Re: chord syntax (Cm7M)
>From: Iacopo <[EMAIL PROTECTED]> >How to write in \chordmode this chord? >Notes: [C, D#, G, B] or [C, D#, B] >Intervals: min, maj, maj >Name: Cm7M for a quarter-note: c4:min 7+ -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: Users' Manual
>From: Jonathan Ano <[EMAIL PROTECTED]> >... The users' manual for >the stable branch version is 451 pages long, and it's extremely >inconvenient to print that. I was wondering if you have the manual in >a book form that you ship; something like that would be helpful. i don't know of anyone offering hardcopy of the manual, but most print/copy shops will make a spiral-bound "book" from a pdf, relatively cheaply. that's probably more efficient than shipping. -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chords in full score
greetings! i am copying an orchestral score in which there are three flute parts, always in rhythmic unison. we would like them to appear in the full score as chords, but still be easily extracted for parts. is there a way (other than a lot of cut'n'paste) to do this? my basic strategy for the piece is separate files for each instrument, combined with includes in the score. i'm using lilypond v2.7.32. thanks! -p ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
volta warning
greetings! when using voltaSpannerDuration to restrict the length of volta brackets, i get a warning "cannot end volta spanner", when my restriction forces ending the bracket before the end of a line. the output seems fine; just wondering if there's anything that should be done about this (either by users or developers). i'm on version 2.11.12 thanks! .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chord-name font size issues
greetings! when using \override ChordName #'font-size to make chord-names smaller, the superscripts stay the same distance above the main text baseline. i.e. the vertical distance between chord letter and chord type and extensions, relative to font size, gets larger. is this the intended behaviour? i would think that vertical distance should be scaled with the font size. as a workaround, is there a way of globally adjusting the chord-name superscript height? i don't see anything in the docs. i'm on 2.11.12 thanks! .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Users using unstable (was: Re: input/tolsr/)
>> Users of unstable LilyPond please raise a hand: plutek raises *both* hands, hoping the vote-counters won't notice. personal projects only (no commercial work for other folks), but all of my own composing for my various ensembles is either hand-copied (yes, pen and ink!) or typeset in lily-unstable. -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
change metronome size
does anyone know how to change size of a metronome marking?
this changes everything, except the note stem (which stays as it was both
in position and size):
\notes { \property Score.MetronomeMark \set #'font-magnification = #0.5
\tempo 4 = 120 c''1 }
this doesn't seem to be addressed in regression or tips, and the only
thing i could find in the list archive was from years ago, before \tempo
existed.
thanks!
-p
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change markup note size
related to my recent query about metronome sizes:
\markup { \teeny \note #2 #0 #1 } yields the same problem (small
notehead, but original size/position stem).
anyone know a way around this?
-p
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re: change markup note size
followup to my own post:
while the notation manual states: "\note log dots dir" with a note
explaining that the third value refers to the stem direction (+1 is up and
-1 is down), it does not tell us what i have just discovered: the third
value ALSO controls stem length and position.
\markup { \magnify #3 \note #2 #0 #3 } yields a 3x-sized note with
correct position/length of the stem.
\markup { \magnify #0.5 \note #2 #0 #0.5 } yields a 0.5x-sized note with
correct position/length of the stem.
a negative third value flips the note upside down, and still corrects the
stem length.
unfortunately, the stem thickness is unaffected, so the range of values
for which this method will create a useful result is limited.
best -
-p
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Re: Quarter-tones
AFAIK this is not yet available. i highly endorse your request for inclusion of this much-needed feature! perhaps, in the meantime, someone has a work-around?? best- -p > Hi everyone! > I checked the Lily-documentation but couldn't find anything about it: > quater-tones. Is it possible to make a 'Tartini one quarter sharp' or a > backward flat (as described in Kurt Stone's 'Music notation in the 20th > century', page 68-69, paragraph 3)? > If it isn't possible, is or could it be implemented in some new version > of Lilypond? > > Regards, > Thorkil > > > > ___ > Lilypond-user mailing list > [EMAIL PROTECTED] > http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
cross-barline AND cross-linebreak beams
regression | beaming.ly states "Beams may cross bar lines. In that case, line breaks are forbidden." i am attempting to typeset a piece with many cross-barline beamings. in some places, there is insufficient opportunity, while avoiding beamed-across barlines, to find line breaks. i get a warning: "Could not find line breaking that satisfies constraints" and the lines run off the page, because there are too many consecutive measures with cross-barline beaming. i would like to be able to make the cross-barline beams hang incomplete on either side of line breaks. (in fact, this piece will be pretty much impossible to typeset without being able to do that.) is there any way to work around this limitation? -p ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
parenthesized grace note
anyone have a method for putting parentheses around a grace note (other than building the whole thing with \markup)? specifically, i wish to have a parenthesized small notehead beside the main note of a trill, to indicate the trill note. yes, i have seen the discussion about placing an accidental above the trill sign; that is not what i'm looking for. thanks! -p ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
strange thread behaviour in 1.9.8??
in "tips and tricks" : harmonic.ly
if the initial c'4 is removed, then the two notes within the <<>> behave
as polyphony rather than as a chord. this is consistent with the new
polyphony and chord syntax, but why does the initial c'4 force chord
behaviour?
if, after removing the initial c'4, i then place the multi-threaded chord
in a \context Voice {} block, then it DOES behave as a chord again.
perhaps, to have a consistent syntax, multithreaded chords should always
be placed in a Voice context now?
-p
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EMACS lilypond mode: possible bug
with this score in EMACS:
\score {
\notes { f16 g a b c[ < d f >]
}
\paper {}
}
EMACS claims that the closing parenthesis of the \notes block is
mismatched, and if i put in a second line of notes it wants to indent to
the < of the first line.
if i move the ] inside the chord like: < d f] > then EMACS thinks
everything is fine. of course, then the beam is unterminated for lilypond.
do other folks observe the same behaviour?
i'm on lilypond 1.9.8, GNU EMACS 21.2.1
-p
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individual tie directions in chords
in the following:
\score {
\notes \relative c' {
~
}
\paper { raggedright = ##t}
}
it seems clear to me that the tie between g's should go up, to avoid
colliding with the tie between f's. unfortunately, that does not follow
the rule of curving away from staff center.
i have not been able to find a way of controlling tie DIRECTION for
individual notes in a chord. i suppose the method of placing the tie
engraver at thread level (shown in regression/tie-chord-partial.ly) would
work, but in the context of a succession of chords, where only one needs
this treatment, isn't it difficult to switch between that and the regular
use of the tie engraver?
is there no simpler way to do this?
-p
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Re: individual tie directions in chords
> On Friday 26 September 2003 04:57 pm, you wrote:
>> in the following:
>>
>> \score {
>> \notes \relative c' {
>> ~
>> }
>> \paper { raggedright = ##t}
>> }
>>
>> it seems clear to me that the tie between g's should go up, to avoid
>> colliding with the tie between f's. unfortunately, that does not
>> follow the rule of curving away from staff center.
>>
>> i have not been able to find a way of controlling tie DIRECTION for
>> individual notes in a chord. i suppose the method of placing the tie
>> engraver at thread level (shown in regression/tie-chord-partial.ly)
>> would work, but in the context of a succession of chords, where only
>> one needs this treatment, isn't it difficult to switch between that
>> and the regular use of the tie engraver?
>>
>> is there no simpler way to do this?
>
> I don't know whether it's simpler or not, but the best thing to
> do IMHO is to render some or all of the chord as different
> voices. daveA
thanks, david.. would you be kind enough to give me an example of how
to do this? i'm having trouble figuring out how to use different voices
but still have it look like a chord rather than like polyphony.
thanks!
-p
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Re: individual tie directions in chords
>> On Friday 26 September 2003 04:57 pm, you wrote:
>>> in the following:
>>>
>>> \score {
>>> \notes \relative c' {
>>> ~
>>> }
>>> \paper { raggedright = ##t}
>>> }
>>>
>>> it seems clear to me that the tie between g's should go up, to avoid
>>> colliding with the tie between f's. unfortunately, that does not
>>> follow the rule of curving away from staff center.
>>>
>>> i have not been able to find a way of controlling tie DIRECTION for
>>> individual notes in a chord. i suppose the method of placing the tie
>>> engraver at thread level (shown in regression/tie-chord-partial.ly)
>>> would work, but in the context of a succession of chords, where only
>>> one needs this treatment, isn't it difficult to switch between that
>>> and the regular use of the tie engraver?
>>>
>>> is there no simpler way to do this?
>>
>> I don't know whether it's simpler or not, but the best thing to
>> do IMHO is to render some or all of the chord as different
>> voices. daveA
>
> thanks, david.. would you be kind enough to give me an example of
> how to do this? i'm having trouble figuring out how to use different
> voices but still have it look like a chord rather than like polyphony.
>
> thanks!
> -p
ok, i've come up with this so far:
\score {
\notes \relative c' {
\context Staff { <<
\context Voice { << \tieUp g'~ e'~ >> << g, e' >> }
\new Voice {
\tieDown \property Voice.Stem \override #'transparent = ##t
\property Voice.NoteHead \override #'extra-offset = #'(-2.35 . 0)
\property Voice.Tie \override #'extra-offset = #'(-2.35 . 0)
f,~f }
>> }
}
\paper { raggedright = ##t
}
}
it works, but is rather full of manual fudging for my taste. there must be
a more elegant way.
thanks in advance for any suggestions!
-p
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Re: individual tie directions in chords
a better version, perhaps but i stil can't get around the need to
"extra-offset" the notehead and tie for the 'f':
\score {
\notes \relative c' {
\context Staff {
<< \new Voice {
\property Voice.NoteHead \set #'extra-offset = #'(-1.3 . 0)
\property Voice.Tie \set #'extra-offset = #'(-1.3 . 0)
\tieDown \stemDown f ~ f
}
\new Voice { \stemDown g ~ g }
\new Voice { e' ~ e }
>>
}
}
\paper { raggedright = ##t
}
}
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force time signature
laura conrad asked a question similar to this a while ago, and never got an answer i'll try again: i am attempting to force the current key signature to display after a \break, but without also printing a cautionary time-sig at the end of the previous system. if i simply insert another \time command with the same time-sig, i get the cautionary on the line before. there doesn't seem to be anything analogous to forceClef for time signatures. anyone have a solution (besides manually constructing it in markup)? thanks! -p ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond.org down?
>Date: Fri, 26 Sep 2008 10:15:47 -0700 >From: Paul Scott <[EMAIL PROTECTED]> >>From here lilypond.org seems to be down. I can't even ping it. it looks fine from here. -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond.org down?
>Date: Fri, 26 Sep 2008 10:37:30 -0700 >From: Patrick Horgan <[EMAIL PROTECTED]> > >Paul Scott wrote: >> Hi, >> >> >From here lilypond.org seems to be down. I can't even ping it. >> >> Paul Scott >> > From here too--if some can get to it, then something on the backbone >quit routing for some reason. I did a traceroute which only worked to >12 hops, then tried up to 30 with no happiness. You should be able to >get anywhere in the internet in 20-22. I'm guessing someone's routing >tables are screwed up. It goes off into xs4all's netword and just >rattles around for awhile and dies. > >traceroute to lilypond.org (82.94.241.173), 30 hops max, 40 byte packets > 1 172.16.1.1 (172.16.1.1) 0.588 ms 0.648 ms 0.746 ms > 2 bras3-l0.pltnca.sbcglobal.net (151.164.184.79) 23.428 ms 28.827 >ms 34.258 ms > 3 76.246.22.2 (76.246.22.2) 35.415 ms 35.896 ms 40.631 ms > 4 bb2-g3-0.pltnca.sbcglobal.net (151.164.43.56) 45.345 ms 49.654 ms >49.964 ms > 5 ppp-151-164-38-18.rcsntx.swbell.net (151.164.38.18) 53.895 ms >55.809 ms 58.520 ms > 6 asn6398-bellsouth.pxpaca.sbcglobal.net (151.164.248.234) 61.007 ms >14.430 ms 23.392 ms > 7 10gigabitethernet2-4.core1.ash1.he.net (72.52.92.30) 92.778 ms >95.785 ms 99.929 ms > 8 10gigabitethernet2-1.core1.lon1.he.net (72.52.92.138) 185.327 ms >190.211 ms 195.135 ms > 9 10gigabitethernet1-1.core1.ams1.he.net (72.52.92.82) 210.356 ms >210.849 ms 212.300 ms >10 ams-ix.sara.xs4all.net (195.69.144.48) 216.472 ms 217.969 ms >220.446 ms >11 0.so-1-0-0.xr3.3d12.xs4all.net (194.109.5.5) 224.380 ms 226.561 >ms 229.305 ms >12 te5-4.swcolo1.3d12.xs4all.net (194.109.12.30) 208.551 ms 172.022 >ms 174.125 ms >13 * * * >14 * * * >15 * * * >16 * * * >17 * * * >18 * * * >19 * * * >20 * * * >21 * * * >22 * * * >23 * * * >24 * * * >25 * * * >26 * * * >27 * * * >28 * * * >29 * * * >30 * * * > >Patrick hmmm strange: no, i can't ping either, and my traceroute looks much like yours. however, i can browse all over lilypond.org pages (refreshing also, to make usre i'm not using cached pages) with no trouble. wierd. -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
house chord style - global?
greetings!
i have implemented some changes to chord markup symbols, using the method shown
at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-big-page#Customizing-chord-names
--- i've got this in a house-style.ly, which i \include at the beginning of
each lilypond file:
% Exception music is chords with markups
chExceptionMusic = {
1-\markup { \super "maj7" }
1-\markup { \super "maj9" }
1-\markup { \super "maj11" }
1-\markup { \super "7alt" }
1-\markup { \super "6(add9)" }
}
% Convert music to list and prepend to existing exceptions.
chExceptions = #( append
( sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
i also wish to have chord symbols only notated when they change. normally, to
implement that and the chord symbol modifications, i must put this in any
\chords blocks which occur in any ly files:
\set chordNameExceptions = #chExceptions
\set chordChanges = ##t
that all works fine, but i'm wondering if there is some way of setting
chordNameExceptions and chordChanges globally, in the house-style.ly file,
instead of having to \set it in every \chords block of every score.
cheers!
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wildcards for \include ?
greetings! thing kind of thing doesn't seem to work: \include "/some_directory/*.ly" and i don't see any reference to wildcards for \include in the docs. is it possible somehow? thanks! -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: house chord style - global?
>From: "Carl D. Sorensen" <[EMAIL PROTECTED]>
>Date: Thu, 2 Oct 2008 15:43:13 -0600
>On 10/2/08 9:59 AM, "plutek-infinity" <[EMAIL PROTECTED]> wrote:
>
>> i also wish to have chord symbols only notated when they change. normally, to
>> implement that and the chord symbol modifications, i must put this in any
>> \chords blocks which occur in any ly files:
>>
>> \set chordNameExceptions = #chExceptions
>> \set chordChanges = ##t
>>
>> that all works fine, but i'm wondering if there is some way of setting
>> chordNameExceptions and chordChanges globally, in the house-style.ly file,
>> instead of having to \set it in every \chords block of every score.
>>
>
>You can do this quite easily.
>
>You need to remember that \chords is a shortcut for
>\new ChordNames { \chordmode { }}
>
>All you need to do is redefine the defaults for the ChordNames context.
>
>The details for doing this are explained in the 2.11 documentation, section
>5.1.4 Changing context default settings
>
>Once you have this done, perhaps you could post the results to
>the LilyPond Snippet Repository.
thanks for your help, carl!
i've posted a snippet.
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Re: unusual Alto Clef
>From: David Bobroff <[EMAIL PROTECTED]> > >I've posted a slightly clearer copy of such a clef to issue 693. For >what it's worth, my memory tells me that this style of C clef is to be >found in French publications. I certainly remember seeing it in >trombone parts of French pieces and this example comes from the Ravel >Concerto for left hand (1st trombone part). > >David > >Jonathan Kulp wrote: >> I can't seem to find a better image of this clef in the materials I have >> on hand or on an internet search. I got it originally from a .pdf file >> downloaded from the International Music Score Library Project. It'd be >> better to have an original paper score in hand for scanning at high res. >> If no one can come up with one in a day or two I'll talk to our >> orchestra conductor and see if he might have some examples in his library. >> >> Jon >> >> Werner LEMBERG wrote: >> >>> >>> Well, your version differs heavily from what the scanned image shows. >>> However, to create a good glyph shape, we probably need better scans >>> of probably larger clefs. Anyone who could provide that, probably >>> adding it to >>> >>> http://code.google.com/p/lilypond/issues/detail?id=693 i've added a couple more -- as a bassoonist, i see this clef quite a bit in french repertoire. Leduc no longer uses it, though, favouring the modern style currently implemented in lilypond. cheers! -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
predefined commands reference
greetings! is there a collected reference of the meaning of the many lilypond predefined commands? i don't see it in the docs in particular, right now i'm trying to figure exactly what \compressFullBarRests does, so i can use my global style file to direct multi-measure rests to always compress. thanks! -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: predefined commands reference
>From: "Neil Puttock" <[EMAIL PROTECTED]> >2008/10/9 plutek-infinity <[EMAIL PROTECTED]>: >> greetings! >> >> is there a collected reference of the meaning of the many lilypond >> predefined commands? i don't see it in the docs > >Unfortunately not, since there's currently no automatic documentation >generation for the predef files (it's on the list of TODOs). > >> in particular, right now i'm trying to figure exactly what >> \compressFullBarRests does, so i can use my global style file to direct >> multi-measure rests to always compress. > >Have you tried the index? > >http://kainhofer.com/~lilypond/Documentation/user/lilypond/LilyPond-command-index.html#LilyPond-command-index_ky_symbol-14 thanks, neil as far as i can see, the index just shows me how to use \compressFullBarRests inside a score, without pointing me to any clues about how to accomplish the same thing globally.> -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: predefined commands reference
>From: "Neil Puttock" <[EMAIL PROTECTED]> >...look at the the definition in ly/ thanks very much, graham and neil -- that was the hint i needed! cheers! -- .pltk. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chord name position
greetings!
i don't understand why the chord names end up below the staff when i do this:
-
\version "2.11.61"
changes = \chords {
c1 c1
}
slashes = {
\override NoteHead #'style = #'slash
b'1 b'1
}
\score {
\new Staff <<
\changes
\slashes
>>
}
---
would someone be kind enough to explain?
thanks very much!
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doits on a chord?
greetings!
i'm trying to figure out how to apply doits to a chord, and neither of these
produces anything:
\score { 1-\bendAfter #+5 }
\score { 1 }
this has the desired effect, but seems messy and gives clashing note column
errors:
\score { \new Staff { <> } }
does anyone have a solution for this?
thanks!
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global time signature style in 2.11.62
greetings!
in 2.11.61, this changed time signature style to numeric:
\layout {
\context {
\Staff
\override TimeSignature #'style = #'()
}
}
in 2.11.62, it no longer does so, but the definition for numericTimeSignature
in property-init.ly is:
\override Staff.TimeSignature #'style = #'()
i don't understand why it's not working. would someone be kind enough to help
me understand?
thanks in advance!
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Re: global time signature style in 2.11.62
>Date: Fri, 24 Oct 2008 17:43:52 +0200
>From: Mats Bengtsson <[EMAIL PROTECTED]>
>It certainly works over here in version 2.11.63.
sorry my mistake. i had this later in my layout block:
\context {
\RemoveEmptyStaffContext
}
that command, of course, defines a staff context, so i guess the two staff
contexts were conflicting.
>plutek-infinity wrote:
>> greetings!
>>
>> in 2.11.61, this changed time signature style to numeric:
>>
>> \layout {
>> \context {
>> \Staff
>> \override TimeSignature #'style = #'()
>> }
>> }
>>
>> in 2.11.62, it no longer does so, but the definition for
>> numericTimeSignature in property-init.ly is:
>>
>> \override Staff.TimeSignature #'style = #'()
>>
>> i don't understand why it's not working. would someone be kind enough to
>> help me understand?
>>
>> thanks in advance!
>>
>>
>
>--
>=
> Mats Bengtsson
> Signal Processing
> School of Electrical Engineering
> Royal Institute of Technology (KTH)
> 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: global time signature style in 2.11.62
>Date: Fri, 24 Oct 2008 18:05:46 +0200
>From: Mats Bengtsson <[EMAIL PROTECTED]>
>
>plutek-infinity wrote:
>>
>> sorry my mistake. i had this later in my layout block:
>>
>> \context {
>> \RemoveEmptyStaffContext
>> }
>>
>> that command, of course, defines a staff context, so i guess the two staff
>> contexts were conflicting.
>>
>The last definition in your file is the one that's used.
>
> /Mats
hmmm makes sense. however, both are active if i do this:
\layout {
\context {
\RemoveEmptyStaffContext
}
\context {
\Staff \override TimeSignature #'style = #'()
}
}
if, however, i remove the first \context block, and put the
RemoveEmptyStaffContext definition in the single remaining Staff block, like
this:
\layout {
\context {
\Staff \override TimeSignature #'style = #'()
\remove "Axis_group_engraver"
\consists "Hara_kiri_engraver"
\override Beam #'auto-knee-gap = #'()
\override VerticalAxisGroup #'remove-empty = ##t
}
}
then the output looks ok, but i get these warnings in a large, multi-staff
system:
warning: Axis_group_engraver: vertical group already has a parent
warning: are there two Axis_group_engravers?
warning: removing this vertical group
i'm out of my depth here!
cheers!
--
.pltk.
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