Re: An idea for a systematic development of a large score.
Greetings Jan, You wrote:- +++ After a lot of fiddling around I came up with this schema:- That reads much like http://git.savannah.gnu.org/cgit/lilypond.git/tree/mutopia/Coriolan?id=60fdc53305e8628dad96b4ebea177bc6ee8d95cd what are we missing? +++ I hadn't been there... and I guess what I've done might be seen as reinventing the wheel, but..., I would like to think, after having had a brief look at your link and its content, that what I've outlined doesn't require further knowledge of such things as 'makefiles', etc., which novice LP users might find somewhat off-putting. Further than that I can't comment, since my understanding of makefiles is zero! :) Thanks for your feedback, Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
I do all of my composing in Lilypond, and have completed numerous large ensemble projects of significant length. I'd estimate I've written around 20,000 lines of Lilypond and Scheme code in the last two years. My preferred file structure continues to evolve, but it is basically the following: Project folder: * project_score.ly * project_parts.ly * project.ly * project_lib.ily /home/me/.lily/: * macros.ily * orchestral_style.ily * macros/ It's pretty self-explanatory. I include \version and \language in every Lilypond file, without exception. I define all of my music variables in project.ly, including global. I prefer this to having a file for each instrument, because it makes keeping track of versions easier; I suppose if I used a version management system, that wouldn't be a problem, but at the moment I just put ascending numbers at the end of the file name :p. I use a standardized naming convention for variable names, quote names, and context names. I always define \global first, then I go in score order, say \fluteI, \fluteII, etc. I do not use music variables for motives or themes: I explicitly write all of my music from beginning to end, and I use \transpose and \transposition to write all instruments in concert pitch. At the end of project.ly, I \addQuote for \fluteI, \fluteII, all the way through the variables in score order. That allows me to use \cueDuring when I make instrumental parts. I make copious use of \tag and \removeWithTag, for example to include enharmonic key changes in transposing parts, for overrides that are only to be used in score or in parts, and to exclude nested contexts like chord symbols or divisi staves from \addQuote. In larger projects, editing project.ly can get cumbersome if each variable is 1,000 lines long; suppose I want to change a note in measure 67 in \fluteII and \violinI? To make editing easier, I break the variables up into \fluteIsectionA, \fluteIsectionB, etc. The project.ly file then starts with all of the sectionA variables in score order, then all the sectionB variables in score order, etc. In such projects, I use an additional file called project_form.ly, which \include's project.ly, and which defines the variables \fluteI, \fluteII, etc., using the sectional variables. I wouldn't recommend using this kind of scheme except in very large projects, because things get hairy when one instrument has a crescendo over the break between sections. It is better to write all of the music for each instrument in a single variable. I use \bookpart to keep the \score expressions for all of my instrumental parts in one file. This also has the advantage that I get a single PDF of all of the parts. I begin this file with a global \layout block, which allows me to easily apply overrides to all the parts at once. I have a multi-layered system for reusing snippets and style information. The most basic level is, of course, overrides in the project.ly, project_score.ly, or project_parts.ly files. The next layer is the project_lib.ily file, which includes the \header block for the project, the title and front-matter markup, a \layout block of project-specific but project-wide overrides, and any snippets or macros that I only want to use in this project. When I use a snippet from LSR for the first time, I almost always copy and paste it into a project_lib.ily file. Macros that I frequently redefine for different projects, like \mute (will it be mute or senza?) also go in project_lib.ily. Anything that I want to reuse between projects goes in the .lily folder, which I have added to my Lilypond path. macros.ily includes short snippets and miscellaneous macros, such as common \once\override's and a list of common markup expressions. It also \include's all of the files in the .lily/macros folder. The files in the macros folder are longer snippets or collections of snippets related to a common task, such as jazz notation. The other files in .lily are stylesheet files like orchestral_style.ily or chamber_style.ily, which contain \layout blocks with most of the overrides I use, custom contexts, etc. I am fairly conservative about adding or removing things from my stylesheets, since they each apply to many projects. Instead, I can contradict the stylesheet with overrides in project_lib.ily, as long as I \include project_lib.ily after I \include orchestral_style.ily. -- View this message in context: http://lilypond.1069038.n5.nabble.com/An-idea-for-a-systematic-development-of-a-large-score-tp146017p146032.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature Request: Chromatic note names
dak wrote
So in case you are using 2.17.16 or newer, it would be nice if you
checked that this first pitch like absolute rule works even when
starting with an f sharp.
I gave this a try in 2.17.18 with the test code below, and first pitch like
absolute still works even with a default scale that has an even number of
notes. In this case \relative {...} corresponds to \relative fis {...}
instead of \relative f {...}
Cheers,
-Paul
% BEGIN TEST SNIPPET
\version 2.17.18
% set the default scale to chromatic scale, and pitchnames to match
#(ly:set-default-scale
(ly:make-scale '#(0 1/2 1 3/2 2 5/2 3 7/2 4 9/2 5 11/2)))
dodecaPitchNames = #(map (lambda (pitchname)
(let* (
(pitch (cdr pitchname))
(nominal-steps (vector-ref '#(0 2 4 5 7 9
11)
(ly:pitch-notename
pitch)))
(fractional-steps
(+ nominal-steps (* 2
(ly:pitch-alteration pitch
(steps (inexact-exact (floor
fractional-steps)))
)
(cons (car pitchname)
(ly:make-pitch
(ly:pitch-octave pitch)
steps
(/ (- fractional-steps steps) 2)
pitchnames)
#(ly:parser-set-note-names parser dodecaPitchNames)
\new Staff {
\mark absolute
fis' g' gis' a' ais' b'
c' cis' d' dis' e' f'
}
\new Staff {
\mark relative {...}
\relative { fis' }
\relative { g' }
\relative { gis' }
\relative { a' }
\relative {ais' }
\relative { b' }
\relative { c' }
\relative { cis' }
\relative { d' }
\relative { dis' }
\relative { e' }
\relative { f' }
}
\new Staff {
\mark relative f {...}
\relative f { fis' }
\relative f { g' }
\relative f { gis' }
\relative f { a' }
\relative f { ais' }
\relative f { b' }
\relative f { c' }
\relative f { cis' }
\relative f { d' }
\relative f { dis' }
\relative f { e' }
\relative f { f' }
}
\new Staff {
\mark relative fis {...}
\relative fis { fis' }
\relative fis { g' }
\relative fis { gis' }
\relative fis { a' }
\relative fis { ais' }
\relative fis { b' }
\relative fis { c' }
\relative fis { cis' }
\relative fis { d' }
\relative fis { dis' }
\relative fis { e' }
\relative fis { f' }
}
--
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Sent from the User mailing list archive at Nabble.com.
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concatenating/converting string variables ?
excuse me, just a trivial question, but I cannot seem to find the answer. I want to add the date variable to one element of text in my title. I have this in the preamble date = #(strftime %d-%m-%Y (localtime (current-time))) What I want to do is somehow add/concatenate this to a text string for the name of person doing the arranging, which appears in the header block, i.e. arranger = Arr. Maestro Smithington-Smythe How do I do this so I finally see Arr. Maestro Smithington-Smythe, 17/May/2013 ? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: concatenating/converting string variables ?
Hi Paul,
Am 17.05.2013 09:45, schrieb Paul Malcolm:
excuse me, just a trivial question, but I cannot seem to find the answer.
I want to add the date variable to one element of text in my title.
I have this in the preamble
date = #(strftime %d-%m-%Y (localtime (current-time)))
What I want to do is somehow add/concatenate this to a text string
for the name of person doing the arranging, which appears in the
header block, i.e.
arranger = Arr. Maestro Smithington-Smythe
How do I do this so I finally see
Arr. Maestro Smithington-Smythe, 17/May/2013
?
to concatenate strings you can use
#(string-append Arr. Maestro Smithington-Smythe , (strftime
%d-%m-%Y (localtime (current-time))) )
or
#(format ~A, ~A arranger date)
(if arranger and date are variables with the desired strings)
To use this in a headerblock, you can use a construct like this:
\header {
arrangername = Arr. Maestro Smithington-Smythe
arrangerdate = #(strftime %d-%m-%Y (localtime (current-time)))
arranger = #(string-append arrangername , arrangerdate)
}
HTH
Best, Jan-Peter
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Re: concatenating/converting string variables ?
On 17/05/13 17:45, Paul Malcolm wrote:
excuse me, just a trivial question, but I cannot seem to find the answer.
I want to add the date variable to one element of text in my title.
I have this in the preamble
date = #(strftime %d-%m-%Y (localtime (current-time)))
What I want to do is somehow add/concatenate this to a text string
for the name of person doing the arranging, which appears in the
header block, i.e.
arranger = Arr. Maestro Smithington-Smythe
How do I do this so I finally see
Arr. Maestro Smithington-Smythe, 17/May/2013
Something like this:
date = #(strftime %d-%m-%Y (localtime (current-time)))
Arranger = Arr. Maestro Smithington-Smythe
\header {
composer = Composer
title = Title
arranger = \markup { \Arranger \date }
}
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Re: OpenType support in Windows
- Original Message - From: Aleksandr Andreev aleksandr.andr...@gmail.com To: lilypond-user@gnu.org Sent: Friday, May 17, 2013 2:42 AM Subject: OpenType support in Windows I recently tested LilyPond on Windows 8 (Enterprise Development Test version running on VirtualBox). It appears that LilyPond does not support any OpenType features on Windows 8 (at least as of version 2.16.2). Do you know whether any previous versions of windows work? If you could supply a test file (and possibly the font) I could test on XP, Vista and 7. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OpenType support in Windows
-- Phil Holmes - Original Message - From: Werner LEMBERG w...@gnu.org To: d...@gnu.org Cc: lilypond-user@gnu.org Sent: Friday, May 17, 2013 6:58 AM Subject: Re: OpenType support in Windows I recently tested LilyPond on Windows 8 (Enterprise Development Test version running on VirtualBox). It appears that LilyPond does not support any OpenType features on Windows 8 (at least as of version 2.16.2). We have issues URL:http://code.google.com/p/lilypond/issues/detail?id=2657 and URL:http://code.google.com/p/lilypond/issues/detail?id=2656. At one point of time in the 2.16 release cycle, they were considered release critical. They only reason they have been downgraded is that nobody is working on them and nobody has a clue _how_ to work on them, so there was no point in stopping the release process for them when no solution was going to appear magically. Yeah. We urgently need a developer working on Windows who is sufficiently familiar with GNU stuff, in particular with Pango and Harfbuzz. Behdad Esfahbod, the developer of Harfbuzz, is willing to help provided we have someone who can test and debug patches. I'd be happy to test patches once I break up for Summer - mid-June. I might actually be best placed, since I could use GUB to build Windows versions to test. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How to use swing.scm in a .ly file
All,
Thinking this should be simple to do I've now spent over an hour trying to
figure out how to use the functions in swing.scm (
https://code.google.com/p/lilypond/issues/attachmentText?id=687aid=6870029000name=swing.scmtoken=r8ZwHdiYCou-OG0e72qA0tUNAv0%3A1351867728273).
I have copied the .scm file to the \scm directory where lilypond is
installed. I then tried to use one of the functions in swing.scm yet
lilypond says the function name is an unknown string.
quote
Parsing...
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 0: error: unknown escaped string: `\tripletFeel'
\tripletFeel 8 {
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 1: error: syntax error, unexpected STRING
/quote
I tried to \include swing.scm but lilypond literally included the scheme
contents and all of it was error.
Any help on how this works is appreciated.
Regards.
Guy Stalnaker
jimmyg...@gmail.com
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Re: An idea for a systematic development of a large score.
I guess you all have looked at the scores by Nicolas Sceaux at http://nicolas.sceaux.free.fr/ already? They are very well structured. On 17 May 2013 09:18, Shevek s...@saultobin.com wrote: I do all of my composing in Lilypond, and have completed numerous large ensemble projects of significant length. I'd estimate I've written around 20,000 lines of Lilypond and Scheme code in the last two years. My preferred file structure continues to evolve, but it is basically the following: Project folder: * project_score.ly * project_parts.ly * project.ly * project_lib.ily /home/me/.lily/: * macros.ily * orchestral_style.ily * macros/ It's pretty self-explanatory. I include \version and \language in every Lilypond file, without exception. I define all of my music variables in project.ly, including global. I prefer this to having a file for each instrument, because it makes keeping track of versions easier; I suppose if I used a version management system, that wouldn't be a problem, but at the moment I just put ascending numbers at the end of the file name :p. I use a standardized naming convention for variable names, quote names, and context names. I always define \global first, then I go in score order, say \fluteI, \fluteII, etc. I do not use music variables for motives or themes: I explicitly write all of my music from beginning to end, and I use \transpose and \transposition to write all instruments in concert pitch. At the end of project.ly, I \addQuote for \fluteI, \fluteII, all the way through the variables in score order. That allows me to use \cueDuring when I make instrumental parts. I make copious use of \tag and \removeWithTag, for example to include enharmonic key changes in transposing parts, for overrides that are only to be used in score or in parts, and to exclude nested contexts like chord symbols or divisi staves from \addQuote. In larger projects, editing project.ly can get cumbersome if each variable is 1,000 lines long; suppose I want to change a note in measure 67 in \fluteII and \violinI? To make editing easier, I break the variables up into \fluteIsectionA, \fluteIsectionB, etc. The project.ly file then starts with all of the sectionA variables in score order, then all the sectionB variables in score order, etc. In such projects, I use an additional file called project_form.ly, which \include's project.ly, and which defines the variables \fluteI, \fluteII, etc., using the sectional variables. I wouldn't recommend using this kind of scheme except in very large projects, because things get hairy when one instrument has a crescendo over the break between sections. It is better to write all of the music for each instrument in a single variable. I use \bookpart to keep the \score expressions for all of my instrumental parts in one file. This also has the advantage that I get a single PDF of all of the parts. I begin this file with a global \layout block, which allows me to easily apply overrides to all the parts at once. I have a multi-layered system for reusing snippets and style information. The most basic level is, of course, overrides in the project.ly, project_score.ly, or project_parts.ly files. The next layer is the project_lib.ily file, which includes the \header block for the project, the title and front-matter markup, a \layout block of project-specific but project-wide overrides, and any snippets or macros that I only want to use in this project. When I use a snippet from LSR for the first time, I almost always copy and paste it into a project_lib.ily file. Macros that I frequently redefine for different projects, like \mute (will it be mute or senza?) also go in project_lib.ily. Anything that I want to reuse between projects goes in the .lily folder, which I have added to my Lilypond path. macros.ily includes short snippets and miscellaneous macros, such as common \once\override's and a list of common markup expressions. It also \include's all of the files in the .lily/macros folder. The files in the macros folder are longer snippets or collections of snippets related to a common task, such as jazz notation. The other files in .lily are stylesheet files like orchestral_style.ily or chamber_style.ily, which contain \layout blocks with most of the overrides I use, custom contexts, etc. I am fairly conservative about adding or removing things from my stylesheets, since they each apply to many projects. Instead, I can contradict the stylesheet with overrides in project_lib.ily, as long as I \include project_lib.ily after I \include orchestral_style.ily. -- View this message in context: http://lilypond.1069038.n5.nabble.com/An-idea-for-a-systematic-development-of-a-large-score-tp146017p146032.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org
Re: How to use swing.scm in a .ly file
Hi Guy,
On Fri, May 17, 2013 at 7:43 AM, Guy Stalnaker jimmyg...@gmail.com wrote:
All,
Thinking this should be simple to do I've now spent over an hour trying to
figure out how to use the functions in swing.scm (
https://code.google.com/p/lilypond/issues/attachmentText?id=687aid=6870029000name=swing.scmtoken=r8ZwHdiYCou-OG0e72qA0tUNAv0%3A1351867728273).
I have copied the .scm file to the \scm directory where lilypond is
installed. I then tried to use one of the functions in swing.scm yet
lilypond says the function name is an unknown string.
The file needs to be loaded, so I believe you should add its name to the
variable `init-scheme-files-body' in the file `scm\lily.scm'
quote
Parsing...
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 http://0: error: unknown escaped string:
`\tripletFeel'
\tripletFeel 8 {
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 http://1: error: syntax error, unexpected STRING
/quote
I tried to \include swing.scm but lilypond literally included the scheme
contents and all of it was error.
Why not add # before the various functions and save it as an .ly file?
Then \include will work, and you won't have to make the changes above
every time you upgrade.
HTH,
David
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lilypond not recognized
After solving a mysterious hardware problem I finally got my Windows 7 box up and running again. I installed LilyPond 2.16.2-1 but it won't run from the CLI. I get: 'lilypond' is not recognized as an internal or external command, operable program or batch file. I have, in fact, edited the PATH to point to the /bin directory which contains LilyPond. I don't ever recall having this problem before. Before I had my recent computer problem I am sure that Lily was installed and working just fine. The 'drag-n-drop' method works, but I would much rather use the CLI. Help? -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OpenType support in Windows
We urgently need a developer working on Windows who is sufficiently familiar with GNU stuff, in particular with Pango and Harfbuzz. Behdad Esfahbod, the developer of Harfbuzz, is willing to help provided we have someone who can test and debug patches. I'd be happy to test patches once I break up for Summer - mid-June. I might actually be best placed, since I could use GUB to build Windows versions to test. Great! Please drop a message if you have time available so that I can assist on the GNU/Linux side... Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to use swing.scm in a .ly file
David,
Much thanks. Adding 'swing.scm' to the init variable was easy to do
once, of course, you told me what to do.
Regards,
Guy
On 05/17/2013 08:57 AM, David Nalesnik wrote:
Hi Guy,
On Fri, May 17, 2013 at 7:43 AM, Guy Stalnaker jimmyg...@gmail.com wrote:
All,
Thinking this should be simple to do I've now spent over an hour trying to
figure out how to use the functions in swing.scm (
https://code.google.com/p/lilypond/issues/attachmentText?id=687aid=6870029000name=swing.scmtoken=r8ZwHdiYCou-OG0e72qA0tUNAv0%3A1351867728273).
I have copied the .scm file to the \scm directory where lilypond is
installed. I then tried to use one of the functions in swing.scm yet
lilypond says the function name is an unknown string.
The file needs to be loaded, so I believe you should add its name to the
variable `init-scheme-files-body' in the file `scm\lily.scm'
quote
Parsing...
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 http://0: error: unknown escaped string:
`\tripletFeel'
\tripletFeel 8 {
/Users/gstalnaker/Dropbox/Guy/Compositions/JustUs/Goodnight, Sweetheart,
Goodnight.ly:134:2 http://1: error: syntax error, unexpected STRING
/quote
I tried to \include swing.scm but lilypond literally included the scheme
contents and all of it was error.
Why not add # before the various functions and save it as an .ly file?
Then \include will work, and you won't have to make the changes above
every time you upgrade.
HTH,
David
--
There is only love, and then oblivion. Love is all we have
to set against hatred. (paraphrased) Ian McEwan
Guy Stalnaker
jimmyg...@gmail.com
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Re: concatenating/converting string variables ?
On 17 May 2013, at 11:47 , Nick Payne wrote:
On 17/05/13 17:45, Paul Malcolm wrote:
excuse me, just a trivial question, but I cannot seem to find the
answer.
I want to add the date variable to one element of text in my title.
I have this in the preamble
date = #(strftime %d-%m-%Y (localtime (current-time)))
What I want to do is somehow add/concatenate this to a text string
for the name of person doing the arranging, which appears in the
header block, i.e.
arranger = Arr. Maestro Smithington-Smythe
How do I do this so I finally see
Arr. Maestro Smithington-Smythe, 17/May/2013
Something like this:
date = #(strftime %d-%m-%Y (localtime (current-time)))
Arranger = Arr. Maestro Smithington-Smythe
\header {
composer = Composer
title = Title
arranger = \markup { \Arranger \date }
}
While working on something I use this (included from a global file):
% Define a variable to hold the formatted date:
date = #(strftime %d-%m-%Y (localtime (current-time)))
% Miscellaneous:
thisisme = \markup{ \concat { Engraved by *me* \bold \date with
\with-url #http://lilypond.org/; LilyPond \simple #(lilypond-
version) (http://lilypond.org/). } }
Below this include in the project-file, I have:
% Fix the date when I finished this:
%date = 27-04-2013
And when I finish the project I fill in the real date, uncomment it,
ready.
Regards,
*me*.
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Re: An idea for a systematic development of a large score.
On 17 May 2013, at 03:26 , wjm wrote: After a lot of fiddling around I came up with this schema:- I use a similar approach. This approach is well-facilitated in Frescobaldi, using the point- and-click correlation between the output pane and the relevant input file. (Frescobaldi calls up the relevant .ily file even if it is not loaded at the time - a very convenient feature). Whether this would work well for someone with severe visual impairment or other disability, I don't know. Difficult to say, they use other graphical oriented programs, so my guess is managing Frescobaldi is probably doable. Another and much greater problem is that I noticed several of the blind users do use a Mac, and installing Frescobaldi on a Mac is not easy. Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get multiple text spanners at the same height?
Hi Jim, On Thu, May 16, 2013 at 8:17 PM, Jim Long lilyp...@umpquanet.com wrote: On Wed, May 15, 2013 at 12:19:25PM +0100, Peter Toye wrote: I found the cres--cen--do conversation - it seems that there's a general need for a new form of text spanner which can spread out the text. At the risk of seeming a curmudgeon, I would refute general. I'm unclear on what the difference in meaning is between: crescendo and cres -- cen --- do -- Well, there's no difference in meaning. I think the idea here is so that the player doesn't lose sight of what all the dashes in the score are prolonging. In any case, this notation is common and should be available in LilyPond. One ought to be able to replicate indications like this, from #144 of Bartok's Mikrokosmos: poco a poco_ _ _ _ tornando _ _ _ _ _ _ _ _ _ _ _ al _ Tempo I. -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond not recognized
bobr...@centrum.is bobr...@centrum.is wrote: After solving a mysterious hardware problem I finally got my Windows 7 box up and running again. I installed LilyPond 2.16.2-1 but it won't run from the CLI. I get: 'lilypond' is not recognized as an internal or external command, operable program or batch file. I have, in fact, edited the PATH to point to the /bin directory which contains LilyPond. How have you edited the PATH? If you've simply used a set command in a command window, that changes the PATH only for that window. To do it globally, type path in the search box in the Start menu. Select Edit environment variables for your account. Find PATH in the User variables box (or create it if it doesn't exist), and add the path to the Lilypond bin directory to it. -- Tim Slattery slatter...@bls.gov ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Turning off obnoxious coda behavior
LilyPond automatically moves the coda glyph
\mark \markup { \musicglyph #scripts.coda }
to the beginning of the next line, if it is put at the end of a line with a
manual \break. This is highly annoying. How does one stop it from happening?
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Re: lilypond not recognized
bobr...@centrum.is bobr...@centrum.is wrote: After solving a mysterious hardware problem I finally got my Windows 7 box up and running again. I installed LilyPond 2.16.2-1 but it won't run from the CLI. I get: 'lilypond' is not recognized as an internal or external command, operable program or batch file. I have, in fact, edited the PATH to point to the /bin directory which contains LilyPond. I don't ever recall having this problem before. Before I had my recent computer problem I am sure that Lily was installed and working just fine. The 'drag-n-drop' method works, but I would much rather use the CLI. Are you using Cygwin? (The fact that you wrote /bin makes me ask.) For cmd, adding C:\Program Files\lilypond\usr\bin to the path should be enough. Because I dislike polluting my PATH, I have a c:\bin in the path, then I add a file called lilypond.bat to that directory with @echo off C:\Apps\Lilypond\usr\bin\lilypond.exe %* -- Tim Roberts, t...@probo.com Providenza Boekelheide, Inc. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Turning off obnoxious coda behavior
On Fri, May 17, 2013 at 11:45:55AM -0500, Tim McNamara wrote:
LilyPond automatically moves the coda glyph
\mark \markup { \musicglyph #scripts.coda }
to the beginning of the next line, if it is put at the end of a
line with a manual \break. This is highly annoying. How does
one stop it from happening?
Precede it with
\once \override Score.RehearsalMark #'break-visibility = begin-of-line-invisible
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Re: lilypond not recognized
- Original Message - From: Tim Slattery slatter...@bls.gov To: lilypond-user@gnu.org Sent: Friday, May 17, 2013 4:30:59 PM Subject: Re: lilypond not recognized bobr...@centrum.is bobr...@centrum.is wrote: After solving a mysterious hardware problem I finally got my Windows 7 box up and running again. I installed LilyPond 2.16.2-1 but it won't run from the CLI. I get: 'lilypond' is not recognized as an internal or external command, operable program or batch file. I have, in fact, edited the PATH to point to the /bin directory which contains LilyPond. How have you edited the PATH? If you've simply used a set command in a command window, that changes the PATH only for that window. To do it globally, type path in the search box in the Start menu. Select Edit environment variables for your account. Find PATH in the User variables box (or create it if it doesn't exist), and add the path to the Lilypond bin directory to it. Tim, I edited the PATH following the instructions on the Lily download page, that is, by going into the Environment variables. -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature Request: Chromatic note names
This makes it easier to input and read, and then when using your music on
a traditional staff, you can just set these variables to an empty music
expression, and they will have no effect on the music.
extendStaffUp = {}
That way you only have to make the change in one place instead of at every
occurrence.
This will do the trick for now.
I'm also not sure I understand the issue you describe about internal and
external ledger lines. It sounds like you are thinking of the lines of
the extended staff as ledger lines, when they are (temporary) staff lines,
so when they are in effect they change what counts as internal/external
ledgers. But I'm not sure how relevant that is to what you're trying to
do.
Thats it. If the dashed ledger line was just a ledger line with another
graphic, when a fi was displayed up there, the re and mi ledger lines would
also be displayed. The idea is have just the dashed one.
It is not really relevant, but it would make things look better (i mean,
look in the way i would do it with pen and paper). By manually changing the
staff layout, it happens the way i want, but it would be better to get it
automatically.
About the internal ledger lines:
A re should have the lower ledger line, a mi should have only the higher
ledger line.
But a me should have both.
If you let lilypond automatically fill the gaps, things work fine for re and
mi, but the me will get only the line below it.
Now, if you use the (-4 -2) thing:
/\override StaffSymbol #'ledger-positions = #'( -6 (-4 -2) 0 (2 4) 6 )/
You can get both ledger lines for all me, but you also get both ledger lines
for all re and mi.
It isn't that much relevant, too. But again, would make things look better.
So, here is an all manually set exemple of how /*exactly*/ things should
work.
It is not really tiny, or it wouldnt show all the aspects i tried to tell
you before.
I use the english language and note names so you dont have to set up your
define-note-names.scm to see it. Also, the MNP-scripts.ly is unmodified.
Just paste and engrave this:
/%
\version 2.16.0
\language english
\include MNP-scripts.ly
% set the nominals to be 12-equal
#(ly:set-default-scale (ly:make-scale '#(0 1/2 1 3/2 2 5/2 3 7/2 4 9/2 5
11/2)))
% Set the pitches to 12-equal with enharmonic equivalences
% keep the original pitch names.
% all tritones go downwards on \relative, unless specified otherwise.
% Preserves quartertones as half-sharps.
dodecaPitchNames = #(map (lambda (pitchname)
(let* (
(pitch (cdr pitchname))
(nominal-steps (vector-ref '#(0 2 4 5 7 9 11)
(ly:pitch-notename pitch)))
(fractional-steps
(+ nominal-steps (* 2 (ly:pitch-alteration
pitch
(steps (inexact-exact (floor fractional-steps)))
)
(cons (car pitchname)
(ly:make-pitch
(ly:pitch-octave pitch)
steps
(/ (- fractional-steps steps) 2)
pitchnames)
#(ly:parser-set-note-names parser dodecaPitchNames)
% Staffs used:
thumlineOne = {
\stopStaff \startStaff
\override Staff.StaffSymbol #'line-positions = #'( -6 0 6 )
\dashedStaffSymbolLines #'(0.5 . 0.7) #'( #f #t #f ) }
thumlineOneTritoneUp = {
\stopStaff \startStaff
\override Staff.StaffSymbol #'line-positions = #'( -6 0 6 12 )
\dashedStaffSymbolLines #'(0.5 . 0.7) #'( #f #t #f #t ) }
thumlineTwoUp = { \stopStaff \startStaff
\override Staff.StaffSymbol #'line-positions = #'( -6 0 6 12 18 )
\dashedStaffSymbolLines #'(0.5 . 0.7) #'( #f #t #f #t #f ) }
thumlineTwoTritoneUp = { \stopStaff \startStaff
\override Staff.StaffSymbol #'line-positions = #'( -6 0 6 12 18 24 )
\dashedStaffSymbolLines #'(0.5 . 0.7) #'( #f #t #f #t #f #t ) }
% Ledger lines configs used:
ledgerMe = { \stopStaff \startStaff
\override Staff.StaffSymbol #'ledger-positions = #'( -6 (-4 -2)
0 (2 4) 6 ) }
ledgerReMi = { \stopStaff \startStaff
\override Staff.StaffSymbol #'ledger-positions = #'( -6 -4 -2 0
2 4 6 ) }
%the notes written, staff changes within, still compatible with traditional
staff, all tritones go down.
theMusic = { \relative c' {
\thumlineOne d e \ledgerMe ef \ledgerReMi gs |
\ledgerMe a \ledgerReMi as d ds |
e \thumlineOneTritoneUp f a as |
\thumlineTwoUp b fs as cs \ledgerMe \thumlineTwoTritoneUp fs a cs
fs \thumlineOneTritoneUp g |
f \thumlineOne \ledgerReMi e d c | fs2 c } }
\new Staff { \theMusic }
%%%
/
So, \theMusic is still compatible with traditional notation, except for the
tritone issue. You can see in the last bar, the interval is engraved in the
augmented fourth way.
I set the staff variables empty, as you told me, and did not include the
dodecaPitchNames snippet in the file.
Re: lilypond not recognized
- Original Message - From: Tim Roberts t...@probo.com To: lilypond-user@gnu.org Sent: Friday, May 17, 2013 5:16:06 PM Subject: Re: lilypond not recognized bobr...@centrum.is bobr...@centrum.is wrote: After solving a mysterious hardware problem I finally got my Windows 7 box up and running again. I installed LilyPond 2.16.2-1 but it won't run from the CLI. I get: 'lilypond' is not recognized as an internal or external command, operable program or batch file. I have, in fact, edited the PATH to point to the /bin directory which contains LilyPond. I don't ever recall having this problem before. Before I had my recent computer problem I am sure that Lily was installed and working just fine. The 'drag-n-drop' method works, but I would much rather use the CLI. Are you using Cygwin? (The fact that you wrote /bin makes me ask.) For cmd, adding C:\Program Files\lilypond\usr\bin to the path should be enough. Because I dislike polluting my PATH, I have a c:\bin in the path, then I add a file called lilypond.bat to that directory with @echo off C:\Apps\Lilypond\usr\bin\lilypond.exe %* I *do* have cygwin installed but Lily won't run from a cygwin bash shell *or* a Windows cmd. I just took another look at my Environment variables and thought I had found the culprit; an extra '\' in the PATH. I also noticed that it is called 'Path' rather than 'PATH'. Will that have an effect? AND; the varible in the PATH is written with '\' rather than the '/' I used above. WellI looked again and found the problem. The extra '\' I mentioned above was part of the problem. Apparently, I had a small cut/paste error leaving me with '\\' and not 'C:\'. It's fine now. Thanks Tims for your responses. It got me looking at the right spot. -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Turning off obnoxious coda behavior
On May 17, 2013, at 12:38 PM, Jim Long wrote:
On Fri, May 17, 2013 at 11:45:55AM -0500, Tim McNamara wrote:
LilyPond automatically moves the coda glyph
\mark \markup { \musicglyph #scripts.coda }
to the beginning of the next line, if it is put at the end of a
line with a manual \break. This is highly annoying. How does
one stop it from happening?
Precede it with
\once \override Score.RehearsalMark #'break-visibility =
begin-of-line-invisible
Thank you!
I admit that I have no understanding of why this would keep the coda glyph at
the end of the line.
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Re: Turning off obnoxious coda behavior
On Fri, May 17, 2013 at 02:03:54PM -0500, Tim McNamara wrote: On May 17, 2013, at 12:38 PM, Jim Long wrote: Precede it with \once \override Score.RehearsalMark #'break-visibility = begin-of-line-invisible Thank you! I admit that I have no understanding of why this would keep the coda glyph at the end of the line. It's not a coda glyph, it's a rehearsal mark. :) See http://www.lilypond.org/doc/v2.16/Documentation/notation/visibility-of-objects#using-break_002dvisibility Change the override value to 'all-visible and see what happens. Note that the default for rehearsal marks is end-of-line-INvisible. Rehearsal marks generally appear at the beginning of a line, or in the middle of a line, but not at the end of a line. When you co-opt a rehearsal mark to display a coda jump, you need to alter that default behaviour. Coda jumps are generally displayed in the middle of a line, or at the end of a line, but not at the beginning of a line. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Turning off obnoxious coda behavior
Hi Tim, I admit that I have no understanding of why this would keep the coda glyph at the end of the line. http://www.lilypond.org/doc/v2.16/Documentation/notation/visibility-of-objects#using-break_002dvisibility Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
cygwin+lilypond
I posted my problem regarding not being able to run LilyPond from a CLI. The problem was solved when I realized there was a typo in the PATH Environment variable. It works now...mostly. I can run Lily just fine in Windows from cmd but from a cygwin bash shell it's a different story. I can execute 'lilypond -v' (or -h) and get a proper response but if I try to run a *.ly file almost nothing happens. The console contents do advance one line as though LilyPond is starting but that's it. Nothing else happens. There is no other console output and no activity in the directory of the *.ly file in question. Have I done something wrong or neglected to do something right? -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature Request: Chromatic note names
Ok, I took a look at your examples, thanks. I see what you're after now, basically *automatic* instead of manual handling of: 1. external ledgers (dashed ledgers work like extending the staff) 2. internal ledgers (some notes get two, some get one) You might be able to get this by writing a scheme function that would override each note, check which note/pitch it is, and if needed replace it with that same note preceded by a \once \override of the ledger line layout and/or staff line layout to get the desired output for that note. Otherwise it would just return the same note, leaving it as is. More below... ericoschm...@yahoo.com.br wrote So, \theMusic is still compatible with traditional notation, except for the tritone issue. You can see in the last bar, the interval is engraved in the augmented fourth way. I set the staff variables empty, as you told me, and did not include the dodecaPitchNames snippet in the file. Ok, so you want your music input to also be usable with standard notation. Using variables for any needed manual overrides and blanking them out for standard notation works here, but that leaves the tritone issue. And I don't think it's possible to use your custom chromatic note names and avoid the inconsistency of tritones in \relative mode when you're outputting to a standard staff. Basically, on a traditional staff there are no tritones per se, they are all either augmented 4ths or diminished 5ths. But with your chromatic note names there is no way to differentiate between these two enharmonic intervals, so when you output to a standard staff the tritones will become either augmented 4ths or diminished 5ths, more or less arbitrarily, outside of your control. And in \relative mode that means that they will not just be different enharmonic spellings of the same interval but the notes will sometimes appear in the wrong octave, throwing off all subsequent notes. Maybe I'm missing something but I don't think there's a way out of this. There are two options: 1. preserve compatibility with the traditional staff by using the traditional note names and entering them as you would want the notes to appear on the traditional staff 2. abandon full compatibility with the traditional staff in order to be able to use the chromatic note names So, I still didnt understand how the dodecaPitchName snippet works. Basically it changes the default scale so that the staff no longer represents a diatonic scale but a chromatic one, a chromatic series of pitches. This is the ly:set-default-scale part. Then it takes the currently active pitchnames list (which is how LilyPond correlates note names to pitches), and keeps the names, but changes the pitches so that they correspond to the pitches of the chromatic scale that is now defined as the default scale. This is the ly:parser-set-note-names part. So after it's done its work, when you write cis it puts that note on a different staff line or space from c, because the name cis has been remapped to be a different pitch from c, within the now default chromatic scale. (Before cis would be the same pitch as c for purposes of placing it on the staff, but with a sharp alteration attached.) This is a completely different way of achieving a chromatic staff than the staffLineLayoutFunction approach that is used in MNP-scripts.ly and twinnote-scripts.ly. As I mentioned before: Paul Morris wrote [The ly:set-default-scale approach] avoids the inconsistency with tritones in \relative mode [when using custom chromatic note names]. That is the benefit of this approach. The downside is that the default scale is set globally, so it affects all staves. This means you can't have a file that includes staves based on different scales (say if you wanted to show a traditional staff alongside an alternative one, for comparison). Another possible downside is that accidental signs are not shown, so you can't override them with alternative signs (i.e. for using traditional nomenclature with an alternative/chromatic staff[2]). Using the staffLineLayoutFunction approach[1] on the other hand gives you the opposite set of benefits and downsides. [1] http://musicnotation.org/wiki/software-wiki/lilypond/ [2] http://twinnote.org/learn/accidental-signs/ Basically, once you do ly:set-default-scale in a file it changes the scale for all staves in the file. That's why you can't have both traditional and chromatic staves in the same file using this approach. And that's why blanking out those variables in your file was not restoring the standard staff -- they were not the part that was making the staff a chromatic staff. Ok, I hope that clarifies things some more. -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Feature-Request-Chromatic-note-names-tp145984p146061.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list
Re: Feature Request: Chromatic note names
Here's more explanation of the dodecaPitchNames snippet: http://lsr.dsi.unimi.it/LSR/Item?id=619 This part: #(ly:parser-set-note-names parser dodecaPitchNames) Calls dodecaPitchNames, which as I understand it, basically takes something like this as its input (the default pitchnames list): (ces . ,(ly:make-pitch -1 0 FLAT)) (c . ,(ly:make-pitch -1 0 NATURAL)) (cis . ,(ly:make-pitch -1 0 SHARP)) (des . ,(ly:make-pitch -1 1 FLAT)) (d . ,(ly:make-pitch -1 1 NATURAL)) (dis . ,(ly:make-pitch -1 1 NATURAL)) (ees . ,(ly:make-pitch -1 2 FLAT)) (e . ,(ly:make-pitch -1 2 NATURAL)) And turns it into this: (ces . ,(ly:make-pitch -1 -1 NATURAL)) (c . ,(ly:make-pitch -1 0 NATURAL)) (cis . ,(ly:make-pitch -1 1 NATURAL)) (des . ,(ly:make-pitch -1 1 NATURAL)) (d . ,(ly:make-pitch -1 2 NATURAL)) (dis . ,(ly:make-pitch -1 3 NATURAL)) (ees . ,(ly:make-pitch -1 3 NATURAL)) (e . ,(ly:make-pitch -1 4 NATURAL)) Notice the difference in the scale degree numbers just before NATURAL and the clearing of the alterations FLAT and SHARP. Again this is moving from a diatonic scale to a chromatic scale mapping. -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Feature-Request-Chromatic-note-names-tp145984p146062.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cygwin+lilypond
And now it's working. I don't understand what made it start. -David - Original Message - From: bobr...@centrum.is To: lilly pond discuss discuss lilypond-user@gnu.org Sent: Friday, May 17, 2013 8:41:19 PM Subject: cygwin+lilypond I posted my problem regarding not being able to run LilyPond from a CLI. The problem was solved when I realized there was a typo in the PATH Environment variable. It works now...mostly. I can run Lily just fine in Windows from cmd but from a cygwin bash shell it's a different story. I can execute 'lilypond -v' (or -h) and get a proper response but if I try to run a *.ly file almost nothing happens. The console contents do advance one line as though LilyPond is starting but that's it. Nothing else happens. There is no other console output and no activity in the directory of the *.ly file in question. Have I done something wrong or neglected to do something right? -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature Request: Chromatic note names
Well.. i may still think in a way to get that compatibility. But for now, i think i will use the chromatic names with dodecapitch thing, and keep the tritones to be manually corrected whenever I need the traditional staff. Hopefully never hahah! I think it is easier than keep in mind all the correct alterations... But, it HAS to be possible somehow. I mean, if you get a midi file, and drop it into encore for exemple. Encore often will show ALL the notes out of Cmaj as sharps, or all as flats. When you select the correct key signature, it makes the adjustments. So, maybe, if I export the chromatically written music to MIDI, open it with encore or finale, adjust the key signature, then exporting back to musicXML, then converting to lilypond again, and pasting in a traditional staff... then i finally get the correct pitches and correct tritones?? Maybe that would work. Can you imagine a shorter way? And, lets say i get it back to lilypond with the correct pitches /and tritones/, but the notes enharmonically wrong according to the key signature (lets say, e flats in a Emaj key, where should be d sharps). Doesnt lilypond has an smart transpose function that enharmonically changes notes? So i could always smart transpose anything to C major, and then use the normal transposition back to the desired key. In the Emaj with e flat exemple, in Cmaj it would be a c flat, so the smart transposer turns it into a B, then i use regular transposition to Emaj, and b becomes d sharp... Reading my own thoughts again, it sounds like a long and crazy way hahaha... But also sounds possible. Ill try that soon. Ill also see what I can do with the ledger lines, maybe I am able to write such scheme. But it seems that it will be tricky to get it working in \relative. much easier to set it when using absolute notation. I mean, i cant just make all fi's to add dashed ledger line, because some of them will be the fi4 in the middle of staff, therefore no extra dashed ledger line is needed... It also depends on the octave that the staff is displaying, so i cant also make all fi5 add a ledger line, because if i use the 5th octave clef, it will not be needed. Well, it is not a big problem anymore, i actually found a way to get both chromatic and traditional notations in the same file with the dodecapitch. It would just make thing easier. \version 2.16.0 \language english dodecapitch snippet music in chromatic staff \version 2.16.0 \language english NO dodecapitch snippet same music pasted here, in traditional staff its like starting a new file in the same page.. So when I click engrave, it displays both. This way the empty variables also work in the second part! -- View this message in context: http://lilypond.1069038.n5.nabble.com/Feature-Request-Chromatic-note-names-tp145984p146064.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
lol. try nigh impossible if you have absolutely no knowledge of the terminal. I tried frescoboldi in the windows environment and it sucked. I think for this arrangement for now I'll have alto2.ly, alto1.ly, soprano2ly, soprano 1-1.ly and soprano1.ly then the piano part.ly or what ever it will be. Hopefully I can then combine all the parts and stuff. This piece should when finished be sweet as it's been in my head for 3 years and I've always wanted to do this. Take care guys. On May 17, 2013, at 8:34 AM, Wim van Dommelen m...@wimvd.nl wrote: On 17 May 2013, at 03:26 , wjm wrote: After a lot of fiddling around I came up with this schema:- I use a similar approach. This approach is well-facilitated in Frescobaldi, using the point-and-click correlation between the output pane and the relevant input file. (Frescobaldi calls up the relevant .ily file even if it is not loaded at the time - a very convenient feature). Whether this would work well for someone with severe visual impairment or other disability, I don't know. Difficult to say, they use other graphical oriented programs, so my guess is managing Frescobaldi is probably doable. Another and much greater problem is that I noticed several of the blind users do use a Mac, and installing Frescobaldi on a Mac is not easy. Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
An idea for a systematic development of a large score.
A bit of my LP background - - - Several years ago I was asked by a local church-choir director to prepare a couple of pieces for use by other church-groups. He knew that I had used computers for preparing teaching and publication graphics of one sort or another, and that I had done a little music 'engraving' using an early version of Finale. When he suggested this project I reviewed my use of, and degree of familiarity with, Finale and decided that there should be another option, which eventually led me to Lilypond. All of the use I've made of LP since has been transcribing from mainly hand-written scores of unison or SATB choral works. The first few years were an uphill struggle, notwithstanding the existence of the Tutorial and Notation Reference manuals, and a really useful resource has been the User-list :) . Making use of templates and other completed LP files, and adapting snippets etc., made my experience a lot less 'rocky' than it might otherwise have been. I make no apology for making use of the vast experience of subscribers to this list and am grateful that so many have provided solutions to problems I've encountered from time to time. It was with this in the back of my mind that I offered the 'schema' in my earlier post in the hope that it would make life a little easier for other users, particularly those who, like me, regard themselves as 'new users'. :) Thanks to all, Regards, Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
Jan: When I click that link, I see this: http://lilypond.1069038.n5.nabble.com/file/n146067/Coriolan.jpg What am I supposed to see there? Are there examples or something? Thanks, Ben Jan Nieuwenhuizen wrote wjm writes: After a lot of fiddling around I came up with this schema:- That reads much like http://git.savannah.gnu.org/cgit/lilypond.git/tree/mutopia/Coriolan?id=60fdc53305e8628dad96b4ebea177bc6ee8d95cd what are we missing? Greetings, Jan -- Jan Nieuwenhuizen lt; janneke@ gt; | GNU LilyPond http://lilypond.org Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user - composer | sound designer -- View this message in context: http://lilypond.1069038.n5.nabble.com/An-idea-for-a-systematic-development-of-a-large-score-tp146017p146067.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
