Re: cross-hands, cross-staves
2012/8/29 Curt > > Hi, a question and a meta-question. The meta-question is, is there a more > appropriate list to ask for suggestions on the best way to notate something? > I occasionally have questions just about the clearest notation choice. lilypond-user is the perfect list for lilypond-related questions from users. Many lilypond users have a well trained eye for general music engraving issues, but I don't know a list for engraving, non-lilypond issues. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cross-hands, cross-staves
2012/8/29 Curt > The actual question is wondering if anyone thinks there is a > better/clearer way to notate the following figure. Hands alternating, with > melody in the pinky. The pattern continues throughout the piece (with > different notes). Right hand stays in the same general location, right hand > wanders down an octave or so at times. Now to your actual question: at first sight, beaming on 16ths suggests same hand despite of being cross staff. In this case I would indicate clearly R.H. on the 16ths in upper staff. It would be more kludgy but also doubtless (on how to play it) to use alternate 16ths and silences instead of cross beaming. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to update the makerhythm-snippet
- Original Message - From: "Gilles" To: ; "David Kastrup" ; "Phil Holmes" Sent: Tuesday, August 28, 2012 10:49 PM Subject: Re: how to update the makerhythm-snippet I think only an LSR editor (like me) can do this. You want me to go ahead and delete it? Yes, please. Gilles Done. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: updating tremolo snippet for 2.16
Shevek writes:
> First off, thanks to all the people who worked on 2.16! I'm super excited
> about it, and I'm already noticing drastically reduced compile times for my
> large projects, compared to 2.14.
>
> I'm looking at updating my snippet library, and the first issue I've run
> into is that http://lsr.dsi.unimi.it/LSR/Snippet?id=604 stopped working in
> 2.16. It's pretty simple to fix using event-chord-wrap!, but I was wondering
> what a real solution should look like. I'm assuming similar situations will
> crop up with other snippets, so I suppose this is just an instance of a more
> general question. I'm hoping that maybe updating some snippets will be a
> good way for me to learn more Scheme.
This snippet is fairly simple. The first thing to note is that the
usual problem with snippets failing as a consequence of implementing
issue 2240 http://code.google.com/p/lilypond/issues/detail?id=2240>
is the assumption that even single notes appear as an EventChord.
The blackbox giveaway is pretty much when the snippet stopped working in
version 2.15.28 and worked in 2.15.27: there are not all that many other
highly significant changes. This change is likely the largest contender
for LilyPond programs to stop working when moving from 2.14 to 2.16.
If we are looking at the LilyPond code itself, the usual giveaway is the
use of (ly:music-property ... 'elements) without checking the type of
... beforehand, or checks for EventChord or event-chord without any
check for NoteEvent, RestEvent, or rhythmic-event.
Now instead of trying a piece-by-piece fix, in this case it is
worthwhile to rethink the whole approach and see whether we can fit its
operation into #{ #}. Why would we want to do that? Because the
internals of the tremolo repeat are non-trivial to calculate, and
indeed, there have been several fixes to get the respective code in the
LilyPond codebase for entering and displaying tremolo repeats correctly.
Taking a look at the user interface, we see
%\tremolos
%Makes each note in music a tremolo repeat.
%dur is 8, 16, 32, etc.
tremolos =
#(define-music-function (parser location dur mus) (integer? ly:music?)
(music-map (lambda (x) (tremoloize dur x)) mus))
It is immediately apparent that entering a duration as an integer rather
than, well, a duration is less than optimal. music-map works
recursively bottom-up. In this case, we don't really want to rerecurse,
so using the new function map-some-music seems more appropriate, in
particular since it avoids a bit of unnecessary copying and we stop
recursing when reaching a target. After all that introduction, let's
get to business:
tremolos =
#(define-music-function (parser location dur mus) (ly:duration? ly:music?)
(map-some-music
(lambda (m)
(and (or (music-is-of-type? m 'event-chord)
(music-is-of-type? m 'note-event))
#{ \repeat tremolo
$(ly:moment-main
(ly:moment-div (ly:music-length m)
(ly:duration-length dur)))
$(map-some-music
(lambda (elt)
(and (ly:music-property elt 'duration #f)
(begin
(set! (ly:music-property elt 'duration) dur)
elt)))
m)
#}))
mus))
\relative c' {
\tremolos 16 { c4 d2 e4 | f1 | g8 f e d c2 | }
}
What does this mean? We recurse top-down through the whole music,
stopping at event-chord and note-event nodes (there are likely some
other rhythmic-event types which would also be susceptible to tremoli,
but things like rest-event aren't really, so we play this
conservatively, only adding more specific types as needed). The tremolo
count is calculated by dividing the respective lengths (the ly:moment-*
arithmetic is a bit weird, coming from a time where Guile did not have
rational numbers). The repeated music is arrived at by replacing every
duration inside of the repeated music with the given duration.
We will get a weird error message when the repeat count is not an
integer: this could be caught and handled more gracefully, but making a
nicer error message is really all one can do in that situation.
This should work fine with chords and also when dotted durations come
into play.
It turns out that the unfoldTremolo stuff in the snippet does not really
need any changes.
--
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Re: Attaca markup
> This is how I've defined it in the past:
>
> attacca =
> {
> \once \override Score.RehearsalMark #'break-visibility =
> #begin-of-line-invisible
> \once \override Score.RehearsalMark #'direction = #DOWN
> \once \override Score.RehearsalMark #'font-size = 1
> \once \override Score.RehearsalMark #'self-alignment-X = #right
> \mark \markup{\bold Attacca}
> }
>
I would add one more line to this definition:
\noPageTurn
Toine
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Re: cross-hands, cross-staves
Hi Curt, On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila wrote: > 2012/8/29 Curt >> The actual question is wondering if anyone thinks there is a >> better/clearer way to notate the following figure. Hands alternating, with >> melody in the pinky. The pattern continues throughout the piece (with >> different notes). Right hand stays in the same general location, right hand >> wanders down an octave or so at times. > > Now to your actual question: at first sight, beaming on 16ths suggests > same hand despite of being cross staff. In this case I would indicate > clearly R.H. on the 16ths in upper staff. It would be more kludgy but > also doubtless (on how to play it) to use alternate 16ths and silences > instead of cross beaming. > I think the way you notate this is perfectly clear. Distributing notes between the staves depending on which hand the player should use is expected in notation for the piano. (You can find many instances of this in Debussy's Preludes, for example). Indicating R.H. and L.H. shouldn't be necessary if the staff distribution makes this obvious, whether the cross-staff notes are beamed together or not (certainly a good idea here). The passage itself is not hard with alternating hands and 3-4-5 on the melody, but it's a different story with taking the accompaniment in the left hand. Though doable, I don't imagine that would be a pianist's first impulse! -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Right way of specifying engraver name?
Hello,
in the following score for 2.16
\score {
\new PianoStaff <<
\new Staff
\crossStaff { q }
\new Staff
\crossStaff { \clef bass q }
>>
}
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
\context {
\Staff
\remove "Bar_engraver"
}
}
%end
I have to name engravers by a different convention. IIRC all engravers
should be double quoted, but Span_stem_engraver does not seem to admit
this. What am I doing wrong?
--
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www.paconet.org , www.csmbadajoz.com
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Re: Right way of specifying engraver name?
Francisco Vila writes:
> Hello,
>
> in the following score for 2.16
>
> \score {
> \new PianoStaff <<
> \new Staff
> \crossStaff { q }
> \new Staff
> \crossStaff { \clef bass q }
> >>
> }
>
> \layout {
> \context {
> \PianoStaff
> \consists #Span_stem_engraver
> }
> \context {
> \Staff
> \remove "Bar_engraver"
> }
> }
>
> %end
>
> I have to name engravers by a different convention. IIRC all engravers
> should be double quoted, but Span_stem_engraver does not seem to admit
> this. What am I doing wrong?
Nothing. Span_stem_engraver is written in Scheme and not registered as
a C++ engraver. As one consequence, it is not appearing in the
internals documentation along with other engravers. There currently is
no way to register an engraver from Scheme.
--
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Re: Right way of specifying engraver name?
2012/8/29 David Kastrup : > Span_stem_engraver is written in Scheme and not registered as > a C++ engraver. As one consequence, it is not appearing in the > internals documentation along with other engravers. There currently is > no way to register an engraver from Scheme. Ah right. We must improve this documentation bit. Are there more cases like this? BTW the engraver has (finally!) made very easy the engraving of Satie's Gnossienne no.1 that was trivial in Finale, which was /slightly/ embarrassing. Thanks! -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right way of specifying engraver name?
- Original Message - From: "Francisco Vila" To: "David Kastrup" Cc: Sent: Wednesday, August 29, 2012 1:36 PM Subject: Re: Right way of specifying engraver name? 2012/8/29 David Kastrup : Span_stem_engraver is written in Scheme and not registered as a C++ engraver. As one consequence, it is not appearing in the internals documentation along with other engravers. There currently is no way to register an engraver from Scheme. Ah right. We must improve this documentation bit. Are there more cases like this? Which bit of the documentation? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right way of specifying engraver name?
2012/8/29 Phil Holmes : >> Ah right. We must improve this documentation bit. Are there more cases >> like this? > > > > Which bit of the documentation? http://lilypond.org/doc/v2.17/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems We say just "using the Span_stem_engraver" but the user can be confused when adding/removing other engravers because it is sometimes #Name_engraver and sometimes "Name_engraver". -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right way of specifying engraver name?
- Original Message - From: "Francisco Vila" To: "Phil Holmes" Cc: "David Kastrup" ; Sent: Wednesday, August 29, 2012 1:56 PM Subject: Re: Right way of specifying engraver name? 2012/8/29 Phil Holmes : Ah right. We must improve this documentation bit. Are there more cases like this? Which bit of the documentation? http://lilypond.org/doc/v2.17/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems We say just "using the Span_stem_engraver" but the user can be confused when adding/removing other engravers because it is sometimes #Name_engraver and sometimes "Name_engraver". I don't believe that would be the right place to change anything. Everything stated there is correct. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right way of specifying engraver name?
2012/8/29 Phil Holmes : >> We say just "using the Span_stem_engraver" but the user can be >> confused when adding/removing other engravers because it is sometimes >> #Name_engraver and sometimes "Name_engraver". > > > > I don't believe that would be the right place to change anything. Everything > stated there is correct. That's true, but I got confused. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right way of specifying engraver name?
"Phil Holmes" writes: > - Original Message - > From: "Francisco Vila" > To: "Phil Holmes" > Cc: "David Kastrup" ; > Sent: Wednesday, August 29, 2012 1:56 PM > Subject: Re: Right way of specifying engraver name? > > >> 2012/8/29 Phil Holmes : Ah right. We must improve this documentation bit. Are there more cases like this? >>> >>> >>> >>> Which bit of the documentation? >> >> http://lilypond.org/doc/v2.17/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems >> >> We say just "using the Span_stem_engraver" but the user can be >> confused when adding/removing other engravers because it is sometimes >> #Name_engraver and sometimes "Name_engraver". > > > I don't believe that would be the right place to change > anything. Everything stated there is correct. We can probably agree that a way of registering a Scheme engraver in a manner where we don't need to document the difference in using it would beat improving the documentation. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cross-hands, cross-staves
Thank you for the perspectives! It's nice to know that it comes across clearly. I was afraid it might look too cluttered but I can always also just play with the staff spacing a bit. Curt On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote: > Hi Curt, > > On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila wrote: >> 2012/8/29 Curt >>> The actual question is wondering if anyone thinks there is a >>> better/clearer way to notate the following figure. Hands alternating, with >>> melody in the pinky. The pattern continues throughout the piece (with >>> different notes). Right hand stays in the same general location, right hand >>> wanders down an octave or so at times. >> >> Now to your actual question: at first sight, beaming on 16ths suggests >> same hand despite of being cross staff. In this case I would indicate >> clearly R.H. on the 16ths in upper staff. It would be more kludgy but >> also doubtless (on how to play it) to use alternate 16ths and silences >> instead of cross beaming. >> > > I think the way you notate this is perfectly clear. Distributing > notes between the staves depending on which hand the player should use > is expected in notation for the piano. (You can find many instances > of this in Debussy's Preludes, for example). Indicating R.H. and L.H. > shouldn't be necessary if the staff distribution makes this obvious, > whether the cross-staff notes are beamed together or not (certainly a > good idea here). > > The passage itself is not hard with alternating hands and 3-4-5 on the > melody, but it's a different story with taking the accompaniment in > the left hand. Though doable, I don't imagine that would be a > pianist's first impulse! > > -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
drummode and notemode
I have an orchestral film cue where a percussionist waits a few bars, plays a few glockenspiel notes, waits several bars, and switches to suspended cymbal for a roll. It seems a waste of score space to make it two separate staves. But I am having trouble figuring out how to switch from \drummode to \notemode in the same staff (or vice versa). Here's the shortest example I can come up with that illustrates the problem. Is there a way to either put melody notes in a DrumStaff, or drummode in a normal Staff? The documentation led me to believe the below approach should work (not sure if that's the documentation's problem or my problem. :-) ).Thanks again,Curt\version "2.16.00"\include "english.ly"\drums { ss hh \clef treble \notemode { a b c }}___
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Re: drummode and notemode
Curt writes:
> I have an orchestral film cue where a percussionist waits a few bars,
> plays a few glockenspiel notes, waits several bars, and switches to
> suspended cymbal for a roll. It seems a waste of score space to make
> it two separate staves. But I am having trouble figuring out how to
> switch from \drummode to \notemode in the same staff (or vice versa).
> Here's the shortest example I can come up with that illustrates the
> problem. Is there a way to either put melody notes in a DrumStaff, or
> drummode in a normal Staff? The documentation led me to believe the
> below approach should work (not sure if that's the documentation's
> problem or my problem. :-) ).
>
> Thanks again,
> Curt
>
> \version "2.16.00"
> \include "english.ly"
>
> \drums {
> ss hh
> \clef treble
> \notemode { a b c }
> }
Try
\include "english.ly"
\drums \with { \accepts "Voice" }
{
ss hh
\new Voice { \notemode { \clef treble a b c } }
}
--
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Re: drummode and notemode
ah-ha! Thank you David!! I'll read deeper on \with and \accepts.
Curt
On Aug 29, 2012, at 12:33 PM, David Kastrup wrote:
> Try
>
> \include "english.ly"
>
> \drums \with { \accepts "Voice" }
> {
> ss hh
> \new Voice { \notemode { \clef treble a b c } }
> }
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lilypond-book and title page
Hello LilyPonders,
I am trying to do a title page / cover page using LaTex without too much
success.
The result I get is a Y-centered text (on LaTex) but with a noticeable
space on X-axis (space at the right), in addition, the next pages (of
music) have indentation on the left and at the top, resulting on a half of
the page being shown only.
the command I'm using for generating the PDF is:
lilypond-book --pdf -o folder file.tex && cd folder && pdflatex file.tex
the content of file.tex is:
\usepackage[T1]{fontenc}
\usepackage{lmodern}
\usepackage{nopageno}
\begin{document}
\author{your name here}
\title{
your title here \\ {
\large {
for \\
\textbf{your instrument}
}
}
}
\date{date here}
\maketitle
\noindent
\lilypondfile{filehere.ly}
\end{document}
seems that \noindent doesn't work in this case.
What is the difference between using .tex, .lytex and .latex extensions for
purposes like this?
Also, is there any title/cover page template available (tutorial/guidance)?
Thanks.
--
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Re: how to update the makerhythm-snippet
I think only an LSR editor (like me) can do this. You want me to go ahead and delete it [snippet 390]? Yes, please. Done. Thanks Phil. Just a last thing that i cannot do myself :-( As the snippet 654 refers to snippet 390, is it possible to replace, in 654, the sentence : "This snippet describes a function \changePitch which is an extension of snippet 390 ..." by something like that (feel free to reword) : "This snippet describes a function \changePitch, to repeatedly print a given rhythm with different notes. Its syntax is ..." ? -- Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
On Wed, 29 Aug 2012 01:19:48 +0200 David Kastrup wrote: > Pavel Roskin writes: > > > Hello! > > > > I have noticed that Lilypond 2.16.0 uses A4 paper size even if the > > locale is set to en_US.utf8. I can force the letter output by using > > > > -dpaper-size=\"letter\" > > > > but that seems inelegant. Is there any way to make Lilypond > > default to letter pages without adding anything to the command line? > > > > I used strace and didn't see Lilypond open any file in the home > > directory, such as ~/.lilypondrc or something. > > > > Should not Lilypond respect the LC_PAPER setting from the locale? > > I don't think that LilyPond should produce different output on > different systems for whatever reason. Doesn't TeX respect LC_PAPER? I can understand that Lilypond should not look at any local settings to interpret the input, as the input is Lilypond-specific. But I don't see why Lilypond should ignore local setting for the output. Paper is paper, whether it's used for text or music. -- Regards, Pavel Roskin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: drummode and notemode
Curt writes:
>> On Aug 29, 2012, at 12:33 PM, David Kastrup wrote:
>>
>> Try
>>
>> \include "english.ly"
>>
>> \drums \with { \accepts "Voice" }
>> {
>> ss hh
>> \new Voice { \notemode { \clef treble a b c } }
>> }
>
> ah-ha! Thank you David!! I'll read deeper on \with and \accepts.
Good luck with that... I am not really sure this is a proper solution:
it allows Voice to be part of a drum staff. Taking a look at
ly/engraver-init.ly, we see
\context {
\Staff
\type "Engraver_group"
\name "DrumStaff"
\alias "Staff"
\remove "Accidental_engraver"
\remove "Ottava_spanner_engraver"
\remove "Key_engraver"
\remove "Piano_pedal_engraver"
\description "Handles typesetting for percussion."
\denies "Voice"
\accepts "DrumVoice"
\defaultchild "DrumVoice"
clefGlyph = #"clefs.percussion"
clefPosition = #0
\override Script #'staff-padding = #0.75
}
Not having the accidental engraver (as compared to the DrumStaff) is
probably a no-go. It turns out that being rather blasé about the proper
hierarchy does a more thorough job. Note that the acceptance of a
recursive drum staff is for the sake of getting a new clef and meter
when resuming in drum mode:
\include "english.ly"
\drums \with { \accepts "Staff" \accepts "DrumStaff" }
{
ss hh
\new Voice { \notemode { \key a\major \clef treble a bf c } }
\drums { ss hh }
}
Note that accepting Staff means that starting a Voice will call in a
Staff context nested in the DrumStaff implied with \drums.
Like with the previous example, I am somewhat skeptic that this will
work under all important circumstances, but it looks like a somewhat
feasible hack, and at least seems to do a bit more than my first
proposal.
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Re: LC_PAPER and default paper size
Pavel Roskin writes: > On Wed, 29 Aug 2012 01:19:48 +0200 > David Kastrup wrote: > >> Pavel Roskin writes: >> >> > Hello! >> > >> > I have noticed that Lilypond 2.16.0 uses A4 paper size even if the >> > locale is set to en_US.utf8. I can force the letter output by using >> > >> > -dpaper-size=\"letter\" >> > >> > but that seems inelegant. Is there any way to make Lilypond >> > default to letter pages without adding anything to the command line? >> > >> > I used strace and didn't see Lilypond open any file in the home >> > directory, such as ~/.lilypondrc or something. >> > >> > Should not Lilypond respect the LC_PAPER setting from the locale? >> >> I don't think that LilyPond should produce different output on >> different systems for whatever reason. > > Doesn't TeX respect LC_PAPER? No. TeX/LaTeX is letterpaper by default. You have to ask for a4paper in the LaTeX source (or, in plain TeX, meddle with \hsize, \vsize and stuff) explicitly to change the layout. While dvips has a default paper size setting, that does not concern the dvi file (and consequently the text layout), but merely the offsets for placing the page content on a particular printer. > I can understand that Lilypond should not look at any local settings > to interpret the input, as the input is Lilypond-specific. But I > don't see why Lilypond should ignore local setting for the output. > Paper is paper, whether it's used for text or music. If you are asking for LilyPond to behave like TeX/LaTeX, the result is exactly _not_ catering to LC_PAPER. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: drummode and notemode
On Aug 29, 2012, at 2:48 PM, David Kastrup wrote:
> Curt writes:
>
>>> On Aug 29, 2012, at 12:33 PM, David Kastrup wrote:
>>>
>>>Try
>>>
>>>\include "english.ly"
>>>
>>>\drums \with { \accepts "Voice" }
>>>{
>>>ss hh
>>>\new Voice { \notemode { \clef treble a b c } }
>>>}
>>
>> ah-ha! Thank you David!! I'll read deeper on \with and \accepts.
>
> Good luck with that... I am not really sure this is a proper solution [...]
> Not having the accidental engraver (as compared to the DrumStaff) is
> probably a no-go.
Yes, one of the first things I noticed is that my accidentals weren't working.
If I switched to a Staff accepting DrumStaff then I was roughly able to get
what I wanted, but I know that is a clumsy approach. Thanks for the pointer
on how DrumStaff is defined - I will take a closer look at the rest of your
approach.
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Re: drummode and notemode
On Aug 29, 2012, at 2:48 PM, David Kastrup wrote:
> Like with the previous example, I am somewhat skeptic that this will
> work under all important circumstances, but it looks like a somewhat
> feasible hack, and at least seems to do a bit more than my first
> proposal.
>
> --
> David Kastrup
Going off the definition you found, it looks like something as simple as
this is working for me.
\version "2.16.00"
\include "english.ly"
\new Staff \with { \accepts "DrumVoice" } \relative c''
{
a! b? c
\clef percussion
\new DrumVoice { \drummode { ss hh }}
}
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Re: how to update the makerhythm-snippet
2012/8/29 Gilles : > I think only an LSR editor (like me) can do this. You want me to go ahead and delete it [snippet 390]? >>> >>> Yes, please. >> >> Done. >> > > Thanks Phil. > Just a last thing that i cannot do myself :-( > As the snippet 654 refers to snippet 390, is it possible to replace, in > 654, the sentence : > "This snippet describes a function \changePitch which is an extension >of snippet 390 ..." > by something like that (feel free to reword) : > "This snippet describes a function \changePitch, to > repeatedly print a given rhythm with different notes. Its syntax is ..." ? > > -- > Gilles > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user Done. -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cross-hands, cross-staves
Looks to me that the cross tie stuff lies easily under the left hand alone. Shane On Wed, Aug 29, 2012 at 3:09 PM, Curt wrote: > > Thank you for the perspectives! It's nice to know that it comes across > clearly. I was afraid it might look too cluttered but I can always also > just play with the staff spacing a bit. > > Curt > > On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote: > > > Hi Curt, > > > > On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila > wrote: > >> 2012/8/29 Curt > >>> The actual question is wondering if anyone thinks there is a > >>> better/clearer way to notate the following figure. Hands alternating, > with > >>> melody in the pinky. The pattern continues throughout the piece (with > >>> different notes). Right hand stays in the same general location, > right hand > >>> wanders down an octave or so at times. > >> > >> Now to your actual question: at first sight, beaming on 16ths suggests > >> same hand despite of being cross staff. In this case I would indicate > >> clearly R.H. on the 16ths in upper staff. It would be more kludgy but > >> also doubtless (on how to play it) to use alternate 16ths and silences > >> instead of cross beaming. > >> > > > > I think the way you notate this is perfectly clear. Distributing > > notes between the staves depending on which hand the player should use > > is expected in notation for the piano. (You can find many instances > > of this in Debussy's Preludes, for example). Indicating R.H. and L.H. > > shouldn't be necessary if the staff distribution makes this obvious, > > whether the cross-staff notes are beamed together or not (certainly a > > good idea here). > > > > The passage itself is not hard with alternating hands and 3-4-5 on the > > melody, but it's a different story with taking the accompaniment in > > the left hand. Though doable, I don't imagine that would be a > > pianist's first impulse! > > > > -David > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cross-hands, cross-staves
Well... future patterns later in the piece are larger than hand size, and, it plays fast and soft enough that I find it unreasonable to play with one hand. Audio of the complete improvisation is at my site: http://curtsiffert.com/anelusivesweetness . On Aug 29, 2012, at 5:04 PM, Shane Brandes wrote: > Looks to me that the cross tie stuff lies easily under the left hand alone. > > Shane > > On Wed, Aug 29, 2012 at 3:09 PM, Curt wrote: > > Thank you for the perspectives! It's nice to know that it comes across > clearly. I was afraid it might look too cluttered but I can always also just > play with the staff spacing a bit. > > Curt > > On Aug 29, 2012, at 5:06 AM, David Nalesnik wrote: > > > Hi Curt, > > > > On Wed, Aug 29, 2012 at 2:30 AM, Francisco Vila > > wrote: > >> 2012/8/29 Curt > >>> The actual question is wondering if anyone thinks there is a > >>> better/clearer way to notate the following figure. Hands alternating, > >>> with > >>> melody in the pinky. The pattern continues throughout the piece (with > >>> different notes). Right hand stays in the same general location, right > >>> hand > >>> wanders down an octave or so at times. > >> > >> Now to your actual question: at first sight, beaming on 16ths suggests > >> same hand despite of being cross staff. In this case I would indicate > >> clearly R.H. on the 16ths in upper staff. It would be more kludgy but > >> also doubtless (on how to play it) to use alternate 16ths and silences > >> instead of cross beaming. > >> > > > > I think the way you notate this is perfectly clear. Distributing > > notes between the staves depending on which hand the player should use > > is expected in notation for the piano. (You can find many instances > > of this in Debussy's Preludes, for example). Indicating R.H. and L.H. > > shouldn't be necessary if the staff distribution makes this obvious, > > whether the cross-staff notes are beamed together or not (certainly a > > good idea here). > > > > The passage itself is not hard with alternating hands and 3-4-5 on the > > melody, but it's a different story with taking the accompaniment in > > the left hand. Though doable, I don't imagine that would be a > > pianist's first impulse! > > > > -David > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book and title page
2012/8/29 Daniel E. Moctezuma > Hello LilyPonders, > > I am trying to do a title page / cover page using LaTex without too much > success. > The result I get is a Y-centered text (on LaTex) but with a noticeable > space on X-axis (space at the right), in addition, the next pages (of > music) have indentation on the left and at the top, resulting on a half of > the page being shown only. > Hi, Concerning the title page: I usually don't use the default LaTeX's titling command but build the title-page myself. Have you already seen this? http://en.wikibooks.org/wiki/LaTeX/Title_Creation But maybe this tutorial is too complex - for me it is usually enough to set font sizes http://en.wikibooks.org/wiki/LaTeX/Text_Formatting#Sizing_text and add some vertical whitespace where needed using \vspace and \vfill . HTH, Jakub ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Attaca markup
On Tue, 28 Aug 2012 17:50:12 -0700 "Daniel E. Moctezuma" wrote: > > Also, after an "attaca" indication should the bar numbers reset or > continue counting? I take "attacca" to mean "Go straight on, even though it's a new piece". Having the bar numbers continue would mean to me "This is not a new piece". So, to have "attacca" AND continuing bar numbers would look like a contradiction to me. -- David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Attaca markup
On 08/29/2012 05:54 PM, David Rogers wrote: On Tue, 28 Aug 2012 17:50:12 -0700 "Daniel E. Moctezuma" wrote: Also, after an "attaca" indication should the bar numbers reset or continue counting? I take "attacca" to mean "Go straight on, even though it's a new piece". Or new movement which is where I commonly see it. Having the bar numbers continue would mean to me "This is not a new piece". So, to have "attacca" AND continuing bar numbers would look like a contradiction to me. Some music continues the rehearsal marks through the movements and could continue the bar numbers as well. In that case Attacca at the end of a movement makes sense. Paul Scott -- Librarian Southern Arizona Symphony Orchestra ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
running lilypond-book in frescobaldi?
Lilypond users: 1. I am running lilypond in frescobaldi. Can I run lilypond-book in frecobaldi as well. 2. How can pass parameter to lilypond and or lilypond-book from frescobaldi? Blessing in+, Ming. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Hiding staff without hiding bar lines
I'm a relatively new LilyPond user, so I apologize if this is something I should have found in the manual. I'm trying to use LilyPond to make worksheets and theory tests, so I need to hide elements for students to fill in themselves. I also need to notate rhythms without a staff. I know that rhythms can be notated on a one-line percussion staff, but I really prefer the look of no staff with full bar lines. I've figured out how to hide clefs, time signatures, bar lines and the entire staff. My problem is that \stopStaff seems to also hide all bar lines. Often, this is what I want, but other times I need the bar lines to be visible. Is there another way to hide the staff, or is there a way to make the bar lines reappear with \stopStaff? -Michael -- View this message in context: http://lilypond.1069038.n5.nabble.com/Hiding-staff-without-hiding-bar-lines-tp131685.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Parenthesized Hairpin
Hello, Using a snippet from LSR (http://lsr.dsi.unimi.it/LSR/Item?id=771) I've found that I get an "*Unbound variable*" error on *$leftText*. The way I've solved is to remove the *$* sign from it as well as from * $rightText*. So far so good, but I've noticed that if you do a *\break* before ending the hairpin (e.g. a hairpin through 4 bars), the hairpin parenthesis repeats. Is that a normal behaviour? Thanks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Attaca markup
Thanks a lot for the information. Doing some research, I've seen both uses (bar number reset and number continuation) as well as not using bar numbers at all (just using rehearsal marks) and that's why I was confused. -- Daniel E. Moctezuma ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
Quoting David Kastrup : Pavel Roskin writes: Doesn't TeX respect LC_PAPER? No. TeX/LaTeX is letterpaper by default. You have to ask for a4paper in the LaTeX source (or, in plain TeX, meddle with \hsize, \vsize and stuff) explicitly to change the layout. While dvips has a default paper size setting, that does not concern the dvi file (and consequently the text layout), but merely the offsets for placing the page content on a particular printer. I can understand that Lilypond should not look at any local settings to interpret the input, as the input is Lilypond-specific. But I don't see why Lilypond should ignore local setting for the output. Paper is paper, whether it's used for text or music. If you are asking for LilyPond to behave like TeX/LaTeX, the result is exactly _not_ catering to LC_PAPER. Oh well, it looks like LC_PAPER is not getting as much respect from typesetting software as I thought. I guess I'll have to readjust my taste and write a wrapper around Lilypond. -- Regards, Pavel Roskin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
Pavel Roskin writes: > Quoting David Kastrup : > >> Pavel Roskin writes: > >>> Doesn't TeX respect LC_PAPER? >> >> No. TeX/LaTeX is letterpaper by default. You have to ask for a4paper >> in the LaTeX source (or, in plain TeX, meddle with \hsize, \vsize and >> stuff) explicitly to change the layout. While dvips has a default paper >> size setting, that does not concern the dvi file (and consequently the >> text layout), but merely the offsets for placing the page content on a >> particular printer. >> >>> I can understand that Lilypond should not look at any local settings >>> to interpret the input, as the input is Lilypond-specific. But I >>> don't see why Lilypond should ignore local setting for the output. >>> Paper is paper, whether it's used for text or music. >> >> If you are asking for LilyPond to behave like TeX/LaTeX, the result is >> exactly _not_ catering to LC_PAPER. > > Oh well, it looks like LC_PAPER is not getting as much respect from > typesetting software as I thought. I guess I'll have to readjust my > taste and write a wrapper around Lilypond. What is wrong with specifying the paper size you want in the \paper block? More often than not, the global staff size and manual tweaks are set to achieve a certain page layout. If LilyPond changed its behavior on different computers, stuff would stop working without the user having a clue that this was not intended output. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesized Hairpin
"Daniel E. Moctezuma" writes: > Using a snippet from LSR (http://lsr.dsi.unimi.it/LSR/Item?id=771) I've > found that I get an "Unbound variable" error on $leftText. > The way I've solved is to remove the $ sign from it as well as from > $rightText. Did you run convert-ly -ed on the file? That should have catered for the $. > So far so good, but I've noticed that if you do a \break before ending > the hairpin (e.g. a hairpin through 4 bars), the hairpin parenthesis > repeats. > Is that a normal behaviour? What is a "hairpin parenthesis"? -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesized Hairpin
Hello David, By "hairpin parenthesis I mean "parenthesized hairpin" like the one shown on the snippet I provided. -- Daniel E. Moctezuma ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
Quoting David Kastrup : What is wrong with specifying the paper size you want in the \paper block? I want to make the scores available to everybody. I want users across the world to be able to find the music, create the PDF and print it with no problems on the paper they have. Specifying \paper would make the choice for the users. Printers might ask for paper that is not readily available. Actually, Mutopia doesn't want \paper to be specified. More often than not, the global staff size and manual tweaks are set to achieve a certain page layout. If LilyPond changed its behavior on different computers, stuff would stop working without the user having a clue that this was not intended output. Now that's a strong argument against LC_PAPER. I'm guilty of making such tweaks too. -- Regards, Pavel Roskin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Hiding expressive notation
Hi there,
I transcribe music for guitar using a normal staff and tabstaff. About 99%
of the time, when I specify a string a note must be played on, I don't want
it to create a string notation on the normal staff, I only want it to
change the string used (and show the correct fret) on the TabStaff.
Is it possible for me to hide this type of notation from the normal staff
without rewriting the music without specifying the strings? I tried
searching for a command in the index but couldn't find anything relevant.
Here's a simplified code snippet so you can see how annoying this gets:
music = \relative c {
\repeat unfold 8 { 8 }
\repeat unfold 8 { }
% .etc
}
new StaffGroup <<
new Staff {
\music
}
new TabStaff {
\music
}
>>
You guys are really a helpful and insightful bunch, thanks for all your
help so far.
-Ben
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Re: Hiding expressive notation
Il 30/08/2012 07:44, Ben Eichler ha scritto:
Hi there,
I transcribe music for guitar using a normal staff and tabstaff. About
99% of the time, when I specify a string a note must be played on, I
don't want it to create a string notation on the normal staff, I only
want it to change the string used (and show the correct fret) on the
TabStaff.
Is it possible for me to hide this type of notation from the normal
staff without rewriting the music without specifying the strings? I
tried searching for a command in the index but couldn't find anything
relevant.
Just add this in the \layout block:
\layout {
\context {
\Staff
\override StringNumber #'transparent = ##t
}
}
--
Federico
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Re: Hiding expressive notation
Federico Bruni writes:
> Il 30/08/2012 07:44, Ben Eichler ha scritto:
>> Hi there,
>>
>>
>> I transcribe music for guitar using a normal staff and tabstaff. About
>> 99% of the time, when I specify a string a note must be played on, I
>> don't want it to create a string notation on the normal staff, I only
>> want it to change the string used (and show the correct fret) on the
>> TabStaff.
>>
>> Is it possible for me to hide this type of notation from the normal
>> staff without rewriting the music without specifying the strings? I
>> tried searching for a command in the index but couldn't find anything
>> relevant.
>>
>
> Just add this in the \layout block:
>
> \layout {
> \context {
> \Staff
> \override StringNumber #'transparent = ##t
> }
> }
It is better to do \override StringNumber #'stencil = ##f since that
does not reserve space for the string number (older LilyPond versions
might complain).
--
David Kastrup
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Re: Hiding staff without hiding bar lines
Il 30/08/2012 03:58, Michael Rivers ha scritto:
I'm a relatively new LilyPond user, so I apologize if this is something I
should have found in the manual. I'm trying to use LilyPond to make
worksheets and theory tests, so I need to hide elements for students to fill
in themselves. I also need to notate rhythms without a staff. I know that
rhythms can be notated on a one-line percussion staff, but I really prefer
the look of no staff with full bar lines.
I've figured out how to hide clefs, time signatures, bar lines and the
entire staff. My problem is that \stopStaff seems to also hide all bar
lines. Often, this is what I want, but other times I need the bar lines to
be visible. Is there another way to hide the staff, or is there a way to
make the bar lines reappear with \stopStaff?
-Michael
I can't help you.
I've tried the following but it doesn't work.
I wouldn't expect that removing the staff lines only removes also the
bar lines:
\version "2.16.0"
\relative c' {
\override Staff.StaffSymbol #'line-count = #0
f4 g a b
% let's try to force the visibility of barlines. Doesn't work..
\override Staff.BarLine #'stencil = ##t
f4 g a b
}
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Lyrics help
Hello all, I've got a pretty basic question, but looking through the manuals and trying things out hasn't seemed to help me get closer to a solution. I'm transcribing some songs I collected in the field and I need to have a volta repeat in the music where the lyrics for two verses are listed under the repeated section and then for the rest of the song has a single line. I've figured out ways to attach two lines to the entire song (and obviously ways to attach one line to the entire song), but not a way to have two lines for just part of the song. To be clearer, here is a little ASCII diagram of what I am after: |: SOME MUSIC GOES HERE :| SOME MORE MUSIC IN THE SAME VOICE | 1. Lyrics to verse one3. Lyrics to voice three 2. Lyrics to verse two | SOME MORE MUSIC GOES HERE IN THE SAME VOICE | 4. Lyrics to verse four 4. Lyrics to verse five… etc. I imagine the answer is simple, but none of the example or snippets I have found seem to address how to do this and all my attempts to figure out a solution have led to strange side effects. (Also, I want automatic alignment of the lyrics to the voice since I'm constantly tweaking the transcription and don't want to adjust values in two places, but the closest solution I've found so far—I don't remember now exactly what I did—lost the automatic alignment.) So sorry if I've missed something obvious, but this item that should be as simple as anything is eluding me. Best regards, Arle Lommel___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Changing quarter tone notation
As a separate question from the last, does anyone know of a simple way to override the quarter-tone notation in Lilypond? In particular, I want to replace half sharps with an upward arrow over the note, which is the de facto standard in the particular ethnomusicological area I work in. While the half sharp is clear enough, expectations in my field are for the arrow, which I know in other contexts may not be as clear (since it may indicate microtonal variation of less than a quarter tone).For example, I have this output now from Lilypond:But this is what I would like to see:I don't want to do this as a hack with text markup, but rather have cih simply equal the c note head with the arrow above so that the underlying music code actually represents the pitches rather than entering c with some markup to make it look like cih.Any suggestions? Best,Arle Lommel___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
On Thu, 30 Aug 2012, David Kastrup wrote: What is wrong with specifying the paper size you want in the \paper block? More often than not, the global staff size and manual tweaks are set to achieve a certain page layout. If LilyPond changed its behavior on different computers, stuff would stop working without the user having a clue that this was not intended output. Yes, this is a good reason why Lilypond does not respect LC_PAPER If - for whatever strange reason - you always want US-letter papersize: On Linux you can put an alias in your .bashrc file alias lilypond='lilypond -dpapersize=letter' After that, if you run lilypond from the commandline, you don't have to type that option manually everytime. But: Not recommended. -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LC_PAPER and default paper size
On Thu, 30 Aug 2012, Pavel Roskin wrote: Quoting David Kastrup : What is wrong with specifying the paper size you want in the \paper block? I want to make the scores available to everybody. I want users across the world to be able to find the music, create the PDF and print it with no problems on the paper they have. I live in a "a4 country". I always try to set the borders in my scores wide enough so that at least everything will be readable on both A4 and Letter pages, even though the score has been created and tested for a4 paper. QUESTION: This reminds of a question I have had for some time: I would like - for testing purposes - draw/print a box exactly around the page borders of my score. This way I want to be able to preview what a page would look like for example on a5 paper, or on iPad or Postcard dimensions, even if I print it on a4 paper. Can this be achieved with some lilypond/scheme magick ? -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
