Re: Upgrade to 2.18 from...a long time ago
All my old files are on a currently inaccessible hard drive. I'm creating new
files. My style may reflect 2.6.5
Right now I'm just trying to recreate the template I was using. Small steps.
Sent from my iPhone
> On Sep 29, 2015, at 5:59 AM, tisimst wrote:
>
> Edward,
>
> Not sure which version you are used to using, but yes, I can verify the use
> of \tempo inside of the \midi block in any of the recent stable and unstable
> versions. I've found it quite handy when the printed score just uses tempo
> text (like "Andante"), but since that doesn't carry a numeric value with it,
> you can manually use \midi { \tempo 4 = 72 } to get the right playback speed
> while not affecting what appears on the printed score.
>
> But you probably knew that already...
>
> Best,
> Abraham
>
>> On Monday, September 28, 2015, Edward Ardzinski [via Lilypond] <[hidden
>> email]> wrote:
>> My computer died, and while I should be able to salvage my old filed, but
>> for now I'm trying to deal with using note pad.
>>
>> It seems my old template might work ok, I thought that I could not use
>> \tempo in the midi {} block, but it seems to work.
>>
>> It's funny how much you forget relying on tools and other shortcuts.
>>
>> Sent from my iPhone
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> View this message in context: Re: Upgrade to 2.18 from...a long time ago
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Re: Guitar right hand p-i-m-a
> You've seen my correction? No. I searched in spam but threre isn't too... 2015-09-24 9:05 GMT-03:00 David Kastrup : > Sávio Ramos writes: > >> Didn't rules: >> >> Processing `/home/asd/Downloads/apo.ly' >> Parsing.../usr/share/lilypond/2.18.2/scm/ly-syntax-constructors.scm:56:23: >> In expression (apply (ly:music-function-extract fun) parser ...): >> /usr/share/lilypond/2.18.2/scm/ly-syntax-constructors.scm:56:23: Wrong >> number of arguments to # > > You've seen my correction? > > -- > David Kastrup -- Sávio M Ramos Arquiteto, Rio, RJ Só uso Linux desde 2000 www.debian.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to write slurs and ties with scheme
2015-09-29 12:26 GMT+02:00 David Kastrup :
> Rachael Thomas writes:
>
>> Hello All:
>>
>> I am attempting to typeset some fingerstyle guitar music. We extensively
>> use the TabStaff for the visual representation of this music. I have a lot
>> of trouble with Slurs and Ties in the TabStaff. If I could individually
>> instantiate Slurs and Ties my life would be much easier. I think that the
>> easiest way to do this is through a scheme function involving SlurEvent and
>> Spanners. However, my coding is not up to this at the moment.
>>
>> I really like the solution that was proposed for Issue 3031:
>>
>> https://code.google.com/p/lilypond/issues/detail?id=3031#c2
>>
>> However, it truly doesn't do anything. Could someone enlightenment me as
>> to why it isn't doing anything?
>
> Because it states "So some 'fully tie and slur' syntax would be
> ideal. Some ideas:"
>
> This is not a solution. It is a proposal for user interfaces for the
> not-yet-existing solution.
>
>> An example of what I want is attached as well as a brief snippet of code
>> which demonstrates that I am unable to get the desired effect.
>>
>> \version "2.18.2"
>>
>> \new TabStaff {
>> \tabFullNotation
>> < bis'\1 g\4>16[( < fis'\2 ees\5> < g d>)]
>> }
>
> At the current point of time, slurs are only from one chord in a Voice
> to the next chord in a Voice. So you'd need to put your notes into
> different Voice contexts in order to be able to slur them individually.
> However, Stems are strictly a single-Voice phenomenon. So you need to
> put your notes in the same Voice.
>
> Solutions to this contradictions may involve putting invisible noteheads
> in a separate Voice and place a slur to them, or move the Stem_engraver
> to Staff level (which is infeasible if you ever have more than one Stem
> per timestep) or create an optional context level below Voice level and
> move the Slur_engraver there.
>
> Or wait for someone to implement slurs starting from a particular note
> rather than a whole chord.
>
> --
> David Kastrup
I'm thinking about the problem for some time now.
Another part of the problem is that most occurences of slurs in
TabStaff with \tabFullNotation are not really Slurs but what is called
'hammering on'/'pulling off'.
The initial example can be made work with (most of the additions in
\with are for the requested Stem):
\version "2.19.28"
m = {
\set tieWaitForNote = ##t
16[ ]
}
<<
\new Staff
{ \clef "G_8" \m }
\new TabStaff
\with {
\tabFullNotation
%% for the Stems:
\override Stem #'avoid-note-head = ##f
\override Stem.layer = -100
\override TabNoteHead.stem-attachment = #'(0 . 0)
\override TabNoteHead.stencil =
#(lambda (grob)
(let ((default-stil (tab-note-head::print grob)))
(ly:make-stencil
(ly:stencil-expr default-stil)
(ly:stencil-extent default-stil X)
(interval-widen (ly:stencil-extent default-stil Y) 0.2
}
\m
>>
Pretty strange and although the wished output for the Tabstaff, it's
basicaly wrong (feels like bug-using).
Nevertheless, in _TabStaff_ we would need some curves (maybe Slur,
Tie, whatever) indicating 'hammering on'/'pulling off' with their
first and last control-point at the _same_ y-value.
Up to now I've not a really good idea how to achieve this ...
Cheers,
Harm
Btw, I'm very curious which key this music should be
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Re: Bar lines in polyphonic music and words under split voices
Quoting Do something Artistic (vegasart...@hotmail.com):
> I have been working on a piece of music for some time now and cannot seem to
> get the following to happen.
> [...]
> 2. attach words to a split vocal line of the form << {}\\ {}>> lilypond
> seems to want to just skip over it and go to the next "normal" part.
Here's a snippet illustrating another way of adding lyrics, treating
it rather like printing the words in a 2-stave hymn. It shows that
sometimes you need to adjust lyric alignments (eg hymns' frequent alto
suspensions). AIUI the NullVoice should always be the most subdivided
part (else lyrics get shifted/overprint each other), which sometimes
requires breaking up long notes with ties. (My usual methodology: just
copy the top part to the null voice, then fine tune it as necessary.)
%%
\version "2.18.2"
ll = \lyricmode { \once \override LyricText.self-alignment-X = #LEFT }
nv = \relative {
a'4 b c d
e4 d c b
a1
b4 c e4. e8
}
av = \relative {
a'4 b c d
<< { e4 d c b } \\ { b2 a4 b } >>
a1
<< { b4 c e2 } \\ { a,4 a a4. a8 } >>
}
al = \lyricmode { h i j k l m n o upper p q r }
bl = \lyricmode { h i j k \ll l m n o upper p q r }
cl = \lyricmode { _ _ _ _ l __ _ _ o lower p q r s }
\new Staff <<
\new NullVoice = vn { \nv }
\new Lyrics \lyricsto vn \al
\new Lyrics \lyricsto vn \bl
\new Lyrics \lyricsto vn \cl
\new Voice { \av }
>>
%%
Cheers,
David.
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left pointing note heads
hi folks, thanks for all the comments, but words have clearly failed me in making my point, so here’s a very simple example of what i want to achieve: this of course has been typeset in lilypond, then doctored in photoshop to flip every other note horizontally. can this been done straight in lilypond ? what’s more, as kumi-daiko scores consist of several voices, how do we tackle the alignment between staves ? do we align the note heads or stems ? (i have a preference for the latter, at this moment.) johan buelens duizendbladlaan 24 3090 overijse http://www.johanbuelens.net +32 (0)475 785 426 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE:TuxGuitar Export
any should work if use convert-ly I use 2.18.2 actually what i do is get guitar pro files (he writes in it) from a friend. Use tuxguitar to convert to lily then update with convert-ly in 2.18.2 HTH Stephen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Polymetric setup and volta repeat with alternatives
Hello,
these two don’t seem to go well together:
If Timing_translator and Default_bar_line_engraver are moved to Staff
context, no repeat bar lines are printed and the gap between the Volta
brackets disappears. Moving the Repeat_acknowledge_engraver along fixes
the bar lines, but prints no Volta brackets at all.
Is this due to wrong usage or a bug?
Thanks, Simon
\version "2.19.27"
\paper { #(set-paper-size "a7") indent = 0 }
\header { tagline = ##f }
mus = {
\repeat volta 2 {
s1
}
\alternative {
{ s1 }
{ s1 }
}
}
setup = << \mus \mus >>
\score {
\setup
\layout {
\context {
\Score
\remove Timing_translator
\remove Default_bar_line_engraver
}
\context {
\Staff
\consists Timing_translator
\consists Default_bar_line_engraver
}
}
}
\score {
\setup
\layout {
\context {
\Score
\remove Timing_translator
\remove Default_bar_line_engraver
\remove Repeat_acknowledge_engraver
}
\context {
\Staff
\consists Timing_translator
\consists Default_bar_line_engraver
\consists Repeat_acknowledge_engraver
}
}
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Re: Scheme function to output \bookpart {} ?
2015-09-29 11:31 GMT+02:00 Simon Albrecht :
> On 24.09.2015 00:22, Simon Albrecht wrote:
>>
>> On 23.09.2015 22:45, Thomas Morley wrote:
>>>
>>> 2015-09-23 17:50 GMT+02:00 Simon Albrecht :
Hello,
is it possible to have a Scheme function output a bookpart? In the
attached
example and my real-world setup, I get ‘error: bad expression type’.
TIA, Simon
>>>
>>> Hi Simon,
>>>
>>> this may give you a starting point:
>>>
>>> \version "2.19.27"
>>>
>>> test =
>>> #(define-scheme-function (mus) (ly:music?)
>>>(ly:book-process
>>> (ly:make-book-part (list (ly:make-score mus)))
>>> $defaultpaper
>>> $defaultlayout
>>> (ly:parser-output-name)))
>>>
>>> m = { c'4 }
>>>
>>> \test \m
>>
>>
>> Shoot, I did find a flaw: I need a \bookpart {}, not a \book, but it needs
>> to contain a \paper block. How can I do that?
>
>
> What a joy: by accident I found in scm/lily-library.scm that for which I was
> looking. It’s the scheme procedure collect-bookpart-for-book, with which I
> could compile the following function to complete my framework for a project:
>
>
> bookpartBox =
> #(define-scheme-function (parser location roman) (symbol?)
>(collect-bookpart-for-book
>#{
> \bookpart {
>\paper {
> system-count = $(assoc-get roman system-count-alist)
> systems-per-page = 4
>}
>\scoreBox
> }
>#}))
>
>
> Yours, Simon
Hi Simon,
great you found something fitting your needs.
Could you post a fully compilable example for follow readers?
Cheers,
Harm
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Re: Guitar right hand p-i-m-a
Sávio Ramos writes: >> You've seen my correction? > > No. > > I searched in spam but threre isn't too... http://lists.gnu.org/archive/html/lilypond-user/2015-09/msg00683.html -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to write slurs and ties with scheme
On Tue, Sep 29, 2015 at 4:33 PM, David Kastrup wrote:
> Thomas Morley writes:
>
> > 2015-09-29 12:26 GMT+02:00 David Kastrup :
> >>
> >> At the current point of time, slurs are only from one chord in a Voice
> >> to the next chord in a Voice. So you'd need to put your notes into
> >> different Voice contexts in order to be able to slur them individually.
> >> However, Stems are strictly a single-Voice phenomenon. So you need to
> >> put your notes in the same Voice.
>
> > I'm thinking about the problem for some time now.
> > Another part of the problem is that most occurences of slurs in
> > TabStaff with \tabFullNotation are not really Slurs but what is called
> > 'hammering on'/'pulling off'.
>
Yes. Colloquially called hammering-on/pulling-off. Classical guitarists
(not me) call them ascending and descending slurs, respectively.
> I'm currently working on making in-chord ties work (if you have more
> than one tie at the same time, you'd still need to work with
> spanner-id). Annoyingly complex to get right without causing too much
> of a performance hit.
>
Thank you for your good work!
The composition that I am working on is in a different tuning. For the
purposes of a minimal example I changed the tuning to standard.
I didn't realize that you tieWaitForNote allows you to call the tie
function within a chord. Here is a possible fix:
\version "2.18.2"
\new TabStaff {
\tabFullNotation
\set tieWaitForNote = ##t
< bis'\1 g\4 \tweak TabNoteHead.color #white \tweak
TabNoteHead.layer #-1 d\4~>16[ < fis'\2
ees\5> < g\3 d\4>]
}
( look at that beautiful slur!)
This minimal example doesn't cause any errors however within the larger
transcription I am getting the following error:
programming error: Tie without heads. Suicide
continuing , cross fingers
I don't understand this error. It doesn't really seem to affect anything
though. So I don't exactly mind it.
What do you think?
Rachael Carlson
PS. The composition that I am working on is called "Madrid" by Stefano
Barone. The transcription that you get when you buy it from him
desperately needs to be redone with an eye towards detail. (A lot of the
composition is in 10/16 and 14/16. The transcription writes it in 5/4
which makes it really difficult to read.)
https://youtu.be/vWs1OdnsJNM
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Re: How to write slurs and ties with scheme
Thomas Morley writes: > 2015-09-29 12:26 GMT+02:00 David Kastrup : >> >> At the current point of time, slurs are only from one chord in a Voice >> to the next chord in a Voice. So you'd need to put your notes into >> different Voice contexts in order to be able to slur them individually. >> However, Stems are strictly a single-Voice phenomenon. So you need to >> put your notes in the same Voice. > > I'm thinking about the problem for some time now. > Another part of the problem is that most occurences of slurs in > TabStaff with \tabFullNotation are not really Slurs but what is called > 'hammering on'/'pulling off'. > > Nevertheless, in _TabStaff_ we would need some curves (maybe Slur, > Tie, whatever) indicating 'hammering on'/'pulling off' with their > first and last control-point at the _same_ y-value. > > Up to now I've not a really good idea how to achieve this ... I'm currently working on making in-chord ties work (if you have more than one tie at the same time, you'd still need to work with spanner-id). Annoyingly complex to get right without causing too much of a performance hit. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
PDF portfolio of 2.19.28 docs
A fully indexed portfolio of the 2.19.28 PDF docs is available at https://www.dropbox.com/s/43qm1zuuiy0q2bb/lilydoc-2.19.28.pdf?dl=0 (39Mb). Needs Adobe Reader for the indexing to work - I haven't found a 3rd party PDF viewer that can use the index in PDF portfolios. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: left pointing note heads
Hi Johan, By coincidence I saw a taiko drum performance live a couple of days ago. Lilypond does not do notehead direction changes out of the box. But lilypond can be programmed to do pretty much anything. At the Lilypond Snippet Repository there is an example of how to reposition note heads to the opposite sides. http://lsr.di.unimi.it/LSR/Item?id=861 Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Upgrade to 2.18 from...a long time ago
Right now it's a total reboot. When I finally do recover the old files they will work just fine on my friends computer. But now I've started with a blank file in Notepad, 2.18.2, and starting off with an example file. At this point I just about have my old template "re-written". One thing I've noticed, is that running LP directly seems far quicker than my old computer. Not sure how much of that was the extra layer of the text editor I had written, or how much of that was general 6 year old Windows 7 box slowness. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Upgrade-to-2-18-from-a-long-time-ago-tp181789p181816.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
Bfa-Bmi key signature?
In transcribing a piece of renaissance music, I am trying to refine the
following key signature:
\version 2.19.21
\relative c' {
\set Staff.keyAlterations = #`(((-1 . 6) . ,NATURAL)
(( 0 . 6) . ,FLAT))
R1 b2 bes b' bes
}
Ideally, the flat in the key signature should have a ledger line, and
should be vertically aligned with the natural sign. (There is a
corresponding keysig in bass clef which also needs this alignment)
I have looked at:
1) The re-writing of the key signature engraver in Scheme:
https://lists.gnu.org/archive/html/lilypond-user/2015-08/msg00429.html
2) The addition of ledger lines to a key signature:
https://lists.gnu.org/archive/html/lilypond-user/2014-11/msg00454.html
3) The Notation Reference
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#key-signature
and the sections of the Internals Reference that this refers to;
and I confess that I'm floundering a bit. Well, more than a bit.
This specific issue is quite common in early music, where the composer
uses the hard hexachord.
Grateful for any help/guidance !
-- Graham
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