Re: LilyPond meeting in Waltrop, Germany, 2013-08-16 to 2013-08-20
Marc Hohl writes: > I am sorry to say that I am in Great Britain during the LilyPond meeting > this year, so I won't be able to join :-( Do you have any opportunity to join in on irc? Jan -- Jan Nieuwenhuizen | GNU LilyPond http://lilypond.org Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Support for Uke chords?
Here's a small example of something I started a while back -- it's unfinished but should get you going Regards, i On Sat, Aug 3, 2013 at 1:34 AM, Clark Milioti < clark.mili...@officesystematics.com> wrote: > Greetings, > > I just discovered LilyPond. I am blown away by the concept of its > text-based input. Very clever and easy to pick up. > > While I intend to read the "learning.pdf" manual this weekend, I was > wondering if anyone can help steer me toward using LilyPond for simple > chord tab charts for the Uke? > > My objective -- at least initially -- is to generate simple chord tab > sheets for my uke playing. Like the "popular music" examples provided on > the LilyPond website. > > The example demonstrates that LilyPond can produce guitar chord symbols, > but is it capable of doing the same for a standard, c-tuning uke symbols? > > Much appreciated! > > - Clark > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > IllSeeYouInMyDreams.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right Hand Fingering Colision
Am 03.08.2013 02:30, schrieb Kale Good:
Hello,
I'm working with right hand fingerings and finding some pretty nasty
collisions. Any way to mend this?
Thanks,
Kale
\version "2.16.2"
rh = #rightHandFinger
basslineOne = { \set strokeFingerOrientations = #'(down) { c,4\rh #1 e
g c, | b d g b,} }
melody =
\relative c''
{
<<
\scaleDurations #'(2 . 3) { \set strokeFingerOrientations =
#'(up) {c,8 c'\rh #2 e\rh #3 } }
\\
{ c,4\rh #1 }
>>
}
\score
{
\melody
\layout
{
}
}
\paper {
}
--
Kale Good: Guitar Instructor
phillyguitarlessons.com
k...@kalegood.com
phone: (215)260-5383
* 4705 Baltimore Ave, Phila, PA 19143 -mailing & lessons
* 1867 Frankford Ave. Phila, PA 19125 -lessons
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Try
#(define rh rightHandFinger)
instead of
%rh = #rightHandFinger
Regards
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Re: Right Hand Fingering Colision
bb writes: > Try > #(define rh rightHandFinger) > instead of > rh = #rightHandFinger Why? -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right Hand Fingering Colision
On 03/08/13 18:55, bb wrote: Am 03.08.2013 02:30, schrieb Kale Good: Hello, I'm working with right hand fingerings and finding some pretty nasty collisions. Any way to mend this? Thanks, Kale \version "2.16.2" rh = #rightHandFinger Try #(define rh rightHandFinger) instead of %rh = #rightHandFinger Actually, better to use P = \rightHandFinger #1 I = \rightHandFinger #2 M = \rightHandFinger #3 A = \rightHandFinger #4 and then you can use to indicate the i finger. Can't use lower case for the indications as a is a note name and \p is a dynamic marking. I also create a bunch of variables to shorten the commands for setting the orientation of fingering, stroke fingering, and string numbers. fl = \set fingeringOrientations = #'(left) fr = \set fingeringOrientations = #'(right) fu = \set fingeringOrientations = #'(up) fd = \set fingeringOrientations = #'(down) sfl = \set strokeFingerOrientations = #'(left) sfr = \set strokeFingerOrientations = #'(right) sfu = \set strokeFingerOrientations = #'(up) sfd = \set strokeFingerOrientations = #'(down) snl = \set stringNumberOrientations = #'(left) snr = \set stringNumberOrientations = #'(right) snu = \set stringNumberOrientations = #'(up) snd = \set stringNumberOrientations = #'(down) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right Hand Fingering Colision
Am 03.08.2013 11:10, schrieb David Kastrup: bb writes: Try #(define rh rightHandFinger) instead of rh = #rightHandFinger Why? It is written this way in the handbook so I always use it this way. But I compiled it after that change with version 2.17.23 flawless. The essential point is the version. With 2.16.2 it does not compile intependent of the way "rightHandFinger" is used. with 2.17.23 it compiles independent of the use of the syntax of "rightHandFinger". Regards ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right Hand Fingering Colision
bb writes: > Am 03.08.2013 11:10, schrieb David Kastrup: >> bb writes: >> >>> Try >>> #(define rh rightHandFinger) >>> instead of >>> rh = #rightHandFinger >> >> Why? >> > It is written this way in the handbook so I always use it this > way. But I compiled it after that change with version 2.17.23 > flawless. > > The essential point is the version. With 2.16.2 it does not compile > intependent of the way "rightHandFinger" is used. Yes, it does. You are wrong. > with 2.17.23 it compiles independent of the use of the syntax of > "rightHandFinger". -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Right Hand Fingering Colision
Am 03.08.2013 12:38, schrieb David Kastrup: bb writes: Am 03.08.2013 11:10, schrieb David Kastrup: bb writes: Try #(define rh rightHandFinger) instead of rh = #rightHandFinger Why? It is written this way in the handbook so I always use it this way. But I compiled it after that change with version 2.17.23 flawless. The essential point is the version. With 2.16.2 it does not compile intependent of the way "rightHandFinger" is used. Yes, it does. You are wrong. with 2.17.23 it compiles independent of the use of the syntax of "rightHandFinger". Tried again. Yes, it does. I am wrong. Regards ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Henle piano template
Am 16.07.2013 20:23, schrieb Kieren MacMillan: Hello all, I'm getting close with my Henle piano stylesheet(s) — see attached. Once this is ready, I'm going to document it and put it up on the Lilyblog. I think the last thing I need is an "oval BarNumber enclosure" (see photo). Can anyone help with that? Thanks, Kieren. Hi Kieren, are you sure that Henle's line-width is 190 mm? My impression is that it was a bit wider. Perhaps i'm wrong or maybe they have changed this parameter over the years. What's the copyright year of your Beethoven Sonata? I remember that early 70' Henle editions did not have number at indent area and also did not have oval BarNumber enclosure. Karol ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Henle piano template
My copy from 1975/76 _does_ have both the number and the ovals. Urs Karol Majewski schrieb: >Am 16.07.2013 20:23, schrieb Kieren MacMillan: > >Hello all, I'm getting close with my Henle piano stylesheet(s) — see >attached. Once this is ready, I'm going to document it and put it up on >the Lilyblog. I think the last thing I need is an "oval BarNumber >enclosure" (see photo). Can anyone help with that? Thanks, Kieren. > > > >Hi Kieren, > > > >are you sure that Henle's line-width is 190 mm? My impression is that >it was a bit wider. Perhaps i'm wrong or maybe they have changed this >parameter over the years. What's the copyright year of your Beethoven >Sonata? I remember that early 70' Henle editions did not have number at >indent area and also did not have oval BarNumber enclosure. > > > >Karol > > > > > > >___ >lilypond-user mailing list >lilypond-user@gnu.org >https://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Henle piano template
I have found some images of Henle's Moonlight Sonata. Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg And the new one (from 2013): http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg Same publishing house, but so many differences :) Dnia 3-08-2013 o godz. 13:54 Urs Liska napisał(a): My copy from 1975/76 _does_ have both the number and the ovals. Urs Karol Majewski schrieb: Am 16.07.2013 20:23, schrieb Kieren MacMillan: Hello all, I'm getting close with my Henle piano stylesheet(s) — see attached. Once this is ready, I'm going to document it and put it up on the Lilyblog. I think the last thing I need is an "oval BarNumber enclosure" (see photo). Can anyone help with that? Thanks, Kieren. Hi Kieren, are you sure that Henle's line-width is 190 mm? My impression is that it was a bit wider. Perhaps i'm wrong or maybe they have changed this parameter over the years. What's the copyright year of your Beethoven Sonata? I remember that early 70' Henle editions did not have number at indent area and also did not have oval BarNumber enclosure. Karol lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond meeting in Waltrop, Germany, 2013-08-16 to 2013-08-20
Am 03.08.2013 10:07, schrieb Jan Nieuwenhuizen: Marc Hohl writes: I am sorry to say that I am in Great Britain during the LilyPond meeting this year, so I won't be able to join :-( Do you have any opportunity to join in on irc? Hm, I don't know whether I have access to wireless lan during the time of the meeting – if it works, I'll let you know! Regards, Marc Jan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
getting musical examples to an exact textwidth with a style file
Dear Lilypond users, I am creating musical examples for a text block with a fixed width (100.8mm) and am trying to create a style file that I can use for all of the examples (there will probably be a couple of hundred). I thought I could do this by modifying some combination of page-width, line-width, left-margin and right-margin, but I have run into two problems: braces/brackets, and bar numbers. If I set the line width to be the same as the text block then the piano braces increase the line width and the resulting file is too wide; to fix this I have to manually set an appropriate left margin, but this margin is different depending on whether the example begins with a brace or a bracket, and if there are bar numbers it depends on how large the numbers are (two digits vs three digits vs parenthesized bar numbers for examples that start in the middle of a bar). If, instead, I set the page-width to the width of the text block then it doesn't use the full width unless I manually specify the margins, which places me in the same situation as above. I suspect I have to manually set the left margin in every example depending on what combination of elements appear to the left of the beginning of the staff. An even better solution might be to leave the image slightly too wide and make it raggedleft/flushright, so that the bracket/bar numbers reach into the left margin of the page, but this doesn't seem to be possible in LaTeX: using \raggedleft within the figure environment has no effect. If anyone has any thought I'd appreciate them, Kevin. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting musical examples to an exact textwidth with a style file
Kevin Patrick Barry writes: > I am creating musical examples for a text block with a fixed width > (100.8mm) and am trying to create a style file that I can use for all of > the examples (there will probably be a couple of hundred). I thought I > could do this by modifying some combination of page-width, line-width, > left-margin and right-margin, but I have run into two problems: > braces/brackets, and bar numbers. [...] > If anyone has any thought I'd appreciate them, > Kevin. Have you looked at lilypond-book? That's likely the tool of choice here, and it is not clear from your description that you are using it. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sharing: "Capone," by Rachael [pdf]
Hello Federico: I wonder what's the meaning of the staff lines highlighted in purple... The TabStaff lines that are highlighted in purple indicate string-damping. This is where the indicated right-hand finger rests or plants upon the string indicated causing that string to *not* vibrate. The notation of this technique is not without historical precedent. In harp notation there is a symbol (looks kinda like a coda symbol) that is used to indicate that note duration is to be exact. Good classical guitar players will instinctively damp the strings in order to play the correct note duration. In Fingerstyle guitar, the notation of a semi-transparent line to connote string-damping was first introduced by John Stropes for the music of Michael Hedges. In the fingerstyle sphere a professional transcription can almost always be marked by the presence of string-damping notation. In short, the purple line is the notation of silence. Also, all the slides in your piece seem non legato, because they are not slurred. I use to write legato slides as: c( \glissando d) I am not familiar with legato slides. Do you have an example that you could share with me? I am intrigued. But my tablature references are probably very different from yours. I studied fingerstyle guitar with John Stropes for about eight years. My transcription and typesetting techniques are largely due to the quality of transcription that John has published. Although, I must say that Lilypond is a much more beautiful program than Finale for fingerstyle guitar notation. I have made quite a bit of headway on my current transcriptions. The issue with sharing the ones that I am working on now is that I do not own the copyright of the music. I would have to get permission from the artist to share any bit of it. One big thing that I am doing differently now is: Slurs. I no longer use the slur function in tabulature. I use something like this: c4~ <\tweak TabNoteHead #'transparent ##t c\5 a,\5> I created a little shortcut so that I can use \fakeSlur to mean a transparent TabNoteHead. I use this now because I like the look of ties in tabulature more more than the look of slurs in tabulature. Feel free to share the recording if you have found it, I enjoy fingerstyle guitar ;-) The recording is from 2005. I was 17. I would be quite embarrassed to share it. I will consider it though. Oh, a friend of mine might be recording it soon. I will definitely share that. Rachael ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sharing: "Capone," by Rachael [pdf]
2013/8/3 Rachael Thomas Carlson > ** > > Hello Federico: > > > I wonder what's the meaning of the staff lines highlighted in purple... > > > > The TabStaff lines that are highlighted in purple indicate string-damping. > This is where the indicated right-hand finger rests or plants upon the > string indicated causing that string to *not* vibrate. The notation of this > technique is not without historical precedent. In harp notation there is a > symbol (looks kinda like a coda symbol) that is used to indicate that note > duration is to be exact. Good classical guitar players will instinctively > damp the strings in order to play the correct note duration. In Fingerstyle > guitar, the notation of a semi-transparent line to connote string-damping > was first introduced by John Stropes for the music of Michael Hedges. In > the fingerstyle sphere a professional transcription can almost always be > marked by the presence of string-damping notation. In short, the purple > line is the notation of silence. > > > Ok, I see: a note would help. I don't know Stropes books > > > Also, all the slides in your piece seem non legato, because they are not > slurred. I use to write legato slides as: > > > c( \glissando d) > > > > I am not familiar with legato slides. Do you have an example that you > could share with me? I am intrigued. > > > Well, it's just the usual slide, where the second note is not picked.That's why it's usually notated with a slur also. In non legato slides both notes are picked, second note included. > But my tablature references are probably very different from yours. > > > > I studied fingerstyle guitar with John Stropes for about eight years. My > transcription and typesetting techniques are largely due to the quality of > transcription that John has published. Although, I must say that Lilypond > is a much more beautiful program than Finale for fingerstyle guitar > notation. > > > > I have made quite a bit of headway on my current transcriptions. The issue > with sharing the ones that I am working on now is that I do not own the > copyright of the music. I would have to get permission from the artist to > share any bit of it. > > > > One big thing that I am doing differently now is: Slurs. I no longer use > the slur function in tabulature. I use something like this: > > > > c4~ <\tweak TabNoteHead #'transparent ##t c\5 a,\5> > > > > I created a little shortcut so that I can use \fakeSlur to mean a > transparent TabNoteHead. I use this now because I like the look of ties in > tabulature more more than the look of slurs in tabulature. > yes, I noted that when using \tabFullNotation (as you do) the slurs don't look good on TabStaff but I never use \tabFullNotation :-) > Feel free to share the recording if you have found it, I enjoy fingerstyle > guitar ;-) > > > > The recording is from 2005. I was 17. I would be quite embarrassed to > share it. I will consider it though. Oh, a friend of mine might be > recording it soon. I will definitely share that. > > > > > Ok, I understand :-) PS If you happen to be in Italy, don't miss the Six Bars Jail folk club in Florence: http://www.sixbarsjail.it/ Many fingerstyle legends have come to play at our club. We have interesting concerts starting from September. Disclaimer: we don't do it for profit, so it's not bad advertisement. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting musical examples to an exact textwidth with a style file
Depending on where you want to store the source code of your examples you might also have a look at http://www.openlilylib.org/musicexamples But in addition to David's comment I'd say you don't even show that you are using LaTeX for your document (although it would be an obvious choice...). If you have more questions about the 'musicexamples' packege than the preliminary manual on the given web page provides you may contact me privately. Best Urs David Kastrup schrieb: >Kevin Patrick Barry writes: > >> I am creating musical examples for a text block with a fixed width >> (100.8mm) and am trying to create a style file that I can use for all >of >> the examples (there will probably be a couple of hundred). I thought >I >> could do this by modifying some combination of page-width, >line-width, >> left-margin and right-margin, but I have run into two problems: >> braces/brackets, and bar numbers. > >[...] > >> If anyone has any thought I'd appreciate them, >> Kevin. > >Have you looked at lilypond-book? That's likely the tool of choice >here, and it is not clear from your description that you are using it. > >-- >David Kastrup > > >___ >lilypond-user mailing list >lilypond-user@gnu.org >https://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Maybe bug? Lyrics on a tied note at end of system
I ran into the attached spacing problem while typesetting a lead sheet. I can't make a minimal example right this second; will try in the next couple of days. When a tied note has a lyric syllable, LP (2.16.1) left aligns the syllable to the note, on the assumption that tied-to note column will occupy horizontal space and give the syllable space to extend to the right of the note under which it appears. Makes sense -- that's a good refinement. However, the same thing happens at the end of a system, forcing the note column far to the left of where I would expect it to appear. I searched the bug tracker but didn't see anything relevant. Thanks, hjh <>___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
