\set chordChanges troubles
% have a look at the following score
% containing lines for kb, tb (in C) and sax (in B)
% see set chordChanges
\version "2.10.33"
% A4-Papier, oberen Rand verringern
\paper {
#(set-paper-size "a4")
top-margin = -0.5\cm
}
% angenehme Höhe der Notenzeilen
#(set-global-staff-size 21)
% Titel, Fußzeile
\header {
title = "Scheiß Technik"
composer = "Alex Tantscher"
arranger = \markup \fontsize #-2 "πQ"
% Fußzeile
tagline = \markup \fontsize #-2
"Notensatz mit dem freien Programm LilyPond (www.lilypond.org)"
% leere Fußzeile
% tagline = ##f
}
% Noten der ersten Stimme (Sopran) (eingeschlossen von Schweifklammern)
% \relative c' heißt, der erste Ton ist derjenige, der am nächsten
% am c' (Mitte der Klaviatur, Violinschlüssel erste untere Hilfslinie) liegt
% \relative heißt, dass ansonsten immer den nächstliegende Ton gemeint ist,
% mit ' (Apostroph) geht's auch eine Oktave höher (mit zweimal ' zwei) und
% mit , (Komma) runter
Erste = \relative c' {
% Violinschlüssel
\clef G
%
\key es
% Dur
\major
% Viervierteltakt
\time 4/4
%Noten etwas kleiner machen, damit sie nicht so "fett" sind (in jeder Stimme)
\set fontSize = #-1
% "normale" Wiederholung (Schweifklammern)
\repeat "volta" 2 {
c8 es f g( g) g f es | c' c bes4 r2 |
c,8 es f g g( g) f es | f f es4 r2 |
c8 es f g( g) g f es | c' c bes4 r2 |
\break
es8 c es c r4 bes8 g | bes g r bes b c r4 |
}
\alternative {
{r r8 es, d c( c4) } {r r8 es d c( c4) }
}
s1 | s1 |
}
Harmonien = {
\repeat "volta" 2 {
\chordmode {c1:m7 c:m7 c:m7 c:m7 c:m7 c:m7 c:m7 c:m7}
}
\alternative {
{\chordmode {
c:m7} }
{\chordmode {
c2:m7( c8:m7) as4.:7}}
}
\chordmode {
as2:7 bes:6 | c1:m7 |
}
}
Zweite = \relative c' {
% Violinschlüssel
\clef G
%
\key es
% Dur
\major
% Viervierteltakt
\time 4/4
%Noten etwas kleiner machen, damit sie nicht so "fett" sind (in jeder Stimme)
\set fontSize = #-1
% "normale" Wiederholung (Schweifklammern)
\repeat "volta" 2 {
r1 |
c8 es f g( g) g f es | c' c bes4 r2 |
c,8 es f g g( g) f es | f f es4 r2 |
r1 |
\break
g8 as g as r4 d8 es | d es r es d c r4 |
}
\alternative {
{r r8 c, d es( es4) } {r r8 c d es( es4) }
}
s1 | s1 |
}
Vierte = \relative c' {
% Violinschlüssel
\clef G
%
\key es
% Dur
\major
% Viervierteltakt
\time 4/4
%Noten etwas kleiner machen, damit sie nicht so "fett" sind (in jeder Stimme)
\set fontSize = #-1
% "normale" Wiederholung (Schweifklammern)
\repeat "volta" 2 {
r1 |
c8 es f g( g) g f es | c' c bes4 r2 |
c,8 es f g g( g) f es | f f es4 r2 |
r1 |
\break
bes'8 g bes g r4 f8 d | f d r f fis g r4 |
}
\alternative {
{r r8 bes, b c( c4) } {r r8 bes a as( as4) }
}
s1 | s1 |
}
% Partitur, die ausgedruckt (bzw. als pdf ausgegeben) wird
\score {
\new StaffGroup
<<
% % % % Liedtext ‒ hier über den Noten, siehe auch noch unten
% % % \context Lyrics = TextErsteZeileErsteStimme {
% % % }
\new ChordNames \Harmonien
\new Staff \Erste
\set chordChanges = ##t
\new Staff \Zweite
% \new Staff \Dritte
\set chordChanges = ##t
\new ChordNames \transpose c d \Harmonien
\new Staff \transpose c d \Vierte
% if put chordChanges above ChordNames, symbols are printed below staff
% and in every bar (also if there is no change) ‒ strange
% second chordChanges doesn't work at all
>>
\layout {
%keine Einrückung
indent = #0
%keine Taktzahlen
\context { \Score \remove "Bar_number_engraver" }
}
% Ende der Partitur
}
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ChordNames prints small characters for added bassnotes, I'd prefer capital like C/E or Cm/Es ...
For the following music in \chordmode ChordNames prints Fm7/as, (how) is it possible to obtain Fm7/As? f1:m7/as (btw.: Interistig would be too small characters for minor chords like g instead of Gm or gm instead of Gm ...) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ChordNames prints small characters for added bassnotes, I'd prefer capital like C/E or Cm/Es ...
Dominic Neumann dominicneumann.de> writes: > 2008/8/19 Werner web.de>: > > For the following music in \chordmode ChordNames prints Fm7/as, > > (how) is it possible to obtain Fm7/As? > > > > f1:m7/as > > Hi Werner, > > the bass notes being printed as capital letters is the standard > option, if I´m right. You should take a look at the Manual, section > 2.7.2 Displaying chords. Hi, seems it was a problem of version 2.10.33 ... Sorry. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ChordNames prints small characters for added bassnotes, I'd prefer capital like C/E or Cm/Es ...
Thanks a lot for the hint with the change in /usr/local/lilypond/usr/share/lilypond/current/scm/chord-name.scm Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Staff.voltaSpannerDuration
Hello, I wrote a staffgroup with two voices in two staffs and harmonys (chordmode). There is a repeat with alternatives over 8 bars. Want to shorten the volta bracket. I tried without succes. (No warning, no problem while lilypond is formatting, but it always is 8 bars long.) I put the \set Staff.voltaSpannerDuration = #(ly:make-moment 4 4) command once inside every voice. Any hints? Thanks Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff.voltaSpannerDuration
Thank you. score instead of staff was a good hint. It brings warnings, but works. (I just found out, that I still was using the documentation of 2.10.33, there I found only staff...) (But I still don't know, where to put the set-command. It works now (with the warning, that the voltabracket cannot be ended), when I put it inside one voice and also when I put it "as a voice" (simultanously with the Staffs and ChordNames) in the StaffGroup.) greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeats and ties
The problem of a tie, which connects the last note in a volta with its first
note, seems to be without solution still (?)
Any hints?
(The repeatTie-command doesn't help.)
example:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat "volta" 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
g4 r4 c8 b4 a8~ | a4 r8 d, f d f g~ % here is the problem!
}
{
g8\repeatTie c8 b4 a8 as~ as4 | g es8 d~ d2
\bar "|."
}
}
}
}
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Re: repeats and ties
Sorry - I just found out a (the?) solution:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat "volta" 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
g4 r4 c8 b4 a8~ | a4 r8 d, f d f g\laissezVibrer % here was the problem!
}
{
g8\repeatTie c8 b4 a8 as~ as4 | g es8 d~ d2
\bar "|."
}
}
}
}
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font and staff size
Hello.
I want to use a less heavy font (smaller notes or wider staff) - less
black on paper. So maybe I should combine the font feta18 with staff-sice
20 or 21. But how to set the font size?
I found in the lilypond documentation only how to change the staff-size
(see below). But I cannot change the font. Who can help?
Thank you.
Werner
---
11.2 Music layout
11.2.1 Setting the staff size
To set the staff size globally for all scores in a file (or in a book
block, to be precise), use set-global-staff-size.
#(set-global-staff-size 14)
This sets the global default size to 14pt staff height and scales all
fonts accordingly.
To set the staff size individually for each score, use
\score{
...
\layout{
#(layout-set-staff-size 15)
}
}
The Feta font provides musical symbols at eight different sizes. Each
font is tuned for a different staff size: at a smaller size the font
becomes heavier, to match the relatively heavier staff lines. The
recommended font sizes are listed in the following table:
font name staff height (pt)staff height (mm) use
feta11 11.22 3.9 pocket scores
feta13 12.60 4.4
feta14 14.14 5.0
feta16 15.87 5.6
feta18 17.82 6.3 song books
feta20 20 7.0 standard parts
feta23 22.45 7.9
feta26 25.28.9
These fonts are available in any sizes. The context property fontSize and
the layout property staff-space (in StaffSymbol) can be used to tune the
size for individual staves. The sizes of individual staves are relative
to the global size.
See also
This manual: Section 8.4.8 [Selecting notation font size], page 207.
---
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file structure (hierarchy)
Hello,
I've written a file containing a score with a structure like:
\score {
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
}
Wanted to put the
\set Score.skipBars = ##t
command in.
This:
\score {
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
\set Score.skipBars = ##t
}
brings syntax error unexpected \set
This
\score {
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt}
\set Score.skipBars = ##t >>
}
works.
For me this is very strange.
Also the documentation gives no hint about...
Could somebody explain that?
WM
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Re: file structure (hierarchy)
Hello Bertalan.
Bertalan Fodor organum.hu> writes:
>
> It is because a score block, ie. \score { ... } can only contain the
> following:
> - one music expression OR one score identifier (a score defined as a
> variable)
>
>
> - THEN zero or more header, output definition or object_id_setting
So \layout ... is something of that an \set isn't???
> \set Score.skipBars = ##t in itself is a music expression, so in your
> first snippet the score would contain 2 music expression (the \new Staff
> and the \set). It is not allowed.
I couldn't imagine, that
\set Score.skipBars = ##t
was a music expression, for me it seems to be a command concerning the layout...
Do you have a hint about what is what (no idea about „object_id_setting“ and
„output definition“)?
In the docu-section 10.1 Input files and 10.1.1, 10.1.2 File structure I didn't
found out so much.
Thank you a lot!
Werner
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Re: file structure (hierarchy)
Trevor Daniels treda.co.uk> writes:
>
> Section 3.1 in the LM recognises this problem and attempts
> to tackle it. Like everything else in the manuals I'm sure
> this could be improved. Suggestions welcome.
There could/should be mentioned, beside that a score must start with a
music expression and that it cannot contain more than one music expression
(which can be complex compound ({...} <<...>>)), what a music expression
is, at least that \set is one (and has to be put inside a complex mus.
expr.) and that \layout (which can follow that musical expression) is not.
There is a link to „Music expressions explained“, where there isn't
explained at all a \set (or ovverride) command!
It's also there (LM 3.1.2) where you find the following example:
\relative c'' {
c2 <>
<< { e f } { c <> } >>
}
Shouldn't this be
\relative c'' {
c2
<< { e f } { c } >>
}
???
Just add one sentence and one \set command to one example.
Maybe something like:
% lilypond-version
\version "2.10.33"
% A4-paper, smaller top marge
\paper {
#(set-paper-size "a4")
top-margin = -0.5\cm
}
% nice height of staves
#(set-global-staff-size 21)
\score
% starts with and includes just one musical expression
{
\context Staff = bla
% at same time << ... >>
<<
\context Voice = blu {
\relative g' {
\time 2/2
f2 a | g1 | R1*4 | a4 g f2 |
}
}
% condensing longer parts of "tacet"
\set Score.skipBars = ##t
>>
% output settings
\layout {
% no indent of first line (stave(s))
indent = #0
% no bar numbering
\context { \Score \remove "Bar_number_engraver" }
}
% end of the score
}
In the LM is an example for this setting in 5.3 which unfortunately doesn't
show the whole code.
(The differences between \layout and especially \header in- or outside the
score-block already mentioned here, should be explained in the LM too, of
course.)
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fermata and text (markup) on/above one note
% looking for an easy possibility to just
% put a fermata followed by a text
% on/above one note
% \fermata followed by \markup would be nice, but doesn't work...
\version "2.10.33"
\relative c' {
\clef G
\time 3/2
% \key bes \major
\key g \minor
\partial 4
\repeat "volta" 2 {
d'4 | c cis d d8( c) bes4.
% works, but very very laborious
^\markup {
% try with or without next line - strange behaviour!
\hspace #0
\musicglyph #"scripts.ufermata" "2."
}
% in this case _\fermata could be a solution
% but this ist always dangerous for later transpositions
% btw - why \fermata without leading ^ an _ is always put
% above the note and not automaticaly there, where there
% isn't the stem?
% thus unfortunately ^ makes no sense
bes8 | % 3
a \noBeam g f \noBeam g es4. d8 d2
% doesn't work - markup to high
^\fermataMarkup ^\markup{ \hspace #2 3.}
| r8 g fis g a2 bes4
% doesn't work - fermata to high
^\fermata ^\markup{
% with or without next line - hspace seems to be "saved" space,
% where nothing else will be printed
% \hspace #2
"(1.)"}
}
}
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Re: fermata and text (markup) on/above one note
Kieren MacMillan sympatico.ca> writes:
>
> Hi Werner,
>
> > % works, but very very laborious
>
> Not sure why you think your solution is particularly "laborious"...?
> Once you put the code into a variable, it seems pretty easy to me --
> see example below.
>
> [Of course, you could further abstract this into a Scheme function
> that takes a parameter for the text, but that's even more work, at
> least to set up the first time...]
>
> Cheers,
> Kieren.
> ___
\version "2.10.33"
%fone = ^\markup { \hspace #0 \fermataMarkup ("1.") }
ftwo = ^\markup { \hspace #0 \fermataMarkup "2." }
%fthree = ^\markup { \hspace #0 \fermataMarkup "3." }
\relative c'
{
\clef G
\time 3/2
\key g \minor% \key bes \major
\partial 4
\repeat "volta" 2
{
d'4 |
c cis d d8( c) bes4.\ftwo bes8 |
a \noBeam g f \noBeam g es4. d8 d2
^\markup { \fermataMarkup "3."|
r8 g fis g a2 bes4^\fermata
}
}
But also doing that, I don't understand, why the \hspace #0 influences the
raise - it's explicitely not vspace :( so I don't know
(Try the code above!)
Greetings
Werner
PS
fermataMarkup is nicer than \musicglyph #"scripts.ufermata" of course, thanks
for the hint
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TimeSignature as fraction: gap between numerator and denominator
Hello, I used 4/4 instead of C via \override Staff.TimeSignature #'style = #'() but the cyphers were huge. So I added \override Staff.TimeSignature #'font-size = #-2 But while the cyphers now are smaller, the numerator-4 stands still very close on the top of the denominator-4 without any gap, both together in the (vertical) middle of the stave. I would prefer both ciphers (vertically) centered in the upper and lower half of the stave respectively (means the numerator between the third and fifth line of the stave, the denominator between the first and third line) by default. Is there any solution? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shift accidental in chord
Damian leGassick mac.com> writes:
> how do i shift the flat so that it doesn't overwrite the natural here:
>
> {}
Could you provide a link to an example how that can be done (just take pencil
and paper, make a drawing, scan it and put it to the web)?
(I cannot imagine any solution than except for splitting the notes of the
"chord" (rather cluster?) into two staves or do you think a horizontal forked
stem?)
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Re: shift accidental in chord
Damian leGassick mac.com> writes:
> \version "2.11.38"
>
> {}
>
> is what i want except for the flat needs to be moved to the left
> (it's a pain, but the 'two-stave' or 'forked stem' solutions aren't
> appropriate here)
Sorry, I absolutely cannot imagine, what you want.
The natural-sign between the bes (left) and the b (right), 'right? But to keep a
chord it seems (for me) to be necessary to fork the stem in that case.
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Re: TimeSignature as fraction: gap between numerator and denominator - solution
Mats wrote:
> I believe the LilyPond default layout agrees well with common
> typesetting standard. However, LilyPond is a very flexible tool so
> you can get another layout if you prefer. One method is to use the
> trick described in "Polymetric notation" as a starting point, which
> could result in something like
\version "2.10.33"
% Markup to produce a 4/4 time signature that works with smaller
digits. tsMarkup = \markup {
\vcenter \override #'(baseline-skip . 2) \number {
\column { "4" "4" }
}
}
\relative c' {
\clef G
\key g \major
% 4/4 statt C
\override Staff.TimeSignature #'stencil =
#ly:text-interface::print
\override Staff.TimeSignature #'text = #tsMarkup
\override Staff.TimeSignature #'font-size = #-2
\time 4/4
\partial 8 d'8 | % Auftakt
}
> /Mats
Hello Mats,
your solution ist really great, thank you very much.
Of course with font-size -1 (I put -2 just to show better the difference).
(My opinion: That should be default layout.)
Yours
Werner
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Re: TimeSignature as fraction: gap between numerator and denominator - solution
Mats Bengtsson ee.kth.se> writes: > > Werner wrote: > > > > (My opinion: That should be default layout.) > > > The opinion of the main LilyPond developers is to use hand-engraved > scores by the main German publishers as the inpiration when deciding on > the layout, see for example > http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Engraving#Engraving > If you can find many such examples in your music library that supports your > opinion, then you have a good basis to request such a change. Well, I consulted some of my (only german) music books and I found, that maybe more often the cyphers of the Time Signature merge with the third (middle) line in the stave an with each other, but there are really many examples, that there is a small gap between the top of the lower cypher (denominator) an the third line and also between the top of the numerator (upper cypher) and the fifth (upper) line in the stave. It seems, the merging appears, but isn't really what the engraver wants... Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
gs doesn't handle unicode-filename
Unfortunately gs seems to be unable to deal with unicode-filenames... u...@suse10-3:~/noten/lilypond> lilypond Ča_ča_ča-in-B.ly GNU LilyPond 2.12.2 »Ča_ča_ča-in-B.ly« wird verarbeitet Analysieren... Interpretation der Musik...[8] Vorverarbeitung der grafischen Elemente... Ideale Seitenanzahl wird gefunden... Musik wird auf eine Seite angepasst... Systeme erstellen... Layout nach »Ča_ča_ča-in-B.ps« ausgeben... Konvertierung nach »./Ča_ča_ča-in-B.pdf«... »gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile="./�\x8ca_�\x8da_�\x8da-in-B.pdf" -c .setpdfwrite -f "�\x8ca_�\x8da_�\x8da-in-B.ps"« gescheitert (256) Fehler: gescheiterte Dateien: "�\x8ca_�\x8da_�\x8da-in-B.ly" u...@suse10-3:~/noten/lilypond> lilypond Cha_cha_cha-in-B.ly GNU LilyPond 2.12.2 »Cha_cha_cha-in-B.ly« wird verarbeitet Analysieren... Interpretation der Musik...[8] Vorverarbeitung der grafischen Elemente... Ideale Seitenanzahl wird gefunden... Musik wird auf eine Seite angepasst... Systeme erstellen... Layout nach »Cha_cha_cha-in-B.ps« ausgeben... Konvertierung nach »./Cha_cha_cha-in-B.pdf«... Any hints? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
slurs - once attached to stem ends, once to note heads
Hello,
I got in a piece of music nearly all slurs and ties attached to the note heads.
But one slur is attached to the stem ends and I want it to be attached to the
note heads too. How to obtain this?
greetings
Werner
\version "2.12.2"
\include "deutsch.ly"
Tenor = {
\key g
\minor
\time 4/4
\set fontSize = #-1
\partial 4*1
r4 | r d r d | d8 d4 b8~ b2 r4 a r a( b) r r
fis4( | g) g a a g f e es d es d d'8( b)~ | b4 c b2 |
r2 d8 d4. | r2 c8 c4. a4 b c d~ d2 b4 a
g8 b4. r4 g~ g2 c g c4 a b2.
\bar "|."
}
\score {
\new ChoirStaff
<<
% % %
\context Staff = ZweiteZeile <<
\context Voice = ZweiteZeileErsteStimme {
\voiceOne
\relative c' { \clef F \Tenor }
}
% \context Voice = ZweiteZeileZweiteStimme {
% \voiceTwo
% \relative c { \clef F \Bass }
% }
>>
\set Score.skipBars = ##t
>>
\layout {
indent = #0
\context { \Score \remove "Bar_number_engraver" }
}
}
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Re: slurs - once attached to stem ends, once to note heads
Herbert Niemeyer niemeyerschoolofmusic.com> writes: > Werner, >you might want to try: \slurDown etc. I tried this all before, but I was surprised, that this doesn't take any effect. > Mark Polesky wrote: > > Technically, the slur over the eighth notes is not > > "attached to the stem heads", it is rather outside > > of the eighth-note beam which, if I'm not mistaken, > > is where it belongs. also i the case, that the slur „belongs“ „outside“ the beam, this is something, which I don‘t like. But the hint made me try d'8(\noBeam b)~%\slurUp | b4 which is not the best (hints welcome) but a solution for me. Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs - once attached to stem ends, once to note heads
> Hello Mark. Thank you very much for the hint. For this piece of course I took it. But I think, next time I will just disconnect the eights with \noBeam because your solution seems to be to difficult for me. > \once \override Slur #'control-points = > #'((1.45 . 3.75) (1.75 . 3.8) (2.25 . 3.65) (2.45 . 3.25)) > d'8( b)~ | b4 Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs - once attached to stem ends, once to note heads
Herbert Niemeyer niemeyerschoolofmusic.com> writes: > > I tried this all before, but I was surprised, that this doesn't take any > > effect. > Well, I'm surprised too, that "this doesn't take *any* effect". See pdf > file. The second line uses > > \slurDown. Very strange - for me d'8( b)~\slurDown in the ly-file (see first posting) really doesn't take any effect. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs - once attached to stem ends, once to note heads
Hello Mats. Mats Bengtsson ee.kth.se> writes: > Werner wrote: > > > > Very strange - for me > > > > d'8( b)~\slurDown > > > > in the ly-file (see first posting) really doesn't take any effect. > > > The macro \slurDown makes a setting that affect all slurs following the > command. Since you have specified it after the slur, it doesn't have any > effect. OK I haven't read the notation reference attentive enough and thought, I have to put it after the slur. But it seems, there isn't said, that it will then affect all the following slurs. Good to know. > Also, since you only want to modify a single slur, not all future slurs, it's > better to either say > > \once \override Slur #'direction = #DOWN d'8( b)~ > > or even better use the following shorthand: > > d'8_( b)~ That's also a good hint. > The reason that you get the problem at all, is that you use \voiceOne > (which is what you should do since this is the upper voice of the two in > the same stave) and \voiceOne specifies that all stems should point > upwards and all slurs should go upwards. Well - it is the first voice of two of course. But the problem is another: The slur actually should be upwards, but from note head to note head like at every other place in this piece and like it is using eighths with flags. Only using eights with beams this „problem“ (I just don't like this) appears. Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
alternative notes in one voice (Stichnoten)
Who can help?
The glossary says „Stichnoten“ is in english cue notes and explains:
„In a separate part notes belonging to another part with the purpose of hinting
when to start playing. Usually printed in a smaller type.“
Unfortunately another meaning is missing. Sometimes there are smaller notes in a
voice as alternative (e.g. for players not able to play as low or as high, the
normal notes are).
(Like ossia, but not in a separate stave!)
I was looking for that now for a while in LM an d NR, but didn't find anything.
My try with \cueDuring was not successful. The cue notes aren't printed, only
the normal notes get stems upwards a this place.
The possibility to handle with „chords“, in which some notes are small, seems to
be much complicated - I suppose there is a better way(?)
\version "2.12.2"
\header {
tagline = \markup \fontsize #-2 "Notensatz mit dem freien Programm
LilyPond
(www.lilypond.org)"
}
\include "deutsch.ly"
Stichnoten= \relative { e4 d e f }
\addQuote "Stichnoten" { \Stichnoten }
Oberstimme= {
\key c
\major
\time 2/2
\set fontSize = #-1
h'2 a4 g | c2 d4 e | \cueDuring #"Stichnoten" #DOWN { f2 g4 f } | e2 r |
cis2 h4 cis | d c b a | f e f g | gis2 g4 f |
\bar "|."
}
\score {
\new ChoirStaff
<<
\context Staff = NullteZeile
\context Voice = NullteZeileOberstimme {
\relative c' {\clef treble \Oberstimme}
}
\set Score.skipBars = ##t
>>
\layout {
indent = #0
\context { \Score \remove "Bar_number_engraver" }
}
}
Also
h'2 a4 g | c2 d4 e | << { \stemUp f2 g4 f } { \stemDown e4 d e f } >> |
\stemNeutral e2 r |
cis2 h4 cis | d c b a | f e f g | gis2 g4 f |
is not an answer (and the stems aren't up and down as they should be! Also I
even don't know how to make the four notes smaller).
Greetings
Werner
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Re: alternative notes in one voice (Stichnoten)
Francisco Vila gmail.com> writes:
>
> 2009/5/21 Werner web.de>:
> > Also
> >
> > h'2 a4 g | c2 d4 e | << { \stemUp f2 g4 f } { \stemDown e4 d e f } >> |
> > \stemNeutral e2 r |
> > cis2 h4 cis | d c b a | f e f g | gis2 g4 f |
> >
> > is not an answer (and the stems aren't up and down as they should be! Also I
> > even don't know how to make the four notes smaller).
>
> This seems to work as true one-staff polyphony with automatic stem
> orientation. fontSize applies per voice so once the voice ends, so
> does its effect (at least that is how it behaves here):
>
> << { f2 g4 f } \\ { \set fontSize = #-1 e4 d e f } >>
>
Great - thank you very much.
I think such a snippet should be added to the documentation and there should be
cross-references from ossia and cue-notes to it!
Werner
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[dal segno / da capo] -> "Kopf" "Kopf"
Hello,
I was looking for quite a long time till I found
\mark \markup { \musicglyph #"scripts.coda" }
1.: In german this symbol is often called "Kopf" so this should be mentioned in
the glossary.
2.: There could be an example for a dal segno al Ø-Ø in the NR.
3.: I have some questions about this:
The \mark \markup { \musicglyph #"scripts.coda" } command I can place after a
\bar "||" an its printed above.
But unfortunately I cannot put \bar "||"_\markup { \italic \bold {{d.s. }}}.
So I have to add the _\markup to a note instead of to the barline.
When I write several voices and put them once in one file, once together in a
Staffgroup, I would like to optain the Symbols (segno an coda) only once (above
the StaffGroup) and also the "d.s." only once (beneath).
How to obtain this?
It would be nice to have a possibility to put ^\mark \markup { \musicglyph
#"scripts.coda" } and _\mark \markup { \italic \bold {{d.s. }}} to the same \bar
"||"
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Re: [dal segno / da capo] -> "Kopf" "Kopf"
Werner web.de> writes:
> It would be nice to have a possibility to put ^\mark \markup
> { \musicglyph #"scripts.coda" } and _\mark \markup { \italic \bold {{d.s. }}}
> to the same \bar "||"
After the barline could be a \break
The d.s. should appear at the end of the first line (beneath),
the coda-sign ("Kopf") at the beginning of the second (above).
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Re: \mark beneath instead of above
Thanks for the hints. But there is not yet a solution. While lilypond is intelligent enough, to print the \mark -segno and coda symbols only once *above* if they are places in several voices/staves of a system/StaffGroup at the same position, I'm really missing a similar possibility for placing something (here: "dal segno") *beneath* the system. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \mark beneath instead of above
Hello Robin and David.
Robin Bannister dataway.ch> writes:
>
> Have a look at LSR 402:
> http://lsr.dsi.unimi.it/LSR/Item?id=402
>
This hint would solve my problem if
David Stocker thenotesetter.com> writes:
>
> There is a fix somewhere on the list to get more than one \mark to
> display in a measure, but you'll have to search for it.
>
I could find a solution for that.
What works nearly as it should is:
% example1
a,1 |
\mark \markup { \musicglyph #"scripts.coda" }
gis2
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
e'
\bar "||"
\break
% Coda
\mark \markup { \musicglyph #"scripts.coda" }
g1
\bar "|."
% end example1
But example 2 and 3 don't work. Unfortunately if there would be only one note in
the measure, it also wouldn't work.
% example2
a,1 |
\mark \markup { \musicglyph #"scripts.coda" }
gis2
e'
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
\bar "||"
\break
% Coda
\mark \markup { \musicglyph #"scripts.coda" }
g1
\bar "|."
% end example2
% example3
a,1 |
\mark \markup { \musicglyph #"scripts.coda" }
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
gis2
e'
\bar "||"
\break
% Coda
\mark \markup { \musicglyph #"scripts.coda" }
g1
\bar "|."
% end example3
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Chordnames and added Bassnotes
Hello, is there a possibility to print e.g. F _ C instead of F/C ??? I would prefer it, also 'cause if got a problem with merging (an added bassnote merges with the following chordname). Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chordChanges true, but certain "cautionary" chordnames wanted
Hello. For accidentals there is the possibility to obtain them also if not needed by adding an exclamation mark ! How to get a chordsymbol if \set chordChanges = ##t ? Is there a hint? (Would be nice with the exclamation mark too.) greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi output without harmonies from ChordNames
Hello.
I want to create a score (pdf) containing chord-names above the notes and a
midi-file, which containes all the notes but NOT the chords (harmonies).
Is this somehow EASY to achieve?
Thanks for hints.
Werner
% innerhalb des score-Blockes („neben“ dem layout-Block)
% Ausgabe einer Mididatei (zum Anhören/Abspielen)
\midi {
\context {
\Score
% all voices but not harmonies from ChordNames
% ?
% Schläge pro Minute Notenwert des Grundschlags
tempoWholesPerMinute = #(ly:make-moment 111 4)
}
}
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Re: midi output without harmonies from ChordNames
Robin Bannister dataway.ch> writes: > When you want them coming out differently, you use _two_ score blocks: > > - one score block has \midi (and no \layout) > - the other score block has \layout (and no \midi) > > and these score blocks can have different music inside. > > In this case the one for Midi should get no \chordmode stuff. > > Cheers, > Robin Thank you - this is at least a solution. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurDown ignored?
Leonardo Herrera gmail.com> writes:
>
> Hi all,
>
> I have a question: why the \slurDown instruction is ignored in the
> following snippet?
>
> \version "2.12.2"
> \paper{ ragged-right=##t }
>
> \relative c' {
> \clef treble
> \key des \major
> \time 9/8
>
> <<
> {
> % \slurDown is ignored
> \stemDown \slurDown des2. ~ des4.
> }
> \\
> {
> \stemUp f8[f ges] f8[bes f] ees8[f ees] ~
> }
> >>
> }
tie is not slur
try
des2._~ des4.
_(
_~
make the next slur / tie down
\slurDown makes alle slurs down (till \slurUp or \slurNeutral appears)
\tieDown doesn't exist as far as I know
Greetings
Werner
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Re: midi output without harmonies from ChordNames
Carl Sorensen byu.edu> writes:
>
>
> On 7/19/09 12:07 PM, "Werner" web.de> wrote:
>
> > Hello.
> >
> > I want to create a score (pdf) containing chord-names above the notes and a
> > midi-file, which containes all the notes but NOT the chords (harmonies).
> >
> > Is this somehow EASY to achieve?
>
> Yes. You just need to have two different scores, one for MIDI and one for
> layout.
>
> The layout one has
>
> \score{
> <<
> \chordNames { \myChords }
> \myNotes
> >>
> \layout {}
> }
>
> The midi one has
>
> \score{
> \myNotes
>\midi{}
> }
Thanks. This helps, of course.
But it's a pity, that something like
\midi {
\context {
\Score
% midi-out all voices but not harmonies from ChordNames
% \???
}
}
doesn't exist. It would be easier.
Werner
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\breathe at the bottom in \voiceTwo ???
Hello, i have two voices in one staff. I would like to get breathe-signs for the lower voice at the bottom line instead of the top line of the stave. Is there a possibility to get that behavior? greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \breathe at the bottom in \voiceTwo ???
Thank you for the solution!!
I just insert it in every voiceTwo:
\voiceTwo
{
% to get breathing-signs at bottom line instead of top line for lower voice:
\override BreathingSign #'Y-offset = #-2
...
}
Werner
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dynamics alignment
Hello, I write four-voices in a system of two staves with two voices in each stave. With ^\f or _\f e.g. I can get dynamics over the upper voice or under the second. I also found out, that I can align them with e.g. \override DynamicLineSpanner #'staff-padding = #4.0 Unfortunately I don't understand, what means \override DynamicLineSpanner #'Y-extent = #'(-1.5 . 1.5) That is my first question. Second: I would like to have dynamics for the single voices (I use ^ for voiceOne and _ for voiceTwo) but also dynamics for all 4 voices. These should be aligned just in the middle between the two staves. Do I have to write a fifth voice containing only s s s ... for that or to override DynamicLineSpanner again and again in one of my four voices or is there in lilypond a smarter possibility? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
PS (dynamic alignment)
> I would like to have dynamics for the single voices (I use ^ for voiceOne > and _ for voiceTwo) but also dynamics for all 4 voices. These should be > aligned just in the middle between the two staves. > > Do I have > to write a fifth voice containing only s s s ... for that > or > to override DynamicLineSpanner again and again in one of my four voices > or > is there in lilypond a smarter possibility? It would be good, to have the possibility to use in first voice something like: if dynamicUp: DynamicLineSpanner default if dynamicDown: \override DynamicLineSpanner #'staff-padding = #4.0 c2. _\f % for all 4 voices c8 c | c4 c r2 _\p % for all 4 voices | b ^\mp\< % only for 1. voice b h h | c1 ^\mf % only for 1. voice Is that somehow possible? (I could use \dynamicUp in 3. voice; \dynamicDown is the default in 2. and 4. voice.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PS (dynamic alignment)
> to have dynamics for the whole score I would use a Dynamic voice between > the 2 staves (as you proposed) „between the 2 staves“ ‒ do you meen as a invisible 1-line-stave ? Du you have an example? Thank you Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Joining rests in two voices
Daniel Ashton AshtonFam.org> wrote:
>
> Along similar lines, when two voices both have rests of the same
> duration, is there an easy way to join the rests?
I searched the lilypond-docs and didn't find an answer to that question.
For two voices in g-clef it is possible to write
<<
{ a8 g a4 b \rest a | }
//
{ f8 e f4 b \rest f | }
>>
right?
But for two reasons* I would prefer something like
\joinRests
<<
{ a8 g a4 r a | }
//
{ f8 e f4 r f | }
>>
*
1. if transposing or changing the clef the rest is no more in the middle of the
staff
2. its to much to write
btw. in the docs, I didnt find much about rests at all (at least in the german
version, which I studied today (and btw. there is called "Bindebogen" in
opposite to "Legatobogen", what I would call "Haltebogen". I would understand
"Bindebogen" and "Legatobogen" synonym.))
Thanks for a hint.
greetings
Werner
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How to join rests?
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Re: How to join rests?
Werner web.de> writes:
>
> see answer
Hello.
When two voices (in one staff) both have rests of the same duration, is there an
easy way to join these rests?
I searched the lilypond-docs and didn't find an answer to that old question.
For two voices in g-clef it is possible to write
<<
{ a8 g a4 b \rest a | }
//
{ f8 e f4 b \rest f | }
>>
right?
But for two reasons*) I would prefer something like
\joinRests
<<
{ a8 g a4 r a | }
//
{ f8 e f4 r f | }
>>
*)
1. if transposing or changing the clef the rest is no more in the middle of the
staff
2. its to much to write
btw. in the docs, I didnt find much about rests at all (at least in the german
version, which I studied today (and btw. there is used the word "Bindebogen" in
opposite to "Legatobogen". I would call that "Haltebogen" while I would
understand "Bindebogen" and "Legatobogen" synonym.))
Thanks for a hint.
greetings
Werner
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Re: How to join rests?
> did you look at http://lsr.dsi.unimi.it/LSR/Item?id=468
Hello Eluze,
thank you for the link.
But I'm not looking for R but for all rests!
Here an example:
\version "2.16.1"
\header {
title = "join simultan rests "
tagline = ##f
}
#(set-global-staff-size 20)
\paper {
paper-width = 21.0\cm
paper-height = 29.69\cm
top-margin = 1.0\cm
bottom-margin = 1.0\cm
left-margin = 1.0\cm
right-margin = 1.0\cm
}
\include "deutsch.ly"
Erste =
\relative g'
{
\clef "treble"
\key f
\major
\time 4/4
\bar "|."
g4 g8 g h4 \rest g | c4. c8 h \rest c h\rest c | d4 r g, r |
\break
% \joinSimultanRests % ;)
g4 g8 g r4 g | c4. c8 r c r c | d4 r g, r |
}
Zweite =
\relative e'
{
\clef "treble"
\key f
\major
\time4/4
\bar "|."
e4 e8 e h'4 \rest e, | e4. e8 h' \rest e, h'\rest e, | f2 r4 e
% \joinSimultanRests % ;)
% looking for a simple way to join (all) simultan rests
% would like to get the same output like in first line
% without all the stupid code (h ', \rest ...),
% which doesn't survive a transposition or a change of the clef...
e4 e8 e r4 e | e4. e8 r e r e | f2 r4 e
}
% The score definition
\score
{
\new Staff = "1" <<
\context Voice = "11" {
\voiceOne {
\Erste }
}
\context Voice = "12" {
\voiceTwo {
\Zweite }
}
>>
\layout {
%keine Einrückung
indent = #0
%keine Taktzahlen
\context { \Score \remove "Bar_number_engraver" }
}
}
> > … and btw. there is used the word "Bindebogen" in
> > opposite to "Legatobogen". I would call that "Haltebogen" while I would
> > understand "Bindebogen" and "Legatobogen" synonym.))
>
> I'm not sure about the context you're referring to
the german doc (I suppose in general)
> but I've also experienced
> they are - sometimes - used the wrong way. maybe you could propose a better
> text/translation here or in the bug list!?
I think:
english - german
tie - Haltebogen
slur - Bindebogen, Legatobogen
phrasing slur - Phrasierungsbogen
(For now it's like:
tie - Bindebogen
slur - Legatobogen
phrasing slur - Phrasierungsbogen
)
Werner
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Re: How to join rests?
> Yes this is the latest version of Jay's Merge Rests Engraver, combining > features of LSR #336 and #468. > > I made a request to have this included directly into LilyPond. > This is tacked as issue #1228. > http://code.google.com/p/lilypond/issues/detail?id=1228 Thank you for the hints. The snippet http://lsr.dsi.unimi.it/LSR/Snippet?id=336 helps me for now. I'm not advanced enough to understand, how to use the engravers. But it would be good, to have commands directly in lilypond. \override RestCollision #'positioning-done = #merge-rests-on-positioning is good. Something shorter like mergeSimultanRests = ##f mergeSimultanRests = ##t (like autoBeaming = ##f and others) and/or \simultanRestsMerge \simultanRestsEachVoice (like dynamicUp and others) would be great. Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to join rests?
Thomas Morley googlemail.com> writes: > Attached a file demonstrating it. Thank you for both attachements and all the hints! (I did overlook your first attachement.) (Hope, one of these solutions finds its way to the general lilypond-code.) Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Multi measure rests vertical positioning
Hallo, I often used just r1 instead of R1 in 4/4 and 2/2 time. Now I thought, it would be good, to use the horizontally centered full-measure rests. BUT: I write two voices in one staff. For a while the lower voice plays quite high, the higher voice rests for some measures. The r1-rests are printed always "a quint higher" than the lower voice's notes. The R1-rests are printed always at the top line of the staff, but that makes collisions with the notes of the lower voice. Unfortunately it seems, that the lilypond default is ugly in that situation. also threads http://thread.gmane.org/gmane.comp.gnu.lilypond.general/76997 http://thread.gmane.org/gmane.comp.gnu.lilypond.general/16000 didn't help me so much. (There is a hint, but I think, its bad, if I must solve everything for R manually while r works fine.) Any ideas to solve that? Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
vertical distance of articulations
Hello, i would like more space between note-head / end of a stem an tenuto/staccato/ portato-marks. How to get that? Greetings Werner (Btw - I also wonder about the big staccato-dot and the small dot in the portato- mark.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vertical distance of articulations
> Try:
>
> {
> c4-. r
> \once \override Script #'padding = #5
> c4-. r
> }
Thank you.
\override Script #'padding = #.5 was good for me.
Werner
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parts without time (and bars and key)
I want to write without time, with no bars and - with no key-signature (or C-major), but the behavior should be: every accidental holds only for one note, so naturals aren't necessary (can be forced like always with ! or ?) but for repeated fis e.g. it is printed always a sharp. Is there already a predefined key and time for that or do I have to make everything manually? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: parts without time (and bars and key)
Hello James.
> I guess you just use c major and for accidentals See Notation Reference -
Automatic accidentals. One of
> those will do what you want ('dodecaphonic' or possibly 'forget').
Thank you - „forget“ was the right hint!
> I don't know about no time but you can also remove the bar engraver
>
> See same document
>
> Visibility and color of objects
That is a possibility. But I hoped,there is a better one.
(Something like
\time 3/4
music
\time none
music
\time 4/4
music
...
I need it only for a part (duration 41 quarter-notes), so I did:
\once \override Staff.TimeSignature #'transparent = ##t
\time 41/4
But:
One voice doesn't play this part. So I wrote
R4*41
This always brings a warning, that bar check didn't work (but the printout is OK
then.
> It's all in there if you look hard enough.
Shure - as seen concerning the automatic accidentals.
Werner
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polymetric parts
I want to have just 2-3 bars in a piece with different time for two voices. In snippets I found Changing time signatures inside a polymetric section using \scaleDurations but I don't understand that very well. Why doesn't lilypond just do what I write? it puts the first voice to 2/4 with the second instead of remaining in 3/4: one voice (and staff) ... \bar "||" \time 3/4 e8 a~ a gis c4 | r8 e, a4 gis8 c~ | c e, a8. gis16 c4 | e,8 a r16 gis c8 des a | % other voice already in 2/4 gis8 d e4 e, | r2 r4 \bar "||" % now all in 2/4 \time 2/4 a4 cis | d d8 cis another voice (and staff) ... \bar "||" \time 3/4 r4 r8 c, f8. e16 | gis4 c,8 f~ f e | gis4 c,8 f r16 e gis8~ | gis c, f2 \bar "||" % one voice still in 3/4 \time 2/4 e4 gis | a a8 gis | a c d f | % now all in 2/4 e4 e | f e | Could somebody explain a solution - but please very easy comprehensible :) Greeting Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polymetric parts
Mats Bengtsson ee.kth.se> writes: > By default, LilyPond assumes that the music is normal, that is, that the > time signature is the same in all staves and that the duration of one > beat is the same in all staves. To change that, you have to tell > LilyPond to write separate time signatures for each stave and the > example you refer to shows how to do that. Also, LilyPond has to know if > a specific note in one stave should be typeset to the left or to the > right or below a certain note in the other stave (i.e. if it should be > played before, after or simultaneously). Therefore, LilyPond has to know > the mathematical relation between the beats in the different staves > (which is done using \scaleDurations). OK - that problem I even didn't see, because in my case, there has a quarter note in every voice the same duration, only in one voice, there are two bars with three quarter notes and in the other there are three bars with two quarter notes. And it concerns really only these 2/3 bars in the whole piece. I'll try to manage it overriding some time-Signatures and setting some bars manually... That seems to be easier than the example (I even don't understand). Hope it works. Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
spacer rests and/or \sustainOff don't work as expected
I want to create a sustain-pedal-signature longer then the last note, because other voice still plays. The code: \cadenzaOn r8 \set Staff.pedalSustainStyle = #'mixed e,8\sustainOn gis ais c d e fis gis ais \repeat unfold 9 s8 \sustainOff \cadenzaOff gives on the one hand nine error messages (I suppose for every rest) („don't find a start for pedal“ or something like that) and on the other hand makes the pedal-spaner end with the last note instead of the last rest. Its independent of wrinting rest or spacer rest. Without the repeat it's a little bit better: \cadenzaOn r8 \set Staff.pedalSustainStyle = #'mixed e,8\sustainOn gis ais c d e fis gis ais s1 s8 % r1 r8 \sustainOff \cadenzaOff This works fine with rests but doesn't work with spacer rests. In my eyes this is misbehavior. Is this considered a bug? Would somebody change it in a way, that the second example works with rests and with spacer rests? Also the trick to make a sustain-spanner just a bit longer writing \grace s2 \sustainOff doesn't work. Spacer rests obviously aren't considered to be able to be grace notes. So this s2 even causes bar-checking error. I would prefer, if spacer rest would be accepted as grace-notes and as referenc-point for \sustainOff. Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polymetric parts
> > I'll try to manage it overriding some time-Signatures and setting > > some bars manually... That seems to be easier than the example (I > > even don't understand). That didn't work, because I got too much bar-lines. Lets say d d | d | d | d d d d | d | d | d d instead of d d d | d d d d d | d d | d d > It seems that you rather want to use the method described in the next > example in the manual "Staves with different time signatures, unequal > bar lengths", namely to tell LilyPond to administrate the time signature > and bar length handling separately for each stave. Just copy the top 12 > lines from the example into your .ly file and your original code should > work as you expected it to work. I just looked bad in the docu. In the NR I didn't find it at all (don't ask me why) and in the snippets „Changing time signatures inside a polymetric section using \scaleDurations“ also was not the right. „Printing music with different time signatures“ seems to fit better, but even this I didn't find... Thanks to you I now did find the right hints in the NR: "Staves with different time signatures, unequal bar lengths". But also if I add two lines from snippets „Printing music with different time signatures“ \remove "Time_signature_engraver" and \consists "Time_signature_engraver" (and also with the lines \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'strict-note-spacing = ##t proportionalNotationDuration = #(ly:make-moment 1 64) ) I always get > lilypond test.ly GNU LilyPond 2.13.11 »test.ly« wird verarbeitet Analysieren... Interpretation der Musik... Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden Warnung: »Timing« (»« genannt) kann weder gefunden noch erzeugt werden /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:201:5: In procedure ly:book-process in expression (process-procedure book paper ...): /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:201:5: Wrong type (expecting exact integer): () So unfortunately I cannot solve the problem. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polymetric parts
version 2.13.12: /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:201:5: In procedure ly:book-process in expression (process-procedure book paper ...): /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:201:5: Wrong type (expecting exact integer): () version 2.12.3: /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:149:5: In procedure ly:book-process in expression (process-procedure book paper ...): /usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:149:5: Wrong type (expecting exact integer): () ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rehearsal marks
I'm more confused about, rehearsel marks are always *centered* over the element,
they belong to. (Would like to have the possibility of left-align.)
Because the rehearsel marks give the possibility, to get information in every
single-voice but also in the whole partitur - there only once automatically, its
a great thing. But I failed with tries like:
\mark \markup {\halign #1 {A \italic {fließend, frei im Rhythmus} } }
(I wanted the A above the first note and the text just behind...)
I had to define two marks, the second bound to another note, which is not always
good, if not every voice has the same note-values atthe beginning.
Maybe it would help
<>
maybe not, I even didn't try.
Maybe
s1*0 \mark ... a8 \mark ...
could solve the problem.
But not always the spacer rests behave as I suppose.
To longer text-Spanners or sustain they don't work very well.
There and maybe here also can help something like
\once \override NoteHead #'transparent = ##t
\grace c1
grace doesn't trouble the bar-check and a whole note has only a head, which wont
be printed. (make shure there are no ledger lines or accidentals)
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Re: Rehearsal marks
Hello Trevor. > All this is explained with examples in Section 5.5.1 of the Notation > Reference, in the "Using the break-alignable-interface" sub-section. Great. I think there should be a link in NR 1.2.5 Bars [1.2.5.4] Rehearsal marks to NR 5.5.1 Aligning Objects [5.5.1.4] Using the break-alignable-interface Otherwise its hard to find! Btw - why not one level more in the toc ? Thanks for the good hint! Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polymetric parts - ???BUG???
Neil Puttock gmail.com> writes:
> Please post you test file; it's difficult to diagnose what's wrong otherwise.
>
> Regards,
> Neil
Playing around I found out, that it doesn't work if there are the lines
\context { \RemoveEmptyStaffContext
% \context { \AncientRemoveEmptyStaffContext
\override VerticalAxisGroup #'remove-first = ##t
}
}
in the layout block.
If these lines are commented out %
everything fine.
Try the following test-file.
\version "2.13.11"
\paper {
#(set-paper-size "a4")
top-margin = 0.5\cm
bottom-margin = 2\cm
left-margin = 2\cm
right-margin = 2\cm
ragged-last-bottom = ##t
}
#(set-global-staff-size 19)
\header {
tagline = \markup \fontsize #-2 "Notensatz mit dem freien Programm
LilyPond
(www.lilypond.org)"
}
\include "deutsch.ly"
Cello = \relative c {
\clef bass
\key c \major
\time 3/4
\mark Cis
e8 a~ a gis c4 | r8 e, a4 gis8 c~ | c e, a8. gis16 c4 | e,8 a r16 gis c8 des a
|
\mark D
% pos already 2/4
gis8 d e4
e,4
r2 r4
\bar "||"
\mark Dis
% both 2/4
\time 2/4
a4 cis | d d8 cis | d e f a | a \breathe e a b | c d b a | gis f e d |
}
Posaune = \relative c {
\clef bass
\key c \major
\time 3/4
\mark Cis
r4 r8 c, f8. e16 | gis4 c,8 f~ f e | gis4 c,8 f r16 e gis8~ | gis c, f2
\bar "||"
\mark D
\time 2/4
% vc still 3/4
e4 gis
a4 a8 gis
a8 c d f |
\mark Dis
% both 2/4
e4 \breathe e | f e | d c~ | c f,~ | f e | d2 |
}
\score {
<<
\new Staff { \set Staff.instrumentName = #"Violoncello"
\set Staff.shortInstrumentName = #"c"
\Cello }
\new Staff { \set Staff.instrumentName = #"Posaune"
\set Staff.shortInstrumentName = #"p"
\Posaune }
% % % % \set Score.skipBars = ##t
>>
\layout {
\context {
\Score
\remove "Bar_number_engraver"
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
% \remove "Time_signature_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
% \consists "Time_signature_engraver"
% \override SpacingSpanner #'uniform-stretching = ##t
% \override SpacingSpanner #'strict-note-spacing = ##t
%proportionalNotationDuration = #(ly:make-moment 1 64)
}
\context { \RemoveEmptyStaffContext
% \context { \AncientRemoveEmptyStaffContext
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
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Re: polymetric parts - ???BUG???
> That's too large.
OK
Just try to uncomment the 3-5th line from the end - lilypond will fail.
\version "2.13.12"
Cello = \relative c {
\clef bass
\key c
\major
\time 3/4
c4 c c
c c c
% pos already 2/4
c c c
c c c
\bar "||"
% both 2/4
\time 2/4
c c
c c
c c
}
Posaune = \relative c {
\clef bass
\key c
\major
\time 3/4
c4 c c
c c c
\bar "||"
\time 2/4
% vc still 3/4
c c
c c
c c
% both 2/4
c c
c c
c c
}
\score {
<<
\new Staff \Cello
\new Staff \Posaune
>>
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
%\context { \RemoveEmptyStaffContext
% \override VerticalAxisGroup #'remove-first = ##t
% }
}
}
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Re: polymetric parts - doc NR 1.6.2
> \RemoveEmptyStaffContext overwrites \Staff context settings, which > means the Timing_translator and Default_bar_line_engraver aren't > added. See the warning at the bottom of this page: > > http://lilypond.org/doc/v2.13/Documentation/notation/changing-context-default-settings#Changing-context-default-settings > > Regards, > Neil > Thanks. PLEASE Add this warning to NR 1.6.2 Hiding Staves Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polymetric parts - ???Another BUG???
\break fails
>
http://lilypond.org/doc/v2.13/Documentation/notation/changing-context-default-settings#Changing-context-default-settings
Sorry, if this problem maybe already was discussed here - somehow doesn't work
the search function on http://thread.gmane.org/gmane.comp.gnu.lilypond.general
>From one problem I just stepped in the next. For some occult :) reason \break
fails in the following file if I uncomment the outcommented lines (which I need
for another part in the (originally longer) piece.
Who can help?
\version "2.13.12"
\include "deutsch.ly"
Cello = \relative c {
\clef bass
\key c \major
\time 41/4
\cadenzaOn
c4 des f gis ais des c gis a gis a b des c as d as e' as, f'
\bar ""
\break
\grace {e8[ f] } ges4 des f des e des des c
\bar ""
\grace {e8[ f] } ges4 des f des e des des c c as f e c
\cadenzaOff
\bar "||"
\time 3/4
\break
c4 c c \break
c4 c c \break
}
Posaune = \relative c {
\clef bass
\key c \major
\time 41/4
\cadenzaOn
r4 r r r r r r r r r r r r r r r r r r r
\bar ""
s4 s s s s s s s
\bar ""
s4 s s s s s s s s s s s s
\cadenzaOff
\bar "||"
\time 3/4
\break
c4 c c \break
c4 c c \break
}
\score {
<<
\new Staff
\Cello
\new Staff
\Posaune
>>
\layout {
\context {
\Score
% \remove "Timing_translator"
% \remove "Default_bar_line_engraver"
}
\context {
\Staff
% \consists "Timing_translator"
% \consists "Default_bar_line_engraver"
}
}
}
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\partial after \cadenzaOff
I got problems with \partial after \cadenzaOff, which is ignored for three of four voices. In the DOC i found: The \partial command is intended to be used only at the beginning of a piece. If you use it after the beginning, some odd warnings may occur. It could be good to put there an example like: if \partial 8*3 doesn't work, try \set Timing.measurePosition = #(ly:make-moment -3 8) W. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Using the break-alignable-interface (aligning RehearselMark)
Hello,
I tried to get a left-aligned (or offset) RehearselMark.
This could be above a dashed bar-line (or above the first note after this)
but
neither
\once \override Score.RehearsalMark #'break-align-symbols = #'(NoteHead)
\once \override Score.NoteHead #'break-align-anchor = #15
\mark \markup {C \magnify #.9 \italic {frei im Rhythmus} }
\bar "dashed"
nor
\bar "dashed"
\once \override Score.RehearsalMark #'break-align-symbols = #'(BarLine)
\once \override Score.BarLine #'break-align-anchor = LEFT
\mark \markup {C \magnify #.9 \italic {frei im Rhythmus} }
don't work.
Who can help?
Thanks
Werner
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Re: Using the break-alignable-interface (aligning RehearselMark)
Robin Bannister dataway.ch> writes: > > Werner wrote: > > I tried to get a left-aligned (or offset) RehearselMark. > > This could be above a dashed bar-line > > Does this do what you wanted? > > \once \override Score.RehearsalMark #'self-alignment-X = #LEFT > \bar "dashed" > > Cheers, > Robin Great, thank you! Why didn't I find that in the docs? Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using the break-alignable-interface (aligning RehearselMark)
Trevor Daniels treda.co.uk> writes: > > > Great, thank you! Why didn't I find that in the docs? > > I don't know; perhaps you could tell us ;) > > It's in the Notation Ref, section 5.5.1, which is all > about aligning objects, helpfully called "Aligning > objects". However, the index entries may not be as > helpful as they could be. Did you look in the index? > If so, what did you search for (and not find)? In the mentioned 5.5.1 I found „Using the break-alignable-interface“ with examples for the RehearsalMark. The example, Robin gave, I only find hidden in 1.8.1 (selected snippets) while it is missing in 1.5.2 and in 5.5.1. e.g. \override Score.RehearsalMark #'self-alignment-X = #LEFT Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
page-number overwrites tagline
Hello,
with the modified example of the doc
\paper {
print-page-number = ##t
print-first-page-number = ##t
oddHeaderMarkup = \markup \fill-line { " " }
evenHeaderMarkup = \markup \fill-line { " " }
oddFooterMarkup = \markup { \fill-line {
\bold \fontsize #2 \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string } }
evenFooterMarkup = \markup { \fill-line {
\bold \fontsize #2 \on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string } }
}
I was happy to get the page-number centered at the bottom.
But unfortunately it overwrites the tagline, which should (at least I would like
that) appear at the last page above the page-number.
So my standard-tagline
\header {
tagline = \markup \fontsize #-2
"Notensatz mit dem freien Programm LilyPond (www.lilypond.org)"
}
is lost.
Werner
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lyrics alignment problems with slurs and ties
Hello, using an \addlyrics block I found out, that lilypond puts only one syllable to notes connected with a slur ( ) automatically. (This is also said in the docs.) If I want another behavior, I have to use phrasing slurs \( \). Fine. Problem solved. Also to notes connected with ties, lilypond aligns only one syllable. Fine too. But using \lyricmode and \lyricsto I found, that lilypond wants to put one syllable to every note even if connected with ties! Here I had to add a “ _ ” or a “\skip1” for every note connected with a tie. Why \lyricsto doesn’t behave like \addlyrics here? Greetings Werner PS: The docs http://lilypond.org/doc/v2.13/Documentation/notation-big-page#multiple-notes-to-one-syllable say, lilypond should align only one syllable to tied notes, but it doesn’t. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics alignment problems with slurs and ties
> Is this related?
>
> http://code.google.com/p/lilypond/issues/detail?id=1026
No.
But I found out, that’s just because I’m stupid. I took a line from some example
— with or without the commented line - that makes the difference!
\context Lyrics = Text { }
% \set Score.melismaBusyProperties = #'()
\context Lyrics = Text \lyricsto Erste \Text
Sorry.
Greetings
Werner
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print not only page-number, but #1 of #2 (#1 page number, #2 pages of the whole piece
Hello. I would like to get instead of just a page number something like: 1/3 1 of 3 1 von 3 on first page if the whole piece contains 3 pages Maybe also (small) „title“, S. 2 von 3 „title“, p. 2 of 3 „title“, 2/3 on page two of three... (but also just 2/3, 2 von 3 or 2 of 3 would b good.) (And of course 3/3, 3 von 3 oder 3 of 3 on last page.) Does someone have a hint? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: print not only page-number, but #1 of #2 (#1 page number, #2 pages of the whole piece
> I included both footer and header markups. Feel free to comment out > whatever you don't need. You might want to change »Page« and »of« to > »Seite« and »von«. Hello Patrick, sure that helps. Great. (Particularly, that it is a complete working example.) Thank you very much. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
musicxml2ly - very little bug(s)
Hello, musicxml2ly always brings in the paper-block „botton-margin“ instead of „bottom-margin“. Could somebody fix that? Also I would prefere a line break to get „ \clef "treble" \key as \major \time 3/4 es4 \bar "|" “ instead of „ \clef "treble" \key as \major \time 3/4 es4 \bar "|" “ as first lines inside a voice definition. Greetings Werner PS Even better: „ \clef "treble" \key as \major \time 3/4 es4 \bar "|" “ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
space between systems
Hello, in NR 4.4 I find some hints about vertical spacing of staves within a system. But unfortunately I don't find no hint about the spacing between systems. I want to get just more space between systems. How to do that? Thanks Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
barline troubles
I just installed version 2.17.97 (before I used 2.14 or 2.16).
Now I get for the following code no barline at the place, where I want to
get the :| repetition-barline.
c2 r |
\bar "||"
\mark \markup { \musicglyph #"scripts.coda" }
r1
\bar ":|"
\break
% Coda
\mark \markup { \musicglyph #"scripts.coda" }
r1
Before it worked fine.
(The piece has three voices in three staves in one StaffGroup.)
Any ideas?
Greetings
Werner
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Re: barline troubles
Hello Federico, > this has changed to \bar ":|." thank you very much! Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change default horizontal spacing
> > Hmm, if you look e.g. at timpani parts for several large works, > > you will frequently encounter one-line movements, because the > > Timpani only play the last three measures or so of a movement... > > Do such Timpani parts really > look like the above line? How odd. Yes, it is done that way. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: not-so-ancient flags
> Attached is a first attempt to do this, plus a sample file showing
> the new "straight", the "mensural" and the default flag styles.
Attached is a patch which fixes the metrics and glyph shapes so that
the straight flags convert nicely to PS outlines. IMHO, the shapes
are ready for inclusion now into lilypond. However, the rest is
untested, and I don't have time to write the documentation.
> 1) The glyph "flags.straightd3" is not found by lilypond (although
> it exists and appears in the PDF!), so it cannot be properly
> positioned... The error message is:
> test_straight_flags.ly:13:9: Warnung: Fähnchen »straightd3« nicht
> gefunden
No time to test this.
> 2) I'm using y_mirror_char; to create the flags for downwards stems,
> but it seems that in this case the outlines are not properly merged
> (i.e. the stem and the flags are not AND'ed), but instead XOR'ed, as
> the attached screenshot of the glyph shows (I opened the otf file in
> fontforge). If I don't use y_mirror_char, all the outlines are
> properly merged...
With the changed outline now everything seems to be fine (but I
haven't had problems before either).
Werner
--- ./parmesan-macros.mf.old2007-08-17 00:13:51.0 +0200
+++ ./parmesan-macros.mf2008-06-19 21:53:16.0 +0200
@@ -70,27 +70,6 @@
%
-% Get subpath specified by `dir_in' and `dir_out' of `curve'
-% which is then shifted by `offset'. Assure that result has
-% the same orientation as `curve'.
-%
-def get_subpath (expr curve, dir_in, dir_out, offset) =
- begingroup;
- save t_in, t_out;
-
- t_in := directiontime dir_in of curve;
- t_out := directiontime dir_out of curve;
-
- if t_in > t_out:
- t_out := t_out + length curve;
- fi;
-
- (subpath (t_in, t_out) of curve) shifted offset
- endgroup
-enddef;
-
-
-%
% Get point specified by `dir_' of `curve' which is then
% shifted by `offset'.
%
--- ./feta-banier.mf.old2007-10-18 17:08:23.0 +0200
+++ ./feta-banier.mf2008-06-19 22:24:45.0 +0200
@@ -468,4 +468,123 @@
y_mirror_char;
fet_endchar;
+
+
+%
+% Straight flags (old, but not ancient, style)
+%
+
+save straight_flag_angle, straight_upflag_length;
+save straight_downflag_length, straight_flag_thickness;
+
+straight_flag_angle = -37;
+straight_upflag_length# = .65 black_notehead_width# + stemthickness# / 2;
+straight_downflag_length# = .833 black_notehead_width# + stemthickness# / 2;
+straight_flag_thickness# = 0.5 staff_space#;
+
+define_pixels (straight_upflag_length, straight_downflag_length);
+define_pixels (straight_flag_thickness);
+
+save straight_flag_path;
+path straight_flag_path;
+
+def draw_straight_flag (expr center, len, angle, thickness) =
+ clearxy;
+
+ save ellipse, T;
+ path ellipse;
+ transform T;
+
+ T := identity xscaled blot_diameter
+ yscaled thickness;
+ pickup pencircle transformed T;
+ ellipse := reverse fullcircle transformed T;
+
+ z1 = center;
+ z2 = z1 + len * dir (angle);
+
+ fill top z1
+-- get_subpath (ellipse, z2 - z1, z1 - z2, z2)
+-- bot z1
+-- cycle;
+enddef;
+
+
+def create_straight_flag_char (expr flag_count, len, lenhash) =
+begingroup
+ save flagspace, depth, width;
+ flagspace# = 0.9 staff_space#;
+ define_pixels (flagspace);
+
+ (width#, depth#) = lenhash * dir (-straight_flag_angle)
+ + (blot_diameter# / 2, straight_flag_thickness#)
+ + (0, flagspace# * (flag_count - 1));
+
+ set_char_box (0, width#, depth#, stemthickness# / 2);
+
+ for n = 1 upto flag_count:
+ draw_straight_flag ((0, -flagspace * (n - 1)
+ - straight_flag_thickness / 2),
+ len,
+ straight_flag_angle,
+ straight_flag_thickness);
+ endfor
+
+ draw_square_block ((-0.5 stemthickness_rounded,
+-flag_count * flagspace), (0, 0));
+endgroup
+enddef;
+
+
+fet_beginchar ("straight 8th Flag (up)", "straightu3");
+ create_straight_flag_char (1, straight_upflag_length,
+ straight_upflag_length#);
+fet_endchar;
+
+
+fet_beginchar ("straight 16th Flag (up)", "straightu4");
+ create_straight_flag_char (2, straight_upflag_length,
+ straight_upflag_length#);
+fet_endchar;
+
+
+fet_beginchar ("straight 32nd Flag (up)", "straightu5");
+ create_straight_flag_char (3, straight_upflag_length,
+ straight_upflag_length#);
+fet_endc
Re: not-so-ancient flags
> i guess i have to apply your patch (and werner's) Only my patch. > to the sources and recompile lilypond, right? is it OK to patch > against 2.11.49 sources? Yes. > how can i modify the file to get what i want? > > +straight_flag_angle = -37; > +straight_upflag_length# = .65 black_notehead_width# + stemthickness# / 2; > +straight_downflag_length# = .833 black_notehead_width# + > stemthickness# / 2; > +straight_flag_thickness# = 0.5 staff_space#; > > how do you proceed? by trial and error, modifying those values, > compiling and looking at the results? Usually yes. If you find good values, we can still check that later on to parameterize if needed. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Towards something like a "helper" to write in Lilypond
> So, I foresee this fictional application as follows. A text editor > (fulfilled with some Lilypond-command help in the way lilypondtool > does) which at some moment, by pressing a certain key, shows a > sketch, an image of the score at the point I'm writing. This image > doesn't need to be as perfect as the final output. I don't know how > much of the processing time of Lilypond could be saved by this, but > I think this is always preferable to the compile-pdf > viewer-etc. sequence. All the same, the final polish will have to > be made compilling the PDF. A similar problem exists with TeX. IIRC, people have developed a slightly modified DVI format to have a kind of `state snapshots' every page (or paragraph, I no longer remember). A daemon then simply allows display of everything typeset so far, while the user inputs new data. Here's a paper: www.pytex.org/doc/euro2002.pdf Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Terrible question about a distinctive chord name system
> This edition uses a very distinctive chord naming > system--functional chord name system. For example, the tonic major > triad is written as T, subtonic triad is S, and dominant is > D. Chords share two notes of both T and S or D and T are prefixed > by two function letters and then the root step and optional Arabic > numbers. The convention is as follows: A similar same system is used in German harmony books. [...] > Is there a way to write these chord names? Must I have to use > markup function? That's too complicated! My suggestion is to write a set of markup macros (`\T', `\DVII', etc.). It definitely can't be done automatically since the relationship between the chords is something which lilypond can't deduce by its own. Adding a new `mode' for entering such harmonics, probably as a variant of the numbered bass, might be an interesting project, but I fear this is beyond your available time frame -- additionally, you need someone who is going to implement it. I don't have time right now to help you directly (since I'm going to vacation soon), but I think if you provide a set of such macros and send it to the list, there are good guys who can check it for you. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ||o||
> Is this a notehead for ancient music? Not really. > You'll find it in NR 2.8.1.1 or NR appendix B.5. He won't find it since we don't have a glyph for it. It's probably best to submit a bug report, together with a high-resolution scan of such a note head. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ||o||
> > > ||O|| > > > > > > a whole note, with two short vertical lines on both sides. > > > > Is this a notehead for ancient music? You'll find it in NR > > 2.8.1.1 or NR appendix B.5. > > Nope, that's typically used for the breve: > http://en.wikipedia.org/wiki/Note_value Well, not in German typography, which usually uses the squared form. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: terrible question for a distinctive chord name system
> THank you for your advice. Here's my first exercise for suspension
> notes. I don't know whether the result looks satisfying. Could you
> all help me?
Attached an improved version, at least optically. Since I'm not
acquainted with the details of those special chord notation, I can
only guess. Two remarks:
. Your code produced stems into the wrong direction.
. You need the \textLengthOn command to avoid overlappings.
There's certainly room for improvements, but I don't have time for
more fiddling.
Werner
\version "2.11.46"
#(ly:set-option 'point-and-click #f)
#(set-global-staff-size 12)
\header {
tagline = ##f
title = \markup { \fontsize #2 "Ex. 36-551" }
}
IupperI = \relative c'' {
\voiceOne
\clef treble
\key fis \minor
\time 4/4
\override MetronomeMark #'stencil = ##f
\tempo 2=60
cis2\mark \markup { \bold \fontsize #2 "1" } fis ~ |
fis4 eis fis cis ~ |
cis b2 a4 |
gis2 b ~ |
% 5
b4 a b d ~ |
d cis2 e4 ~ |
e d cis2 ~ |
cis4 cis2 b4 ~ |
b a2 gis4 |
% 10
fis1 \bar "||" \break
}
IupperII = \relative c' {
\voiceTwo
fis1 |
gis2 fis |
fis1 |
eis2 gis |
% 5
fis1 ~ |
fis ~ |
fis |
e2 d ~ |
d b |
% 10
a1 \bar "||"
}
IlowerI = \relative c' {
\clef bass
\key fis \minor
\time 4/4
a2 cis ~ |
cis1 |
d2 dis |
cis1 |
% 5
cis2 b |
cis1 |
b2 cis |
fis,1 ~ |
fis2 eis |
% 10
fis1 \bar "||"
}
IlowerII = \relative c, {
fis2 a |
b a |
b bis |
cis eis |
% 5
fis d4 b |
a2 ais |
b a |
ais b |
bis cis |
% 10
fis,1 \bar "||"
}
Dmaj = \markup { \bold "D" }
DmajTwo = \markup { \concat { \bold { "D" \sub "2" } } }
DmajSixArrow = \markup { \concat { \bold { "D" \sub "6" } }
" " \arrow-head #X #RIGHT ##t }
DmajSixFiveArrow = \markup { \concat { \bold { "D" \sub \column { "6" "5" } }
}
" " \arrow-head #X #RIGHT ##t }
DmajSeven = \markup { \concat { \bold { "D" \sub "7" } } }
DDVIIseven = \markup { \concat { \bold { "DDVII" \sub { "7" \raise #1 "-" } }
} }
Smin = \markup { \bold "s" }
SminSix = \markup { \concat { \bold { "s" \sub "6" } } }
SixFive = \markup { \bold { \column { "6" "5" } } }
SixFiveArrow = \markup { \concat { \bold { \column { "6" "5" } } }
" " \arrow-head #X #RIGHT ##t }
Tmin = \markup { \bold "t" }
TminSix = \markup { \concat { \bold { "t" \sub "6" } } }
Ichords = {
\textLengthOn
s2_\Tmin s_\TminSix |
s_\DmajTwo s_\TminSix |
s_\Smin s_\DDVIIseven |
s_\Dmaj s_\SixFive |
% 5
s2_\Tmin s4_\SminSix s4_\Smin |
s2_\TminSix s4_\DmajSixArrow s4_\SixFiveArrow |
s2_\Smin s2_\TminSix |
s2_\DmajSixFiveArrow s2_\Smin |
s2_\DDVIIseven s2_\DmajSeven |
% 10
s1_\Tmin \bar "||"
}
\score {
\new PianoStaff <<
\set PianoStaff.midiInstrument = "choir aahs"
\new Staff <<
\new Voice { \voiceOne \IupperI }
\new Voice { \voiceTwo \IupperII } >>
\new Staff <<
\new Voice { \voiceOne \IlowerI }
\new Voice { \voiceTwo \IlowerII } >>
\new ChordSymbols = "chords" \Ichords
>>
\layout {
\context {
\type "Engraver_group"
\name ChordSymbols
\alias Voice
\consists "Output_property_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists "Script_engraver"
\consists "Text_engraver"
\override TextScript #'font-size = #2
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\PianoStaff
\accepts ChordSymbols
}
ragged-right = ##f
}
\midi { }
}
% eof
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Re: terrible question for a distinctive chord name system
> IupperI = \relative c'' {
> \voiceOne
>
> IupperII = \relative c' {
> \voiceTwo
Those \voiceOne and \voiceTwo are redundant, of course.
Werner
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Re: strange error when creating context
> Now the strange warning comes, saying it can't create the > CHordMarks context. This comes from the MIDI processing (and admittedly, there is no indication for that in the warning message). You can ignore it safely. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inspirational Headwords for Chords section of manual
> > > 2) I'm looking for an inspirational headword for figured bass. > > This would be a section of actual music notated with figured bass. > > Anybody got one they could share? What about Bach's `Schemelli Choräle'? I very like `Komm, süßer Tod'. http://www.bach-cantatas.com/Pic-Sco-BIG/BWV478-Fascimile.jpg Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sustainOn
> Actually, it is as a pianist too that I proposed this change several > weeks ago... (and yes, following the discussions on -devel is quite > interesting, it took me to a whole new level when I first subscribed > to it). Me too. Being a professional piano player, I don't oppose to the new names: Just think of using |_| as a synonym for Ped * For the former, commands `on' and `off' are not unnatural if you consider them as commands controlling the graphical shape (namely to start and stop the pedal bracket). Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LSR search is broken
> > Seriously... is one-indexing the LSR code (which is clearly > > zero-indexed) difficult for some reason? In all the programming > > I've done — including Java, etc. — I've found reindexing to be > > fairly easy, in general... > > One-indexing is brain damaged. See EWD831: > http://www.cs.utexas.edu/users/EWD/transcriptions/EWD08xx/EWD831.html This might be true for Mathematics, but not for `real' life: If there are four items lying on the table, and you have to enumerate them, most people will call them item 1 to item 4, and *not* item 0 to item 3. Please change this. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changelog
> True, but I usually avoid command line stuff. I'm on Windows XP. Poor guy :-) There's nothing more powerful than a good shell and small scripts written for it. Just for fun I suggest to install, say, bash or zsh... Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ||o||
> > It's probably best to submit a bug report, together with a > > high-resolution scan of such a note head. Werner > > Here it is: > > http://www.nabble.com/file/p18178776/Rondes%2Bdouble%2Bbarr%25C3%25A9es.bmp This is now registered as issue #648. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [PATCH] Re: not-so-ancient flags
> >However, I didn't find the exact cause of my second problem, where > >the flags do not start at the very end of the stem, but are shifted > >a little inwards... Will have a look in the next days. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double \time change
> I have a "Psalmenproprium" by Hans Haselböck (writte 1968), where in > one place there are four (!!!) time signatures at the same time (the > following measures alternate freely between those four time > signatures): 2/4 3/4 3/8 5/8 Bartók uses similar things. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double \time change
> > Bartók uses similar things. > > > > > > Werner > > [...] The score is 3/4; so probably an error. I was rather talking about a movement in the Trio for Violin, Klarinet, and Piano (`Contrasts') which contains a chain of five time signatures (IIRC) to indicate a complicated Hungarian folk music rhythm pattern. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double \time change
> > I was rather talking about a movement in the Trio for Violin, > > Klarinet, and Piano (`Contrasts') which contains a chain of five > > time signatures (IIRC) to indicate a complicated Hungarian folk > > music rhythm pattern. > > Aren't there "plus" signs between the timesigs in such cases? I can't remember, sorry. However, for me both cases, with and without plus signs, are fine. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
spacing problem
Please have a look at the attached PDF file, generated from this code:
\version "2.11.53"
#(ly:set-option 'point-and-click #f)
\header{
tagline = ##f
}
\relative c'' {
d4 r d8[ d d d] |
d4 r d r |
d4 r d8[ d d d] |
d4 r d r |
d4 r d8[ d d d] |
d4 r d r |
d4 r d8[ d d d] |
d4 r d r |
d4 r d8[ d d d] |
r4 des2. |
r2 d4 r |
}
\paper {
paper-height = 5.0\cm
ragged-right = ##f
indent = 0.0\cm
}
This is the `natural' spacing as provided by lilypond. However, IMHO,
the horizontal spacing of the dotted half note is too small. How can
I increase it? I've nothing found in the manual which controls this
squeezing.
Please don't give educated guesses but hard facts -- I tried a lot,
and I wasn't successful.
Werner
notehead-barline.pdf
Description: Adobe PDF document
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Re: spacing problem
> You can tweak the 'extra-spacing-width property like so: [...]
Thanks. I was unclear, sorry: I want to control it globally -- all
such occurrences are bad; IMHO a dotted half note must never have so
little vertical space (but this is both a matter of taste and the
circumstances: within a part it might be fine; within a score it is
horrible).
Werner
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Re: spacing problem
> AFAIK, the spacing engine does not treat dotted notes specially. > You may want to isolate the file to just the dotted note and set > breakpoints in gdb in notespacing.cc to get a better idea of what is > happening. It's not specific to dotted notes but to notes which have longer durations, and which get squeezed far too much -- the same problem occurs for, say, half notes and whole notes. I simply want to control these squeezing values globally. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: spacing problem
> > It's not specific to dotted notes but to notes which have longer > > durations, and which get squeezed far too much -- the same problem > > occurs for, say, half notes and whole notes. I simply want to > > control these squeezing values globally. > > The spacing is controlled by 2 values in the end: the ideal length > of the spring, and the width of the fixed part (the remaining is the > stretchable part). I guess you want to increase the fixed width for > these notes (which also decreases the stretching in case of loose > lines - the springs are symmetric in stretch and shrink). You could > experiment with > > Spacing_spanner::musical_column_spacing > > to tweak the fixed length. You mean a factor for base_note_space (at least this is what I understand at looking at this code)? What about making it configurable? Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
