In regard to your infrastructure ...
To Whom it may Concern at the LilliPond Project: I received a very nice referral to the LilliPond Project from M.I.T.. I am interested in modeling text based musical programs in C++ as I have purchased a book, called Maximum Midi (www.maxmidi.com. I have not yet encountered text based musical editing in C++. Can you explain why this is? Is your language based on Java Script ? Thank you and I hope you are having a nice day. Regards, Brian Jones The University of Arizona ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
My solution to rhythmic slashes and midi playback
Wanted to make a post after finding a good way to tackle rhythmic slashes in
song without having the midi catch it on the playback:
---
slashon = { \override Staff.Rest #'style = #'slash
\override Staff.Rest #'glyph-name = "2slash"
\override Staff.Rest #'stencil = #ly:note-head::print }
slashoff = { \revert Staff.Rest #'style
\revert Staff.Rest #'glyph-name
\revert Staff.Rest #'stencil }
slashheadon = { \override NoteHead #'style = #'slash
\set Staff.midiMaximumVolume = #0 }
slashheadoff = { \revert NoteHead #'style
\set Staff.midiMaximumVolume = #5 }
dynamicson = { \override Score.DynamicText #'transparent = ##f }
dynamicsoff = { \override Score.DynamicText #'transparent = ##t }
-
I use the slashon\off for pure quarter rest slashes that won't jump around when
transposing. This is for your basic improv section in a jazz chart. I got this
one from
http://www.nabble.com/Rhythmic-slashes,-are-just-too-...@-$--hard-to-do-td8949934.html
. But for the times when I like to notate specific rhythms with rhythmic slash
NOTEHEADS while still not having the midi catch it, I'll use the slashheadon/off
just before the slashes start. You kick in the midivolume=0 by using a dynamic
of any type. So the section will look like this:
{ c8 c c c c c c c
\slashon r4 r4 r4 r4 \slashoff
\slashheadon \dynamicsoff r4\f r b8 b b4
\slashheadoff c8\f \dynamicson c c c c c c c
}
Hope this helps somebody, I've been trying to get a system going for my slashes
and finally found something that works!
-Brian
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location of rests and bar alignment between staffs
Hello,
I'm new to lilypond and would like to create notation for an ensemble
of hand drums. Currently, I'm having trouble with two specific layout
issues and I wasn't able to find exactly what I needed in searching
the archives. The first is how to position a rest relative to a
single line so that the rest symbol is centered on the single line.
Is there a way to define the default rest position relative to the
line? The second is how to adjust the horizontal spacing of each bar
so that they are aligned between each staff. I've had a lot of
trouble with this issue and tried tweaking a number of parameters
including proportionalNotationDuration and the SpacingSpanner, which
hasn't produced the desired results.
I've included the syntax and the output it produces.
Thanks,
-Brian
#(define mydrums '(
(bassdrum default #f -1)
(acousticbassdrum default #f 1)
(hihat cross #f -1)
(closedhihatcross #f 1)
(snare harmonic#f -1)
(acousticsnare harmonic#f 1)
)
)
drumOne = \drummode {
\override Beam #'positions = #'(3 . 3)
sn4._\markup{!} sn8[r8 sna8]^\markup {signal} r8[r8 sn8] r8[r8
sna8] sn4. hh8[r8 hhc8] hh4. r4.
\bar "|:" bd4. hh8[r8 hhc8] bd8[r8 sna8] sn4. bd4. hh4. bd8[r8
sna8] sn4. \bar ":|"
}
drumTwo = \drummode {
\override Beam #'positions = #'(3 . 3)
s1. s1. \bar "|:" hh4._\markup{*palm slap} sn8[r8 sn8] r2. sn4. _
\markup{!} sn4. _\markup{!} hh8[r8 hhc8] r4. \bar ":|"
}
\new DrumStaff <<
\override DrumStaff.StaffSymbol #'line-count = #1
\override DrumStaff.BarLine #'bar-size = #4
\time 12/8
\set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
\new DrumVoice { \voiceOne \set Staff.instrumentName = "Drum 1"
\drumOne }
>>
\new DrumStaff <<
\override DrumStaff.StaffSymbol #'line-count = #1
\override DrumStaff.BarLine #'bar-size = #4
\time 12/8
\set DrumStaff.drumStyleTable = #(alist->hash-table mydrums)
\new DrumVoice { \voiceOne \set Staff.instrumentName = "Drum 2"
\drumTwo }
>>
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defining custom note heads
is there a way to define or import custom note heads? i'm interested in using specific symbols to indicate rhythmic notation in hand drumming. a picture of the symbols that i'd like to use for note heads is attached. sadly this image wasn't created in lilypond, but i figure it ought to be possible. thanks, -brian <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tuplet Collision
In this I have the tuplet bar of one tuplet colliding with the tuplet number
of another. I've tried moving them but I don't know how to move just one
tuplet. A \once \override moves both tuplets the same direction.
\times 3/2 { \times 2/3 { f'16 [d b] } g8 }
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Re: Context - A recommendable Windows-Editor for Lilypond
martial cathemline.org> writes: > > > > I think Context is a wonderful alternative to the complicated > > > editors emacs and vim. > > I am blind or utf-8 is not supported > > http://forum.context.cx/index.php?topic=678.0 > Though (relatively) new to LilyPond, I have used ConTEXT for some time, and can recommend it. As mentioned in the first post, it makes a great IDE for LilyPond on Windows. You can compile your scripts, view the PDF's, play the MIDI's and even summon LilyPond help files, all from within ConTEXT. Syntax highlighting is easy to set up (the hardest part is typing in all the keywords). :) Unfortuneatly, UTF-8 is not supported. (A new version of ConTEXT is pending, but it not yet clear whether this new version will support UTF-8.) I ran into problems with this lack of UTF-8 support when trying to insert the copyright symbol into the copyright notice. Of course, LilyPond needs UTF-8 to encode non-ASCII characters. I got around this by using a UTF-8-aware editor to enter the copyright symbol, then saving my script in UTF-8 format. ConTEXT will load, edit and save these UTF-8 files just fine (they'll even appear as UTF-8 in the status bar). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond install on Windows XP
Hello, I attempted to install Lilypond on Windows XP. The Cygwin installation seemed to go fine, and I proceeded to the instructions to test it. I downloaded test.ly and followed the instructions. A console was opened for a split-second, and displayed the message "['/bin/lily-wins.py','C:\\Documents','and','Settings\\brjaga\\Desktop\\test.ly'] Usage [-h,--help] lily-wins LY-FILE" This console quickly disappeared and nothing else happened. (i.e. no PDF file opened up.) I also could not find any file named test.log. What did I do wrong? (I'm assuming it was my fault, since I'm relatively inexperienced with linux in general, and especially with cygwin.) Thanks for your time, Brian Gainor __ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Can't find the source of the problems (solo slashes, chords, and duplicate second endings)
Windows 2000 running version 2.2.2.
Below is an entire guitar part for an arrangement of mine. I'm having
trouble with just a couple of things:
(If you can't see the problems in the code, then you know where I'm
coming from. If you compile it and view the finished product you will
see the same problems I see)
1.) The first, second, and second (agian) ending just before measure 60.
I've stared at the code for hours and can't find why its behaving like
that.
2.) Also, with regard to solo "slashes". My \slashOn command works fine,
but I can't see why my \slashOff command doesn't work.
3.) Why do the chords appear below the intended line?
4.) And if this isn't asking too much, how do you make the stems invisible?
I've only been doing this for 2 weeks now. So and other advice with
regards to cleaning up code and such will be appreciated.
Thanks in advance,
-Brian
\version "2.2.2"
\include "english.ly"
\paper {
#(set-paper-size "letter")
indent = 7 \mm
linewidth = 200 \mm
interscorline = 13 \pt
}
\header {
title = "Theme From Peter Gunn"
head = "00001"
composer = "Henry Mancini"
piece = "Guitar"
arranger = "Arr. Brian Clements"
enteredby = "Brian Clements"
maintainerEmail = "[EMAIL PROTECTED]"
tagline = "Engraved by LilyPond (version 2.2.2)"
}
slashOn = \notes {
\set squashedPosition = #0
\override NoteHead #'style = #'slash }
slashOff = \notes {
\unset squashedPosition
\revert NoteHead #'style }
\score {
\notes {
\key f \major
\set Score.markFormatter = #format-mark-numbers
\set Score.markFormatter = #(lambda (mark context) (make-bold-markup
(make-box-markup (number->string mark
\relative c' {
\tempo 4=120
\repeat "percent" 3 {
f8 f g f16 af-> ~ af a f8 bf-> a }
f8 c4-^ ef8-- ~ ef c ef16-> e8.
\repeat "percent" 3 {
f8 f g f16 af-> ~ af a f8 bf-> a }
f8 c4-^ ef8-- ~ ef c ef16-> e8.
\bar "||"
\mark #9
\repeat "percent" 8 {
f8 f g f16 af-> ~ af a f8 bf-> a
f8 f g f16 af-> ~ af a f8 bf-> a }
\mark #25
\repeat volta 2 {
\repeat "percent" 3 {
f8 f g f16 af-> ~ af a f8 bf-> a
f8 f g f16 af-> ~ af a f8 bf-> a }}
\alternative {
{ \repeat "percent" 2 {
f8 f g f16 af-> ~ af a f8 bf-> a }}
{ \repeat "percent" 2 {
f8 f g f16 af-> ~ af a f8 bf-> a }}}
\bar "||"
\mark #35
\repeat "percent" 4 {
f8 f g f16 af-> ~ af a f8 bf-> a
f8 f g f16 af-> ~ af a f8 bf-> a }
\bar "||"
\mark #43
\repeat volta 2 {
\set Score.skipBars = ##t R1*7 }
\mark #50
%Solo, fill in chords%
<<
\context ChordNames \chords {
\repeat volta 2 {
f1:m7 f:m7 g:m g:m f:m7 f2.:m7 d4:dim }
\alternative {
{ g1:m7 g:m7 }
{ g:m7 g2:m7 a:7}}}
\notes <<
\repeat volta 2 {
\repeat "unfold" 6 {
\slashOn bf4 bf bf bf }}
\alternative {
{ bf4 bf bf bf }
{ bf4 bf bf bf \slashOff }}
\bar "||"
>>
>>
\mark #60
c8 c-^ r8. c16-> ~ c4. a16 bf
c8 c-^ r8. c16-> ~ c4. ef16 d
c8 c-^ r8. c16-> ~ c4. af16 bf
c8 c-^ r8. c16-> ~ c8 bf af g
\repeat "percent" 4 {
f8 f g f16 af-> ~ af a f8 bf-> a }
f8 f g f16 af-> ~ af a f8 bf-> a
\mark #69
\repeat "percent" 4 {
f8 f g f16 af-> ~ af a f8 bf-> a
f8 f g f16 af-> ~ af a f8 bf-> a }
}
}
}
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Found a bug with chords and alternate endings
Windows 2000 version 2.2.2
I found that when I have chords over an 8 bar solo space with two 2 bar
alternate endings, and the \set chordChanges = ##t property (is that
what you would call it?) is turned on, it thinks that the last bar of
the first ending is before the first bar of the second ending. It should
think that the 6th bar of the repeated phrase comes before the first bar
of the second ending. So in my case, that 6th bar (the bar before and
alternate endings) ends on a d:dim. My first ending is all G:m7. When
you read to the second ending, I have a G:m7 on that first bar, but it
doesn't display it cause its reading the previous two bars. I
expirimented with \break, didn't work. Also when I used the \break right
before the second alternated ending, NO chords displayed on the second
ending. Here's a snippit:
<<
\context ChordNames { \set chordChanges = ##t \chords {
\repeat volta 2 {
f1:m7 f:m7 g:m g:m f:m7 f2.:m7 d4:dim }
\alternative {
{ g1:m7 g:m7 }
{ g:m7 g2:m7 a:7
\notes <<
\context Voice = SoloNotes { \slashOn
\repeat volta 2 {
\repeat "unfold" 6 {
c4 c c c }}
\alternative {
{ c c c c c c c c }
{ c c c c c c c c }}} \slashOff
>>
>>
\bar "||"
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Chords below the staff?
Ok I managed to fix all but one of the problems from my previous post. The only remaining problem is that in my solo section, the chords apear below the staff it applies to. If this is normal behavior, how do I manually tell them to be above the staff? Also I think if I do that, I will have to move up the alternate ending brackets. OR... perhaps the reason they are below is because the hieght of the brackets took priority over the chords being there, meaning they might have clashed or something. But either way, I will have to manually move both of them. So does anyone know the syntax (and where to place it, I'm a newbie) for moving the alternate ending brackets and the chord names? -Brian ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Using processes before I define them...
Windows 2000 vr. 2.2.2
In making a drum part, I'm creating the specific voices in the drum
(snare = /drums { notes }, bassdrm = \drums { notes }, etc,.) and then
putting them together at the end
some properties I use:
\score {
\set Score.markFormatter = #format-mark-numbers
\set Score.markFormatter = #(lambda (mark context)
(make-bold-markup (make-box-markup (number->string mark
\override TextSpanner #'direction = #-1
\override TextSpanner #'edge-text = #'("rit " . "")
#(override-auto-beam-setting '(end 1 8 * *) 1 4) }
\tempo 4=120
\new DrumStaff <<
\new DrumVoice { \voiceOne \cues }
\new DrumVoice { \voiceTwo \hihat }
\new DrumVoice { \voiceThree \snare }
\new DrumVoice { \voiceFour \bassdrm }
>> }
My question is that when within those cues hihat, snare, and bassdrm
parts, I use rehearsal \marks and some other formatting things before they
defined in the score. Is that allowed? Cause I'm having errors anyway.
But they are so ambiguous that I don't know what they are. Would I have
to put them in a \paper block?
-Brian
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ly2dvi dies (version 1.4.7) on comment
When I comment out the last note of the bass part in
a 4 part song, ly2dvi crashes. If I leave that note
in place, ly2dvi works properly. I have found that I
can cause the crash by simply inserting a percent sign
to comment out a line or a part of a line.
The error message given is included below. This error
is very repeatable but I can't find any pattern to
when it dies and when it works.
I can't get this to happen on a shorter file and I'd
rather not post the whole file if someone has seen
this error before and can identify it without the
source.
Thanks,
Brian McMinn
GNU LilyPond 1.4.7
Now processing:
`/home/brian/music/ForTheFruitOfAllCreation544.ly'
Parsing...
Interpreting music...error: lilypond: command exited
with value 139
Traceback (innermost last):
File "/usr/local/bin/ly2dvi", line 781, in ?
run_lilypond (files, outbase, dep_prefix)
File "/usr/local/bin/ly2dvi", line 389, in
run_lilypond
system ('lilypond %s %s ' % (opts, fs))
File "/usr/local/bin/ly2dvi", line 313, in system
error (msg)
File "/usr/local/bin/ly2dvi", line 207, in error
raise _ ("Exiting ... ")
Exiting ...
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simple change moves lyrics???
Here are two bits of lilypond input. The first
version
does what I want it to do - it prints the two top
voices on the top staff, the words in the middle and
the two lower voices on the lower staff. (Lily version
is 1.4.7)
\score {
<
\context Staff = upper
<
\addlyrics
\context Voice=sop {\global \voiceOne \sop}
\Words
\context Voice=alto {\global \voiceTwo \alto}
>
\context Staff = lower { \clef bass
<
\context Voice=tenor {\global \voiceOne \tenor}
\context Voice=bass { \global \voiceTwo \bass}
>
}
>
}
My second example is EXACTLY the same except that I
put in another level of hierarchy to put in the
(redundant) information that the first Staff has
a treble clef on it.
\score {
<
\context Staff = upper { \clef treble
<
\addlyrics
\context Voice=sop {\global \voiceOne \sop}
\Words
\context Voice=alto {\global \voiceTwo \alto}
>
}
\context Staff = lower { \clef bass
<
\context Voice=tenor {\global \voiceOne \tenor}
\context Voice=bass { \global \voiceTwo \bass}
>
}
>
}
This time, lilypond puts the two staffs together and
then puts the lyrics below them both. I've always
been
puzzled about the exact use of Staffs and ChoirStaffs
and such, but this one makes me realize that I really
don't understand what they mean and how they work.
Anybody care to explain why these are different?
Thanks,
Brian McMinn
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font magnification for Easy Notation
The Lilypond documentation gives the following example
for getting the names of notes to print inside noteheads,
using the Easy Notation Fonts:
\score {
\notes { c'2 e'4 f' | g'1 }
\paper { \translator { \EasyNotation } }
}
The documentation goes on to say:
Note that EasyNotation overrides a Score context.
You probably will want to print it with magnification
or a large font size to make it more readable.
I have tried a lot of things and am not making any sense
of the documentation that describes how to do this.
Could someone provide an example that illustrates how
to do this?
Brian Fristensky
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Re:font magnification for Easy Notation
I guess what I'm running into may be a limitation
of the Easy Notation font itself. In the example:
\include "paper26.ly"
\score {
\notes { c'2 e'4 f' | g'1 }
\paper {
\translator { \EasyNotation }
}
}
if I comment out the "translator" line, the notes
are much bigger than with EasyNotation. To make the
note names easily readable, larger note heads are
desireable.
Brian Fristensky
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how to add a utf-8 character to the title
hello,
this seems like a simple thing, but i've been unable to find anything
in the archives and the documentation.
basically, i'd like to add a title that contains an accented
character (unicode = 00e9). outside of lilypond the title would be:
Sinte' Intro
i can create the variable
accentE = #(ly:export (ly:wide-char->utf-8 #x00e9))
and then i've tried
i've tried:
\header{
title = "Sint" \accentE " Intro"
}
however, this doesn't work. how can i concatenate these strings and
utf-8 character to have the correct title?
thanks,
-brian
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Re: how to add a utf-8 character to the title
the long way worked. thanks!
On Jul 19, 2009, at 12:33 AM, Mark Polesky wrote:
Brian Kidd wrote:
i can create the variable
accentE = #(ly:export (ly:wide-char->utf-8 #x00e9))
and then i've tried
i've tried:
\header{
title = "Sint" \accentE " Intro"
}
however, this doesn't work. how can i concatenate these strings
and utf-8
character to have the correct title?
The long way:
\header {
title = \markup \concat {"Sint" \accentE " Intro"}
}
The short way (make sure your file is saved with UTF-8 encoding):
\header {
title = "Sinté Intro"
}
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Re: how to add a utf-8 character to the title
thanks to all who suggested using the short way. unfortunately, my
system does not seem to be configured for this easy solution. when i
run lilypond on the simple file below, i get the following error and
the title is SintIntro instead of Sinté Intro. i'm happy using the
long way, but would be interested in knowing how to fix the problem
with the short way.
thanks,
-brian
example_title.ly
%% simple lilypond example file
\version "2.12.2"
\header{
title = "Sinté Intro"
tagline = ##f
}
\paper{
#(set-paper-size "letter")
line-width = 7.0\in
}
\markup{ \null }
%% EOF
lilypond example_title.ly
GNU LilyPond 2.12.2
Processing `example_title.ly'
Parsing...
(process:14331): Pango-WARNING **: Error loading GDEF table 28333
(process:14331): Pango-WARNING **: Error loading GSUB table 28333
(process:14331): Pango-WARNING **: Error loading GPOS table 28333
(process:14331): Pango-WARNING **: Error loading GDEF table 28333
(process:14331): Pango-WARNING **: Error loading GSUB table 28333
(process:14331): Pango-WARNING **: Error loading GPOS table 28333
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+, file /Applications/LilyPond.app/Contents/
Resources/share/lilypond/current/fonts/otf/CenturySchL-Bold.otf
continuing, cross fingers
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `example_title.ps'...
Converting to `./example_title.pdf'...
On Jul 19, 2009, at 2:29 AM, Francisco Vila wrote:
2009/7/19 Brian Kidd :
the long way worked. thanks!
Use the short way, it's much shorter and comfortable e.g. for lyrics
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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Re: how to add a utf-8 character to the title
On Jul 19, 2009, at 9:40 AM, Federico Bruni wrote: Brian Kidd wrote: thanks to all who suggested using the short way. unfortunately, my system does not seem to be configured for this easy solution. when i run lilypond on the simple file below, i get the following error and the title is SintIntro instead of Sint� Intro. i'm happy using the long way, but would be interested in knowing how to fix the problem with the short way. thanks, -brian Hi Brian, Hi Federico, I can't help you with the error message.. Anyway, your snippet works fine in my PC (I use lilypond 2.12.1). Are you sure you are saving your file in UTF-8? Not entirely. Which editor are you using? Vim. Federico Thanks for the response. -brian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Request - three line drum stave
Dear Lillyponders, Some of my favourite drum books (Chapin, Pickering) use a three-line stave for their notation. I like it—it has a clean look, especially when writing for snare, hh, cymbal and bass. It is similar to the timbale stave currently available in Lillypond. Is someone able to advise me how to reproduce this, or simply to make one? Cheers ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
horizontal synchronisation of notation in drum mode
Dear Colleagues, A relative newcomer to Lilypond, I am v. pleased to be able to notate drums in drum mode, and / but— Need your guidance on getting notation on beat in upper and lower voice to same horizontal location. I am typesetting swing-feel cymr in the upper voice and writing figures involving bd, sn & hhp in the lower voice. Decided to use simple eighths notation in upper voice to reduce problems, but still some ambiguity in placement of notes, even when eights in both upper and lower voice. Things getting slightly more out of hand when typesetting triplet figures in lower voice, and need to do this. Also— how to introduce slightly more space to make things more legible? I want to simply s-t-r-e-t-c-h things out a little. Have checked documentation, but still a little unclear. Directions to relevant sections would be most appreciated, if that's all it takes. Your help would be appreciated. Sekantombi ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score.skipTypesetting
At 15:12 13/08/2015 +0200, Orm Finnendahl wrote: In a chamber music piece I'm writing, the first line of the score is (and should be) indented. While working on the score I want to typeset just the last part of the score and use Score.skipTypesetting = ##f in the beginning and set Score.skipTypesetting = ##t in some later part, e.g. after a \pageBreak. lilypond renders this partial score with the first line indented which is suboptimal as the beginning of this page will *not* get indented in the final (non partial) score. Wouldn't a (slightly messy) workaround be to position the restart of typesetting at a point before the page break - and perhaps a bar or two before that? You'd get a first, rubbish page, but the part you do want should be closer to how it will appear in the final copy. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A call to Cantique de Fauré
At 22:46 23/08/2015 +0200, Simon Albrecht wrote: Am 23.08.2015 um 20:00 schrieb Ali Cuota: Does somebody [know] where to find the Cantique de Jean Racine in Ly? Mutopia, cpdl, imslp and so far google say no. :-( In https://lists.gnu.org/archive/html/lilypond-user/2005-01/msg00295.html Sir Michiel Lange was asking about a solution for manual changes, so maybe he can help? Well, apparently Mr. Lange did not choose to publish his code, then. I don't know of any platform besides the three you mentioned where such code might be found, so you'll probably have to do it yourself, and be the first to contribute it on any of these :-) Well, I do - and I've already replied to the list (and to the questioner) with my discovery. But the list has - as it sometimes does - decided to censor my contribution and not accept it and publish it. If anyone knows why it discriminates against me (and some others) in this way, I'd like to know. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A call to Cantique de Fauré
At 21:58 23/08/2015 +0100, Brian Barker wrote: At 22:46 23/08/2015 +0200, Simon Albrecht wrote: Am 23.08.2015 um 20:00 schrieb Ali Cuota: Does somebody [know] where to find the Cantique de Jean Racine in Ly? Mutopia, cpdl, imslp and so far google say no. :-( In https://lists.gnu.org/archive/html/lilypond-user/2005-01/msg00295.html Sir Michiel Lange was asking about a solution for manual changes, so maybe he can help? Well, apparently Mr. Lange did not choose to publish his code, then. I don't know of any platform besides the three you mentioned where such code might be found, so you'll probably have to do it yourself, and be the first to contribute it on any of these :-) Well, I do - and I've already replied to the list (and to the questioner) with my discovery. But the list has - as it sometimes does - decided to censor my contribution and not accept it and publish it. If anyone knows why it discriminates against me (and some others) in this way, I'd like to know. Weirdly, the list has condescended to publish this comment but not my original suggestion, which was: Try http://www.uma.es/victoria/varios/ly/Faure-Cantique_De_Jean_Racine.ly (and http://www.uma.es/victoria/varios/pdf/Faure-Cantique_De_Jean_Racine.pdf ). Copyright issues are your responsibility. Brian "Sherlock" Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers seem to be one off
At 11:36 26/09/2015 +0100, Ant Youngman wrote: Actually, printing bar numbers at the start of each line is NOT general practice. Yes I think it's great, and leave it there when I'm redoing parts, but I've almost never seen it in any music I've been given to play. Just to add another statistic: Elaine Gould says "Place bar numbers at the beginning of each system, ideally above the clef of the top stave" (p. 484). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers seem to be one off
At 16:15 26/09/2015 +0200, Simon Albrecht wrote: On 26.09.2015 16:14, Brian Barker wrote: Just to add another statistic: ... Which is only one opinion. Isn't that what "another statistic" means? (Mind you, the unqualified suggestion of the Senior New Music Editor at Faber Music since 1987 probably counts for something!) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat with alternatives
At 19:30 02/10/2015 +0100, Anthony Youngman wrote: At the end of the day, it's down to the conductor to make sure the players know what they're doing. But surely engraved music is designed to indicate this unambiguously? If the conductor needs to get involved, the representation has failed. If I compose music and publish ambiguous engravings, any conductor cannot know what I intended. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question re title formatting
At 13:41 03/10/2015 +0200, David Kastrup wrote: On 02.10.2015 18:29, Karen Billings wrote: Lilypond incorporates the "meter" but ignores the "arranger"... I suspect that the preceding line has a non-standard line ending, most likely just a CR or the line being wrapped by spaces rather than a proper line end. Then LilyPond will consider the next line just as part of the comment ending the previous line. I think one can see from the rendering of the original enquiry in the archive at http://www.mail-archive.com/lilypond-user@gnu.org/msg105369.html that something of this sort is indeed the case. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question re title formatting
At 15:01 03/10/2015 +0200, Bonly Bonly wrote:
There are lots of "%", say comments, that validate the rest of the
line including braces.
\markup { \column
{
\fill-line { \large \bold \title } % title
\fill-line { \titleb }
\fill-line { \caps \piece \caps \composer }
\fill-line { \meter \arranger }
}
}
I'm not sure what you mean here: perhaps *in*validate?
The point is that the line break that should appear after "% meter"
so that "\arranger" is not included in the comment and instead
properly interpreted by Lilypond must be incorrect in the original
.ly file. Notice also the clue that line breaks in what the enquirer
describes as her "title information" do not appear correctly in the
archive rendering.
Brian Barker
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Re: Question re title formatting
At 15:43 03/10/2015 +0200, Bonly Bonly wrote: As you correctly found out, as a matter of fact line breaks will not work in your code. As I did a lot of programming in the past I do not think that is wrong but usually a rule in such code arrangements. Another point is the comment mark "%" that invalidates the rest of the line CR etc. included ... The end-of-line marker - when correctly encoded - terminates comments, of course. Simply read http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text.html there is an example that you might adjust to your wish. Sorry, but you are missing the point here, in fact - indeed, two points. 1. It's not my code: I'm not the original enquirer. 2. The enquirer's code works exactly as she wishes; the problem is entirely with her (invisible) line breaks not being encoded properly. No-one needs to read the manual about formatting text, as the original code works. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dynamic with markup
At 18:58 10/10/2015 -0700, Mark Stephen Mrotek wrote:
I recall that instructions were once given to achieve:
p ma ben marcato,
yet my search of the LSP was not successful.
Try:
c_\markup { \dynamic p \italic { ma ben marcato } }
Brian Barker
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Re: bar checks and independent time signatures
At 15:57 22/10/2015 -0400, Michael Collins wrote: A couple days ago, I described a problem with a piece for two staves in independent time signatures. After consulting this post, I moved the timing translator and bar line engraver out of the score context and into the staff context. While the midi compiles properly, the music in the pdf runs off the page. Lilypond says that the bar checks in the top voice are failing. I suspect that this is the root of the problem. I've run versions of the code with each of the two voices commented out. When the voices play separately, the pdf output stays on the page. Something about combining the two voices is problematic. I'm genuinely at a loss, since moving the timing translator to the staff context should make the voices completely independent. Any advice? With a system containing two staves, Lilypond can create system breaks only where bar lines occur in both staves simultaneously. Music runs off the page when it cannot create appropriate system breaks. The first bar in your lower staff contains the equivalent of four crotchets (quarter notes), the second 4/2 = 2, the third 4/3 = 1.33 (approx.), and so on. The length of the music up to each bar line in the lower staff in crotchet units (rounded) is thus: 4 6 7.33 8.33 9.13 9.8 10.37 10.87 11.32 11.72 12.08 12.41 12.72 13.01 13.27 13.52 The first bar line, at four crotchets, coincides with a bar line in the upper staff, so a system break can occur there - and does. The second, at six crotchets, coincides with the middle of the second bar in the upper staff, so you could engineer a system break there by putting an invisible bar line at that point in the upper voice. But nowhere else do the ends of any *notes* - not just bars - coincide in the two voices. So you simply cannot have a system break without some note in one or other voice itself being broken - which doesn't happen in musical notation, of course. In principle you could divide a note and tie it across the break, but there would be no way to represent the strange fractions of note length you would require, would there? The music runs off the page only because of the impossibility of (later) system breaks. You can see the full engraving if you either reduce the staff size or increase the paper width. You will also then easily see that the upper staff extends beyond the lower one, as you can see from the values above: the lower voice lasts approximately 13.52 crotchets but the upper voice sixteen. You need two-and-a-bit crotchets' worth of rest at the end of the lower staff to make everything fit. You'd need a fearsome time signature to achieve this - which is left as an exercise for the reader! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Redundant accidentals after clef changes
At 15:19 25/10/2015 -0500, David Wright wrote: I'm glad we singers don't meet this sort of thing in "normal" music. My own take is for having extra accidentals (ie clef changes=>forget) but also the extra cancellations (1471). (Perhaps written above.) [from a position of ignorance of convention.] For what it's worth, Elaine Gould has no doubt of the convention - that such accidentals are required: "An accidental holds good only in the clef in which it is written. A change of clef requires a further accidental for a note of the same pitch..." (Behind Bars, p 78). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
2.19.30 returns error code -1073741819
Hi,
I have just installed LilyPond version 2.19.30 on a Windows 10 (64 bit) laptop,
b
laptop, but when I try to compile a simple score, such as:
\version "2.19.30"
\score {
\new Staff \relative c' {
c
}
}
Everything seems to be fine up to "Converting to `document.pdf'...", but th
then I get an "Exited with return code -1073741819" error message.
Is there a way that I can fix this problem?
Thanks a lot!
Regards,
Brian
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Re: Valse des Sylphes - Charles GOUNOD
At 21:44 02/11/2015 +, Alberto Simões wrote: After your precious help, I consider my task of transcribing this music complete. Of course, I am happy to fix any issue: There are still a few differences here: Bar 1: As others have said, the third beat in the upper staff should be an E, not an F-sharp. Bar 84: The decrescendo should end a beat earlier. Surely this should match what you have (correctly) in bars 92, 100, 108, and 116? I'm puzzled by repeated reminder accidentals on tied notes in: Bar 110: Natural sign before the tied C in the lower staff Bar 112: Sharp sign before the tied F-sharp in the upper staff Bar 120: Sharp sign before the tied F-sharp in the upper staff Bar 122: Sharp sign before the tied F-sharp in the upper staff Bar 124: Natural sign before the tied C in the lower staff Surely these are simply confusing? (They are not present in the original.) Even if the accidentals in the previous bars were not reminders, they would affect the tied notes too, and - since the notes are tied - they couldn't be anything else but the same pitch. (The accidental in bar 120 would be necessary if it were not a reminder one, since a system break now occurs here, but that doesn't apply in this case and Lilypond would insert it automatically anyway.) This problem seems to result from your use of the chord repetition symbol "q"; to avoid this, you may want to repeat the chords explicitly instead - without the exclamation marks. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Valse des Sylphes - Charles GOUNOD
At 12:20 03/11/2015 +0100, Michael Gerdau wrote: Interestingly enough these do not appear when I create the PDF on my local LP 2.19.30. Yes: that *is* interesting! (Like the transcriber, I was using 2.18.2.) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Valse des Sylphes - Charles GOUNOD
At 14:04 03/11/2015 +, Alberto Simões wrote: At 09:59 03/11/2015 +, Brian Barker wrote: I'm puzzled by repeated reminder accidentals on tied notes in: Bar 110: Natural sign before the tied C in the lower staff [...] I did not like them too, but no clue how to remove them. Easy. In the case of bar 110, you have: 2 ~ | q4 Replace this with: 2 ~ | 4 - and similarly. GNU LilyPond 2.18.2 here, but I can try to update (even on El Capitan!) No need, with this workaround. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How Beautiful Upon the Mountains by Stainer
At 15:18 03/12/2015 +, Gregory Citarella wrote: Hello: is there any way I can get a pdf of the choir anthem that I see on you tube of How Beautiful upon the mountains by John Stainer. I see it was done by someone using lilypond.org https://github.com/jrmhaig/music/blob/9b6f04207762999dcd273fd93f8f74658f1c5d97/Stainer/HowBeautifulUponTheMountains/HowBeautifulUponTheMountains.pdf (or http://tinyurl.com/pgbu4d2 ). Click Raw to download the PDF. You must satisfy yourself about copyright issues. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lower-case letter rehearsal marks
At 17:08 08/12/2015 -0700, Abraham Lee wrote: I am trying to figure out how to make rehearsal mark letters be their lower-case counterparts. I've read through all the options in "scm/translation-functions.scm" to see what's currently available and it doesn't seem to be an option at the moment. I realize this isn't the standard way of notating rehearsal marks, but let's lay that aside for a moment. Any ideas on could I do this? \mark \markup \box \bold "a" \mark \markup \box \bold "b" ... Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lower-case letter rehearsal marks
At 09:34 09/12/2015 +0100, Urs Liska wrote: Am 09.12.2015 um 08:57 schrieb Brian Barker: At 17:08 08/12/2015 -0700, Abraham Lee wrote: I am trying to figure out how to make rehearsal mark letters be their lower-case counterparts. I've read through all the options in "scm/translation-functions.scm" to see what's currently available and it doesn't seem to be an option at the moment. I realize this isn't the standard way of notating rehearsal marks, but let's lay that aside for a moment. Any ideas on could I do this? \mark \markup \box \bold "a" \mark \markup \box \bold "b" ... I'm pretty sure Abraham is looking for an *automated* solution. So am I. But I also know he didn't need to be told that! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ragged-right - turn it on and off
At 19:36 26/12/2015 -0600, Steve Fullerton wrote: Fiddle tunes usually have 2 parts, each with 8 measures. In tablature that works out to 2 lines of 3 measures and 1 line of 2 measures followed by a \break. The line with 2 measures will be stretched out to fill the page because ragged-right = ##f. This looks odd. I would like the 2 measure line to not stretch out and behave like ragged-last=##t, even though it is not the last line. One simple workaround is to set the two parts as separate scores - each with its own \score, that is. Then ragged-last will do its job twice over. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ragged right on last 2 bars.
At 15:41 28/12/2015 -0800, Peter Terpstra wrote:
Is it possible to apply the ragged-right paper option in such a way
that only the last 2 bars will be affected?
Example:
\version "2.18.2"
\paper {
indent = 0
ragged-last-bottom = ##t
ragged-right = ##t
}
\score {
\relative c' {
\repeat unfold 12 {a'4 b c d}\break
r 2
\bar "|."
}
}
ragged-last = ##t
(without ragged-right = ##t)
Note that ragged-last-bottom applies to vertical spacing, not horizontal.
I trust this helps.
Brian Barker
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Re: Music running off page, yet passes bar line check
At 18:05 28/12/2015 -0800, Ryan Michael wrote:
I have the following music :
\tempo 4=40
\time 4/4
\clef bass
\barNumberCheck #1
b,1\glissando
\barNumberCheck #2
\once \hide NoteHead bes4\glissando a2\glissando
\once \hide NoteHead a4\glissando
\barNumberCheck #3
\once \hide NoteHead a4\glissando
b-\markup{"don't articulate b. stop gliss
exactly on 1"} r8 b8\glissando \once \hide NoteHead b16 a8.~
\barNumberCheck #4
a4\glissando \once \hide NoteHead bes4\glissando
\once \hide NoteHead bes\glissando b8\glissando
c16\glissando [\once \hide NoteHead b32\glissando a32]
\barNumberCheck #5
r16 b8.\glissando
 \once \hide NoteHead a4\glissando
\once \hide NoteHead gis8\glissando
g8-\markup{\italic "crescendo"}
g16\glissando-\markup{\italic "decrescendo"} \once \hide NoteHead a8.\glissando
\barNumberCheck #6
\once \hide NoteHead ais4\glissando \once \hide NoteHead b16 b8. r4
gis4\glissando\p\<
\barNumberCheck #7
\once \hide NoteHead gis4\glissando
feh\glissando\mp\>\! \once \hide NoteHead
g4\glissando \once \hide NoteHead a4\glissando
\barNumberCheck #8
gis4\!\p r4 gis4\glissando a\glissando
\barNumberCheck #9
b\glissando a\glissando b8\glissando a16.\glissando b32 r8 b8\glissando
\barNumberCheck #10
\once \hide NoteHead bes8 a\glissando \once \hide NoteHead
 bes8 \tuplet 3/2{ b\glissando a\glissando b\glissando} a8
r8
r16 b\glissando
\barNumberCheck #11
\once \hide NoteHead a4\glissando \once \hide
NoteHead aes8.\glissando g16\glissando
\once \hide NoteHead gis4\glissando \once \hide NoteHead a4\glissando
\barNumberCheck #12
\once \hide NoteHead ais4\glissando
bes8-\markup{\italic "decrescendo molto"}\glissando b16 r16 r4 r4
And all the bars are right, and yet the second line is cramped and runs off.
It seems that systems will not break where there
is a glissando across the bar line (in 2.18.2).
The break that occurs after bar 4 is the last bar
line that isn't spanned by a glissando: hence the
cramped nature of the second system, as no
further breaks are possible. In addition, your
articulation "decrescendo molto" is too long to
fit on the second system, even if there is (just)
room for the music. If you shorten this or stack
the words using \column, you will just see the
final bar line, though displaced into the margin
- or at least I do with my default settings. If
you drop one of the glissandi, you can see three sensibly spaced systems.
I trust this helps.
Brian Barker
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Re: incorporating .pdf file into a text
At 10:57 29/12/2015 -0500, Joseph Breton wrote: How can I incorporate my pdf file into a word processor like libreoffice? My trials always produce some to me undecipherable text which then greatly expands to non ASCII symbols. As has been suggested, preferably create Lilypond output in Scalable Vector Graphics (SVG) or Portable Network Graphics (PNG) format instead. (See Notation Manual 3.4.3.) Alternatively, in your LibreOffice text (Writer) document, o Go to Insert | Object > | OLE Object... . o Double-click "Further objects". o Select "Create from file" and Browse... . o Browse to and open the PDF document file. o Resize and reposition the graphic as necessary. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Non-traditional key signature with double sharps/flats?
Hi everyone, I'm currently working with a synthetic scale with a doubly augmented second, and I want to show the synthetic key signature in the score. The problem is, starting on C, I have the next note a doubly augmented second up, a Dx. I'm looking for something like the standard syntax for defining a scale, but I need the ability to have double sharps and flats. synthetic = #`((0 . ,NATURAL) (1 . ,SHARPSHARP) (2 . ,SHARP) (3 . ,NATURAL) (4 . ,FLAT) (5 . ,FLAT) (6 . ,FLATFLAT)) Sadly, this doesn't work. Does anyone have any ideas? Best, Brian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot resolve rest collision: rest direction not set
At 19:26 08/02/2016 -0500, Joseph N. Srednicki wrote: I receive the warning "cannot resolve rest collision: rest direction not set" when I compile the code listed below. Is there anything else that I can do to avoid the warning or am I overlooking something? You need to add \voiceOne, \voiceTwo, etc. If you do that, the warnings disappear. See http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices . Oh, and you can then dispense with your \stemDown, which happens automatically. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inline images, was Re: Variable slur thickness
At 10:33 10/03/2016 -0600, Matthew Skala wrote: ... HTML in email is usually spam. You are joking, of course! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inline images, was Re: Variable slur thickness
At 10:56 10/03/2016 -0600, Matthew Skala wrote: On Thu, 10 Mar 2016, Brian Barker wrote: At 10:33 10/03/2016 -0600, Matthew Skala wrote: ... HTML in email is usually spam. You are joking, of course! No. OK, I'll rephrase that to help you: either you *have to be* joking or you are plain wrong. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Key change in alternative 1
At 15:42 13/03/2016 +0100, Malte Meyn wrote: how should I treat a key change in the first alternative of a volta repeat? I'm not sure whether to print the "change back" at the beginning of the second alternative (m. 5 of the attached code). I don't think it's necessary to print it if the change coincides with a line break (LilyPond's default behaviour, variant 1 in the attached code). But is it necessary when there is no line break (variant 2 or 3)? For what it's worth, Elaine Gould (someone else will tell you hers is only one suggestion) says "After a change in the first-time bar, a reminder in brackets of a continuing clef, key signature or time signature is helpful at the beginning of the second-time bar" (p. 235). Her example has all three in one set of parentheses but doesn't happen to require cancelling naturals. Separately, she says "When a key change coincides with a system break, the cancelling naturals and the new key signature go at the end of the first system. The new system takes only the new key signature" (p. 93). "Reminder" and "helpful" suggest to me that the parenthesised addition is not essential, and that she would not include accidentals in your second-time bar. In addition, after a system break, wouldn't the appropriate key signature in your case be three sharps, not one flat - again obviating the accidentals? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava
At 20:19 12/02/2014 +0100, Noeck "Joram" Marburg wrote: what is the recommended/default formatting for ottava marks/brackets (8va)? In bold or not bold? And with dashed lines or dotted or others? What does E. Gould say ... Page 28: The octave sign is written in italic, the numeral '8' is 1 1/2 stave-paces high. The optional 'va' is placed flush with the top of _ottava sopra_ (_8^va_), flush with the base of _ottava bassa_ (_8va_). Indicate the extent of the transposition with a line of dashes (hereafter called a dotted line). The line extends from the top edge of the _8_ for _8 sopra_ and the base of the _8_ for _8 bassa_, and runs parallel to the stave. And those 8s look bold to me. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best practice for dynamics position on SATB hymn with chords
At 00:06 14/02/2014 +0100, Yann Cha wrote: My usual layout when typesetting hymns is a ChoirStaff, with SA-TB voices, main lyrics printed between staves, ... I was wondering, what is the best practice for positioning the dynamics ? Above or below the staves ? Should them be printed only once for all the ChoirStaff, or for each staff? Gould says (p 465, under "Choral writing"): _Dynamics, expression marks and technical instructions_: place these above each individual stave so that each singer can see them immediately (avoid a single instruction above the top stave, as this will most certainly be overlooked). and (p 468): Two-stave SATB layout Place dynamics and expression marks above the treble stave and below the bass stave, to apply to both voices on each stave. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics formatting issue
At 23:53 23/02/2014 -0500, Antara-Prabhat Kalajian wrote:
I am having trouble with the spacing of the lyrics on this score.
The straight words (Bengali language) are: Ajanar maha parichoy But
perhaps because of the bar lines, the syllables are being spaced
very far apart, so that the words are no longer recognizable (in
most instances). As you can see, I've manually inserted a bar and
break of my own. Perhaps my method could be improved upon, but this
makes the typeset score appear the way I want.
Thank you for any suggestions!
\version "2.18.0"
\include "english.ly"
melody =
\relative bf' {
\key df \major
gf'8 [ff] ef df ef2 c8 df ef2. df8 c bf2. \bar "" \break
gf8 [af] bf c ~ c1 ef,8 [f!] bf af gf1 }
text = \lyricmode {
A - ja - nar ma - - -ha __ _ _
pa - - - -ri - - - choy }
\score{
<<
\new Voice = "one" {
\melody
}
\new Lyrics \lyricsto "one" \text
>>
\layout { } }
Your first problem is that your semibreve C in bar four should
actually be two tied minims - so that the second minim can appear in
its proper place in bar five. If you write "c2 ~ c" in place of "c1"
and remove the explicit system break, you will get something closer
to what I'd expect.
I trust this helps.
Brian Barker
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Re: barline
At 07:53 19/03/2014 -0700, Gilberto Agostinho wrote:
Could someone please give me an advice? What is the best way to
avoid that LilyPond breaks a line in the middle of a bar when using
middle bar dashed barlines? In the following case, I have a tempo
change in the middle of a bar, and I really would like to avoid this break.
\version "2.19.2"
{
\time 4/4
\tempo 4 = 60
\repeat unfold 5 { c'4 c' c' c' | }
c' c' c' \bar "!" \tempo 4 = 80 c' |
\repeat unfold 6 { c' c' c' c' | }
}
Just follow your \bar "!" with \noBreak.
I would really appreciate if the solution would NOT consist of
turning off the line-break-permission and manually adding breaks for
every single line...
No need for that.
I trust this helps.
Brian Barker
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RE: MetronomeMark aligned to accidentals
At 12:44 05/04/2014 +, Daniel Rosen wrote: I would like the MetronomeMark to be aligned with the left edge of the leftmost Accidental (almost with the BarLine, but not quite). At 14:25 05/04/2014 +, Daniel Rosen wrote: ... I think that maybe LilyPond should do what I'm describing by default. The current default output looks very odd to me (although it could be just me). No, it's not just you. For what it's worth, here's Elaine Gould (at page 183): When a tempo marking coincides with a time signature indication, align the tempo with the left edge of the time signature. When there is no new time signature, align the tempo marking with the first element of the notation (e.g. a note or accidental) after the clef and key signature. Note that when the tempo change is at the start of the bar, the marking is not placed on the barline. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Certain accidentals
At 23:09 17/04/2014 -0300, Alfredo Noname wrote: 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. I'm not sure exactly what you mean here. Accidentals are the additional markers that will appear where necessary in the final engraving to show notes that vary from what the key signature indicates. You will want those, of course - and they are no difficulty, since Lilypond will do the work of deciding where they are necessary. 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.) Yes: this means that manual construction of a .ly file is harder work when the key requires many sharps or flats. And in that case it is perfectly possible to construct a file using "\key c \major" and sharp or flat suffixes only where true accidentals will be necessary, and then to use \transpose to convert it in a stroke to the key and representation you actually require. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
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: 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
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: Certain accidentals
At 15:41 19/04/2014 +0200, Christ van Willegen wrote: And if you'd life to get an F-natural in the key of D major, how would you write that? Clearly, following normal musical notation, you'd annotate the F in some way as being not the expected F in D major (F#) - using something such as fn. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Organ Fingering Notation
At 11:19 21/04/2014 -0700, Zack Noname wrote: There is a fingering symbol that I don't know the name of (and so it is hard to look up in the documentation without a name) ... If I want the alto voice on the treble staff played with the left hand there is a symbol that looks like [ without the bottom line and if I want the note on the bass clef played with the right hand its a [ without the upper line ... Anyone know what I'm "talking" about? Interestingly, Elaine Gould knows what you are talking about but also doesn't know their name: A verbal instruction may indicate that notes are to be taken with the other hand. ... Alternatively, such notes may be shown with an incomplete bracket, extending vertically from the notehead upwards for right-hand notes, downwards for left-hand notes. (at p. 305) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unknown Schumann piece
At 13:09 04/05/2014 +0200, Martin Tarenskeen wrote: What are the rules for the vertical placement of rests in polyphonic writing? Are there any? For example in my Schumann piece, lower staff, Lilypond did a very ugly choice by default and I had to use something like b'\rest even for this very simple piece. (Don't know if that's the correct placement but it looks fine to my eyes) Elaine Gould says (pp. 36-7): For clarity, upper-part rest are usually placed above the centre stave-line, lower-part rests below the centre line When one part lies outside the stave (on ledger lines), crotchet, quaver, and shorter-value rests for the other part may move back to the centre of the stave Semibreve and minim rests must never stray across the centre stave line When both parts have rests simultaneously, as in strict contrapuntal writing, separate these with at least one stave-line Many editions place all minim and semibreve rests only on the outside stave-lines, to avoid confusion; some avoid rests on the middle stave-line, for the same reason This last remark appears to describe (and validate?) what Lilypond does by default. But it's clearly not the only way. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: relative pitch with song sections
At 06:30 15/05/2014 +1000, Nick Payne wrote: I would say, based on my fairly extensive collection of guitar scores, collected over about 40 years, that there are probably more commercially engraved editions that omit the "8" than those that show it. This is surely no different from the practice with tenor staves in SATB scores, where the "8" under the tenor's treble clef is indeed more often omitted than included. But in vocal music with more than four parts, and especially where the number of staves shown can vary from system to system, those little 8s are a significant help to the eye - apart from being technically required. Elaine Gould describes these 8s as "optional", but adds (in the context of a full score) "the modified clef makes it easier to identify the position of instruments with such transpositions in a score". Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural sign
At 12:45 04/06/2014 +0100, Phil Holmes wrote: Attached is an image of a sign that appears in the lyric line of the music in the Musica Tranalpina. Two questions: [...] 2: any ideas of how to set this in LilyPond? Are Unicode 1D10D, 1D10E, or 1D10F any use? See http://www.unicode.org/charts/PDF/U1D100.pdf . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: BreathingSigns and automatic beams
At 13:06 24/06/2014 +0200, Werner LEMBERG wrote: It's not lilypond's job to imitate hand-written marks! In other words, I want to see some *printed* editions with such entries [sc. over bar lines] so that we can adjust lilypond accordingly, if necessary. In some Puccini scores, marks for possible breathing places are indicated by a small comma. I'm not sure whether this helps, but Elaine Gould writes (at p. 187) under Pauses / Break in sound: "Place the comma and caesura just before a subsequent note or barline. [...] In a score, the comma, caesura and pause over a barline should appear at the top of each instrumental section only (so as not to be intersected by a barline). When not over a barline, place the symbol above every stave." This implies that she countenances such marks over barlines - but perhaps this sort of comma is a pause, not just a breathing mark. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Optical spacing -- no more?
At 16:07 11/07/2014 +0006, Abraham Lee wrote: Maybe just me, but I don't really like the look of that. I see the stems are equidistant, but, at least to me, I feel like it's not balanced and it makes the notehead spacing a little awkward... I'd still rather see the default behavior. But we all can have our preferences :) Not sure if either is "correct". For what it's worth, Elaine Gould agrees, saying (on p. 41); In certain cases, spacing should be adjusted to create an illusion of evenness. Adjacent stems 'back to back' can otherwise look too close together. Notes with stems away from each other can look too far apart. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: notation rule question
At 13:46 23/07/2014 +0200, Karol Majewski wrote: And how to divide this: c4 c8 c8~ c4 c4 or c4 c8 c4. c4 Elaine Gould says (on pp.166-7) "Note-values sustained across a beat or half-beat must expose the beat structure of the bar", "Only very straightforward rhythms may be written across the beat or half-bar", and "In 4/4 it is the third (not the fourth) beat that should be exposed". She gives as an example: c8 c4.~ c8 c4 c8 and says "and not" c8 c2 c4 c8 So she'd certainly pick your first option. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Customised key signature for mensural music
At 12:20 10/08/2014 +, Phil Holmes wrote: A piece of music in the Musica Transalpina from 1597 in the F clef in the key of F major has a key signature that has two B flats: one in the normal position and one above the stave lines. I know how to do that, but it is also offset to the right, and with a smaller flat sign. Does anyone know how this could be done? Are those two facets significant and by design, or are they - as perhaps appears - simply unfortunate consequences of the way the original was printed? Do you need to reproduce them, that is? After all, you are not going to reproduce those disconnected and misaligned staff lines. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Customised key signature for mensural music
At 17:16 10/08/2014 +0100, Phil Holmes wrote: From: "Brian Barker" Sent: Sunday, August 10, 2014 4:46 PM At 12:20 10/08/2014 +, Phil Holmes wrote: A piece of music in the Musica Transalpina from 1597 in the F clef in the key of F major has a key signature that has two B flats: one in the normal position and one above the stave lines. I know how to do that, but it is also offset to the right, and with a smaller flat sign. Does anyone know how this could be done? Are those two facets significant and by design, or are they - as perhaps appears - simply unfortunate consequences of the way the original was printed? Do you need to reproduce them, that is? After all, you are not going to reproduce those disconnected and misaligned staff lines. I don't believe it's accidental: every "upper" flat is approximately the same size and in the same place: eight of them on this song and the same thing on quite a number of others. I don't suggest any accident. All that would be true if it were simply a consequence of the printing technique: the two flats are surely on separate printing blocks and identical blocks would be used for each instance. I imagine the printer thinking each time "Wouldn't it be nice if I had a single block available with both flats the same size and vertically aligned? I wonder if at some point in the future that will become possible." Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava overlapping fermata
At 21:14 19/08/2014 +0200, Pierre Perol-Schneider wrote: 2014-08-19 19:54 GMT+02:00 Alf Storm: Is there any way to tweak the ottava height? Or is this a bug I should report? I don't know what Elaine Gould says about this particular case. Personally, I'd move the fermata : ... She disagrees, I'm afraid: "Place the pause further from the stave than other markings stacked on the notehead, except for the octave sign" (p.188). Her example has a tenuto mark, an accent, a fermata and an ottava bassa - in that order. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: would 'gn' for G-natural be useful in \language "english" ?
At 23:41 28/08/2014 -0700, Keith OHara wrote: The suggestion quoted below from the bug-lilypond list <http://lists.gnu.org/archive/html/bug-lilypond/2014-08/msg00037.html> makes sense to me, as an addition to the \language "english" note-names. It would not fit in German-style pitch-names, where 'cis' and 'ces' get completely distinct names from 'c'. Sorry, but I don't see the distinction you are trying to make between German and English. Surely C, C-sharp, and C-flat (and for that matter -double sharp and -double flat) have separate names in any language, including German, English, German Lilypond, and English Lilypond? Would anyone else like to see 'fn' as a second way to express F-natural in English (in addition to the existing 'f') ? No: please not. There are surely two ways of indicating pitches? One is the method used in musical notation itself, where a note on the C line or space without any accidental represents any one of C, C-sharp, or C-flat, depending on the key signature. The other is that used in Lilypond input, where "c" always represents C-natural, irrespective of the key signature in force. Similarly "cis" or "cs" and so on are interpreted literally, without reference to the key signature. The danger in allowing "cn" would not be to the operation of Lilypond but to the mind of the user! As soon as you allow the user to input "cn", s/he will easily be distracted into thinking in terms of the first method above and will easily omit the appropriate necessary suffixes when a modified pitch is required but which is already present in the key signature. After entering "cn" in, say, D major, one would readily fall into the trap of using "c" in the next bar where "cis" (or "cs") was actually meant and required. David Winfrey writes: A new accidental for entering natural notes would be useful. [...] The original suggester has fallen into this very trap by mentioning an accidental: that's musical thinking, not Lilypond thinking. Accidentals in the musical output appear automatically; no concept of "accidental" is necessary in the Lilypond method of entering pitches. You could argue that Lilypond input should work like music does (for the avoidance of doubt, I'm not doing that), but that's a completely different suggestion. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: would 'gn' for G-natural be useful in \language "english" ?
At 07:20 29/08/2014 -0700, Knute Snortum wrote: English speakers (at least the ones in my part of America) will say "cee" or "cee-natural" for the note C. The latter is to emphasis that you are not speaking of another pitch like C-sharp. Agreed. In the key of D, say, some people will say "cee" when they mean "cee-sharp". I've heard that only very seldom, and I've always thought of it as a simple mistake. "cee-natural" shows you haven't made this mistake. It shows something to a human reader, but the suggestion I was responding to is that it should show nothing to Lilypond - that "c" and "cn" should be synonymous. So it seems natural (!) that LilyPond would include this sort of emphasis. Not at all. Writing "cs" (with \language "english" and \key d \major) is confusing to newcomers -- as evidenced by the section in the documentation under Accidentals. That's certainly true. But I see that as a good reason *not* to include "cn" as a notation: it would not help accuracy or communication with the program and would encourage those newcomers to maintain their confusion. I remember the time early in my use of Lilypond that I typed something like "bn" in the key of, perhaps, F major - no doubt whilst imagining the necessary accidental in the output. I was initially confused that it was objected to by the program, wondering for a second or two what the code for "natural" had to be if it wasn't "n", but this experience forced me to remember (and learn) that I needed to be writing in Lilypond-speak, not in Music-speak. If I hadn't had that jolt, I would soon have been writing "b" when I meant (and needed) "bf". "cn" in LilyPond would be like speaking "cee-natural" -- it would assure the reader that you really mean C-natural. The compiler would just ignore it. But the compiler is the only reader: there is no other! Well, that's true for my input files, anyway. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: would 'gn' for G-natural be useful in \language "english" ?
At 08:38 29/08/2014 -0700, Keith OHara wrote: In English the names use two parts, noun-adjective, which allows the construction "C-natural". German has single words (ces c cis) for the pitches, and these are distinct from the names for the alterations (Be, AuflösungZeichen, Kreuz). Interesting: thank you. I hadn't appreciated that. Rather as some arithmeticians call -3 "negative three" and not "minus three", so as to distinguish negation from subtraction - the result from the process. The feature-request implicitly assumed, based on experience, that such errors ["c", when "cs" was meant but was in the key signature] already happen. Oh, indeed they will. Anyone using, for example, ABC notation had developed the habit of typing 'C' for the pitch at scale-step C in the key. The distinct naming was suggested as a way to help us more efficiently correct those errors. That's where we disagree. Would the ability to enter 'cn', or a note in the "Languages" table saying "In English 'cn' is an alternative to 'c' to denote the pitch C-natural", actually increase the rate of forgetting the 's' in 'cs' ? That's what I'm suggesting - that allowing "cn" would encourage users to think as they would if writing music by hand or reading out the note names. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaked "Trillspanner"
At 15:22 30/08/2014 +0200, Helge Kruse wrote: I am transcribing some drum notes. I found two kinds of spanners that look similar to a trill spanner that have been tweaked a bit. Both have the wavy line but don't include the \trill in front of the line. [...] But how can I get the tweaked spanner? Any idea how to remove the "tr" in front of it? Does this help: http://osdir.com/ml/lilypond-user-gnu/2011-04/msg00625.html ? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Upbeat as full measure or not?
At 12:21 02/09/2014 +0200, Alexander Kobel wrote: I wonder whether a "large" partial measure should be notated as a full measure (rest+upbeat) or a partial measure. [...] Or could anybody consult a copy of Gould or similar? The one difficulty I have with Elaine Gould's otherwise splendid book is its index: it's often difficult to find things. I haven't found an answer so far; that doesn't mean it's not there. All I've found on the web is a reference to someone else's similar inability to locate this topic. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: In wait for a subsequent word (sorry how can I put it)?
At 09:05 07/09/2014 -0700, Vincenzo Auer wrote: ... I usually (is it right?), as in your example, write "Sanc __tus" and if "tus" must be sung for say other four notes I do not add anything after "tus". But it could be miserunderstooding for who plays the score. But I wonder if there is a RULE for those situations. Yes. Elaine Gould (Behind Bars, page 447) says: "An extender, a line of stave-line thickness, follows a final syllable or monosyllabic word that extends beyond one written note, including a tied note. The line extends to the last written note, but not to the end of the duration. Any punctuation goes at the end of the word, before the extender" and "No extender is needed where a syllable occupies the length of its written duration ...". Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: losing a bar number when the first beat is irregular
At 12:22 04/10/2014 -0700, Vincenzo Auer wrote: I've searched on "beyond bars" 2011 ed. ... That's *Behind* Bars, in fact: it's a pun on the expression meaning "in prison". ... but I wasn't able to find a reference to this problem. Any excuse to consult the bible! Page 484, under "Bar numbers": "The first complete bar (and not an up-beat) is bar 1." Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tempo mark of eighth note = eighth note
At 08:19 24/10/2014 -0700, Knute Snortum wrote: I need a tempo marking of "eighth note = eighth note". I know I've seen how to do it but it's escaping me now. See: http://www.lilypond.org/doc/v2.18/Documentation/snippets/rhythms#rhythms-creating-metronome-marks-in-markup-mode . I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Defining a variable for path names
At 22:34 17/11/2014 -0700, Ingbol Bograr wrote: I have two different versions of each of my lilypond files, each with a different header. At the top of each file, I have this: \include "C:/songs/lilypond_header_file_1.ly" %\include "C:/music/lilypond_header_file_2.ly" I'd like to be able to use a global variable that is set in only one place (maybe somewhere in C:\Program Files (x86)\LilyPond\usr\share\lilypond\current\ly) to determine which header file to use. That way, at the top of each file I could write something like \include "$header_file" and I would know that whenever I compile a given file, it would use the header file that I specified. How do I do this? One simple workaround would be to maintain three files and to copy the relevant actual file - file_1 or file_2 - to another file called header_file. You could create a script or scripts to do this and possibly associate them with icons, which would make performing the chosen copy action either a simple command or the clicking of the appropriate icon. Lilypond would always use header_file, but its contents would depend on which of file_1 or file_2 was most recently copied to it. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Complex cross-rhythms
Hello everybody,
I'm attempting to create a score that uses simultaneous multiple tempi, at a
ratio of 5:7. As a test, I made
this<http://www.foursquarenightmare.com/scores/polytempo-example.pdf>
(see
code below). Basically it uses the ridiculous time signature of 42/4, with
barlines inserted to create an artificial independent meter for each staff.
It looks beautiful, but the problem is: put in shorter note values than
these dotted quarters (sixteenths etc) and there isn't enough room on the
line to render the music; it all just runs off the page, in other words, it
doesn't want to break the line in mid-bar (as I'm using ridiculously long
measures to simulate polytempi). I've read everything the Notation Reference
has to offer about forcing line breaks. But for some reason it doesn't let
me break the line during active note events (removing
Forbid_line_break_engraver only seems to work across "actual" automatic
barlines, not ones I've put in). Does anybody have any advice here? Is there
a way to get more control over breaking my lines? Or better yet, is there a
way to do these kinds of polytempi without using 8497/8 time?
Thanks,
brian
PartA = \new Voice \relative c'' {
\clef treble
\time 42/4
\set Staff.instrumentName = #"Part A "
\set Staff.timeSignatureFraction = #'(12 . 8)
\scaleDurations #'(7 . 5) {
c4.^\markup { \note #"4." #1 " = 60" } c c c \bar "|"
c c c c \bar "|"
c c c c \bar "|"
c c c c \bar "|"
c c c c
}
}
PartB = \new Voice \with {
\remove Forbid_line_break_engraver
} \relative c'' {
\clef treble
\set Staff.instrumentName = #"Part B "
\time 42/4
\set Staff.timeSignatureFraction = #'(12 . 8)
\override Beam #'breakable = ##t
g4.^\markup { \note #"4." #1 " = 84" } g g g \bar "|"
g g g g \bar "|"
g g g g \bar "|"
g g g g \bar "|"
g g g g \bar "|"
g g g g \bar "|"
g g g g
}
\score {
<<
\new Staff \PartA
\new Staff \PartB
>>
}
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
\context {
\Voice
\remove "Forbid_line_break_engraver"
}
}
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Re: [Wikitech-l] Graphical note entry for wiki music [Extension:Score]?
On 6/16/13, Jan Nieuwenhuizen wrote: > Hi, > > I am working on a GUI for LilyPond and am looking for your feedback on > the desirability or usefulness --if any-- for MediaWiki. > > My desire is to have LilyPond accessible to everyone by presenting a > basic GUI initially so as to provide a more gentle introduction than > text to most people, simultaneously offering an easy way to learn the > LilyPond language and handhold them while they make the switch. > > Although I started three years ago it is still mostly a play thing --I > do this just for fun and it has seen a few rewrites-- so it will be a > long way before it matches any of the power that LilyPond has, or even > that other GUIs offer right now. > > I would enjoy having more focus and actual users and so early this > spring I took up the idea to create a basic web frontend alongside the > main Gnome/Gtk+ GUI. > > Then, by the usual blend of sheer coincidence and providence, the > extension landed. That has kept me wondering if what I have > now could [almost] be useful for MediaWiki or WikiPedia...or what > would need to be done to make it so. > > Any feedback is much appreciated! Please have a look at > >http://lilypond.org/schikkers-list > > or go straight to the LilyPond Schikkers Demo > >http://lilypond.org/schikkers/ > > Thankyou > Greetings, Jan > > PS: as an aside, I read some complaints about Lily's SVG output on this > list; would you please send a bug report on that, or anything else > that you find amiss to bug-lilyp...@gnu.org? > > -- > Jan Nieuwenhuizen | GNU LilyPond http://lilypond.org > Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl > > ___ > Wikitech-l mailing list > wikitec...@lists.wikimedia.org > https://lists.wikimedia.org/mailman/listinfo/wikitech-l Hi, Thanks for reaching out to us. I just tried the demo, and it looks pretty awesome. I definitely think integrating this into Score somehow would be very desirable. --bawolff ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Steinberg's progress report on new notation software
At 10:32 08/08/2013 -0500, Tim McNamara wrote: I use LibreOffice because the default operation for text is fine. If I was writing out complex math equations, it'd be a different story. Surely not: you'd use LibreOffice's Math facility! Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mea máxima culpa
At 14:50 12/09/2013 -0500, Evan Driscoll wrote:
Now, that being said and because I'm sure no one cares, IMO the way
the Lilypond list is set up ("reply" goes to the sender) is
*absolutely* the correct way to run a mailing list, and the
alternative is completely maddening.
It's not just your opinion: mailing list processors have no business
inserting a Reply-To: header, which is instead the sole domain of the
message's author. RFC 2822 appears to require this: "When the
'Reply-To:' field is present, it indicates the mailbox(es) to which
the *author* of the message suggests that replies be sent" (my
emphasis). The author of a message, of course, is not the list.
What action is *common* is only one of the two things that should be
considered when assigning a default. Also should be considered is
how damaging the other choice is. Replying to the list when you want
to respond just to the sender has the potential to be a much more
"damaging" action than replying to just the sender when you want to
send to the list.
Exactly: the right way fails safe. A message intended to be public
may get sent privately by mistake - a minor inconvenience that can
easily be remedied by sending the message again correctly. The use
of a Reply-To: header directed to a list risks messages intended to
be private being sent publicly - a unfortunate consequence that
simply cannot be undone.
This mailing list is configured unusually but properly.
Brian Barker
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Re: Is there a way to split a score across two sheets?
At 14:31 17/10/2013 +0200, Sven Axelsson wrote: On 17 October 2013 06:12, Ben Beeson wrote: I use LilyPond for bagpipe music. I find LilyPond and the included bagpipe.ly file to work very well for that task. Thanks! I looked in the documents and in other places online for help and did not find anything on how to split a score across two sheets, so Iam hoping the list can provide some insight. What I am looking to do is to easily split a score across two sheets much like you can make a score use two pages instead of one with a \pageBreak at the appropriate place. For example, the tune Cabar Feidh is much easier to read from a single sheet if printed landscape as opposed to printing portrait. This is just because some of the bars are "more busy" with doublings and throws etc. than others making certain parts a bit crowded when printing this tune in portrait orientation. I realize I could create two separate scores, one for each sheet, but that becomes cumbersome if you ever decide to display the tune differently. So I was wondering if there was an easy way to split a score across two sheets when printing so the tune essentially puts the first two bars on the left sheet and the last two bars of each line on the right sheet of an open book? I'm afraid I don't understand the distinction you make between page and sheet. Apparently \pageBreak doesn't do what you want, so please clarify how what you want differs. The questioner rambles at first, but I think I see what he means. If you read the last paragraph, I think you'll see he means that he wants to have two sides of (say) A4 paper side by side in landscape orientation, but he wants the music to run across both - so the first system runs across both sheets and the music then turns to the second system also running across both sheets, and so on. There is not a single point, then, where the music moves from one sheet to the other, as there would be with a page break, but the music moves back and forth between the two sheets. Effectively, he want to set the music on an unusual double-A4 (but not A3) page size, but then necessarily to print the result on two separate A4 sheets. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pagenumbering
At 10:02 08/11/2013 +0100, Martin Tarenskeen wrote: Lilypond's automatic pagenumbering seems to presume a book with pages printed on both sides: the pagenumbers are printed alternating in the top-right corner and top-left corner. But often I print my scores single sided, especially if I use thin paper. If I bundle the pages with a ring binder I would like the pagenumber to be on the top-right corner for every page. Or another option could be top-centered pagenumbering. How can I accomplish this with Lilypond? One obvious way: evenHeaderMarkup = \oddHeaderMarkup Alternatively, how about setting "two-sided" to false? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: display flat symbol in ees major
At 10:16 29/12/2014 -0800, Jinsong Zhao wrote: I am try to learn LilyPond by doing. I have a score, which display a flat symbol in ees major. However, I can't get that in LilyPond. Easy: append an exclamation mark to the note name. Even better, append a question mark, which helpfully parenthesises this reminder accidental. See http://lilypond.org/doc/v2.16/Documentation/notation/writing-pitches#accidentals . I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music line in a Latex table
At 11:21 29/12/2014 -0700, Andrea Noname wrote: I need to place a music line in a Latex table so that any measure in the music has the same width of the correspondent cell in the table. Do you need "proportional notation"? See http://lilypond.org/doc/v2.13///Documentation/notation/proportional-notation . I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: output PDF
At 16:54 12/01/2015 +0100, Peter Jongh Visscher wrote:
I started using Lilypond and the in the PDF output the first line
(staff) jumps a little bit forward (see Example)
I can not find a command to set all the staff starting at the same point.
Try:
\layout { indent = #0 }
I trust this helps.
Brian Barker
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Re: Double thin bar lines and repeats?
At 22:10 19/01/2015 +0100, Lars-Johan Liman wrote: I'm trying to end a section of piano music with thin double bar lines, break the line, and then start the next line with repeat marks. [...] (You may feel tempted to argue that what I want to do is "wrong", which it may well be according to modern typesetting standards, ... For what it's worth, Elaine Gould doesn't think this is wrong: "Some editions place a thin double barline at the end of a previous system where a repeat barline starts the next system". (Behind Bars, p. 234). Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange "d.g." notation
At 18:00 16/02/2015 +0100, Jacques Menu wrote: In the viola score of a Telemann quartet in G minor, I find this notation [d.g. 8va bassa]. Does anyone know what it means? One clue is the end of the 8va bassa in the middle of bar 73. If this had the usual meaning, it would suggest a somewhat strange run with a leap of a seventh at one point. The German for "double stopping" appears to be Doppelgriffen. Could this therefore be a German-Italian composite meaning "col 8va bassa"? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Translation request
At 00:57 19/02/2015 +0100, Thomas Morley wrote: I've an excerpt (one sentence) of Michel Corette, Methode Pour Apprendre Aisement a Jouer de La Flute Traversiere That's "Corrette", apparently. Can someone translate it into english (or german)? See http://tinyurl.com/nnwxze8 . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fixed width measures
At 11:37 05/03/2015 +1100, Andrew Bernard wrote: I have asked this question on the list in the past, but no solution seems to be available. The topic is fixed width measures. I have contemporary music that has lots of complex tuplets within tuplets and rapidly varying time signatures (New Complexity School). The composer I am working with draws all his scores by hand, and uses a fixed measure width notation to help the performer understand the very complex rhythms, with a fixed physical measure length corresponding to a specific fixed interval of time. Actually, several composers do this. I have tried everything to do with proportional notation and new spacing sections but I can't seem to succeed. Is there any way to instruct lilypond to use a fixed length, absolute size measure? I see that others have wanted this capability for fixed width measures for chord charts, overriding the lovely and subtle way that lilypond has of moving the bar lines on the page around a little for readability and aesthetics. I am attaching the smallest most simplified snippet I can make that shows unequal measures. If anybody can make something like this have fixed width measures, let me know! I am aware that this goes entirely against classical engraving principles, and all of lilypond's aesthetic architecture, but it is 2015 now! Does this require internal code hacking of the layout engine somewhere deep down below the user level? It's frustrating to be defeated by a man with a pencil who can simply rule lines! :-) o Insert "indent = 0" - so that your first system is the same length as the other. o Change the value in "proportionalNotationDuration = #(ly:make-moment 1/20)" to 1/28 - following the advice in the Notation manual: "How do we select the right reference duration to pass to proportionalNotationDuration? Usually by a process of trial and error, beginning with a duration close to the fastest (or smallest) duration in the piece." Now I see three systems, each with two bars of exactly equal length. At smaller staff sizes, I can see two systems of three bars each - but they are not quite of equal length. The problem seems to be the time signature, occurring in only the first system. Can you put up with no time signature? Or with time signatures in both systems? Or (probably best) with an invisible time signature (to take up appropriate space) in subsequent systems? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stretching Line
At 22:40 05/03/2015 -0600, Emil Salim wrote:
The second line of this music below is a bit cramped. How do I
stretch it? This problem goes away if I don't include gregorian.ly.
\layout { ragged-last = ##f }
Brian Barker
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Proposal for change to arabic.ly
In the manual, for the section on Arabic music, I read that
"The symbol for semi-flat does not match the symbol which is used in Arabic
notation... The appearance of the semi-flat symbol in the key signature
cannot be altered by using this [the \dwn command] method."
However, I have found a way without using the \dwn command, which changes
all the semiflat symbols to the "flat with slash" symbol, while retaining
the correct pitches (unlike \dwn) and changing the key signature symbol as
well.
Therefore, I would like to propose the following change (add the following
code to the beginning of the file):
arabicGlyphs = #`((1 . "accidentals.doublesharp")
(3/4 . "accidentals.sharp.slashslash.stemstemstem")
(1/2 . "accidentals.sharp")
(1/4 . "accidentals.sharp.slashslash.stem")
(0 . "accidentals.natural")
(-1/4 . "accidentals.flat.slash")
(-1/2 . "accidentals.flat")
(-3/4 . "accidentals.flatflat.slash") %unattested but this symbol is
used for compatibility
(-1 . "accidentals.flatflat"))
\layout {
\context {
\Score
\override KeySignature.glyph-name-alist = \arabicGlyphs
\override Accidental.glyph-name-alist = \arabicGlyphs
\override AccidentalCautionary.glyph-name-alist = \arabicGlyphs
\override TrillPitchAccidental.glyph-name-alist = \arabicGlyphs
\override AmbitusAccidental.glyph-name-alist = \arabicGlyphs
}
}
An overview of how it looks can be seen here:
http://s722.photobucket.com/user/Brian_Xuan-
Tong_Guo/media/flat_zpscmkfwvz6.png.html?sort=3&o=0
(The top staff shows how it currently looks, while the bottom staff shows
how it will look if this proposal is accepted. The first note of each pair
shows an artificially-created semiflat by synthesizing a normal flat with a
\dwn stroke, while the second note shows how a normal semiflat would look.)
Thanks for your consideration.
Regards,
Brian
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Re: Automatic breaks not working?
At 22:47 27/03/2015 +, A. Sentman wrote: I have a couple of files where Lilypond fails to wrap the score across multiple lines, and instead cuts it off at the edge of the page. Most of these are fairly large files, and it seems to happen consistently if there are more staves than can fit vertically on the page. What I did: I used lilypond to render the example at the bottom of this post. What I expected: The score wraps to the next line after the sixth measure. What happened: The score does not wrap, instead running off of the edge of the page. This is because your score makes no sense, I'm afraid. With a time signature of C, your second occurrence of "r4.." in the top staff spans the line between the first and second bars. If I comment out the initial "r4" and "r16", in the top staff, the score breaks after bar 5 and again after bar 9. This may not be the music that you mean, but it illustrates the cause of the problem. The third staff then throws a similar problem in bar 13, where the "d4." again spans the line between bars 13 and 14. Once you have a score that properly respects bar lines, the automatic line breaks will behave themselves. I trust this helps. Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie between octaves
At 18:03 03/04/2015 -0700, Mark Stephen Mrotek wrote:
How do I get an \tieUp between the top notes of two octaves, yet a
\tieDown between the bottom notes.
If I understand the question correctly, all of these work for me:
{ < c c' >~ < c c' > }
{ < c~ c'~ > < c c' > }
{ < c_~ c'^~ > < c c' > }
There is also
\override TieColumn.tie-configuration = ... - as shown at
http://www.lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#ties .
Brian Barker
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Re: "procedure" vs. "function"
At 12:55 18/04/2015 +0100, Michael Hendry wrote: I think it was Pascal that introduced a distinction between a Procedure (which does something without returning a value) and a Function (which does something AND returns a value). Really?! Pascal: published 1970 Fortran II (included SUBROUTINE and FUNCTION): published 1958. http://en.wikipedia.org/wiki/Pascal_%28programming_language%29 http://en.wikipedia.org/wiki/Fortran#FORTRAN_II Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: general question regarding replies
At 21:38 21/04/2015 -0500, Lance James wrote: i responded to each email using the lilypond-user address but do not receive notice of my reply as i would expect. am i responding correctly? Yes. i assumed, though possibly incorrectly, that a reply to this email address would send notice to all subscribers. including myself. It does - and the copies of your own messages arrive at your Gmail account. But for such messages, Gmail "automatically skips your inbox and archives the message to save you time and prevent clutter". See https://support.google.com/mail/answer/6588?hl=en&ref_topic=3394915 . You can make your own choice to see this as a feature of or a bug in Gmail! You can confirm what reaches the list at http://lists.gnu.org/archive/html/lilypond-user/ . Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SATB polyphonic lyrics problems
At 10:17 16/05/2015 +0100, Phil Holmes wrote:
- Original Message -
From: Alan Struthers
To: lilypond-user@gnu.org
Sent: Saturday, May 16, 2015 12:07 AM
Subject: SATB polyphonic lyrics problems
I am brand new to Lilypond. I have tried and tried to figure out
how to code SATB four staves of polyphony with different notes,
durations and lyrics, but while I am close, some of the lyrics fall
to the very bottom of the score and will not stick to the staff
that I want them to.
Sorry if the example is long, but I must learn :
1) how to code what I want
2) where to put the commands properly
The lyrics in CAPITALS are for voice two (i.e., soprano 2, alto 2 )
They are aligned correctly, meaning they are directly under the
proper notes, but not attached to the correct staff.
If someone could correct my code in CAPITALS so I can see exactly
what you have done, I will be able to engrave my music.
Could you attach a text-only version of your score, please?
I'm not he, but here it is.
Brian Barker \version "2.18.2"
\language "english"
\paper {
#(set-paper-size "letter")
}
global = {
\key d \major
\numericTimeSignature
\time 3/4
\autoBeamOff
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
\oneVoice
{
c4 g8 c, g'
}
<<
{ \voiceOne
c
b2.
}
\new Voice
{ \voiceTwo
c8
g4 f e
}
% lyrics for soprano 2
\new Lyrics \lyricmode
{ AL8 -- LE4 -- LU -- IA, }
>>
\oneVoice
bf'2.
a2.
}
verseSopranoVoice = \lyricmode {
% Lyrics follow here.
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
altoVoice = \relative c' {
\global
\dynamicUp
< c g' >2.
d2.
<<
{
\voiceOne
f8[ e] d[( e] f4)
f4( c) f
}
\new Voice
{
\voiceTwo
d2.
c2.
}
% lyrics for alto 2
\new Lyrics \lyricmode
{ LU -- IA, }
>>
}
verseAltoVoice = \lyricmode {
AL -- LE --
Al -- le -- lu -- ia,
}
tenorVoice = \relative c' {
\global
\dynamicUp
% Music follows here.
< e, g >2.
< d g >2.
< f bf >2.
< f c' >2.
}
verseTenorVoice = \lyricmode {
Al -- le -- lu -- ia,
}
bassVoice = \relative c {
\global
\dynamicUp
c2. g
< bf d >2.
< f' f, >2.
}
verseBassVoice = \lyricmode {
Al -- le -- lu -- ia,
}
sopranoVoicePart = \new Staff \with {
instrumentName = "Soprano"
midiInstrument = "choir aahs"
} { \sopranoVoice }
\addlyrics { \verseSopranoVoice }
altoVoicePart = \new Staff \with {
instrumentName = "Alto"
midiInstrument = "choir aahs"
} { \altoVoice }
\addlyrics { \verseAltoVoice }
tenorVoicePart = \new Staff \with {
instrumentName = "Tenor"
midiInstrument = "choir aahs"
} { \clef "treble_8" \tenorVoice }
\addlyrics { \verseTenorVoice }
bassVoicePart = \new Staff \with {
instrumentName = "Bass"
midiInstrument = "acoustic grand"
} { \clef bass \bassVoice }
\addlyrics { \verseBassVoice }
\score {
<<
\sopranoVoicePart
\altoVoicePart
\tenorVoicePart
\bassVoicePart
>>
\layout { }
\midi {
\tempo 4 = 72
}
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Re: MMA using lilypond syntax/style
At 21:58 13/06/2015 +0200, Martin Tarenskeen wrote: A quote from that website [http://www.mellowood.ca/mma/]: And, please remember, our program is called "MMA - Musical MIDI Accompaniement", not "MMA". So its full name would be "Musical Musical Instrument Digital Interface Accompaniment - Musical Musical Instrument Digital Interface Accompaniment"? (Oh, and they do call it "MMA" far more often than anything else!) Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
