest collision work in this case, too? http://lsr.dsi.unimi.it/LSR/Item?id=336 Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung "Jung-Wien", http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH/Nh5TqjEwhXvPN0RAjOFAKDLGtNZ0h8x4W8XC2iicucjgkL0CwCfZgMk horf7MTTKyHZDWIfPfnHfFo= =gt0Z -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Number over the percent repeat?
Am Mittwoch, 9. April 2008 schrieb Graham Percival: > Stan Mulder <[EMAIL PROTECTED]> wrote: > > In a percent repeat, can I get the number of measures to be repeated > > over the double percent sign? > It's the second example in the 2.11 docs. While we are at it: Is there something similar for long tied notes and for rests over multiple measures? For very long notes (i.e. I have a score with whole notes tied over exactly 10 measures), this would also be very helpful to orchestra musicians. Is there any way to put numbers over long ties and over multi-measure rests, which are written out? Cheers, Reinhold -- -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung "Jung-Wien", http://www.jung-wien.at/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Old LilyPond versions
2008/4/8, Laura Conrad <[EMAIL PROTECTED]>:
> Graham> - a certain grumpy doc writer points out that if you read the
> Graham> instructions in
> Graham> LM 5.1 Suggestions for writing LilyPond files
> Graham> then you can avoid almost all these problems.
>
> The grumpy doc writer has said many times that he knows nothing about
> vocal music. None of the suggestions in 5.1 is going to change the
> fact that manual conversion is necessary for all vocal music
> transcribed before 2.4.
It's probably not in the manual, but if you want to be double-plus
sure that you don't get hit by this again, I recommend to use explicit
durations for lyrics, like
\lyricmode { to4 re8. a16 dor4 ... }
and use associatedVoice for the melisma/notehead alignment.
The current solution (with lyricsto) is much less of a hack than what
we used to have, but it is still a hack.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
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Re: Parentheses around a ChordName and unending LyricExtenders
Reinhold Kainhofer wrote: However, note that with the upcoming LilyPond version 2.11.44, you will be able to use \parenthesize f:sus4 Yes, but notice that the parenthesis is way too small for my taste. The parenthesis is the right size for note heads and accidentals, but not for other parenthesized objects... Try something like \once \override ParenthesesItem #'font-size = #0 \parenthesize ... The default font-size is -6. (you can define a new music function that does this setting and then does \parenthesize if you wish to save typing). I have found that if I do not put any additional words or syllables after a lyric extender (in the same Lyrics staff context) and where the music continues onward after the lyric extender should stop, then the lyric extender will just go on indefinitely!! That's definitely not what I want. I couldn't repeat the problem here. Test case: I suppose it's the same problem described here: http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00040.html A quick workaround is to place a "" in those lyrics voices, where no refrain will be shown: http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00043.html It seems that I happened to invent another workaround when preparing my example in the previous email, namely to use separate Voice contexts for the verse and for the refrain, and attach the different parts of the lyrics to the corresponding Voice. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 65, Issue 34
Trevor Daniels schrieb: OK, draft 8 will say: .6 Editorial markings .1 Annotational accidentals (was Musica ficta accidentals) (2.8.4) .2 Ligature brackets (was Ligatures) (2.8.2.4) .3 Baroque rhythmic notation (new) (new - KH) Ok, so as I understand in 8.3 there will be "White mensural ligatures" and then in 8.6 the "Ligature brackets"? Sounds good to me. Many thanks to you and Karl. Thanks for your work as well! Karl - if you meant something different by "slurs", let me know and I'll add it. Till Trevor D ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Number over the percent repeat?
Reinhold Kainhofer wrote: Am Mittwoch, 9. April 2008 schrieb Graham Percival: Stan Mulder <[EMAIL PROTECTED]> wrote: In a percent repeat, can I get the number of measures to be repeated over the double percent sign? It's the second example in the 2.11 docs. While we are at it: Is there something similar for long tied notes and for rests over multiple measures? Good question! The following attempt didn't work ;-) \set restNumberThreshold = #0 R1*5 /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 65, Issue 34
Trevor Daniels schrieb: OK, draft 8 will say: .6 Editorial markings .1 Annotational accidentals (was Musica ficta accidentals) (2.8.4) .2 Ligature brackets (was Ligatures) (2.8.2.4) .3 Baroque rhythmic notation (new) Karl: We don't have lilypond examples of this. I have seen this in a Novello score for Purcells Dido. So I suggest we drop this for the moment. (Though an ossia section might show what the editor want.) We actually do have some in the list somewhere, I remember (was it Nicolas) somthing about using empty note heads for quarter notes or something like that -- that's what I am referring to. I would still put the ligature brackets here, as they are an issue of modern editions and not of ancient notation. And about slurs and the like: they are not specific to ancient notation, so they are covered somewhere else in the NR. Actually Graham has pronounced that we should not have a task-orientated structure, but just tell about the issues not referring to the context they are used to. But maybe it is still ok in this case. Till ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Number over the percent repeat?
Am Mittwoch, 9. April 2008 schrieben Sie: > Reinhold Kainhofer wrote: > > Am Mittwoch, 9. April 2008 schrieb Graham Percival: > >> Stan Mulder <[EMAIL PROTECTED]> wrote: > >>> In a percent repeat, can I get the number of measures to be repeated > >>> over the double percent sign? > >> > >> It's the second example in the 2.11 docs. > > > > While we are at it: Is there something similar for long tied notes and > > for rests over multiple measures? > > Good question! The following attempt didn't work ;-) > \set restNumberThreshold = #0 R1*5 No, because that's no what I'm after. What I want is something like: R1^"1" | R1^"2" | R1^"3" | R1^"4" | R1^"5" only that it should not look like some ordinary text markup, but like the multi-measure rest numbers. You see this every now and then in old hand-engraved sacral pieces. I admit that the first time I saw this, I was confused why they had multi-measure rest numbers 1 and 2 above the rests (i.e. I first thought it was three measures rest instead of two), but once you know that, it can be quite useful. The thing is that if you want to transcribe old editions as close as possible to the original edition, you'll need something like that. I probably wouldn't use it in a new edition, though. However, for long tied notes, this is still used today and quite useful: Something like: c1~^"1" | c1~^"2" | c1~^"3" | c1~^"4" | c1~^"5" | c1~^"6" | c1~^"7" | c1~^"8" | c1~^"9" | c1^"10" | Again, the numbers should not look like text markup, but rather like multi-measure rest numbers. And I don't want to count the notes manually ;-) Cheers, Reinhold -- -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung "Jung-Wien", http://www.jung-wien.at/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining parts
On 09.04.2008, at 16:53, Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 9. April 2008 schrieb James E. Bailey:
My gosh, thank you. You have no idea how long I tried to get that to
work. And I'm perfectly happy with \remove Rest_engraver.
Doesn't the rest collision work in this case, too?
http://lsr.dsi.unimi.it/LSR/Item?id=336
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung "Jung-Wien", http://www.jung-wien.at/
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=gt0Z
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I'm sure the rest collision would work, but in actual practice, I'm
reducing an SSAATTBB choral work down to something manageable on the
piano. To that end, I've come across another snag.
ErsteStimme = { g'4 fis' g'2}
ZweiteStimme = { d'2 c' }
DritteStimme = { g'4 fis' g'2 }
VierteStimme = { d'2 c' }
\score {
\new Staff <<
\new Voice \with {\remove Rest_engraver}<<\voiceOne \ErsteStimme
\DritteStimme>>
\new Voice \with {\remove Rest_engraver}<<\voiceTwo \ZweiteStimme
\VierteStimme>>
>>
}
In real music (and this is the simplest example I could find), I get
errors and doubled noteheads.
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Re: combining parts
is there anything similar to \partcombine but at the voice level? I
think that would give me an acceptable solution. Or can I move
\partcombine to a voice context?
On 09.04.2008, at 15:23, Mats Bengtsson wrote:
The simplest solution is
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
\score {
\new Staff <<
\new Voice <<\voiceOne \ErsteStimme \ZweiteStimme>>
\new Voice <<\voiceTwo \DritteStimme \VierteStimme>>
>>
}
This solution will even combine rests if they happen in one and the
same voice.
However, if you have simultaneous rests in all the four parts, then
you will see
them duplicated, which may or may not be what you want. There have
been
several workarounds proposed in the mailing lists and LSR to merge
the rests.
/Mats
James E. Bailey wrote:
Is it possible to combine four parts into two voices on one staff,
ideally with one voice stems up and the other voice stems down?
I've gotten as far as two voices combined into one voice with stems
in the direction I want, but every time I add the other voice, I
either lose the two voice configuration, or I lose the stem
settings. For reference, I've been playing with the following as my
example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver}
{\OneAB} \new Voice = "2" \with {\remove Rest_engraver} {\TwoAB}>>,
and <<{\OneAB}\\{\TwoAB}>>, and various things involving \stemUp
and \stemDown, and I just can't seem to get it work.
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--
=
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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GDP: NR 2 Draft 8 (hopefully the final one!)
The latest draft for the revision of the headings to NR 2 is attached. There are relatively few changes since Draft 7, and these are all at the end of the Ancient notation section, so this is (hopefully) the final draft, as I shall close off discussion at the end of today (Wed 9 Apr). I decided to resolve the discussion re Editorial markings in the new Transcribing ancient music subsection of Ancient notation as follows: * I've left in Annotational accidentals. This will contain essentially what was Musica ficta accidentals. This seems to be agreed. * Ligature brackets I've returned whence it came. As there is no agreement over whether these are editorial or not I decided to leave things as they were, on the grounds this is easiest and that was the original author's view. * Baroque rhythmic notation is left in, in the expectation that Till will find suitable LilyPond examples. There will be opportunities for further discussion after the organisational changes have been made and text has been reassigned. For now the discussion on Ancient notation is Closed, with thanks again to Karl and Till. Trevor D DRAFT 8 If changes to headings are proposed the old heading is in brackets. The proposed content is indicated in brackets under the heading. The numbers are the sections in the NR for 2.11.43 2 Specialist notation .1 Vocal music .1 Common notation for vocals (was Simple lyrics) .1 References for vocal music (new) (@refs) .2 Setting simple songs (2.1.1.1) .3 Entering lyrics (2.1.1.2) .4 Working with lyrics and identifiers (2.1.3.1) .2 Aligning lyrics to a melody .1 Automatic syllable durations (2.1.2.1) .2 Manual syllable durations (was Another way of entering lyrics) (2.1.2.2) .3 Multiple syllables to one note (was Assigning more than one syllable to a single note) (2.1.2.3) .4 Multiple notes to one syllable (was More than one note on a single syllable) (2.1.2.4) .5 Skipping notes (new) (2.1.4.1 - 2nd part) .6 Extenders and hyphens (2.1.2.5) .7 Lyrics and repeats (new) (new - ?) .3 Placement of lyrics (was Flexibility in placement) .1 Divisi lyrics (2.1.4.2) .2 Lyrics independent of notes (2.1.4.4) .3 Chants (new) (from lsr and/or -user) .4 Spacing out syllables (was Spacing lyrics) (2.1.5.1) .5 Centering lyrics between staves (new) (from -user) .4 Stanzas (was More about stanzas) .1 Adding stanza numbers (2.1.6.1) .2 Adding dynamics marks to stanzas (was Adding dynamic marks) (2.1.6.2) .3 Adding singers' names to stanzas (was Adding singer names) (2.1.6.3) .4 Stanzas with different rhythms (new) # Ignoring melismata (was Lyrics to multiple notes of a melisma) (2.1.4.1 1st part) # Switching to an alternative melody (Switching the melody associated with a lyrics line) (2.1.4.3) .5 Printing stanzas at the end (2.1.6.4) .6 Printing stanzas at the end in multiple columns (2.1.6.5) .2 Keyboard instruments (was Piano music) .1 Common notation for keyboards (was Piano sections) .1 References for keyboards (new) (@refs) .2 The piano staff (new) (2.3.1) .3 Changing staff manually (was Manual staff changes) (2.3.1.2) .4 Changing staff automatically (was Automatic staff changes) (2.3.1.1) .5 Staff-change lines (was Staff switch lines) (2.3.1.4) .6 Cross-staff stems (was Cross staff stems) (2.3.1.5) .2 Piano (new) .1 Pedals (2.3.1.3) .3 Accordion (new) .1 Discant symbols (new) (from -user and lsr 194) .3 Unfretted string instruments .1 Common notation for unfretted strings .1 References for unfretted strings (new) (@refs to fingerings, \thumb, bowings, harmonics) .2 Plucked instruments .1 Harp [new section to be added?] (?) .4 Fretted string instruments (was Guitar) .1 Common notation for fretted strings (was Guitar sections) .1 References for fretted strings (new) (@refs) .2 String number indications (2.5.1.1) .3 Default tablatures (was Tablatures basic) (2.5.1.2) .4 Custom tablatures (was Non-guitar tablatures) (2.5.1.3) .5 Fret diagrams (2.5.1.5) .6 Right hand fingerings (2.5.1.6) .2 Guitar (new) .1 Guitar tablatures (new) (new) .2 Indicating position and barring (was Other guitar issues) (2.5.1.7) .3 Banjo (new) .1 Banjo tablatures (2.5.1.4) .5 Percussion .1 Common notation for percussion (was Percussion Sections) .1 References for percussion (new) (@refs) .2 Basic percussion notation (was Entering percussion) (2.4.1.2) .3 Percussion staves (2.4.1.3) .4 Ghost notes (2.4.1.4) [Old Section 2.4.1.1 Showing melody rhythms should be moved
constructing a jazz piece
In constructing a small combo piece, I'm not sure how to modularize individual parts. For example, notes are specific to a certain instrument whereas a segno or coda is common to all parts. I'm confused as to where these things get inserted. For example, Do I put the coda symbol in each of the trumpet, trombone and clarinet parts or do I do keep each individual part as simple as possible and add the coda instructions at a higher level? And then when each individual part is printed out the codas and segnos are all there. I hope that makes sense. Is there an example somewhere? I'm using "jazz-combo.ly" as a basis for my piece. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: constructing a jazz piece
Stan Mulder wrote: In constructing a small combo piece, I'm not sure how to modularize individual parts. For example, notes are specific to a certain instrument whereas a segno or coda is common to all parts. I'm confused as to where these things get inserted. For example, Do I put the coda symbol in each of the trumpet, trombone and clarinet parts or do I do keep each individual part as simple as possible and add the coda instructions at a higher level? And then when each individual part is printed out the codas and segnos are all there. I hope that makes sense. Is there an example somewhere? I'm using "jazz-combo.ly" as a basis for my piece. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user What I do is to put road-map stuff (key changes, time changes, repeats, segnos etc.) in a 'global' block. Then I combine that with parts for the individual part scores, and with the top staff in the main score. Hope this helps. David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Number over the percent repeat?
Mats Bengtsson ee.kth.se> writes:
> As I interpreted the question, Stan wants to typeset a "2" over the
> double percent in
> \repeat percent 2 { d8 f4 d8 e4 e | d2 csharp }
> and a "4" in
> \repeat percent 2 { c1 | d | e | f | }
Exactly. Is this possible?
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Re: constructing a jazz piece
David Bobroff centrum.is> writes: > What I do is to put road-map stuff (key changes, time changes, repeats, > segnos etc.) in a 'global' block. Then I combine that with parts for > the individual part scores, and with the top staff in the main score. David, Is there an example somewhere? Stan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: constructing a jazz piece
Stan Mulder wrote:
David Bobroff centrum.is> writes:
What I do is to put road-map stuff (key changes, time changes, repeats,
segnos etc.) in a 'global' block. Then I combine that with parts for
the individual part scores, and with the top staff in the main score.
David,
Is there an example somewhere?
Stan
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Don't know if there's a simple example in the docs. What I do looks
something like this:
global = {
\key c \major
\time = 4/4
s1^\markup{\bold "Allegro"}
s1*8 (you need skips to place your things in the right place)
% etc.
}
sax = \relative c' {
%saxophone stuff
}
trombone = \relative c {
% trombone stuff
}
% The score for the two voices above:
\score {
\context StaffGroup <<
\global
\context Staff <<
\sax
>>
\new Staff <<
\trombone
>>
>>
}
% Score for a part:
\score {
\context Staff <<
\global
\sax
>>
}
You can put all sorts of things in the 'global' block like rehearsal
marks, too.
-David
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Re: Colored hairpins?
Thanks all,
I figured out last night where to put the overrides to make them work.
r4 d4 \p d d \repeat "unfold" 3 {d1~} \once \override Hairpin #'color =
#blue d1 \< d1 d1 d1
\once \override DynamicText #'color = #blue d4 \f d d d \p
d \once \override DynamicTextSpanner #'color = #blue \cresc d d \f d |
So the override goes immediately before the note which a \f or \< is
connected to, and it goes immediately before a \cresc
(DynamicTextSpanner).
Now, Mats' solution I don't get. Why does the override go *after* the \cr?
My last question is where to put the variable definition
blueDyn = \once \override Hairpin #'color = #blue
When I put it at the top of the file, it gives errors:
Parsing...
c:/Program Files/LilyPond/usr/share/lilypond/current/ly/english.ly:15:0:
error: syntax error, unexpected STRING
pitchnamesEnglish = #`(
c:/Program Files/LilyPond/usr/share/lilypond/current/ly/english.ly:130:13:
error: unknown escaped string: `\pitchnamesEnglish'
pitchnames =
\pitchnamesEnglish
etc.
Tim Reeves
"Trevor Daniels" <[EMAIL PROTECTED]> wrote on 04/09/2008 02:44:21 AM:
>
> Tim Reeves wrote
> > Well, it helps some, but why do I get an error when I try the same
thing
> > with hairpins?
> >
> > error: syntax error, unexpected EVENT_IDENTIFIER
> >
> >r4 d4 \p d d | \repeat "unfold" 4 {d1~} | d1 \once
> > \override Hairpin #'color = #blue \cr | d1 | d1 \f
>
> The error is due to the \cr not being attached to a note, not the
override.
>
> It sometimes helps to attach dynamics to a zero-length spacer note -
s1*0.
>
> > and where can I put the variable redDyn in my .ly file? Everywhere I
try
> > seems to give me errors, which is why I just put the \override right
in
> > with the music.
>
> Here's your example adjusted to work:
>
> blueDyn = \once \override Hairpin #'color = #blue
> \relative c'' {
> r4 d4 \p d d |
> \blueDyn s1*0 \cr
> \repeat "unfold" 4 {d1~} | d1 | d1 | d1 \f
> }
>
> > Finally, when does one have to include the context, like \once
\override
> > Voice.DynamicText #'color = #blue?
>
> For this, read the Learning Manual ... :)
>
> > Thanks for your help.
> >
> > Tim Reeves
> >
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Re: constructing a jazz piece
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Stan Mulder wrote:
| In constructing a small combo piece, I'm not sure how to modularize
individual
| parts.
|
| For example, notes are specific to a certain instrument whereas a segno
| or coda is common to all parts.
I've been wondering this myself after having typeset around 50 or so
lead sheets with melody, chords and rhythm parts. I've looked at the
documentation, but there doesn't seem to be any easy way to separate the
structure of the music (i.e., voltas, codas, special barlines, etc) from
the music itself (i.e., notes, fingerings, etc.). I vaguely remember
that there was some discussion about doing it in a new version of
lilypond on the list, but I can't remember if it was going to happen in
the current development branch (2.11.x) or not.
Is something like this already in the works? Or is there a good way to
do it now that I've overlooked? :-) As it is now, I have to specify the
structure in all parts (except chords) if I want to be able to print out
separate parts. Needless to say (but here I am saying it anyway :-P) it
makes part entry more cumbersome and error prone when you have to do it
this way.
- -- Shamus
Attached is an example of how I do my lead sheets currently--maybe it'll
spark some ideas for you Stan.
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=tvj1
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\version "2.10.29"
\include "pop-chords.ly"
\include "english.ly"
% Good sizes are 16, 18, & 20
staffSize = #20
#(set-default-paper-size "letter")
#(set-global-staff-size staffSize)
#(ly:set-option (quote no-point-and-click))
%{ Some useful characters: â â â â â â â ⡠⢠⦠%}
\header
{
%Let's bump up the title size and switch to the chord font. :-)
title= \markup { \override #'(font-family . sans) \fontsize #3.5
"As The Deer" }
% composer = \markup { \override #'(font-family . sans) \fontsize #1.3 ""
}
arranger = \markup { \override #'(font-family . sans) \fontsize #1.3
"arr. Ed Smart" }
tagline = #(ly:export (string-append "Engraved by JLH and Lilypond "
(lilypond-version)))
}
%{
tweak = #(define-music-function (parser location sym val arg)
(symbol? scheme? ly:music?)
"Add @code{sym . val} to the @code{tweaks} property of @var{arg}."
(set!
(ly:music-property arg 'tweaks)
(acons sym val
(ly:music-property arg 'tweaks)))
arg)
%}
% Useful tweak abbreviations (hn = harmony note)
hn = #(define-music-function (parser location arg) (ly:music?)
;; Harmony Note: Set the tweaks property of the passed in note to use a smaller
font
(set! (ly:music-property arg 'tweaks)
(acons 'font-size -3.5 (ly:music-property arg 'tweaks))) arg)
%
% Lead vocal
%
LeadVox = \relative c'
{
\set Voice.autoBeaming = ##f
% \set Staff.instrument = #"Lead vox"
\clef G
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\override Score.SpacingSpanner #'average-spacing-wishes = ##f
\set Score.markFormatter = #format-mark-box-letters
% Intro
\once \override TextScript #'padding = #2.0
s1*0^\markup { \large { Moderate ballad } }
%\small
\tiny
e4 g g e8 [ d ] | % 1
c4. d8 f [ e d c ] | % 2
c4. e8 d4. c8 | % 3
c1 | % 4
\normalsize
\repeat volta 2
{
% A section
\mark \markup { \override #'(font-family . sans) { \box { A } } }
e4 g g e8 [ d ] | % 5
c4. d8 f [ e d c ] | % 6
a'4 a8 [ a ] g4. f8 | % 7
g1 | % 8
e4 g g e8 [ d ] | % 9
c4. d8 f ( [ e ) d c ] | % 10
c4. e8 d4. c8 | % 11
c2 ~ c4 r \bar "||" % 12
% B section
\mark \markup { \override #'(font-family . sans) { \box { B } } }
4 8 [ ] | % 13
% 4 8 [ ] | % 13
4 4. <\hn e c>8
| % 14
4 8 [ ] | % 15
4
<< { \voiceOne 2 } \new Voice = "v" { \voiceTwo
\override NoteHead #'font-size = #-2.0 a,4 gs \override NoteHead #'font-size =
#1.0 } >> \oneVoice | % 16
e'4 g g e8 [ d ] | % 17
c4. d8 f ( [ e ) d c ] | % 18
c4. e8 d4. c8 | % 19
}
\alternative
{
{
c2 r | % 20
}
{
c2 r \bar "||" % 21
}
}
% A section (modulation)
\key d \major
\once \override Score.RehearsalMark #'padding = #2.0
\mark \markup { \override #'(font-family . sans) { \box { C } } }
fs4 a a fs
Re: constructing a jazz piece
David Bobroff centrum.is> writes: > You can put all sorts of things in the 'global' block like rehearsal > marks, too. I get it now. Thanks. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Making chord text substitutions globally
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Hi all,
I was wondering if there is a way to make my customized chord list take
over by simply including the external .ly file--the same way you can
override the default note names by including the appropriate file. As it
is now, I have to explicitly instantiate them in the chordmode context
like so:
\include "english.ly"
\include "pop-chords.ly" % This has the popChords definition
...
Chords = \chordmode
{
~ \popChords
~ a1:m | % 1
~ ...
}
...
In other words, I want to be able to override the default chords with my
customized chords just by including the pop-chords.ly file *without*
having to stick that \popChords thing in there. Any ideas? Is this
currently impossible?
- -- Shamus
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Re: constructing a jazz piece
-BEGIN PGP SIGNED MESSAGE-
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Thanks for that David. I've been doing this to separate out dynamic
markings, but I didn't know you could do the same with voltas and the like.
/me goes off to try it
- -- Shamus
David Bobroff wrote:
| Don't know if there's a simple example in the docs. What I do looks
| something like this:
|
| global = {
| \key c \major
| \time = 4/4
| s1^\markup{\bold "Allegro"}
| s1*8 (you need skips to place your things in the right place)
| % etc.
| }
|
| sax = \relative c' {
| %saxophone stuff
| }
|
| trombone = \relative c {
| % trombone stuff
| }
|
| % The score for the two voices above:
|
| \score {
| \context StaffGroup <<
| \global
| \context Staff <<
| \sax
| >>
| \new Staff <<
| \trombone
| >>
| >>
| }
|
| % Score for a part:
|
| \score {
| \context Staff <<
| \global
| \sax
| >>
| }
|
|
| You can put all sorts of things in the 'global' block like rehearsal
| marks, too.
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RE: Number over the percent repeat?
This has been on the list before (or maybe the LSR) since I know I didn't
come up with it myself, but here's how I do it:
<<
{
\repeat volta 5 { c1 ~ }
c1
}
\new Voice
{
\set countPercentRepeats = ##t
\override PercentRepeatCounter #'font-size = #-3
\override PercentRepeatCounter #'padding = #2.5
\override PercentRepeat #'transparent = ##t
\repeat percent 6 { s1 }
}
>>
--Steven
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Reinhold Kainhofer
Sent: Wednesday, April 09, 2008 8:57 AM
To: Mats Bengtsson; lilypond-user@gnu.org
Subject: Re: Number over the percent repeat?
Am Mittwoch, 9. April 2008 schrieben Sie:
> Reinhold Kainhofer wrote:
> > Am Mittwoch, 9. April 2008 schrieb Graham Percival:
> >> Stan Mulder <[EMAIL PROTECTED]> wrote:
> >>> In a percent repeat, can I get the number of measures to be repeated
> >>> over the double percent sign?
> >>
> >> It's the second example in the 2.11 docs.
> >
> > While we are at it: Is there something similar for long tied notes and
> > for rests over multiple measures?
>
> Good question! The following attempt didn't work ;-)
> \set restNumberThreshold = #0 R1*5
No, because that's no what I'm after. What I want is something like:
R1^"1" | R1^"2" | R1^"3" | R1^"4" | R1^"5"
only that it should not look like some ordinary text markup, but like the
multi-measure rest numbers. You see this every now and then in old
hand-engraved sacral pieces. I admit that the first time I saw this, I was
confused why they had multi-measure rest numbers 1 and 2 above the rests
(i.e. I first thought it was three measures rest instead of two), but once
you know that, it can be quite useful.
The thing is that if you want to transcribe old editions as close as
possible
to the original edition, you'll need something like that. I probably
wouldn't
use it in a new edition, though.
However, for long tied notes, this is still used today and quite useful:
Something like:
c1~^"1" | c1~^"2" | c1~^"3" | c1~^"4" | c1~^"5" | c1~^"6" | c1~^"7" |
c1~^"8" | c1~^"9" | c1^"10" |
Again, the numbers should not look like text markup, but rather like
multi-measure rest numbers. And I don't want to count the notes manually ;-)
Cheers,
Reinhold
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien,
http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung "Jung-Wien", http://www.jung-wien.at/
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Re: combining parts
\partcombine will indeed produce Voice contexts. The reason that you
get problems is that the names of these Voice contexts is
hard-coded, which means that the results of your two
\partcombine commands end up in one and the same Voice
context (since the name is the same).
This is just one of many limitations and problems with \partcombine.
It should be a fairly simple exercise in Scheme programming
to remove the duplicated notes, though.
/Mats
James E. Bailey wrote:
is there anything similar to \partcombine but at the voice level? I
think that would give me an acceptable solution. Or can I move
\partcombine to a voice context?
On 09.04.2008, at 15:23, Mats Bengtsson wrote:
The simplest solution is
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
\score {
\new Staff <<
\new Voice <<\voiceOne \ErsteStimme \ZweiteStimme>>
\new Voice <<\voiceTwo \DritteStimme \VierteStimme>>
>>
}
This solution will even combine rests if they happen in one and the
same voice.
However, if you have simultaneous rests in all the four parts, then
you will see
them duplicated, which may or may not be what you want. There have been
several workarounds proposed in the mailing lists and LSR to merge
the rests.
/Mats
James E. Bailey wrote:
Is it possible to combine four parts into two voices on one staff,
ideally with one voice stems up and the other voice stems down?
I've gotten as far as two voices combined into one voice with stems
in the direction I want, but every time I add the other voice, I
either lose the two voice configuration, or I lose the stem
settings. For reference, I've been playing with the following as my
example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver}
{\OneAB} \new Voice = "2" \with {\remove Rest_engraver} {\TwoAB}>>,
and <<{\OneAB}\\{\TwoAB}>>, and various things involving \stemUp
and \stemDown, and I just can't seem to get it work.
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=
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
=
--
=
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: combining parts
Yeah, I got as far as:
ErsteStimme = { r2 c''4 d'' g'8 g' g'4 fis' g'4}
ZweiteStimme = { g'4 a' r2 e'8 e' d'2 c'4 }
DritteStimme = { r2 fis''4 g'' g'8 g' g'4 fis' g'4 }
VierteStimme = {c'4 c' r2 e'8 e' d'2 c'4 }
\score {
\new Staff << \set Staff.printPartCombineTexts = ##f
\new Voice \with {\remove Rest_engraver}<<\voiceOne \partcombine
\ErsteStimme \DritteStimme>>
\new Voice \with {\remove Rest_engraver}<<\voiceTwo \partcombine
\ZweiteStimme \VierteStimme>>
>>
}
and then I just gave up. Maybe in a year or two I'll try it again.
On 09.04.2008, at 20:50, Mats Bengtsson wrote:
\partcombine will indeed produce Voice contexts. The reason that you
get problems is that the names of these Voice contexts is
hard-coded, which means that the results of your two
\partcombine commands end up in one and the same Voice
context (since the name is the same).
This is just one of many limitations and problems with \partcombine.
It should be a fairly simple exercise in Scheme programming
to remove the duplicated notes, though.
/Mats
James E. Bailey wrote:
is there anything similar to \partcombine but at the voice level?
I think that would give me an acceptable solution. Or can I move
\partcombine to a voice context?
On 09.04.2008, at 15:23, Mats Bengtsson wrote:
The simplest solution is
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
\score {
\new Staff <<
\new Voice <<\voiceOne \ErsteStimme \ZweiteStimme>>
\new Voice <<\voiceTwo \DritteStimme \VierteStimme>>
>>
}
This solution will even combine rests if they happen in one and
the same voice.
However, if you have simultaneous rests in all the four parts,
then you will see
them duplicated, which may or may not be what you want. There
have been
several workarounds proposed in the mailing lists and LSR to
merge the rests.
/Mats
James E. Bailey wrote:
Is it possible to combine four parts into two voices on one
staff, ideally with one voice stems up and the other voice stems
down? I've gotten as far as two voices combined into one voice
with stems in the direction I want, but every time I add the
other voice, I either lose the two voice configuration, or I
lose the stem settings. For reference, I've been playing with
the following as my example.
ErsteStimme = { c''8 b' b' a' g' g' f' e' }
ZweiteStimme = { a'8 a' g' f' f' e' d' c' }
DritteStimme = { e'8 f' c' d' e' e' b a }
VierteStimme = { c'8 d' a b c' b g f }
OneAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemUp \ErsteStimme>>
<<\stemUp \ZweiteStimme>>
>>
}
TwoAB = {
<<
\set Staff.printPartCombineTexts = ##f
\partcombine
<<\stemDown \DritteStimme>>
<<\stemDown \VierteStimme>>
>>
}
\score {
\new Staff {
<<
<<\stemUp \OneAB>>
<<\stemDown \TwoAB>>
>>
}
}
I also tried <<\new Voice = "1" \with {\remove Rest_engraver}
{\OneAB} \new Voice = "2" \with {\remove Rest_engraver}
{\TwoAB}>>, and <<{\OneAB}\\{\TwoAB}>>, and various things
involving \stemUp and \stemDown, and I just can't seem to get it
work.
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=
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
=
--
=
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: lilypond-user Digest, Vol 65, Issue 34
On Wed, 09 Apr 2008 18:47:58 +0300 Till Rettig <[EMAIL PROTECTED]> wrote: > Actually Graham has pronounced that we should not have a > task-orientated structure, but just tell about the issues not > referring to the context they are used to. But maybe it is still ok > in this case. Ancient music is a special case. As long as the docs still compile, I don't care what happens in there. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert text encodings (was: Old LilyPond versions)
Am 2008-04-08 um 23:24 schrieb Graham Percival: You're talking about the old LaTeX accents -> utf-8 ? Manual conversion is necessary with current convert-ly. I can think of three ways to automate it. They're all kind-of hackish, but they'd work in theory. It just needs somebody to translate that theory into practice. Conversion of "LaTeX encoding" to any other encoding, esp. UTF-8 is easy. I've a little script ready for such - but it converts whole files, I don't know if it will affect LilyPond commands. Here: http://www.fiee.net/texnique/?menu=0-2-2&lang=en you can download the "mab2bib" archive, it includes "utf2latex.py". This was option #3. :) Just this script can save some time. Ideally, somebody would spend two hours modifying this script so that it only looks inside \markup or \lyrics or something like that. Then perhaps another two hours to integrate it with convert-ly -- or, if that's not possible/ideal, dump it somewhere on the web and get our convert-ly docs to point to it as a "helper script" for a particularly difficult transistion. I'm not offering to do any of this, but if somebody else is interested, I'm quite willing to mentor them and help them through these steps. I can look into that - would you remember me in the first week of May? Looking at the code I'd first change all strings (error messages etc.) to unicode objects - there's gettext involved, and you must expect that some other language needs more than plain ASCII, beside the possibility of non-ASCII characters in path and file names... Greetlings from Lake Constance! Hraban --- http://www.fiee.net https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Colored hairpins?
Tim Reeves wrote
My last question is where to put the variable definition
blueDyn = \once \override Hairpin #'color = #blue
When I put it at the top of the file, it gives errors:
Parsing...
c:/Program Files/LilyPond/usr/share/lilypond/current/ly/english.ly:15:0:
error: syntax error, unexpected STRING
pitchnamesEnglish = #`(
c:/Program Files/LilyPond/usr/share/lilypond/current/ly/english.ly:130:13:
error: unknown escaped string: `\pitchnamesEnglish'
pitchnames =
\pitchnamesEnglish
etc.
Without seeing your input file it is difficult to be sure, but I think you
must have placed a "\relative {" or maybe just a an opening brace,"{",
before the \include "english.ly". The \include "english.ly" must come
before any music input. Try this order:
\include "english.ly"
blueDyn = \once \override Hairpin #'color = #blue
\relative c'' {
}
Trevor D
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Re: lilypond-user Digest, Vol 65, Issue 34
Till: > Trevor Daniels schrieb: ... > > .3 Baroque rhythmic notation (new) > Karl: > > We don't have lilypond examples of this. I have seen this in a Novello > score for Purcells Dido. So I suggest we drop this for the moment. > (Though an ossia section might show what the editor want.) > > > We actually do have some in the list somewhere, I remember (was it > Nicolas) somthing about using empty note heads for quarter notes or > something like that -- that's what I am referring to. Nice, can you find it? > I would still put the ligature brackets here, as they are an issue of > modern editions and not of ancient notation. No problem with me, just giving input. > And about slurs and the like: they are not specific to ancient notation, > so they are covered somewhere else in the NR. ... You are probably right. Regards, /Karl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 2 Draft 8 (hopefully the final one!)
Trevor: > The latest draft for the revision of the headings to NR 2 is attached. ... > changes have been made and text has been reassigned. For now the discussion > on Ancient notation is Closed, with thanks again to Karl and Till. Ok with me. Regards, /Karl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rotating/grouping grobs for microtonal accidentals
Dear Graham,
thanks for your reply and sorry for the delay.
On Apr 3, 2008, at 7:17 PM, Graham Percival wrote:
On Thu, 3 Apr 2008 19:08:06 +0100
Torsten Anders <[EMAIL PROTECTED]> wrote:
thank you for your kind reply and sorry for my late response. The
example you provided does indeed work nicely for monotonic voices.
However, it appears it does not work for chords
Please see LM 4.1.4 Tweaking methods in the GDP docs:
http://web.uvic.ca/~gperciva/
(current output -> Learning Manual -> 4.1.4 )
You need to use \tweak inside a chord.
Unfortunately, \tweak does not work for accidentals, as the Learning
Manual section 4.1.4 points out itself:
"The \tweak command [...] acts on the immediately following item in
the input stream. However, it is effective only on objects which are
created directly from the input stream, essentially note heads and
articulations. (Objects such as stems and accidentals are created
later and cannot be tweaked in this way). "
Thus, the following does _not_ work:
\version "2.10.0"
\relative c'{
\override Accidental #'stencil = #ly:text-interface::print
c d e
\once \override Accidental #'text = \markup{\rotate #90
\musicglyph #"scripts.rvarcomma"}
fis
<
c
\tweak Accidental #'text = \markup{\rotate #180 \musicglyph
#"scripts.lvarcomma"}
dis
>
ais
e d c1 }
Nevertheless, I very much like the idea of creating accidentals with
text markup. So, any alternative proposal for making this work are
very much welcome!
Best
Torsten
On Apr 3, 2008, at 7:08 PM, Torsten Anders wrote:
Dear Mats
thank you for your kind reply and sorry for my late response. The
example you provided does indeed work nicely for monotonic voices.
However, it appears it does not work for chords
%% !! causes lilypond parsing error!
\version "2.10.0"
\relative c'{
c d e
< \once \override Accidental #'stencil = #ly:text-interface::print
\once \override Accidental #'text = \markup{\rotate #180
\musicglyph #"scripts.lvarcomma"}
dis
\once \override Accidental #'stencil = #ly:text-interface::print
\once \override Accidental #'text = \markup{\rotate #180
\musicglyph #"scripts.rvarcomma"}
fis
\once \override Accidental #'stencil = #ly:text-interface::print
\once \override Accidental #'text = \markup{\rotate #90
\musicglyph #"scripts.lvarcomma"}
ais >
e d c1 }
This solution will not automatically recognize what glyph to use
depending on
the pitch of the note. Rather you will have to manually specify
what markup to
use for each accidental.
Such a restriction would be totally fine for me -- in the end I am
generating the *.ly file automatically by a program.
A more advanced solution would be to write a few lines of Scheme
code that
automatically gives you the proper accidental based on the note
pitch.
This is what I tried in the first place by starting with the maqam
example shown in the list of new features at
http://lilypond.org/doc/v2.11/Documentation/topdocs/NEWS.html.
I do know Scheme, but I don't know the internals of Lilypond which
I would like to change :) Attached is a *.ly file which shows a
working example I did for a microtonal notation in 22-tone equal
temperament (using common Feta-font accidentals, just to have a
working example).
Now, all I want to do is replace the accidental signs either by
signs from another font or by transformations of Feta-font
characters (e.g., using text markup, as you suggested). More
specifically, I want to change the following section of the
attached example which changes the glyph-name-alist of the
Accidental context (please see example excerpt below).
Unfortunately, I don't know whether/how I can use some text markup
in the etTwentytwoGlyphs specification.
% -- example start
% cut out declarations, see attached files
% [...]
%% set pitch names.
pitchnames = \etTwentytwoPitchNames
#(ly:parser-set-note-names parser etTwentytwoPitchNames)
etTwentytwoGlyphs = #'((1 . "accidentals.doublesharp")
(1/2 . "accidentals.sharp")
(1/3 . "accidentals.sharp.slashslashslash.stem")
(1/6 . "accidentals.sharp.slashslash.stem")
(0 . "accidentals.natural")
(-1/3 . "accidentals.flat.slash")
(-1/6 . "accidentals.flat.slashslash")
(-1/2 . "accidentals.flat")
(-1 . "accidentals.flatflat")
)
{
\override Accidental #'glyph-name-alist = \etTwentytwoGlyphs
\override Staff.KeySignature #'glyph-name-alist = \etTwentytwoGlyphs
% actual score follows here
}
% example end
Any help is much appreciated!
Best
Torsten
PS: Please note also that such an approach (which allows for
arbitrary text markup as accidentals) could likely provide Lilypond
support for arbitrary microtonal notations. As demonstrated by the
maqam example, Lilypond users can define arbitrary fractions of a
whole tone step and associate them with custom Lilypond note names
and cu
Re: Colored hairpins?
That was it. I had braces around the variable definition that caused the
errors.
So that means that "{" means music input to Lilypond...
I learn most of this stuff by examples and by trial and error.
Sometimes the errors are so many that the trials are plentiful and still
not sufficient!
Thanks a lot.
Tim Reeves
"Trevor Daniels" <[EMAIL PROTECTED]> wrote on 04/09/2008 03:44:43 PM:
>
> Tim Reeves wrote
> > My last question is where to put the variable definition
> >
> > blueDyn = \once \override Hairpin #'color = #blue
> >
> > When I put it at the top of the file, it gives errors:
> >
> > Parsing...
> > c:/Program
Files/LilyPond/usr/share/lilypond/current/ly/english.ly:15:0:
> > error: syntax error, unexpected STRING
> >
> > pitchnamesEnglish = #`(
> > c:/Program
Files/LilyPond/usr/share/lilypond/current/ly/english.ly:130:13:
> > error: unknown escaped string: `\pitchnamesEnglish'
> > pitchnames =
> > \pitchnamesEnglish
> >
> > etc.
>
> Without seeing your input file it is difficult to be sure, but I think
you
> must have placed a "\relative {" or maybe just a an opening brace,"{",
> before the \include "english.ly". The \include "english.ly" must come
> before any music input. Try this order:
>
> \include "english.ly"
> blueDyn = \once \override Hairpin #'color = #blue
> \relative c'' {
>
> }
>
> Trevor D
>
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Re: constructing a jazz piece
> "Stan" == Stan Mulder <[EMAIL PROTECTED]> writes:
Stan> David Bobroff centrum.is> writes:
>> What I do is to put road-map stuff (key changes, time changes,
>> repeats, segnos etc.) in a 'global' block. Then I combine that
>> with parts for the individual part scores, and with the top staff
>> in the main score.
Stan> David,
Stan> Is there an example somewhere?
The main problem with this approach is that the musical output is
incorrect -- `chording' the global section with the individual parts
makes the output *look* right without acutally *being* right.
Try, e.g.,
global= { \time 4/4 \key es \major \repeat volta 2 {
s1*2 } }
notes =\relative c' { es4 f es f | es f es f }
\score {
\unfoldRepeats \context Staff << \global \notes >>
\midi{}
\layout{}
}
--
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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shortInstrumentName help
I'm want my score to have short instrument names. What I've got is not working.
Apparently I need to separate the trumpet and clarinet contexts but I'm not sure
how to do that.
\book {
\score {
<<
\new StaffGroup = "horns"
<<
\new Staff = "trumpet" \transpose c c \trumpet
\set Staff.shortInstrumentName = "Tpt "
\new Staff = "clarinet" \transpose c c \clarinet
\set Staff.shortInstrumentName = "Clr "
>>
>>
\midi { }
}
}
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Re: constructing a jazz piece
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Shamus wrote:
| Thanks for that David. I've been doing this to separate out dynamic
| markings, but I didn't know you could do the same with voltas and the
like.
|
| /me goes off to try it
Wow! Works like a charm! This is not only going to save me lots of time,
but what's left of my sanity. :-) Attached is the final result. Thanks
again, David!
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org
iD8DBQFH/X/VmE5b/O3JjkYRAt5LAJ93hCBNKKTll+ZlHUY9fHIzKSzRrQCfZzal
ZPPvLxmqZsXDepMMHvrd6GU=
=eFjJ
-END PGP SIGNATURE-
\version "2.10.29"
\include "pop-chords.ly"
\include "english.ly"
% Good sizes are 16, 18, & 20
staffSize = #20
#(set-default-paper-size "letter")
#(set-global-staff-size staffSize)
#(ly:set-option (quote no-point-and-click))
%{ Some useful characters: â â â â â â â ⡠⢠⦠%}
\header
{
%Let's bump up the title size and switch to the chord font. :-)
title= \markup { \override #'(font-family . sans) \fontsize #3.5
"As The Deer" }
% composer = \markup { \override #'(font-family . sans) \fontsize #1.3 ""
}
arranger = \markup { \override #'(font-family . sans) \fontsize #1.3
"arr. Ed Smart" }
tagline = #(ly:export (string-append "Engraved by JLH and Lilypond "
(lilypond-version)))
}
%{
tweak = #(define-music-function (parser location sym val arg)
(symbol? scheme? ly:music?)
"Add @code{sym . val} to the @code{tweaks} property of @var{arg}."
(set!
(ly:music-property arg 'tweaks)
(acons sym val
(ly:music-property arg 'tweaks)))
arg)
%}
% Useful tweak abbreviations (hn = harmony note)
hn = #(define-music-function (parser location arg) (ly:music?)
;; Harmony Note: Set the tweaks property of the passed in note to use a smaller
font
(set! (ly:music-property arg 'tweaks)
(acons 'font-size -3.5 (ly:music-property arg 'tweaks))) arg)
%
% Song's structure
%
Global =
{
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
% Intro
\once \override TextScript #'padding = #2.0
s1*0^\markup { \large { Moderate ballad } }
s1*4 | % 1-4
\repeat volta 2
{
% A section
\mark \markup { \override #'(font-family . sans) { \box { A } }
}
s1*7 | % 5-11
s1 \bar "||" % 12
% B section
\mark \markup { \override #'(font-family . sans) { \box { B } }
}
s1*7 | % 13-19
}
\alternative
{
{
s1 | % 20
}
{
s1 \bar "||" % 21
}
}
% A section (modulation)
\key d \major
\once \override Score.RehearsalMark #'padding = #2.0
\mark \markup { \override #'(font-family . sans) { \box { C } } }
s1*8 | % 22-29
% B section
\repeat volta 2
{
\mark \markup { \override #'(font-family . sans) { \box { D } }
}
s1*7 | % 30-36
}
\alternative
{
{
s1 | % 37
}
{
s1 | % 38
}
}
% Outro
s1*5 | % 39-43
s1 \bar "|." % 44
}
%
% Lead vocal
%
LeadVox = \relative c'
{
\clef G
\override Score.SpacingSpanner #'average-spacing-wishes = ##f
s1 | % 1
s1 | % 2
s1 | % 3
s1 | % 4
% A section
e4 g g e8 d | % 5
c4. d8 f e d c | % 6
a'4 a8 a g4. f8 | % 7
g1 | % 8
e4 g g e8 d | % 9
c4. d8 f ( e ) d c | % 10
c4. e8 d4. c8 | % 11
c2 ~ c4 r | % 12
% B section
4 8 | % 13
4 4. <\hn e c>8 | % 14
4 8 [ ] | % 15
4
<< { \voiceOne 2 } \new Voice = "v" { \voiceTwo \override
NoteHead #'font-size = #-3.5 a,4 ( gs ) \override NoteHead #'font-size = #1.0 }
>> \oneVoice | % 16
e'4 g g e8 d | % 17
c4. d8 f ( e ) d c | % 18
c4. e8 d4. c8 | % 19
c2 r | % 20
c2 r | % 21
% A section (modulation)
fs4 a a fs8 e | % 22
d4. e8 g fs e d | % 23
b'4. b8 a4. g8 | % 24
a1 | % 25
fs4 a a fs8 e | % 26
d4. e8 g fs e d | % 27
d4. fs8 e4. d8 | % 28
d2 ~ d4 r | % 29
% B section
4 8
| % 30
4 4. <\hn fs d>8 | %
31
4 8 | % 32
4
<< { \voiceOne 2 } \new Voice = "v" { \voiceTwo \override
NoteHead #'font-size = #-3.5 b,4 ( as ) \override NoteHead #'font-size = #1.0 }
>>
Chord dictionary
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Hi all,
I like the fretboard diagram functionality, but I was thinking instead
of putting them into the score that I could put them all at the
beginning of the score as a sort of chord dictionary that I could then
refer to in the actual score using appropriate chord names.
Right now, the only way I see of doing it is to shove them into the
subtitle in the \header block like so:
\header
{
title = "My Song"
subtitle = \markup { \fret-diagram #"6-3;5-x;4-2;3-o;2-3;1-3;" " - "
\fret-diagram-terse #"3-(;6;;5;4;3-);" }
}
It works, but I also need to be able to put the chord names above the
diagrams. This approach seems really hackish to me--perhaps some kind
soul could point me in the right direction?
Thanks,
- -- Shamus
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Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org
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Re: shortInstrumentName help
Hi,
Stan Mulder a écrit :
I'm want my score to have short instrument names. What I've got is not working.
Apparently I need to separate the trumpet and clarinet contexts but I'm not sure
how to do that.
\book {
\score {
<<
\new StaffGroup = "horns"
<<
\new Staff = "trumpet" \transpose c c \trumpet
\set Staff.shortInstrumentName = "Tpt "
\new Staff = "clarinet" \transpose c c \clarinet
\set Staff.shortInstrumentName = "Clr "
>>
>>
\midi { }
}
}
\new Staff = "trumpet" {
\transpose c c
\trumpet
\set Staff.shortInstrumentName = "Tpt "
}
?
You can do it in the notes definitions too:
trumpet = {
\set Staff.instrumentName = "Trumpet "
\set Staff.shortInstrumentName = "Tpt "
% notes...
}
--
hth
Frédéric Moinard
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Re: constructing a jazz piece
Quoting Shamus <[EMAIL PROTECTED]>: | Thanks for that David. I've been doing this to separate out dynamic | markings, but I didn't know you could do the same with voltas and the like. | | /me goes off to try it Wow! Works like a charm! This is not only going to save me lots of time, but what's left of my sanity. :-) Attached is the final result. Thanks again, David! This can certainly be a good practice to separate out annotations or dynamics and such. This is one aspect of separating musical content from typesetting layout. However, for the specific case of \repeat volta, I'm not so certain that it's a good idea to only specify them separately from the music. For example, this means that you will not be able to produce a MIDI file with all repeats played and I seem to recall some other problems that can also appear if you do not specify the repeats in the actual music. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shortInstrumentName help
You have to tell LilyPond what belongs together, using curly brackets.
One way to think of it is that within each Staff, you first specify the
instrument name, then typeset the music:
\new Staff = "trumpet" \transpose c c {
\set Staff.shortInstrumentName = "Tpt "
\trumpet
}
/Mats
Quoting Stan Mulder <[EMAIL PROTECTED]>:
I'm want my score to have short instrument names. What I've got is
not working.
Apparently I need to separate the trumpet and clarinet contexts but
I'm not sure
how to do that.
\book {
\score {
<<
\new StaffGroup = "horns"
<<
\new Staff = "trumpet" \transpose c c \trumpet
\set Staff.shortInstrumentName = "Tpt "
\new Staff = "clarinet" \transpose c c \clarinet
\set Staff.shortInstrumentName = "Clr "
>>
>>
\midi { }
}
}
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White Baroque notation (was: lilypond-user Digest, Vol 65, Issue 34)
On 2008/04/09 3:45 PM, "Karl Hammar" <[EMAIL PROTECTED]> wrote: >> Trevor Daniels schrieb: > ... >>> .3 Baroque rhythmic notation (new) >> Karl: >> >> We don't have lilypond examples of this. I have seen this in a Novello >> score for Purcells Dido. So I suggest we drop this for the moment. >> (Though an ossia section might show what the editor want.) >> >> We actually do have some in the list somewhere, I remember (was it >> Nicolas) somthing about using empty note heads for quarter notes or >> something like that -- that's what I am referring to. > > Nice, can you find it? Are you referring to the notation example in the attached email? Kurtis --- Begin Message --- Hi, how can I realize white notation with lilypond? In the french baroque some composers used white noteheads in slow pieces, mainly in 3/2-time. A quater looks there like a eighth with a white notehead. Look at the picture. I hope, someone could help me Regards Franz-Rudolf Kuhnen http://www.kuhnen-koblenz.de <>--- End Message --- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: braces in the lyrics
Op dinsdag 8 april 2008, schreef Timothy C Litwiller: > How would I go about laying this out. I have the notes and a lyrics line > defined for each line of lyrics liuke they are six verses but every > other line doesn't have a set stanza with a number in it. Try putting the brace in the stanza number, and move the (big) brace down somewhat using some markup commands (fontsize, raise, or translate, etc.) http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Overview-of-text-markup-commands > and second question how do I make the midi it creates play the verse > twice and then the chorus when it is laid out this way. http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Repeats-and-MIDI best regards, Wilbert Berendsen -- LilyKDE, LilyPond for KDE: http://lilykde.googlecode.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
