Re: Slur / phrasingSlur half dashed, half solid
Mark Polesky wrote:
> here's one solution.
same function with leaner code.
Got rid of about 15 lines.
- Mark
\version "2.13.0"
halfAndHalfSlur =
#(define-music-function
(parser location switch-point start-dashed?)
(number? boolean?)
#{
% set 'layer to -2 if you're also using my \hideCurvesFrom macro:
\override Slur #'layer = #-1
\override Slur #'stencil =
#(lambda (grob)
(let* ((grob-copy grob)
(switch-point $switch-point)
(this-stil (ly:slur::print grob))
(orig-stil-x-ext (ly:stencil-extent this-stil 0))
(orig-stil-y-ext (ly:stencil-extent this-stil 1))
; kludge: extents don't completely cover the slur.
(stil-x-ext (cons (- (car orig-stil-x-ext) 0.25)
(+ (cdr orig-stil-x-ext) 0.25)))
(stil-y-ext (cons (- (car orig-stil-y-ext) 0.25)
(+ (cdr orig-stil-y-ext) 0.25)))
(orig-stil-w (- (cdr orig-stil-x-ext) (car orig-stil-x-ext)))
(box-x-ext (if $start-dashed?
(cons (car stil-x-ext)
(+ (car orig-stil-x-ext)
(* orig-stil-w switch-point)))
(cons (- (cdr orig-stil-x-ext)
(* orig-stil-w (- 1 switch-point)))
(cdr stil-x-ext)
;; values come from slurDashed definition in property-init.ly:
(ly:grob-set-property! grob-copy 'dash-period 0.75)
(ly:grob-set-property! grob-copy 'dash-fraction 0.4)
(ly:stencil-add
;; first the solid slur:
this-stil
;; then the white box covering part of the solid slur:
(stencil-with-color
(ly:round-filled-box box-x-ext stil-y-ext 0.0)
white)
;; then the dashed slur:
(ly:slur::print grob-copy)
)))
#})
slurDashedSolid = {
\halfAndHalfSlur #0.5 ##t
}
slurSolidDashed = {
\halfAndHalfSlur #0.5 ##f
}
slurSolid = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurSolid
}
slurDashed = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurDashed
}
slurDotted = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurDashed
}
%% EXAMPLE %%
%{
\relative {
\slurDashedSolid f4( d e f)
\slurSolidDashed f4( d e f)
\slurSolid f4( d e f)
}
%}___
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Re: lyrics to split parts / vocal cue notes
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
On Sonntag, 12. April 2009 07:11:26 James E. Bailey wrote:
> Wow, I should really not answer questions when I'm not awake.
>
> Lyrics need to be associated with a voice context. Regardless of
> whether or not you name them, lilypond creates its own contexts when
> you use the <<{}\\{}>> structure. To solve this, just use <<
> {\voiceone}\context Voice = "new voice" {\voiceTwo}>>\oneVoice.
> Notice the lack of the \\ between the two contexts.
Actually, I couldn't get it to work at all unless I moved the lyrics outside
of the \relative...
However, since this is for cue notes, I tried to use CueVoice instead of Voice
for the cue notes. Apparently, there is a bug: The lyrics start one note later
than they do with Voice. This happens also if I derive a custom context
directly from Voice, but don't change anything, so it has nothing to do with
the settings of CueVoice, but rather breaks for all derived contexts. An
example is attached...
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial & Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
-BEGIN PGP SIGNATURE-
Version: GnuPG v1.4.9 (GNU/Linux)
iD8DBQFJ4ax4TqjEwhXvPN0RAgElAJ0Udd41Hmq2iXj+gXSzEuonvcJKuQCfc4Uu
subpZjAQol/bBI57dkA2rl4=
=cvn0
-END PGP SIGNATURE-
a.pdf
Description: Adobe PDF document
\layout {
\context{ \Voice
\name CVoice
\alias Voice
}
\context {
\Staff
\accepts CVoice
}
}
#(ly:set-option 'point-and-click #f)
% For Voice-derived contexts, lyrics start one note too late!
% In particular, if you use CueVoice instead of voice (or our own CVoice
% defined above), lyrics will be off by 1 note
\score {
\new Staff <<
\new Voice \relative c'' {
g2 g2
<<
{ \voiceOne R1 }
\new CVoice = "cue" { \voiceTwo g4 g g g }
>>
g2 g2
<<
{ \voiceOne R1 }
\context Voice = "cue1" { \voiceTwo g4 g g g }
>>
g2 g2
<<
{ \voiceOne R1 }
\new CueVoice = "cue2" { \voiceTwo g4 g g g }
>>
g2 g2
}
\context Lyrics \lyricsto "cue" { do re mi fa }
\context Lyrics \lyricsto "cue1" { do re mi fa }
\context Lyrics \lyricsto "cue2" { do re mi fa }
>>
}
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Re: Lilypondtool mirror
Tim, thanks for reply. Meanwhile I got it. It was a typo in the mail. But you get the link http://lilypondtool.organum.hu/fileadmin/lilypondtool/LilyPondTool.zip at http://lilypondtool.organum.hu/ -> Install -> LilyPondTool.zip that gives 404 too. Reading the LilyPondTool documentation I found that it is not useful to manually download it but use the jEdit Plugin Manager. I tried to download it manually, since it has not been listed in jEdit (stable version). I realized that I have to use the latest development version of jEdit to be able to use the download manager. I think it's a pity that the (older) stable jEdit version doesn't find an (probably older) version of LilyPondTool. But now I have a working environemt as mentioned above. Regards, Helge Tim Reeves wrote: Helge, Maybe you got that error because your spelling was incorrect (lilipondtool vs. lilypondtool) If that was not the reason, you can also install it from within jEdit, by going to the Plug-in Manager and selecting it from the list and clicking on Install (IIRC). Hope this helps. Tim Reeves > Message: 3 > Date: Fri, 10 Apr 2009 19:41:43 +0200 > From: Helge Kruse > Subject: Lilypondtool mirror > To: "lilypond-user@gnu.org" > Message-ID: <49df84d7.1040...@gmx.net> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > Hello, > > I tried to download > http://lilypondtool.organum.hu/fileadmin/lilypondtool/LiliPondTool.zip > but got HTTP response 404: not found. > > Is there any mirror of this tool? > > Regards, > Helge > > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
On 11 Apr 2009, at 15:22, Neil Puttock wrote:
insert the following line before the start of the @code{\score} block:
Simon, this line isn't quite right, since users might place the option
setting inside a \book or \bookpart block, resulting in a syntax
error. It would be better to advise placing the code at top-level.
true. i forgot about the \book and \bookpart commands. here's a
revised patch. does that make sense?
regards,
sb
0001-Changes-as-requested-by-Neil-Puttock-see-http-lis.patch
Description: Binary data
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RE: Fingering multiple voices above the stave
I find the same thing happens with guitar fingering - that sometimes the order in which the fingering indications appear above the stave doesn't match the pitch order of the notes they are applied to. I just use \tweak on the fingerings to fix it. Nick > -Original Message- > From: lilypond-user-bounces+nick.payne=internode.on@gnu.org > [mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] On > Behalf Of Gerard Neil > Sent: Sunday, 12 April 2009 12:20 > To: -Eluze > Cc: lilypond-user@gnu.org > Subject: Re: Fingering multiple voices above the stave > > > hi > > which version are you using? when i compile your code wit version > 2.12.2 i > > do not get collisions. > > I'm using 2.12.1 ; the most obvious problem was the 2 on the final c > sharp being printed underneath the a of the topmost voice, is that > fixed in 2.12.2. That would be nice! > > > if you feel stems and fingerings are to close you could add some > extraspace > > with \override Fingering #'extra-offset = #'( -0.5 . 0) > > Thanks very much for that, I'll give it a try. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering multiple voices above the stave
Nick Payne wrote Sunday, April 12, 2009 12:10 PM I find the same thing happens with guitar fingering - that sometimes the order in which the fingering indications appear above the stave doesn't match the pitch order of the notes they are applied to. Do you have an example which shows this happening? I just use \tweak on the fingerings to fix it. Nick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
Thanks Simon
LGTM. Pushed to git origin/master,
Editing docs is fun, isn't it ;)
Trevor
- Original Message -
From: "Simon Bailey"
To: "Neil Puttock"
Cc: "Trevor Daniels" ; "lilypond-user
Mailinglist"
Sent: Sunday, April 12, 2009 11:01 AM
Subject: Re: LilyPond midi extension
On 11 Apr 2009, at 15:22, Neil Puttock wrote:
insert the following line before the start of the @code{\score}
block:
Simon, this line isn't quite right, since users might place the
option
setting inside a \book or \bookpart block, resulting in a syntax
error. It would be better to advise placing the code at
top-level.
true. i forgot about the \book and \bookpart commands. here's a
revised patch. does that make sense?
regards,
sb
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Re: Fingering multiple voices above the stave
>> order in which the fingering indications appear above the stave doesn't >> match the pitch order of the notes they are applied to. Just to be clear, that wasn't happening for me... the order was fine, it was just that the fingering indications in one voice were colliding with note heads/stems of another voice ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur / phrasingSlur half dashed, half solid
Mark Polesky wrote: MonAmiPierrot wrote: Is there any way to have a half-dashed-half-solid Slur, i.e. a slur that begins dashed and at a certain point turns solid (or viceversa?) Piero, here's one solution. Personally, I don't think it looks quite as good as it should, but maybe you're Looks pretty cool to me. Mark, you are officially the slur-hack guru. :) Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
hi, On 12 Apr 2009, at 13:42, Trevor Daniels wrote: LGTM. Pushed to git origin/master, lgtm? Editing docs is fun, isn't it ;) yeah. ;) something i don't get to do too much of in my own projects -- too much coding, not enough time for docs. :/ regards, sb ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
Simon Bailey wrote Sunday, April 12, 2009 1:12 PM On 12 Apr 2009, at 13:42, Trevor Daniels wrote: LGTM. Pushed to git origin/master, lgtm? Looks good to me. A Han-Wen-ism. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
about beam, stacato dots, and chord
I'm a string player, so all the questions here about violins and violas. ok first of all, the program places the beam for eight notes in weird places. sometime they don't even beam all of the sixteen notes together. so I see 4 beamed 16th notes, and then 4 separate ones.. although it don't matter, it would look much better if all of the 16th notes beam up. second, sometime the stacato dots are not below the notes, but they are above the beams, this looks ridiculous. and I have no idea how to make a chord with 3 low quarter notes, and the top note is a whole note. it doesn't show up. and I'm working on a string quartet, and I need to print the scores and parts. although I've learn about the part print instruction in the manual, I just dont' know how to remove the comment blocks listed there. I think that all of the codes listed in the manual should be usable by just copy and paste; not like that you have to change them. it makes things much easier if u can just copy and paste the code. I'm very new to this. this is the first time I've even use notepad for this coding-like purpose, I'm just a normal computer user, no coding experience.. sorry if I sounds stupid. thanks for those who will answer my questions Sincerely, James Lướt web nhanh hơn Internet Explorer 8 tối ưu hóa cho Yahoo!, tự động khởi động 2 trang bạn thích mỗi lần mở trình duyệt. Tải IE8 tại đây! (Miễn phí)___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: about beam, stacato dots, and chord
huy nguyen wrote: I'm a string player, so all the questions here about violins and violas. ok first of all, the program places the beam for eight notes in weird places. sometime they don't even beam all of the sixteen notes together. so I see 4 beamed 16th notes, and then 4 separate ones.. although it don't matter, it would look much better if all of the 16th notes beam up. second, sometime the stacato dots are not below the notes, but they are above the beams, this looks ridiculous. and I have no idea how to make a chord with 3 low quarter notes, and the top note is a whole note. it doesn't show up. Please copy a minimal example of the problem and we'll try to help. As regards the chord mixing quarters and a whole note, my guess is that you'll need to look at "single staff polyphony" in the manual to get what you want. http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices#Multiple-voices and I'm working on a string quartet, and I need to print the scores and parts. although I've learn about the part print instruction in the manual, I just dont' know how to remove the comment blocks listed there. I think that all of the codes listed in the manual should be usable by just copy and paste; not like that you have to change them. it makes things much easier if u can just copy and paste the code. The comment blocks won't affect your score, but if you want to remove them, just select and delete them, making sure only to delete stuff that follows the %. Don't delete any curly braces or you'll run into compile problems. I'm very new to this. this is the first time I've even use notepad for this coding-like purpose, I'm just a normal computer user, no coding experience.. sorry if I sounds stupid. thanks for those who will answer my questions Sincerely, James -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: about beam, stacato dots, and chord
On Mon, Apr 13, 2009 at 04:47:29AM +0800, huy nguyen wrote:
> I'm a string player, so all the questions here about violins and violas.
>
> ok first of all, the program places the beam for eight notes in weird
> places. sometime they don't even beam all of the sixteen notes together. so I
> see 4 beamed 16th notes, and then 4 separate ones. although it don't matter,
> it would look much better if all of the 16th notes beam up. second, sometime
> the stacato dots are not below the notes, but they are above the beams, this
> looks ridiculous. and I have no idea how to make a chord with 3 low quarter
> notes, and the top note is a whole note. it doesn't show up.
Could you send us a copy of your file? The beaming should work
properly, and we'd like to understand why it doesn't. My guess is
you've got the timing wrong in an earlier bar somewhere. Do you use
bar checks? More information can be found at
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars#Bar-and-bar-number-checks
If you don't like the default placement of the staccato marks you can
force it like this:
c-. (will give the default ouput)
c^. (will force the dot above the note)
c_. (will force the staccato below the note)
Making a chord like that is a little tricky---different rhythms
require separate 'voices'. I'm not sure exactly what you're after, but
try these little examples:
<<
{ a1 } \\
{ 4 }
>>
and
<<
{ a1 } \\
{ a,4 c e c }
>>
The basis of what I've done here is explained in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Single-staff-polyphony#Single-staff-polyphony
and
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Combining-notes-into-chords#Combining-notes-into-chords
>
> and I'm working on a string quartet, and I need to print the scores and
> parts. although I've learn about the part print instruction in the manual, I
> just dont' know how to remove the comment blocks listed there. I think that
> all of the codes listed in the manual should be usable by just copy and
> paste; not like that you have to change them. it makes things much easier if
> u can just copy and paste the code.
I agree with you here, but I think this is rather difficult from a
technical point of view. All of the code you get when you click on the
picture of the music is automatically generated, and a lot of the
extra stuff is needed to make it appear in the manual properly. You
just need to cut-n-paste everything between the
%
% ly snippet contents follows:
%
and
%
% end ly snippet
%
You'll also need to delete the \sourcefileline command.
>
> I'm very new to this. this is the first time I've even use notepad for this
> coding-like purpose, I'm just a normal computer user, no coding experience.
> sorry if I sounds stupid. thanks for those who will answer my questions
>
This is nothing to do with stupidity---you've done well getting this
far! LilyPond is quite hard to learn, but once you get the hang of it
it's not too bad and the results are worth the effort. May I suggest
you don't use notepad. I would recommend that you download the jEdit
editor from http://www.jedit.org/ and add the lilypondtool plugin
http://lilypondtool.organum.hu/
That will do useful things like syntax highlighting and generate
templates to get you started on your scores.
See if you can figure out how to fix the problems you're having, and
don't be afraid to ask us again if you get stuck!
--
Cameron Horsburgh
Blog: http://spiritcry.wordpress.com/
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Về: lilypond-user Digest, Vol 77, Issue 80
I've attached the file. you can try to compose it. you'll see that the rests
are placed in weird places, I've figured that the \voiceOne command did that.
If I don't use the \voiceOne command, and the remove staff performer command in
the \midi, it will just give piano sounds and not strings sounds.
and the 4 16th notes before the 1st ending is the one with problem. The first
few 8th notes in the viola part, are the ones that have the dots near the beam.
I also want to beam all four notes together, not just pairs. IN the viola part,
measure 71, I'd like the tie of the C# to be down, and the tie of the E to be
just like it is, but I dont' know how to make just the bottom tie face down.
That's all I guess. if you see anymore problems, you are welcome to tell me and
I'll fix it.
And if you find the copyright line a little funny, yes they're a pun :)
James
Cảm giác an toàn hơn khi online. Nâng cấp lên Internet Explorer 8 mới, an
toàn hơn,tối ưu hóa cho Yahoo!. Hoàn toàn miễn phí. Tải IE8 tại đây!
http://downloads.yahoo.com/vn/internetexplorer/\version "2.11.65"
\header {
title = "String Quartet Op. 64 No. 5 in D major"
subtitle = "IV"
composer = "F. J. Haydn"
copyright = \markup { \char ##x00A9 "Copyright 2009-3000 by Huy Nguyen. Intergalactic Copyright Secured. All Rights Reserved." }
tagline = "String Quartet Op. 64 No. 5 in D major Finale"
}
global= {
\time 2/4
\key d \major
\tempo Vivace
}
violinOne = \new Voice \relative c'' {
\set Staff.instrumentName = #"Violin 1 "
\set midiInstrument = #"violin"
\voiceOne
\set Staff.midiMinimumVolume = #0.5
\set Staff.midiMaximumVolume = #0.9
\partial 16*2 fis,16 \p g |
\revert Stem #'direction \repeat volta 2 { a16 fis g a b cis d b a d fis e d cis b a g a fis g e fis d e cis d e cis a e' fis g a fis g a b cis d b a d fis e d cis b a b d b g fis a g e d fis a fis d e } \repeat volta 2 { fis gis a cis b gis a cis e cis
a cis b gis a cis e cis \override Stem #'direction = #DOWN b d cis ais b d fis d b d cis ais b d fis gis a gis fis e dis fis e b d cis b a gis b a e \revert Stem #'direction d e fis d cis e a cis b d b gis a a, a' b cis a cis d e cis d b cis a cis d e cis e fis g a fis a g e cis a
g a fis a g e fis g a16 fis g a b cis d b a d fis e d cis b a g a fis g e fis d e cis d e cis a e' fis g a fis g a b cis d b a d fis e d cis b a b d b g fis16 a g e }
\alternative {
{ \partial 16*6 d fis a fis d e }
{ d fis a fis d\< e f g\! }
}
\bar "||" \key d \minor a8 \f d4 \sf cis8 d-. e-. f-. fis-. g-. a-. bes-. d,-. cis a'4 \sf g8 f16 g e f d f e d c e a gis a e a g f a d cis d a d f, d' c b a gis a b e, a e a f a g e cis d e f g a bes a g f g a f d a d c bes c a bes g a f g e f d e c d bes c a4 r4 r2 r2 r2 r2 r2 r8
g''4 fis8 g-. a-. bes-. b-. c-. d-. ees-. g,-. fis d'4 \sf c8 bes-. c-. d-. f,-. e c'4 \sf bes8 a bes16 a g8 a16 g f( e32 f) g16 f e8 f16 g a8 d,4 \sf cis8 f4. \sf e8 a4. \sf gis8 c4. b8 e4. f8 g4 cis, d8 d4 \sf c8 bes16 d c bes a c bes a g bes a g f a g f e g f e d f e d cis d e cis a bes a g f g a f d f e d cis d e d f e g f a g bes a d cis e d f e g f a g bes a bes g e cis bes g e cis bes8( a cis e) g16 \p a bes a g a f g e f g f e f d e cis e d cis d e fis g \bar "||" \key d \major
a16 \p fis g a b cis d b a d fis e d cis b a g a fis g e fis d e cis d e cis a e' fis g a fis g a b cis d b a d fis e d cis b a b d b g fis a g e d fis a fis d e fis gis a cis b gis a cis e cis a cis b gis a cis e cis b d cis ais b d fis d b d cis ais b d fis gis a gis fis e dis fis e b d cis b a gis b a e d e fis d cis e a cis b d b gis a a, a' b cis a cis d e cis d b cis a cis d e cis e fis g a fis a g a, cis e g a fis a g e fis g a fis g a b cis d b a d fis e d cis b a g a fis g e fis d e cis d e cis a e' fis g
a fis g a b cis d b a d fis e d cis b a b g b g fis a a, cis d fis a fis d e cis d b d fis d b cis a b g b d b g a fis g e fis d e cis d b cis a b cis d cis d e fis g dis e fis g e fis g a16 fis g a b cis d b a b g a fis d' d d d d d d d d d d d d d d d e fis g a fis g a b cis d b a b g a fis a d cis d d, d' cis b a g b d d, d' cis b a g b d \ff d, d' cis b a g b d4 r8 b8 a16 d fis, a g e cis a d8 r8 r8 e16( \p d)
cis( bis cis bis) cis( d e d) cis( bis cis bis) cis( d e d) cis( bis cis bis) cis( d e d) cis( bis cis bis cis8) d \f e r8 r8 r8 r8 cis,16-. d-. e-. fis-. g-. a -. b-. cis-. d4 r8
\bar "|."
}
violinTwo = \new Voice \relative c'' {
\set Staff.instrumentName = #"Violin 2 "
\set midiInstrument = #"violin"
\voiceTwo
\set Staff.midiMinimumVolume = #0.4
\set Staff.midiMaximumVolume = #0.8
\partial 8*1 r8 |
\revert Stem #'direction \repeat volta 2 { fis,8-. \p r8 g-. r8 fis4 r4 d2( cis8) r8 r4 fis8-. r8 g-. r8 fis4 r8 fis8 g16 b g e d fis e cis d4 r8 } \repeat volta 2 { r8 e8-. e-. e-. r8 e-. e-. e-. r8 fis-. g-. fis-. r8-. fis-. g-. fis-. d-. e-. cis'-. b-. b,-. r2 r8 d16 b cis8 cis16 a' fis8 d16 b a4 r8 a'16 b cis a b gis a8 a16 b cis a cis d e fis
Re: Về: lilypond-user Digest, Vol 77, Is sue 80
huy nguyen wrote: I've attached the file. you can try to compose it. you'll see that the rests are placed in weird places, I've figured that the \voiceOne command did that. If I don't use the \voiceOne command, and the remove staff performer command in the \midi, it will just give piano sounds and not strings sounds. and the 4 16th notes before the 1st ending is the one with problem. The first few 8th notes in the viola part, are the ones that have the dots near the beam. I also want to beam all four notes together, not just pairs. IN the viola part, measure 71, I'd like the tie of the C# to be down, and the tie of the E to be just like it is, but I dont' know how to make just the bottom tie face down. That's all I guess. if you see anymore problems, you are welcome to tell me and I'll fix it. And if you find the copyright line a little funny, yes they're a pun :) James Ok your articulations and rests aren't placed right because you had \voiceOne \voiceTwo and \voiceThree unnecessarily. Those commands are really just for single-staff polyphony, such as classical guitar music or if you're putting, say, both oboe parts on the same staff or the tenor and bass voices on the same staff in a choral work. If there's only one line on a staff, you don't need these commands. A "best practice" approach to code would be to put one measure per line, liberally commented with bar numbers so as to find problem parts quickly. As it stands it will be very hard to find the problem spots in your file. I also use bar checks after every bar ( | ) to help avoid rhythm problems. For a piece this big I would also use separate files for each instrumental part and \include them in the main file, which will have only the header information, \version info, the \score block and various other things that apply to the full score. This will also make it easier to create separate parts for performers. See the section in the learning manual "handling large projects" for tips. HTH, Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur / phrasingSlur half dashed, half solid
Oops.
\slurSolid needs to be added to the beginning
of the music function in case \slurDashed was
called before \slurSolidDashed (as an example).
- Mark
\version "2.13.0"
halfAndHalfSlur =
#(define-music-function
(parser location switch-point start-dashed?)
(number? boolean?)
#{
\slurSolid
% set 'layer to -2 if you're also using my \hideCurvesFrom macro:
\override Slur #'layer = #-1
\override Slur #'stencil =
#(lambda (grob)
(let* ((grob-copy grob)
(switch-point $switch-point)
(this-stil (ly:slur::print grob))
(stil-x-ext (ly:stencil-extent this-stil 0))
(stil-y-ext (ly:stencil-extent this-stil 1))
; kludge: extents don't completely cover the slur!
(stil-x-ext (cons (- (car stil-x-ext) 1)
(+ (cdr stil-x-ext) 1)))
(stil-y-ext (cons (- (car stil-y-ext) 1)
(+ (cdr stil-y-ext) 1)))
(stil-w (- (cdr stil-x-ext) (car stil-x-ext)))
(stil-h (- (cdr stil-y-ext) (car stil-y-ext)))
(box-w (if $start-dashed?
(* stil-w switch-point)
(* stil-w (- 1 switch-point
(box-x0 (if $start-dashed?
(car stil-x-ext)
(- (cdr stil-x-ext)
box-w)))
(box-y0 (car stil-y-ext))
(box-h stil-h))
;; values come from slurDashed definition in property-init.ly:
(ly:grob-set-property! grob-copy 'dash-period 0.75)
(ly:grob-set-property! grob-copy 'dash-fraction 0.4)
(ly:stencil-add
;; first the solid slur:
this-stil
;; then the white box covering part of the solid slur:
(ly:make-stencil
(list 'embedded-ps
(ly:format
(string-append "gsave\n"
"currentpoint translate\n"
"1 setgray\n"
"~a ~a ~a ~a rectfill\n"
"grestore\n")
box-x0
box-y0
box-w
box-h))
stil-x-ext
stil-y-ext)
;; then the dashed slur:
(ly:slur::print grob-copy)
)))
#})
slurDashedSolid = {
\halfAndHalfSlur #0.5 ##t
}
slurSolidDashed = {
\halfAndHalfSlur #0.5 ##f
}
slurSolid = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurSolid
}
slurDashed = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurDashed
}
slurDotted = {
% commenting this line out keeps slurs in a lower layer:
\revert Slur #'layer
\revert Slur #'stencil
\slurDashed
}
%% EXAMPLE %%
% {
\relative {
\slurDashedSolid f4( d e f)
\slurDashed f4( d e f)
\slurSolidDashed f4( d e f)
\slurSolid f4( d e f)
}
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Re: Về: Về: lilypond-user Digest, Vol 77, Issue 80
huy nguyen wrote:
well, if I didn't use the \voiceOne command, and the remove staff
performer on the \midi, I would get piano voice instead of violin and
viola. so I don't know how to do that.
Regarding the midi problem: If you add "Staff" to the midiInstrument
setting it will make the instrument sound apply to all voices in the
staff (in the event that you have passages with double-stops or
polyphony and you use multiple voices):
\set Staff.midiInstrument = #"violin"
Then you can get rid of all the remove staff_performer stuff in the
\midi block and it'll still sound like you want. I've never actually
seen that staff performer code before. My midi block is usually just
\midi {}
and youre right, the file is a bit of a mess. since I've only learn
about lilypond in the past few days, and read and do this music in
the few days time. so it's quite cramped:D. but I'll make sure to add
the measure # next time. although that will take longer for every
piece.
I understand, believe me. You should have seen the code in my first
lilypond file. It was a disaster. :) I'm not a programmer, so tidy code
was definitely a learned habit. It does take longer to type in measure
numbers and add | for barchecks, but I find that it actually saves time
in the long run because of the ease of trouble-shooting. I put measure
number comments on every line.
anyway I'll try removing the \voiceOne command to see if things will
improve. oh and did you figure out about the beaming things?
It looks like the 16ths weren't beamed right before the repeat sign
because (I think) it's a partial measure ended suddenly by the end of
the volta. In any event, you can force them to be beamed manually by
using [ and ] this way:
d16[ e]
That will force a beam on those two notes.
Best,
Jon
--
Jonathan Kulp
http://www.jonathankulp.com
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Về: lilypond-user Digest, Vol 77, Issue 81
thanks guys. you guys are a great help. this is an awesome community. I've always thought music notation software are ugly and pixelated. the pretty ones are finale which have $$$ prices -_- found lilypond recently. love it wonder how lilypond developers make a livelihood if they charge nothing... Bạn luôn muốn kết nối với nhiều bạn bè hơn trên blog và trang web cá nhân? Tạo Pingbox mới nhất ngay hôm nay! http://vn.messenger.yahoo.com/pingbox/___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Alignment of stroke fingering
Guitar stroke fingering is lower case, but with the orientation set to up,
the p is not correctly aligned with the other characters in a succession of
fingering indications, and with the orientation set to down, the i is
similarly misaligned.
This doesn't look pleasing to the eye, and indeed, when I flip through some
of the commercially engraved guitars scores that I have, they align the
lower case p and i as if they were set in running text. See attached scan
for an example (Brouwer Estudios Sencillos #6).
\version "2.12.2"
#(define RH rightHandFinger)
\relative c'' {
\set strokeFingerOrientations = #'(up)
\stemDown 4
\set strokeFingerOrientations = #'(up)
\set strokeFingerOrientations = #'(down)
\stemUp
\set strokeFingerOrientations = #'(down)
}
Nick
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