Glissandi as "slides" in vocal music
I am searching your archives and pages for the equivalent of slides in vocal music. The appearance of a slide is a short glissando beginning (or ending) at a note head. I have a SATB two-staff score with several slides and am wondering if there is any way to coerce these out of the glissando and scripts. The problems here are two-fold: (1) I need to have the ability to begin (end) the glissando on a note without a visible end (begin) note, and (2) I need to be able to put multiple glissandi slides on the notes of a chord. Where should I be looking for a solution? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
png
How do I produce a png file using Lilypond 2.6.0 for Windows? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: png
For Alternative 1, you should not include the name of the program, just the path to it, but it does not work for me. Alternative 2 does work. I am using an XP PC. Stephen - Original Message - From: "Mats Bengtsson" <[EMAIL PROTECTED]> To: "Stephen" <[EMAIL PROTECTED]> Cc: Sent: Sunday, July 03, 2005 2:52 PM Subject: Re: png More general, how do you add a flag to the LilyPond command in Windows? I have just installed the Windows version myself for the first time, but so far I have come with the following two alternatives. Maybe someone has a better answer. Alternative 1: - Add C:\Program Files\LilyPond\usr\bin\lilypond.exe to the PATH environment variable (Right-click My Computer -> Properties -> Advanced -> Environment Variables on Windows XP) - Open a command prompt, change to the directory where you have your file. - run the lilypond command as described in the manual, i.e. lilypond --png myfile.ly in this particular case Alternative 2: - Right-click on the "LilyPond" icon on the desktop" -> Properties -> Shortcut In the Target: field, add "--png" after the "...\lilypond.exe", i.e. something like: "C:\Program Files\LilyPond\usr\bin\lilypond.exe" "--png" - Drag and drop your .ly file to the LilyPond icon as usual. - If you want to use some other flag, you have to redo the first step again. /Mats Quoting Stephen <[EMAIL PROTECTED]>: How do I produce a png file using Lilypond 2.6.0 for Windows? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: note and dynamics collisions in lilypond
Mats wrote: From: "Mats Bengtsson" <[EMAIL PROTECTED]> Sent: Tuesday, July 05, 2005 4:41 AM Subject: Re: note and dynamics collisions in lilypond Quoting Erik Sandberg <[EMAIL PROTECTED]>: Hi, This kind of emails should go to the mailing lists (either -user or -devel). CC:d to lilypond-user. On Saturday 02 July 2005 21.51, Stephen wrote: > Hi, > > Have you heard whether there is a move to eliminate collisions between > notes and dynamics? dynamics work the same way as text. Except that the properties should be set on another layout object than the TextScript. That would be DynamicText. I just started extra-offset to move those around. It is different from Text in that it uses a different font, it only contains the letters needed for absolute dynamics: p, f, s, z, and r. I think. But it needs to have even more of a distinction from text than it has; unlike text which is a line and has a horizontal span which can only be meaningfully placed above or below the note it is attatched to, an absolute dynamic is more of a symbol which should be able to be placed above, below, or to the left of the note, like a fingering indication. In fact, Absolute Dynamics are typically to the left of its note in piano music when they are not centered between the staves. When they are running horizontally between the staves, the Dynamic is meant to affect all voices simutaneously. Stephen Have you read the manual section "Changing defaults"? ... BTW, there's no explicit bug in our bug archive about dynamics colliding with notes; can you send a short .ly example when this occurs? Dynamics will always be placed at a minimum distance from the note it is attached to (thanks to the padding property), but it may very well collide with the following notes. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: force accidentals
Nicoas, Mehmet meant to say "Can the function be modified to not put an accidental or natural on notes repeated in the same measure." Put it another way and the question is: "Can we make the accidental engraver treat the natural exactly the way it treats the sharp and flat?" In Atonal music, there is not key signature. Normally, if there are not accidentals in the key signature, that means the key is either C Major or a minor. So how do we indicate on paper that there is no key signature? Simple. Put the natural on the same footing as the sharp and flat, treat each note as if it has an equal chance of being a natural, sharp, or flat. Accidentals are only normally put on a note the first time they occur in a measure, so we want the natural to be treated that way too. Instead of putting an accidental on every note, we want notes repeated in the same measure to be absent an accidental. Somewhere in the function forceAlterations you might have the line: (eqv? (ly:music-property m 'measureLength) 0) checking to see whether the present note is the first occurance of that note (within the same octave, as Mehmet stated) since the measure began. Doing it that way would be cumbersome and might make the function more complicated than it would have to be, but I am indicating what the function should do to engrave Atonal music properly. Shoenberg did note approve to the term 'Atonal'. However, this is how his music was originally published in the Universal Edition engravings. The proper term is 'Music without a Key Signature', but that is not as catchy as 'Atonal'. So how would you enforce the idea that the music has no key signature when absence of accidentals in the key signature indicates C major? The answer is treating the natural the same as the other two accidentals. This could be written into the accidental engraver as a standard style: #(set-accidental-style 'atonal) Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and stability
Well, that solves that problem, do you happen to know why the composer and opus fields overlap in the header? When I post to the user group, I have to remember to manually paste in the lilypond-user address. At least I think I have to. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: force accidentals
I am not sure what the error message means: warning: accidental `5' not found How is '5' an accidental? Of course, since it's not that's why is can't be found, but how is it that it gets looked for? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: force accidentals
Mehmet a ecrit:
I beg your pardon if I did not express myself as well as a native English
speaking person.>
I felt unusually confident I knew what you really meant because I have one
of the Universal Editions you were talking about as a reference and we had
discussed it a little further. Your english is really very good.
The function is very useful and it must be uploaded at the code snippets.>
I am having trouble with it when I put it in a PianoStaff.
Please quote the message to which your replying, in order to bring some
context to the discussion>
I am trying, but it does not happen automatically because I am not subscibed
to user-lilypond only lilypond-devel.
then engine compares note alterations with the
key signature, which contains only non-existant alterations.>
When I place the functions inside a PianoStaff, it prints a key signature
unfortunately.
Skipping the explanation, I'll just attach the example I made if you don't
mind.
The KeySignature print-function override only occurs after the line breaks
are set. Removing the engraver nullifies the function entirely.
I am wondering if there is a way to override the print-function before
line-breaking? Perhaps in the layout block. Or is there a way to get the
note alterations we want without creating a key signature. I already
experimented with the pitch-alist to no avail. How does "tonic
(ly:make-pitch -1 4 0)" work? I there something we can do there to stop
printing the key signature? I think this is the most staight-forward way to
manipulate the accidetal_engraver.cc to do what we want without re-writing
it, but can it be done without creating a real key signature at all?
Alternatively, perhaps I don't understand where to place the function. Or
perhaps there might be a way to change the context of the function? Maybe
just the right context would put it outside the scope of printing the
keysignature while still affecting the notes. Anyway, it is a nice function.
Check out atonicKey.ly to see what I am talking about.
By the way, the error messages also stopped once it started to print a key
signature.
Stephen
\version "2.6.0"
atonicKey =
#(def-music-function (parser location) ()
#{ #(ly:export (make-music 'EventChord
'origin $location
'elements (list (make-music 'KeyChangeEvent
'tonic (ly:make-pitch -1 4 0)
'pitch-alist '((5 . 1)
(6 . 1)
(0 . 1)
(1 . 1)
(2 . 1)
(3 . 1)
(4 . 1))
\set Score . extraNatural = ##f #})
\layout {
%\context { \Staff \remove Key_engraver }
raggedright = ##t
}
\context PianoStaff <<
\override PianoStaff.KeySignature #'print-function = ##f
\context Staff = upper \transpose c c' {
\time 6/8
\tempo 4.=80
\override Score.Hairpin #'height = #'0.5
\override Score.Beam #'auto-knee-gap = #'4.5
\set Score.allowBeamBreak = ##t
\override Score.MetronomeMark #'extra-offset = #'(5.0 . 2.0)
#(set-accidental-style 'modern-voice)
% Add bar numbers in a cirlce every 5th bar
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 5)
\override Score.BarNumber #'font-size = #1
\override Score.BarNumber #'print-function
= #(make-stencil-circler 0.1 0.25 Text_interface::print)
\clef G
\atonicKey
r8^\markup { " " \translate #(cons -5.5 2.25) \bold \huge " Rasch" }
e'-.\p f'-. g4^>( \< des'8^.) \! |
ges es8. ^\< as16( \! d8-.) r b ~ ^\sf | \noBreak b
\once \override Script #'extra-offset = #'(0.5 . -0.5) c^^[
\once \override Script #'extra-offset = #'(0.5 . 0.0) a,^^] r r
\once \override Script #'extra-offset = #'(0.5 . 0.0)
\once \override DynamicText #'extra-offset = #'(-0.9375 . -1.75)
as^. ^\p \break
<< {
\override Script #'extra-offset = #'(0.5 . 0.0)
\override DynamicText #'self-alignment-X = #1
\override DynamicText #'extra-offset = #'(-0.875 . -2.375)
ces'-. r r ges[ c']-.-> ^\sf } \\ {
\override Script #'extra-offset = #'(-0.5 . 0.0)
es( d)-. f( ~ f[ e]) } >>
f'\rest |
}
\context Staff = lower \transpose c c {
\clef F
\atonicKey
r4 r8 bes8.^^\mf[ ces'^^ |
des^^ g^^] r
Re: opening files with Notepad
Try opening it in wordpad once, then save it without making any changes, close the files and open it in notepad. Even though Wordpad is a Word Processor and not a Text Editor, when you open a text file in it, it opens it in text mode, it won't add any unwanted formating to the file. Still I use Notepad or Lite Edit or jedit. Lite Edit gives the line numbers which is useful when responding to the error messages from Lilypond, jedit is a Programmers Text Editor that will let you know if you misspelled a key word and you can run Lilypond from it, all of which is only useful only after you figure out how to set it up. Meanwhile, I like NotePad. It is simple and straight forward, opens amazingly fast and as long as I indent properly, I never need any more visual formatting (not the kind from a Word Processor) to make my files clear. Additionally, I do use jedit to save my lilypond file to UTF-8 text format if I am using any umlauts in my titles. jedit really is the best solution once you figure out how to tap into its power, but I keep going back the NotePad just because it opens the file faster. Actually, I'd like to find a utility that changes my windows endings back to unix style line endings for when I make a patch on the sources. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
COMMENT LIMITER UNE PARTITION A UNE NOMBRE ENTIER DE PAGES ?
En englais: A well-placed /break or /pageBreak may do it. I use: betweensystempadding = -1\mm bottommargin = 6\mm or perhaps (peut-etre) linewidth = 164\mm to control where page breaks will be placed. Ne rien, Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
inputencoding = "TeX"
How does the Embedding TeX commands snippet work in 2.6 - .7? http://lsr.dsi.unimi.it/LSR/Item?id=107 Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly problem
I have the opposite opinion from Laura. The first project I did using Lilypond was to convert an old file from 1.3 to 2.4. It required a lot of hand editing. In the end, it is easier to hand edit a file than to re-input all the notes. I had to manally move all the open brackets for beaming over, because convert-ly could not move both parentheses and brackets on the same notes. As I was working, I was pleased to see how much better the new syntax was. It was very refreshing to see developers who were willing to change a program so much to improve it without regard for compatibility issues. Finally, I found a project whose main objective was to be as good as it can possibly be. It is dissapointing to see that many of the changes from 2.4 to 2.6 are to make Lilypond more user-friendly. TeX has been replaced by Pango because it is smaller and easier to install. I was looking forward to learning how to integrate TeX and Lilypond in my *.ly files more and more. Additionally, the TeX fonts looked better than the Pango fonts do to me. If I make a title bold it is too bold now. I think the new font needs a slightly less bold bold. My feeling is that rather than try to increase Lilypond's user base, Lilypond should be developed to become such a good tool that no other program can rival it and some of the profressional high-end users will not be able to use anything else. Put another way, I think the devolopers should develop Lilypond for their own needs and let the other users see for themselves how that makes Lilypond more useful for everyone in the long run rather than try to anticpate the needs of the fictional "general user". Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff.alignAboveContext and volta brackets
- Original Message -
From: "Nicolas Sceaux" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]>
Cc:
Sent: Sunday, July 31, 2005 9:28 AM
Subject: Re: Staff.alignAboveContext and volta brackets
"Stephen" <[EMAIL PROTECTED]> writes:
Why not start with all three staffs and remove the staff from the
first line?
Using:
\layout {
\context { \RemoveEmptyStaffContext }
}
Stephen
Because that does not work either. The "1." volta is not displayed.
Honestly, I thought you would say that, but I had to ask.
Stephen
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Re: Staff.alignAboveContext and volta brackets
- Original Message -
From: "Nicolas Sceaux" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]>
Cc:
Sent: Sunday, July 31, 2005 9:28 AM
Subject: Re: Staff.alignAboveContext and volta brackets
"Stephen" <[EMAIL PROTECTED]> writes:
Why not start with all three staffs and remove the staff from the
first line?
Using:
\layout {
\context { \RemoveEmptyStaffContext }
}
Stephen
Because that does not work either. The "1." volta is not displayed.
Honestly, I thought that would be your answer, but I had to ask.
Stephen
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using oneVoice vs force-hshift in polyphany and alternatives
Sure, the notes are in the right place. The interaction between the various
parts is baffling though. Using \oneVoice to set the notes over one another
seems to make the stems go up; \stemDown erases the effect of \oneVoice and
\oneVoice cancels \stemDown. Apparently \override NoteColumn #'force-hshift
= #0.0 accomplishes the what I want without side effects.
What is \oneVoice meant to be used for? Can someone list separately all the
things it does?
Finally, I don't understand the scoping rules at play here. How come I can
comment out some of the stem overrides while leaving them in effect?
Stephen
Vier.png
Description: PNG image
\version "2.8.0"
\paper {
#(set-paper-size "a5")
indent = 0\mm
}
upper = {
\time 3/8
\key b \minor
<< {fis'4( ~ fis'16 a') | }
\\ {fis'16( \tieUp d' ~ \once \override Stem #'transparent = ##t d'
\change Staff = lower \stemUp
\once \override Staff.Clef #'extra-offset = #'(-2.0 . -0.25)
\once \override Staff.Clef #'font-size = #-1
\clef G g ~ < g e> 8) | }
\\ {s8 d'4 | }
\\ { \oneVoice
\override Stem #'length = #13.5
\override Stem #'flag-style = #'no-flag
s8 b16 s8. | }
>>
<< {g'4( ~ g'16 fis') | }
\\ {g'16( \tieUp e' ~ \once \override Stem #'transparent = ##t e'
\change Staff = lower \stemUp
a fis d) | }
\\ {s8 e'4 | }
\\ { \oneVoice
%\override Stem #'length = #'(3.5 3.5 7.0 4.5 5.0)
%\override Stem #'flag-style = #'no-flag
s8 cis'16 s8. | }
\\ { s4. }
\\ { \override NoteColumn #'force-hshift = #-0.6484375
\override NoteHead #'transparent = ##t
\change Staff = lower s8. a | }
\\ { s4. }
\\ { \change Staff = lower s4 fis8 | }
\\ { \oneVoice
\override Stem #'flag-style = #'no-flag
\change Staff = lower s4 s16 d | }
>>
<< {cis'4( ~ cis'16 b16) | }
\\ {cis'16( \tieUp a ~ \once \override Stem #'transparent = ##t a
\change Staff = lower \stemUp
\once \override Staff.Clef #'font-size = #1
\clef F d b, g,) | }
\\ {s8 a4 | }
\\ { %\oneVoice
\override Stem #'length = #7.0
%\override Stem #'flag-style = #'no-flag
\override NoteColumn #'force-hshift = #0.0
s8 fis16 s8. | }
\\ { s4. }
\\ { \override NoteColumn #'force-hshift = #-0.6484375
\override NoteHead #'transparent = ##t
\change Staff = lower s8. d | }
\\ { s4. }
\\ { \change Staff = lower s4 b,8 | }
\\ { \oneVoice
\override Stem #'flag-style = #'no-flag
\change Staff = lower s4 s16 g, | }
>>
}
dynamics = {
\override DynamicText #'extra-offset = #'(-1 . 2)
s\p
}
\score {
\context PianoStaff <<
\context Staff=upper \transpose c c' \upper
\context Dynamics=dynamics \dynamics
\context Staff=lower <<
\clef bass \key b \minor s4. | s4. | s4. |
>>
>>
\layout {
\context {
\type "Engraver_group"
\name Dynamics
\consists "Output_property_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists "Dynamic_engraver"
\override DynamicText #'extra-offset = #'(0 . 2.5)
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\PianoStaff
\accepts Dynamics
\override VerticalAlignment #'forced-distance = #6.75
}
}
\midi { \tempo 4=36 }
}
Brahms.png
Description: PNG image
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Re: using oneVoice vs force-hshift in polyphany and alternatives
From: "Mats Bengtsson" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]>
Cc:
Sent: Thursday, April 20, 2006 12:24 AM
Subject: Re: using oneVoice vs force-hshift in polyphany and alternatives
Quoting Stephen <[EMAIL PROTECTED]>:
Sure, the notes are in the right place. The interaction between the
various parts is baffling though. Using \oneVoice to set the notes over
one another seems to make the stems go up; \stemDown erases the effect of
\oneVoice and \oneVoice cancels \stemDown. Apparently \override
NoteColumn #'force-hshift = #0.0 accomplishes the what I want without
side effects.
What is \oneVoice meant to be used for? Can someone list separately all
the things it does?
See Sect. "Explicitly instantiating voices" for a list of what \voiceOne,
..., \voiceFour do. \oneVoice reverts the settings
done by any of \voiceOne ... \voiceFour, so among others it does
a \revert Stem #'direction
which is what you noted.
Thank you for the reply. Yes, I did note that \oneVoice undoes the effect of
a previous \stemDown. If I want to use \oneVoice, the stem must already be
in the direction that I want, hence the line \\ { s4. } when I want the stem
to switch the other way. But \stemDown also resets the horizontal placement
of the note if it follows \oneVoice, so they both mutually reverse one
another.
If I had a list of everything \oneVoice does, I could pick and choose the
effect that I want. \revert Stem #'direction is a good hint though. Perhaps
\override NoteColumn #'force-hshift = #0.0 is exactly what \oneVoice does?
Stephen
/Mats
Finally, I don't understand the scoping rules at play here. How come I
can comment out some of the stem overrides while leaving them in effect?
Stephen
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Re: using oneVoice vs force-hshift in polyphany and alternatives
From: "Stephen" <[EMAIL PROTECTED]> To: Sent: Wednesday, April 19, 2006 10:54 PM Subject: using oneVoice vs force-hshift in polyphany and alternatives Sure, the notes are in the right place. The interaction between the various parts is baffling though. Using \oneVoice to set the notes over one another seems to make the stems go up; \stemDown erases the effect of \oneVoice and \oneVoice cancels \stemDown. Apparently \override NoteColumn #'force-hshift = #0.0 accomplishes the what I want without side effects. What is \oneVoice meant to be used for? Can someone list separately all the things it does? Answering my own question, I believe that \oneVoice does three things: \revert Stem #'direction \revert NoteColumn #'horizontal-shift \revert MultiMeasureRest #'staff-position Because that is what make-voice-props-revert seems to do in music-functions.scm I previously investigated how oneVoice is defined in property-init.ly but failed at first to investigate further. Stephen Finally, I don't understand the scoping rules at play here. How come I can comment out some of the stem overrides while leaving them in effect? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem lengths in 2.8.1
I noticed that the stem lengths are calculated differently.
lengths, a list:
\override Stem #'lengths = #'(3.5 3.5 7.0 4.5 5.0)
seems to be replaced with length, a dimension or stem-end-position, a
number:
\override Stem #'length = #13.5
The number 7.0 in the first example results in the same stem length as the
13.5 number in the new way of doing things.
In the old way, you could specify 'a length for each flag-count' with the
list. Whereas, length is a 'User override for the stem length of unbeamed
stems.', apparently stems of any flag-count. So the stem length is
calculated differently.
I think the difference in stem-length between stems with different
flag-counts has been revised.
Browsing the documentation, lengths still exists, but has been taken out the
the 'User settable properties' list. It is in the 'details' list, whatever
that means.
Stephen
- Original Message -
From: "A P" <[EMAIL PROTECTED]>
To:
Sent: Thursday, April 20, 2006 10:07 AM
Subject: Stem lengths in 2.8.1
I've just returned to lilypond after a long time
(version 2.0.1!) and have noticed in version 2.8.1
that the stem lengths seem to be a bit shorter, at
least in the following example (from Telemann) :
\version "2.8.1"
upper = \relative c'' {
\clef treble
\key bes \major
\time 4/4
bes16 a bes c bes c a bes c bes c d c d bes c |
d c d ees d ees c d ees d ees f ees f d ees |
}
lower = \relative c {
\clef bass
\key bes \major
\time 4/4
bes8 d g f ees c f f, |
bes bes' bes, bes' ees, es' ees, ees' |
}
\score {
\new PianoStaff <<
\set PianoStaff.instrument = "Cembalo"
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout { }
}
In the output of 2.8.1, the stems of the semiquavers
in the upper clef appear to be shorter than those in
the output from 2.0.1 by about the height of a ledger
line. Unfortunately, I don't have the original
(2.0.1) code, but there was nothing unusual about it.
Was this a conscious decision on the part of the
developers or a by-product of some other changes?
Thanks,
Aloke
Send instant messages to your online friends http://au.messenger.yahoo.com
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Re: using oneVoice vs force-hshift in polyphany and alternatives
By the way, comparing the output between 2.6 and 2.8, I notice that slurs are improved. Stephen From: "Stephen" <[EMAIL PROTECTED]> To: Sent: Wednesday, April 19, 2006 10:54 PM Subject: using oneVoice vs force-hshift in polyphany and alternatives Sure, the notes are in the right place. The interaction between the various parts is baffling though. Using \oneVoice to set the notes over one another seems to make the stems go up; \stemDown erases the effect of \oneVoice and \oneVoice cancels \stemDown. Apparently \override NoteColumn #'force-hshift = #0.0 accomplishes the what I want without side effects. What is \oneVoice meant to be used for? Can someone list separately all the things it does? Finally, I don't understand the scoping rules at play here. How come I can comment out some of the stem overrides while leaving them in effect? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Hara_kiri_engraver
How do I specifiy a specific Staff? \remove "Axis_group_engraver" \consists"Hara_kiri_engraver" I don't want this to apply to the PianoStaff. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara_kiri_engraver
- Original Message -
From: "Stephen" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, May 03, 2006 12:14 AM
Subject: Hara_kiri_engraver
How do I specifiy a specific Staff?
I found the answer: use \with to bind a layout command to a specific Staff.
My score block looks like this:
\score {
\header {
piece = "Moderately"
}
<<
\context Staff = Vocal
\with {
\remove "Axis_group_engraver" \consists "Hara_kiri_engraver"
} \transpose c c' \melody
\lyricsto "singer" \context Lyrics \words
\context PianoStaff <<
\context Staff = upper \transpose c c' \upper
\dynamics
\context Staff = lower \lower
>>
>>
}
\remove "Axis_group_engraver" \consists"Hara_kiri_engraver"
I don't want this to apply to the PianoStaff.
Stephen
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Re: different notehead styles
Why am I getting an attachment with no cover letter? I don't open attachments unless I know what it is. Stephen - Original Message - From: "Matevz Jekovec" <[EMAIL PROTECTED]> To: Sent: Monday, May 08, 2006 6:02 PM Subject: Re: different notehead styles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I'm having problem coloring notes
It is not allowed to use the "override" command within a chord; if you're working with lilypond 2.8, you can use the "tweak" command. Your example will work this way: 4 The old pre-tweak way would have been to create the chord with different voices and line up the notes manually into a chord. Using: \override NoteColumn #'force-hshift = #0.0 within different polyphonic lines. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano and Solo
From: "Tomas Valusek" <[EMAIL PROTECTED]> Sent: Thursday, May 11, 2006 1:02 AM Hello, How to add solo staff to "Piano centered dynamics" template? The best I can get with my current LilyPond knowledge is in attachement, but the solo staff is too near. Thanks for any help. Tomas Valusek Remember that if you add lyrics the lyrics will take its own space and you'd probably be happy with the default then. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Have the fonts changed?
From: "Eyolf Ostrem" <[EMAIL PROTECTED]> Sent: Thursday, May 11, 2006 6:15 PM I finally managed to upgrade to the latest version of Lilypond, from the 2.6.4 that I used to run. I'm very happy with the new features (especially the musica ficta option), but there is one change which I'm not quite as happy with: the fonts, more precisely: the way they look in [k|x]pdf. When I generated scores under 2.6.4, everything looked fine, but now the music fonts are not anti-aliased, with the result that every note looks filled - not ideal, to say the least. If I view the ps-files directly or the pdf files in Adobe Acrobat, it's still fine, and printouts from xpdf look the way they should. Is it the fonts that have changed? Or the generation? I searched the forums, and some reports similar to mine (but related to the text fonts, which are fine here) seem to indicate that it has to do with the package ec-fonts-mftraced. I have v. 1.0.12 installed (distro: ArchLinux). eyolf, ec-fonts have not been used in Lilypond since 2.4. They were replaced with truetype fonts. But that does not affect the notes, symbols, or dynamic font. I was told that the ec-fonts could still be used with Lilypond, yet I have not found a way to switch to a font other than truetype or opentype on Windows. Stephen I can use ViewPS (in emacs) of course, so it's not a big problem, but I was wondering all the same. One last thing: When I aired the question in the Arch forum, it was suggested that I ask xpdf/kpdf/poppler dev for its support. Is that relevant? Eyolf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas - STILL can't get it right...
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Wednesday, May 17, 2006 7:48 AM
Subject: Codas - STILL can't get it right...
I've upgraded to mingw 2.8.2 ...
Firstly, thanks for the tip about page-spacing.ly. This looks exactly
like what I want ... except I can't find any docu except the example
itself, and cut-n-pasting seems to have no effect :-( (I've looked in
the manual index, and in the html internal thingy which I used IE's
search on)
page-spacing.ly reveals all the defaults. I does not demonstrate how to
change the defaults. Off-hand, I do not know how to change them. ...Well,
maybe it does show you how. I seems to be using a new override called
\overrideProperty. The printing of properties is meant to help you find the
property you want to change. If you want to print the defaults on another
project, add the print-score-with-defaults function from the top of
page-spacing.ly. Otherwise you need to be more specific about what about the
file you like.
OK, I get the error message 'The PostScript backend does not support the
'classic' framework. Use the EPS backend instead,
lilypond -b eps
or remove the lilypond-book specific settings from the input."
lilypond-book is something I have no experience with.
And I still can't get my "DS al Coda" and coda symbols to come out
where/how I want them. It's all very well saying "attach them to the
note before/after", but (a) imho they belong attached to the barline,
You are right, they should be attached to the barline. That is why you
should \mark instead of \markup. Rehearsal Marks can take any text, just
like \markup, but it attaches the marks to the barline instead of notes. In
addition, you will want to right justify the text to the barline, so I will
show you an example of how I did that.
\bar "||"
\once \override Score.RehearsalMark #'self-alignment-X = #right
\once \override Score.RehearsalMark #'font-size = #0
\once \override Score.RehearsalMark #'padding = #0.5
\mark "Fine"
I changed the font-size because the default fontsize for \mark is larger
than for \markup. That is one of the only differences besides where they
attach the text.
Stephen
and (b) last time I attached something like that to a R1*8 it looked
rather silly ...
(Actually, I think it was effectively << {s2 s s1*3} {R1*4} >> with the
s's and R in different voices on the same staff, but it was a mess The
s2 stuff was a deliberate (and failed) attempt to get it to go to the
left.) Oh - and with my current part the coda will collide with a
fermata :-(
The problem (from my point of view) is that I'm in the habit of putting
all the structure in a separate voice from the notes, and codas etc are
structure. So I can't attach them to a genuine note or fine-tune their
left/right alignment, because I re-use the same structure voice across
multiple parts, hence stuff like that getting attached to a R1*8!
So basically, in the below code I want
(1) to push the last system down and leave a bigger gap
(2) to have "DS al Coda" appear right-justified at the end of the
penultimate system
(3) to have the Coda symbol appear left justified at the beginning of
the last system
imho this is a perfectly normal layout and I just cannot see how to
achieve it ...
\version "2.8.2"
allegro = {
\once \override Score.RehearsalMark #'self-alignment-X = #left
\mark "Allegro"
}
coda = {
\mark \markup { \musicglyph #"scripts.coda" }
}
dalsegno = {
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark "DS al Coda"
}
segno = {
\mark \markup { \musicglyph #"scripts.segno" }
}
voiceTimeSig = {
\time 2/4
\key df \major
s2*2
s2*8
s2*8
s2*8
s2*2
s2*8
s2*8
s2*8
\key bf \major
\repeat volta 2 { s2*15 } \alternative { { s2 } { s2 } }
s2*3
\key df \major
s2*4
}
voiceMarkup = {
s2*2 \bar "||" \segno
s2*8 \bar "||" \allegro
s2*8 \bar "||"
s2*8 \bar "||" \coda
s2*2 \bar "||"
s2*8 \bar "||" \allegro
s2*8 \bar "||"
s2*8 % Trio
\break
\mark "TRIO Presto"
\repeat volta 2 { s2*15 } \alternative { { s2 } { s2 } }
s2*3 \bar "||" \dalsegno
\overrideProperty
#"Score.NonMusicalPaperColumn"
#'line-break-system-details
#'((next-space . 20))
\break
\once \override Score.RehearsalMark #'self-alignment-X = #left
\coda
s2*4
}
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Re: Moving text on multibar rest
From: "Peter Clarke" <[EMAIL PROTECTED]>
Sent: Wednesday, May 17, 2006 9:44 AM
Dear list,
I have a text on a multibar rest, like this: R1*8^"Verse 1"
The text appears centred on the rest. But I would like it
aligned to the left, to indicate that it refers to the
beginning of the rest. I've tried the following, but they
didn't make any difference:
R1*8^\markup { \hspace #-5 "Verse 1" }
\once \override TextScript #'extra-offset = #'( -5.0 . 0.0 )
R1*8^\markup { "Verse 1" }
Any ideas why these didn't work, and how can I do it?
Try using a rehearsal mark left-aligned to the preceeding barline:
\once \override Score.RehearsalMark #'self-alignment-X = #left
\once \override Score.RehearsalMark #'font-size = #0
Stephen
Peter C
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Re: clef transposition: tenor -> bass
From: "Roman" <[EMAIL PROTECTED]>
Sent: Thursday, May 18, 2006 8:06 AM
Mats Bengtsson wrote:
Okay, but my problem is, that a C in tenor clef isn't a C in bass clef
and I don't know how a transposition between them needs to be!?
Of course a C is a C, no matter what clef you use.
Okay, that's true, but I thought of a C in a bass clef and a C in a tenor
clef aren't located on the same line...
I still think that you are confusing things with the issue of transposing
instruments,
see http://en.wikipedia.org/wiki/Transposing_instrument. I'm not an
expert in
brass instruments, but according to that article, trombones read at
concort pitch,
i.e. they are not transposing.
That's true, but for those players that can't "read" tenor clef, I have to
write it into bass clef, which is more common in trombone sections and can
be read from all players
The following staff should afterwards have a bass clef with all the notes
on the appropriate interspace/line, so that it can be read from players
that can only "read" bass clef!! How can I reach this?
staffTrombone1 = {
\key c \major
\clef tenor
\relative c' {
c d es f ...
}
}
\book { \score {
\staffTrombone\layout { indent = 0\mm }
}
}
If the trombonists use the bass clef, but the sounds an octave higher, this
is how you write that:
staffTrombone = {
\key c \major
\clef bass
\transposition c''
\transpose c c, { \relative c' {
c d es f
} }
}
\book {
\score {
\staffTrombone
\layout { indent = 0\mm }
\midi { }
}
}
Try compiling the example before making any comments.
Stephen
staffTrombone = {
\key c \major
\clef bass
\transposition c''
\transpose c c, { \relative c' {
c d es f
} }
}
\book {
\score {
\staffTrombone
\layout { indent = 0\mm }
\midi { }
}
}
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using ec-font-mftraced for headers only
This post has a part for the developers to consider and for the users archive. The part for the developers to consider is that Lilypond needs a display font for the header. Sometimes enlarging and enboldening a text font does not work as well as using a font that was designed to be displayed at large sizes. Hence the distinction between a display font and a text font. Sometimes the same font will do for both, but not very often. It would have to be designed from the getgo (ie. beginning) to be good for both. Century Schoolbook is not such a font. It is a text font, not a display font. As can be seen from the subject line, my question falls into two parts: 1) Supposing I like the new fonts for everything but the header, how do I selectively change the default header in my Lilypond projects without changing any of the other fonts. In "8.1.7 Font selection" make-pango-font-tree defines different fonts for different purposes, but how does one define a font to be used for Headers only? 2) In Windows I can only specify an Open Type or True Type font to be added to the pango tree. How can I select the original Type 1 font used for Headers in Lilypond 2.4? Also, which font was that? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas - STILL can't get it right...
From: "Graham Percival" <[EMAIL PROTECTED]> Sent: Thursday, May 18, 2006 12:29 PM On 17-May-06, at 8:42 AM, Stephen wrote: K, I get the error message 'The PostScript backend does not support the 'classic' framework. Use the EPS backend instead, lilypond -b eps or remove the lilypond-book specific settings from the input." lilypond-book is something I have no experience with. If you look at the lily-numbers.ly, you will see % % Start cut-&-pastable-section % I thought I needed the function 'print-score-with-defaults' to work properly, I see now that it works without that function. Stephen Simply cut&paste the material below that line. (alternately, delete the material above that line) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clef transposition: tenor -> bass
From: "Roman" <[EMAIL PROTECTED]>
Sent: Thursday, May 18, 2006 3:09 PM
Kieren Richard MacMillan wrote:
Hi, Roman:
My Idea was to first write the notes in tenor clef so that I can check
if I did everything wright on an outprint.
If you are copying music written for the trombone using the treble clef, you
are right in assuming that you will avoid making mistakes if you first use
the treble clef and then switch to the bass clef after you have proof-read
it.
Stephen
Afterwars I wanted to transpose
everything with one command into a bass clef staff with appropriate
transposed notes in the bass clef staff, but that doesn't seem to work
this way.
Yes, it does! Here's all you need to do
1. Write everything in tenor clef, just like you want:
\tromboneNotes = \relative c' { \clef tenor a b c d e f g }
2. Look at the printed output (in tenor clef), and confirm that the
pitches are correct.
3. Convert (not "transpose"!!) to bass clef by simply changing the clef
command from "tenor" to "bass":
\tromboneNotes = \relative c' { \clef bass a b c d e f g }
Good luck,
Kieren.
Okay, thx!
But I think my key problem was to interpret the tenor clef as a C-clef,
which is related to the bass clef located on the F-line (despite both
notes in each clef are located on the second line)
Thanks again for your help!
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Re: Connecting notes on separate staves...
From: Eduardo Vieira
Sent: Saturday, May 20, 2006 5:51
PM
Hi, Rick!
Try this: \once \override NoteColumn #'X-offset =
#1.3 8 r r
Adjust the number until you're
satisfied.
Almost, rather than fiddle with the number try
using just zero:
\override
NoteColumn #'force-hshift = #0.0
This usually works. It is from the larger
context:
<< {g4.( ~ | g8[ fis])}
\\ {\override Staff.NoteCollision #'merge-differently-dotted = ##t
g16(\< e cis ais, \change Staff =lower
\stemUp fis, d, | b,,4)\!} \\ {\override Stem #'transparent = ##t
s16 e ~ \noBeam
\revert Stem #'transparent
\once \override Stem #'flag-style =
#'no-flag \stemDown e ~ \noBeam \stemUp e8. ~ |
\override NoteColumn #'force-hshift = #0.0
\override Stem #'flag-style = #'no-flag e8
d} \\ {s8 \override Stem #'flag-style = #'no-flag
cis16 ~ \noBeam
\override NoteColumn #'force-hshift = #0.0
\stemUp cis8. ~ | cis8 b,} \\ {s4
\change Staff =lower \override Stem #'flag-style = #'no-flag
\override Tie #'extra-offset = #'(0.25 .
-0.25) \override NoteColumn #'force-hshift =
#0.0 fis,16 ~ \noBeam fis, ~ | fis,4 }
\\ {s4 s16 \change Staff =lower \override Stem #'flag-style =
#'no-flag \stemUp \tieUp d, ~ | d,4 } \\ {s8. \override Stem
#'flag-style = #'no-flag \tieDown ais, ~ |
ais,8 s } >>
I also used this number:
\override
NoteColumn #'force-hshift = #-0.6484375
Essentially a magic number of some kind that I
found by trial and error.
Stephen
Regards,
Eduardo
- Original Message -
From:
Rick Hogg
To: Thies Albrecht ; lilypond-user@gnu.org
Sent: Saturday, May 20, 2006 6:13
PM
Subject: Re: Connecting notes on
separate staves...
Thies,I knew about that. It's more like, add a
second voice, stem up. Then the E, stem down, is moved to the right a
little and doesn't line up with the notes it should connect to on the next
staff down. If you compile my example you'll see what I mean.
Basically, I need to be able to shift notes to the right a little to line
up. Here's the code
again:%%\version
"2.8.3"\layout { ragged-right = ##t }stemExtend = \once
\override Stem #'length = #14noFlag = \once \override Stem #'flag-style
= #'no-flagupper = \relative c' { \clef
treble \time 6/8 \key a
\major << 8-. \\ \stemDown
\stemExtend \noFlag e8 >> r r }lower =
\relative c' { \clef bass \time
6/8 \key a \major 8 r
r }\score {
\new PianoStaff
<< \new
Staff = "upper" \upper
\new Staff = "lower" \lower
>>
}%%Thanks,RickThies
Albrecht <[EMAIL PROTECTED]> wrote:
Hi
Rick!Rick Hogg schrieb:> Can anybody help me on this? How
do I move the notes on the bottom > staff to the right?Are you
looking for something like
http://lilypond.org/doc/v2.8/Documentation/user/lilypond/Cross-staff-stems.html#Cross-staff-stems
?Kind regardsThies
Albrecht___lilypond-user
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Sneak preview the all-new
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Re: convert-ly detailed steps for use by a non programmer.
From: "Mats Bengtsson" <[EMAIL PROTECTED]> Sent: Saturday, May 20, 2006 4:08 PM First of all, download and install the latest stable version (2.8.3-1), where convert-ly seems to work without having to install extra programs. Then, to update a file: 1. Start a command prompt (Start menu -> Programs -> Accessories -> Command Prompt) 2. Change working directory to the folder where you have your .ly file. For example, if you have it stored in a folder Lily in My Documents, run the command: cd "My Documents\Lily" (notice that you can save typing, using the tab key. Type in cd My and press the Tab key, then add \L and press Tab again.) 3. Run the command itself. For example, if your file is called myfile.ly, run convert-ly -e myfile.ly Another helpful hint is that convert-ly takes wild cards. If you want to convert all the lilypond files in a directory at once, you can type: convert-ly -e *.ly Stephen This will update the syntax of the file. A copy of the original will be saved with the name myfile.ly~ /Mats alanvw wrote: Hi all, Would someone kindly give detailed directions on how to use the "convert-ly"program for non programmers.(or an example) OS - Win.XP Home \version "2.8.0" Kind Regards, Alan Albury-Ward -- Internal Virus Database is out-of-date. Checked by AVG Free Edition. Version: 7.1.385 / Virus Database: 268.5.6/338 - Release Date: 12/05/2006 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page layout frustration
From: <[EMAIL PROTECTED]> Sent: Tuesday, May 23, 2006 8:15 AM I'm trying to fit a piece of music onto one page. By default, lily formats it as 11 systems, 10 on the first page, 1 on the second. So I told lily to fit it in 10 systems - which it nicely laid out as 9 on the first page, 1 on the second! :-( When I tell it to fit it in 9 systems, it finally puts it on one page, but it's all far too squashed. What I guess is happening is that it's putting the lily tag-line on the last page, and with both header and tagline there's only room for 9 systems. What's annoying though, is that even though I've set top margin to zero, there's loads of wasted space at the top of the page ... and I guess even if I set the lily tag-line to blank, it would still need space for it ... I don't think so, I think putting 'tagline = ""' in the header works. How do I free up all that wasted header space or otherwise gain room to fit my part cleanly on one page? I'd rather not delete the tag line :-) I often delete the tagline when, as you are trying to do, I am fitting the music on one page. Did you really try puting 'topmargin = 2\mm' in the \paper block? It works for me. You can even set it to a negative number if you have to in order to get it high enough. but is there any way of simply making that not exist, either? I've also tried to look up the source code that actually lays out the headers and footers, but I've ended up in a pile of Scheme I can't make head nor tail of (titling.scm). If I need to drill deeper, can anybody give me any pointers (I want to do things like redefining headers and footers so I get a band-style title, when I've got multiple pages it puts the title as well as instrument on subsequent sheets, etc etc). I can't help you here, but you should attach the piece you are working on so we can see the details. The header ordinarily will not print on more than the first page. Stephen Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Connecting notes on separate staves...
Is it easier to see my reply if I place it on top?
Almost, rather than fiddle with the number try
using just zero: \override
NoteColumn #'force-hshift = #0.0
This usually works. It is from the larger
context: << {g4.( ~ | g8[ fis])} \\
{\override Staff.NoteCollision #'merge-differently-dotted = ##t
g16(\< e cis ais, \change Staff =lower
\stemUp fis, d, | b,,4)\!} \\ {\override Stem #'transparent = ##t
s16 e ~ \noBeam
\revert Stem #'transparent
\once \override Stem #'flag-style = #'no-flag
\stemDown e ~ \noBeam \stemUp e8. ~ |
\override NoteColumn #'force-hshift = #0.0
\override Stem #'flag-style = #'no-flag e8 d} \\ {s8 \override Stem
#'flag-style = #'no-flag cis16 ~ \noBeam
\override NoteColumn #'force-hshift = #0.0
\stemUp cis8. ~ | cis8 b,} \\ {s4
\change Staff =lower \override Stem #'flag-style = #'no-flag
\override Tie #'extra-offset = #'(0.25 .
-0.25) \override NoteColumn #'force-hshift =
#0.0 fis,16 ~ \noBeam fis, ~ | fis,4 }
\\ {s4 s16 \change Staff =lower \override Stem #'flag-style =
#'no-flag \stemUp \tieUp d, ~ | d,4 } \\ {s8. \override Stem
#'flag-style = #'no-flag \tieDown ais, ~ |
ais,8 s } >> I also used this
number: \override NoteColumn
#'force-hshift = #-0.6484375 Essentially a magic number of some
kind that I found by trial and error.
Stephen
- Original Message -
From:
Stephen
To: Eduardo Vieira ; Rick Hogg ; lilypond-user@gnu.org
Sent: Sunday, May 21, 2006 12:46 AM
Subject: Re: Connecting notes on separate
staves...
From: Eduardo Vieira
Sent: Saturday, May 20, 2006 5:51
PM
Hi, Rick!
Try this: \once \override NoteColumn #'X-offset
= #1.3 8 r r
Adjust the number until you're
satisfied.
Almost, rather than fiddle with the number try
using just zero:
\override
NoteColumn #'force-hshift = #0.0
This usually works. It is from the larger
context:
<< {g4.( ~ | g8[ fis])}
\\ {\override Staff.NoteCollision #'merge-differently-dotted = ##t
g16(\< e cis ais, \change Staff =lower
\stemUp fis, d, | b,,4)\!} \\ {\override Stem #'transparent = ##t
s16 e ~ \noBeam
\revert Stem #'transparent
\once \override Stem #'flag-style =
#'no-flag \stemDown e ~ \noBeam \stemUp e8. ~ |
\override NoteColumn #'force-hshift =
#0.0 \override Stem #'flag-style =
#'no-flag e8 d} \\ {s8 \override Stem #'flag-style = #'no-flag
cis16 ~ \noBeam
\override NoteColumn #'force-hshift =
#0.0 \stemUp cis8. ~ | cis8 b,}
\\ {s4 \change Staff =lower \override Stem #'flag-style = #'no-flag
\override Tie #'extra-offset = #'(0.25 .
-0.25) \override NoteColumn #'force-hshift
= #0.0 fis,16 ~ \noBeam fis, ~ | fis,4 }
\\ {s4 s16 \change Staff =lower \override Stem #'flag-style =
#'no-flag \stemUp \tieUp d, ~ | d,4 } \\ {s8. \override Stem
#'flag-style = #'no-flag \tieDown ais, ~
| ais,8 s } >>
I also used this number:
\override
NoteColumn #'force-hshift = #-0.6484375
Essentially a magic number of some kind that I
found by trial and error.
Stephen
Regards,
Eduardo
- Original Message -
From:
Rick
Hogg
To: Thies Albrecht ; lilypond-user@gnu.org
Sent: Saturday, May 20, 2006 6:13
PM
Subject: Re: Connecting notes on
separate staves...
Thies,I knew about that. It's more like, add a
second voice, stem up. Then the E, stem down, is moved to the right
a little and doesn't line up with the notes it should connect to on the
next staff down. If you compile my example you'll see what I
mean. Basically, I need to be able to shift notes to the right a
little to line up. Here's the code
again:%%\version
"2.8.3"\layout { ragged-right = ##t }stemExtend = \once
\override Stem #'length = #14noFlag = \once \override Stem
#'flag-style = #'no-flagupper = \relative c'
{ \clef treble \time
6/8 \key a \major <<
8-. \\ \stemDown \stemExtend \noFlag e8 >> r
r }lower = \relative c'
{ \clef bass \time
6/8 \key a \major 8
r r }\score {
\new PianoStaff
<< \new
Staff = "upper" \upper
Re: Connecting notes on separate staves...
Belatedly, I remember that (taking a cue from the
definition of \oneVoice) there is way other than
\override NoteColumn #'force-hshift = #0.0 :
\revert NoteColumn
#'horizontal-shift
There is a subtle distinction between the two. But
what is it?
Stephen
- Original Message -
From:
Stephen
To: Stephen ; Eduardo
Vieira ; Rick Hogg ; lilypond-user@gnu.org
Sent: Tuesday, May 23, 2006 8:43 AM
Subject: Re: Connecting notes on separate
staves...
Is it easier to see my reply if I place it on top?
Almost, rather than fiddle with the number try
using just zero: \override
NoteColumn #'force-hshift = #0.0
This usually works. It is from the larger
context: << {g4.( ~ | g8[ fis])} \\
{\override Staff.NoteCollision #'merge-differently-dotted = ##t
g16(\< e cis ais, \change Staff =lower
\stemUp fis, d, | b,,4)\!} \\ {\override Stem #'transparent = ##t
s16 e ~ \noBeam
\revert Stem #'transparent
\once \override Stem #'flag-style =
#'no-flag \stemDown e ~ \noBeam \stemUp e8. ~ |
\override NoteColumn #'force-hshift = #0.0
\override Stem #'flag-style = #'no-flag e8
d} \\ {s8 \override Stem #'flag-style = #'no-flag
cis16 ~ \noBeam
\override NoteColumn #'force-hshift = #0.0
\stemUp cis8. ~ | cis8 b,} \\ {s4
\change Staff =lower \override Stem #'flag-style = #'no-flag
\override Tie #'extra-offset = #'(0.25 .
-0.25) \override NoteColumn #'force-hshift =
#0.0 fis,16 ~ \noBeam fis, ~ | fis,4 }
\\ {s4 s16 \change Staff =lower \override Stem #'flag-style =
#'no-flag \stemUp \tieUp d, ~ | d,4 } \\ {s8. \override Stem
#'flag-style = #'no-flag \tieDown ais, ~ |
ais,8 s } >> I also used this
number: \override NoteColumn
#'force-hshift = #-0.6484375 Essentially a magic number of some
kind that I found by trial and error.
Stephen
- Original Message -
From:
Stephen
To: Eduardo Vieira ; Rick Hogg ;
lilypond-user@gnu.org
Sent: Sunday, May 21, 2006 12:46
AM
Subject: Re: Connecting notes on
separate staves...
From: Eduardo Vieira
Sent: Saturday, May 20, 2006 5:51
PM
Hi, Rick!
Try this: \once \override NoteColumn
#'X-offset = #1.3 8 r r
Adjust the number until you're
satisfied.
Almost, rather than fiddle with the number
try using just zero:
\override
NoteColumn #'force-hshift = #0.0
This usually works. It is from the larger
context:
<< {g4.( ~ | g8[ fis])}
\\ {\override Staff.NoteCollision #'merge-differently-dotted =
##t g16(\< e cis ais, \change Staff
=lower \stemUp fis, d, | b,,4)\!} \\ {\override Stem
#'transparent = ##t s16 e ~ \noBeam
\revert Stem #'transparent
\once \override Stem #'flag-style =
#'no-flag \stemDown e ~ \noBeam \stemUp e8. ~ |
\override NoteColumn #'force-hshift =
#0.0 \override Stem #'flag-style =
#'no-flag e8 d} \\ {s8 \override Stem #'flag-style = #'no-flag
cis16 ~ \noBeam
\override NoteColumn #'force-hshift =
#0.0 \stemUp cis8. ~ | cis8
b,} \\ {s4 \change Staff =lower \override Stem #'flag-style =
#'no-flag \override Tie #'extra-offset
= #'(0.25 . -0.25) \override NoteColumn
#'force-hshift = #0.0 fis,16 ~ \noBeam
fis, ~ | fis,4 } \\ {s4 s16 \change Staff =lower \override Stem
#'flag-style = #'no-flag \stemUp \tieUp d, ~ | d,4 } \\ {s8.
\override Stem #'flag-style = #'no-flag \tieDown
ais, ~ | ais,8 s }
>>
I also used this number:
\override NoteColumn #'force-hshift = #-0.6484375
Essentially a magic number of some kind that
I found by trial and error.
Stephen
Regards,
Eduardo
- Original Message -
From:
Rick
Hogg
To: Thies Albrecht ; lilypond-user@gnu.org
Sent: Saturday, May 20, 2006 6:13
PM
Subject: Re: Connecting notes on
separate staves...
Thies,I knew about that. It's more like, add a
second voice, stem up. Then the E, stem down, is moved to the
right a little and doesn't line up with the notes it should connect to
on the next staff down. If you compile my example you'll see what
I mean. Basic
Re: German text characters
- Original Message - From: "Graham Percival" <[EMAIL PROTECTED]> To: "bears388" <[EMAIL PROTECTED]> Cc: Sent: Tuesday, May 23, 2006 4:50 PM Subject: Re: German text characters On 23-May-06, at 3:39 AM, bears388 wrote: Downloaded the 2.8.2 Manual, and found the entries the same. I also got a unicode character set, but no matter what I try, writing the characters in unicode and saving them as utf-8 and then cutting and pasting,I cannot get the umlauts on any letters that need them. Other people manage this, why can't I? I'm using Version 2.6.5 and MS Notepad to enter code. Do I need a higher version of Lilypond, or another editor? If so, which? No one else has answered my request except you! I don't use windows, so I can't help with windows software. Please search the mailist archives for "notepad" or "utf-8 text editor" or something like that. This question has been discussed a few times, but I never really paid attention. Depending on your version of windows, I think that there's an option in the notepad preferences that let you select "save as utf-8". That is correct, I use XP. Since Lilypond 2.6 you can use special characters simply by saving the lilypond files in UTF-8 encoding. In NotePad choose Save AS... and click on the dropdown menu for Encoding. Choose UTF-8 instead of ANSI. I also like to use jEdit for this, however. The difference is that you can make UTF-8 encoding the default if you use jEdit. I don't think you can change NotePad's default behavior of saving everything as ANSI initially, although it respects and preserves whatever text format it is in after you change it. Stephen Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: German Text Characters
- Original Message - From: "zrlaszlo" <[EMAIL PROTECTED]> To: Sent: Tuesday, May 23, 2006 3:27 AM Subject: Re: German Text Characters Unfortunately, you have not told us, what OS and Lilypond version you are using (Linux or Windows). Anyway, the solution below should work. Just make sure you have German keyboard support installed on your system. Since lilypond 2.6 (I think) UTF-8 input is supported. There is no need to use special markup commands. So, here's what to do: 1. Enter the desired text in a editor (notepad, kedit on linux - jEdit is the best for me), and save it with UTF-8 encoding. Just to explain further, you can switch the default encoding in jEdit to UTF-8 by going to Utilities/Global Options/Default character encoding: second line from the top. Stephen 2. lilypond your score and voila! I have been typesetting al kinds of choral works so far in hungarian, using special charactersm like oumlaut, uhungarumlaut, etc. and it works. I use WinXP and Lilypond 2.8.1 -- View this message in context: http://www.nabble.com/German+Text+Characters-t1667271.html#a4518848 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: German text characters
From: "bears388" <[EMAIL PROTECTED]> Sent: Wednesday, May 24, 2006 10:00 AM Dear Both, Coincidentally found the answer to my problem by reading the maillist archive and fiddling around! It's very similar to the solution given by Stephen, to whom many thanks! Here's my take:- Write the input file in Notepad, or, if you've written input in Lilypad, cut and paste the Lilypad entries to Notepad. For saving the file: use Save As ...; in the "Save as Type" change to "All Files" (this is very important as Once I unchecked 'Hide extensions for known file types' under Folder Options, I no longer had to choose 'All Files' in NotePad. Stephen the Text Document (*.txt)option will give you a file called *.ly.txt which won't generate a PDF); type in the full name of the file (for example: "Cantata bwv1.ly")and finally change the "Encoding" to uft-8 and click the Save button. The resulting file will be a .ly file and double clicking it will generate the file with readable utf-8 characters. Just to be sure it works, I've tried it on two files: my own cantata input and an Schubert song example. This should do the trick for all those people who've been having problems with generating the correct PDF text, be it Headers or Lyrics. The "foreign" characters can be input using the numeric keyboard and the alt key + 0 + Unicode number. The ö I was complaining to Graham about is Alt + 0 + 246. If you want, or need, I can e-mail the list I downloaded from the web. Thanks Graham and Stephen. Regards, Michael - Original Message - From: "Stephen" <[EMAIL PROTECTED]> To: "Graham Percival" <[EMAIL PROTECTED]>; "bears388" <[EMAIL PROTECTED]> Cc: Sent: Wednesday, May 24, 2006 10:26 PM Subject: Re: German text characters - Original Message - From: "Graham Percival" <[EMAIL PROTECTED]> To: "bears388" <[EMAIL PROTECTED]> Cc: Sent: Tuesday, May 23, 2006 4:50 PM Subject: Re: German text characters On 23-May-06, at 3:39 AM, bears388 wrote: Downloaded the 2.8.2 Manual, and found the entries the same. I also got a unicode character set, but no matter what I try, writing the characters in unicode and saving them as utf-8 and then cutting and pasting,I cannot get the umlauts on any letters that need them. Other people manage this, why can't I? I'm using Version 2.6.5 and MS Notepad to enter code. Do I need a higher version of Lilypond, or another editor? If so, which? No one else has answered my request except you! I don't use windows, so I can't help with windows software. Please search the mailist archives for "notepad" or "utf-8 text editor" or something like that. This question has been discussed a few times, but I never really paid attention. Depending on your version of windows, I think that there's an option in the notepad preferences that let you select "save as utf-8". That is correct, I use XP. Since Lilypond 2.6 you can use special characters simply by saving the lilypond files in UTF-8 encoding. In NotePad choose Save AS... and click on the dropdown menu for Encoding. Choose UTF-8 instead of ANSI. I also like to use jEdit for this, however. The difference is that you can make UTF-8 encoding the default if you use jEdit. I don't think you can change NotePad's default behavior of saving everything as ANSI initially, although it respects and preserves whatever text format it is in after you change it. Stephen Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \mark items on a single measure
My first reponse is of course you can have only one mark per barline. Try
combining everything in one \mark statement. Perhaps if you placed each mark
in a separate layer it could work, but Lilypond can't know what priority
each mark gets otherwise.
Stephen
From: "Kieren Richard MacMillan" <[EMAIL PROTECTED]>
Sent: Friday, May 26, 2006 9:56 AM
Hello, all --
The code included below clearly doesn't "do the right thing", i.e., in
the final measure, I want to have a fermata over the (leading) barline
and then the tempo indication, but Lilypond appears to ignore (or, at
least, replace) all but the last \mark it encounters.
Is there any way to apply multiple \mark items to a single measure?
Thanks,
Kieren.
%% CODE SNIPPET BEGINS
\version "2.9.5"
tempoMarkPrep =
{
\once \override Score.RehearsalMark #'break-align-symbol = #'time-
signature
\once \override Score.RehearsalMark #'self-alignment-X = #left
\once \override Score.RehearsalMark #'extra-offset = #'( 1 . 0 )
}
\relative c'
{
\tempoMarkPrep \mark \markup { "tempo markup" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" }
\tempoMarkPrep \mark \markup { "tempo markup" }
c c c c |
}
%% CODE SNIPPET ENDS
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Re: Mixed questions
The double bar-line followed by a repeat bar-line
is significant for many. Every 32-bar song form of the Twentieth Century needs a
double bar-line after the 4-bar intro and/or a double bar-line
after the 16-bar verse, followed by a 32-bar chorus with repeats and an
alternative. The slur on the repeat alternative is similiarly required for
every poplular song. Someone must have solved this already. I have to say that
this new example is nicely simplified.
Stephen
- Original Message -
From:
Matthijs Frankena
To: lilypond-user@gnu.org
Sent: Friday, May 26, 2006 9:43 AM
Subject: Re: Mixed questions
Hello,With regard to the questions I posed
a few days ago:- the first question has been solved with \hspace
(something I thought I had already tried out, but apparently not correctly).
The code now
says:poet =
\markup { \hspace #10 \center-align { "Words by" "MORE OF THAT POET" }
} without the \hspace, the text falls over the left edge of
the paper (is that on purpose, or an oversight of sorts?).For the
other two questions, I have toned down the code:\version
"2.8.1"\score{\relative
c''
{ c d e
f
f e d c \bar
"||"
\break
\repeat "volta" 2 { c
b a c e c d e(
}
\alternative
{
{ fis) g e c
}
{ d) c b c \bar
"|."}
}}}-
I'd like a double bar line at the end of bar 2, then a line break, then the
repeat-part, starting with its proper bar line. Setting the double bar line
cancels the repeat bar line, adding a " \bar "|:" " to bring it back cancels
the double bar line in the bar before it. Any way to have both of
them?- the last bar of the repeat before the alternative endings ends
with a note with a slur. The slur is finished properly on the first note of
the first alternative, but not so in the second alternative. Just adding a ")"
does not help, Lilypond complains about not being able to end the slur.
\repeatTie gives a very unsatisfactory result, which seems immune to the
normal tie-tweaking. Any other way of getting the proper end of the
slur?TIA, and have a nice weekend,Matthijs
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Re: Mixed questions
One solution (or perhaps the solution) is to use two scores, but I do not know how to ensure equal spacing between all staves then. Stephen - Original Message - From: Matthijs Frankena To: lilypond-user@gnu.org Sent: Saturday, May 27, 2006 9:30 AM Subject: Re: Mixed questions At 19:00 26-5-2006, Stephen wrote: The double bar-line followed by a repeat bar-line is significant for many. Every 32-bar song form of the Twentieth Century needs a double bar-line after the 4-bar intro and/or a double bar-line after the 16-bar verse, followed by a 32-bar chorus with repeats and an alternative. The slur on the repeat alternative is similiarly required for every poplular song. Someone must have solved this already. I have to say that this new example is nicely simplified. StephenWell, yes, take any Nat King Cole/Cole Porter/Frank Sinatra/Gershwin etc. songbook, and you'll find abundant examples of that principle. As these songs are not yet to be found at Mutopia (for obvious reasons), there is a dearth of Lilypond-coded examples. I will be very grateful for any pointers.Matthijs ___lilypond-user mailing listlilypond-user@gnu.orghttp://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \mark items on a single measure
- Original Message - From: "Graham Percival" <[EMAIL PROTECTED]> To: "Kieren Richard MacMillan" <[EMAIL PROTECTED]> Cc: "Stephen" <[EMAIL PROTECTED]>; "User's List LilyPond" Sent: Friday, May 26, 2006 6:45 PM Subject: Re: multiple \mark items on a single measure On 26-May-06, at 10:34 AM, Kieren Richard MacMillan wrote: Stephen: My first reponse is of course you can have only one mark per barline. Let's say I want a rehearsal letter (e.g., "K") over a barline and then in the following measure have a tempo change markup -- an unbelievably common occurrence, appearing many times in nearly every orchestral score I own. Sounds like more trouble than it *should be* in Lilypond... I agree; also note that the end of one system and the beginning of the next system are the same bar line. In other words, you can't print one \mark at the end of a line and have a different \mark at the beginning of the next line. (such as "Fine" "Trio" in a minute and tiro) The shared barline is also behind the problem in the thread entitled, Mixed Questions. You can't have a double bar line at the end of a system and a repeat barline at the start of the next. The trick is that these are exceptions that assume a break at a specific place. The fix would involve changing Lilypond's bar-line behaviour based on where the breaks are placed. Stephen - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
DynamicText Tweaks
Is it possible to lighten the DynamicText font as well as shrinking it. This will only shrink it and I would like to 'unbold it' as well: \override DynamicText #'font-size = #-3 \override DynamicText #'font-series = #'light Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond-2.4.7-1
How do I install 2.4.7 from http://lilypond.org/download/binaries/cygwin/uploads/lilypond/ ? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-2.4.7-1
- Original Message - From: "Shamus" <[EMAIL PROTECTED]> To: "Stephen" <[EMAIL PROTECTED]> Cc: Sent: Tuesday, June 06, 2006 9:32 AM Subject: Re: lilypond-2.4.7-1 Stephen wrote: How do I install 2.4.7 from http://lilypond.org/download/binaries/cygwin/uploads/lilypond/ ? Just curious, but why 2.4.7 when the 2.8 and 2.9 series are available? Because it exists at that web address, but is not associated with any setup.ini file that I can use. The full address of the file is http://lilypond.org/download/binaries/cygwin/uploads/lilypond/lilypond-2.4.7-1.tar.bz2 But that is not a domain that the setup.exe for Cygwin recognizes. So can the file be insalled manually, or is there a way to get the Cygwin setup to install it? Stephen -- Shamus ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: barline problem
- Original Message - From: "Dewdman42" <[EMAIL PROTECTED]> To: Sent: Tuesday, June 13, 2006 4:55 PM Subject: Re: barline problem Which gets us to the crux of the problem. Finale and lilypond use all of the nuances of postscript that they possibly can..perhaps even using parts of it that the PDF "subset" does not support very well. For this reason, all the PDF viewers I have tried look like crap. Sad. Your right, Lilypond does not produce PDF files, ghostscript does. So the only thing Lilypond could do is add additional hinting in the PostScript file as Hans has already suggested. And as you've already pointed out, what matters is how the music looks printed out. It is inadviseable to practice your instrument looking at the 72 dpi of the computer screen rather than a 300 dpi printed score. That's bad for your eyes. The PDF files certainly are perfectly readable and legible, so therefore, I don't think it is sad or even undesireable to have the slight aliasing issues you see. After all, 72 dpi will always be inferior to 300 dpi no matter how you slice it. If Lilypond is optimized for 300 dpi, that is a good thing. Stephen -- View this message in context: http://www.nabble.com/barline-problem-t1778120.html#a4855143 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: barline problem
- Original Message - From: "Walter Hofmeister" <[EMAIL PROTECTED]> To: Sent: Wednesday, June 14, 2006 10:56 AM Subject: Re: barline problem On 6/14/06 9:42 AM, "Erik Sandberg" <[EMAIL PROTECTED]> wrote: On Wednesday 14 June 2006 17:25, Stephen wrote: - Original Message - From: "Dewdman42" <[EMAIL PROTECTED]> To: Sent: Tuesday, June 13, 2006 4:55 PM Subject: Re: barline problem Which gets us to the crux of the problem. Finale and lilypond use all of the nuances of postscript that they possibly can..perhaps even using parts of it that the PDF "subset" does not support very well. For this reason, all the PDF viewers I have tried look like crap. Sad. Your right, Lilypond does not produce PDF files, ghostscript does. So the only thing Lilypond could do is add additional hinting in the PostScript file as Hans has already suggested. And as you've already pointed out, what matters is how the music looks printed out. It is inadviseable to practice your instrument looking at the 72 dpi of the computer screen rather than a 300 dpi printed score. That's bad for your eyes. I think there exist music stands consisting of TFT displays nowadays, so good on-screen rendering is desirable to some extent. However, I'd advise to produce png output if you want to view output on screen; because pngs display a lot faster than pdf or ps, and The PDF files certainly are perfectly readable and legible, so therefore, I don't think it is sad or even undesireable to have the slight aliasing issues you see. After all, 72 dpi will always be inferior to 300 dpi no matter how you slice it. If Lilypond is optimized for 300 dpi, that is a good thing. btw, lily is optimized for 600 dpi iirc: the stems have slightly rounded edges, this is not visible on resolutions below 600dpi. I'm not sure that Lilypond is "optimized" for any set resolution as postscript is a device/resolution independent system. That is it is your interpreter/printing device that determines what the final resolution is. I strongly suspect that Eric knows what PostSript is. Just because PostScript is designed to allow rendering at any resolution, does not mean that the basic images are not drawn initially at a specific size. The glyphs in truetype fonts are stored in a specific resolution, as I rememnber it, they are drawn on a square of 2048x2048 internally. QUOTE: " FUnits and the grid ... The points represent locations in a grid whose smallest addressable unit is known as an FUnit or font Unit. The grid is a two-dimensional coordinate system whose x-axis describes movement in a horizontal direction and whose y-axis describes movement in a vertical direction. The grid origin has the coordinates (0,0). The grid is not an infinite plane. Each point must be within the range -16384 and +16383 FUnits. Depending upon the resolution chosen, the range of addressable grid locations will be smaller. The choice of the granularity of the coordinate grid-that is, number of units per em (upem)-is made by the font manufacturer. Outline scaling will be fastest if units per em is chosen to be a power of 2, such as 2048. ... FUnits are relative units because they vary in size as the size of the em square changes. The number of units per em remains constant for a given font regardless of the point size. The number of points per em, however, will vary with the point size of a glyph. An em square is exactly 9 points high when a glyph is displayed at 9 points, exactly 10 points high when the font is displayed at 10 point, and so on. Since the number of units per em does not vary with the point size at which the font is displayed, the absolute size of an FUnit varies as the point size varies. ... Converting FUnits to pixels Values in the em square are converted to values in the pixel coordinate system by multiplying them by a scale. This scale is: pointSize * resolution / ( 72 points per inch * units_per_em ) where pointSize is the size at which the glyph is to be displayed, and resolution is the resolution of the output device. The 72 in the denominator reflects the number of points per inch. For example, assume that a glyph feature is 550 FUnits in length on a 72 dpi screen at 18 point. There are 2048 units per em. The following calculation reveals that the feature is 4.83 pixels long. 550 * 18 * 72 / ( 72 * 2048 ) = 4.83 " My point is that in such systems there has to be a 'choice of the granularity' for storing the images, or rather I should say 'for describing the images' since the images are not stored as a bitmap. Sorry for the long post. The distinction between the FUnit and the em is a good analogy for how PostScript works. Stephen I print out using a 1200 dpi postscript printer and the output looks great. Walter Hofmeister
Re: barline problem
- Original Message - From: "Dewdman42" <[EMAIL PROTECTED]> To: Sent: Wednesday, June 14, 2006 11:31 AM Subject: Re: barline problem that's an interesting point and perhaps in the future that will become more standard, but I would reckon not until the displays are higher resolution, to match that of paper. In any case, that's not the only use for producing music notation.for putting on a music stand to play. Simply producing notation for the sake of study, producing lessons, etc..there are many uses that would be very handy to be completely useable and viewable on-screen. Really, in an ideal situation, you should be able to look at it on the screen and think to yourself "ah, what nice looking notation", then print it out and say "holy cow what beautiful notation". Or at worst, at least if lilyond provided options to choose one way or the other... There is also the point that if I am going to share or even sell a piece of sheet music online, then most likely I would want to distribute it in PDF form. There is a certain polish factor that would come from the PDf looking right. instead of the person opening my PDF file and thinking "ick", I want them to open it up and think, ah, nice.then if they like it, print it out. You have to look very carefully to see what you are talking about. Lilypond looks very nice in PDF. As already stated, the best way to display a sample online is in a png file format. Stephen Erik Sandberg-2 wrote: I think there exist music stands consisting of TFT displays nowadays, so good on-screen rendering is desirable to some extent. However, I'd advise to produce png output if you want to view output on screen: pngs are optimised for on-screen viewing regardless of which viewer you use, and they can probably be displayed a lot faster than pdf or ps can. -- View this message in context: http://www.nabble.com/barline-problem-t1778120.html#a4868374 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: barline problem
- Original Message - From: "Walter Hofmeister" <[EMAIL PROTECTED]> To: Sent: Wednesday, June 14, 2006 12:29 PM Subject: Re: barline problem On 6/14/06 10:22 AM, "Dewdman42" <[EMAIL PROTECTED]> wrote: You are of course welcome to your opinion, but you have not changed my mind. I need better PDF output. printed sheet music is not the only reason for needing to produce music notation. Lilypond will not work for me in that regard. I may or may not still use it for printing if it will not involve too much duplication of work. I do really like the printed output of Lilypond a lot. Its beautiful. But it is sad I can't use lilypond for the whole thing. There are plenty of reasons why someone would want some decent looking PDF files by the way. The ones produced now are really crap. not slightly bad. Crap. Finale suffers the same fate. Whatever the technlogy that would be needed to make Lilypond produce better looking PDF's in addition to the beautiful printed pages..consider this my official plea to the developers to try to do that. regards -- View this message in context: http://www.nabble.com/barline-problem-t1778120.html#a4868193 Sent from the Gnu - Lilypond - User forum at Nabble.com. I just tried converting the postscript file that lilypond generates to PDF using both the built-in conversion in the Mac OS and Adobe Acrobat Professional and here are the results: The built-in Mac OS conversion looks the same as what Lilypond produces (likely also uses Ghostscript) but here is the surprising part: Acrobat professional produces noticeably worse looking file despite setting it for higher quality display. Mmmm, try setting it for low resolution display. What does 'quality' mean if you are trying to look at it at 72 dpi? Stephen Walter ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Figured bass and leading note
I think a reference to actual music, far from being off topic, provides a
welcome context for lilypond and its purpose. The lilypond documentation
starts with the fact that its developers are musicians and there are some
examples of complete scores. What pieces or perhaps just the composer, are
you working on that uses figured bass?
Stephen
- Original Message -
From: "Mats Bengtsson" <[EMAIL PROTECTED]>
To: "Julien Salort" <[EMAIL PROTECTED]>
Cc: "lilypond devel" ;
Sent: Wednesday, March 23, 2005 6:11 AM
Subject: Re: Figured bass and leading note
The current support for figured bass is fairly primitive.
However, one feature that's not described in the manual is
that you can also include any text strings by enclosing them
in double quotes, for example
<"+" 7>
Unfortunately, I don't see any good support for the +6, since
if you use "+6", then the "6" will be typeset in a completely
different font than the rest of the figures.
Two alternatives to typeset figured bass without using the
FiguredBass context is
1. Use text scripts on each note. Example
c_5 d_7_"+" e_\markup{"+" \number 6}_3
2. Typeset the bass figures as a line of lyrics.
In contrast to the builtin figured bass support, you can
add any \markup{...} in a line of lyrics, which means that
you have fairly full freedom to typeset whatever you want.
A disadvantage of the 1. is that the figures will not be
vertically aligned.
I don't often work with the source code of LilyPond, but
here it turned out to be very easy to add the possibility
to use \markup{...} also in figured bass, so I have included
this change so it will appear in the next 2.5.xx version and
in the coming stable 2.6 version.
/Mats
Julien Salort wrote:
Hi,
I'd like to use a "+" sign for some figured bass. How can I do that ?
For exemple :
5 7 +6
+ 3
The "+" sign means that the leading note is in the chord.
I've tried <3 +6> but this adds to sharp next to the "3" figure.
--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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Re: Left align first word of lyrics
Wilbert Berendsen xs4all.nl> writes: > It is complicated just now to paste the code how we did it, because > everything is so intermingled, but I'll show it later on in a nice > writeup. We wrote many functions that read custom variables from the > paper or layout blocks (using ly:output-def-lookup), so we got a very > flexible layout. Hello! I was wondering if you have written up about your process of formatting the 'Liedboek.' I am in the process of formatting a psalter using a similar layout to the psalm layout it the 'Liedboek.' I think that this would help me greatly. Kindest regards, Stephen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Instruments with Diatonic Fretting
I am notating for instruments that are not chromatically fretted. Consider the modern mountain dulcimer. One possibility is three strings with frets placed to produce the following steps: Whole, Whole, Half, Whole, Whole, Half, Half, Half. This produces a major scale with the addition of a flat seven. Older dulcimers and most European ancestors are fretted W, W, H, W, W, H, W, W. Newer dulcimers are fretted W, H, H, H, W, W, H, H, H. I have been using Tabledit but would MUCH RATHER use Lilypond. Considering the instruments I'm arranging for, will Lilypond make my job easier and/or more fruitful? THANK YOU, Stephen Seifert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
transparent background in lilypond generated png's
Hello, I've been using Lilypond regularly for several years now with great satisfaction. Recently, I've begun using lilypond generated png files in powerpoint presentations and I'd like to know if there is a way to generate these files with a transparent (rather than white) background so I can add something like a textured background image. Any help is greatly appreciated. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transparent background in lilypond generated png's
On Mon, 25 Aug 2008 17:00:02 +, Stephen Corey wrote: > Hello, > > I've been using Lilypond regularly for several years now with great > satisfaction. Recently, I've begun using lilypond generated png files > in powerpoint presentations and I'd like to know if there is a way to > generate these files with a transparent (rather than white) background > so I can add something like a textured background image. Any help is > greatly appreciated. Wow! I posted this right before leaving on a short trip. Thanks for the many generous tips and ideas. I'll try out as many solutions as possible to see what works best. Thanks much! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overhead projection of lilypond scores
On Mon, 13 Oct 2008 18:01:34 +0100, Gerry Prosser wrote: > when teaching a congregation a new worship song, it would be rather nice > to project the melody line onto the screen as well as the words. But > black-on-white is a projection disaster. It really needs to be yellow > staff/text on a blue background. And probably a thicker text font than > times new roman. Is this achievable, please ? You may wish to refer to my question and the responses regarding transparent backgrounds several weeks ago. I also use Lilypond for overhead projectors and typically display black type over a textured background in Powerpoint with good results. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Whatis on the fly
As an American, I have to say that with so many of these expressions, the meanings can change considerably based on the context. In this particular instance, the writer wants to be able to apply a single statement or rule and have the staves appear and disappear on their own without any further input. It really has nothing to do with changing something as the software runs (in this case compiles). Trying to understand these subtleties can often leave one "up a creek without a paddle", but hopefully, one can find an answer, "Lord willin' and the creek don't rise". On Wed, 01 Aug 2007 11:31:26 -0500, Paul Harouff wrote: > Francois, you're close. > > In hunting terminology, "on the fly" means catching/killing a bird in the > air vs. catching/killing a bird on the ground. In fishing terminology, > catching a fish "on the fly" means using a fly bait which requires > continuous activity and rhythm with the rod and reel. In this context, the > English idiom has taken on the meaning of being quick, agile, or lucky. > > In aeronautical terminology, "on the fly" means making repairs or > modifications while flying the airplane vs. waiting to make repairs or > modifications after landing. The idiom has been applied to other engineering > situations to mean making repairs or modifications to equipment while the > system is running vs. shutting down the system to remove and replace the > equipment for depot maintenance. In this context, the English idiom has > taken on the meaning of being flexible, adaptive, or ingenius. > > Therefore, from the second context above, in computer terminology, "on the > fly" has taken the meaning of dynamically changing software activities or > values while the program is running vs. statically predefining activities > and values so they can't be changed without stopping the program. An example > is using a cookie file to modify the behavior of a web page "on the fly" > based on the user's input. > > So, I don't think that the LilyPond *program* does anything "on the fly", > since you can't change the *.ly file while the compiler is running. But I > guess it's possible for a developer of one LilyPond engraver to say his > engraver (e.g., beams) makes changes "on the fly" based on the output of > other engravers (e.g., notes). > > That being said, English idioms are continuously evolving and taking new > meanings. So, it's possible that some programmers have adopted the practice > of using "on the fly" to mean the ability to change a program setting > several times within a file as needed. But this doesn't make sense to me. > > Paul > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > Valentin Villenave > Sent: Wednesday, August 01, 2007 5:33 AM > To: Francois Planiol-Auger > Cc: lilypond-user@gnu.org > Subject: Re: Whatis on the fly > > 2007/8/1, Francois Planiol-Auger <[EMAIL PROTECTED]>: > >> Yes I know, its a newby question. And I found nothing really helpful that >> defines it in relation with lilypond. >> Can somebody explain? > > If I understood correctly (English is not my native language), > something you can change "on the fly" is something that you don't need > to change at the beginning of your score, once and for all; therefore > it allows you to change properties several times during your music > (for instance, the key signature can be changed "on the fly": you > don't have to define a single key signature at the beginning, and then > be stuck with it for the whole piece -- instead you can change it as > many times as you want). > > Does it help? > > Regards, > Valentin > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Automatic accidental rule
I'm using the forget accidental scheme at the moment in a piece, but ideally
I would prefer some scheme whereby all sharpened or flattened notes were
given accidentals, but also all natural notes that followed
sharpened/flattened notes of the same letter would get naturals put in
automatically.
So { c cs cs c } would, when rendered, have a sharps on the two middle
notes, and a natural on the fourth.
It's not the end of the world if I can't do it, but I figured it was worth
asking about.
Cheers,
Stephen
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Proportional notation/spacetime notation
A big problem that several people I know have had with finale and the like is that of implementing time-space notation. The proportional notation setting in lilypond is close to this, but has the problem for people who want to use time-space notation that it only works on a bar-by-bar basis, when the ideal would to have the proportions make sense globally, and not just within individual bars. Has anybody else here wrestled with this? Peace, Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic accidental rule
Ah, I set extraNatural to false (which isn't a detail I mentioned before),
and then (after remembering to put it in each voice) I get exactly what I
want. Fantastic.
Cheers,
Stephen
(sorry if this is the second copy I sent to you dude; I've not used gmail
with mailing lists before )
On Thu, Mar 13, 2008 at 3:02 PM, Rune Zedeler <[EMAIL PROTECTED]> wrote:
> Stephen Lavelle skrev:
> > So { c cs cs c } would, when rendered, have a sharps on the two middle
> > notes, and a natural on the fourth.
>
> Something like this:
>
> \version "2.10.20"
> myAccidentals = {
> \set Staff.autoAccidentals = #'(
>Staff
>(same-octave . -1)
>(same-octave . 0) )
> }
> \relative c'' {
> \myAccidentals
> c4 cis cis8 cis c c
> }
>
> ?
> Unfortunately the internals documentation of the property
> autoAccidentals is currently wrong. I'll look into it.
>
> -Rune
>
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New user question
Title: New user question I have just completed my first score with LilyPond and I am *very* impressed and pleased with the quality and the flexibility I have. One of the main things I'm using it for is to rescore pieces to landscape and condensing out whitespace. Because of my vision (I have special glasses), and the angle a clarinet requires, wider and shorter is better. So far, it is working out beautifully. I do have two questions. I was able to reproduce my source score perfectly (with a couple of tweaks for the way I prefer) except for two things. I like to have every measure numbered under the staff (easy enough) except that I can't find a way to have the first measure labeled with a '1' (I have a pick-up (partial) measure so was hoping to be able to do this). When I don't have a pick-up measure, I don't care as much, but it would be nice to do this when I do have one. I haven't tried this, but would it work to put the \override's for the Score.BarNumber after the first note? Second, there are a pair of marks that I cannot find anywhere in the documentation. I've always heard them called "intro marks" though there may be a more "official" name; the first is the top and left lines of a square and the second is the top and right of a square. You see this a lot in hymns and are used to mark a phrase (such as part of the chorus) as what to play as an intro for the song. Any help would be greatly appreciated. Thanks! Especially for all the great work! Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
First Measure bar
Title: First Measure bar
All,
If I have a file with this:
{
\time 4/4
\repeat volta 2
{
c''2
c''
}
}
I get a single measure and a close repeat at the end of it. How do I get LilyPond to put the openning repeat in there as well? I tried this:
{
\time 4/4
\bar "|:"
\repeat volta 2
{
c''2
c''
}
}
but that puts the time signature inside the repeat. I tried moving the
\bar to various places but nothing would put it where I want it. I would like to have the symbols in this order:
1. Clef
2. Time signature
3. Open repeat
4. The rest of the music.
Thanks for any help you can provide.
Stephen
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RE: First Measure bar
Title: RE: First Measure bar
But this puts the opening time signature inside the repeats. When an open repeat is used in all the music I've ever seen, the time signature is outside (to the left of) the opening repeat.
-Original Message-
From: Graham Percival [mailto:[EMAIL PROTECTED]]
Sent: Fri 10/21/2005 1:54 PM
To: Mats Bengtsson
Cc: lilypond-user@gnu.org; VSD; Kress, Stephen
Subject: Re: First Measure bar
On 21-Oct-05, at 1:07 AM, Mats Bengtsson wrote:
> I hope you have a good reason to deviate from standard music
> typesetting
> practice. As far as I can see, it's hard-coded into LilyPond to not
> typeset
> the opening repeat at the beginning of a piece, but if there is a
> general
> need for such an option, it should be easy to make this configurable.
No need -- just insert the bar manually.
{
\repeat 2 volta {
\bar "|:"
c1 c c
}
}
Cheers,
- Graham
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Re: Scribus - alternative to lilybook?
Henrik Frisk wrote: Han-Wen Nienhuys <[EMAIL PROTECTED]> wrote: Henrik Frisk wrote: That would actually be pretty neat... Sponsored feature, anyone? This sounds interesting, although I'm not quite sure what you mean. Once I've imported a pdf into Scribus your suggestion would allow me to edit the .ly file and then have the plugin render the new pdf and replace it with the old one? Yes, but then the .ly would be editable from within Scribus, so you only have to import a .ly , or enter it from scratch. If that's possible I'm up for a share of the cost. That would be cool. It would be significant amount of work, since I'd have to get familiar with Scribus and its plugin interface. I'd guess that this would be 1000 eur or 2000 eur, in order of magnitude. Let's see if we can create an interest in this. I think this would be a valuable addition to LilyPond. Anybody willing to co-sponsor? /henrik Hello, this is my newbie post. I've been using Lilypond with jEdit for about 2 months now for arranging instrumental parts. The only challenge has been learning some of the syntax but I can't complain. You have done a wonderful job with this software. I'd be interested in helping to support getting this Scribus feature up and running. Also, are there any user groups in the Eastern U.S. or parties interested in perhaps a workshop? Stephen Corey Richmond, Virginia, USA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Measure confusion
Title: Measure confusion
All,
I have been happily using lilypond for a while now but have run into a real mystery. I've attached the .ly file I'm working on. I'm using 2.6.4.
If you generate the PDF, you'll notice bar lines are missing between measures 71 and 72 and thereafter, until measure 75. The text "75" for the measure number should be on the double bar one measure later. It really looks like something has made lilypond's timing go very strange. I thought it might be because of the triplet 16ths, but I can comment those out and the problems before them are still there.
I'm not doning anything complicated at all here so I am at a loss as to why lilypond stops drawing bar lines and stops counting properly (or at least gives the appearance of not counting rignt).
Any help would be very much appreciated. Thanks!
Stephen
% Great Is Thy Faithfulness - Clarinet
\version "2.6.4.3"
#(set-default-paper-size "a4" 'landscape)
copyright = \markup { \hspace #0.5 \raise #0.75 { \circle {\small C} } }
\header
{
title = "Great Is Thy Faithfulness"
composer = "William N. Runyan"
arranger = \markup { \italic { "Arranged by Key Barker" } }
poet = "Clarinet I"
copyright = \markup { \copyright "Copyright (various) All rights reserved." }
tagline = " "
}
{
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\override Score.BarNumber #'direction = #-1
\override Score.BarNumber #'self-alignment-X = #0
\override BreathingSign #'extra-offset = #'( 0 . 1.5 )
\clef treble
\key d \major
\time 3/4
\relative c''
{
\set Score.skipBars = ##t
\override MultiMeasureRest #'expand-limit = 1
R2. r4 a( a') R2. r4 d,( d'
\repeat volta 2
{
\mark \markup { \box A } cis2.)
R2.*7 a2.~ a~ a~ a4 g2\> \breathe fis4(\! e d
a2.~ a2) r4
}
\alternative
{
{ R2.*2 } { R2. }
}
r4 a8(\mf d fis g \bar "||"
\mark \markup { \box B } a4) a e g8.( fis16) fis4 d16( e fis a b4) b fis a8.( g16)
g2 a4(\< b cis\! d a b cis d b\> a2.)\! R2.*7 \bar "||"
\mark \markup { \box C } fis4\mf^\markup { \italic { "a tempo - With Movement" } } fis fis fis4. e8 e4 \bar "||"
\set Staff.printKeyCancellation = ##f
\key e \major
e4(\< a) a--\! a( gis2) \breathe cis4( dis cis b a gis) b2( cis4)
e( fis e) dis8( b fis'4 dis e4. dis8 cis4 b a gis8 b16 e gis4 fis) fis,16( gis a
b cis4 dis e e4.( b8) b4-- gis gis( fis e2.~ e2) r4 \bar "||"
\mark \markup { \box D } R2. r4 r8 b( e[ gis] cis2.)~ \startTrillSpan cis2 \stopTrillSpan \breathe
a16( b cis e) fis8( dis16 fis) e8( cis16 e) dis8( cis16 dis)
e8[ a] gis[ e] cis[( b]) fis'2.~ \startTrillSpan fis2 \stopTrillSpan
r8 dis16-. e-. fis8( gis16 fis e4) dis16( cis b a gis8.) a16 b2
r8 b16-. b-. b8-- b16-. b-. b-. b-. b8->~ b4 a gis8( fis) e2 gis8( cis) e4.( b8) b4 gis a dis,
e r8 e16[( fis gis a] b4~ b) r8 b16-. b-. b4-- b'2.~\< \startTrillSpan b4.\! \stopTrillSpan
a16[( gis] fis[ e \times 2/3 { d cis b] } \bar "||"
\key f \major
\mark \markup { \box E } c4) c g
}
}
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FW: Measure confusion
Title: FW: Measure confusion
Thanks for the tip! The music I'm working with has an extra eighth (possibly the rest) in a couple of measures. I thought I had gotten them all.
Would it be worthwhile to have a "debugging your ly files" FAQ? It would be nice to have documented that measure bars will disappear when you've counted wrong.
Thanks for the quick response!
-Original Message-
Why not ask LilyPond itself to assist you in finding the problem.
Just insert a | where you expect to have a bar line (it will also
help you read your own input when working with the score), then
LilyPond will print a warning every time it finds bar that does
not end where you put the |.
However, here it shouldn't be hard to find the problem anyway, since
the b4 in bar 71 begins an 8th before the bar line.
/Mats
Kress, Stephen wrote:
>
> All,
>
> I have been happily using lilypond for a while now but have run into a
> real mystery. I've attached the .ly file I'm working on. I'm using 2.6.4.
>
> If you generate the PDF, you'll notice bar lines are missing between
> measures 71 and 72 and thereafter, until measure 75. The text "75" for
> the measure number should be on the double bar one measure later. It
> really looks like something has made lilypond's timing go very strange.
> I thought it might be because of the triplet 16ths, but I can comment
> those out and the problems before them are still there.
>
> I'm not doning anything complicated at all here so I am at a loss as to
> why lilypond stops drawing bar lines and stops counting properly (or at
> least gives the appearance of not counting rignt).
>
> Any help would be very much appreciated. Thanks!
>
> Stephen
>
>
>
>
> % Great Is Thy Faithfulness - Clarinet
>
> \version "2.6.4.3"
>
> #(set-default-paper-size "a4" 'landscape)
>
> copyright = \markup { \hspace #0.5 \raise #0.75 { \circle {\small C} } }
>
> \header
> {
> title = "Great Is Thy Faithfulness"
> composer = "William N. Runyan"
> arranger = \markup { \italic { "Arranged by Key Barker" } }
> poet = "Clarinet I"
> copyright = \markup { \copyright "Copyright (various) All rights reserved." }
> tagline = " "
> }
>
> {
> \override Score.BarNumber #'break-visibility = #end-of-line-invisible
> \override Score.BarNumber #'direction = #-1
> \override Score.BarNumber #'self-alignment-X = #0
> \override BreathingSign #'extra-offset = #'( 0 . 1.5 )
> \clef treble
> \key d \major
> \time 3/4
>
> \relative c''
> {
> \set Score.skipBars = ##t
> \override MultiMeasureRest #'expand-limit = 1
>
> R2. r4 a( a') R2. r4 d,( d'
>
> \repeat volta 2
> {
> \mark \markup { \box A } cis2.)
> R2.*7 a2.~ a~ a~ a4 g2\> \breathe fis4(\! e d
> a2.~ a2) r4
> }
> \alternative
> {
> { R2.*2 } { R2. }
> }
> r4 a8(\mf d fis g \bar "||"
> \mark \markup { \box B } a4) a e g8.( fis16) fis4 d16( e fis a b4) b fis a8.( g16)
> g2 a4(\< b cis\! d a b cis d b\> a2.)\! R2.*7 \bar "||"
> \mark \markup { \box C } fis4\mf^\markup { \italic { "a tempo - With Movement" } } fis fis fis4. e8 e4 \bar "||"
> \set Staff.printKeyCancellation = ##f
> \key e \major
> e4(\< a) a--\! a( gis2) \breathe cis4( dis cis b a gis) b2( cis4)
> e( fis e) dis8( b fis'4 dis e4. dis8 cis4 b a gis8 b16 e gis4 fis) fis,16( gis a
> b cis4 dis e e4.( b8) b4-- gis gis( fis e2.~ e2) r4 \bar "||"
> \mark \markup { \box D } R2. r4 r8 b( e[ gis] cis2.)~ \startTrillSpan cis2 \stopTrillSpan \breathe
> a16( b cis e) fis8( dis16 fis) e8( cis16 e) dis8( cis16 dis)
> e8[ a] gis[ e] cis[( b]) fis'2.~ \startTrillSpan fis2 \stopTrillSpan
> r8 dis16-. e-. fis8( gis16 fis e4) dis16( cis b a gis8.) a16 b2
> r8 b16-. b-. b8-- b16-. b-. b-. b-. b8->~ b4 a gis8( fis) e2 gis8( cis) e4.( b8) b4 gis a dis,
> e r8 e16[( fis gis a] b4~ b) r8 b16-. b-. b4-- b'2.~\< \startTrillSpan b4.\! \stopTrillSpan
> a16[( gis] fis[ e \times 2/3 { d cis b] } \bar "||"
> \key f \major
> \mark \markup { \box E } c4) c g
> }
> }
>
>
> -
formatting for tabloid size paper
Hello, New to Lilypond and loving it. I'd greatly appreciate any help I could get formatting an orchestral score correctly so it will fit properly on tabloid size paper in landscape format. There is plenty of vertical room for 11 staves to fit okay. But the default settings (set-default-paper-size "tabloid" 'landscape) give me inconsistent results. (Both entries necessary for this were entered) I've tried making adjustments to all margins and line length in both inches and centimeters and even alternately specifying hsize, vsize and #(set-global-staff-size). Also tried using a3 size and all metric settings but still didn't give the desired results. The problems vary depending on settings and include: - a gap of several inches between title and staves - full score line on page followed by partial score line split across pages -missing header with top half of score off the page -gaps between pages, 7-8 measures missing between pages This score is handled perfectly in letter format so I'm sure it is just a matter of getting the right settings for tabloid. If anyone has already worked through this issue, I'd greatly appreciate your input. Stephen Corey Richmond, Virginia USA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[Fwd: formatting for tabloid size paper]
sorry, forgot one of those cardinal rules - using Lilypond 2.6.3 with jEdit 2.4 on Suse 10.0 64 bit. Steve --- Begin Message --- Hello, New to Lilypond and loving it. I'd greatly appreciate any help I could get formatting an orchestral score correctly so it will fit properly on tabloid size paper in landscape format. There is plenty of vertical room for 11 staves to fit okay. But the default settings (set-default-paper-size "tabloid" 'landscape) give me inconsistent results. (Both entries necessary for this were entered) I've tried making adjustments to all margins and line length in both inches and centimeters and even alternately specifying hsize, vsize and #(set-global-staff-size). Also tried using a3 size and all metric settings but still didn't give the desired results. The problems vary depending on settings and include: - a gap of several inches between title and staves - full score line on page followed by partial score line split across pages -missing header with top half of score off the page -gaps between pages, 7-8 measures missing between pages This score is handled perfectly in letter format so I'm sure it is just a matter of getting the right settings for tabloid. If anyone has already worked through this issue, I'd greatly appreciate your input. Stephen Corey Richmond, Virginia USA --- End Message --- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
formatting for tabloid size paper
Hello, New to Lilypond and loving it. I'd greatly appreciate any help I could get formatting an orchestral score correctly so it will fit properly on tabloid size paper in landscape format. There is plenty of vertical room for 11 staves to fit okay. But the default settings (set-default-paper-size "tabloid" 'landscape) give me inconsistent results. (Both entries necessary for this were entered) I've tried making adjustments to all margins and line length in both inches and centimeters and even alternately specifying hsize, vsize and #(set-global-staff-size). Also tried using a3 size and all metric settings but still didn't give the desired results. The problems vary depending on settings and include: - a gap of several inches between title and staves - full score line on page followed by partial score line split across pages -missing header with top half of score off the page -gaps between pages, 7-8 measures missing between pages This score is handled perfectly in letter format so I'm sure it is just a matter of getting the right settings for tabloid. If anyone has already worked through this issue, I'd greatly appreciate your input. Using Lilypond 2.6.3 with jEdit 2.4 on 64 Bit Suse 10.0 Stephen Corey Richmond, Virginia USA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond missing note head files
I am setting up my computer to use lilypond. So far I have read the
overview of lilypond from the web site and got the stable version
(2.6.5) installed with only one warning. The warning was asking for gs
to be 8.0+ and I have 7.1.
Well I have a simple file I am using to start out:
\version "2.6.0"
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
d4 a e b
}
\score {
\new Staff \melody
\layout { }
\midi { \tempo 4=60 }
}
Yet when I tell lilypond to process it I get warnings like:
[EMAIL PROTECTED] ~ $ lilypond test.ly
GNU LilyPond 2.6.5
Processing `test.ly'
Parsing...
Interpreting music... [1]
Preprocessing graphical objects...
test.ly:7:11: warning: note head `noteheads.s2' not found
d4 a e
b
programming error: Infinity or NaN encountered
test.ly:7:9: warning: note head `noteheads.s2' not found
d4 a
e b
programming error: Infinity or NaN encountered
test.ly:7:7: warning: note head `noteheads.s2' not found
d4
a e b
A search on google did not lead me to a page that told me how to fix
this warning. The resulting pdf has 4/4 on a sheet with the note lines
but no notes present. I am sure this is a silly new user problem so I am
open to advice or being pointed to a FAQ.
Stephen
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Re: Lilypond missing note head files
On Fri, 2005-12-09 at 09:19 +0100, Mats Bengtsson wrote: > It's certainly not a FAQ, I cannot recall having seen this very problem > before. However, you can get much more help from the mailing list if you > - Tell what operating system you use Gentoo Linux (2005.1) > - Tell how you installed LilyPond (from some precompiled package or by >compiling it yourself) Compiled myself from the lilypond-2.6.5.tar.gz I got from the lilypond website. > - Include the output of lilypond --verbose test.ly Attached. > By the way, you should expect problems (but not the problems shown > below) if your gs version is too old. Using eps ghostscript 7.07. This is what is installed at present with a default Gentoo installation. I made no change from this when I installed my version of the distribution. In the ebuild files for any package that depends on ghostscript I find a virtual/ghostscript which I believe means that any ghostscript installation will suffice. I got the same errors switching to ghoscript-gnu (8.16) so I uninstalled my old copy of lilypond, ran ./configure --prefix=usr (no warnings this time), rebuilt and reinstalled it. I still get the same errors (ghostscript_gnu_8_16.log) So I unmasked mftrace in the Gentoo portage system and upgraded to it. After which I uninstalled lilypond, ran ./configure --prefix=/usr, rebuilt and reinstalled. Only by doing the last step was I am to compile my test.ly without errors. I hope the attached information helps. GNU LilyPond 2.6.5 LILYPOND_DATADIR="/usr/share/lilypond/2.6.5" LOCALEDIR="/usr/share/locale" Effective prefix: "/usr/share/lilypond/2.6.5" Initializing FontConfig... adding font directory: /usr/share/lilypond/2.6.5/fonts/otf/ adding font directory: /usr/share/lilypond/2.6.5/fonts/type1/ adding font directory: /usr/share/lilypond/2.6.5/fonts/svg/ Processing `test.ly' Parsing...[/usr/share/lilypond/2.6.5/ly/init.ly[/usr/share/lilypond/2.6.5/ly/declarations-init.ly[/usr/share/lilypond/2.6.5/ly/music-functions-init.ly][/usr/share/lilypond/2.6.5/ly/nederlands.ly][/usr/share/lilypond/2.6.5/ly/drumpitch-init.ly][/usr/share/lilypond/2.6.5/ly/chord-modifiers-init.ly][/usr/share/lilypond/2.6.5/ly/script-init.ly][/usr/share/lilypond/2.6.5/ly/scale-definitions-init.ly][/usr/share/lilypond/2.6.5/ly/grace-init.ly][/usr/share/lilypond/2.6.5/ly/midi-init.ly[/usr/share/lilypond/2.6.5/ly/performer-init.ly]][/usr/share/lilypond/2.6.5/ly/paper-defaults.ly[/usr/share/lilypond/2.6.5/ly/titling-init.ly]][/usr/share/lilypond/2.6.5/ly/engraver-init.ly][/usr/share/lilypond/2.6.5/ly/dynamic-scripts-init.ly][/usr/share/lilypond/2.6.5/ly/spanners-init.ly][/usr/share/lilypond/2.6.5/ly/property-init.ly]][test.ly] Interpreting music... [/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-20.otf][1] elapsed time: 0.02 seconds Element count 59 (spanners 8) Preprocessing graphical objects... Grob count 105[/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-11.otf][/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-13.otf][/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-14.otf][/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-16.otf][/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-18.otf][/usr/share/lilypond/2.6.5/fonts/otf/emmentaler-23.otf] test.ly:7:11: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered test.ly:7:9: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered test.ly:7:7: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered test.ly:7:4: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered Calculating line breaks... Global shortest duration is 3/16 warning: clef `clefs.G_change' not found warning: time signature symbol `C44' not found; reverting to numbered style [feta-alphabet20_7.029296875] test.ly:7:4: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered warning: clef `clefs.G' not found warning: time signature symbol `C44' not found; reverting to numbered style test.ly:7:7: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered test.ly:7:9: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered test.ly:7:11: warning: note head `noteheads.s2' not found d4 a e b programming error: Infinity or NaN encountered[2] Optimal demerits: 27.208589 Element count 65.[ test.ly:7:11: warning: note head `noteheads.s2' not found d4 a e b test.ly:7:9: warning: note head `noteheads.s2' not found d4 a e b test.ly:7:7: warning: note head `noteheads.s2' not found d4 a e b test.ly:7:4: warning: note head `noteheads.s2' not found d4 a e b test.ly:7:4: warning: note head `noteheads.s2' not found d4 a e b test.ly:7:7: warning: not
Putting a TabStaff and Staff on same sheet with lyrics
Here is a simple file that I thought would be a good start for me
getting into using lilypond. The intent is to produce the sheet music
for fingerpicking guitar in regular note notation and tablature with the
lyrics. I am not seeing the first staff of 'Guitar 1' on the output.
Also I am not sure how to properly write out the lyrics yet in lilypond.
Stephen
--
\version "2.6.5"
global= {
\time 2/2
\key a \minor
}
%---
% First guitar (regular)
%--
firstGuitar = \context Staff {
\set Staff.instrument = "Guitar 1 "
\relative c
{
% Am (measure 1)
d'4^"Am" a' f' d
% Am F (measure 2)
a, d
bes^"F" d
% C (measure 3)
f^"C" a f' c
}
}
%---
% Lyrics
%---
words = \lyricmode { Let all mor- tal flesh keep si- lence, }
%---
% First guitar (tablature)
%---
tabGuitar = \context TabStaff {
\set TabStaff.minimumFret = 5
\set TabStaff.instrument = "Guitar 2 "
\relative c
{
% Am (measure 1)
d a f' d'
% Am F (measure 2)
a d'
bes d'
% C (measure 3)
f a f' c'
}
}
%---
% Score
%---
\score {
\context Staff << \global \firstGuitar >>
\context TabStaff << \global \tabGuitar >>
\layout {}
}
test.pdf
Description: Adobe PDF document
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Re: Putting a TabStaff and Staff on same sheet with lyrics
On Sat, 2005-12-10 at 01:00 +0100, Gilles wrote: > Attached is your file, slightly modified: > > - Removed the \key setting from the "global" variable because > it causes a warning when used in the tab staff context Right. That makes sense when you think about it. > - Moved the "global" variable inside the respective staff Ok. I think I am beginning to see how variables are defined and used. > - Changed the setup in the \score block to achieve your goal > - Added a Voice context where the lyrics can be directed to I will have to review Voice context. > Also, I suggest that you look in the manual about \chordmode > before you start to use text markup to that effect. Thanks for the pointer. Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lyric word spanning two notes
I have a measure in 2/2 time which I have four quarter notes. Below it I
want to have lyrics where one word is sung in two parts in this measure.
So the notes and lyrics go in a pseudo code fashion would be:
a b c d
si -- lience
The notes 'a' and 'b' are paired with 'si--' where 'c' and 'd' are
paired with 'lience'. So far I have the lyrics for this song as:
%---
% Lyrics
%---
words = \lyricmode { Let all mor -- tal | flesh keep | si -- lence, |
and with fear and }
I get an error message about my lyrics mode line because I believe its
expecting four words or syllables for measure #3. How do I tell lilypond
to be please let 'si' be one count in 2/2 time and 'lience' be for one
count?
Stephen
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Re: Lyric word spanning two notes
I am using lilypond 2.6.5. Here is my whole file:
\version "2.6.5"
global= {
\time 2/2
}
%---
% First guitar (regular)
%--
firstGuitar = \context Staff {
\set Staff.instrument = "Guitar 1 "
\context Voice = "GuitarOne" {
\relative c
{
\global
\key a \minor
% Am (measure 1)
d'4^"Am" a' f' d |
% Am F (measure 2)
a2
2\arpeggio^"F" |
% C (measure 3)
f4^"C" a f' c |
% Am (measure 4)
d,4^"Am" a' f' d |
}
}
}
%---
% Lyrics
%---
words = \lyricmode { Let4 all mor -- tal | flesh2 keep | si2 -- lence, |
and4 with fear and }
%---
% Second guitar (tablature)
%---
secondGuitar = \context Staff = "GuitarTwo" {
\set Staff.instrument = "Guitar 2 "
\context Voice = "GuitarTwo" {
\relative c
{
\global
\key a \minor
% Am (measure 1)
d'4 a' a' f |
% Am F (measure 2)
d2
2\arpeggio |
% C (measure 3)
f4 a a' f |
% Am (measure 4)
d,4 a' a' f |
}
}
}
%-------
% Score
%---
\score {
<< \firstGuitar
\lyricsto "GuitarOne" \new Lyrics \words
\secondGuitar>>
\layout {}
}
Stephen
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Re: Re:Lyric word spanning two notes (Stephen Torri)
On Tue, 2005-12-13 at 18:12 -0500, Gordon Gilbert wrote: > Also, I see time values with the words -- if you have them with the > notes, that should be all that is necessary. Putting slurs over the > notes, or using _ within the words should align the words to the notes > they belong with. Try tweaking some of your code -- or if you're a > non-geek like me, find a template which works with your version and is > similar to what you want (i.e. two instruments, words, etc.) and put your > notes and words in that file, a bit at a time, compiling often so you can > make sure it keeps on working. The notes to which 'flesh' and 'keep' are associated with in the hymn are half notes. For the guitars we are using quarter notes to provide a more melodic finger picking pattern. So I don't see why I need to put in a slur since in guitar music, see classical guitar, a slur indicates where one note is plucked by a finger and the second note at the end of a slur is pressed with a hammer action by another finger. I do not want a hammer action. I want to indicate that each note is played with fingerpicking. I am trying to learn how to produce guitar music for hymns that don't have it so I want to try and learn on my own for starters. Thanks. Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyric word spanning two notes
As it stands I have a measure where I want to place two pieces of the
lyrics with a half note. No matter how I have attempted to say make the
first word a quarter note in length it still makes it a half note. This
throws off all the lyrics after this.
Can you point how where I am going wrong in the thirdVerse variable?
Stephen
---
\version "2.6.5"
global= {
\time 2/2
}
%---
% First guitar (regular)
%--
firstGuitar = \context Staff {
\set Staff.instrument = "Guitar 1 "
\context Voice = "GuitarOne" {
\relative c
{
\global
\key a \minor
% Am (measure 1)
d'4^"Am" a' f' d |
% Am F (measure 2)
a2
2\arpeggio^"F" |
% C (measure 3)
f4^"C" a f' c |
% Am (measure 4)
d,4^"Am" a' f' d |
% F (measure 5)
d,^"F" a' f' d |
% E (measure 6)
1\arpeggio^"E" |
% F (measure 7)
d4^"F" bes' f' d |
% C (measure 8)
f,4^"C" a f' c |
% Dm Am (measure 9)
2\arpeggio^"Dm"
\arpeggio^"Am" |
% Am G#m (measure 10)
g,4 d'
2\arpeggio^"G#m" |
% F (measure 11)
d4^"F" bes' f' d |
% C (measure 12)
1\arpeggio^"C" |
% A (measure 13)
d4^"A" a' ges' d |
% Dm (measure 14)
g,^"Dm" d' bes' g |
% Am (measure 15)
d,4^"Am" a' f' d |
% G (measure 16)
1\arpeggio^"G" |
% Am (measure 17)
d,4^"Am" a' f' d |
% Dm G (measure 18)
2\arpeggio^"Dm"
2\arpeggio^"G" |
% Am (measure 19)
1\arpeggio^"Am" |
}
}
}
%---
% Lyrics
%---
firstVerse = \lyricmode
{ Let all mor -- tal |
flesh keep |
si -- _ lence, _ |
and with fear and |
trem -- _ bling _ |
stand; |
pon -- der noth -- ing |
earth -- _ ly _ |
mind -- ed, |
for with blessing |
in _ his _ |
hand, |
Christ our God to |
earth _ _ de- |
scend _ -- _ _ |
eth, |
our full hom -- age |
to de- |
mand.
}
secondVerse = \lyricmode
{
King of kings, yet |
born of |
Mar _ -- y _ |
as of old on |
eather _ he _ |
stood, |
Lord of lords, in |
hu _ -- man _ |
ves -- ture, |
in the body |
and _ the _ |
blood, |
he will give to |
all _ the _ |
faith _ -- _ _ |
ful |
his own self for |
heav'n -- ly |
food.
}
thirdVerse = \lyricmode
{
Rank on rank the |
host of |
heav _ -- en _ |
speads its van -- guard |
on _ the _ |
way, |
as the Light of |
light _ de -- _ |
scend -- eth |
from the realms4 of |
end _ -- less _ |
day, |
that the pow'rs of |
hell _ may _ |
van _ -- _ _ |
ish |
as the dark -- ness |
clears a |
way.
}
fourthVerse = \lyricmode
{
At his feet the |
six -- winged |
ser -- aph |
}
%---
% Second guitar (tablature)
%---
secondGuitar = \context Staff = "GuitarTwo" {
\set Staff.instrument = "Guitar 2 "
\context Voice = "GuitarTwo" {
\relative c
{
\global
\key a \minor
% Am (measure 1)
d'4 a' a' f |
% Am F (measure 2)
d2
2\arpeggio |
% C (measure 3)
f4 a a' f |
% Am (measure 4)
d,4 a' a' f |
% F (measure 5)
d, bes' bes' f |
% E (measure 6)
1\arpeggio^"E" |
Re: Lyric word spanning two notes
On Tue, 2005-12-13 at 23:43 -0500, Gordon Gilbert wrote: > Hi Stephen! > > I compiled your piece and the only workaround I can see for what you want > is to type "host-of" to get those two words on the same note -- lily > thinks a hyphen is simply part of a word (as opposed to dbl-hyphen > or *underscore* Does this help? It works but its not ideal. If indeed lilypond is trying to engrave music in the right way then I should not need a hyphen to make it put two words attached to a half note. Does anyone have an idea as to why I cannot assign two words of lyrics to a half note? Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyric word spanning two notes
On Tue, 2005-12-13 at 23:51 -0800, Graham Percival wrote: > On 13-Dec-05, at 10:30 PM, Stephen Torri wrote: > > > It works but its not ideal. If indeed lilypond is trying to engrave > > music in the right way then I should not need a hyphen to make it put > > two words attached to a half note. > > > > Does anyone have an idea as to why I cannot assign two words of lyrics > > to a half note? > > Sorry? How are you supposed to sing two words on a single half note? > Shouldn't that be two quarter notes of the same pitch? Your are right Graham in asking that question. I reviewed the hymm that I am working on and others and found that one syllable is being sung per note. So I do need to break up that half note in the affected measure. Thanks. Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
example of including lyrics into seperate files
I am playing around with the tag feature so that I can print out a
master score for a piece and the individual instrument music. In order
to follow along on the hymn I want to include the lyrics for all four
verses in the master score and the individual instrument music. Below is
the master lilypond file (piece.ly) and a instrument file (guitar1.ly).
I can print out the master score using score.ly and an instrument using
guitar1.ly.
Any idea of how to insert the lyrics into the score.ly and guitar1.ly
respectively"?
Stephen
piece.ly
\version "2.6.5"
global= {
\time 2/2
}
\header {
title = "Let All Mortal Flesh Keep Silence"
subtitle = \markup \normal-text \italic "The Lord is in his holy
temple; let all the earth be silent before him. Hab. 2:20"
arranger = "Arr. by Stephen Torri"
}
%---
% First guitar (regular)
%--
firstGuitar = \new Voice {
\set Staff.instrument = \markup {
\column { "Guitar 1"
"(capo 5)"
}
}
\relative c
{
\global
\key a \minor
% Am (measure 1)
d'4^"Am" a' f' d |
% Am F (measure 2)
a2
2\arpeggio^"F" |
% C (measure 3)
f4^"C" a f' c |
% Am (measure 4)
d,4^"Am" a' f' d |
% F (measure 5)
d,^"F" a' f' d |
% E (measure 6)
1\arpeggio^"E" |
% F (measure 7)
d4^"F" bes' f' d |
% C (measure 8)
f,4^"C" a f' c |
% Dm Am (measure 9)
2\arpeggio^"Dm"
\arpeggio^"Am" |
% Am G#m (measure 10)
g,4 d'
4\arpeggio^"G#m"
( ) |
% F (measure 11)
d4^"F" bes' f' d |
% C (measure 12)
1\arpeggio^"C" |
% A (measure 13)
d4^"A" a' ges' d |
% Dm (measure 14)
g,^"Dm" d' bes' g |
% Am (measure 15)
d,4^"Am" a' f' d |
% G (measure 16)
1\arpeggio^"G" |
% Am (measure 17)
d,4^"Am" a' f' d |
% Dm G (measure 18)
2\arpeggio^"Dm"
2\arpeggio^"G" |
% Am (measure 19)
1\arpeggio^"Am" |
}
}
%---
% Lyrics
%---
firstVerse = \lyricmode
{
\set stanza = "1. "
Let all mor -- tal |
flesh keep |
si -- _ lence, _ |
and with fear and |
trem -- _ bling _ |
stand; |
pon -- der noth -- ing |
earth -- _ ly _ |
mind -- ed, |
for with blessing |
in _ his _ |
hand, |
Christ our God to |
earth _ _ de- |
scend _ -- _ _ |
eth, |
our full hom -- age |
to de- |
mand.
}
secondVerse = \lyricmode
{
\set stanza = "2. "
King of kings, yet |
born of |
Mar _ -- y _ |
as of old on |
eather _ he _ |
stood, |
Lord of lords, in |
hu _ -- man _ |
ves -- ture, |
in the body |
and _ the _ |
blood, |
he will give to |
all _ the _ |
faith _ -- _ _ |
ful |
his own self for |
heav'n -- ly |
food.
}
thirdVerse = \lyricmode
{
\set stanza = "3. "
Rank on rank the |
host of |
heav _ -- en _ |
speads its van -- guard |
on _ the _ |
way, |
as the Light of |
light _ de -- _ |
scend -- eth |
from the "realms of" |
end -- _ less _ |
day, |
that the pow'rs of |
hell _ may _ |
van _ -- _ _ |
ish |
as the dark -- ness |
clears a |
way.
}
fourthVerse = \lyricmode
{
\set stanza = "4. "
At his feet the |
six -- winged |
ser -- _ aph _ |
cher -- u -- bim, with |
sleep -- _ less _ |
eye, |
veil their fac -- es |
to _ the _ |
pres -- ence, |
as with "cease-less" |
voice _ they _ |
cry, |
''Al -- le -- lu -- ia, |
al -- _ le -- _ |
lu _ -- _ _ |
ia, |
al
Re: example of including lyrics into seperate files
On Thu, 2005-12-15 at 11:07 +0100, Mats Bengtsson wrote: > However, if you want the lyrics included also in the separate part for > guitar 2, it's a bit more tricky, at least if the rhythm of the second > guitar part does not match the lyrics, since then you don't have anything > in the score that the lyrics could get its rhythm from. I can think of > some more or less ugly hacks to include also guitar one but hide it so > it isn't printed, but maybe someone else on the list have a nice working > solution to propose. > >/Mats I do want the lyrics for guitar 2 but I luck out this time that the timing is the same but different notes. So I can use the lyrics in guitar2.ly. Thanks for the information. Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Using chord names instead of ^"name" in the music
I was told to consider using chord names instead of using the ^"name" notation as a part of the music. For example: % Am (measure 1) d'4^"Am" a' f' d | % Am Bflat (measure 2) a2 2\arpeggio^"Bis" | Now I have a problem with the above music. How do I tell lilypond to give me a B with a flat symbol above the second half of the second measure. After reading the documentation I got the impression the chord names allowed me to print out chords on sheet music. I don't need the note only the name. Does this make sense? Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
footnotes on output sheet
I am trying to give credit where credit is due and put the footnotes I find in a hymn on the bottom of the sheet. Some text is aligned on the left and right side of the page as if the foot note was split into two columns. I used google to search the documentation and did not see how with lilypond syntax to do this. Do I need to put my lilypond doc into a latex doc and try it that way? Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: footnotes on output sheet
On Mon, 2005-12-19 at 17:14 +0100, Thies Albrecht wrote:
> Hi Stephen!
>
> > Some text is aligned on the
> > left and right side of the page as if the foot note was split into two
> > columns...
> Do mean something like
>
> copyright = \markup \fill-line {{"left-aligned credit"}
> {"right-aligned credit"}}
>
> in the header section?
>
> Regards,
> Thies
Yes. Thanks. It did not make sense to think of copyright to denote
information put at the bottom of each sheet.
Stephen
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Re: Using chord names instead of ^"name" in the music
On Mon, 2005-12-19 at 17:49 -0800, Kenneth Teh wrote:
> What you typically do is write something like
>
> changes = \chordmode {
> a1:m |
> s2 bes |
> }
I did the following:
harmonies = \chordmode { a1:m | a2:m bes | c1 | a1:m | f | e | f | c2
d:m | a1:m | a2:m g:m | f1 | c | a/cis | d:m | a:m | g | a:m | d2:m g |
a1:m }
> Btw, the s2 bes will do exactly what you want, skip 2
> beats and write the chord name on the 3rd beat. If
> you want the A minor to extend into the second
> measure, you will have to repeat the chord or tie it.
> The ChordNames context has a flag #chordChanges which
> you can set to ##t so that it will suppress repeated
> chords from being printed.
Are you sure about the number values? I ask because I used the number
values after the chord character 'a1' to indicate its a whole measure
and 'a2' to indicate a half measure and got the results I wanted.
Aside on the slur how do you slur chord names? For example how do I get
away with no repeating the Am chord in the second measure.
Stephen
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Unable to tie chords together in chordmode
When I attempt to use a chord tie in a \chordmode I get an error when
using lilypond 2.6.5:
lilypond Silent_Night.ly
GNU LilyPond 2.6.5
Processing `Silent_Night.ly'
Parsing...
Interpreting music...
piece.ly:30:27: warning: junking event: `TieEvent'
harmonies = \chordmode { g1
~ | g1 | d1 }
Here is my chord line:
harmonies = \chordmode { g1~ | g1 | d1 }
What am I doing wrong?
Stephen
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Re: Unable to tie chords together in chordmode
On Mon, 2006-01-02 at 12:57 +0100, Mats Bengtsson wrote: > If you typeset your chords using a ChordNames context, > \new ChordNames \harmonies > then there is no support for ties. On the other hand, if you typeset the > chords using normal notes, > \new Staff \harmonies > then you will of course also get the ties. So, it really has nothing to > do with > \chordmode per se. > > I tried to add the tie engraver (the functions handling ties) to the > ChordNames > context, but the only thing that happens is that you get rid of the > warning. > LilyPond is still unable to print the ties, since they are connected to > note heads. > > What kind of layout did you expect for ties between chords? > >/Mats I was expecting to see only the first chord name for a tied pair. Instead of printing the second chord name a space would be inserted so that the chord name following it would be properly spaced. Stephen signature.asc Description: This is a digitally signed message part ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unable to tie chords together in chordmode
On Mon, 2006-01-02 at 16:34 +0100, Mats Bengtsson wrote:
> I'm sure you realize that you can get the desired output by specifying
> only the first occurance of the chord, with a longer duration, for example
> to get a chord spanning 3 full measures in common time, use something like
>
> \chordmode{ c1*3:dim7 ... }
>
>/Mats
No I did not realize I could use the multiplication symbol '*' to adjust
the duration. Thanks.
Stephen
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Strum notation
Is there a feature in lilypond for doing what is called "strum notation"? I am looking for something which will let me write down the strumming pattern for a variety of worship songs to help aid learning the song. Often I find hearing a strumming pattern once is not enough. Some musicians can pick this up easy but I feel that beginners or people new to a song do well by having things written down. So I am looking for a notation that tells me to strum either up or down for a certain period of time. For example strum down once per beat in a 4/4 time. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strum notation
On Thu, 2006-01-05 at 02:04 +0100, Han-Wen Nienhuys wrote: > > So I am looking for a notation that tells me to strum either up or down > > for a certain period of time. For example strum down once per beat in a > > 4/4 time. > > what does strum notation look like? Well I have found a few. - example #1 - This one uses a specific head for notes and uses typical timings (e.g. quarter notes). The direction of strumming up or down is done by a character above the note. This would be used on a staff. http://www.accessrock.com/BeginningLessons/guitarchordgrid.asp Another similar to above http://www.acousticguitar.com/lessons/Simple_Sync/3.shtml - example #2 - This example uses arrows on a Tabulature to denote direction and which strings are hit by the pick. http://www.teachguitar.com/content/tmbasicstrumpats.htm Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strum notation
On Thu, 2006-01-05 at 14:44 +0100, Han-Wen Nienhuys wrote: > > - example #1 - > > This one uses a specific head for notes and uses typical timings (e.g. > > quarter notes). The direction of strumming up or down is done by a > > character above the note. This would be used on a staff. > > http://www.accessrock.com/BeginningLessons/guitarchordgrid.asp > > > > Another similar to above > > http://www.acousticguitar.com/lessons/Simple_Sync/3.shtml > > > > I think you can use the "slash" note head style to get this type of notation > >\override NoteHead #'style = #'slash Thanks. Do you know how I can indicate whether the musician should be strumming down or up? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilytool broke: any suggestions?
Hello all, I had a wonderful introduction to Lilypond perhaps 6 months ago and managed to put a full program of choral and instrumental music on for Christmas, all scored with Lilypond. I promised myself not to update anything on Linux until this project was over. Well, now I've managed to break Lilytool and it is all I've used so far to put music together and I'd rather stick with it. It seems like different plugins have version requirements that are not currently compatible. Before I forget, let me include that I am using Suse 10.0 on an AMD64 with Lilypond 2.6.3 and Lilytool 2.7, now 2.9. Briefly: Lilytool, I think the old name was Lilypondtool, version 2.7 is no longer on the jEdit website. Version 2.9 requires jdk 5.0 which I downloaded from Sun and installed, presumably with no problems. I had to install jEdit 4.3 to get the 0.4 Errorlist plugin, apparently none of the Errorlist versions match to jEdit 4.2final anymore. All the required plugins appear to be installed and the plugin manager is fooled at least initially into believing everything is okay. But I get a nice list of errors upon creating an "ly" file and jEdit locks up. Any help would be appreciated. I'm more interested in getting my work done than charting new territory. If anyone can point me to the old 2.7 tool and the appropriate plugin versions, I'd be quite happy to revert to my prior setup. And I apologize for posting this on here but this is the only group I know that relates to Lilytool in any way. BTW, I love Lilypond! And just in case anyone has helpful tips, I'd love to try Denemo but have never been able to satisfy the build requirements on this machine. Thanks, Stephen Corey Here is the context of a BeanShell Error window after trying to load Lilytool again: java.lang.UnsupportedClassVersionError: lilytool/parser/LilySideKickParser (Unsupported major.minor version 49.0) at java.lang.ClassLoader.defineClass0(Native Method) at java.lang.ClassLoader.defineClass(ClassLoader.java:539) at java.lang.ClassLoader.defineClass(ClassLoader.java:448) at org.gjt.sp.jedit.JARClassLoader._loadClass(JARClassLoader.java:366) at org.gjt.sp.jedit.JARClassLoader.loadClass(JARClassLoader.java:82) at java.lang.ClassLoader.loadClass(ClassLoader.java:235) at bsh.BshClassManager.plainClassForName(BshClassManager.java:224) at bsh.BshClassManager.classForName(BshClassManager.java:170) at bsh.NameSpace.classForName(NameSpace.java:1265) at bsh.NameSpace.getClassImpl(NameSpace.java:1165) at bsh.NameSpace.getClass(NameSpace.java:1106) at bsh.Name.consumeNextObjectField(Name.java:301) at bsh.Name.toObject(Name.java:202) at bsh.BSHAmbiguousName.toObject(BSHAmbiguousName.java:59) at bsh.BSHAllocationExpression.objectAllocation(BSHAllocationExpression.java:86) at bsh.BSHAllocationExpression.eval(BSHAllocationExpression.java:62) at bsh.BSHPrimaryExpression.eval(BSHPrimaryExpression.java:102) at bsh.BSHPrimaryExpression.eval(BSHPrimaryExpression.java:47) at bsh.Interpreter.eval(Interpreter.java:641) at bsh.Interpreter.eval(Interpreter.java:731) at bsh.Interpreter.eval(Interpreter.java:720) at org.gjt.sp.jedit.BeanShell._eval(BeanShell.java:430) at org.gjt.sp.jedit.BeanShell.eval(BeanShell.java:394) at org.gjt.sp.jedit.ServiceManager$Descriptor.getInstance(ServiceManager.java:321) at org.gjt.sp.jedit.ServiceManager.getService(ServiceManager.java:264) at sidekick.SideKickPlugin.getParser(SideKickPlugin.java:142) at sidekick.SideKickPlugin.getParserForBuffer(SideKickPlugin.java:167) at sidekick.SideKick.setParser(SideKick.java:131) at sidekick.SideKick.handleMessage(SideKick.java:155) at org.gjt.sp.jedit.EditBus.send(EditBus.java:148) at org.gjt.sp.jedit.jEdit.addPluginJAR(jEdit.java:1012) at org.gjt.sp.jedit.pluginmgr.ManagePanel$PluginTableModel.loadPluginJAR(ManagePanel.java:359) at org.gjt.sp.jedit.pluginmgr.ManagePanel$PluginTableModel.setValueAt(ManagePanel.java:281) at javax.swing.JTable.setValueAt(JTable.java:1794) at javax.swing.JTable.editingStopped(JTable.java:3167) at javax.swing.AbstractCellEditor.fireEditingStopped(AbstractCellEditor.java:124) at javax.swing.DefaultCellEditor$EditorDelegate.stopCellEditing(DefaultCellEditor.java:329) at javax.swing.DefaultCellEditor.stopCellEditing(DefaultCellEditor.java:214) at javax.swing.DefaultCellEditor$EditorDelegate.actionPerformed(DefaultCellEditor.java:346) at javax.swing.AbstractButton.fireActionPerformed(AbstractButton.java:1786) at javax.swing.AbstractButton$ForwardActionEvents.actionPerformed(AbstractButton.java:1839) at javax.swin
Re: Lilytool broke: any suggestions?
> Briefly: > Lilytool, I think the old name was Lilypondtool, version 2.7 is no longer > on the jEdit website. Version 2.9 requires jdk 5.0 which I downloaded > from Sun and installed, presumably with no problems. From: Tim Sawyer <[EMAIL PROTECTED]> To: Stephen Corey <[EMAIL PROTECTED]> Subject:Re: Lilytool broke: any suggestions? Date: Sun, 8 Jan 2006 21:54:17 + (16:54 EST) I know nothing about lilytool, so I'll reply direct to you rather than the list. It looks like you're running a JDK 5.0 class file on a JDK1.4 JVM, hence it doesn't understand the class file format. Try a "java -version" at a command prompt to see which version is the default on your path. If it's 1.4 then that's the problem, you need to find a way of changing the path around. You could also try typing "which java" at a prompt, that might tell you the location of the binary being run. Hope that helps! Tim. Tried Tim's suggestions and he is correct and this does at least seem to be the bulk of the problem. I have read that there are still some issues with java and x86_64 and would prefer to just revert to jEdit 4.2, Lilytool 2.7, and all compatible plugins as I have a deadline approaching. Could anyone email me the correct jar files or point to a source for them? Thanks much... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilytool broke: any suggestions?
On Tue, 10 Jan 2006 01:50:25 +0200, Tapio Tuovila wrote: > Stephen Corey kirjoitti: >> >> Tried Tim's suggestions and he is correct and this does at least seem to >> be the bulk of the problem. I have read that there are still some issues >> with java and x86_64 and would prefer to just revert to jEdit 4.2, >> Lilytool 2.7, and all compatible plugins as I have a deadline approaching. >> Could anyone email me the correct jar files or point to a source for >> them? > Stephen, > the correct SideKick plugin version (0.34) for jEdit 4.2 is now > available on the jEdit Plugin Central website. > To my knowledge 4.2 runs well on java 1.5, so maybe you can use lilytool > 2.9; I have done so in SuSE 10.0 on x86. > > My best wishes, > Tapio To everyone who offered suggestions, Thank You Thank You Thank You ! ! ! Up and running again, reverted back to 4.2, 2.7, and all relative plugins with your assistance. I'll try upgrading again once I get java issues worked out on my system. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Upgrading from 2.6 to 2.8
Title: Upgrading from 2.6 to 2.8 Hello, all. I post this with the hopes that it will prove helpful to someone. I run on a Gentoo Linux system (thanks to whoever picked up the maintenance for the lilypond ebuild! When will I see 2.8.1, btw?) and ran into a simple issue that took a while to work out. Back in the 2.6/2.7 days, I had used the package installer for lilypond (the Gentoo ebuild only handled 2.7 and I wasn't ready for that). When it was time to move to 2.8, I did "package remove lilypond" which worked fine. I then tried both emerging of 2.8.0 and using the install script for 2.8.1. Both worked fine until I tried a simple "lilypond myfile.ly". This produced an error when converting from ps to pdf. The command being used was "gs-nox" and it was producing a strange error about init.ps or something like that having a version mismatch. To make a long story short, I needed to do "package remove ghostscript" (I already had an appropriate version emerged using Gentoo's stuff) before my problem cleared up. Installing lilypond 2.6 with the package installer also installed a version of ghostscript (which turned out not to be compatable with 2.8) along with it and removing lilypond dit not remove ghostscript. I need to check if guile also has the same issue... So, if you are on Linux and move from 2.6 to 2.8, make sure your ghostscript (and probably guile) installation is up-to-date. Stephen 2006-04-07, 16:35:48 The information contained in this e-mail message and any attachments may be privileged and confidential. If the reader of this message is not the intended recipient or an agent responsible for delivering it to the intended recipient, you are hereby notified that any review, dissemination, distribution or copying of this communication is strictly prohibited. If you have received this communication in error, please notify the sender immediately by replying to this e-mail and delete the message and any attachments from your computer. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: LilyPond and OpenDocument
Title: RE: LilyPond and OpenDocument Is there a reason you can't use lilypond --backend=eps myfile.ly ? This should create an EPS file which OO knows how to import. If you want the ability to edit what LP puts out, this won't give you what you need, though. If you're actually making a document, it may be easier to use LP to just do the music (creating EPS files) and do the text editing in OO Writer. I'm not entirely sure, but you may be able to use something like Paint Shop Pro (costs) or The Gimp (free) to actually edit the pieces of the EPS files. -Original Message- From: [EMAIL PROTECTED] on behalf of Jay Hamilton, Sound and Silence Sent: Wed 5/3/2006 9:39 PM To: Tomas Valusek Cc: lilypond-user@gnu.org Subject: Re: LilyPond and OpenDocument There is a notice in the sponsoring section of the website that lists something about OOorg. I wrote and asked Han-Wen about it and was told that there was a bridge that made the project possible but that it would be expensive Quote from Han-Wen- " I've put the cost for an initial prototype at 1250 eur." I'm interested but couldn't put up that much by myself and didn't have much Idea of anyone else being interested. Also other than trying to use it to put music in a text which other people find simple or possible to do via some sort of *teX program (which I remain ignorant of) I am not sure how many people would get any use of the tool. So if there is a larger interest it's probably a go. Just needs money. I also think that the use would need to be defined. i.e. why do we want this integration and what do we expect it do allow us to do. Jay Tomas Valusek wrote: > Hello, > > is there a way to create ODF format from LilyPond, so that I could edit > result in OpenOffice.org? > > Tomas Valusek > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > > -- Childhood is a Journey not a race- Emma Sadinsky aged 8 Jay Hamilton Sound and Silence 206-328-7694 www.soundand.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user 2006-05-03, 22:30:26 The information contained in this e-mail message and any attachments may be privileged and confidential. If the reader of this message is not the intended recipient or an agent responsible for delivering it to the intended recipient, you are hereby notified that any review, dissemination, distribution or copying of this communication is strictly prohibited. If you have received this communication in error, please notify the sender immediately by replying to this e-mail and delete the message and any attachments from your computer. 2006-05-03, 23:15:29 The information contained in this e-mail message and any attachments may be privileged and confidential. If the reader of this message is not the intended recipient or an agent responsible for delivering it to the intended recipient, you are hereby notified that any review, dissemination, distribution or copying of this communication is strictly prohibited. If you have received this communication in error, please notify the sender immediately by replying to this e-mail and delete the message and any attachments from your computer. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Changing where lyrics are layout on sheet
I have a piece of music for church which had a key change only for the 5th measure. So I wrote the entire piece using a volta for the first four measures. Now the lyrics for the first four measures are in the right spot in the piece but I would like the lyrics for the fifth verse to be just under the measure. Attached is the files for the song. I used lilypond 2.8 so you just have to type 'make' and all will be built. Look at the master.pdf. You will notice that the fifth lyrics start at the beginning of the piece and not with the repeat for the 5th time through the piece. Stephen hymn.tar.bz2 Description: application/bzip-compressed-tar ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing where lyrics are layout on sheet
On Sat, 2006-05-20 at 00:06 -0500, Stephen Torri wrote: > I have a piece of music for church which had a key change only for the > 5th measure. Never send emails after 10 pm. Go to bed instead. Bah! I mean to say that the key change occurs when playing the piece for the 5th time. So key of C for the first four times and then key of D I believe. Really, I know how to type. Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing where lyrics are layout on sheet
On Sat, 2006-05-20 at 13:46 +0200, Mats Bengtsson wrote: > Take a look at the example at the end of Section > "7.3.7.2 Divisi lyrics" in the manual. Then I think > you can work it out yourself. > >/Mats I made your suggested changes and got the 5th verse lyric to be position where I wanted them. One of my issues now is how to make the number of measures per line the same. I tried to use the \break and \pageBreak but the layout went crazy. Lilypond created pages larger than standard Letter size and attempts at change line-width and paper-heigh was met with interesting results (e.g. partial measure printed on the bottom of the page). Another is that the PDFs produced have the character 'm' for all the chord names when printed. The PS files seem to be a bit large as if set for A4 paper. I have a Samsung 2251N printer. Attached is my present result. Stephen hymn.tar.bz2 Description: application/bzip-compressed-tar ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing where lyrics are layout on sheet
On Sat, 2006-05-20 at 22:59 +0200, Mats Bengtsson wrote: > Stephen Torri wrote: > > > > >One of my issues now is how to make the number of measures per line the > >same. I tried to use the \break and \pageBreak but the layout went > >crazy. Lilypond created pages larger than standard Letter size and > >attempts at change line-width and paper-heigh was met with interesting > >results (e.g. partial measure printed on the bottom of the page). > > > > > What version of LilyPond do you use (please always tell > when asking questions)? I tried your example here with > version 2.8.3 and couldn't notice anything strange with > the layout. The default page size is A4 and I couldn't see > that you had tried to change that to letter size in your > files. Sorry. I am using 2.6.5. I did not know the default was A4. I will change that. I will upgrade to 2.8.3. > >Another is that the PDFs produced have the character 'm' for all the > >chord names when printed. > > > What do you mean? Here is a link to the file I told acrobat reader to print the master.pdf. You will see that when I printed it to the file I get the 'm' characters I am talking about here. http://www.torri.org/master.ps ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
