Re: Understanding Lilypond

> From: Kieren MacMillan > Subject: Re: Understanding Lilypond > > Hi Peter, > > > many of us have struggled for many months to get to grips with the > structure and philosophy of Lilypond. > > 1. Regarding the structure, what are you struggling with exactly? > > 2. Regarding the philosophy, what

Re: \startTrillSpan without the tr at the beginning?

On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote: > Try: > > { > b'-\tweak style #'zigzag \startTextSpan > b' b' > \stopTextSpan > } > That is a step forward - the zigzag distinguishes the sign from the prall ... looking up the documentation for TextSpanner leads to the same

Re: Need to suppress bar number checking in midi block

> Maybe: > > mymusic = { > \time 4/4 > \repeat volta 2 { > g'1 > \barNumberCheck #2 > } > c'1 > \displayMusic > \barNumberCheck #3 > } > > \book { > \score { > \mymusic > \layout {} > } > \score { > { \unfoldRepeats \set Score.currentBarN

how to make text spanner not sticking out to the right

Consider the following snippet. \relative c' { f4 f f f | f4 f f f | f4 f f f | f4 f f f | \once \override TextSpanner.bound-details.left.text = "rit." \once \override TextSpanner.bound-details.right.text = "a tempo" f4\startTextSpan f f f\stopTextSpan f4 f f f |

License for a LilyPond library

Hi all, once again returning to this ever-hot topic ... I'm going to release a library with LilyPond code, and I'm not completely sure which license this should be done with: My intentions are: * Anybody should be able to *use* the library, that is \include it and use its functions, even

Re: how to make text spanner not sticking out to the right

Try: \version "2.19.15" \relative c' { f4 f f f | f4 f f f | f4 f f f | f4 f f f | \once \override TextSpanner.bound-details.left.text = "rit." \once \override TextSpanner.bound-details.right.text = "a tempo" \once \override TextSpanner.bound-details.right.attach-dir = #-6

define-music-function -> unexpected EVENT_FUNCTION

I have this test program, se below, but I get unexpected EVENT_FUNCTION \transpose c cis $mus \rightHandFinger \markup\normal-text\bold\fontsize #0 $txt How would I do this correctly? // Anders %% Start \version "2.19.15" meTrans = #(define-music-function (

Re: repeat, alternative, partial and full bar

Hello, I want to see exactly what shows this minimal example, except that the "space" is not desired. This is from an hymn melody and I do the SATB setting. So I would like to have the original "optic". And with so short repeats, it doesnt make sense to enlarge the alternative. Now, without the s8

Re: License for a LilyPond library

Am Montag, 26. Januar 2015 11:30 CET, Urs Liska schrieb: > Hi all, Hi Urs, > once again returning to this ever-hot topic ... > > I'm going to release a library with LilyPond code, and I'm not > completely sure which license this should be done with: > > My intentions are: > > * Anybo

Re: how to make text spanner not sticking out to the right

> \once \override TextSpanner.bound-details.right.attach-dir = #-6 Thanks. However, this solution fails twice. 1. The vertical position of the `a tempo' must not be shifted horizontally relative to the music. In the example, the `a tempo' should exactly start at the last quarter

Re: how to make text spanner not sticking out to the right

Am Montag, 26. Januar 2015 11:38 CET, Pierre Perol-Schneider schrieb: > Try: > > \version "2.19.15" > > \relative c' { > f4 f f f | > f4 f f f | > f4 f f f | > f4 f f f | > \once \override TextSpanner.bound-details.left.text = "rit." > \once \override TextSpanner.bound-

Re: License for a LilyPond library

Am 26.01.2015 um 11:55 schrieb Mattes: Am Montag, 26. Januar 2015 11:30 CET, Urs Liska schrieb: Hi all, Hi Urs, once again returning to this ever-hot topic ... I'm going to release a library with LilyPond code, and I'm not completely sure which license this should be done with: My

Re: \startTrillSpan without the tr at the beginning?

On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote: > On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote: > > Try: > > > > { > > b'-\tweak style #'zigzag \startTextSpan > > b' b' > > \stopTextSpan > > } > > > > That is a step forward - the zigzag distinguishes the sign fro

switching stem direction within voice to avoid collisions

Hi all, I'm typesetting something from Heinrich Albert and one exercise has three voices. To avoid collisions, they switch the direction of the stems within one voice and I haven't found how to achieve it. If someone knows where to find this in the documentation or in a snippet... The image show

Re: how to make text spanner not sticking out to the right

You're absolutely right Ralf. AFAIC I'd do : \version "2.19.15" \relative c' { f4 f f f | f4 f f f | f4 f f f | f4 f f f | f4 -\tweak TextSpanner.bound-details.left.text #"rit. " -\tweak TextSpanner.bound-details.left-broken.text ##f -\tweak TextSpanner.bound

Re: repeat, alternative, partial and full bar

Ali Cuota gmail.com> writes: > > Hello, > > I want to see exactly what shows this minimal example, except that the > "space" is not desired. > This is from an hymn melody and I do the SATB setting. So I would like > to have the original "optic". And with so short repeats, it doesnt > make sens

Re: switching stem direction within voice to avoid collisions

Hi Bart, Try : \version "2.18.2" global = { \clef "G_8" \time 4/4 } \new Staff << \global \context Voice = "high" { \voiceOne c'2 b4 c' } \context Voice = "middle" { \voiceThree \override NoteColumn.force-hshift = #0 \override Beam.positions = #'(-.8 . 1.5) \once

Re: sus7 chords in \chordmode

Hi Johan, > To not answer your question: I would not use Gsus7 since it is ambiguous. > Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7 > makes you think that the 7th is suspended -- which is not the case. > > G7sus (or G7sus4) is the unambiguous way to express this chord

Re: switching stem direction within voice to avoid collisions

thanks for the quick solution. I've adapted the example of Pierre, to a score without the use of contexts and omitted assigning a voice to the 'voiceTwo' part. That made it possible for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts lilypond threw an error when not assigning

Re: \startTrillSpan without the tr at the beginning?

On Mon, 2015-01-26 at 11:40 +, Richard Shann wrote: > On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote: > > On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote: > > > Try: > > > > > > { > > > b'-\tweak style #'zigzag \startTextSpan > > > b' b' > > > \stopTextSpan > > >

Re: switching stem direction within voice to avoid collisions

Sure it is, see: \version "2.18.2" global = { \clef "G_8" \time 4/4 } \new Staff << \global { c'2 b4 c' } \\ { \mergeDifferentlyHeadedOn \stemUp \once\override Beam.positions = #'(-.8 . 1.5) \once\stemDown c'8 g e g \once\override Beam.positions = #'(-1.5 . .5)

Re: switching stem direction within voice to avoid collisions

2015-01-26 13:45 GMT+01:00 bart deruyter : > That made it possible for the 'mergeDifferentlyHeadedOn' to show the > half-note. > Ok, now I see, I missed that. See : http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#collision-resolution (... Known issues and warnings) So

Re: switching stem direction within voice to avoid collisions

On 01/26/2015 02:29 PM, Pierre Perol-Schneider wrote: 2015-01-26 13:45 GMT+01:00 bart deruyter mailto:bart.deruy...@gmail.com>>: That made it possible for the 'mergeDifferentlyHeadedOn' to show the half-note. Ok, now I see, I missed that. See : http://lilypond.org/doc/v2.18/Documentati

Re: staccato dots and slurs in second voice

Hi Werner, On Mon, Jan 26, 2015 at 12:24 AM, Werner LEMBERG wrote: > > >> That's effectively what I'm doing. I'm changing the X-offset > >> callback because it's only there that the property > >> toward-stem-shift is read (see scm/output-lib.scm). The trick is > >> allowing two different concu

Three-beats notes

Hello! I have a question. How can I entered a three-beat notes in 3/4 bar? It can be entered, as whole notes? Or, exists something, like three-beat notes, or how It calls in musical terminology in English language? I am from Slovakia and English is my secound language. Thank You, Marco Oros. _

Arrows

Hi all, I'd just like to know if there is any command to create curved lines with arrows.The best solution would be to add arrows to \bendAfter, but I cannot find how to do it. Luca ___ lilypond-user mailing list lil

Re: Three-beats notes

Am 26.01.2015 um 17:39 schrieb Marco Oros: Hello! I have a question. How can I entered a three-beat notes in 3/4 bar? It can be entered, as whole notes? Or, exists something, like three-beat notes, or how It calls in musical terminology in English language? I am from Slovakia and English is my

Re: Three-beats notes

R1*3/4 that should help you get the gist of doing odd increment full bar rests. By the way you can alter any note walue that way. -Shane On Mon, Jan 26, 2015 at 11:39 AM, Marco Oros wrote: > Hello! > I have a question. How can I entered a three-beat notes in 3/4 bar? > It can be entered, as whole

Re: Three-beats notes

On Mon, Jan 26, 2015 at 05:39:19PM +0100, Marco Oros wrote: > Hello! > I have a question. How can I entered a three-beat notes in 3/4 bar? > It can be entered, as whole notes? > Or, exists something, like three-beat notes, or how It calls in musical > terminology in English language? I am from Slov

Re: Three-beats notes

Hi Marco, Are you talking about triplets? See: http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms.html#tuplets E.g : \version "2.18.2" { \time 3/4 \tuplet 3/2 4 { c'8 c' c' c' c' c' c' c' c' } } Cheers, Pierre 2015-01-26 17:39 GMT+01:00 Marco Oros : > Hello! > I have a

Re: sus7 chords in \chordmode

> On Jan 26, 2015, at 1:32 AM, Johan Vromans wrote: > > On Sun, 25 Jan 2015 19:18:52 -0600 > Tim McNamara wrote: > >> I have repeatedly run into difficulties getting Lilypond to properly >> render sus7 chord names in \chordmode. It comes up with silly things >> like "G7sus4 3” and the like.

Re: Three-beats notes

OK, I just found a reply. Ofcourse, this was note to fill bar in 3/4. Do You know, I am blind person and in one software It was used, but It is a mistake in this software ( I don't should say name of It). So, this is half dotted note, for example c2. . Thank You, Marco Oros. ___

Re: Arrows

Hi Luca, Here are two options : \version "2.18.2" arrowBend = #'((moveto 0 0) (curveto 0 0 1 0 2 2.5) (moveto 1.2 1.8) (curveto 1.2 1.8 1.4 1.8 2 2.5) (moveto 2 1.5) (curveto 2 1.5 1.9 1.8 2 2.5)) \relative c'' { \override Score.SpacingSpanner.shortest-duration-spac

Re: sus7 chords in \chordmode

> From: Johan Vromans > Subject: Re: sus7 chords in \chordmode > > To not answer your question: I would not use Gsus7 since it is ambiguous. > Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7 > makes you think that the 7th is suspended -- which is not the case. > Well, thi

Re: sus7 chords in \chordmode

On 27/01/15 6:15 AM, Tim McNamara wrote: On Jan 26, 2015, at 1:32 AM, Johan Vromans > wrote: On Sun, 25 Jan 2015 19:18:52 -0600 Tim McNamara mailto:tim...@bitstream.net>> wrote: I have repeatedly run into difficulties getting Lilypond to properly render sus7 chor

Re: define-music-function -> unexpected EVENT_FUNCTION

Hi Anders, the "\rightHandFinger" command can only be used for a single note, not for a whole "music" expression that could also be a chord or a sequence of notes and rests. Replacing "ly:music?" by "ly:pitch?" should do the trick: % -

Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

Hi Franck, please provide a compilable example. Cheers, Pierre - ~Pierre -- View this message in context: http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html Sent from the User mailing list archive at Nabble.com. ___

Re: sus7 chords in \chordmode

Hi all, On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine wrote: > why I personally prefer the sus7 notation (besides economy with no lack of > clarity) I disagree about the lack of clarity: >From C7sus4, I infer that we have a C7 chord (i.e., dominant 7th) with a >suspension at the 4th

How to get lyrics to skip measures?

I'm having a little trouble figuring out how to do this. I have a score where verse 1 is sung then there is a whistling interlude then verse two is sung. I think that I need to somehow include spacers to skip over the whistle part but I'm getting errors when I try that. Here is a short sample co

Ritardando and accelerando

Hello! I’m trying to add a Ritardando. I’ve searched the user manual and found some information but I do not understand how I use it. Exactly where do I write!? \override TextSpanner.bound-details.left.text = \markup { \upright "rit." } b1\startTextSpan c e,\stopTextSpan Being used to Sibelius

Re: How to get lyrics to skip measures?

Hi Chris, > I think that I need to somehow include spacers to skip over the whistle part > but I'm getting errors when I try that. \new Lyrics \lyricsto "Women" { \verseOneLyrics \repeat unfold 4 { \skip 8 } \verseTwoLyrics } Hope this helps! Kieren. ___ Kiere

Re: Understanding Lilypond

Hi, > The current examples present the minimum information necessary to demonstrate > the feature. > This follows lilypond's approach, which is to invent everything needed that > you didn't specify, like books, scores, staves, time signatues, clefs, > barlines, etc. This *is* a potential frust

Re: define-music-function -> unexpected EVENT_FUNCTION

Hello Klaus, On 2015-01-26 22:08, Klaus Blum wrote: Hi Anders, the "\rightHandFinger" command can only be used for a single note, not for a whole "music" expression that could also be a chord or a sequence of notes and rests. Replacing "ly:music?" by "ly:pitch?" should do the trick: Aha! I th

Re: sus7 chords in \chordmode

On Mon, Jan 26, 2015 at 1:43 PM, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi all, > > On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine < > ela...@flaminghakama.com> wrote: > > why I personally prefer the sus7 notation (besides economy with no lack > of clarity) > > I disagre

Re: How to get lyrics to skip measures?

Kieren MacMillan wrote Monday, January 26, 2015 10:35 PM >> I think that I need to somehow include spacers to skip over the whistle part >> but I'm getting errors when I try that. > > \new Lyrics \lyricsto "Women" { >\verseOneLyrics >\repeat unfold 4 { \skip 8 } >\verseTwoLyrics >

Re: Rehearsal marks and grace notes at the beginning of bars

> > Message: 4 > Date: Sun, 25 Jan 2015 22:22:02 -0800 > From: Flaming Hakama by Elaine > To: lilypond-user@gnu.org > Subject: Rehearsal marks and grace notes at the beginning of bars > Message-ID: > > Content-Type: text/plain; charset="utf-8" > > Hello everyone, > > I ran into a problem

Re: How to get lyrics to skip measures?

On Mon, Jan 26, 2015 at 4:35 PM, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi Chris, > > > I think that I need to somehow include spacers to skip over the whistle > part but I'm getting errors when I try that. > > \new Lyrics \lyricsto "Women" { > \verseOneLyrics > \repeat

Re: Ritardando and accelerando

On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo wrote: > I’m trying to add a Ritardando. I’ve searched the user manual and found > some information but I do not understand how I use it. Exactly where do I > write!? Dear Peter, I'm not sure I understand your question. The piece of code in your me

Re: define-music-function -> unexpected EVENT_FUNCTION

2015-01-26 23:55 GMT+01:00 and...@andis59.se : > Hello Klaus, > > On 2015-01-26 22:08, Klaus Blum wrote: >> >> Hi Anders, >> >> the "\rightHandFinger" command can only be used for a single note, not for >> a >> whole "music" expression that could also be a chord or a sequence of notes >> and rests.

Re: staccato dots and slurs in second voice

On Mon, Jan 26, 2015 at 9:33 AM, David Nalesnik wrote: > I have something which is almost ready to be reviewed, but I need to get > several patches pushed and into current master first. > > A patch is up for review: see https://code.google.com/p/lilypond/issues/detail?id=2535 --David _

Re: sus7 chords in \chordmode

On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine < ela...@flaminghakama.com> wrote: > (Also, what is wrong with interpreting that the 7th resolve to a 6th? > That seems pretty coherent.) This allows for two possible interpretations of the same symbol, which is why it is preferable to s

Re: Rehearsal marks and grace notes at the beginning of bars

Patrick, Thanks for your explanation and advice. The only question I have is in terms of what you consider to be the appropriate fix, which amounts to adding grace note rests to every other part. In this case, it is not much of an issue since this is just a trio piece. But if I were working on a

Re: Ritardando and accelerando

Dear Peter, Yes the override /typically/ goes in with the notes, but you can put it in different places depending on how many things you want it to effect (just the current voice, or every voice in a score with many staves for example). Lilypond often has more than one way to achieve a given goal.

Re: sus7 chords in \chordmode

This has perhaps become off-topic and I don’t wish to prolong that; however, I have to take issue with the idea that “sus” could somehow apply to the 7th. It can’t. Suspensions specifically apply to replacing the 3rd with either the 4th or the 2nd (the latter being rare except in folk music pl

Re: sus7 chords in \chordmode

On 27/01/15 11:48 AM, Tim McNamara wrote: The main problem for me with “x7sus4” as a chord name is its length; when there are four chord names in a bar, every character counts in terms of legibility. Things can get crowded fast. (This came up in preparing a chart for the Vince Guaraldi song “

Re: sus7 chords in \chordmode

On Tue, Jan 27, 2015 at 12:48 AM, Tim McNamara wrote: > I have to take issue with the idea that “sus” could somehow apply to the > 7th. It can’t. Suspensions specifically apply to replacing the 3rd with > either the 4th or the 2nd (the latter being rare except in folk music > played on guitar i

Centering chord diagram at top of page

Good evening, I'm working on a lead sheet and I would like to show chord diagrams at the top of the page, as opposed to showing them over the staff for every chord. Here's a simplified version of my score... \version "2.19.11" \include "predefined-guitar-fretboards.ly" global = { \time 4

1. Refrain before verses 2. words for descant

I am using a template for generating some hymns, and I can't figure out a couple of things. The template that I use is below. 1. What do I need to do to have a refrain before the verses, so that the stanza numbering is with the verses and not the refrain? For refrains in the middle or end, I ju

Re: repeat, alternative, partial and full bar

Dear Mats, thanks, this is perfect. One time more amazed with the doc. I would not have searched this in the doc. The point is the common rythm of spanish Señor ten piedad (Kyrie) Cristo ten piedad etc Señor needs (better said: is generally solved with) an upbeat and is repeated, Cristo needs a d

Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

Hello, Here it is, although this is a little longer. The attachment is what I get. I need bigger gregorian scores to fit in the rest of the book (common western notation). \version "2.18.0" \include "gregorian.ly" \score { << \new VaticanaVoice = "cantus" { \override Staff.StaffSymbo

Re: sus7 chords in \chordmode

Hi Tim, > I find that when I give musicians lead sheets done by the Roemer-Brandt > standards I never get any question about what any chord means. I used to use the triangle — which I personally love for its compactness and clarity — but I got so many questions about what it meant that I finall

Re: sus7 chords in \chordmode

Hi Kevin, > This allows for two possible interpretations of the same symbol, which is why > it is preferable to specify the chord (C7) and the suspension (sus or sus4) > separately: putting the `sus' in between `C' and `7' makes it unclear whether > it applies to the seventh or to the fourth. [

Re: sus7 chords in \chordmode

Hi Elaine, > Precisely my point: we DON'T have a dominant chord here. The starting > assumption is wrong. To every player I’ve ever played with — and that’s a lot, in both jazz and musical theatre bands — the chord is a dominant 7th with alteration. > Yet, when this symbol is "sus", you want

Re: sus7 chords in \chordmode

Hi Elaine, > IMHO, it is far, far, *far* Three “fars”… that’s pretty far. =) > worse to play a C major triad when a C7sus4 is specified than to play a Csus4 > and omit the 7th. Did you even read what I wrote before replying? This is what I actually wrote: > it’s more important to play (e.g.,

Re: sus7 chords in \chordmode

Hi Kevin, > it is possible for the 7th to be a suspension, for example the inganno > interruption (found in fugues and the like) produces a suspended seventh that > usually resolves to a 6th. Indeed, most [classical] music theory texts include entire sections of chapters devoted to this suspen

Re: sus7 chords in \chordmode

Hi Elaine, > what is wrong with interpreting that the 7th resolve to a 6th? That seems > pretty coherent. Agreed! I see absolutely nothing wrong with that, and didn’t intend to imply otherwise. I was just pointing out that applying consistent assumptions about voice-leading and traditional su

Re: Centering chord diagram at top of page

Hi Stephan, how about: \version "2.19.11" \include "predefined-guitar-fretboards.ly" global = { \time 4/4 \override Staff.TimeSignature.style = #'() \key e \major \tempo 4=120 } % Insert blank lines between header and chords \markup\vspace #3 % Define fretboard diagrams mychorddiagra

Re: Ritardando and accelerando

Hi Again Kevin! Ok, thanks! I’ll give this a try once more. Best wishes! /Peter Peter Danemo +46-70-653 21 91 E-post: m...@danemo.com Web: danemo.com > 27 jan 2015 kl. 01:35 skrev Kevin Barry : > > Dear Peter, > > Yes the override /typically/ goes in with the notes, but you can put it in

Re: \startTrillSpan without the tr at the beginning?

Hi, this line interface documentation can be found here: http://www.lilypond.org/doc/v2.18/Documentation/internals/line_002dinterface Other fonts’ glyphs can also be used to draw wiggles [1]: http://lilypondblog.org/wp-content/uploads/2014/01/wiggles.pdf like % having the font and installed the

Re: Ritardando and accelerando

Hi Peter, just to give you some alternatives at hand: 1. The override can be defined earlier if you want the music part of your file to look cleaner/shorter. 2. If you do not need/want the spanner lines, a simple text ^"..." does the trick. 3. This text (as well as the spanner text) can be format

Re: Ritardando and accelerando

Hi Joram! Thanks a lot! That looks both cleaner and easier, at least for me to understand! Yes, I would love to have command like this! That would be really nice. Best wishes! /Peter Peter Danemo +46-70-653 21 91 E-post: petedom...@gmail.com Web: danemo.com > 27 jan 2015 kl. 07:12 skrev No

Re: Ritardando and accelerando

> Yes, I would love to have command like this! That would be really nice. Hi, I tried this, but unfortunately it does not work: \version "2.18.2" startText = #(define-music-function (parser location text notes)(markup? ly:music?) #{ \override TextSpanner.bound-details.left.text = #tex

Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

Hi, do you really want the note heads to be bigger than the staff space (see second neume)? And the clefs, accidentals so small? Or is this just an incomplete workaround because the staff size change did not work for you? #(layout-set-staff-size 30) works for me if I write it in your layout block

Re: Ritardando and accelerando

Hi Joram! This worked if I use this: rit = { \override TextSpanner.bound-details.left.text = \markup { \upright "ritardando" } } and b1\startTextSpan e,\stopTextSpan One question more. The ritardando starts in the forth bar of one system and goes on 2 bars in the next system. Now it says ”rit