Re: Place to write piano dynamics
2008/6/9 Michael Pozhidaev <[EMAIL PROTECTED]>:
> Hello, everybody!
Greetings, and welcome on the list!
> There is one thing I cannot understand . In many examples
> notes are not written in "\new Staff" block directly,
> but placed in something like
> upper = \relative c'' {
> \clef treble
> \key c \major
> \time 4/4
> a4 b c d
> }
This is what we call a "variable". It is completely equivalent to type:
\new Staff { a b c d }
or to type:
variable = { a b c d }
\new Staff { \variable }
> What is the advantage of such approach? I am asking,
The advantage is that in complex scores, you can modify the structure
of your piece more easily with variables.
It's generally preferable to have all your variables defined at the
beginning of your file, and then a small \score block, like in the
example you're talking about, rather than only a huge \score block
with all the notes inside.
> because in "Piano centered dynamics" example melody and dynamics are written
> separately.
> In long composition it can be difficult to
> think about a correct place for dynamics.
This is a different issue; in this example, a special context, called
"Dynamics" is created (like an invisible staff) between the two
staves, so that requires to enter the dynamics as a standalone
"voice", in its own variable.
> Are there problems to write melody and dynamics together? And why using
> special blocks
> for melody in most cases is more convenient?
You can, of course, include the dynamics into your melody variables.
It's just that some pianists prefer to have the dynamic "centered"
between the right hand and the left hand, to see more clearly that the
dynamics apply to both hands (I have personally given up with this
approach: like you, I find it too difficult).
Cheers,
Valentin
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Re: different rehearsal mark settings in score and part
2008/6/9 hhpmusic <[EMAIL PROTECTED]>:
> I don't know how the remove empty staff function works. I added rehearsal
> marks only above piccolo and violin I parts, but I don't know whether the
> marks will let the parts appear during their silence. If no, the rehearsal
> marks will disappear from my score.
No they will not. If you do use \mark, it creates a RehearsalMark
object, that lives in the Score context, and not in the Staff context:
in other words, even if the staff temporarily disappears the
RehearsalMark will still be printed anyway.
Therefore, you don't have to add any \mark to your flute staff. The
piccolo is enough.
Let me explain it another way: you have to put all the \mark commands
in only one variable (for example, the \marks variable like you did).
You can remove all \mark commands in the other variables (the piccolo,
the flute etc). The marks will automatically be added to the _Score_
(not just to the _Staff_ )
> I ever read the score of The Rite Of
> Sprin in braille. The transcribe's note said that the rehearsal marks are
> above the top of the score and also the topmost string part. If the marks
> disappear, how to add marks to other staves?
That's a bit more complicated. To print marks above other staves than
the topmost staff, there is no ready-to-use solution in LilyPond.
Two solutions exist:
- you can add the mark engraver to your violin 1 staff:
\new Staff \with {
\consists "Mark_engraver"
} { << \vI \marks >> }
However, this kind of marks will disappear when the violins are not playing.
- to avoid this, you can also create a special context, in the \layout
block. This solution is more complicated, but this is the one I use:
\layout {
\context {
\type "Engraver_group"
\name "MarkLine"
\consists "Output_property_engraver"
\consists "Axis_group_engraver"
\consists "Mark_engraver"
\consists "Metronome_mark_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2 )
}
\context {
\Score
\remove "Mark_engraver"
\remove "Metronome_mark_engraver"
\accepts "MarkLine"
}
}
And then, you will have to create a \new MarkLine at the right place,
and put the \marks variable inside it.
\score {
<<
\new MarkLine { \marks } % here...
\new Staff { \pic }
\new Staff { \fl }
...
\new MarkLine { \marks } % and here!
\new Staff { \vI }
\new Staff { \vII }
...
>>
}
> I also created a "marks" variable containing all rehearsal marks, and will
> use it for printing parts:
> marks = { s1*10 \mark \default | s1*20 \mark \default | }
You should probably add all the marks in it, just not the \default marks.
> In full score, I also don't know when the line breaks, so if I add marks
> in other lines before break, it will cause visual mistake. Can I use the
> Dynamic context as in piano score with marks (and therefore not write marks
> at other places) and then place it before piccolo and violin I? Will it
> disappear when the below staff is empty? Must I create a alias staff context
> instead?
Yes, that is the second method I explained above (except that I call
it the MarkLine context instead of the Dynamics context). This context
will not disappear, and the marks will always be printed.
Good luck,
Valentin
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Re: Place to write piano dynamics
2008/6/9 Michael Pozhidaev <[EMAIL PROTECTED]>:
> So, if I put dynamics in the melody variable, they will be placed near
> right hand stave and there is no way to move them to the center?
Actually, there is a way to use your "right hand" variable in the
Dynamics context:
since the Dynamics context does not contain any engraver to print
notes, stems, or even a staff, it will only print the dynamics
contained in your variable.
However, if you do so, you will have to remove the Dynamics engraver
from your "normal" right hand, otherwise they will be printed twice.
Here's an example :
%%%
\layout {
\context {
\Voice
\remove "Dynamic_engraver"
\remove "New_dynamic_engraver"
}
\context {
\type "Engraver_group"
\name Dynamics
\alias Voice % So that \cresc works, for example.
\consists "Output_property_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override DynamicLineSpanner #'Y-offset = #0
\consists "Dynamic_engraver"
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\PianoStaff
\accepts Dynamics
}
}
upper = \relative c'' {
a\< b c\ff d
}
lower = \relative c {
\clef bass
a2 c
}
\score {
\new PianoStaff <<
\new Staff \upper
\new Dynamics \upper
\new Staff \lower
>>
\layout { }
\midi { }
}
%%%
> BTW:
> I read, lilypond originally was written in C++, but during the developing
> process
> the authors hdecided schema is more suitable for this task.
No. LilyPond was originally written in some other language (I don't
know... Python? TeX?)
Then the authors decided to rewrite it in a modular way: the core
(lexers, etc) and the modules (the engravers) are written in C++, but
everything else is written in Scheme (that is the official extension
language of the GNU project, implemented as the Guile interpreter).
What makes it _really_ really really cool, is that you can actually
write native Scheme code in your LilyPond files: there are some
examples of amazing things you can do in Scheme.
> In Linux distributions of ALTLinux Team there is installation/configuration
> tool, we call it "Alterator".
> Window's and dialog's layouts in it are described by small programs in schema.
> Many developers find it convenient . GUI declaration looks nice and it is
> very easy to customize it if necessary.
> Schema is used now not so often...
I think it will be more used in the future; yesterday for instance, I
have discovered the guile-gtk and guile-gnome projects, that are
somehow equivalent to PyGTK with Python...
Cheers,
Valentin
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Re: incorrect beams in 16th quintuplet
Dear Luis,
I had the same problem! But there is a solution (not my idea) available. I
changed Your snippet o the following:
%%% BEGIN %%
\version "2.11.42"
quintolbeam = { \once \set beatLength = #(ly:make-moment 1 20) }
\relative c'
{
\times 4/5 { f8 f16 f16 f16 } r4
\times 4/5 { f16 f8 f16 f16 } r4
\quintolbeam
\times 4/5 { f16[ f16 f8 f16 ] } r4
\quintolbeam
\times 4/5 { f16 f16 f16 f8 } r4
}
\layout{ragged-right=##t}
END %%
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Re: Place to write piano dynamics
Valentin Villenave wrote: BTW: I read, lilypond originally was written in C++, but during the developing process the authors hdecided schema is more suitable for this task. No. LilyPond was originally written in some other language (I don't know... Python? TeX?) No, the main part of the LilyPond implementation has always been in C++. The output was first generated in the form of TeX files with some embedded Postscript code, but nowadays that full scores are generated in Postscript and then converted to PDF, using Ghostscript. Python has always been used for implementing utility functions like convert-ly and lilypond-book. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: The LilyPond Report: a new weekly opinion column about Lily's world
Greetings everybody, A new issue is out: http://valentin.villenave.info/The-LilyPond-Report-11 This week we'll see what is going on on the development mailing list; we will also talk about Free Culture, silly contests, paper sizes and cross-compiling, and have a look at the upcoming next stable LilyPond version! As always, you can post your comments at the bottom of the page, or even register and contribute to the LilyPond Report's next issues. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
DOC: noticed a typo
I noticed a typo in the LSR doc pages ; 6.4.5 Bar lines : http://lsr.dsi.unimi.it/LSR/html/doc/Documentation/user/lilypond/Bar-lines.html#Bar-lines One can read in the middle of the page : In scores with many staves, a \bar command in one staff is automatically applied to all staves. The resulting bar lines are connected between different staves of a StaffGroup, PianoStaff, or ChoirStaff. and should read "... or GrandStaff." Germain___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to set different line-widths for different movements within same score?
Hi Peter, Now I just need to figure out how to straightforwardly adjust staff sizes between the different movements. See 4.2.1 in the docs (v2.11). As for "straightforwardly"... Does anyone know why it is that "layout- set-staff-size does not change the distance between the staff lines"?? It's quite a pain to try to figure out the correct magstep adjustment for every different score and/or staff size used... =\ SPONSORSHIP OFFER: Lilypond should have a single command which sets the staff/font size straightforwardly. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: double notes in stemless notation?
Hallo Mats,
Mats Bengtsson schreef / wrote / skribis:
If you show how you combine these two lines of music
in the same stave, it's easier to provide a relevant
answer.
The relevant part of the code can be found below.
However, in the meantime I figured out how to do double noteheads: using
'force-hshift'.
But thank you very much for your reply!
(And should you know a better or more elegant way, please let me know...)
--
Vriendelijke groeten, = Best wishes, = Afablajn salutojn,
Ivo
www.ivo.bouwmans.name
= .ly file:
global= {
\key e \major
#(set-accidental-style 'forget)
\override Score.TimeSignature #'stencil = ##f
\override Stem #'transparent = ##t
}
right = { \once \override Voice.NoteColumn #'force-hshift = #1 }
Sopraannoten = {
\relative {
\time 100/4
gis'2 \bar "|" a4 b \bar "|" e,
}}
Altnoten = {
\relative {
e2 e4 dis \right e % ...here the shift is used...
}}
\score {
<<
\new ChoirStaff
<<
\new Staff
<<
\new Voice = "DescOne" { \global \voiceOne \Sopraannoten }
\new Voice = "DescTwo" { \global \voiceTwo \Altnoten }
>>
>>
>>
}
\version "2.10.33" % necessary for upgrading to future LilyPond versions.
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Re: DOC: noticed a typo
Thanks for the report, but this is for the 2.10.12 docs. We have rewritten a huge amount of docs for 2.12, so typos in 2.10 are not a major concern. As for the 2.12 docs, we have not yet rewritten this section, but we will bear this in mind when we do. Carl: it's in Rhythms. Cheers, - Graham On Mon, 9 Jun 2008 15:14:58 +0200 "Germain G. Ivanoff-Trinadtzaty" <[EMAIL PROTECTED]> wrote: > I noticed a typo in the LSR doc pages ; 6.4.5 Bar lines : > > http://lsr.dsi.unimi.it/LSR/html/doc/Documentation/user/lilypond/Bar-lines.html#Bar-lines > > One can read in the middle of the page : > In scores with many staves, a \bar command in one staff is > automatically applied to all staves. The resulting bar lines are > connected between different staves of a StaffGroup, PianoStaff, or > ChoirStaff. and should read "... or GrandStaff." > > Germain ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: incorrect beams in 16th quintuplet
2008/6/9 Joe Neeman <[EMAIL PROTECTED]>: > This is a bug that has been fixed in git. Please try 2.11.49 when it is > released. > I just download the git version and it (the minimal example) works for me! Now I just need to go and check some of my scores and see if it works in the wild... -- Matthew Rowles - Be Alert. Australia needs lerts. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
LilyKDE 0.6.0 released
Hi all, LilyKDE 0.6.0 has been released, you can get it here: http://lilykde.googlecode.com/files/lilykde-0.6.0.tar.gz Homepage: http://lilykde.googlecode.com/ New features since 0.6.0 beta: * The PDF preview window can be detached. * An option has been added to save the document (if modified) when LilyPond is started (implementing wishlist issue #4) * Hyphenation did not work when the KDEDIRS environment variable is not set. This has been fixed. New features since 0.5.4: * New Score Wizard, allowing you to quickly set up a new LilyPond document. It can handle many instruments, vocal staffs, lyrics, figured bass, chordnames, tablature staffs, titles and headers and much more. Some translations have yet to catch up, this will hopefully occur during the 0.6.x bugfix releases. Please report problems, incorrent or missing instrument support, etc. Thank you, users of LilyKDE, for your feedback and enjoy! with 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
How to extract parts
Hi everyone... How we can extract parts from a orchestral score like the scores from mutopia project (I'm trying the Beethoven Romanze op. 50). I have checked all documentation in the lilypond site... in the mailing-list and I can't believe that it's so hard to do that in lilypond? Someone could help-me? And would be great if we have some better explanation of this feature in the official documentation.. Sorry by the trash english!!! Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
