Francis Perea | 12 Feb 18:37 2016
Gravatar

finger-code with powerchords

Hi all, I continue learning Lilypond and very impressed with its capabilities.

This time I'm learning to use fretboards and chords for my guitar lessons.

There is one thing I'm unable to do and I'd like to know if it is possible.

With this code I get the finger-code inside dots

\version "2.19.33"
\include "predefined-guitar-fretboards.ly"

\new FretBoards {
  \override FretBoard.fret-diagram-details.finger-code = #'in-dot
  \chordmode {
    a
  }
}

But if I use powerchords instead of normal chords the finger-code dissappears:

\version "2.19.33"
\include "predefined-guitar-fretboards.ly"

\new FretBoards {
  \override FretBoard.fret-diagram-details.finger-code = #'in-dot
  \chordmode {
    \powerChords a,,:1.5.8
  }
}

(Continue reading)

Patrick Karl | 12 Feb 18:34 2016
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positioning a rest

I'm trying to duplicate the following measure:



My attempt:

\version "2.19.32"
{
    \new Staff <<
        \time 3/4
        \new Voice { \oneVoice r4 r \voiceOne g' }
        \new Voice { \voiceTwo s4 c'2 }
    >>
}

This works fine for everything but the second quarter-rest, which is positioned beneath the half-note middle-C:



I've tried several variations of the above snippet, but the rest either move up to  the \voiceOne position or remains firmly beneath the middle-C.  How can I get the second rest to be positioned in the middle of the staff, at the same level as the first rest?

Thanks.
Pat
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Shane Dittmar | 12 Feb 18:17 2016

Seeking a Set of Eyes

Hello,

My name is Shane w. Dittmar, and I am a blind composer from North
Carolina. I've recently gotten into Lilypond, as it's a fantastic tool
for blind composers, as it gives ultimate and accessible control over
what appears on the page. I write what is, by notation standards,
fairly simple music, most of which is vocal, either choral or
artsongs. While Lilypond's default output seems to be working pretty
well, I'd love to have the opportunity to have my scores look as
publication-ready as possible... especially for the ones I plan to
publish. To that end, I'm seeking someone familiar with Lilypond who
might be willing to take a look at my scores and help me to correct
the finer visual elements, if any such correction is necessary. I'd be
happy to compensate this person for their time doing what would in
effect be final engraving work on my scores. Is there anyone who might
be interested in helping me out?

Shane

--

-- 
Shane Dittmar
http://www.shanedittmar.com/
(919) 410-8498
Ralph Palmer | 12 Feb 14:06 2016
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Best way to provide LilyPond via thumb drive

Greetings -

Soon, I shall be visiting a music school which almost certainly has computers but which probably has little internet access. I would like to give them a thumb drive with all the files they would need for setup, learning, and running LilyPond. The biggest catch, probably, is that it would be best if it were in Spanish. Also, I don't know what their operating system is, so I would like to make it available as Linux, Windows, and Apple. I'm hoping that the only part that would need to be in Spanish would be the manuals. Can anyone help me out or point me in the right direction?

I appreciate your time and attention,

Ralph

--
Ralph Palmer
Brattleboro, VT
USA
palmer.r.violin <at> gmail.com
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Johan Vromans | 12 Feb 12:37 2016
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Re: repeat

On Fri, 12 Feb 2016 12:29:47 +0100
BB <bb-543437 <at> telecolumbus.net> wrote:

> The input of the notes is not the problem, one could easily copy/paste. 
> I try to shorten the sheet and make it more overseeable.

I've once wished for something like

  \repeat volta 2 { AAA \alternative{{ BB1 }{ BB2 }} CCC }

There is no (official) concept of "end of alternative".

For the sheet, I would resort to just writing the first note and add a
markup silimar to "2nd time, play XXX". Maybe write the other note on a
small ossia staff?
Stephen MacNeil | 12 Feb 12:23 2016
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OT: Aligning upbows and downbows

Hi David

I would just like to point out that in guitar music, the capo now acts as the open position. Therefore we write as if there was no capo at all. This makes it easy for sight reading. As a professional guitarist I have only came across a few scores written in what I would say an incorrect way. Usually written by people more familiar with other instruments or guitarists that typically only use tab.

In the end do it the way you find best, after all I am not the one reading it.

Stephen
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Abraham Lee | 12 Feb 06:43 2016
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Re: Aligning upbows and downbows

David,

You are very welcome! Don't forget to reply to the mailing list so others know you found a solution. BTW, if you haven't read through the Learning Manual, this will introduce you to many useful topics and concepts like the one I shared with you. In fact here's the exact section that talks about this:

http://lilypond.org/doc/v2.18/Documentation/learning/fixing-overlapping-notation#the-staff_002dpadding-property

Best,
Abraham

On Thu, Feb 11, 2016 at 5:19 PM, David Landt <david_landt <at> hotmail.com> wrote:
Abraham, thank you for responding quickly.  Your code works perfectly.  Why that code works is something I will hopefully learn over time, but, for now, I am pleased that I can continue with engraving my sheet music.  Enjoy your day.

Date: Thu, 11 Feb 2016 15:46:53 -0700
From: tisimst.lilypond <at> gmail.com
To: lilypond-user <at> gnu.org
Subject: Re: Aligning upbows and downbows

David,

On Thu, Feb 11, 2016 at 3:37 PM, david_landt [via Lilypond] <[hidden email]> wrote:

Hello all.  I am a new user seeking assistance with aligning upbows and downbows so that the bows are all aligned horizontally at the same height for easier readability.  Thank you.

How about this:

%%%%%%%%%

\version "2.18.2"  % necessary for upgrading to future LilyPond versions.

\header{
  title = "Here Comes the Sun"
  subtitle = "Original music and lyrics written by George Harrison 1969."
 
}

\relative {
  \set Staff.instrumentName = "Capo VII"
  \key e \major
  \override Script.staff-padding = #3 % <--- Adjust to taste
  a'8^\downbow^"D" <e' a cis>\downbow a\upbow b\downbow cis\upbow <a, e'> a' a, |
  e' cis' b <a, e'> a' <a, e'>
}

%%%%%%%%%

HTH,
Abraham

View this message in context: Re: Aligning upbows and downbows
Sent from the User mailing list archive at Nabble.com.

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david_landt | 11 Feb 23:17 2016
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Aligning upbows and downbows

Hello all.  I am a new user seeking assistance with aligning upbows and downbows so that the bows are all aligned horizontally at the same height for easier readability.  Thank you.

David Landt

Attachment (my.ly): application/octet-stream, 384 bytes
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BB | 11 Feb 12:57 2016
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repeat

In a repeat usually the "end" of a phrase of a repetition is different.

I have some strange problem with a transcription of an oriental tune, as there the first part or special only the first note is different followed by a very long music line (I have shortened in the example). See the (shortende and simplified example:

\version "2.19.2"
\relative c''
{
{ \time 2/4
 r8 a b c d e f g %................................
 \bar "||"
 g, a b c d e f g %................................
 \bar "|."
}}

There the first phrase is beginning with a rest r8 and the repetition ist starting with a "g," and the following notes are identical. I separated the 1st and 2nd repetition by a double bar.

Is there the use of a repetition (repeat volta) possible to shorten the sheet music? I do not have any idea.

p, li { white-space: pre-wrap; }
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Federico Bruni | 10 Feb 22:54 2016

warning: already have a volta spanner, ending that one prematurely

Hi all

Do you know why the following input causes this warning?
There's anything I can do to avoid it?

\version "2.19.35"
\relative {
  c'1
  \set Score.repeatCommands = #'((volta "1"))
  d'1
  \set Score.repeatCommands = #'((volta #f))

  \set Score.repeatCommands = #'((volta "2"))
  f1
  \set Score.repeatCommands = #'((volta #f))
}
Luca Danieli | 10 Feb 20:21 2016
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Writing notes for explaining rhythm

Hello all,

how can I write a note above the system without displaying the pitch of those notes in order to explain just the rhythm of a specific passage?

Best,
Luca
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Gmane