erride BarNumber #'padding = #3
\override RehearsalMark #'padding = #2
skipBars = ##t
}
}
\midi { \tempo 4 = 80 }
}
\paper {
% vsize = 29.7 \cm
% hsize = 21.0 \cm
linewidth = 17.0 \cm
topmargin = 2.0 \cm
bottommargin = 2.0 \cm
leftmargin = 2.0
Hi Brian,
concerning your compile problem: can you send a piece of code to reproduce
the error on?
This staff thing is pretty straightforward.
- a staff is a line of music not bracketed with anything.
- a choir staff is several lines bracketed together with
a [ style bracket, but with the ba
Hi,
I'm using lily 1.4.3 and am wondering why the following:
a4 b c d | d8 c b a g4 g \bar "||" \break
\repeat "volta" 2 { d4 d8 e fis4 d | g g8 a b4 g }
produces:
music | music |
||: moremusic | moremusic :||
instead of:
music | music ||
||: moremusic | moremusic :||
In other words, th
Hi folks,
since I installed the recommended xdvi instead of xdvik, I keep having
problems. This xdvi does not show graphical elements that span multiple
notes, i.e. slurs, ties, connected flags in 8th (or shorter) notes (what are
they called in English again?). Is there a remedy?
BTW, please
Hi Joerg,
I frequently have to write drum parts. That works, except for the midi
playback. I define a macro:
cr = {
\property Voice.NoteHead \override #'style = #'cross
}
and
ncr = {
\property Voice.NoteHead \revert #'style
}
That gives me a very convenient way of switching b
ilation, and it didn't help. Any clues?
Amy
Am Mittwoch 10 Oktober 2001 08:58 schrieben Sie:
> Amelie Zapf <[EMAIL PROTECTED]> writes:
> > Hi folks,
> >
> > since I installed the recommended xdvi instead of xdvik, I keep having
> > problems. This xdvi does not show
Am Don, 11 Okt 2001 schrieben Sie:
> It's very probably looking up the necessary fonts. Try running it
> under strace and see what it is doing.
I'm not such a qualified TeXnician. How do I do that?
> How long is `ever', what happens if you let it sit for 10 minutes or
> so?
Incubation under am
Hi Jan and all,
now I typeset a couple LaTeX documents with dvips -Ppdf, and now I can't make
any more Lilypond pdfs (if I do, I get no noteheads). I get the following
messages:
amelie@amy:~/music/gospelchor > dvips -Ppdf charleston_alley.dvi
This is dvips(k) 5.86 Copyright 1999 Radical Eye So
Mats wrote:
> Do you use the environment variable settings in
> lilypond-1.x.xx/buildscripts/out/lilypond-profile
> (installed in /etc/profile.d/ if you install the Lilypond RPM)?
> I myself use the alternative described in
> http://lilypond.org/wiki/?LilyPondFaqs to link the Lilypond
> MF directo
Hi folks,
is it possible to automatically terminate a syllable extender where there is
a rest? I want this look:
|| | \ |
|| | / |
|| | \ |
O| O|O| C O|
\/
Ly - ric__new
Thankful for an
I'm reposting this, maybe someone has some time for it this time around.
This time with legend.
> Hi folks,
>
> is it possible to automatically terminate a syllable extender where there
> is
> a rest? I want this look:
note note note 1/4rest note
> || | \ |
> ||
Am Mittwoch 26 Dezember 2001 09:41 schrieben Sie:
> Dear sir,
>
> what's wrong with this file? Why doesn't it work?
>
> Kind Regards,
>
> Martijn P. Vromans
Happy Christmas, Martijn,
the file should be modified like that:
stemOne = \notes \relative c' {
\stemDown g'8.b,16 s2
}
stemTwo = \note
Hi John,
the chord algorithm of Lilypond, concerning jazz chords, is very rudimentary.
I once wrote a patch that didn't make it into the distro, because it was very
inelegant. At the moment I'm just adding to the
/usr/local/share/lilypond/scm/chord-name.scm file.
Please find enclosed my momen
Hi folks,
sorry that I have not been an active poster lately, but my schedule was so
full. But the discussion about "shape notation" here got to me.
I don't intend to hurt anybody's feelings here, but wouldn't it be better to
address the following problems before supporting yet another kind of
Hi Han-Wen,
> > - Percent repeats for 4 bars?
> what do these look like?
There was a discussion once about this topic on gnu-music-discuss. I think an
agreement was reached then to do the following:
1 bar ./.
2 bars .//.
(3bars .///. )
4 bars ..
anythi
Hi folks,
please excuse the comments I made yesterday about shape notes. I thought it
was another one of these oddities in books like "How to Learn the Guitar in
Six Days without even really learning Notes". I did not know they had
historic significance.
Regards, Amy
--
Louey & Amy
Soul, Ja
Am Freitag 22 Februar 2002 00:18 schrieb Graham Percival:
> It looks as though "artificial harmonics" means something different for
> guitars. I don't know if the cello-artificial harmonics are possible
> to do on a guitar; if not, that would explain the difference. :)
True indeed. On the guita
Dear lilypond-user team,
starting with LilyPond 2.16, and on into 2.18, the chord naming
algorithm does not distinguish between a chord and in relative notation. Both are named "C9". This is wrong, since
functionally, the former is a dominant, the latter a tonic, so there
must be a distinction b
Dear lilypond-user team,
problem solved: \set Score.additionalPitchPrefix = "add" does the trick.
However, this should be default behavior, because C9 and Cadd9 are just
not the same thing, but describe chords with vastly different harmonic
function.
Regards,
Amy
--
Dr. Amel
Dear Elaine,
> In terms of the latter musical context, the add9 is ambiguous, since it
> leaves open the question of whether the chord functions as a dominant or
> not. Yes, we all understand that when you write add9 you don't want to
> hear a 7th. But that does not mean that in the tonal musica
Hello Stan, all,
I second the motion to introduce the (incredibly practical
key-independent) Nashville Number System to Lilypond.
> ♭7⁷ or 7♭⁷.
♭7⁷ is the "official" notation. Plus the NNS has a number of other
symbols for denoting breaks (long and short), anticipations, key and
meter changes, m
Hi Stan, Klaus,
the following snippet does Nashville numbers correctly for the key of C
(except for the rhythmical symbols). In order to adapt this to other
keys we'd need to hand the routine two pitches, the chord root and the
current key, and have it compute the difference between the two, which
"5" "6" "7") name)
)
nashvilleChords = {
\set chordRootNamer = #note-name->international-markup
\unset chordNoteNamer
}
\score {
\chords {
d1 e:m f g:maj7 gis:sus4 a:7 d
\nashvilleChords
d1 e:m f g:maj7 gis:sus4 a:7 d
}
\midi
Dear David,
> You can move MIDI playback by using \transposition
This is well-known, but reintroduces the problem of double transposition.
> (which only works on MIDI).
I'm sorry it doesn't. It prints a clef, key and time signature, IIRC.
Not what you need in a row of chord symbols.
Given tha
have an internal representation of the current key
signature (it needs to, to place accidentals correctly), there must be a
way to access it from within a function.
Does anybody know how?
Regards,
Amy
--
Dr. Amelie Zapf (a...@ameliezapf.com)
Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert
{
\easyHeadsOn
c4 d e f
g4 a b c \break
\key a \major
a,4 b cis d
e4 fis gis a \break
\key d \dorian
d,4 e f g
a4 b c d
}
--
Dr. Amelie Zapf (a...@ameliezapf.com)
Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548
Caputh, Germany
http://www.ameliezapf.
Hi all,
> What's left now is to isolate this function and put it into the other
> code we already have.
I just had a go at it and am running into problems left and right. If I
call (myrootpitch (ly:context-property somecontext 'tonic)) I need a
context as input. The usual context names (like Sta
Hi David, everybody,
> Rather, you need to put your code into an engraver. You then "consist"
> the engraver to a context. You can't get at it within your function.
OK. I need to define an engraver, that's a statement I can live with.
However, is there any documentation or definition of the ma
ents (^ and >). For key changes,
there'd need to be a relative modulation mark (such as "Mod +1/2").
Thanks for all your work,
Amy
--
Dr. Amelie Zapf (a...@ameliezapf.com)
Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548
Caputh, Germany
http://www.amelieza
Hi all, Harm, David,
as a "roadmap" for all else that would be required to make Lilypond
support Nashville-style lead sheets please find attached a PDF including
pretty much all Nashville notation-specific symbols. The list was
compiled using Jim Riley: Song Charting Made Easy – A Play-Along Guide
cians
and it would be great to manage all kinds of musical typesetting with a
single piece of software.
Kind regards,
Amy
Am 21.06.2015 um 16:51 schrieb Amelie Zapf:
> Hi all, Harm, David,
>
> as a "roadmap" for all else that would be required to make Lilypond
> support
Hi David,
> Pop music in the U.S.A. may be the monetary epicentre of the musical
> universe, but most of LilyPond's developer base are rather removed from
> there.
I must disappoint you, I'm a Berlin jazz pianist that just happens to do
some studio work. Since, apart from the classical scene, Ger
Hi folks,
now I finally did the version jump and moved from 1.4.9 from 1.6.6. I'm not
upgrading often, because I use Lilypond a lot as working environment for my
job, so it _has_ to be working for me.
After the upgrade, Lily works fine, but LaTeX doesn't seem to cooperate any
more. I removed t
Hi all,
I'm using Lilypond 1.6.6.
It used to be that one could put segnos at the end of the line by using
\property Score.RehearsalMark \override #'visibility-lambda =
#begin-of-line-invisible
How come this does not work in 1.6.6 any more? Has the syntax been updated?
Kind regards,
Amy
--
Lo
Hi again,
I'm sorry, this question has been posed by Paul Scott already. However, it
has not been answered.
Amy
--
Louey & Amy - Soul, Jazz & Gospel from Berlin
Wir sind umgezogen!
www.louey-amy.de ist jetzt www.loueymoss.com
___
Lilypond-user mail
Am Montag, 10. Februar 2003 09:39 schrieben Sie:
> Does it make sense that the following example (using GNU LilyPond 1.6.6)
> creates one set of notes and omits the double percent repeat but works
> correctly when skipBars = ##f ?
It doesn't and it's an age-old problem that I'm having as well.
, so it seems it
> is really a problem with Lilypond rather than me. I wonder if there is
> a solution for this already. I've tried to upgrade to more recent
> version of Lilypond, but there are lots of other packages I would have
> to upgrade too (I'm using Red Hat 7.3).
All
Hi Erwin,
>1) How get I a "rit." (for ritardando) in my score? Is there a standard
>way or do I have to use "rit." on some note?
on a quarter note of C: c4-"rit."
>2) Is it possible to get Chords in Jaz mode with a different bass
>note (like C7/G or G/B)? I coudn't find it in the documentation?
ntext
BarNumber \override #'padding = #3
skipBars = ##t
}
}
}
Kind regards,
Amy
--
Amelie Zapf
Louey & Amy P.A. & Entertainment Service GbR
Weichselstr. 17, 12045 Berlin
http://www.loueymoss.com
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Hi Fulko,
[snip]
>At the moment I want to set a piece of music that has four melody
>lines on two beams (treble and bass). The first melody (also on top),
>is also the melody of the lyrics. I want the lyrics between the two
>beams.
You probably mean "staves" not "beams".
>The problem I have is t
reContext
BarNumber \override #'padding = #3
skipBars = ##t
}
}
}
\end{lilypond}
\end{document}
All the best and may you always rest on a bed of Lilies!
Amy
--
Amelie Zapf
Louey & Amy P.A. & Entertainment Service Gb
F+5/BBbmaj7
which is ugly to read. Is there a way to _ensure_ that some spacing is
provided between two chord symbols (maybe also a padding or extra-offset
property)?
Kind regards,
Amy
--
Amelie Zapf
Louey & Amy P.A. & Entertainment Service GbR
Weichselstr. 17,
Hi Aaron,
>> I want to make the Lilypond Emacs mode globally available. Therefore, I stuck
>> lilypond-init.el into /etc/emacs/site-start.d/ and the other .el files into
>> /usr/share/emacs/site-lisp/. However, no Lilypond emacs mode when I open a .ly file.
>>
>> My question: what smells wrong her
Hi David, all
> A separate midi version may be the only way right now.
> You could use \time 33/32 a8 \time 31/32 a8 (experiment) or use
> very large time values with ties for the long notes.
I doubt that it's necessary. The sound generated by Lilypond sounds pretty
machine-like, as it is. Jazz p
Hi Han-Wen,
> Han-Wen was defending his doctoral thesis earlier today, so maybe that from
> now on, we should take the habit of using `Dr.' when addressing him! :-)
>
> Congratulations, Dr. Nienhuys! :-)
Of course, also congratulations from me. That still lies ahead of me, and I'm
not quite prepa
Hi Aaron,
this is a question that intrigues me (you might call it a typical goy
question): If Hebrew writing runs right to left, and music runs left to
right, how exactly are the syllables aligned with the music?
Just curious,
Amy
___
Lilypond-user
Hi Jan,
this is explained in detail in the Tutorial. Look there.
Basically:
riff = { here go the notes }
guitarVoice = \notes { \riff \riff \riff }
Alternative: \repeat "unfold" 200 { here go the notes } within the voice.
If you have a one or two bar riff, \repeat "percent" 200 { here go the
Hi Jan,
> If I write f.e. c:7.5+ I now get "C7+", but that was not ment; this chord
> should be called "C7#5" as it was called before.
Yeah, the 5th gets post-fixed. Sorry, I did not think of that.
> Is it also possible to get the augmented chord as a "single chord", so that
> the other one is n
Hi Aaron,
the answer is easy:
> %5 a'4 b'4 a'4 |
The percent sign introduces a comment. Anything from the percent sign to the
end of the line is ignored.
If you want to mark up the bar numbers in your input, do it the reverse way
around:
a'4 b' a' | %5
that works.
All the
Hi Aaron,
> How can I tell lilypond-book to load etex instead of tex???
very quick guess: edit the lilypond-book python script. Search for tex and
replace with etex.
lilypond-book is not that awfully long, it might just work. Define a variable
tex_prog and set it to etex. Replace all current t
Hi Aaron, all,
> 1. A shell/perl/whaterver script to search a txt file with the hebrew
> lyrics and add the hebrew encoding then insert this all into the lyrics
> section of an already created lilypond file.
the "quick and dirty" fix. Easy to do. Maybe something like this could be
bundled with l
Hi Aaron, all,
The following script should do the job:
Cheers, Amy
#!/usr/bin/perl
# revertlyrics.pl v0.1
# Script to print right-to-left languages backwards
# in Lilypond
# (c) Amelie Zapf 2003
# Licensed under the GNU GPL v2
Hi Han-Wen, all,
> Even when it is only a one-liner, it has to be documented, it must
> comply to GNU coding standards, our coding standards (which forbid
> Perl and sed), be generally useful, and regularly QA'd.
If that is so, the Perl script I sent to the list (I wonder why it hasn't
arrived o
Hi Aaron,
> and wow but I am not sure if the lyrics files should just be the hebrew
> text or should it be the complete lyrics section???
Just plain text.
and, using the example Ferenc got to work:
\score {
\addlyrics
\notes {
\clef "bass"
\key d \major
\time 3/4
d
Hi Aaron,
> Hi all what is sly???
> and where can I get it???
sly enables you to enter the parts side-by-side, measure-by-measure. Much
better for error tracking.
David Raleigh Arnold developed it, it is to be found on his website.
All the best,
Amy
_
Hi Joseph,
> Amelie Zapf wrote:
> > This is an ex -- am -- ple of how ly -- rics should be enter -- ed.
>
> Should -- n't it be "en -- tered" ?
You're en -- tire -- ly right. ;-)
Amy
___
Lilypond-user
Hi Aaron,
> I have been using your script and it really works.
good.
> I have one question, when I want to add -- or ___ between lyrics they
> don't show up in the final ps or pdf (see attached) notice to notes with
> no lyrics that is because in the song there are a few places with a few
> note
Hi Ferenc, Aaron, all,
> > Most elegant, but more time-consuming to do.
>
> But has the potential to do other useful things (eg.
> underlining) without messing up the alignment. If you
> promise that what you insert does not change the width of
> the text (much). It may even be useful for the pr
-- Forwarded Message --
Subject: Re: Problem with Chord Names
Date: Sun, 6 Jul 2003 22:07:55 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: Rick Sutphin <[EMAIL PROTECTED]>
Hi Rick,
> I would like to be able to print chord names above the rhythm guitar
> p
-- Forwarded Message --
Subject: Re: slash noteheads for rhythm parts
Date: Sun, 6 Jul 2003 22:00:49 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: Rick Sutphin <[EMAIL PROTECTED]>
Hi Rick,
insert this portion into your .ly file:
sl = {
\property Vo
Hi Rick, all,
> I'm not sure I follow this (I have only been playing around with
> lilypond for a few weeks), does this put the chord names over all of the
> staves, or can it put chord names over just certain staffs and the only
> in sections where I want to have chord names.
What I gave you put
-- Weitergeleitete Nachricht --
Subject: Re: Problem with Chord Names
Date: Mon, 7 Jul 2003 11:15:23 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED]
Hi Han-Wen, Rick, all,
> doesn't this template miss a few \transposes?
yes. I just g
Hi Han-Wen, all,
(re back to list)
> It would be cool to put it in lilypond as a template file, but for
> consistency either the \key should go, or the \transpose should be
> added, right?
I'll make you a good, consistent one.
Amy
___
Lilypond-user
Hi Han-Wen, Rick, all,
This is a thoroughly cleaned-up version (FYE, for your edification):
\version "1.6.6"
\header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Sw
Hi Rick,
> This is a very minor quibble, but I was wondering if there is a way to
> center the staff name on a piano staff so that it appears centered
> between the two staves.
done in the last version of the template I posted.
Amy
___
Lilypond-user
Hi folks,
after a long time, I'm coming up with a question again:
I have a short coda (2 bars). Before the coda, obviously I have to create a
linebreak. Now the line containing the coda is unnaturally stretched, as it
gets aligned flush left and right.
Is there a way to align this line (and on
-- Weitergeleitete Nachricht --
Subject: Re: inversions in lilypond 1.8.2
Date: Fri, 19 Sep 2003 10:12:41 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: Ray Brohinsky <[EMAIL PROTECTED]>
Hi all,
as with all discussions about chords, let me throw in my 2¢...
V
Hi everybody,
For "production" reasons, I haven't upgraded from Lily 1.6.10 yet. However,
I'm excited about Lilypond 2.0 and would love to try it out.
Is there a way to install two versions of Lilypond on one computer (Linux,
preferably system-wide), without running into problems? I tend to thi
Dear Oddmund,
> Is it (yet) possible to write "Rezitationstöne" (tuba, tenor) -- I
> don't know the word for it in English -- that is e.g. a breve with more
> text under one note? I write much church music where I often need to
> have a lot of text on one note or one chord. I know that Lilypond ca
Hi David, Rune, Mats, all,
> I think it would be better to be able to leave and reenter
> relative pitch with a colon:
>
> a:,, b c d e a:,, b c d e
>
> The colon would anchor the note in the designated octave and then
> relative pitch (to it) would resume on the next note. This could be
> espe
Hi Stephan, all,
> I'm using lilypond to lay out a Jazz piece. I'm stuck with a chord
> "Bb7alt" which the composer specifies. How can I add this chord (as
> text) to the score?
I hope you're using Lily 1.6.7 or higher with the corrected jazz
code...
I know of the problem... many jazzers write
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