On Tue, Jan 23, 2007 at 06:21:53PM -0700, Steve D wrote:
>
> Issue 3:
> I tried to manually configure the ties between the second and third
> chords using--
>
> 8~ \once \override Score.TieColumn #'tie-configuration =
> #'( (4 . 1) #t ) 4
>
> --H
tress-test" this idea of
moving the Tie_engraver from the Voice to the Staff context, but I think
it's a great idea and a great solution if the "kinks" can be worked out.
Notators of polyphonic instruments such as the piano wi
sists "Tie_engraver"
> }
> \context {
>\Voice
>\remove "Tie_engraver"
> }
> }
> \new Staff {
> \relative {
><<
> {a' b~ c d} \\
> {a, b b' c}
>>>
> }
> }
--- ---
Then, Steve D wrot
cm_unused_struct*)
continuing, cross fingers
programming error: Parsed object should be dead: static
scm_unused_struct* Context_def::mark_smob(scm_unused_struct*)
continuing, cross fingers
error: failed files: "blues-in-c-1.ly"
--- end quot
consists "Tie_engraver"
> }
> \context {
>\Voice
>\remove "Tie_engraver"
> }
> }
What a great idea and suggestion! Thank you so much Joe. I'm going to
try this right away on a piano piece with many such between-voice or
multi-voice-to-sing
On Sat, Jan 13, 2007 at 12:59:04PM -0700, Steve D wrote:
>
> [...] Piano music,
> like Tomas writes, often splits into temporary voices within a single
> staff, all played with the same hand, lasting only a fraction of a
> measure for instance, that resolve into a single note
actually performed and not breaking into
temporary voices which necessitate many messy, cluttered-looking
partially tied chords.
Steve D
New Mexico, US
--
Remember, democracy never lasts long. It soon wastes, exhausts,
and murders it
On Thu, Sep 28, 2006 at 08:29:46AM -0400, Palmer, Ralph wrote:
> Greetings -
> Is there any simple way to indicate "approximate" with the M.M. (Maelzel
> or metronome Mark)? For example, using a tilde (~) instead of an equal
> sign (=), or inserting "c." (circa) before the per-minute number?
I use
Hello all-- I'm wondering if the following would be possible as a
sponsored feature, if it cannot be done somehow already.
I mainly write piano music. Often there are temporarily two or more
voices in a measure or two, which then merge into one voice soon after.
Sometimes (quite often, actually) t
Mats and Kieren, thanks again for your explanations of
the << {} \\ {} >> construct (and its variants), and how to make ties
cross the boundaries of the simultaneous music construct into the
non-simultaneous music before or after it. Thanks to those explanations
I was able to solve a problem, in a
On Tue, Sep 26, 2006 at 08:38:47PM +0200, Mats Bengtsson wrote:
> Steve D wrote:
> >Thank you Kieren for that explanation. What about the converse case,
> >where a tie begins inside a << { } \new Voice { } >> construct, at the
> >end (in the second voice, and one
Many thanks to whomever sponsored the \afterGrace feature. It's coming in
very handy in a piece I'm notating at present.
Also, just a reminder that I am willing to sponsor the work on the issue
I mentioned in this email message last month, where the dots of some
dotted chords were too close to the
On Sat, Sep 16, 2006 at 08:45:16PM -0400, Kieren MacMillan wrote:
>
> Well, you've run into a subtlety of Lilypond that could, perhaps, be
> better documented... ;-)
>
> Consider the following code snippet:
> theMusic = \relative c'
> {
> 1 ~ | << 1\fermata \\ { s2 c4 c } >> \break
>
ml
So, you may wish to try LilyPond 2.9.x
Also, you may wish to consider using the briefer notation for chords,
insted of the simultaneous-music construction:
<>
-Steve D
--
Anarchism is founded on the observation that since
On Mon, Aug 28, 2006 at 06:22:44PM +0200, Han-Wen Nienhuys wrote:
>
> Trevor Bača wrote:
> >Yes, exactly. The notes can be separately articulated, with separate
> >accidentals and so on. What the notes share will be spanning stems and
> >a single beam.
>
> OK. This is a completely different featu
On Thu, Aug 24, 2006 at 05:39:57PM +0200, Han-Wen Nienhuys wrote:
> Steve D wrote:
> >After thinking about it for awhile, I agree with Werner and like his
> >idea better also, if it can be done. [...]
> > would mean that only the c and b-flat would be tied
> >~ woul
Voice model, but I
> wasn't sure ...
> Well, if Steve or Vivian or Hans or somebody is willing to help out,
> then I'm willing to pitch in on the sponsoring too.
I am definitely willing and will commit to sponsoring this feature,
preferably on an equal basis (2 spo
On Tue, Aug 22, 2006 at 10:55:05AM +0200, Han-Wen Nienhuys wrote:
>>it's easiest to add a property so you can do
>>
>>cost: 65 EUR.
Werner LEMBERG then asked:
>Just wondering what the much simpler syntax
>
>costs...
Han-Wen Nienhuys responded:
> I can put it in for 35 eur extra, I hope.
> (
On Tue, Aug 22, 2006 at 10:55:05AM +0200, Han-Wen Nienhuys wrote:
> Werner LEMBERG wrote:
> >>it's easiest to add a property so you can do
> >>
> >>
> >>
> >>cost: 65 EUR.
> >
> >Just wondering what the much simpler syntax
> >
> >
> >
> >costs...
>
> I can put it in for 35 eur extra, I hope.
On Mon, Aug 21, 2006 at 12:57:51PM +0200, Han-Wen Nienhuys wrote:
> Steve D wrote:
> >Trevor Baca recently asked how one might write in LilyPond tied chords in
> >which only *some* (one or more, but not all) notes are tied to the
> >following identical chord.
> >
>
I know that cross-staff beaming has been mentioned periodically on the
LilyPond lists.
It would be great, for the sake of piano and other polyphonic instrument
scores, for there to exist in LilyPond some mechanism that would allow
for chords to change staff, perhaps like single-note melodies alrea
Trevor Baca recently asked how one might write in LilyPond tied chords in
which only *some* (one or more, but not all) notes are tied to the
following identical chord.
I am also interested in this, because it sometimes happens in piano
music, and I would be interested in sponsoring a feature in Li
On Sat, Aug 19, 2006 at 08:55:29PM +0200, Han-Wen Nienhuys wrote:
> Steve D wrote:
> >I recently notated a piano piece that has repeated dotted eighth-note
> >chords, and the dots look too close to the following chord. I would love
> >to be able to add a little space bet
Hello all--
I would like to sponsor a feature, if it does not already exist in
LilyPond and if Han-Wen thinks it would be practical to implement:
the ability to quickly and easily add or subtract a little horizontal
space between musical elements in a staff, something like \hspace does
within mar
Hello--
I would be happy to sponsor the work on several issues that Werner
Lemberg reported to bug-lilypond last month (in June, 2006), if those
issues have not already been addressed.
Specifically the issues I refer to are related to ties and are mentioned
in the following archived bug-lilypond
ForNote_1.png is the output of the LilyPond code above
* tieWaitForNote_2.png is an example of the bug in a piece I'm working on
now. The notes of the grace-note arpeggio should be tied to the
corresponding notes of the following chord.
Best wishes,
Steve D
New Mexico US
tieWaitForNote_1.p
On Mon, Mar 20, 2006 at 08:54:58AM +1100, Cameron Horsburgh wrote:
> The score I'm working on has ties going over a page/line break. On the
> second page, one of the ties is hardly noticeable--in fact, I was
> alerted to the problem by what I thought was a misplaced staccato!
> [...]
> http://we
#'tie-configuration = #'((0 . -1) (4.5 . 1))
4
As you can see, for single ties the command is placed _before_ the two
tied notes or chords, but for multiple simultaneous ties, the command is
placed _between_ the two chords.
Best wish
Tie Anomaly
LilyPond 2.8.0 on Debian Linux, installed using the GUB
There seems to be an anomaly with ties when using the \set
tieWaitForNote feature, in version 2.8.0. I noticed this anomaly when I
was trying to manually format a tie column between a grace-note arpeggio
and the following chord.
Steve D had asked if there were any way in LilyPond to specify or set
multiple properties for a single object in one command. Mats Bengtsson
responded:
On Wed, Mar 22, 2006 at 08:25:37PM +0100, Mats Bengtsson wrote:
> What would you gain from it? If you want to do the same
> group of sett
")
> \override TextSpanner #'padding = #1.5
> }
>
> /Mats
--- --- ---
Wonderful.
Thank you very much Mats, not only for this answer but also for the huge
amount of helpful answers and expert advice and comments you have
generously offered to LilyPond users in the
han one property of a single object, is there a way to group the
properties and values?
Best wishes,
Steve D, New Mexico US
--
Preachers and religious leaders are entirely unnecessary and
dispensable. They know that, which is w
On Sat, Feb 25, 2006 at 01:28:58AM +0100, Han-Wen Nienhuys wrote:
> Steve D wrote:
> >[regarding manual tie formatting]
> >But in this case, I'm not sure if "TieColumn" refers to every note of
> >the first chord, or just the note(s) of the first chord that are
Manual Tie Configuration--
In a previous email I asked about how to use LilyPond's new manual tie
configuration for a particular pair of tied chords, in a piano piece I'm
notating, which only share one common pitch and a different number of
notes per chord (2 notes in first chord, 3 notes in secon
Regarding the new manual tie configuration, can anyone help with the
following:
{
~
\once \override TieColumn #'tie-configuration = #'( )
}
Only one note of the first chord , the upper A, is tied to the following
chord
Normally, either pairs of numbers specifying the vertical po
Manual for 2.7 series, section 6.1.2, Pitches
Suggestion (may or may not be appropriate)--
It might help beginners, at the point in this section where sharps and
flats are discussed, to mention and/or illustrate that when a pitch is
followed by both an octave specification and a sharp/flat indicat
For manual, 2.7 series, section 6.2.2, "Octave check"
Comment and suggestion--
The part of this section that explains \octave is somewhat difficult to
understand. It might be helpful, especially for beginners, to state that
"\octave a'" and other \octave checks produce no visible output in the
sco
On Mon, Feb 20, 2006 at 09:56:55PM -0700, Steve D wrote:
> For LilyPond manual, 2.7 series, section 6.2.3, Transpose:
> Suggestion:
> Consider a part written for violin (a C instrument). If this part is to
> be played on the A clarinet (for which an A is notated as a C, and which
>
For LilyPond manual, 2.7 series, section 6.2.3, Transpose:
Current:
Consider a part written for violin (a C instrument). If this part is to
be played on the A clarinet, the following transposition will produce
the appropriate part
\transpose a c ...
Suggestion:
Consider a part written for viol
is so nice
to finally be able to notate both the right- and left-hand parts of a
piano staff together, alternately, bar by bar!
Steve D
New Mexico, US
--
Switching from one compulsion to another is like switc
Current manual for LilyPond 2.7 series, section 6.1.12, Stems:
The graphical example doesn't seem to accurately illustrate the code
above it. The stems for notes on the middle line of the staff all point
down, despite "\override Stem #'neutral-direction = #up" (or #down).
-sd
--
I thought some members of the lilypond-user email list might be
interested in the thoughts and ideas regarding new forms of music
notation with respect to trying to improve in some way on traditional
music notation. Link to the Music Notation Modernization Association
website below:
http://www.mnm
effort. If anyone else considers cross-staff chords, tie formatting
(automatic and manual) and the higher-level \override functionality
important, he or she might wish to consider joining me in making monthly
pledges as mentioned above. Just an idea-- ;-)
-Steve D
New Mexico US
--
-
; would both have
ties that arc down, since that interval (a second) is smaller
than a fifth? In this case, the rule Han-Wen mentioned of ties of
seconds arcing in opposite directions would seem preferable,
right?
Best wishes,
Steve D
___
at
others might be interested in helping to sponsor such a project
as well.
Best wishes,
Steve D
New Mexico US
___
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lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
spaces (depending on the note durations
and horizontal spacing of the notes), the ties for the same
pitches would all be placed within the same staff space.
This behavior seems also to be what is suggested in various books
on notation, such as Gardner Read's, Gerou and L
above the staff space
that the tied notes occupy (in the case of the uppermost note of
the tied chord), or within the staff space just below the staff
space that the tied notes occupy (in the case of the lowermost
note of the tied chord).
that the first parameter represents the vertical location
of each tie, but I can't figure out exactly what the numbers (0,
2, 5.5, 7 in the example above) correspond with or refer to.
Anyway, it's wonderful to have this improved functionality.
Steve D
New Mexico, US
P.S. I pa
On Fri, Aug 19, 2005 at 11:52:47AM -0500, Trevor Baca wrote:
> > [quoting Vincent (VSD)]
> > So we would have now (please correct me if I'm wrong):
> >
> > - Steve D: EUR 100
> > - Kieren Richard MacMillan: EUR 100
> > - me (Vincent): EUR 100
> > -
On Tue, Aug 16, 2005 at 11:59:20PM -0700, D Josiah Boothby wrote:
> Graham Percival wrote:
>
> >
> >On 16-Aug-05, at 8:03 PM, D Josiah Boothby wrote:
> >
> >>Using the 2.6.0 autopackage on Debian sarge/sid, Evince (v. 0.3.0)
> >>doesn't display the 3's in the time signatures.
--- ---
I know what
Here's some such unsolicited praise, which probably could be condensed
and worded better, but-- ;-)
As a former Finale user, I was originally daunted by LilyPond's very
different approach, where the music notation exists in a plain-text
file that the user can create and edit him or hersel
nl/~hanwen
--- --- ---
Han-Wen, all--
Although I may need to make several sequential payments to do so,
depending on how many others are willing to help sponsor this work, I'm
willing to commit to co-sponsorship of your work on ties (in general, as
they apply t
co-sponsor Han-Wen's work on
this feature, if he considers it feasible?
-Steve D
New Mexico US
(I apologize for the size of the PNG attachment. I made it as small as I
felt it could be while trying to retain the clarity of the illustration.)
ties-and-chords.png
Description: PNG image
___
A while back I asked about the possibility of, and then sponsored, a
feature to tie grace note and other arpeggios to a following chord.
Han-Wen created the
\set tieWaitForNote = ##t (or ##f, as the case may require)
feature as a result, which greatly simplified the piano score I was
notating at
On Sun, Jul 24, 2005 at 09:21:37AM -0700, Jay Hamilton, Sound and Silence wrote:
> I'm getting an error message
> syntax error, unexpected DIGIT, expecting DRUM_PITCH or NOTENAME_PITCH
> or '>'
Instead of this:
~
Type this:
4~
Instead of this:
Type this:
2.
The duration of all the notes of
On Wed, Jul 20, 2005 at 12:10:11AM -0600, Steve D wrote:
>
> Using LilyPond 2.6.1, does anyone else notice an oddity with:
>
> \time 3/4
--- ---
What a horrible question I asked, with no indication of operating
environment, PDF application version numbers, with imprecise phras
Using LilyPond 2.6.1, does anyone else notice an oddity with:
\time 3/4
Using gs the "3" seems to be displayed correctly, over the "4," in both
the .pdf and .ps versions of the document. In xpdf the .pdf looks fine,
but in gpdf and the evince document viewer the "3" is either invisible
or distor
Claude--
In my recent response to you, where I pasted a version of your .ly file
that I modified, the output looks better if you substitute the word
GrandStaff
for every instance of
PianoStaff
in the file. Your original file used GrandStaff and I changed it to
PianoStaff so it would have a brace
Claude Lord wrote:
This is a repeat of a question I sent last Sunday.
Could someone show me how to modify the following code so that chord names
would appear above the upper staff? I have been unable to find the answer to
this in the online documentation.
If my question is not clear, I would apprec
tieWaitForNote where necessary, you can get any of the
things you need.
If there is sufficient interest, I will do a backport to 2.4, once
this code has been tested & ok'd.
--- --- ---
Thank you very much Han-Wen. That looks great.
-Steve D
___
lily
xico, US (UTC -7)
--- previous backgroud material quoted below ---
--- (please forgive the top-posting ---
Steve D wrote:
Han-Wen, all--
Han-Wen, there is a feature for LilyPond that I would be happy to pay
for you to develop, whatever amount you think would be appropriate.
It is a feature that p
David Bobroff wrote:
I'm sure this question has been answered already. I did try searching
the mail archives, but perhaps my search criteria were not clever
enough.
How does one include feta glyphs in text? Specifically, I want to be
able to indicate an instrument name: Trumpet in Bb. I want to
Han-Wen, all--
Han-Wen, there is a feature for LilyPond that I would be happy to
pay for you to develop, whatever amount you think would be
appropriate.
It is a feature that persons who score for piano would benefit
from and appreciate, so on behalf of myself and future LilyPond
users who scor
:
http://www.xscd.com/pub/music/
(It's a piece I wrote way back in my early 20s that I chose
because I thought it would be fairly simple to notate (except for
those problematic final two bars!))
-Steve D, NM US
___
lilypond-user mailing list
lilypond
h a
PNG image as well as include an annotated excerpt from the .ly file to
illustrate how I solved the problem. Although I could upload a PNG to my
own webspace and provide a link, that may not be as permanent for the
email list archives since my webspace and its contents may change.
Steve D wrote:
I have recently begun to learn LilyPond, which is an exceptionally nice
program, though I have a tremendous amount to learn about it.
I would like to ask if anyone might have a suggestion how better to
notate the last measure of the piano piece linked to below (it is a
screen
or more notes in the place of two
quarter notes for them to be notated as eighth notes, right?
Best wishes,
Steve D, NM US
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David Raleigh Arnold wrote:
Steve D wrote: I have recently begun to learn LilyPond, which is an
exceptionally nice program, though I have a tremendous amount to
learn about it.
I would like to ask if anyone might have a suggestion how better to
notate the last measure of the piano piece linked
editor and for other newbies who follow and consult the
mailing list archives.
Should I address such comments to the lilypond-user or the
lilypond-devel email list?
Thank you,
Steve D, NM US
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http
ishes,
Steve D, New Mexico US
P.S. Should I have attached the .png image instead, for the sake of the
archives?
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