LilyPond 2.22.0 exits with an error if DEBUG option is not given
Dear List. LilyPond 2.22.0 exits with error for one of my projects. Starting lilypond 2.22.0 [RV_381+BWV_980_score.ly]... Processing `/Users/tamura/Documents/LilyPond/Vivaldi RV 381 + Bach BWV 980/RV_381+BWV_980_score.ly' Parsing... Interpreting music... Exited with return code 11. In order to obtain more information, I used —log=DEBUG (in Frescobaldi “Engrave (custom)…”. Then the project compiled fine with no error. Starting lilypond 2.22.0 [RV_381+BWV_980_score.ly]... Log level set to 287 Relocation LilyPond binary has absolute file name: /opt/local/libexec/lilypond-bin Setting INSTALLER_PREFIX to '/opt/local' Using run-time value for datadir, setting it to '/opt/local/share/lilypond/2.22.0' Using run-time value for localedir, setting it to '/opt/local/share/locale' Using compile-time value for relocdir, setting it to '' Prepending '/opt/local/libexec' to PATH Setting PATH to '/opt/local/libexec:/opt/local/bin' Setting GUILE_MIN_YIELD_1 to '65' Setting GUILE_MIN_YIELD_2 to '65' Setting GUILE_MIN_YIELD_MALLOC to '65' Setting GUILE_INIT_SEGMENT_SIZE_1 to '10485760' Setting GUILE_MAX_SEGMENT_SIZE to '104857600' Effective prefix: '/opt/local/share/lilypond/2.22.0' PATH="/opt/local/libexec:/opt/local/bin" [] Guile 1.8 [/opt/local/share/lilypond/2.22.0/scm/lily-library.scm] [/opt/local/share/lilypond/2.22.0/scm/output-lib.scm] [/opt/local/share/lilypond/2.22.0/scm/markup-macros.scm] [/opt/local/share/lilypond/2.22.0/scm/parser-ly-from-scheme.scm] [/opt/local/share/lilypond/2.22.0/scm/file-cache.scm] [/opt/local/share/lilypond/2.22.0/scm/define-event-classes.scm] [/opt/local/share/lilypond/2.22.0/scm/define-music-callbacks.scm] [/opt/local/share/lilypond/2.22.0/scm/define-music-types.scm] [/opt/local/share/lilypond/2.22.0/scm/define-note-names.scm] [/opt/local/share/lilypond/2.22.0/scm/c++.scm] [/opt/local/share/lilypond/2.22.0/scm/chord-entry.scm] [/opt/local/share/lilypond/2.22.0/scm/skyline.scm] [/opt/local/share/lilypond/2.22.0/scm/markup.scm] [/opt/local/share/lilypond/2.22.0/scm/define-markup-commands.scm] [/opt/local/share/lilypond/2.22.0/scm/stencil.scm] [/opt/local/share/lilypond/2.22.0/scm/modal-transforms.scm] [/opt/local/share/lilypond/2.22.0/scm/chord-ignatzek-names.scm] [/opt/local/share/lilypond/2.22.0/scm/music-functions.scm [/opt/local/share/lilypond/2.22.0/scm/define-music-display-methods.scm] ] [/opt/local/share/lilypond/2.22.0/scm/part-combiner.scm] [/opt/local/share/lilypond/2.22.0/scm/autochange.scm] [/opt/local/share/lilypond/2.22.0/scm/define-music-properties.scm] [/opt/local/share/lilypond/2.22.0/scm/time-signature.scm] [/opt/local/share/lilypond/2.22.0/scm/time-signature-settings.scm] [/opt/local/share/lilypond/2.22.0/scm/auto-beam.scm] [/opt/local/share/lilypond/2.22.0/scm/chord-name.scm] [/opt/local/share/lilypond/2.22.0/scm/bezier-tools.scm] [/opt/local/share/lilypond/2.22.0/scm/define-context-properties.scm] [/opt/local/share/lilypond/2.22.0/scm/translation-functions.scm] [/opt/local/share/lilypond/2.22.0/scm/script.scm] [/opt/local/share/lilypond/2.22.0/scm/midi.scm] [/opt/local/share/lilypond/2.22.0/scm/layout-beam.scm] [/opt/local/share/lilypond/2.22.0/scm/parser-clef.scm] [/opt/local/share/lilypond/2.22.0/scm/layout-slur.scm] [/opt/local/share/lilypond/2.22.0/scm/font.scm] [/opt/local/share/lilypond/2.22.0/scm/encoding.scm] [/opt/local/share/lilypond/2.22.0/scm/bar-line.scm] [/opt/local/share/lilypond/2.22.0/scm/flag-styles.scm] [/opt/local/share/lilypond/2.22.0/scm/fret-diagrams.scm] [/opt/local/share/lilypond/2.22.0/scm/tablature.scm] [/opt/local/share/lilypond/2.22.0/scm/harp-pedals.scm] [/opt/local/share/lilypond/2.22.0/scm/define-woodwind-diagrams.scm] [/opt/local/share/lilypond/2.22.0/scm/display-woodwind-diagrams.scm] [/opt/local/share/lilypond/2.22.0/scm/predefined-fretboards.scm] [/opt/local/share/lilypond/2.22.0/scm/define-grob-properties.scm] [/opt/local/share/lilypond/2.22.0/scm/define-grobs.scm] [/opt/local/share/lilypond/2.22.0/scm/define-grob-interfaces.scm] [/opt/local/share/lilypond/2.22.0/scm/define-stencil-commands.scm] [/opt/local/share/lilypond/2.22.0/scm/scheme-engravers.scm] [/opt/local/share/lilypond/2.22.0/scm/titling.scm] [/opt/local/share/lilypond/2.22.0/scm/paper.scm] [/opt/local/share/lilypond/2.22.0/scm/backend-library.scm] [/opt/local/share/lilypond/2.22.0/scm/color.scm] [/opt/local/share/lilypond/2.22.0/scm/safe-lily.scm] Load lily.scm: 0.30 seconds Initializing FontConfig... Adding fontconfig configuration file: /opt/local/share/lilypond/2.22.0/fonts/00-lilypond-fonts.conf Adding fontconfig configuration file: /opt/local/etc/fonts/fonts.conf Adding fontconfig configuration file: /opt/local/share/lilypond/2.22.0/fonts/99-lilypond-fonts.conf Adding font directory: /opt/local/share/lilypond/2.22.0/fonts/otf Building font database... Processing `/Users/tamura/Documents/LilyPond/Vivaldi RV 381 + Bach BWV 980/RV_381+BWV_980_score.ly' Parsing...]] Using `nederlands' note names... Using
Re: crescendi/decrescendi on one note in Lilypond? and how does a pianist do this?
You hit the note then after a slight delay step the sustain pedal all the way down and then add vibrato. It gives on some nicely made pianos a nice bloom of sound. The trick is going into the note or chord with no pedal at all for the preceding short bit of music. Pictures at an Exhibition has such a thing in the Catacombs movement that this can be used. Anyway, that Is how I deal with the problem. -Shane On Sat, Jan 30, 2021 at 8:21 PM Kenneth Wolcott wrote: > Thank you all! > > On Sat, Jan 30, 2021 at 6:47 AM Noeck wrote: > > > > > How does a pianist do this? > > > > Scores can describe what a player should think or feel even though the > > note fades on its own in this case. > > > > > And, even more importantly, how to engrave this? > > > > You can search the list archives for "\after" a small function that can > > make it easier to do that (easier than manually create two voices which > > also works). > > > > Cheers, > > Joram > > > >
Re: crescendi/decrescendi on one note in Lilypond? and how does a pianist do this?
Thank you all! On Sat, Jan 30, 2021 at 6:47 AM Noeck wrote: > > > How does a pianist do this? > > Scores can describe what a player should think or feel even though the > note fades on its own in this case. > > > And, even more importantly, how to engrave this? > > You can search the list archives for "\after" a small function that can > make it easier to do that (easier than manually create two voices which > also works). > > Cheers, > Joram >
Re: grace, appoggiatura or acciaccatura? and at the beginning of the first measure?
Thank you all. I had read about this issue but did not understand
(until now). I have successfully engraved my example.
On Sat, Jan 30, 2021 at 8:34 AM Knute Snortum wrote:
>
> As for the double time signature problem, it is a known (and very
> old!) issue with grace notes. Click here:
>
> https://lilypond.org/doc/v2.20/Documentation/notation/special-rhythmic-concerns
>
> ...and scroll down to "Known Issues and Warnings". Basically, if you
> have two staves, both need to have a grace note. To suppress the
> engraving of the other grace note, use:
>
> /grace { s16 }
>
> ...or whatever the rhythmic time is. The "s" is what's important. It
> stands for "spacer".
>
> --
> Knute Snortum
>
>
> --
> Knute Snortum
>
>
>
> On Sat, Jan 30, 2021 at 1:17 AM Paul Scott wrote:
> >
> >
> > On 1/29/21 10:48 PM, Kenneth Wolcott wrote:
> > > Hello;
> > >
> > >I have two (only two at this time!) misunderstandings on how to
> > > properly engrave ornamental notes. The grace (?) notes are slurred
> > > (so not a grace note?) and occur at the beginning of a bar.
> > >
> > > Now the syntax: \grace { note(s) } followed by regular notes. This
> > > makes sense because the appoggiatura syntax and the acciaccatura have
> > > only one note allowed prior to the "regular" notes.
> >
> > \acciaccatura{ note1 note2, etc. } will allow as many notes as you need.
> >
> > Paul
> >
> >
> > >
> > > But the grace notes are not slurred?
> > >
> > > Why does the time signature get displayed after the "grace" notes as
> > > well is the beginning of the staff where it should be?
> > >
> > > I'm looking in Learning and Notation regarding grace, appoggiatura or
> > > acciaccatura. I do not understand how to resolve this conundrum.
> > >
> > > I have attached two screenshots of what I am using as a model to learn
> > > how to engrave with and the result I'm getting. from.png is the
> > > example I'm using, and result.png is the result.
> > >
> > > Thanks,
> > > Ken Wolcott
> > >
> > > Here's my Lilypond code:
> > >
> > > %%
> > > \version "2.20.0"
> > >
> > > global = {
> > >\language "english"
> > >\numericTimeSignature
> > >\key c \major
> > >\time 4/4
> > > }
> > >
> > > lh = \fixed c, {
> > >\global
> > >\clef bass
> > >
> > >
> > >\grace { e16 fs gs } a1 | % m1
> > >\grace { e16 fs gs } a1 | % m2
> > >\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m3
> > >\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m4
> > > %%
> >
Re: avoid alignment of hairpin and dynamic text
Le 30/01/2021 à 07:59, Werner LEMBERG a écrit :
Thanks a lot!
Note that `spanner-broken` is an internal property, not to be modified
by the user. A search in the code yields the command
`\breakDynamicSpan` as user syntax – introduced more than 10 years ago
in version 2.13.23... I will document that soon.
Excellent!
Unfortunately, it doesn't cover the case where a dynamic mark is
immediately followed by a hairpin:
{
<>^\markup { \typewriter "e''2\\f\\> f2\\p" }
e''2\f\> f2\p | \break
<>^\markup { \typewriter "e''2\\f\\breakDynamicSpan\\> f2\\p"
(doesn't work) }
e''2\f\breakDynamicSpan\> f2\p | \break
<>^\markup { \typewriter "e''2\\f\\> f2\\breakDynamicSpan\\p"
(works) }
e''2\f\> f2\breakDynamicSpan\p | \break
}
Can this be fixed easily? This is, making the hairpin listen to a
`BreakDynamicSpanEvent` at the creation time of a
`DynamicLineSpanner`? It's probably a special case, since the dynamic
mark *should* influence the horizontal position of the hairpin's
starting point.
At least I have not found a way to fix it easily :-(
Jean
Re: enteredby header
Hi,
please keep the discussion on the list, others may want to participate
cc-ing the list again
Am Sa., 30. Jan. 2021 um 21:58 Uhr schrieb Kuredant :
>
> On 1/31/2021 4:45 AM, Thomas Morley wrote:
> > Am Sa., 30. Jan. 2021 um 17:06 Uhr schrieb Kuredant :
> >> Hello,
> >>
> >> The "enteredby" header field is mentioned in
> >> https://lilypond.org/doc/v2.23/Documentation/snippets/titles#titles-demonstrating-all-headers.
> >>
> >> However, I can't find any reference to this field in the PDF output.
> >> Does anyone know how this field is used by LilyPond?
> >>
> >>
> > \header initiates a special module.
> > In general, one could assign whatever value to wharever key, like:
> >
> > \header {
> >foo = "FOO"
> >bar = "BAR"
> >buzz = "BUZZ"
> > }
> >
> > Those values may be used by other code, p.e. \bookTitleMarkup or
> > page-headers/footers, etc.
> >
> > I'm not aware "enteredby" is currently used by LilyPond, maybe mutopia
> > used it ... not sure, though.
> >
> > Anyway, here an example with custom header settings and a
> > bookTitleMarkup looking at it.
> >
> > myBookTitleMarkup =
> >\markup
> > \column {
> >\large \bold
> >\fill-line {
> > \fromproperty #'header:foo
> > \fromproperty #'header:bar
> > \fromproperty #'header:buzz
> >}
> >\bold \fill-line { \fromproperty #'header:enteredby }
> > }
> >
> > \paper {
> >bookTitleMarkup = \myBookTitleMarkup
> > }
> >
> > \header {
> >foo = "FOO"
> >bar = "BAR"
> >buzz = "BUZZ"
> >enteredby = "Harm"
> > }
> >
> > { R1 }
> >
> > Cheers,
> >Harm
> >
> > P.S.
> > there's a typo in the linked snippet: metre should read meter, which
> > indeed is called by the default bookTitleMarkup.
> > Now corrected inside LSR
> > http://lsr.di.unimi.it/LSR/Item?id=279
>
> Thanks for the info.
>
> If it was used by Mutopia, it doesn't seem to be anymore:
> https://www.mutopiaproject.org/contribute.html#update
>
> Since this snippet lists "all header fields with special meanings",
> wouldn't it be better to remove "enteredby"?
>
Well, in our code base we've currently 6 uses of setting "enteredby",
I'm not sure, if we should remove them.
Anyway, the title of the snippet "Demonstrating all headers" is
misleading. It tries to demonstrate all possible header-settings,
which will cause _printed_ output with default bookTitleMarkup, though
"texidoc", "enteredby" and "source" are not called by bookTitleMarkup
and thus not printed.
There are even a lot more established header-settings with special
meaning, but without printed output, see NR 3.2.3 Creating output file
metadata
Currently I've no good idea, how to improve docs/snippets or if this
is needed at all...
Cheers,
Harm
Re: Using circles in \tabFullNotation
Hi, (Also forwarding to the list, please keep it in CC.) Le 30/01/2021 à 16:57, Kuredant a écrit : Thanks a lot! I wouldn't have been able to come up with that myself. The code works very well, especially for chords. I have two minor issues: – The stem is right below the lowest fret number, but I'd like it in the middle of the circle. – The overrides apply to all notes regardless of their lengths (e.g. quarter notes also have a circle around them). For this issue I think I can check the source code for \tabFullNotation. This shouldn't be too complex so I'll try to figure it out for myself. > Your hunch is correct. Try this somewhat experimental > code (note that I am not sure how you are positioning the > TabNoteHead grobs horizontally, I used an X-offset). I didn't know how to change the horizontal position of a single TabNoteHead, thanks. My images come from a Japanese tab I scanned. I just wanted to mimic its style. Here is a new version. Beware that I am coding to my maximum capacity. In particular, I don't at all understand why LilyPond behaves the way it does in some parts of the code (see the comments). As you say, the two issues were not all too complex (when you know the functions at hand). However, after quite some time messing up with pure and unpure calls, I have not found a proper solution to handle the extents. Thus, you will have to do a very bit of manual spacing when dots are present. Maybe someone on this list can explain what is happening with X-offset (or maybe it will become obvious to me tomorrow). Best, Jean \version "2.23.0" % Define new grob properties used for Stem #(set-object-property! 'oval-thickness 'backend-type? number?) #(set-object-property! 'oval-x-padding 'backend-type? number?) #(set-object-property! 'oval-y-padding 'backend-type? number?) #(set-object-property! 'is-special 'backend-type? boolean?) #(define (calc-stem-is-special stem) "Only stems for half and whole notes are made special." (let* ((cause (event-cause stem)) (duration (ly:event-property cause 'duration))) (>= 1 (ly:duration-log duration % Amended from scm/stencil.scm, to use #t for filling #(define (filled-oval-stencil stencil thickness x-padding y-padding) (let* ((x-ext (ly:stencil-extent stencil X)) (y-ext (ly:stencil-extent stencil Y)) (x-length (+ (interval-length x-ext) x-padding thickness)) (y-length (+ (interval-length y-ext) y-padding thickness)) (x-radius (* 0.707 x-length) ) (y-radius (* 0.707 y-length) ) (oval (make-oval-stencil x-radius y-radius thickness #! #f !# #t))) (ly:stencil-add stencil (ly:stencil-translate oval (cons (interval-center x-ext) (interval-center y-ext)) #(define (coords-for-axis stem note-head-array note-heads axis) "Compute relative coordinates of note heads relative to the stem along given axis." (let* ((refpoint (ly:grob-common-refpoint-of-array stem note-head-array axis)) (note-head-coords (map (lambda (note-head) (ly:grob-relative-coordinate note-head refpoint axis)) note-heads)) (stem-coord (ly:grob-relative-coordinate stem refpoint axis)) (scaled-coords (map (lambda (coord) (- coord stem-coord)) note-head-coords))) scaled-coords)) #(define (custom-stem-stencil stem) "Draw a stem and an oval around all note heads found." (if (not (ly:grob-property stem 'is-special)) (ly:stem::print stem) (let* ((stem-stencil (ly:stem::print stem)) (oval-thickness (ly:grob-property stem 'oval-thickness)) (oval-x-padding (ly:grob-property stem 'oval-x-padding)) (oval-y-padding (ly:grob-property stem 'oval-y-padding)) (note-head-array (ly:grob-object stem 'note-heads)) (note-heads (ly:grob-array->list note-head-array)) ; The note heads have their X-offset property set ; by the \tweaks. Why the hell is it always zero ; here? ;(nothing ; (for-each (lambda (note-head) ; (ly:message "~s" (ly:grob-property note-head 'X-offset))) ; note-heads)) (relative-x-coords (coords-for-axis stem note-head-array note-heads X)) (relative-y-coords (coords-for-axis stem note-head-array note-heads Y)) (stencils (map tab-note-head::print note-heads)) (coord-pairs (map cons relative-x-coords relative-y-coords)) (translated-stencils (map ly:stencil-translate stencils
Re: errors when updating syntax
Le 30/01/2021 à 23:49, James B. Wilkinson a écrit :
As a slightly related aside, can somebody point me to an explanation
of the line of code that is cited in the error message?
sys.stdin = codecs.getreader('utf8')(sys.stdin.detach())
My Python skills don’t reach far far enough to grok that syntax.
thanks
It forces the standard input stream to be
read in UTF-8 encoding. See
https://stackoverflow.com/a/4374457
I’ll bet we both did the same thing: Google that line of code. I had
already found that same page on stackoverflow but the effect of that
line of code is not what interests me. It’s a syntactic construct that
I haven’t seen before, and it must have a name, and there must be an
explanation of it in the Python docs. That’s what I’m trying to find.
thanks
Hello,
There is no particular synctactic construct
in this, just function and method calls. Maybe
you are confused by
a(b)(c)
That only means that the function a, when called
on the parameter b, returns an object which is in
turn a function (more generally, a callable), that
you can call with the argument c. It is thus equivalent
to
temp = a(b)
temp(c)
Best,
Jean
Re: enteredby header
Am Sa., 30. Jan. 2021 um 17:06 Uhr schrieb Kuredant :
>
> Hello,
>
> The "enteredby" header field is mentioned in
> https://lilypond.org/doc/v2.23/Documentation/snippets/titles#titles-demonstrating-all-headers.
>
> However, I can't find any reference to this field in the PDF output.
> Does anyone know how this field is used by LilyPond?
>
>
\header initiates a special module.
In general, one could assign whatever value to wharever key, like:
\header {
foo = "FOO"
bar = "BAR"
buzz = "BUZZ"
}
Those values may be used by other code, p.e. \bookTitleMarkup or
page-headers/footers, etc.
I'm not aware "enteredby" is currently used by LilyPond, maybe mutopia
used it ... not sure, though.
Anyway, here an example with custom header settings and a
bookTitleMarkup looking at it.
myBookTitleMarkup =
\markup
\column {
\large \bold
\fill-line {
\fromproperty #'header:foo
\fromproperty #'header:bar
\fromproperty #'header:buzz
}
\bold \fill-line { \fromproperty #'header:enteredby }
}
\paper {
bookTitleMarkup = \myBookTitleMarkup
}
\header {
foo = "FOO"
bar = "BAR"
buzz = "BUZZ"
enteredby = "Harm"
}
{ R1 }
Cheers,
Harm
P.S.
there's a typo in the linked snippet: metre should read meter, which
indeed is called by the default bookTitleMarkup.
Now corrected inside LSR
http://lsr.di.unimi.it/LSR/Item?id=279
Re: Very Simple question
Hi Leonid, >> as a composer using the most advanced notation forms, and being disappointed >> by inability of both Sibelius and Finale to meet my needs, I turned recently >> to LilyPond and see that there is a real hope for me to typeset my old >> scores still waiting since 1960-s. I have downloaded all manuals and feel >> that there are some hidden smart tricks allowing most crazy notational >> phenomena. But when I look into 2.8 Contemporary music section of Notation, >> I see that most sub-chapters here are still empty. So my question to you - >> how soon I and other users may expect the appearance of exhaustive covering >> all kinds of notation like Stockhausen, early Penderecki, Lutoslawski e.a.? >> Some isolated moments of it I see in Snippets, but it is far from enough for >> me. My recommendation: 1. Try to engrave your first piece. 2. If/when you run into problems doing something, ask the list for help. 3. If that help is worth turning into documentation, do so yourself — alternatively, ask Someone Else™ to do so, and see if anyone does so. 4. Repeat the above steps until you finish engraving your first piece. 5. Repeat the above steps until you finish engraving all your pieces. Hope that helps! Kieren. Kieren MacMillan, composer (he/him/his) ‣ website: www.kierenmacmillan.info ‣ email: kie...@kierenmacmillan.info
Re: grace, appoggiatura or acciaccatura? and at the beginning of the first measure?
As for the double time signature problem, it is a known (and very
old!) issue with grace notes. Click here:
https://lilypond.org/doc/v2.20/Documentation/notation/special-rhythmic-concerns
...and scroll down to "Known Issues and Warnings". Basically, if you
have two staves, both need to have a grace note. To suppress the
engraving of the other grace note, use:
/grace { s16 }
...or whatever the rhythmic time is. The "s" is what's important. It
stands for "spacer".
--
Knute Snortum
--
Knute Snortum
On Sat, Jan 30, 2021 at 1:17 AM Paul Scott wrote:
>
>
> On 1/29/21 10:48 PM, Kenneth Wolcott wrote:
> > Hello;
> >
> >I have two (only two at this time!) misunderstandings on how to
> > properly engrave ornamental notes. The grace (?) notes are slurred
> > (so not a grace note?) and occur at the beginning of a bar.
> >
> > Now the syntax: \grace { note(s) } followed by regular notes. This
> > makes sense because the appoggiatura syntax and the acciaccatura have
> > only one note allowed prior to the "regular" notes.
>
> \acciaccatura{ note1 note2, etc. } will allow as many notes as you need.
>
> Paul
>
>
> >
> > But the grace notes are not slurred?
> >
> > Why does the time signature get displayed after the "grace" notes as
> > well is the beginning of the staff where it should be?
> >
> > I'm looking in Learning and Notation regarding grace, appoggiatura or
> > acciaccatura. I do not understand how to resolve this conundrum.
> >
> > I have attached two screenshots of what I am using as a model to learn
> > how to engrave with and the result I'm getting. from.png is the
> > example I'm using, and result.png is the result.
> >
> > Thanks,
> > Ken Wolcott
> >
> > Here's my Lilypond code:
> >
> > %%
> > \version "2.20.0"
> >
> > global = {
> >\language "english"
> >\numericTimeSignature
> >\key c \major
> >\time 4/4
> > }
> >
> > lh = \fixed c, {
> >\global
> >\clef bass
> >
> >
> >\grace { e16 fs gs } a1 | % m1
> >\grace { e16 fs gs } a1 | % m2
> >\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m3
> >\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m4
> > %%
>
enteredby header
Hello, The "enteredby" header field is mentioned in https://lilypond.org/doc/v2.23/Documentation/snippets/titles#titles-demonstrating-all-headers. However, I can't find any reference to this field in the PDF output. Does anyone know how this field is used by LilyPond?
Re: errors when updating syntax
Le 30/01/2021 à 08:08, James B. Wilkinson a écrit :
MacBook Pro Mavericks. I picked "Update Syntax" from the Lilypond Compile menu.
I added a line of code in the offending file asking it to print the Python version. It’s
2.6.6 and was created by Apple.
Just now I ran this:
/Applications/LilyPond.app/Contents/Resources/bin/convert-ly chloris.ly and
redirected the output into a file. Worked like a champ, and changed the version
in the file to 2.22. Opened that file in lily pond and compiled it; also worked
like a champ.
So I tried putting the python3 shebang line at the beginning of convert-ly.py
but discovered that it’s already there. Then I tried putting it in the file
lilylib.py that actually threw the error. It wasn’t already there, but adding
it did not fix anything. Somehow the decision to use the Apple 2.6.6 has been
made before it starts to read convert-ly.py, and nothing is going to change its
mind about that.
I’ll go send this to the bug list right now.
Thanks!
As a slightly related aside, can somebody point me to an explanation of the
line of code that is cited in the error message?
sys.stdin = codecs.getreader('utf8')(sys.stdin.detach())
My Python skills don’t reach far far enough to grok that syntax. thanks
It forces the standard input stream to be
read in UTF-8 encoding. See
https://stackoverflow.com/a/4374457
Best,
Jean
Re: crescendi/decrescendi on one note in Lilypond? and how does a pianist do this?
> How does a pianist do this? Scores can describe what a player should think or feel even though the note fades on its own in this case. > And, even more importantly, how to engrave this? You can search the list archives for "\after" a small function that can make it easier to do that (easier than manually create two voices which also works). Cheers, Joram
Re: lilypond-user Digest, Vol 218, Issue 81
Hey there Ken, In Lilypond, hairpins always span from the point where you start them to the next dynamic indication. If you want to end a hairpin without another printed dynamic indication, you use the \! command at the endpoint: c4\< d4 e4 f4 g1\> c1\! As far as how to play it, a piano can play a sustained note that decreases in volume just fine — just don’t ask them to do a crescendo. :-) More seriously, the screenshot you shared could indicate a gradual decrescendo in the left hand. It could just indicate that the notes to follow are quieter. A skilled live pianist can convey a sense of intensity or quietness via body language, even if the notes don’t actually get louder or quieter. Or it could just be that an unskilled composer or transcriptionist just wrote the music down and didn’t consider whether it was feasible. Take care, Mike Seifert > Hello; > > I have another simple engraving question. > > I frequently see a crescendo or decrescendo on a single note > (usually a whole note). > > How does a pianist do this? I can see a wind instrument or even a > string instrument doing this. > > And, even more importantly, how to engrave this? > > Two measure screenshot provided: first measure I understand; the > second measure I don't. > > Thanks, > Ken
Re: crescendi/decrescendi on one note in Lilypond? and how does a pianist do this?
Hi Ken,
On Sat, Jan 30, 2021 at 12:28 AM Kenneth Wolcott
wrote:
>
> Hello;
>
> I have another simple engraving question.
>
> I frequently see a crescendo or decrescendo on a single note
> (usually a whole note).
>
> How does a pianist do this? I can see a wind instrument or even a
> string instrument doing this.
It can be a description of the resulting sound rather than an
instruction for the pianist to execute. So just a visual reflection
of the fact that the note gets softer (of its own accord in the
sustained note here).
There's also the possibility that, for whatever reason--as a
psychological cue to the player, perhaps--something actually
impossible is being notated. Something like (off the top of my head):
{
a'1\p\<
4->-.\f\!
}
But in your example, the decrescendo applies to both staves. It looks
like there is motion in the cropped part.
(As an aside, there's interesting discussion of seemingly impossible
notation in early Romantic piano music in Rosen's The Romantic
Generation, IIRC.)
>
> And, even more importantly, how to engrave this?
>
If there is music beyond, simply end the hairpin on the following note or rest:
\version "2.21.5"
{
a'1\>
R1\!
}
If there is nothing, you could use a trick like ending the hairpin on
a zero-length spacer:
{
a'1\>
s1*0\!
}
(BTW, since the hairpins apply to both staves, you might consider
using a Dynamics context.)
> Two measure screenshot provided: first measure I understand; the
> second measure I don't.
>
> Thanks,
> Ken
Re: grace, appoggiatura or acciaccatura? and at the beginning of the first measure?
On 1/29/21 10:48 PM, Kenneth Wolcott wrote:
Hello;
I have two (only two at this time!) misunderstandings on how to
properly engrave ornamental notes. The grace (?) notes are slurred
(so not a grace note?) and occur at the beginning of a bar.
Now the syntax: \grace { note(s) } followed by regular notes. This
makes sense because the appoggiatura syntax and the acciaccatura have
only one note allowed prior to the "regular" notes.
\acciaccatura{ note1 note2, etc. } will allow as many notes as you need.
Paul
But the grace notes are not slurred?
Why does the time signature get displayed after the "grace" notes as
well is the beginning of the staff where it should be?
I'm looking in Learning and Notation regarding grace, appoggiatura or
acciaccatura. I do not understand how to resolve this conundrum.
I have attached two screenshots of what I am using as a model to learn
how to engrave with and the result I'm getting. from.png is the
example I'm using, and result.png is the result.
Thanks,
Ken Wolcott
Here's my Lilypond code:
%%
\version "2.20.0"
global = {
\language "english"
\numericTimeSignature
\key c \major
\time 4/4
}
lh = \fixed c, {
\global
\clef bass
\grace { e16 fs gs } a1 | % m1
\grace { e16 fs gs } a1 | % m2
\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m3
\grace { e16 fs gs } a4-. a4-. a4-. a4-. | % m4
%%
