Re: how to detect position of note on stave?
Hi Graham,
On Wed, Jan 7, 2015 at 7:54 PM, Graham King wrote:
> Many thanks David,
> almost there...
>
> On Wed, 2015-01-07 at 18:09 -0600, David Nalesnik wrote:
>
> Hi Graham,
>
>
> On Wed, Jan 7, 2015 at 4:39 PM, Graham King
> wrote:
>
> I'm trying to replace a note with one of two special glyphs, depending
> on the note's position on the stave: if on the third line or above, stem
> down, otherwise stem up. Is it possible to extend the following code to
> detect automatically (and independently of clef or transposition) which
> glyph should be chosen?
>
>
>
> Sure--try this:
>
>
> Merged into my original example, to illustrate a problem:
>
> \version "2.19.5"
>
> #(define ((note-head-musicglyph name) grob)
> (grob-interpret-markup grob (make-musicglyph-markup name)))
>
> \score {
> \shiftDurations #-1 #0 {
> \relative c' {
> \time 4/2
> c c c c
> \once \override NoteHead #'stencil =
> #(lambda (grob)
>(let ((pos (ly:grob-property grob 'staff-position)))
> (if (>= pos 0)
> (note-head-musicglyph "noteheads.dM2mensural")
> (note-head-musicglyph "noteheads.uM2mensural"
> c1 }}}
>
> This works beautifully, except when the note is on a ledger line above or
> below the stave, in which case the ledger line is lost and horizontal
> spacing goes haywire.
>
Sure does! The problem is how the note-head-musicglyph function is called
within the stencil override, and I should have caught that. You need to
pass the grob in the function call.
Retaining your definition as it is:
#(define ((note-head-musicglyph name) grob)
(grob-interpret-markup grob (make-musicglyph-markup name)))
\score {
\shiftDurations #-1 #0 {
\relative c' {
\time 4/2
c c c c
\once \override NoteHead #'stencil =
#(lambda (grob)
(let ((pos (ly:grob-property grob 'staff-position)))
(if (>= pos 0)
((note-head-musicglyph "noteheads.dM2mensural") grob)
((note-head-musicglyph "noteheads.uM2mensural") grob
c1 c' c'' }}}
%%%
You can simplify your definition of note-head-musicglyph:
#(define (note-head-musicglyph name grob)
(grob-interpret-markup grob (make-musicglyph-markup name)))
\score {
\shiftDurations #-1 #0 {
\relative c' {
\time 4/2
c c c c
\once \override NoteHead #'stencil =
#(lambda (grob)
(let ((pos (ly:grob-property grob 'staff-position)))
(if (>= pos 0)
(note-head-musicglyph "noteheads.dM2mensural" grob)
(note-head-musicglyph "noteheads.uM2mensural" grob
c1 c' c'' }}}
Best,
David
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Re: how to detect position of note on stave?
On Thu, Jan 8, 2015 at 7:31 AM, David Nalesnik
wrote:
>
> \score {
> \shiftDurations #-1 #0 {
> \relative c' {
> \time 4/2
> c c c c
> \once \override NoteHead #'stencil =
>
>
Of course, you need to remove the \once for this example to mean anything!
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Re: box around notes
Hi Marc, On Wed, Jan 7, 2015 at 7:43 PM, MarcM wrote: > i tried examples in this old post but none of them compile in 2.19.15. > [Visible at Nabble link at bottom of message] Yes, there have been a lot of changes to LilyPond internals since that was written. > > I created a sample example. > > Is it possible to set the box to wrap around the notes without having to > set > the dimensions? > The thread referenced points out that you can write a function for NoteColumn.stencil. However, this will only encompass noteheads and stems. To account for the fingering numbers I think you would need to go the way of the custom grob. (Which, so you know, is not "orthodox" Lily-practice.) (The NoteColumn.stencil route would handle the vertical aspect of your particular example, at least.) > > How can we move the notes so the box does not overlap with the repeat sign > in the second example? > > < > http://lilypond.1069038.n5.nabble.com/file/n170210/Screen_Shot_2015-01-07_at_8.png > > > Here you can change the horizontal extent of the barline: \once \override Score.BarLine.X-extent = #'(-1 . 3) Hope this helps, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to detect position of note on stave?
On Thu, 2015-01-08 at 07:42 -0600, David Nalesnik wrote:
>
>
>
>
> On Thu, Jan 8, 2015 at 7:31 AM, David Nalesnik
> wrote:
>
>
>
> \score {
> \shiftDurations #-1 #0 {
> \relative c' {
> \time 4/2
> c c c c
> \once \override NoteHead #'stencil =
>
>
>
>
> Of course, you need to remove the \once for this example to mean
> anything!
>
>
David, many thanks for this. Part of me wonders how you achieved this
deep wizardry, and part of me is nervous of the answer :)
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Vertical alignment of text added to notes.
Hi, I'm engraving some simple music for beginning violin students who are
learning to read music.
I would prefer if the text added to notes were vertically aligned on each
line, but by default they are quite jagged:
[image: Inline image 1]
(http://lilybin.com/to3r9r/3)
I had thought about using \lyricsmode for this purpose, but it seems like
the wrong solution to this problem. I would prefer to be able to specify a
fixed-veritcal offset from the top of the staff (or top of skyline?) for
all special \markup. Kind of like:
A = \markup { <> "A" }
and then my notes would be
relative c' { a^\A b^\B }
Steve
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Re: Vertical alignment of text added to notes.
Hi Steve, On Thu, Jan 8, 2015 at 1:11 PM, Steve Lacy wrote: > Hi, I'm engraving some simple music for beginning violin students who are > learning to read music. > > I would prefer if the text added to notes were vertically aligned on each > line, but by default they are quite jagged: > > [image: Inline image 1] > (http://lilybin.com/to3r9r/3) > > I had thought about using \lyricsmode for this purpose, but it seems like > the wrong solution to this problem. I would prefer to be able to specify a > fixed-veritcal offset from the top of the staff (or top of skyline?) for > all special \markup. Kind of like: > > Try adding this line: \override TextScript #'padding = #2 (The markups will align themselves vertically if you select a value of padding that is large enough.) --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Information about Parts
Hello, I just joined this list because I was searching unsuccessfully for information about Lilypond's features for extracting and producing individual parts from a score. Does Lilypond have features akin to Finale's linked-parts? I suspect my searching was unsuccessful since the work "part" is used so frequently in the english language. Any urls to point me in the right direction would be great. Background: composer using Finale since the early 1990's. In the past several years I have learned some code, C#, C++, SQL, tiny bits of bash. I don't know Python yet but it's on my to-do list. The idea of controlling music notation with the precision of an interpreted text language is highly appealing and I plan to learn Lilypond soon (unless it has, like, zero support for creating parts). Thank you! Matt .mjb ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Information about Parts
To make it short: LilyPond has a totally different approach to
"extracting" parts. And I'm sure it will serve you well.
Basically you store your music in variables (e.g. one variable for each
"part", say "violin 1" or "soprano").
Then you put them together in a \score { } expression, stacking and
nesting staves and putting (one or more) voices in staves.
And then you can put them in another \score { } expression in another
file to produce the single part.
Of course there is some practicing involved, but in the end I'm sure
this is much more reliable and versatile than with GUI programs where
you write a score and "extract" the parts.
HTH
Urs
Am 08.01.2015 um 22:10 schrieb Matthew James Briggs:
Hello, I just joined this list because I was searching unsuccessfully
for information about Lilypond's features for extracting and producing
individual parts from a score. Does Lilypond have features akin to
Finale's linked-parts?
I suspect my searching was unsuccessful since the work "part" is used
so frequently in the english language. Any urls to point me in the
right direction would be great.
Background: composer using Finale since the early 1990's. In the past
several years I have learned some code, C#, C++, SQL, tiny bits of
bash. I don't know Python yet but it's on my to-do list.
The idea of controlling music notation with the precision of an
interpreted text language is highly appealing and I plan to learn
Lilypond soon (unless it has, like, zero support for creating parts).
Thank you!
Matt
.mjb
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Re: Information about Parts
Very briefly; I think of it as building scores rather than extracting parts. I keep my music definitions for all the parts in one file and then make scores, which may only consist of a single part. I use an '\include' to call make the definitions available. maybe this will help: http://www.lilypond.org/doc/v2.18/Documentation/notation/including-lilypond-files -David - Original Message - From: "Matthew James Briggs" To: lilypond-user@gnu.org Sent: Thursday, January 8, 2015 4:10:15 PM Subject: Information about Parts Hello, I just joined this list because I was searching unsuccessfully for information about Lilypond's features for extracting and producing individual parts from a score. Does Lilypond have features akin to Finale's linked-parts? I suspect my searching was unsuccessful since the work "part" is used so frequently in the english language. Any urls to point me in the right direction would be great. Background: composer using Finale since the early 1990's. In the past several years I have learned some code, C#, C++, SQL, tiny bits of bash. I don't know Python yet but it's on my to-do list. The idea of controlling music notation with the precision of an interpreted text language is highly appealing and I plan to learn Lilypond soon (unless it has, like, zero support for creating parts). Thank you! Matt .mjb ___ 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: Information about Parts
Hi Matt, if you mean "part" like the music of one instrument or singer, for sure this is possible: You can store each such part in a variable (say flute and piano) and then you can print one of them: \flute or \piano or you can print the combined score of the two: << \flute \piano >> This is a very simple example, of course you have many more options as described in the learning manual: http://www.lilypond.org/doc/v2.18/Documentation/learning/scores-and-parts or the notation reference: http://lilypond.org/doc/v2.18/Documentation/notation/writing-parts Btw, both come up if you search for part in the documentation: http://lilypond.org/doc/v2.18/Documentation/learning/index Was that what you were looking for? Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Information about Parts
HI Matt, Welcome to Lilyponding. Your missive reads as though you can wrap your head around things well enough. Sometimes it is dangerous to think about things in terms of Finale methods. Of course parts can be extracted. In this case, parts are a thing of formal structure. My advice to proceed, and others might have other ways of thinking about it and accomplishing the same goals, is this: you may write out each individual part in its own file and use an include command in another file that contains the total score structure for the piece in question. Or you can simply enter in the entire part in the whole score and then cut and paste it into its own part after you are down constructing the full score. Either way is possible. I prefer the first as it makes the complications of a multiple part score seem less obnoxious. Anyway, it is also important not to confuse parts with voices. The documentation is your friend. Please note what version you are running as many of us use a variety of versions depending on how comfortable we are with upgrading beyond the Operating systems default version of the moment. In any event there are many templates to learn from and the application Frescobaldi is very valuable for helping to learn large scale structures. best of luck, Shane Brandes On Thu, Jan 8, 2015 at 4:10 PM, Matthew James Briggs wrote: > Hello, I just joined this list because I was searching unsuccessfully for > information about Lilypond's features for extracting and producing > individual parts from a score. Does Lilypond have features akin to Finale's > linked-parts? > > I suspect my searching was unsuccessful since the work "part" is used so > frequently in the english language. Any urls to point me in the right > direction would be great. > > Background: composer using Finale since the early 1990's. In the past > several years I have learned some code, C#, C++, SQL, tiny bits of bash. I > don't know Python yet but it's on my to-do list. > > The idea of controlling music notation with the precision of an interpreted > text language is highly appealing and I plan to learn Lilypond soon (unless > it has, like, zero support for creating parts). > > Thank you! > Matt > > .mjb > > > ___ > 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: Information about Parts
On 2015-01-08 04:10 PM, Matthew James Briggs wrote: Hello, I just joined this list because I was searching unsuccessfully for information about Lilypond's features for extracting and producing individual parts from a score. Does Lilypond have features akin to Finale's linked-parts? I suspect my searching was unsuccessful since the work "part" is used so frequently in the english language. Any urls to point me in the right direction would be great. Background: composer using Finale since the early 1990's. In the past several years I have learned some code, C#, C++, SQL, tiny bits of bash. I don't know Python yet but it's on my to-do list. The idea of controlling music notation with the precision of an interpreted text language is highly appealing and I plan to learn Lilypond soon (unless it has, like, zero support for creating parts). Thank you! Matt Welcome to the community, Matt! The best bit of advice I can give is to look at the introductory stuff on the website. Start with the Introduction itself, then follow up with the Learning Manual. Others have pointed out that LilyPond builds scores from parts rather than building scores and extracting parts, but the website stuff may help to clarify it. I'm sure you'll be delighted at the kind and degree of control LilyPond will give you. Have fun! Cheers, Colin -- I've learned that you shouldn't go through life with a catcher's mitt on both hands. You need to be able to throw something back. -Maya Angelou, poet (1928- ) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical alignment of text added to notes.
Ah, perfect thank you very much! On Thu, Jan 8, 2015 at 11:28 AM, David Nalesnik wrote: > Hi Steve, > > On Thu, Jan 8, 2015 at 1:11 PM, Steve Lacy wrote: > >> Hi, I'm engraving some simple music for beginning violin students who are >> learning to read music. >> >> I would prefer if the text added to notes were vertically aligned on each >> line, but by default they are quite jagged: >> >> [image: Inline image 1] >> (http://lilybin.com/to3r9r/3) >> >> I had thought about using \lyricsmode for this purpose, but it seems like >> the wrong solution to this problem. I would prefer to be able to specify a >> fixed-veritcal offset from the top of the staff (or top of skyline?) for >> all special \markup. Kind of like: >> >> > Try adding this line: > > \override TextScript #'padding = #2 > > (The markups will align themselves vertically if you select a value of > padding that is large enough.) > > --David > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
overlapping articulations with slurs
Apologies if others have solved this in the past, but I wasn’t able to find a
solution on the list quickly.
I’m trying to write both a stopped and accented note, that is slurred to an
open note. I’m having trouble with the stopped and accented articulation
occurring overtop of each other. Additionally, some of the articulations are
below and some are above the slur, which is weird, but legible.
Here is the code segment and resulting output.
\version "2.18.2"
\score {
\new Staff = "foo" {
\time 6/8
cis''4.->-+ (c''8) \open r8 r8
cis''4.->-+ (c''8) \open r8 r8
}
}
Note: in the context of my larger score, both instances have the overlapping +
and > symbols.
Thanks for any help!
-akj
Untitled.pdf
Description: Adobe PDF document
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Re: overlapping articulations with slurs
Alex Jones-2 wrote
> Apologies if others have solved this in the past, but I wasn’t able to
> find a solution on the list quickly.
>
> I’m trying to write both a stopped and accented note, that is slurred to
> an open note. I’m having trouble with the stopped and accented
> articulation occurring overtop of each other. Additionally, some of the
> articulations are below and some are above the slur, which is weird, but
> legible.
>
> Here is the code segment and resulting output.
>
> \version "2.18.2"
>
> \score {
> \new Staff = "foo" {
> \time 6/8
> cis''4.->-+ (c''8) \open r8 r8
> cis''4.->-+ (c''8) \open r8 r8
> }
> }
>
> Note: in the context of my larger score, both instances have the
> overlapping + and > symbols.
>
> Thanks for any help!
>
> -akj
Alex,
This is definitely a bug. Here's a band-aid to keep you going, though:
cis''4.->*-\tweak avoid-slur #'outside* -+ ( c''8 ) \open r8 r8
HTH,
Abraham
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Constant sized rehersal marks?
Using "\set Score.markFormatter = #format-mark-circle-numbers" how would one go about making sure that all the rehersal marks are the same size (i.e. the radius of the circle is constant and the font inside scales to fit, and digits are centered within the circle?). Here's an example score that I would like to fix: [image: Inline image 1] (http://lilybin.com/qurd93/2) Additionally: - I find that the "1" inside the first rehersal mark needs to be tweaked to the right a little to be visually centered, - The "10" looks unnatural and needs some kerning so the digits are as close as the digits in "20" and "30" are - The mark for the "2" and "20" would look better with more default padding as the lower left of the digit almost touches the surrounding circle. Steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Information about Parts
Thank you everyone for the info. Lilypond sounds totally awesome. Just a little more background because there may be folks here with insight on these things (PM if not appropriate for the forum): One of my major goals is to generate musical material with an object-oriented representation of musical concepts allowing textures or whole compositions to be generated algorithmically. I wanted to create my own object-oriented music world instead of learning an existing library or software (partly because I want it to be "mine" and partly because I want to get more into software development). I realized I would need a way to convert that world into interoperable formats, the main options that seemed apparent to me were MIDI and MusicXML. I chose to go with MusicXML and decided to implement my own strong binding of MusicXML. That was about a year ago and I've implemented about 70% of the MusicXML specification, but it is extremely slow going and difficult. XSD is hard enough to learn when we're talking about simple database schemas, and the complexity of the MusicXML specification absolutely blows my mind. (Note I don't think auto-generated strong-binding really works here because the specification is so difficult that the output of the auto-schema-strong-binding would be as difficult to use as the XSD is to read. I could be wrong about this...) I'm starting to wonder if I should just skip it and learn Lilypond instead, thus my object-oriented world could output Lilypond code instead of MusicXML. Alas I have to make a score or two the old fashioned way before I allow myself to indulge further on this larger goal. .mjb On Thu, Jan 8, 2015 at 1:28 PM, Colin Campbell wrote: > On 2015-01-08 04:10 PM, Matthew James Briggs wrote: > >> Hello, I just joined this list because I was searching unsuccessfully for >> information about Lilypond's features for extracting and producing >> individual parts from a score. Does Lilypond have features akin to >> Finale's linked-parts? >> >> I suspect my searching was unsuccessful since the work "part" is used so >> frequently in the english language. Any urls to point me in the right >> direction would be great. >> >> Background: composer using Finale since the early 1990's. In the past >> several years I have learned some code, C#, C++, SQL, tiny bits of bash. I >> don't know Python yet but it's on my to-do list. >> >> The idea of controlling music notation with the precision of an >> interpreted text language is highly appealing and I plan to learn Lilypond >> soon (unless it has, like, zero support for creating parts). >> >> Thank you! >> Matt >> >> > Welcome to the community, Matt! The best bit of advice I can give is to > look at the introductory stuff on the website. Start with the Introduction > itself, then follow up with the Learning Manual. Others have pointed out > that LilyPond builds scores from parts rather than building scores and > extracting parts, but the website stuff may help to clarify it. > > I'm sure you'll be delighted at the kind and degree of control LilyPond > will give you. Have fun! > > Cheers, > Colin > > -- > I've learned that you shouldn't go through life with a catcher's mitt on > both hands. > You need to be able to throw something back. > -Maya Angelou, poet (1928- ) > > > > ___ > 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: box around notes
Hi,
On Thu, Jan 8, 2015 at 7:58 AM, David Nalesnik
wrote:
> Hi Marc,
>
> On Wed, Jan 7, 2015 at 7:43 PM, MarcM wrote:
>
>> i tried examples in this old post but none of them compile in 2.19.15.
>>
>
> [Visible at Nabble link at bottom of message]
>
> Yes, there have been a lot of changes to LilyPond internals since that was
> written.
>
I've rewritten that old file so that it will work with 2.19.15. (There's
a note near the top explaining how to get it to work with current stable.)
I found that I needed to come up with separate grobs for the boxes in your
example--which encompass a single chord, a single note--and boxes which
encompass multiple chords, notes. (This is because the first needs to be
an Item, the second a Spanner--to my understanding.)
There's a lot of code in this file. I'd suggest that you move the
definitions to another file--say boxes.ily--and \include "boxes.ily" so you
don't have to see the mess.
I think the example should make usage pretty clear. Note that you can do
overrides of the new grobs, just as you can with other grobs. I coopted
'padding to control the space about the box contexts.
Now, this really isn't infallible. (For one thing, if you move the
engraver to the Staff context, dynamics get messed up. Wish I knew why...)
Also, the boxes aren't accounted for in horizontal spacing. You can still
fool with the bar line extent, though.
Hope you get some use out if this.
David
P.S. If anybody knows about the horizontal spacing and the issue with
dynamics, please chime in. I'm really at a loss. These are things that
prevent me from proposing actual LilyPond functionality :(
\version "2.19.15"
\header {
tagline = ##f
}
#(define-event-class 'music-boxer-event 'span-event)
#(define-event-class 'box-event 'music-event)
#(define (add-grob-definition grob-name grob-entry)
(let* ((meta-entry (assoc-get 'meta grob-entry))
(class(assoc-get 'class meta-entry))
(ifaces-entry (assoc-get 'interfaces meta-entry)))
;; change ly:grob-properties? to list? to work from 2.19.12 back to at least 2.18.2
(set-object-property! grob-name 'translation-type? ly:grob-properties?)
(set-object-property! grob-name 'is-grob? #t)
(set! ifaces-entry (append (case class
((Item) '(item-interface))
((Spanner) '(spanner-interface))
((Paper_column) '((item-interface
paper-column-interface)))
((System) '((system-interface
spanner-interface)))
(else '(unknown-interface)))
ifaces-entry))
(set! ifaces-entry (uniq-list (sort ifaces-entry symbol1
\musicBoxerStart d8-4 g,-0 d' g, d'-4 g,-0 d' \musicBoxerEnd g,
}
%2
\repeat volta 2 {
\box 1\f\fermata
\musicBoxerStart g8-3 d-0 g d g8-4 d-0 g \musicBoxerEnd d\accent
}
}
\score {
\new Staff \melody
}
\layout {
\context {
\Global
\grobdescriptions #all-grob-descriptions
}
\context {
\Score
\consists \musicBoxerEngraver % for spans
\consists \boxEngraver
}
}
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