code suggestions
Hello everyone.
Is there anyone on the list who wouldn't mind taking a look at some code
and offering general suggestions on writing input files? I've now
successfully typeset several piano scores and would like some feedback
from experienced users about the structure of my .ly files. I'm still
relatively new to LilyPond (but not to music typesetting). As a study,
I'm setting some of the preludes and fugues from Dover's 1983 reprint of
the Bach-Gesellschaft edition of Bach's /Well Tempered Clavier/. In
particular, I'm after suggestions for the actual code structure and
things I may do to make it simpler and more elegant. I'm already aware
of any typesetting/collision issues in these draft copies and will
consult the documentation (or user forum) for resolutions to typesetting
issues.
Thanks in advance,
David Stocker
\version "2.11.59"
\include "english.ly"
\paper {
#(set-paper-size "concert")
}
#(set-global-staff-size 17.82)
\header {
title = "Fugue 2, C Minor"
composer = \markup { "J.S. Bach" \small "(1685-1750)" }
tagline = ##f
}
mBreak = { \break }
timeKey = {
\time 4/4
\key c \minor
}
rightHand = {
\tempo \markup { "Allegretto" }
<<
\voiceOne {
\relative c'' {
%1
R1 |
%2
R1 |
%3
r8 g'16 fs g8 c, ef g16 fs! g8 a | \mBreak
%4
d,8 g16 fs g8 a c,16 d ef4 d16 c |
%5
bf8 ef16 d ef8 g, af f'16 ef f8 a, |
%6
bf8 g'16 f g8 b, c d16 ef f4~ | \mBreak
%7
f8 ef16 d c bf! af g f8 af' g f |
%8
ef8 d ef f b, c d b |
%9
c8 g'16 fs g8 d ef4 r8 e | \mBreak
%10
f8 f16 e f8 c d4 r8 d |
%11
ef!8 ef16 d ef8 bf c ef16 d ef8 f |
}
}
\\
\voiceTwo {
\relative c'' {
%1
r8 c16 b c8 g af c16 b c8 d |
%2
g,8 c16 b c8 d f,16 g af4 g16 f |
%3
ef16 c' b a g f! ef d c8 ef' d c |
%4
bf!8 a bf c fs, g a fs |
%5
g4 r16 c, d ef f g af8~ af16 d, ef f |
%6
g16 a bf8~ bf16 ef, f g af g f ef d8 c'16 b |
%7
c4 r4 r8 f ef d |
%8
r8 af g f g f16 ef f8 d |
%9
g4 r8 b c c16 b c8 g |
%10
af4 r8 a bf bf16 a bf8 f |
%11
g4 r8 g af! af g f |
}
}
>>
\oneVoice {
\relative c'' {
%12
bf8 ef16 d ef8 f af,16 bf c4 bf16 af | \mBreak
%13
g16 ef f g af bf c d ef d c d ef f g a |
%14
\stemDown bf16 \stemUp f, g af \stemNeutral bf c d e f ef d ef f g a b |
}
}
<<
\voiceOne {
\relative c''' {
%15
c8 b16 a g f ef d c8 ef d c | \mBreak
%16
bf8 a bf c fs, g a fs |
%17
g8 d'16 c d8 r r e16 d e8 r |
%18
r8 fs16 e fs8 r r g,16 f! g8 r | \mBreak
%19
r8 a16 g a8 r r b16 a b8 r |
%20
r8 c16 b c8 g af c16 b c8 d |
%21
g,8 c16 b c8 d f,16 g af4 g16 f | \mBreak
%22
ef8 c'16 b c8 g af4 r8 a |
%23
bf8 b16 a bf8 f g4 r8 g8~ |
%24
g8 af16 bf c b c af f2~ | \mBreak
%25
f8 d'16 c d8 f, ef ef'16 d ef8 g, |
%26
f8 f'16 ef f8 af, g16 f' ef d c b a g |
%27
c8 f ef d r af g f | \mBreak
%28
g8 f16 ef f8 d af' f r a |
%29
b8 c f,16 ef d c c8 c'16 b c8 g |
%30
af8 c16 b c8 g c16 b c8 d |
%31
f,16 g af4 g16 f 2 \bar "|."
}
}
\\
\voiceTwo {
\relative c' {
%15
\change Staff = "leftHand" \stemUp g8 \change Staff = "rightHand"
\stemDown g'16 fs g8 c, ef g16 fs g8 a |
%16
d,8 g16 fs g8 a c,16 d ef4 d16 c |
%17
bf8 r r16 d e fs g a bf8~ bf16 e, f g |
%18
a16 bf c8~ c16 fs, g a bf8 ef,!16 d ef8 g, |
%19
af8 f'16 ef f8 a, bf g'16 f g8 b, |
%20
c16 f ef d s4 \change Staff = "leftHand" \stemUp f,8 \change Staff =
"rightHand" \stemDown af' g f |
%21
ef8 d ef f b, c d b |
%22
c4 r8 e f f16 e f8 c |
%23
d4 r8 d ef ef16 d ef8 bf |
%24
c2~ c8 d16 ef f ef f d |
%25
b8 r r b c r r ef |
%26
d8 r r f~ f r r f |
%27
ef8 af g f ef d ef f |
%28
b,8 c d b b c r c |
%29
f16 d ef c~ c8 b c4 r8 e |
%30
f4 r8 f f ef16 d ef8 |
%31
8 r8 8 r s2 |
}
}
>>
}
leftHand = {
\relative c' {
\oneVoice
%1
R1 |
%2
R1 |
%3
R1 |
%4
R1 |
%5
R1 |
%6
R1 |
%7
r8 c16 b c8 g af c16 b c8 d |
%8
g,8 c16 b c8 d f,16 g af4 g16 f |
%9
ef16 c' b a g f ef d c d ef d c bf af g |
%10
\stemUp f16 \stemDown bf' af g \stemNeutral f ef d c bf c d c bf af g f |
%11
\stemUp ef16 \stemDown af' g f \stemNeutral ef df c bf \stemUp af8
\stemDown c' bf af |
}
<<
\voiceOne {
\rel
Parenthesizing a note head /and/ the preceding accidental?
Hi all,
I wonder if it's possible to wrap parentheses around an accidental and
a note head. Currently the \parenthesize parenhesizes only the note
head.
One possible use for such a feature is presented in the included image
(parentheses added in another application).
-Risto
%%%
\version "2.11.60"
\new PianoStaff
<<
\new Staff = "upper"
{
\relative c'' {b8 g es b'}
}
\new Staff = "lower"
{
\clef bass
\relative c {f8 b \parenthesize es \change Staff = upper g}
}
>>
%%%
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Re: Parenthesizing a note head /and/ the preceding accidental?
2008/10/10 Risto Vääräniemi <[EMAIL PROTECTED]>: > One possible use for such a feature is presented in the included image > (parentheses added in another application). Hmm. For some reason Gmail preview messes up the image. It probably doesn't like grayscale images. Here it comes again in full RGB. -Risto <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: code suggestions
On 10.10.2008, at 09:03, David Stocker wrote:
Hello everyone.
Is there anyone on the list who wouldn't mind taking a look at some
code and offering general suggestions on writing input files? I've
now successfully typeset several piano scores and would like some
feedback from experienced users about the structure of my .ly files.
I'm still relatively new to LilyPond (but not to music typesetting).
As a study, I'm setting some of the preludes and fugues from Dover's
1983 reprint of the Bach-Gesellschaft edition of Bach's /Well
Tempered Clavier/. In particular, I'm after suggestions for the
actual code structure and things I may do to make it simpler and
more elegant. I'm already aware of any typesetting/collision issues
in these draft copies and will consult the documentation (or user
forum) for resolutions to typesetting issues.
Thanks in advance,
I'm not the most advanced user, but I would suggest putting the tempo
marks (in future) in their own variable. For one, you can input the
music all at once, as just music, and just throw the tempo marks in
later. Also, if you use templates, it makes it easy to just replace
the tempo mark in the template with whatever your current project
requires.
Also, (and I'm realising this is probably one of the most confusing
aspects of the documentation) the multi-voice structure <<{}\\{}>>
automatically puts the first {} as \voiceOne and the second {} as
\voiceTwo and even puts it back as \oneVoice once it's done. So, if
you're going to use that structure to do polyphony, there's no need to
specify the voices. You only need to do that if you use <<{\voiceOne}
\new Voice {\voiceTwo}>>\oneVoice, in which case, all of that is
necessary for the same multi-voice construct. The biggest advantages I
find of "explicitly instatiating the voices" (which is what the second
version does) is that you can have a slur or tie into or out of the
multi-voice construct c4( <<{\voiceOne d4) \new Voice {\voiceTwo a4}>>
\oneVoice, and that you can name the second voice \sopranoI = {c4
<<{\voiceOne d4} \new Voice = "sopranoII {\voiceTwo a4}>>. Redundancy
doesn't make your input file worse, but understanding the particulars
of single-voice polyphony makes it easier to represent exactly what
you want, and you may later need to use one construct or another.
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Re: WANTED: Design for documentation (Photoshop power users!)
2008/10/10 Patrick McCarty <[EMAIL PROTECTED]>: > The blue links are very close to pure blue (#00F), which is a little > bit intense, but there aren't very many blues that pass the > guidelines. What does everyone think about this? Are there any > colors from this design that you like more than those from the > previous design? I like the color of the links, but then it doesn't really match the greenish-brownish background colors. If you go that way, I'd suggest you use a slightly different background-color with a bit more blue, such as #B1D2FF for the settitle background and #D0E4E8 for the nav_bar background. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesizing a note head /and/ the preceding accidental?
2008/10/10 Risto Vääräniemi <[EMAIL PROTECTED]>: > Hmm. For some reason Gmail preview messes up the image. It probably > doesn't like grayscale images. Here it comes again in full RGB. Looks a lot like http://code.google.com/p/lilypond/issues/detail?id=155 to me :-) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: code suggestions
On Fri, Oct 10, 2008 at 03:03:53AM -0400, David Stocker wrote:
> \paper {
> #(set-paper-size "concert")
> }
This is entirely a matter of preference, but I'd suggest making the
closing brace be at the same indentation level as the line that opens
the block, like so:
\paper {
#(set-paper-size "concert")
}
It makes it much easier to spot when you forget a closing brace. Your
text editor should be able to do this for you automatically, which will
also ensure that your indentation is consistent - sometimes in your file
you use two spaces, sometimes four, and sometimes a tab character. It
would stop you doing things like this:
> rightHand = {
> \tempo \markup { "Allegretto" }
> <<
> \voiceOne {
> \relative c'' {
> %1
...
> }
> }
> \\
>\voiceTwo {
>\relative c'' {
>%1
...
>}
> }
>>>
>
> \oneVoice {
> \relative c'' {
...
> }
> }
> <<
...
> >>
> }
The indentation's so confusing in that block I could only find the end
of rightHand's definition by using Vim's 'jump to matching bracket'
command.
> leftHand = {
> \relative c' {
> \oneVoice
> %1
> R1 |
> %2
> R1 |
> %3
> R1 |
> %4
> R1 |
> %5
> R1 |
> %6
> R1 |
> %7
> r8 c16 b c8 g af c16 b c8 d |
Much as "one bar per line" is a useful rule, you might find it more
concise to abbreviate the first six bars to
R1*6
%7
r8 c16 ... |
Note that R rests (unlike r rests) have an implied bar check on either
end, so you don't need | before or after.
That's all I could spot in a brief skim; I can't spend more time on it
as I'm on the way out to work.
--
"Art is never finished, only abandoned." Leonardo da Vinci
http://surreal.istic.org/ No one heard that but me.
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Re: Parenthesizing a note head /and/ the preceding accidental?
2008/10/10 Valentin Villenave <[EMAIL PROTECTED]>: > Looks a lot like > http://code.google.com/p/lilypond/issues/detail?id=155 to me :-) Well, yes and no. :-) In the case of issue 155 it's quite easy to create a workaround. E.g. \once \override Score.AccidentalPlacement #'right-padding = #0.4 \parenthesize cis However, what I'm asking for would be a different way to place the parentheses: ( # note ) versus the current # ( note ). One option might be creating a markup "()" and use extra-offset to lower / raise it around the note and accidental. Can anyone think of a way that's not so blunt? :-) -Risto ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unusual Alto Clef
In the midst of the discussion about different styles of clefs I mentioned an "English"* style of bass clef. A clear image of such a clef can be seen here: http://en.wikipedia.org/wiki/Image:Oldbassclef.png It's called "old bass clef" there. -David *I called it "English" because I've only seen it in parts printed in the UK. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Augmentation and Diminution
Valentin Villenave wrote: 2008/10/7 Stefan Thomas <[EMAIL PROTECTED]>: Dear Aaron, maybee this could help You: http://lsr.dsi.unimi.it/LSR/Item?id=390 ... or (better) this one: http://lsr.dsi.unimi.it/LSR/Item?id=305 Thanks so much! Aaron ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating recitative
I don't know how to get the two vertical lines before and after the note/chord that defines the pitches on the recitative section. Is there some command/marking I can attach to a note in the chord so that all lines would be automatically drawn from the lowest note to the highest. Or do I need to draw four vertical lines (bar lines perhaps?) and define their length and horizontal position on the staff? Thanks Ari pe, 2008-10-10 kello 08:46 +0200, James E. Bailey kirjoitti: > What aspect of this are you trying to achieve and having difficulty > doing so? I don't really see anything special about the two examples > provided. > On 10.10.2008, at 03:23, Ari Torhamo wrote: > > > Hello, > > > > I'm trying to achieve this: > > http://www.flickr.com/photos/[EMAIL > > PROTECTED]/2927464861/sizes/o/in/photostream/ > > another example: > > http://www.flickr.com/photos/[EMAIL > > PROTECTED]/2927464879/sizes/o/in/photostream/ > > (my apologies for the lousy images, I can send better ones tomorrow, > > if > > needed) > > > > It's used to mark recitative type of singing (which is like talking, > > but > > on a constant pitch). I don't know if it's commonly used everywhere > > (perhaps not, because searching the internet didn't bring up any > > examples (wrong search term?)), but it's used in the music I'm > > notating. > > > > Is this possible to do with Lilypond? > > > > Thanks > > > > Ari > > > > > > > > ___ > > lilypond-user mailing list > > lilypond-user@gnu.org > > http://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesizing a note head /and/ the preceding accidental?
2008/10/10 Risto Vääräniemi <[EMAIL PROTECTED]>: > However, what I'm asking for would be a different way to place the > parentheses: > ( # note ) versus the current # ( note ). One option might be creating > a markup "()" and use extra-offset to lower / raise it around the > note and accidental. Can anyone think of a way that's not so blunt? Not my department :-) I have updated the tracker issue. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating recitative
On 10.10.2008 (16:32), Ari Torhamo wrote: > I don't know how to get the two vertical lines before and after the > note/chord that defines the pitches on the recitative section. Is there > some command/marking I can attach to a note in the chord so that all > lines would be automatically drawn from the lowest note to the highest. > Or do I need to draw four vertical lines (bar lines perhaps?) and define > their length and horizontal position on the staff? If you have to get it EXACTLY as in the pictures, I guess some kind of line-drawing/markup command is what you're facing (and I don't know how to draw them). However, the customary thing in this kind of notation is to use breve notes (the modern kind, which has single vertical lines, close to what you have in your example). Eyolf -- Some say I have no conscience. How false they are, even to themselves. I am the only conscience which has ever existed. As wine retains the perfume of its cask, I retain the essence of my most ancient genesis, and that is the seed of conscience. That is what makes me holy. I am God because I am the only one who really knows his heredity! -- The Stolen Journals ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
Patrick McCarty wrote: I've created another design with a color palette that passes the W3C Web Content Accessibility guidelines for color contrast Yes, yes, yes! Thank you very much. At last I feel the web designer was more concerned about making it easy to read rather than easy to look at. And on long hunts in these extensive docs, easy to read is easy on the eye. Yes please. I like #006078 a lot. It blends with the other colors very well. Well, exactly. It blends. An enormous loss of contrast. The Brett's #0030B8 and Andrew's #1a1aaa seem much the same to me. The reduction in contrast is such that - on white, the links are not quickly distinguishable from ordinary text. - the TOC font would need to be larger to achieve the clarity of #0308fc. And the backgrounds work well in their context. I feel sufficient coordination is achieved without being obtrusive. I do have one caveat though. The bottom navbar and the footer now have the same backgound. They are indeed separated by a gap, but this is insufficient. When you scroll to the bottom of a page and see these appear, the navbar is not so easily recognised as such, i.e. you don't immediately see that it is the same thing as was up at the top. Rather than invoke an additional footer colour, I suggest that the language bar be moved up, and thus act as a more effective gap. Something like footer.png. Cheers, Robin <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating recitative
Eyolf Østrem wrote:
On 10.10.2008 (16:32), Ari Torhamo wrote:
I don't know how to get the two vertical lines before and after the
note/chord that defines the pitches on the recitative section. Is there
some command/marking I can attach to a note in the chord so that all
lines would be automatically drawn from the lowest note to the highest.
Or do I need to draw four vertical lines (bar lines perhaps?) and define
their length and horizontal position on the staff?
If you have to get it EXACTLY as in the pictures, I guess some kind of
line-drawing/markup command is what you're facing (and I don't know how to
draw them). However, the customary thing in this kind of notation is to use
breve notes (the modern kind, which has single vertical lines, close to
what you have in your example).
Exactly! Here's an example:
\version "2.10.0"
\relative c' \new Voice {
\cadenzaOn
4 \breve 4 2 4 \breve 4
}
\relative c' \new Voice {
\cadenzaOn
4 \breve
}
We don't have the note head version with double vertical lines, but you
can use some tricks to obtain them.
To get make the lines extend between the note heads, some more tricks
are needed.
/Mats
Eyolf
--
=
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: code suggestions
Thank you, James and Daniel, for your suggestions.
You only need to do that if you use <<{\voiceOne}\new Voice
{\voiceTwo}>>\oneVoice, in which case, all of that is necessary for
the same multi-voice construct.
This has dogged me for several weeks and I finally gave up. Now, seeing
the overall structure without notes in it, I think I finally understand.
This will be useful, since I will primarily be setting guitar music,
where inner voices tend to appear and disappear in a seemingly random way.
Much as "one bar per line" is a useful rule, you might find it more
concise to abbreviate the first six bars to
R1*6
%7
r8 c16 ... |
Timely advice. I'll probably make use of it today on a different project.
\paper {
#(set-paper-size "concert")
}
By the way, I defined "concert" as 9x12 (inches) in paper.scm, which is
a fairly common page size for music folios in North America (or at least
it used to be). Should this be available in future versions by default?
Here's the line I added under the "North American Sizes" comment in
paper.scm:
("concert" . (cons (* 9.0 in) (* 12.0 in)))
Thanks again for the guidance.
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Re: code suggestions
On 10.10.2008, at 16:21, David Stocker wrote:
Thank you, James and Daniel, for your suggestions.
You only need to do that if you use <<{\voiceOne}\new Voice
{\voiceTwo}>>\oneVoice, in which case, all of that is necessary for
the same multi-voice construct.
This has dogged me for several weeks and I finally gave up. Now,
seeing the overall structure without notes in it, I think I finally
understand. This will be useful, since I will primarily be setting
guitar music, where inner voices tend to appear and disappear in a
seemingly random way.
Yeah, you'll probably have more use for <<{\voiceOne}\new Voice
{\voiceTwo}>>\oneVoice if you're doing guitar music
…
By the way, I defined "concert" as 9x12 (inches) in paper.scm, which
is a fairly common page size for music folios in North America (or
at least it used to be). Should this be available in future versions
by default? Here's the line I added under the "North American Sizes"
comment in paper.scm:
("concert" . (cons (* 9.0 in) (* 12.0 in)))
It is there, it's called "arch b", because it's more commonly used
with the architectural paper sizes. I thought I sent in a request to
have it added as concert ages ago, but I guess I never did.
Thanks again for the guidance.
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Re: mBreak function
In message <[EMAIL PROTECTED]>, Danny Sosa <[EMAIL PROTECTED]> writes Hello everyone! Thank you all for your help so far. There is something that I cannot figure out! I need help... I'm trying to typeset an existing piece of music with lilypond I thought that using mBreak was a very good idea as explained in the manual http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Typesetting-existing-music#Typesetting-existing-music I have tried every different way that I can imagine, and I always get the same: 2.ly:21:27: error: unknown escaped string: `\mBreak' gis [_(a) c_(b) ais b] \mBreak 2.ly:21:27: error: syntax error, unexpected STRING gis [_(a) c_(b) ais b] \mBreak 2.ly:10:0: error: errors found, ignoring music expression and I am doing it pretty much the same as in the has anybody gone through this who could give me a hand on how to fix this? Thanks! p.s. let me know if you need me to post the whole .ly file I think the other responses will have helped you on your way ... Just one "gotcha" to watch out for, that bit me ... DON'T use it between two alternative voltae :-) It gave me a very confusing error until I twigged - the ?parser? thought it was a volta, so it complained I'd told it there were two voltae but I'd given it three. Left me well puzzled for a short while ... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
rolled chords
First of all... thanks to James for his help with mBreak, the magic words
were "outside of any music block". I was trying to define mbreak inside the
{}.
Does anyone know how to write rolled chords in Lilypond? it's just like a
little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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Re: rolled chords
\arpeggio
On 10.10.2008, at 20:11, Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic
words were "outside of any music block". I was trying to define
mbreak inside the {}.
Does anyone know how to write rolled chords in Lilypond? it's just
like a little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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Re: rolled chords
On 10.10.2008 (11:11), Danny Sosa wrote:
> First of all... thanks to James for his help with mBreak, the magic words
> were "outside of any music block". I was trying to define mbreak inside the
> {}.
> Does anyone know how to write rolled chords in Lilypond?
The sign in the picture is an arpeggio, which is denoted by appending
\arpeggio to the chord construct:
1\arpeggio
Look for arpeggio in the manual.
eyolf
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There's never enough time to do all the nothing you want.
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Re: rolled chords
... less than 8 minutes and you already solved my problem... you're amazing! haha thank you so much! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rolled chords
\relative c' {
1 \arpeggio
}
To apply an unbroken arpeggio line to all voices and staves for piano,
use "\set PianoStaff.connectArpeggios = ##t" inside your new \PianoStaff
and use \arpeggio on the same beat within each voice context you want it
to apply to. I don't know if the same command works for multiple voices
in guitar staves or if it's something similar.
Best,
David
Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic
words were "outside of any music block". I was trying to define mbreak
inside the {}.
Does anyone know how to write rolled chords in Lilypond? it's just
like a little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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Re: Headword for unfretted-strings
On Thu, 9 Oct 2008 10:08:00 +0100 "Trevor Daniels" <[EMAIL PROTECTED]> wrote: > Many thanks for this. The abbreviations are fine as they are - these > headwords are not intended to teach anything, they're just to show > what is possible. I added midi output (hope that's OK with you - > what tempo do you suggest?) and pushed to git master so we can see > how it looks with the formatting imposed by the docs. Err, why midi? It doesn't help anything for the docs, and as you've just said, it's not intended to teach anything. > Can I see anywhere what this imposed formatting is for headwords so I > can try the same formatting locally? Click on the example? Read writing-texinfo.txt? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Slur position
I'm writing a scale pattern using slurs on certain notes with parenthesis " _ ; ^ ; () " but whenever I try making a slur above the note Lilypond automatically puts it above the beam. Could you guys help me tweak it so it does it only above notehead? Here is what I'm trying to accomplish: http://i49.photobucket.com/albums/f297/dannysosa/ok.png And here is what happens: http://i49.photobucket.com/albums/f297/dannysosa/up.png I thought about just living with it that way, but it doesn't really look good when you see the whole measure: http://i49.photobucket.com/albums/f297/dannysosa/now.png Thanks in advance! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
New doc website development
Hi, sporadically following the discussion about the ongoing work on the new documentation web site. It is improving every day and looks really really good. Great job! I have a couple of things I thought you might (re)consider: first the width of the text div: I know this has been discussed earlier, but I just want to vote also for a version that makes the lines being not longer than 80em. I also think the picture boxes which are empty for most of their space look a bit funny, I guess they would also shrink automatically with something like that. Don't know if there are examples extenting over this border, sure it depends on the current screen size. Maybe lilypond could be also told a "page"width number (if it doesn't yet) The scrollbars: I think the scrollbar for the contents div should always be on, don't remember how to achive this, something like setting height to 101%? So there won't be the switch when some subsections get opened. On my 1024x768 there is also a scrollbar on the bottom but it is useless because it is always 100% long. Does this have to be there? On this small screen it eats up a relatively big space. Otherwise I have been told you should make a site for a resolution of 800x600 still readable, I guess you would really need much scrolling with this kind of screen. (this is a bit ot for me since I don't have such a screen, though) This observation I made on kainhofer.com today. Thanks for you big work so far! Till ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Graham, you wrote Friday, October 10, 2008 7:38 PM On Thu, 9 Oct 2008 10:08:00 +0100 "Trevor Daniels" <[EMAIL PROTECTED]> wrote: Many thanks for this. The abbreviations are fine as they are - these headwords are not intended to teach anything, they're just to show what is possible. I added midi output (hope that's OK with you - what tempo do you suggest?) and pushed to git master so we can see how it looks with the formatting imposed by the docs. Err, why midi? It doesn't help anything for the docs, and as you've just said, it's not intended to teach anything. TIMS - this is music, stupid, you know, stuff you _listen_ to ;) OK, you don't need to hear a Beethoven quartet, but a piece you've never seen before? The first thing I wanted to do was to hear what it sounded like. I know most people reading the docs know how to add midi to the source and probably how to set the right instrument, but why should they have to? Does it do any harm there? Can I see anywhere what this imposed formatting is for headwords so I can try the same formatting locally? Click on the example? Read writing-texinfo.txt? Now it's my turn to feel stupid. Of course! Thanks. Cheers, - Graham Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
On Fri, 10 Oct 2008 22:59:43 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
>
> Graham, you wrote Friday, October 10, 2008 7:38 PM
>
> > On Thu, 9 Oct 2008 10:08:00 +0100
> > "Trevor Daniels" <[EMAIL PROTECTED]> wrote:
> >
> > Err, why midi? It doesn't help anything for the docs, and as
> > you've just said, it's not intended to teach anything.
>
> TIMS - this is music, stupid, you know, stuff you
> _listen_ to ;)
Not the MIDI version of string sounds, you don't. :)
Seriously, there's no reason to build the .midi files in
Documentation/user/out-www/. I can appreciate that you wanted to
hear how it sounded, but there's still no point in keeping the
\midi{} in the file. OK, it only adds half a second to the build
process... but who's going to go hunting around for that .midi
files? I mean, how many people *who build the docs* are going to
want to hear it badly enough to dig out that file?
Cheers,
- Graham
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Re: New doc website development
Hi Till, On Fri, Oct 10, 2008 at 12:43 PM, Till Rettig <[EMAIL PROTECTED]> wrote: > Hi, > > sporadically following the discussion about the ongoing work on the new > documentation web site. It is improving every day and looks really really > good. Great job! Thanks! > I have a couple of things I thought you might (re)consider: > > first the width of the text div: I know this has been discussed earlier, but > I just want to vote also for a version that makes the lines being not longer > than 80em. I also think the picture boxes which are empty for most of their > space look a bit funny, I guess they would also shrink automatically with > something like that. Don't know if there are examples extenting over this > border, sure it depends on the current screen size. Maybe lilypond could be > also told a "page"width number (if it doesn't yet) By `text div', you mean the div with the main docs, right? If you would like the maximum line width to be 80em, what sort of page layout would you propose? I am having trouble visualizing how this would work. I'll consider your suggestion for the blockquoted sections. I don't think it's possible to have the musical examples adjust to the page width, since the maximum widths are hardcoded when the docs are compiled. > The scrollbars: I think the scrollbar for the contents div should always be > on, don't remember how to achive this, something like setting height to > 101%? So there won't be the switch when some subsections get opened. This is a very interesting suggestion! I'll think about it. > On my 1024x768 there is also a scrollbar on the bottom but it is useless > because it is always 100% long. Does this have to be there? On this small > screen it eats up a relatively big space. Are you using Firefox 2 (or a browser that uses Gecko 1.8)? Because this is a known issue for those browsers. > Otherwise I have been told you should make a site for a resolution of > 800x600 still readable, I guess you would really need much scrolling with > this kind of screen. (this is a bit ot for me since I don't have such a > screen, though) I'll see if I can test the layout in this resolution soon. > This observation I made on kainhofer.com today. > > Thanks for you big work so far! Thanks for your feedback! -Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
