On 1/10/2012, at 3:29 pm, Michael Rivers wrote:
> Most beginning children's piano music uses a format with a single-line melody
> broken between the treble and bass clefs and lyrics written in between. I'm
> assuming LilyPond doesn't have a way to automatically attach some lyrics to
> the treble a
On 18/10/2012, at 2:47 am, Mark Stephen Mrotek wrote:
>
>> The Harvard Concise says that originally (c. 1675-1725), acciaccatura was
>> the crush, but it did not have a special notation. The others are all called
>> appoggiatura. The slashed grace note notation was invented in the 19th
>> century,
On 3/01/2013, at 3:19 am, christian bos wrote:
> How can I add a header on every page (centred) but not on the first page.
> Also, how can I referr to the title set in the \header?
I often use:
\paper {
oddHeaderMarkup = \markup \fill-line {
" "
\on-the-fly #not-first-page \frompropert
I'm typesetting a set of psalm verses with recurring antiphon, and would like
the lyric line for each verse to end with the indication "℟." (responsum) to
remind the singers to repeat the antiphon. The following does not work - the
end-of-line stanza marks simply do not appear:
\version "2.16
On 15/01/2013, at 2:25 am, Eluze wrote:
> one approach - define
>
> repetition = \markup { \huge \bold ℟}
>
> then use it in the lyrics within a \markup which includes the syllable after
> which you want this sign:
>
> verseOne = \lyricmode { \set stanza = "1."
> "This is the" first
> \marku
On 17/01/2013, at 12:10 am, David Kastrup wrote:
> ly/gregorian.ly contains a predefined \responsum command. How does this
> relate to the problem discussed here?
Not at all: that simply prepends an "℟" to some text.
Best wishes,
Matthew
___
lilypond
On 16/01/2013, at 11:48 pm, Kevin Patrick Barry wrote:
> Since you asked for opinions I will offer mine. I do quite a bit of work
> with LaTeX and LilyPond, but I don't use lilypond-book for a couple of
> reasons.
...
> For those reasons I prefer to simply export images (Frescobaldi makes th
On 17/01/2013, at 1:05 pm, Eluze wrote:
> why don't you use the red herring and add
>
> \override LyricText.extra-offset = #'(-2 . 0)
> \responsum ""
The suggestion of extra-offset is again a good one. Changing my definition of
\responsum to
responsum = \lyricmode { \once \override LyricText
On 12/02/2013, at 5:37 pm, Jay Anderson wrote:
> On Mon, Feb 11, 2013 at 9:11 PM, ryanmichaelmcclure
> wrote:
>> I am working on an assignment for music theory that requires a particular
>> layout.
>
> I think you most likely only want one staff group with well placed line
> breaks.
Or two se
On 2/03/2013, at 11:29 am, Sarah k Alawami wrote:
> There are a flat and a naturals and stuff all over the place so if I just
> write
> g4 a g4. f8 e4 |
>
> How will it know to write an a flat not an a natural?
It won't. 'a' means A-natural. If the note is actually an A-flat, then you
need
On 7/03/2013, at 5:13 am, Laura Conrad wrote:
>Matthew> shortVocalName does allow multiple verses: in the lyrics,
>Matthew> wherever you say '\set stanza' also say '\set
>Matthew> shortVocalName'. You may not like the position of the
>Matthew> numbers though (outside the left of
On 9/03/2013, at 12:22 am, Francisco Vila wrote:
> 2013/3/8 Jan Nieuwenhuizen :
>> David Kastrup writes:
>>
>>> Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
>>> an absolute one
>>
>> +1
>
> +1 , I was currently using \relative f { } anyway, so this would
> allow remo
On 1/05/2013, at 12:42 pm, g...@sdf.org wrote:
> Yes, I tried this, too. But it has two drawbacks:
>
> (a) All the places where line breaks can occur must be indicated with \bar
> "". This is a bit annoying, but it could be tolerable.
>
> (b) What is far less tolerable is that, if I understan
On 16/05/2014, at 10:08 am, Simon Albrecht wrote:
> At first I was also inclined towards saying that it’s correct to add the 8
> and it doesn’t hurt anyone, so why not just leave it where Lily puts it by
> default.
> Then I thought of a counter-example: some orchestra instruments (most notably
On 7/06/2014, at 8:23 am, Br. Samuel Springuel wrote:
> I'm trying to introduce an asterisk ("*") into a lyrics line in the following
> piece to indicate where the congregation should join in. However, I'm getting
> an error "unexpected *" when I try it.
> Also, ideally I'd like the asterisk
On 10/06/2014, at 4:28 am, David Kastrup wrote:
> Please *never* take the mailing list off the cc without announcement.
Please *never* blame ordinary list users for the idiosyncratic behaviour of the
lilypond-user mailing list.
This is the only list I have ever been on that does not reply to
On 27/06/2014, at 9:53 am, Patrick or Cynthia Karl wrote:
> I'm trying to set a John Dowland piece (Come Ye Heavy States of Night) which
> has a single initial time signature of "4/2 2/2" followed by measures that
> are either 4 half-note beats or 2 half-note beats long, in quasi-random
> fash
On 21/08/2014, at 7:51 am, Xavier Noria wrote:
> The last "measure" is played ad lib. The way they play suggests eights to me
> to choose a notation, but they do not look well within the 5/4 tempo (see
> screenshot).
>
> Which notation would you suggest there? Is there a way to tell Lilypond "
The following works as expected (2.14.1):
\score {
\new Staff <<\repeat unfold 4 { g' g' g' g' \break } >>
\addlyrics {
\set stanza = "1." This is verse one;
\set stanza = "1." This is line two.
\set stanza = "2." This is verse two;
\set stanza = "2." This is the end.
}
}
Ea
On 17/06/2011, at 1:52 pm, Bill Mooney wrote:
> I want to move the lyrics down about half their height.
I'd start from
\context {
\Lyrics
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing
#'basic-distance = 6.5
}
and tweak the exact value to get the desired effect (the defa
On 18/06/2011, at 10:26 am, Neil Puttock wrote:
> In your first snippet, each invocation is a new scheme string object,
> thus the pointers are different. The second snippet reuses each
> string, so the equality check succeeds and no graphical object is
> created.
Sneaky.
> Use \markup instead
On 18/06/2011, at 1:20 pm, Bill Mooney wrote:
> As you can see in the attached example I have expanded the 'override'
> completely - but, to achieve a satisfactory result both the (basic-distance .
> ..) and (minimum-distance . ..) values have to be made equal otherwise one
> overrides the other
On 20/06/2011, at 10:18 am, Michael Dykes wrote:
> I have an attached piece of music, and some of the measures are, for lack of
> a better term, running off the page. Any help will be appreciated.
You need to give it more opportunity to find breaks. A quick fix, since you
are not actually usin
On 23/06/2011, at 10:45 pm, Orm Finnendahl wrote:
> did you try the -dclipsystems option? Its explained in 3.4.1 of the
> notation reference ("Extracting fragments of music").
Is there anywhere a comprehensive list of the options that can follow '-d' on
the command-line (or be set by 'ly:set-opt
On 5/07/2011, at 8:26 am, Graham Percival wrote:
>>> To me the sentence "A tiny example is an example from which nothing
>>> can be removed." explains it all
>>
>> Can't whitespace be removed without affecting the outcome? ;)
>
> Ah, but as far as lilypond is concerned, whitespace *is* nothing.
Following the 'official' snippet on how to change the default text font family,
I try:
\paper {
myStaffSize = #20
#(define fonts
(make-pango-font-tree "Times New Roman"
"Helvetica"
"Courier"
(/ myStaffSize 20)))
}
\relative c'' {
c4^\markup {
On 7/07/2011, at 7:10 am, Janek Warchoł wrote:
> Which one of the clefs in the attachment do you like best?
I don't like the left one: the top loop is far too big.
Of the other two, I marginally prefer the upright stance of the centre one over
the more 'laid-back' style of the right one.
Best w
While experimenting with fancy fonts for headings and initials, I found that
Lilypond (2.14.1) was not aware of the fonts in my user library (Mac OS X
10.6.8). It seems to be a simple omission from fonts.conf, which has entries
for the shared library fonts (/Library/Fonts) and the system fonts
On 11/07/2011, at 2:51 pm, David Nalesnik wrote:
>> Is there any straightforward way to stop the music at its natural length,
>> but have empty staff lines stretch the full width?
>>
> You could override the width of the staff.
Thank you, that does work, and is certainly an improvement on my
On 11/07/2011, at 3:47 pm, David Nalesnik wrote:
>> Now I just need to figure out how to calculate the desired width, given the
>> paper size and the staff size. (I think I know what calculation needs to be
>> done; the question is just whether my Scheme is up to automating it.)
>>
>
> This s
On 12/07/2011, at 2:35 am, Wilbert Berendsen wrote:
> #(define (fixed-staff-width grob)
> (ly:output-def-lookup (ly:grob-layout grob) 'line-width))
>
> \layout {
> ragged-right = ##t
> \context {
>\Staff
>\override StaffSymbol #'width = #fixed-staff-width
> }
> }
That looks un
titling-init.ly contains the following definitions:
#(define (first-page layout props arg)
(if (book-first-page? layout props)
(interpret-markup layout props arg)
empty-stencil))
#(define (last-page layout props arg)
(if (book-last-page? layout props)
(interpret-markup layou
On 15/07/2011, at 4:28 pm, Nick Payne wrote:
> On 15/07/11 10:20, Matthew Collett wrote:
>> #(define (not-last-page layout props arg)
>> (if (not (book-last-page? layout props))
>> (interpret-markup layout props arg)
>> empty-stencil))
>>
>
On 15/07/2011, at 11:07 pm, Matthew Collett wrote:
> I still don't understand why I can use 'last-page' (defined in
> titling-init.ly) with no problem, but cannot use 'book-last-page?' (also
> defined in titling-init.ly) unless I redefine it myself.
Some fur
On 16/07/2011, at 10:15 am, Neil Puttock wrote:
> The contents of titling-init.ly is within the scope of a \paper block;
> this is a different module from the one where you put your .ly code.
> Since none of the defines are public, they aren't exported as part of
> the public interface for the mod
On 17/07/2011, at 7:25 am, christophe 1710 wrote:
> this need is ot have [CGY0026] on all pages instead the last one where i'd
> like to have
>
> tagline = \markup
> {
> \override #'(box-padding . 1.0)
> \override #'(baseline-skip . 2.7)
> \box \center-align
>{
>\small \line {
>
On 23/07/2011, at 6:26 am, Ruud van Silfhout wrote:
> I saw that in January of this year a new feature called compoundTime
> signatures
> is introduced in Lilypond. A good effort. compoundTime specified the timing
> of
> each measure. However, for church music (esp. hymns) this does not suffic
On 3/08/2011, at 5:16 am, Graham Percival wrote:
> On Tue, Aug 02, 2011 at 02:59:22PM +, James Lowe wrote:
>> you cannot use the Mac GUI (Finder) to do
>> this - at least not easily in 10.6.
>
> Actually, you can. Ctrl-click on LilyPond.app, then select "show
> package contents", then navig
On 8/08/2011, at 2:20 pm, ed stuckems wrote:
> I'm trying to create images of lilypond output to be included in web
> pages.
An alternative method to the one(s) so far suggested is to add
#( ly:set-option 'backend 'eps)
to your .ly file. This will generate both .eps and .pdf files trimmed to
On 10/08/2011, at 5:03 am, Henning Hraban Ramm wrote:
>> LilyPond 2.14.x (tested .0 and .2) on OSX-Intel ignores my font settings like
>>
>> \paper {
>> #(define fonts (make-pango-font-tree "TeX Gyre Schola" "LMSans10"
>> "LMTypewriter10 Regular" (/ 14 20)))
>> }
>>
>> The font names are
On 4/10/2011, at 7:24 pm, Bill Mooney wrote:
> I cannot help with the detail of how to achieve the custos movement you ask
> about...
>
> However, my understanding of the Asperges is that the Antiphon is repeated
> only after the end of the Gloria Patri... See p11 in Liber Usualis ed.
> Benedi
On 4/10/2011, at 9:04 pm, Marek Klein wrote:
> I use to typeset the music with the first word of antiphon too - this would
> solve your problem.
That is a possibility; thanks for the suggestion.
> I am curious about how have you obtained the resulting pdf with lilypond,
> could I see your ly f
On 4/11/2011, at 4:04 am, Christian Eitner wrote:
> \version "2.14.2"
>
> \new Staff {
> \new Voice = "melody" \relative {
> a'1
> <<
> \context Voice = "melody" {
> b4. b8 b4. b8
> }
> \context Lyrics = "ly
On 7/11/2011, at 9:50 am, Bill Mooney wrote:
> In this file (below) I have tried to follow your example using predefined
> expressions - not having the music etc explicitly in the score statement.
> Everything works as expected until I started adding more unsung/sung sections
> when the subseque
On 23/11/2011, at 12:18 pm, Brandon Pisani wrote:
> Second, and here's the rub, I'm trying to put this piece of music
> (http://www.wtv-zone.com/phyrst/audio/nfld/06/ble.htm) into the program using
> the code after the signature on this message. What I'm running into: without
> the \bar "|" th
On 3/12/2011, at 12:02 am, David Kastrup wrote:
> Marc Hohl writes:
>
>> I have a lot of small music pieces with several stanzas which I store
>> like this
>>
>> textA = \lyricmode {
>> \set stanza = "1. "
>> this is the first stan -- za.
>> }
>>
>> textB = \lyricmode {
>> \set stanza = "2.
On 8/12/2011, at 7:20 am, Peter Jaques wrote:
> Does anyone know if there is a way to pass options to lilypond from
> lilypond.app? Otherwise I guess I'll have to dive all the way into getting a
> new editor set up and everything... Wow, I haven't used Vim since 1999! ;)
I've been using TeXShop
On 8/12/2011, at 9:28 am, Dirkjan Ochtman wrote:
> Here's what I've currently got:
>
> \score {
> \new ChoirStaff <<
> \new Staff = women <<
> \new Voice = "S" {
> \voiceOne << \global \repeat volta 2 \Sa \Sb >>
> }
> \new Voice = "A" {
> \voiceTwo << \glob
On 8/12/2011, at 10:45 am, Dirkjan Ochtman wrote:
> This is an improvement, at least:
>
> \score {
> \new ChoirStaff <<
> \new Staff = women <<
> \new Voice \global
> \new Voice = "S" {\Sa \Sb }
>>>
> \context Lyrics \lyricsto "S" { \womena \womenc }
> \context Lyrics \lyricsto "S"
On 8/12/2011, at 10:48 pm, David Kastrup wrote:
> Please, *never*, *never*, *never* send a "courtesy copy" of a public
> answer as a private mail when answering on a mailing list unless you
> have been _explicitly_ asked to provide such a copy.
>
> Otherwise, you set up _two_ different communicat
On 9/12/2011, at 2:27 pm, David Kastrup wrote:
>> On 8/12/2011, at 10:48 pm, David Kastrup wrote:
>>
>>> Please, *never*, *never*, *never* send a "courtesy copy" of a public
>>> answer as a private mail when answering on a mailing list unless you
>>> have been _explicitly_ asked to provide such
On 10/12/2011, at 3:54 pm, George_ wrote:
> \paper {
> ragged-last-bottom = ##t
> ragged-last = ##t
> left-margin = 10\mm
> right-margin = 7\mm
> top-margin = 5\mm
> bottom-margin = 5\mm
> }
> Every on
On 5/01/2012, at 7:28 am, Benjamin Bruce wrote:
> \version "2.12.2"
> {
> 4<< { b'1 } \\ { g'4( f' e'2) } >>
> }
> \addlyrics {
> Ex -- cel -- lent Thy name! % The last word does not appear
> }
The problem is that the double backslash automagically creates _two_ new
voices; you
On 9/01/2012, at 8:22 am, James wrote:
> I tried to use this myself on the first bar of a piece to get a
> 'squashed' hairpin linger by extending the measure but I cannot seem
> to *only* make it affect the first measure.
> The rest of the measures are also affected. I wonder if you or anyone
>
On 27/01/2012, at 6:27 am, Matie Holtzhausen wrote:
>> \set Staff.vocalName
>> \set Staff.shortVocalName
>>
>> similar to instrumentName
>
> Thanks, but I was hoping to use multiple verses in the same staff:
shortVocalName does allow multiple verses: in the lyrics, wherever you say
'\set stanz
On 27/01/2012, at 8:19 am, Matthew Collett wrote:
> shortVocalName does allow multiple verses: in the lyrics, wherever you say
> '\set stanza' also say
> '\set shortVocalName'. You may not like the position of the numbers though
> (outside the left of the sta
On 2/02/2012, at 7:42 am, AkselJ wrote:
> I just started using LilyPond, but I'm having trouble with bar lines being
> misplaced. I'm certain this is partly due to the fact I write my current
> piece
> in 15/24, and partly due to using triplets with only two notes.
Neither of those should st
On 2/02/2012, at 10:35 pm, Mario Moles wrote:
> How i make this image?
As Urs said, the critical ingredient is tieWaitForNote. But even then it's
tricky to get both hands tying as desired:
\version "2.14.1"
#( ly:set-option 'backend 'eps)
\language "english"
\header { tagline = ##f }
\layout {
On 12/02/2012, at 9:25 am, Marcel Korpel wrote:
> I am transcribing a 16th-century mass for 4 voices I got the next
> problem: its Kyrie is divided in three parts that are separated by a
> || bar. The last note of each part is a longa (sometimes with a
> fermata) that just fills up the rest of the
On 12/02/2012, at 12:55 pm, MING TSANG wrote:
> 2012-02-11_183404.png shows lyrics on the score. I added voice two starting
> at 4th beat bar 5 to the end of bar 19 (first 3 beats).
> 2012-02-11_183528.png shows that all lyrics in between disappear. Need help
> figure out why.
Don't use aut
On 12/02/2012, at 2:23 pm, MING TSANG wrote:
> If I use new voice approach, that I need to have 50 bars rest or space before
> coding voice 2.
No, you can still start with one voice and then split in two after 50 bars,
using 'new Voice' for the second voice at the split.
Best wishes,
Matthew
On 15/02/2012, at 12:35 am, Marcel Korpel wrote:
> when the note
> values exceed the measure length, I need a dashed bar line instead of
> a normal one, but *only* in the part it appears in, not in every part.
I assume you have considered and rejected the idea of _Mensurstriche_ layout.
Best wis
On 31/05/2012, at 8:55 am, David Kastrup wrote:
> Having to cut an argument off in mid-sentence for being able to counter
> it does not exactly overwhelm.
I have always understood it to be good netiquette only to quote exactly what
one is replying to.
> #1 is a shallower dip than #{ return 1 #}
people who really like functional programming, but for most people functional
programming is arcane and confusing, and procedural far more natural. To tempt
ordinary users to dip their toe into scripting, a procedural language is the
way to go.
Best wishes,
Matthew
--
Matthew Collettm_coll.
On 8/06/2012, at 1:54 am, Tim McNamara wrote:
> The first few chapters of SICP would probably be very helpful.
>
> http://mitpress.mit.edu/sicp/full-text/book/book-Z-H-10.html
SICP does for computer programming what Linderholm's classic 'Mathematics Made
Difficult' does for arithmetic -- except
On 8/08/2012, at 5:12 am, Tim Roberts wrote:
> However, the boxy notehead in your png is not the current style of writing
> that note (which is as a whole note with bars left and right). What you have
> there is the "Petrucci" style. You can still achieve the boxy notehead by
> overriding th
On 26/10/2013, at 4:10 pm, Colin Campbell wrote:
> We tried using \cadenzaOn to get the unmetered aspect, but the fundamental
> problem is that \cadenzaOn turns off autoBeam, which in turn means that
> manual beaming in a cadenza creates unwanted melismata.
So turn the autobeaming back on. I
On 26/10/2013, at 6:58 pm, Colin Campbell wrote:
We tried using \cadenzaOn to get the unmetered aspect, but the
fundamental problem is that \cadenzaOn turns off autoBeam, which in
turn means that manual beaming in a cadenza creates unwanted
melismata.
>
> The aim was to get v
On 31/10/2013, at 7:03 am, David Kastrup wrote:
> "Details", "Layout control", "Finishing". There are a number of terms
> that seem more appropriate than "Debug".
How about "Proof"?
Best wishes,
Matthew
___
lilypond-user mailing list
lilypond-user@g
69 matches
Mail list logo
