Re: Figured Bass - Alignment - Definitions?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 16. November 2009 21:17:59 schrieb grisu_76: > maybe it is not the appropriate way, but is there a possibility that anyone > could have a look to the figured bass alignment defintions? Neil looked at > some definitions (fontsize, y-positioning: see messages form october 21st) > to make it look more professional. > Can someone give me a hint to change the definitions in a way to manipulate > the accidentals used without numbers wrt the y-position, so that f.i. the > extenders are in the same line? (see the examples) I can't give you any particular hints on that one, I just wanted to mention that I'm working on the vertical alignment of bass figures with extenders. 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) iD8DBQFLAm+uTqjEwhXvPN0RAomyAJ910rzt2634qKe49NcW9UQOk566jQCfZUPr ZxhuSGVg2QRl7KYe07wIKbQ= =MMPv -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem with partcombine
Dear community,
I was now able to reproduce the error. It has do do with \context Voice.
When I compile the following snippet, the text "solo" is not printed, and
the upper voice is shown as voiceOne.
Here is the snippet:
\version "2.12.2"
upper = \relative c'' {
\context Voice << {\repeat "unfold" 2 { c4 d8 e f g a b c1 }}
{s1\pp\< s1\f s1\pp }>>
}
lower = \relative c' { R1*4 }
all ={ \new Staff {\partcombine \upper \lower } }
\score { \new PianoStaff {\all } }
2009/11/14 Alexander Kobel
> Stefan Thomas wrote:
>
>> Dear community,
>> I have two questions concerning the partcombine-feature.
>> First: How can I change the texts like "Solo I" etc. for the whole score?
>>
>
> Hi, Stefan.
>
> See NR 1.5.2, in the section about part combining:
> \set Staff.soloText = #"girl"
> \set Staff.soloIIText = #"boy"
> \set Staff.aDueText = #"together"
> If you want the setting for the whole score - well, use
>\set Score.[...].
>
>
> The second question:
>> When I combine a part with another, it happens sometimes- especially when
>> the lower part has a longer multi-measure-rest -
>> that the upper part is shown as voice one, like it would bee in a context
>> with two parts.
>> I wasn't able to reproduce this error until now.
>>
>
> Neither am I. Ignore it until it hits you again, and then try to make a
> short example.
>
>
> Has someone an idea, what could be the reason of this strange behavior?
>>
>
> There are two possibilities I can think of:
> 1) You set \voiceOne (or \stemUp, ...) for this very named voice somewhere,
> and it gets inherited after the partcombine, or
> 2) you have a simultaneous voices construct like << { .. } \\ { .. } >> for
> the first part.
>
>
> HTH,
> Alexander
>
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Re: Chords with tie: a bug?
Op zondag 15 november 2009 schreef Richard:
> Lilypond 2.13.6 has what looks like a bug: when two chords are to be tied,
> and there are notes that should be tied, and also notes that are on the
> same level but have different pitches and thus should not be tied,
> sometimes the latter are tied and the former are not.
Actually LilyPond ties the right notes, but moves the Tie due to the
accidentals (LP does not want to draw the Tie accross accidentals). The tie
should be flipped instead (you can do that manually with a ^ or _ before the ~
). I found that if a sharp is used instead of a flat, the tie flips. If a flat
is used, its stem is apparently to high, causing LP to move the tie downwards
instead.
\version "2.12.0"
%{
This is interesting: the tie flips if there is a sharp
but is moved downwards if there is a flat. This causes
the impression that the wrong notes are tied.
%}
{ 4 }
{ 4 }
best regards,
Wilbert Berendsen
--
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
Nederlands LilyPond forum: http://www.lilypondforum.nl/
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Re: Figured Bass - Alignment - Definitions?
Great, I had the fear I'm the only one with that problem ;-) let me know if there is something new; - maybe I can contribute with some testing... Regards, Christian Bugzilla from reinh...@kainhofer.com wrote: > > -BEGIN PGP SIGNED MESSAGE- > Hash: SHA1 > > Am Montag, 16. November 2009 21:17:59 schrieb grisu_76: >> maybe it is not the appropriate way, but is there a possibility that >> anyone >> could have a look to the figured bass alignment defintions? Neil looked >> at >> some definitions (fontsize, y-positioning: see messages form october >> 21st) >> to make it look more professional. >> Can someone give me a hint to change the definitions in a way to >> manipulate >> the accidentals used without numbers wrt the y-position, so that f.i. >> the >> extenders are in the same line? (see the examples) > > I can't give you any particular hints on that one, I just wanted to > mention > that I'm working on the vertical alignment of bass figures with extenders. > > 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) > > iD8DBQFLAm+uTqjEwhXvPN0RAomyAJ910rzt2634qKe49NcW9UQOk566jQCfZUPr > ZxhuSGVg2QRl7KYe07wIKbQ= > =MMPv > -END PGP SIGNATURE- > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > > -- View this message in context: http://old.nabble.com/Figured-Bass---Alignment---Definitions--tp26378755p26389690.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords with tie: a bug?
LilyPond ties the chords. Actually you want separate voices, as a tie's
meaning is different of a slur:
~ is actually a polyphonic part, so I think it
should be written like:
<< { ( ) } \\ { f' ~ f' } >>, or better readability:
<< { ( ) } \\ { f'2 } >>
So actually what LilyPond fails to do: automatically tie same notes in
different chords, but I'm not sure it should.
Bert
Richard Sabey wrote:
Lilypond 2.13.6 has what looks like a bug: when two chords are to be
tied, and there are notes that should be tied, and also notes that are
on the same level but have different pitches and thus should not be
tied, sometimes the latter are tied and the former are not.
This happens even if the ~ is attached specifically to the note that
is to be at the left-hand end of the tie.
The buggy behaviour doesn't always happen, but sometimes does if
1) stems go up and
2) there are notes that are to be tied, which are above notes that are
at the same level but are not to be tied.
I'm sorry if this has been raised before; I didn't find it when I
looked in the forum's archives for "tie note chord".
%%% begin lilypond example %%%
\version "2.13.6"
music =
{
~ % Lilypond wrongly ties the d' to the des', and
wrongly doesn't tie the f' to the f'.
% Lilypond wrongly ties the d' to the des', and
wrongly doesn't tie the f' to the f'.
~ % Lilypond gets this right
% Lilypond gets this right
~ % Lilypond gets this right
% Lilypond wrongly ties the d' to the des', and
wrongly doesn't tie the f' to the f'.
~ % Lilypond wrongly ties the d' to the
des', and wrongly doesn't tie the f' to the f'.
% Lilypond wrongly ties the d' to the des',
and wrongly doesn't tie the f' to the f'.
}
{
\music
\transpose d d' \music % test using chords with stems down; the ties
here look OK
}
%%% end lilypond example %%%
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Embedded PS graphics into scores
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the fact
that no matter how good, or scaled or proportioned I put a graphic, it
just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow. To
insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I need
better arrows I decided to install a complete function for creating
several kinds of arrows by using PS command exclusively. Now, the
place to use this arrows is probably in the title section, so I put
them in my file like this:
\header {
tagline = ##f
title = "Viajera del Río"
subtitle = "Vals Venezolano"
composer = \markup {
\column \roman \right-align {"Manuel YÁNEZ"
\lower #2 \tiny "Transcrito por Jesús G. Andrade."
\lower #1 \tiny "Conservatorio Vicente E. Sojo."
\vspace #1
}
}
meter = \markup {\strokeUp \strokeUp \strokeDown \strokeDown
\strokeUp}
}
3. As you can see, I redefined the strokeUp and Down just for testing
purposes and used it within the \meter environment for the nice
placement in regard of the page and the score. The said PS function
gets interpreted well with GS, however, they get repeated and lilypond
inserts a full empty page with it. I tried to simplify it to the
extreme, but is seems lilypond gets confused with the context of the
ps function. This is the full example of the function to draw an arrow
as I want:
% Finger stroke symbols
strokeUp = \markup { \postscript #"
/arrowdict 14 dict def
arrowdict begin
/mtrx matrix def
end
/arrow
{arrowdict begin
/headlength exch def
/halfheadthick exch 2 div def
/halfthick exch 2 div def
/tipy exch def /tipx exch def
/taily exch def /tailx exch def
/dx tipx tailx sub def
/dy tipy taily sub def
/arrowlength dx dx mul dy dy mul add sqrt def
/angle dy dx atan def
/base arrowlength headlength sub def
/savematrix mtrx currentmatrix def
tailx taily translate
angle rotate
0 halfthick neg moveto
base halfthick neg lineto
base halfheadthick neg lineto
arrowlength 0 lineto
base halfheadthick lineto
base halfthick lineto
0 halfthick lineto
closepath
savematrix setmatrix
end
} def
newpath
4 3 4 .9 .9 2 2 .2 sqrt mul 2 div
arrow .65 setgray fill
showpage
Any clues as to what can I do to get rid of this erroneous behaviour?
I appreciate your patience.
Guillermo
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Re: I need some pointers
Patrick Horgan wrote:
> I've committed to making a key for guitar tablature that will show
> little snippets of tab along with descriptions. How do I do that? Any
> pointers greatly appreciated;) I understand TAB quite well, and vocal
> music on lilypond well, as well, but well, don't understand how TAB on
> lilypond that much, and have never tried to combine text and lily.
You could use lilypond-book, which uses latex. It's a learning curve if you
have never done anything like that, though.
I attach a document that I am working on here and there that shows tabs with
text interleaved and other stuff. The Makefile shows the steps used to
produce a PDF file.
Thanks,
Marcus
\documentclass[a4paper]{article}
\usepackage{draftcopy}
\title{Guitar Tuning ``All Fourths''}
\author{Marcus Brinkmann}
\date{\today \ (Version 1.0)}
\begin{document}
\maketitle
% Kommentare
% Kadenzen
% Stuecke
% Referenz
\section{Tuning in Perfect Fourths}
The standard tuning for a six-string guitar is e'-h-g-d-A-E. The
intervals between the strings are perfect fourths except for the
interval between the second and the third string, which is a major
third. Therefore, fingering patterns that cross from the second to
the third string are different from fingering patterns that cross
other string pairs, requiring the player to memorize and practice a
huge variety of fingering patterns for chords and scales. The
advantage is that there are many simple chord patterns for 5 and
6-tone voicings involving open strings or bar chords.
Tuning your guitar in \emph{perfect fourths}, f'-c'-g-d-A-E, has the
advantage that it removes the need to learn different fingering
patterns depending on the strings used. Compared to other
equal-interval tunings (specifically perfect fifths) it has the
additional advantages of differing from the standard tuning in the two
high strings, sharing the lower four string tunings with the standard
guitar and bass tuning. Also, it does not require changing the
strings or setup of the guitar, so the same guitar can be used to play
in standard tuning and in perfect fourths. The main disadvantage
shared by all alternative tunings is that the huge literatur for
guitars in standard tuning becomes inaccessible.
Tune your guitar in standard tuning, then tune the higher two strings
up by one semitone. A chromatic electronic tuner works best. You
arrive at the tuning in perfect fourths:
\begin{lilypond}
standardTuning = #'(4 -1 -5 -10 -15 -20)
emptyStdChord =
\storePredefinedDiagram \emptyStdChord
#standardTuning
#"o;o;o;o;o;o;"
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
emptyChord =
\storePredefinedDiagram \emptyChord
#allfourthsTuning
#"o;o;o;o;o;o;"
mychordnames = \chordmode {
e1:m7.11 r1 r1 r1 d1:m7.9.11/e }
<<
\new ChordNames \mychordnames
\new FretBoards {
\set fingeringOrientations = #'(left)
\override FretBoard #'(fret-diagram-details orientation) = #'landscape
\set stringTunings = #standardTuning
% emptyStdChord
\set TabStaff.minimumFret = #0
1
r1 r1 r1
\set stringTunings = #allfourthsTuning
% emptyChord
% \set TabStaff.minimumFret = #0
1
}
\new StaffGroup <<
\new Staff {
\clef "treble_8"
\set fingeringOrientations = #'(left)
% emptyStdChord
1 ^\markup { Standard Tuning }
r1 r1 r1
% emptyChord
1 ^\markup { Perfect Fourths Tuning }
}
\new TabStaff
{
\set TabStaff.stringTunings = #standardTuning
% emptyStdChord
\set TabStaff.minimumFret = #0
1
r1 r1 r1
\set TabStaff.stringTunings = #allfourthsTuning
% emptyChord
% \set TabStaff.minimumFret = #0
1
}
>>
>>
\end{lilypond}
\subsection{How to use this booklet}
Every example is given in standard notation with fingering and in
tabulature. Fretboard diagrams are provided where useful. In
Sect.~\ref{reference} you can find a reference table with all chords.
In the next section a road map is provided which can be used to learn
chords and voicings incrementally to build up a repertoire of jazz
standards. This may be a starting point for your own studies.
\emph{TODO:} It is planned to provide some arrangements and examples
from other styles beside jazz, for example menuetts and pop songs.
\section{Suggested Road Map for Rhythm Guitar}
This road map walks you through the most important chords and voicings
in perfect fourth tuning, demonstrating the new material with common
Jazz session tunes.
\subsection{Root Movement and Cycle of Fourths}
There are two attractive possibilities for root movement around the
circle of fourths. Both follow the same fretboard pattern, which is
shifted by one fret.
\begin{lilypond}
allfourthsTuning = #'(5 0 -5 -10 -15 -20)
mychords = {
\set fingeringOrientations = #'(left)
% Root Movement Circle of Fourths
\set TabStaff.minimumFret = #8
d g c f
\set TabStaff
Re: I need some pointers
Use lilypond-book with HTML output, that's way easier. Marcus Brinkmann wrote: Patrick Horgan wrote: I've committed to making a key for guitar tablature that will show little snippets of tab along with descriptions. How do I do that? Any pointers greatly appreciated;) I understand TAB quite well, and vocal music on lilypond well, as well, but well, don't understand how TAB on lilypond that much, and have never tried to combine text and lily. You could use lilypond-book, which uses latex. It's a learning curve if you have never done anything like that, though. I attach a document that I am working on here and there that shows tabs with text interleaved and other stuff. The Makefile shows the steps used to produce a PDF file. Thanks, Marcus ___ 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
small blank space just after clef/time signs for example
Hello, I need to format some musical examples for my musicology book. The examples are tiny ones, and it would be good to isolate them from the clef/key/time (as well as tempo) environment. So, I need to put a small blank space (blank blank, without the staff) just after theclef/key/time symbols, just to give the Idea that the key/time environment beginnes earlier, and this is just an excerpt. I would like also to put some \tempo, and usually this is also set at the beginning of the musical context, but I would need to be put directly above clef/time. I also would like to be given the possibility to put the blank space between different examples from the same musical context, with the same function the sign " [...] " have for written text. Any idea??? Thanks!!! Piero - Piero Faustini Main Software used: - LyX 1.6.2 on WinXP sp3; EndNote & JabRef - MikTex - LaTeX class: Koma book - Lilypond 2.12 for example excerpts - BibLaTeX for bibliographies -- View this message in context: http://old.nabble.com/small-blank-space-just-after-clef-time-signs-for-example-tp26391730p26391730.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: page formatting and lilypond-book
Mats Bengtsson wrote:
Lilypond-book detects what line-width is used in the LaTeX document, and
applies it to the included scores, so in general you should not have any
\paper in the ly files. If you want to do such settings and have
lilypond-book respect them, then you could try adding a \book{...} block
around your current contents of the .ly file. Then, also the page breaks
will be determined by LilyPond, whereas it otherwise is LaTeX that
determines the page breaks when using lilypond-book.
/Mats
Thank Mats, that works!
Now I can set up easily a book with LilyPond and LaTeX..
.. it was the last obstacle in my getting started with LP.
So, the file structure of my input .ly files is:
\header
\paper
[variables]
\book
\score
In the .lytex file I had to specify the line-width of the .ly files
and put a 0 margin, in order to center all the files:
\documentclass[a4paper]{book}
\usepackage{graphics}
\usepackage[margin=0cm]{geometry}
\begin{document}
\lilypondfile[line-width=180]{ly/file1.ly}
\pagebreak
\lilypondfile[line-width=180]{ly/file2.ly}
\pagebreak
\end{document}
Do you think it could be useful if we add it to the Doc?
--
Federico Bruni | http://www.gnurag.net/blog/
LibrePlanet Italia
http://groups.fsf.org/wiki/LibrePlanetItalia
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Re: Embedded PS graphics into scores
Jesús Guillermo Andrade schrieb:
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the fact
that no matter how good, or scaled or proportioned I put a graphic, it
just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow. To
insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I need
better arrows I decided to install a complete function for creating
several kinds of arrows by using PS command exclusively. Now, the
place to use this arrows is probably in the title section, so I put
them in my file like this:
[...]
Any clues as to what can I do to get rid of this erroneous behaviour?
I appreciate your patience.
This isn't a solution to your postscript problem, but have you seen
http://lsr.dsi.unimi.it/LSR/Item?id=409
?
Marc
Guillermo
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Re: Embedded PS graphics into scores
Marc: Yes... in fact, if you read section number 1 of my first email
you'll surely notice that I expressely mention the "flamenco example",
regarding the snippet found in the repository. But those arrows are no
good... at least to me.
El 17/11/2009, a las 03:53 p.m., Marc Hohl escribió:
Jesús Guillermo Andrade schrieb:
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the
fact that no matter how good, or scaled or proportioned I put a
graphic, it just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow.
To insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I
need better arrows I decided to install a complete function for
creating several kinds of arrows by using PS command exclusively.
Now, the place to use this arrows is probably in the title section,
so I put them in my file like this:
[...]
Any clues as to what can I do to get rid of this erroneous
behaviour? I appreciate your patience.
This isn't a solution to your postscript problem, but have you seen
http://lsr.dsi.unimi.it/LSR/Item?id=409
?
Marc
Guillermo
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Re: modern accidentals rule (was: Re: Bad spacing (gap) when large interval and accidental)
>> Could you prepare a patch adding the known behavior and this workaround to >> the Known Issues in Displaying pitches in pitches.itely? Here is a patch for the Notation Reference. Frédéric 0001-known-issue-in-NR-extra-cautionnary-accidentals-in-a.patch Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords with tie: a bug?
Quoting "Bertalan Fodor (LilyPondTool)" :
LilyPond ties the chords. Actually you want separate voices, as a
tie's meaning is different of a slur:
~ is actually a polyphonic part, so I think
it should be written like:
<< { ( ) } \\ { f' ~ f' } >>, or better readability:
<< { ( ) } \\ { f'2 } >>
So actually what LilyPond fails to do: automatically tie same notes
in different chords, but I'm not sure it should.
I just tried with version 2.10, where { ~ f'~> }
gives ties between the f for both pairs of chords, whereas 2.12 and
2.13 draw the tie below both chords. Seems like a regression bug
compared to 2.10!
/Mats
Bert
Richard Sabey wrote:
Lilypond 2.13.6 has what looks like a bug: when two chords are to be
tied, and there are notes that should be tied, and also notes that
are on the same level but have different pitches and thus should not
be tied, sometimes the latter are tied and the former are not.
This happens even if the ~ is attached specifically to the note that
is to be at the left-hand end of the tie.
The buggy behaviour doesn't always happen, but sometimes does if
1) stems go up and
2) there are notes that are to be tied, which are above notes that
are at the same level but are not to be tied.
I'm sorry if this has been raised before; I didn't find it when I
looked in the forum's archives for "tie note chord".
%%% begin lilypond example %%%
\version "2.13.6"
music =
{
~ % Lilypond wrongly ties the d' to the des', and
wrongly doesn't tie the f' to the f'.
% Lilypond wrongly ties the d' to the des', and
wrongly doesn't tie the f' to the f'.
~ % Lilypond gets this right
% Lilypond gets this right
~ % Lilypond gets this right
% Lilypond wrongly ties the d' to the des',
and wrongly doesn't tie the f' to the f'.
~ % Lilypond wrongly ties the d' to the
des', and wrongly doesn't tie the f' to the f'.
% Lilypond wrongly ties the d' to the
des', and wrongly doesn't tie the f' to the f'.
}
{
\music
\transpose d d' \music % test using chords with stems down; the ties
here look OK
}
%%% end lilypond example %%%
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Re: Embedded PS graphics into scores
Jesús Guillermo Andrade schrieb:
Marc: Yes... in fact, if you read section number 1 of my first email
you'll surely notice that I expressely mention the "flamenco example",
regarding the snippet found in the repository. But those arrows are no
good... at least to me.
Ah, yes, sorry then, I misunderstood your inspiration and
thought you found this script elsewhere on the list or somewhere similar.
Sorry for the noise.
Marc
El 17/11/2009, a las 03:53 p.m., Marc Hohl escribió:
Jesús Guillermo Andrade schrieb:
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the
fact that no matter how good, or scaled or proportioned I put a
graphic, it just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow.
To insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I
need better arrows I decided to install a complete function for
creating several kinds of arrows by using PS command exclusively.
Now, the place to use this arrows is probably in the title section,
so I put them in my file like this:
[...]
Any clues as to what can I do to get rid of this erroneous
behaviour? I appreciate your patience.
This isn't a solution to your postscript problem, but have you seen
http://lsr.dsi.unimi.it/LSR/Item?id=409
?
Marc
Guillermo
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Indent only one system, replace long extender with dashes
Dear All, \version "2.12.2" How do you indent just one system? I've got some shortInstrumentNames appearing at bar 23, the previous bars being hidden, so short-indent in \layout makes room for the names, but also indents all the other systems which I don't want. Also, the section is voices singing: "Ah". I used a hidden slur to get an extender but would rather have a line of dashes as the extenders look ugly to my mind. How do I replace a long extender with a row of dashes? Thanks for your attention. I have looked in the docs and the listservs. Fred. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Indent only one system, replace long extender with dashes
Frederick Dennis wrote:
Dear All,
\version "2.12.2"
How do you indent just one system?
Hi, Frederick,
perhaps I'm just tired, but no idea right now for this one.
Also, the section is voices singing: "Ah".
I used a hidden slur to get an extender
...which is not what you should do. Have a look at \melisma and \melismaEnd.
but would rather have a line of dashes
as the extenders look ugly to my mind.
How do I replace a long extender with
a row of dashes?
Look at the attached file. You might want to play around with all the
properties of the lyric-hyphen-interface (see
http://lilypond.org/doc/v2.13/Documentation/internals/lyric_002dhyphen_002dinterface#lyric_002dhyphen_002dinterface),
since those are not set by default for LyricExtenders. I also added a
little offset in X-direction - if you also think the extender is too
short without this override, you could also try a hidden note as the
last one in the melisma, but for me this looks worse since it corrupts
the overall spacing. Your mileage may vary, though.
Cheers,
Alexander
mel = { c4\melisma d e f8 g\melismaEnd | \break c1 }
% with hidden note: (instead of the third override)
% mel = { c4\melisma d e f8[ g8*1/2] \hideNotes g\unHideNotes \melismaEnd | \break c1 }
lyr = \lyricmode {
\once \override Lyrics . LyricExtender #'stencil = #ly:lyric-hyphen::print
\once \override Lyrics . LyricExtender #'dash-period = #2.5
\once \override Lyrics . LyricExtender #'extra-offset = #'(2 . 0)
long-melisma __ next-syllable
}
\score {
<<
\new Staff \new Voice = "mel" \mel
\new Lyrics \lyricsto "mel" \lyr
>>
}
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No string for pitch #
Currently, I am trying to set up a complete implementation of the venezuelan cuatro into lilypond. So far, I've been able list most chord shapes, but I keep getting errors in the form of: advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) What does these mean? I have read many of the .scm source files and I still cannot understand. Any ideas? Guillermo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: No string for pitch #
Jesús Guillermo Andrade writes: > Currently, I am trying to set up a complete implementation of the > venezuelan cuatro into lilypond. > So far, I've been able list most chord shapes, but I keep getting > errors in the form of: > > advertencia: No string for pitch # (given frets ()) > advertencia: No string for pitch # (given frets ()) > advertencia: No string for pitch # (given frets ()) > advertencia: No string for pitch # (given frets ()) > > What does these mean? I have read many of the .scm source files and I > still cannot understand. > > Any ideas? Sounds like Lilypond is running out of strings for the given chords. Just a wild guess. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
