Re: Hidden accidentals hiding visible ones
Nick Payne writes: > This is probably user error rather than anything else, but I just > wasted 20 minutes wondering why an accidental on a note in a score was > missing in the PDF output before realising that the same note appeared > earlier in the same bar but in a hidden voice. > > In most guitar scores I use a hidden voice for such things as > simultaneous text spanners, arpeggio brackets to indicate barring, > etc. > > The following example shows that the order of the voices in the source > file affects whether the accidental appears or not: Is it an option to write the hidden voice without accidental? Maybe one should mention this caveat in the manual? After all, the use of hidden voices is suggested for several feats. And it would seem weird if the transparency was interpreted by the accidental engraver in this manner: after all, the point of transparency is to do everything as-if. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: New voices in scheme?
Fantastic, that quite did it!
thanks
Rodolfo
On Sun, Feb 20, 2011 at 11:01 PM, Gilles THIBAULT
wrote:
>> process of converting
>> them manually to two separate voices:
>> 8
>>
>> becomes
>>
>> << { e8 f g a} \\ { c8 d e f } >>
>>
>
> With the function \extractNote of the snippet you have given (
> http://lsr.dsi.unimi.it/LSR/Item?id=545 ), you can have something like that
> :
>
>
>
> splitInTwoVoices = #(define-music-function (parser location music)
> (ly:music?)
> #{
> <<
> \extractNote #2 $music
> \\
> \extractNote #1 $music
> >>
> #})
>
> music = \relative {8 }
>
> \new Staff \splitInTwoVoices \music
>
>
>
> Gilles
>
>
>
>
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\grace makes instrumentName disappear?
Hello,
I'm transcribing a piece that starts with a \grace, more like the
following snippet:
%%
notes = \relative c'' {
\clef "treble" \key es \major \time 4/4
\grace { as16 } g16 [ f16 es16 d16 ] c16 [ es16 d16 c16 ]
d16 [ c16 b16 a16 ] g4 ^\trill
}
\score {
\new Staff <<
\set Staff.instrumentName = #"Violino P[rimo]"
\context Staff <<
\context Voice = "violino" { \notes}
>>
>>
}
I noticed that when having a grace as the first note all
instrumentNames disappear. If you remove the \grace, the name appears
again.
I first saw this with 2.13.50, but I could reproduce it with 2.12.3.
The notation manual does not say anything about graces % names, am I
missing something here?
Thanks,
Rodolfo
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Re: Hidden accidentals hiding visible ones
Nick Payne-3 wrote: > > This is probably user error rather than anything else, but I just wasted > 20 minutes wondering why an accidental on a note in a score was missing > in the PDF output before realising that the same note appeared earlier > in the same bar but in a hidden voice. > > In most guitar scores I use a hidden voice for such things as > simultaneous text spanners, arpeggio brackets to indicate barring, etc. > > The following example shows that the order of the voices in the source > file affects whether the accidental appears or not: > if you use polyphonic notation in one staff it is recommendable to pay attention to the accidental-style setting #(set-accidental-style 'voice) makes it work as intended! cheers, Eluze -- View this message in context: http://old.nabble.com/Hidden-accidentals-hiding-visible-ones-tp30983091p30984600.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: Hidden accidentals hiding visible ones
Hello, )-Original Message- )From: lilypond-user-bounces+james.lowe=datacore@gnu.org )[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On )Behalf Of David Kastrup )Sent: 22 February 2011 08:54 )To: lilypond-user@gnu.org )Cc: lilypond-de...@gnu.org )Subject: Re: Hidden accidentals hiding visible ones ) )Nick Payne writes: ) )> This is probably user error rather than anything else, but I just )> wasted 20 minutes wondering why an accidental on a note in a score )was )> missing in the PDF output before realising that the same note appeared )> earlier in the same bar but in a hidden voice. )> )> In most guitar scores I use a hidden voice for such things as )> simultaneous text spanners, arpeggio brackets to indicate barring, )> etc. )> )> The following example shows that the order of the voices in the source )> file affects whether the accidental appears or not: ) )Is it an option to write the hidden voice without accidental? Maybe one )should mention this caveat in the manual? if someone lets me know where we think this could go I could write an @knownissue or @warning. James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \grace makes instrumentName disappear?
On 2011-02-22 11:15, Rodolfo Zitellini wrote:
> Hello,
> I'm transcribing a piece that starts with a \grace, more like the
> following snippet:
>
> [...]
> \score {
> \new Staff <<
> \set Staff.instrumentName = #"Violino P[rimo]"
> \context Staff <<
> [...]
> I noticed that when having a grace as the first note all
> instrumentNames disappear. If you remove the \grace, the name appears
> again.
Hi, Rodolfo,
try
\new Staff \with { instrumentName = #"Violino P[rimo]" } << ... >>
inside the \score block.
Untuitively, the grace note happens "before time zero", while the \set
command is implicitly executed just "at time zero". Thus, the staff is
drawn (with it's corresponding instrumentName) when the grace note
requires it, and that's too early.
The \with clause sets a global default for this Staff context regardless
of the time; this should work out.
HTH,
Alexander
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RE: Hidden accidentals hiding visible ones
pkx166h wrote:
>
>
> if someone lets me know where we think this could go I could write an
> @knownissue or @warning.
>
> James
>
i believe this should go in the chapter about accidentals and polyphony (if
it is not an issue) - if you look at the example above and unhide the
respective voice the problem still remains:
\relative c' {
<< { c4 cis cis cis |}
\\
{ c4 c cis cis }
>>
}
and
\relative c' {
<< { c4 c cis cis }
\\
{ c4 cis cis cis |}
>>
}
is not the same!
http://old.nabble.com/file/p30986323/test.png
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Incipits / spacing
Hi all,
about two years ago (I don't remember exactly), there was a discussion
where I was involved and the outcome of which was a new approach for
incipits in ancient music. To be clear, I paste the snippet I'm
referring to at the bottom of this message.
At this time, nobody was able to bring a solution for a little flaw in
this snippet, which was that the timing automatism between the staffs
cannot be turned off and the notes/rests are placed at a position that
is based on their duration.
This is kind of unfavourable, because it leads to a different picture
than you would expect in mensural notation where voices are completely
independent.
Thus, I would like to ask again if there is anybody has ideas, maybe
based on newer lilypond version?
Thanks in advance!
Stefan
incipit =
#(define-music-function (parser location incipit-music) (ly:music?)
#{
\once \override Staff.InstrumentName #'self-alignment-X = #RIGHT
\once \override Staff.InstrumentName #'self-alignment-Y = #UP
\once \override Staff.InstrumentName #'Y-offset = #4
\once \override Staff.InstrumentName #'padding = #0.3
\once \override Staff.InstrumentName #'stencil =
#(lambda (grob)
(let* ((instrument-name (ly:grob-property grob 'long-text))
(layout (ly:output-def-clone (ly:grob-layout grob)))
(music (make-music 'SequentialMusic
'elements (list (make-music 'ContextSpeccedMusic
'context-type 'MensuralStaff
'element (make-music 'PropertySet
'symbol 'instrumentName
'value instrument-name))
$incipit-music)))
(score (ly:make-score music))
(mm (ly:output-def-lookup layout 'mm))
(indent (ly:output-def-lookup layout 'indent))
(width (ly:output-def-lookup layout 'incipit-width))
(incipit-width (if (number? width)
(* width mm)
(* indent 0.5
(ly:output-def-set-variable! layout 'indent (- indent
incipit-width))
(ly:output-def-set-variable! layout 'line-width indent)
(ly:output-def-set-variable! layout 'ragged-right #f)
(ly:output-def-set-variable! layout 'ragged-last #f)
(ly:output-def-set-variable! layout 'system-count 1)
(ly:score-add-output-def! score layout)
(set! (ly:grob-property grob 'long-text)
(markup #:score score))
(ly:system-start-text::print grob)))
#})
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Free clef
Hi, is it possible to use a free text markup as a clef? I need a gamma clef just for an incipit, and it would be sufficient to use the letter "G" for this case. Thanks, Stefan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Free clef
2011/2/22 Stefan Waler :
> Hi,
>
> is it possible to use a free text markup as a clef? I need a gamma clef just
> for an incipit, and it would be sufficient to use the letter "G" for this
> case.
This is modified from an example in LSR
GClef = \markup { \huge G }
{
\override Staff.Clef #'stencil = #(lambda (grob)
(grob-interpret-markup grob GClef))
c'1
}
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: Hidden accidentals hiding visible ones
On 22/02/11 21:34, -Eluze wrote: Nick Payne-3 wrote: This is probably user error rather than anything else, but I just wasted 20 minutes wondering why an accidental on a note in a score was missing in the PDF output before realising that the same note appeared earlier in the same bar but in a hidden voice. In most guitar scores I use a hidden voice for such things as simultaneous text spanners, arpeggio brackets to indicate barring, etc. The following example shows that the order of the voices in the source file affects whether the accidental appears or not: if you use polyphonic notation in one staff it is recommendable to pay attention to the accidental-style setting #(set-accidental-style 'voice) makes it work as intended! Thanks. That fixes it nicely. Nick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
New here and first question about using repeat percent over more than two measures
Hi,
I'm new on this list, though I use Lilypond for several years (but quite
basically) and audio with GNU/Linux for more years.
I present myself: I'm Aurélien, I'm french, work in a french non-profit
production/label/tour agency which produces and tours only free art with
free software.
I play bass, guitar, machines and vocals in the band Sebkha-Chott, and
also play in a musical tales for kids called Sackboutboute.
OK, let's go with my question. As I'm also a bass teacher, I often use
\repeat precent X {} in my scores. Until now, I never had any problem
with this. But now, I've got two charts with stuffs repeating that long
more than two measures. I thought I just could write something like:
\repeat percent X {
}
but actually, it just prints empy measures in the end. Is there a way to
fix this, or am I trying to do something that doesn't exist, or
shouldn't, or whatever?
Thanks a lot.
--
Aurélien
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Re: New here and first question about using repeat percent over more than two measures
Aurelien writes:
> \repeat percent X {
>
>
>
>
> }
>
> but actually, it just prints empy measures in the end. Is there a way
> to fix this, or am I trying to do something that doesn't exist, or
> shouldn't, or whatever?
What would you expect that to render as?
Standard musical notation has repeat a note (thick slash), repeat one
measure (dots around thick slash), and repeat two measures (dots around
two thick slashes on the bar).
There isn't AFAIK any standard musical notation for a more-than-two
measure repeat. So that's why LilyPond doesn't produce anything: there
isn't anything sensible to do by default.
This is usually done with volta repeats, and a text notation above
saying how many times it should repeat. That doesn't help, of course, if
you don't want the other staves in a system to repeat.
So, while this may be a common requirement, it's apparently not common
enough that musical notation has a standard answer.
--
\ “I am the product of millions of generations of individuals who |
`\ each fought against a hostile universe and won, and I aim to |
_o__) maintain the tradition.” —Paul Z. Myers, 2009-09-12 |
Ben Finney
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