Shifting rests horizontally
How does one shift a rest in a voice horizontally to avoid collisions with notes in other voices? Using force-hshift on the NoteColumn does not seems to move them. Using version 2.19.4. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting rests horizontally
On 18/04/14 17:05, Andrew Bernard wrote:
How does one shift a rest in a voice horizontally to avoid collisions
with notes in other voices? Using force-hshift on the NoteColumn does
not seems to move them. Using version 2.19.4.
I define the following function
rsh = #(define-music-function (parser location move) (number?) #{
\once \override Voice.Rest.X-offset = #move
#})
and then use eg\rsh #0.7 r4
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Re: Certain accidentals
"a.l.f.r.e.d.o" writes: > Hi, everybody. > I sometimes have to write many accidentals in a bar and was wondering > if there was a way I could write the music in C major and then > transpose only the notes I need to be "sharpened" or flattened. Sure. You just need to mark the notes you need to sharpened by appending "is" to their name, and the notes you need flattened by appending "es" to their name. It's unlikely that this is what you mean, but your description is insufficient to figure out what you are actually talking about. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting rests horizontally
2014-04-18 9:05 GMT+02:00 Andrew Bernard :
> How does one shift a rest in a voice horizontally to avoid collisions with
> notes in other voices? Using force-hshift on the NoteColumn does not seems
> to move them. Using version 2.19.4.
>
Hi Andrew,
%
\version "2.19.4"
{
r4 \tweak X-offset #2 r r
}
%
HTH
~Pierre
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Re: Symbol to indicate an unmetered (cadenza) bar
Something along these lines perhaps:
\score {
\new Staff {
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 5 #:vcenter
"X")))
\time 4/4
\cadenzaOn
c'1 \bar "|"
\cadenzaOff
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 6 #:vcenter
"0")))
\time 4/4
\cadenzaOn
c'1 \bar "|"
\cadenzaOff
}
}
piaras
On 18 April 2014 05:55, James Harkins wrote:
> On Apr 17, 2014 6:11 PM, "David Stephen Grant"
> wrote:
> >
> > Gould recommends a cross together with a tempo marking "senza misura".
> Kurt Stone however recommends a zero.
>
> Thanks. I had used a zero with a vertical bar through it back in school.
>
> Hm, a choice then:
>
> - Zero: Use a (perhaps dubious) time signature hack, and get perfect
> positioning.
>
> - Cross: Figure out how to finagle a markup to go exactly in the middle
> two staff spaces and take up just the right amount of space.
>
> The zero sounds easier.
>
> hjh
>
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>
>
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Re: Symbol to indicate an unmetered (cadenza) bar
Am 18.04.2014 10:43, schrieb Piaras Hoban:
Something along these lines perhaps:
\score {
\new Staff {
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 5 #:vcenter
"X")))
\time 4/4
\cadenzaOn
c'1 \bar "|"
\cadenzaOff
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 6 #:vcenter
"0")))
\time 4/4
\cadenzaOn
c'1 \bar "|"
\cadenzaOff
}
}
piaras
I think for these kind of issues it would be worth having a look at the
SMuFL specification and maybe the Bravura font, as demonstrated By Peter
in his current Scores of Beauty post.
Urs
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Re: Shifting rests horizontally
Hi Andrew, > How does one shift a rest in a voice horizontally to avoid collisions with > notes in other voices? Using force-hshift on the NoteColumn does not seems to > move them. Using version 2.19.4. Could you give an example of a collision? This would certainly be considered a bug, as the \voiceOne, etc., commands should take care of all collisions. Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
Hey Ryan, Tim, et al., I'm a double bassist who has enjoyed playing these cello suites for years. I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. A single page of melody, words and guitar chords would require 30 man-hours of work to produce a camera-ready copy. Computers were for accountants in those days. I fell in love with LilyPond after years of struggling with Finale and never liking the quality of the final product. My Peters Edition of the Praeludium shows 9 staves on page one and 11 on page two, and I think your original looks best so far. Keep up the good work! Mark Mathias On Thu, Apr 17, 2014 at 10:33 PM, Ryan McClure wrote: > Hey Tim, > > Here is an updated version where I did 10 on each page. Look at the > penultimate line on the last page...it seems like no matter how I do it, I > always get some sort of crammed measures. Any ideas? > > -Ryan > -Original Message- > From: Tim Reeves > To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com > Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > Date: Thursday, 17 April 2014, 19:20:37 > > >> > >> Message: 4 > >> Date: Thu, 17 Apr 2014 22:00:27 -0400 > >> From: Ryan McClure > >> To: lilypond-user@gnu.org > >> Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > >> Message-ID: <20140417220027.5926af75@RyansLinuxBox> > >> Content-Type: text/plain; charset="us-ascii" > >> > >> Hello all! > >> > >> I'm currently arranging the Bach Cello Suites for Bassoon. I'm > >> arranging them to be more playable on the bassoon (breathing, > >> articulations, etc.) with the help of my private teacher. Attached > >> is the Praeludium of the first suite--How does it look? I want to > >> make this the best edition that I can. > >> > >> Ryan McClure > >> ryanmichaelmccl...@gmail.com > >> Music Education Major, Shepherd University > >> Luna Music Engraving > >> -- next part -- > >> A non-text attachment was scrubbed... > >> Name: Suite1.pdf > >> Type: application/pdf > >> Size: 108858 bytes > > > > > >Did you try it with ten systems on both pages, instead of nine on the > >first page, eleven on the second page? Might look more even. Just a > >thought. > > > >I really like the cover page. > > > >I play the Bach Cello Suites frequently at home, transcribed for horn (by > >Wendell Hoss), so I can appreciate what you're doing. > > > >Tim > > ___ > 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: Certain accidentals
Hi Brian,
2014-04-18 8:26 GMT+02:00 Brian Barker :
> But perhaps you are referring to the method of textual input in Lilypond,
> where notes that are named "sharp" or "flat" need to be qualified as such,
> notwithstanding what the \key indication would appear already to imply. (In
> this way, Lilypond operates somewhat counterintuitively and against normal
> musical thinking.)
seriously?
"against normal musical thinking"??
Look at the output of
{ \key g\major g''2. fis''4 g''1 }
Do you really _think_ g f g while playing/singing?
Can't believe that.
Imho, it's the opposite, printing fis from { \key g\major f''4 } would
be counterintuitively.
Well, it can be more typing, I don't want it different, though.
Cheers,
Harm
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Re: Certain accidentals
Hi,
On Fri, Apr 18, 2014 at 7:41 AM, Thomas Morley wrote:
> Hi Brian,
>
> 2014-04-18 8:26 GMT+02:00 Brian Barker :
>
> > But perhaps you are referring to the method of textual input in Lilypond,
> > where notes that are named "sharp" or "flat" need to be qualified as
> such,
> > notwithstanding what the \key indication would appear already to imply.
> (In
> > this way, Lilypond operates somewhat counterintuitively and against
> normal
> > musical thinking.)
>
> seriously?
> "against normal musical thinking"??
>
> Look at the output of
>
> { \key g\major g''2. fis''4 g''1 }
>
> Do you really _think_ g f g while playing/singing?
> Can't believe that.
>
In my experience, speaking that sort of thing--calling F-sharp "F"--goes
hand in hand with a tendency to forget accidentals, to miss them when
analyzing chords. (And inwardly it makes me cringe :) )
>
> Imho, it's the opposite, printing fis from { \key g\major f''4 } would
> be counterintuitively.
>
> Well, it can be more typing, I don't want it different, though.
+1000
-David
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Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
2014-04-18 4:00 GMT+02:00 Ryan McClure :
> Hello all!
>
> I'm currently arranging the Bach Cello Suites for Bassoon. I'm arranging them
> to be more playable on the bassoon (breathing, articulations, etc.) with the
> help of my private teacher. Attached is the Praeludium of the first
> suite--How does it look? I want to make this the best edition that I can.
Hi,
nice work.
One thought: I think the final chord should have more padding to the
left, i.e. it should be moved to the middle of the bar.
I once wrote a code to do that.
see:
http://lilypondblog.org/2013/06/horizontally-aligning-full-measure-rests/
the coding:
http://lists.gnu.org/archive/html/lilypond-user/2013-05/msg00880.html
Though, it doesn't work anymore, because nowadays there is no pointer
from NoteColumn to its Arpeggio anymore, at least I found none.
My question about it misses any reply so far.
http://lists.gnu.org/archive/html/lilypond-user/2014-03/msg00393.html
You could try overriding NoteColumn 'X-offset, this will affect other
spacing, though.
See:
\relative c' {
\clef bass
\key g\major
g'16(^\markup \italic "sim."
a, d, a') g'( a,) g'( a,) g'( a, d, a') g'( a,) g'( a,)
fis'( c d, c') fis( c) fis( c) fis( c d, c') fis( c) fis( c)
\override Staff.NoteColumn.X-offset = #3
\override Script.padding = #0.4
\arpeggioArrowUp 1\ff\fermata\arpeggio
\bar "|."
}
A little more padding for the fermata is added, too.
Cheers,
Harm
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Re: Certain accidentals
At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named "sharp" or "flat" need to be
qualified as such, notwithstanding what the \key indication would
appear already to imply. (In this way, Lilypond operates somewhat
counterintuitively and against normal musical thinking.)
seriously?
"against normal musical thinking"??
Certainly! I might not have made myself clear, and no-one needs to
take this as a criticism.
But yes: as we all know, in musical notation, once the key signature
has appeared, the meaning of the lines and spaces on the stave are
redefined to the appropriate sharpened and flattened versions of
their natural values. In the Lilypond text file, after a \key
indication, the names of the notes still indicate natural
versions. In musical notation, sharps and flats are indicated only
as accidentals; in Lilypond input notation, they always need indicating.
The Learning Manual says: "New users are often confused by
[accidentals and key signatures]" and "The key signature only affects
the printed accidentals, not the note's pitch! This is a feature that
often causes confusion to newcomers, ...". I was merely referring to
this difficulty.
Look at the output of
{ \key g\major g''2. fis''4 g''1 }
Do you really _think_ g f g while playing/singing? Can't believe that.
No - certainly not (though I know people who do!). You are quite
right not to believe I could be that foolish. But there is still a
difference in the representations: in musical notation, a note on the
F line after a key signature of G major represents an F#; in Lilypond
notation, an F after \key g\major represents F natural. Why else
would the manual suggest this might "cause confusion"?
Well, it can be more typing, I don't want it different, though.
I also made no suggestion of any change.
Brian Barker
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Re: flag and accidental too snug
2014-04-17 21:08 GMT+02:00 Mike Solomon :
> Padding’s the winner! Many thanks.
>
Hi again,
For some reason I totally forgot to try this :
%%
\relative c'' {
\key b \major
\override Score.TimeSignature.stencil = ##f
\tuplet 5/4 {
ais8 b e4 d8
}
\tuplet 5/4 {
\once\override Staff.NoteColumn.X-offset = #5
eis,8 fis cis'8.[ bis]
}
}
%
HTH
Pierre
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Re: Certain accidentals
At 07:57 18/04/2014 -0500, David Nalesnik wrote: In my experience, speaking that sort of thing--calling F-sharp "F" ... Sorry, but who made that suggestion, please? This was about notation, not description! On Fri, Apr 18, 2014 at 7:41 AM, Thomas Morley wrote: ... I don't want it different, though. +1000 It's unfortunate that you should invent a straw man: I didn't suggest any change. Nor, in also mentioning the possible confusion, does the manual. By the way, if you get to have a thousand times as many votes as I do, I'll make a note not to bother competing with you in any future dispute. ;^) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Certain accidentals
Am 18.04.2014 15:38, schrieb Brian Barker:
At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named "sharp" or "flat" need to be
qualified as such, notwithstanding what the \key indication would
appear already to imply. (In this way, Lilypond operates somewhat
counterintuitively and against normal musical thinking.)
seriously?
"against normal musical thinking"??
Certainly! I might not have made myself clear, and no-one needs to take
this as a criticism.
But yes: as we all know, in musical notation, once the key signature has
appeared, the meaning of the lines and spaces on the stave are redefined
to the appropriate sharpened and flattened versions of their natural
values. In the Lilypond text file, after a \key indication, the names
of the notes still indicate natural versions. In musical notation,
sharps and flats are indicated only as accidentals; in Lilypond input
notation, they always need indicating.
The Learning Manual says: "New users are often confused by [accidentals
and key signatures]" and "The key signature only affects the printed
accidentals, not the note's pitch! This is a feature that often causes
confusion to newcomers, ...". I was merely referring to this difficulty.
Look at the output of
{ \key g\major g''2. fis''4 g''1 }
Do you really _think_ g f g while playing/singing? Can't believe that.
No - certainly not (though I know people who do!). You are quite right
not to believe I could be that foolish. But there is still a difference
in the representations: in musical notation, a note on the F line after
a key signature of G major represents an F#; in Lilypond notation, an F
after \key g\major represents F natural.
This is because the score is already a graphical representation. So
actually it's _this_ part that's causing the confusion: a notehead on
the first staff space can represent an f, a fes, a fis - or even a
completely different pitch governed by the clef or a generally active
transposition. In that sense musical notation is highly ambiguous.
A "fis" in LilyPond syntax is a fis, regardless where it will appear in
a score.
Why else would the manual
suggest this might "cause confusion"?
Well, it can be more typing, I don't want it different, though.
I also made no suggestion of any change.
Actually I'm currently in a discussion with a (highly) professional
engraver using Amadeus (a Unix/Linux program that has been out of
development for 15 years now but is still used by a number of
professionals). Amadeus is a text-compiling program that has a number of
striking similarities to LilyPond, but also a number of striking
differences.
Among others, in Amadeus you'll write the pitch you _see_ and not the
one you hear. That is when you're in D major you'll write "F" to get a
fis, you'd only write fis if you want an extra accidental.
I find that very annoying, but he insists that it is in no way ambiguous
(because you always _see_ the score fragment you're working on and the
editor also always shows you the effective key). And he insists that it
is much more efficient simply because he has to type less.
I also would not ever want to change LilyPond's behaviour in that
respect, but I write this to show that there _are_ people (who have to
be taken seriously) who would consider the other approach superior.
Best
Urs
Brian Barker
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Re: How to catch extent of AccidentalPlacement?
2014-04-15 0:14 GMT+02:00 David Nalesnik : > Harm, > > > On Mon, Apr 14, 2014 at 12:07 PM, David Nalesnik > wrote: >> >> >> >> On Mon, Apr 14, 2014 at 8:53 AM, David Nalesnik >> wrote: >>> >>> >>> I can't figure out where that 1.1 comes from, though. >>> >> >> This happens in accidental-placement.cc. It's the value of width >> calculated in position_apes. Looks like it doesn't factor in the offsets to >> the accidentals. > > > Yes, this appears to be the culprit leading to the incorrect values from > 'X-extent (and calling ly:grob-extent). > > Would you mind trying out the attached patch to see if it works in whatever > context you need AccidentalPlacement info for? > > With your example, I get the same values as with 2.16.2, except in the case > of the five-note chord. The accidentals in later releases are spaced > closer, presumably as a result of skyline work. > > --David > Hi David, thanks for all your work you've put on this. I'm ashamed I didn't try it out so far. I hope I can find the time to do it the next days. Best, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
I don’t know about consensus, but Trent Kynaston’s arrangements for saxophone notates these figures using grace notes and slurs. This seems more idiomatic for winds, in my experience. I rather like the string notation, since it suggests simultaneous notes/chords. Holland > What is the consensus on arranging rolls/arpeggiations/slurs/double+ stops > for winds, Lilyponders? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Certain accidentals
Hi Brian, On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote: > At 07:57 18/04/2014 -0500, David Nalesnik wrote: > >> In my experience, speaking that sort of thing--calling F-sharp "F" ... >> > > Sorry, but who made that suggestion, please? This was about notation, not > description! > But LilyPond proceeds from a description of the note, and I'm simply saying that the proper description of the note is "F-sharp" rather than "F," regardless of the key signature. > > On Fri, Apr 18, 2014 at 7:41 AM, Thomas Morley wrote: >> >>> ... I don't want it different, though. >>> >> >> +1000 >> > > It's unfortunate that you should invent a straw man: I didn't suggest any > change. Nor, in also mentioning the possible confusion, does the manual. > > I'm simply replying to Harm's comments and to your remark that "Lilypond operates somewhat counterintuitively and against normal musical thinking". > By the way, if you get to have a thousand times as many votes as I do, > I'll make a note not to bother competing with you in any future dispute. > ;^) > > Not sure how to take that, but I certainly meant no offense. Best, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to catch extent of AccidentalPlacement?
Hi Harm, On Fri, Apr 18, 2014 at 8:49 AM, Thomas Morley wrote: > thanks for all your work you've put on this. > I'm ashamed I didn't try it out so far. > I hope I can find the time to do it the next days. > No problem. If you don't get a chance to look at it, no worries! Best, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Certain accidentals
At 08:58 18/04/2014 -0500, David Nalesnik wrote: On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote: By the way, if you get to have a thousand times as many votes as I do, I'll make a note not to bother competing with you in any future dispute. ;^) Not sure how to take that, but I certainly meant no offense. Oh, none taken - hence my wink! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Certain accidentals
At 15:48 18/04/2014 +0200, Urs Liska wrote: Am 18.04.2014 15:38, schrieb Brian Barker: No - certainly not (though I know people who do!). You are quite right not to believe I could be that foolish. But there is still a difference in the representations: in musical notation, a note on the F line after a key signature of G major represents an F#; in Lilypond notation, an F after \key g\major represents F natural. This is because the score is already a graphical representation. No - that surely makes no difference? Both musical notation and Lilypond notation *could* work the other way around - if anyone were to prefer this. (Note that I've expressed no such preference!) ... in Amadeus you'll write the pitch you _see_ and not the one you hear. I also would not ever want to change LilyPond's behaviour in that respect, but I write this to show that there _are_ people (who have to be taken seriously) who would consider the other approach superior. Exactly (but I'm still fence-sitting). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
On 18 April 2014 04:00, Ryan McClure wrote: > > Hello all! > > I'm currently arranging the Bach Cello Suites for Bassoon. > I'm arranging them to be more playable on the bassoon (breathing, > articulations, etc.) with the help of my private teacher. > Attached is the Praeludium of the first suite--How does it look? > I want to make this the best edition that I can. Hi, Did you know that the Bach Cello Suites are on Mutopia? http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=517 http://www.mutopiaproject.org/cgibin/make-table.cgi?searchingfor=bach+cello+suite So you still need to adapt the articulations for your instrument arrangement but at least you do not have to start from scratch as you already have a LilyPond file with the notes, dynamics, etc. If you want of course. Cheers, Xavier -- Xavier Scheuer ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
Mark Mathias gmail.com> writes: > I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. I would like to nominate this as the single most insane sentence to be posted on this mailing list all week. Perhaps all month. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
different repeat structures in score
I'm engraving a score where each instrument repeats a different bar. To
achieve this I tried moving the Default_bar_line_engraver to the Staff
context, but now the repeat bar lines don't appear at all.
The metre stays the same, so I don't think I have to move the
Timing_translator also, but the result is the same either way.
Any suggestions?
\version "2.18.0"
\layout {
\context {
\Staff
\consists Default_bar_line_engraver
%\consists Timing_translator
}
\context {
\Score
\remove Default_bar_line_engraver
%\remove Timing_translator
}
}
\score {
{
<<
\new Staff {
c'1
c'1
\repeat volta 2 { c'1 }
}
\new Staff {
\repeat volta 2 { c'1 }
c'1
c'1
}
>>
}
}
--
Mark Knoop
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Problem with Staff Grouping
I'm transcribing a piece that has multiple parts and in those multiple
parts, I have multiple staves.
After compiling, the staff layout becomes:
part1:staff1
part2:staff1
part1:staff2
part2:staff2
Obviously for the score, I'd like:
part1:staff1
part1:staff2
part2:staff1
part2:staff2
I'm sure I just have something not correct.
violinOne = \relative c' {
<< { b2 b } \new Staff { g g } >> }
---
violinTwo = \relative c' {
<< { e2 e } \new Staff { e e } >> }
---
\include "violin1.ly"
\include "violin2.ly"
\score
{ << \new StaffGroup = "StaffGroup_strings"
<< \new GrandStaff = "violins"
<<
\new Staff = "violini" { \set Staff.instrumentName = "Violin I."
\violinOne }
\new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
\violinTwo } >> >> >> }
---
\include "violin1.ly"
\score
{
<< \new GrandStaff = "violins"
<< \new Staff = "violini" { \set Staff.instrumentName = "Violin I."
\violinOne }
>> >>
}
---
\include "violin2.ly"
\score
{
<< \new GrandStaff = "violins"
<< \new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
\violinTwo } >> >>
}
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Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
I had the opportunity to try one of those music typewriters when I visited Ludwig Music Publishing. It was astonishing that you could properly line anything up with it, but the fellow that showed it to me could still use it to excellent effect. Anyway it really was in a way good technology. Shane On Fri, Apr 18, 2014 at 10:52 AM, James Harkins wrote: > Mark Mathias gmail.com> writes: > >> I also used to be managing editor of a music publisher in the days when > engraving was done with a re-built Olympia typewriter and hand-drawn slurs. > > I would like to nominate this as the single most insane sentence to be posted > on this mailing list all week. Perhaps all month. > > hjh > > > ___ > 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: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
Ryan, I'm not sure there's any way around that since each measure is so long and you can't break them across lines... Personally, I like the second one (ten staves, ten staves) better than the nine/eleven version but that might just be me... Tim Ryan McClure wrote on 04/17/2014 07:33:03 PM: > From: Ryan McClure > To: lilypond-user@gnu.org, > Cc: Tim Reeves > Date: 04/17/2014 07:33 PM > Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > > Hey Tim, > > Here is an updated version where I did 10 on each page. Look at the > penultimate line on the last page...it seems like no matter how I do > it, I always get some sort of crammed measures. Any ideas? > > -Ryan > -Original Message- > From: Tim Reeves > To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com > Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > Date: Thursday, 17 April 2014, 19:20:37 > > >> > >> Message: 4 > >> Date: Thu, 17 Apr 2014 22:00:27 -0400 > >> From: Ryan McClure > >> To: lilypond-user@gnu.org > >> Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > >> Message-ID: <20140417220027.5926af75@RyansLinuxBox> > >> Content-Type: text/plain; charset="us-ascii" > >> > >> Hello all! > >> > >> I'm currently arranging the Bach Cello Suites for Bassoon. I'm > >> arranging them to be more playable on the bassoon (breathing, > >> articulations, etc.) with the help of my private teacher. Attached > >> is the Praeludium of the first suite--How does it look? I want to > >> make this the best edition that I can. > >> > >> Ryan McClure > >> ryanmichaelmccl...@gmail.com > >> Music Education Major, Shepherd University > >> Luna Music Engraving > >> -- next part -- > >> A non-text attachment was scrubbed... > >> Name: Suite1.pdf > >> Type: application/pdf > >> Size: 108858 bytes > > > > > >Did you try it with ten systems on both pages, instead of nine on the > >first page, eleven on the second page? Might look more even. Just a > >thought. > > > >I really like the cover page. > > > >I play the Bach Cello Suites frequently at home, transcribed for horn (by > >Wendell Hoss), so I can appreciate what you're doing. > > > >Tim[attachment "Suite1.pdf" deleted by Tim Reeves/OAI] ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
Have you looked at the Anna Magdalena copy? The phrasing is different. On Fri, Apr 18, 2014 at 12:55 PM, Tim Reeves wrote: > Ryan, > > I'm not sure there's any way around that since each measure is so long and > you can't break them across lines... > > Personally, I like the second one (ten staves, ten staves) better than the > nine/eleven version but that might just be me... > > > > Tim > > > Ryan McClure wrote on 04/17/2014 07:33:03 PM: > >> From: Ryan McClure >> To: lilypond-user@gnu.org, >> Cc: Tim Reeves >> Date: 04/17/2014 07:33 PM >> Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! >> >> Hey Tim, >> >> Here is an updated version where I did 10 on each page. Look at the >> penultimate line on the last page...it seems like no matter how I do >> it, I always get some sort of crammed measures. Any ideas? >> >> -Ryan >> -Original Message- >> From: Tim Reeves >> To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com >> Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! >> Date: Thursday, 17 April 2014, 19:20:37 >> >> >> >> >> Message: 4 >> >> Date: Thu, 17 Apr 2014 22:00:27 -0400 >> >> From: Ryan McClure >> >> To: lilypond-user@gnu.org >> >> Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! >> >> Message-ID: <20140417220027.5926af75@RyansLinuxBox> >> >> Content-Type: text/plain; charset="us-ascii" >> >> >> >> Hello all! >> >> >> >> I'm currently arranging the Bach Cello Suites for Bassoon. I'm >> >> arranging them to be more playable on the bassoon (breathing, >> >> articulations, etc.) with the help of my private teacher. Attached >> >> is the Praeludium of the first suite--How does it look? I want to >> >> make this the best edition that I can. >> >> >> >> Ryan McClure >> >> ryanmichaelmccl...@gmail.com >> >> Music Education Major, Shepherd University >> >> Luna Music Engraving >> >> -- next part -- >> >> A non-text attachment was scrubbed... >> >> Name: Suite1.pdf >> >> Type: application/pdf >> >> Size: 108858 bytes >> > >> > >> >Did you try it with ten systems on both pages, instead of nine on the >> >first page, eleven on the second page? Might look more even. Just a >> >thought. >> > >> >I really like the cover page. >> > >> >I play the Bach Cello Suites frequently at home, transcribed for horn (by >> >Wendell Hoss), so I can appreciate what you're doing. >> > >> >Tim[attachment "Suite1.pdf" deleted by Tim Reeves/OAI] > ___ > 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: Certain accidentals
a.l.f.r.e.d.o wrote > Hi, everybody. I sometimes have to write many accidentals in a bar and was > wondering if there was a way I could write the music in C major and then > transpose only the notes I need to be "sharpened" or flattened. Hi, I wouldn't recommend this, but if you're determined to try and make this work... you could: 1. enter notes with just the note's letter: a b c d e f g (for example, in the key of G major, enter f instead of fis for an f-sharp note) 2. do a find/replace for each sharp or flat in the key signature (replacing say f with fis). But make sure you don't change other letters that aren't notes in the process. (for example \f is a dynamic indication) 3. the problem is that this doesn't distinguish between an f-sharp and an f-natural (accidental note). Both would end up being fis. So you'd have to deal with that manually, changing any accidentals back from fis to f... not so great. BTW, an "accidental" only refers to notes falling _outside_ of the current key. There are sharp and flat notes that are not accidentals and there are natural notes that are accidentals. (Sorry this is a bit of a pet peeve of mine.) HTH, -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Certain-accidentals-tp161597p161633.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
Re: Problem with Staff Grouping
Clarification:
part1 = Violin 1
part2 = Violin 2
On 04/18/2014 10:31 AM, Dave Higgins wrote:
> I'm transcribing a piece that has multiple parts and in those multiple
> parts, I have multiple staves.
>
> After compiling, the staff layout becomes:
> part1:staff1
> part2:staff1
> part1:staff2
> part2:staff2
>
> Obviously for the score, I'd like:
> part1:staff1
> part1:staff2
> part2:staff1
> part2:staff2
>
> I'm sure I just have something not correct.
>
> violinOne = \relative c' {
> << { b2 b } \new Staff { g g } >> }
> ---
> violinTwo = \relative c' {
> << { e2 e } \new Staff { e e } >> }
> ---
> \include "violin1.ly"
> \include "violin2.ly"
> \score
> { << \new StaffGroup = "StaffGroup_strings"
> << \new GrandStaff = "violins"
> <<
> \new Staff = "violini" { \set Staff.instrumentName = "Violin I."
> \violinOne }
> \new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
> \violinTwo } >> >> >> }
> ---
> \include "violin1.ly"
> \score
> {
> << \new GrandStaff = "violins"
> << \new Staff = "violini" { \set Staff.instrumentName = "Violin I."
> \violinOne }
>
> }
> ---
> \include "violin2.ly"
> \score
> {
> << \new GrandStaff = "violins"
> << \new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
> \violinTwo } >> >>
> }
>
>
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--
Dave Higgins
Littleton, Colorado
dave.higg...@dkds.us
See my photos at
https://www.dkds.us/gallery3
--
There are two kinds of pedestrians... the quick and the dead.
-- Lord Thomas Rober Dewar
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Re: different repeat structures in score
2014-04-18 18:23 GMT+02:00 Mark Knoop :
> I'm engraving a score where each instrument repeats a different bar. To
> achieve this I tried moving the Default_bar_line_engraver to the Staff
> context, but now the repeat bar lines don't appear at all.
>
> The metre stays the same, so I don't think I have to move the
> Timing_translator also, but the result is the same either way.
>
> Any suggestions?
>
>
> \version "2.18.0"
> \layout {
> \context {
> \Staff
> \consists Default_bar_line_engraver
> %\consists Timing_translator
> }
> \context {
> \Score
> \remove Default_bar_line_engraver
> %\remove Timing_translator
> }
> }
> \score {
> {
> <<
> \new Staff {
> c'1
> c'1
> \repeat volta 2 { c'1 }
> }
> \new Staff {
> \repeat volta 2 { c'1 }
> c'1
> c'1
> }
> >>
> }
> }
>
>
> --
> Mark Knoop
Hi,
try:
\version "2.18.0"
\layout {
\context {
\Staff
\consists "Default_bar_line_engraver"
\consists "Timing_translator"
\consists "Repeat_acknowledge_engraver"
}
\context {
\Score
\remove "Default_bar_line_engraver"
\remove "Timing_translator"
\remove "Repeat_acknowledge_engraver"
}
}
\score {
{
<<
\new Staff {
c'1
c'1
\repeat volta 2 { c'1 }
}
\new Staff {
\repeat volta 2 { c'1 }
c'1
c'1
%\override Staff.BarLine.X-offset = #0.9
% or:
%\bar "|."
}
>>
}
}
You'll notice a little gap at end of second line, the thin lines of
both bar-lines are a ligned.
Uncommenting the bar-setting there will make it disappear for this tiny example
Though, in a real life score you may want to add the X-offset override.
HTH,
Harm
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Re: Certain accidentals
Urs Liska wrote > So actually it's _this_ part that's causing the confusion: a notehead on > the first staff space can represent an f, a fes, a fis - or even a > completely different pitch governed by the clef or a generally active > transposition. In that sense musical notation is highly ambiguous. Indeed. Should anyone be interested in learning about a less ambiguous approach, kindly allow me to refer to Clairnote, an alternative music notation system: http://clairnote.org/ It has a 1-to-1 mapping between staff position and pitch (rather than 1-to-many). -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Certain-accidentals-tp161597p161637.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
Re: Problem with Staff Grouping
2014-04-18 18:31 GMT+02:00 Dave Higgins :
> I'm transcribing a piece that has multiple parts and in those multiple
> parts, I have multiple staves.
>
> After compiling, the staff layout becomes:
> part1:staff1
> part2:staff1
> part1:staff2
> part2:staff2
>
> Obviously for the score, I'd like:
> part1:staff1
> part1:staff2
> part2:staff1
> part2:staff2
>
> I'm sure I just have something not correct.
>
> violinOne = \relative c' {
> << { b2 b } \new Staff { g g } >> }
> ---
> violinTwo = \relative c' {
> << { e2 e } \new Staff { e e } >> }
> ---
> \include "violin1.ly"
> \include "violin2.ly"
> \score
> { << \new StaffGroup = "StaffGroup_strings"
> << \new GrandStaff = "violins"
> <<
> \new Staff = "violini" { \set Staff.instrumentName = "Violin I."
> \violinOne }
> \new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
> \violinTwo } >> >> >> }
> ---
> \include "violin1.ly"
> \score
> {
> << \new GrandStaff = "violins"
> << \new Staff = "violini" { \set Staff.instrumentName = "Violin I."
> \violinOne }
>>> >>
> }
> ---
> \include "violin2.ly"
> \score
> {
> << \new GrandStaff = "violins"
> << \new Staff = "violinii" { \set Staff.instrumentName = "Violin II."
> \violinTwo } >> >>
> }
>
Hi Dave,
a compilable example would have been usefull.
This means: copy, paste, compile, look
Instead I had to go through your code and delete all stuff avoiding compilation.
Furthermore, I'd recommend to reduce parantheses and brackets. Enter
only what you need!
Proper indentation will increase readability, too.
Always specify the LilyPond version used.
That said, I'm not sure how you want it.
Maybe:
violinOne = \relative c' {
\new GrandStaff \with { instrumentName = "Violin I." }
<<
\new Staff { b2 b }
\new Staff { g g }
>>
}
violinTwo = \relative c' {
\new GrandStaff = "violins" \with { instrumentName = "Violin II." }
<<
\new Staff { e2 e }
\new Staff { e e }
>>
}
\score { \violinOne }
\score { \violinTwo }
\score {
<<
\new Staff \with { instrumentName = "Flute" }
\relative c'' { e1 }
\new StaffGroup = "StaffGroup_strings"
<<
\new GrandStaff = "violins"
<<
\violinOne
\violinTwo
>>
\new Staff \with { instrumentName = "Viole" }
\relative c' { \clef alto g1 }
\new Staff \with { instrumentName = "Cello" }
\relative c { \clef bass e1 }
>>
>>
}
HTH,
Harm
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Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
>> I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. >I would like to nominate this as the single most insane sentence to be posted on this mailing list all week. Perhaps all month. @James: If you are questioning the sanity of producing music this way (due to its difficulty), consider the only alternative at that time: hand engraving every mark on the music page on a copper plate with awl, hammer and symbols cast on the ends of metal punches! Believe me, this was a step up, and my wife and children had no doubt of my sanity when the paycheck arrived! :-) >Music engraving with a typewriter? Does anyone have a photo of this? I'm really intrigued! @Ryan: Sorry, the only pictures of this process I possess are memories at this point in time. We were too busy producing the music to get out a camera and develop the film! Best Wishes Everyone! Mark On Fri, Apr 18, 2014 at 1:06 PM, Shane Brandes wrote: > Have you looked at the Anna Magdalena copy? The phrasing is different. > > On Fri, Apr 18, 2014 at 12:55 PM, Tim Reeves > wrote: > > Ryan, > > > > I'm not sure there's any way around that since each measure is so long > and > > you can't break them across lines... > > > > Personally, I like the second one (ten staves, ten staves) better than > the > > nine/eleven version but that might just be me... > > > > > > > > Tim > > > > > > Ryan McClure wrote on 04/17/2014 > 07:33:03 PM: > > > >> From: Ryan McClure > >> To: lilypond-user@gnu.org, > >> Cc: Tim Reeves > >> Date: 04/17/2014 07:33 PM > >> Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > >> > >> Hey Tim, > >> > >> Here is an updated version where I did 10 on each page. Look at the > >> penultimate line on the last page...it seems like no matter how I do > >> it, I always get some sort of crammed measures. Any ideas? > >> > >> -Ryan > >> -Original Message- > >> From: Tim Reeves > >> To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com > >> Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > >> Date: Thursday, 17 April 2014, 19:20:37 > >> > >> >> > >> >> Message: 4 > >> >> Date: Thu, 17 Apr 2014 22:00:27 -0400 > >> >> From: Ryan McClure > >> >> To: lilypond-user@gnu.org > >> >> Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!! > >> >> Message-ID: <20140417220027.5926af75@RyansLinuxBox> > >> >> Content-Type: text/plain; charset="us-ascii" > >> >> > >> >> Hello all! > >> >> > >> >> I'm currently arranging the Bach Cello Suites for Bassoon. I'm > >> >> arranging them to be more playable on the bassoon (breathing, > >> >> articulations, etc.) with the help of my private teacher. Attached > >> >> is the Praeludium of the first suite--How does it look? I want to > >> >> make this the best edition that I can. > >> >> > >> >> Ryan McClure > >> >> ryanmichaelmccl...@gmail.com > >> >> Music Education Major, Shepherd University > >> >> Luna Music Engraving > >> >> -- next part -- > >> >> A non-text attachment was scrubbed... > >> >> Name: Suite1.pdf > >> >> Type: application/pdf > >> >> Size: 108858 bytes > >> > > >> > > >> >Did you try it with ten systems on both pages, instead of nine on the > >> >first page, eleven on the second page? Might look more even. Just a > >> >thought. > >> > > >> >I really like the cover page. > >> > > >> >I play the Bach Cello Suites frequently at home, transcribed for horn > (by > >> >Wendell Hoss), so I can appreciate what you're doing. > >> > > >> >Tim[attachment "Suite1.pdf" deleted by Tim Reeves/OAI] > > ___ > > 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 > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
> >Music engraving with a typewriter? Does anyone have a photo of this? I'm > >really intrigued! http://www.musicprintinghistory.org/music-typewriters.html Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
The Musicwriter was it! Very cool site, thanks! Mark On Fri, Apr 18, 2014 at 3:50 PM, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > > >Music engraving with a typewriter? Does anyone have a photo of this? > I'm really intrigued! > > http://www.musicprintinghistory.org/music-typewriters.html > > Cheers, > Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
