Re: Multiple midi outputs
On 12/09/13 07:25, Hilary Snaden wrote: Is there a way of generating different midi outputs from a single Lilypond script, similar to using \book with \bookOutputName? Issue 1354 Cheers Ian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to force a superfluous CombineTextScript to be printed?
Hi Dominic,
Have you tried using \partcombineApart and \partcombineAutomatic? (See
code below). See also Notation Reference 1.5.2 - Automatic Part Combining
http://lilypond.org/doc/v2.17/Documentation/notation/multiple-voices
There are also \partcombineUP and \partcombineDOWN flavours of
\partcombine (same syntax as \partcombine) which force both the parts to
use the specified stem direction when combined.
The code below is still a work-round to get the a2 to print, but you
might want to use this as a template.
The \partcombine call is pretty horrible but this way you get the
\partcombinemumble directives applied to both parts without having to
add them individually to each the music for each instrument.
At the moment you get dynamics above and below the combined stave, but
you could control this with tags on the flutedyn variable so it only
gets used when you're print out the flute part.
Hope this gives you some ideas to work around the restriction without
too much pain (and typing) in your big score.
HTH, Cheers,
Ian
%-
\version 2.17.25
\language english
pieceSettings = {
\key d \major
\time 6/8
}
aduetext = \markup \bold a2
% TODO - split dynamics and \partcombine commands into separate
% variables flutedyn and flutepartc ?
% Use tags 'score and 'part so fluteTwo will only print dynamics
% when printing the part out and not the score.
% OR use this below
%
% \flutedyn % variable with spacers and dynamics
% {
% \compressFullBarRests
% \partcombine
%
% \flutepartc % variable with spacers and
% % \partcombinexxx
% \fluteOne
%
%
% \flutepartc
% \fluteTwo
%
%
flutedynsetc = {
\partcombineApart
s4\mf\ s8 s4 s8 | % bar 1
s2. | % bar 2
s4\!
\partcombineAutomatic
% unison
s8 s4 s8| % bar 3
s2. | % bar 4
% MMR in flute parts
s2.*2 | % bar 5-6
\partcombineAutomatic
s4\f^\aduetext s8 s4 s8 | % bar 7
\partcombineApart
s2. | % bar 8
s2.*2 | % bar 9 - 10
s4 s8 s4
\partcombineUnisono s8| % bar 11
\partcombineAutomatic
s2.*2 \bar || % bar 12 - 153
}
fluteOne = \relative c' {
\pieceSettings
% apart
d'4 e8 fs g a | % bar 1
a4 b8 cs d cs | % bar 2
% unison
d4 d8 d4 d8 | % bar 3
R2.*3 | % bars 4 - 6
d4 d8 d4 d8 | % bar 7
d8 cs b cs b cs | % bar 8
% apart
r4 r8 a g fs | % bar 9
e8 fs e d cs a| % bar 10
b8 a g fs e d | % bar 11
% unison
cs'8 b8 a g fs e | % bar 12
d4 d8 d4 d8 \bar || % bar 13
}
fluteTwo = \relative c' {
\pieceSettings
% apart
fs4 g8 a b d | % bar 1
r4 r8 e fs a | % bar 2
% unison
d4 d8 d4 d8 | % bar 3
R2.*3 | % bars 4 - 6
d4 d8 d4 d8 | % bar 7
d8 cs b cs b cs | % bar 8
% apart
g8 a g fs e d | % bar 9
cs8 d cs b a fs | % bar 10
g8 fs e d cs d| % bar 11
% unison
cs'8 b8 a g fs e | % bar 12
d4 d8 d4 d8 \bar || % bar 13
}
\score {
\new Staff \with { instrumentName = Flutes
printPartCombineTexts = ##t
soloText = #Fl. 1
soloIIText = #Fl. 2}
{
\compressFullBarRests
\partcombine
\flutedynsetc % TODO
% change to \flutedyn and \flutepartc
\fluteOne
\flutedynsetc % TODO
% change to \flutedyn and
% \flutepartc
\fluteTwo
}
}
On 20/08/13 08:53, Dominic wrote:
Consider the following minimal example:
/\version 2.17.20
fluteOne = \relative c' { \repeat unfold 2 { c'8 d e f g2 | R1*8 } }
fluteTwo = \fluteOne
\score {
\new Staff \with { instrumentName = Flutes }
{ \compressFullBarRests \partcombine \fluteOne \fluteTwo }
}/
If two instruments are playing in unison for a long while, and continue to
do so even following a multi-measure rest, I want a reminder 'a2' to be
printed where they resume (i.e. in the 3rd bar of the example). In a large
orchestral score, it is useful to have reminders even if they are
technically superfluous, especially when the second one is on a different
page. I need a function that effectively says Take whatever the previous
CombineTextScript said, and reprint it at the given location
I have tried explicitly inserting /partcombineUnisono/ or turning
/printPartCombineTexts/ off then immediately on again, in an attempt to jolt
Lilypond into forgetting any prevailing a2 status, but
Re: An idea for a systematic development of a large score.
Hi wjm and list, On 17/05/13 02:26, wjm wrote: Greetings! After watching Sarah K Alawami's work on a score recently on this user-list, but not having the musical and compositional skills to make constructive remarks, and after reading the thread entitled 'stylesheet structure', it occurred to me that an approach might be found which might make the whole process a little less opaque. snip Here is a pointer to some of the templates referenced in the Learning Manual as Appendix A5: (development version documentation) http://www.lilypond.org/doc/v2.17/Documentation/learning/orchestral-templates (stable version documentation) http://www.lilypond.org/doc/v2.16/Documentation/learning/orchestral-templates If you want to invest a bit more time, there are a couple of packages which allow you to set up large score if you invest a bit of time in the learning curve, both of which I have used. One is Reinhold Kainhofer's orchestrallily, which is at http://reinhold.kainhofer.com/orchestrallily/index.html#The-Orchestrallily-Package There is a pointer to download the file at that address. Once downloaded, you may need to run it through convert-ly if running a version of LilyPond after V2.14. Reinhold has had to bow out of actively participating in the LilyPond lists, but I'm sure he'd be OK answering any queries from people using the package. The other possibility is Mark Witmer's ly-score package at github - see www.github/mwitmer/LyUtil#readme. Hope this is useful. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Enhancement request, add a new command to fill the rest of staff with blank space
Dear ghe I'd like to emphasize David's response about you continuing to user V2.14.2 in the long-term. There is absolutely nothing stopping using V2.16.2 on Debian, as far as I know. There are several advantages and very few disadvantages to doing this: o V2.16.2 is the latest stable release, if you do have a problem, it is easier for developers to check it out and reproduce it than with a historic stable release like 2.14.2. This means that you're more likely to get a response here or on the bugs list. o Using V2.16.2 will make it easier to upgrade to future stable releases of LilyPond. o There are a load of enhancements in V2.16.2 which make LilyPond easier to use and program, particularly in conjunction with some of the editors such as Frescobaldi, LilyPondTool in JEdit, Eclipse, and even (Lord, help us) Emacs and Vim. o The V2.16.2 documentation's better and more complete even than the docs for V2.14.2. If there are some things that don't work the same way in 2.16.2, they are most likely covered by using convert-ly. I'd just like to make a few observations that would help you get more and maybe quicker responses to you posts. Please add a subject line to your posts. I'm breaking my own personal rule here that I don't generally reply to such posts. I've just had to spend extra time hunting down your original post to find out what it's about. Maybe you could give us a better indication of who you actually are? Most of us on the LilyPond lists are reasonably friendly and house-trained, and it feels more comfortable talking to a human name than a mailbox alias. Hope this helps, Cheers, Ian Hulin On 12/05/13 17:01, David Kastrup wrote: g...@sdf.org writes: Alas, I use 2.14.2... Why? Because I use Debian, and the version of LilyPond in testing is 2.14.2. I tried to install the 2.16.0 from Debian experimental, but for some reason the overall layout of my scores was changed, for worse. Perhaps I should have tried to fix the problem Or report it so that it can be fixed. instead of downgrading, but I did not have the time to do so. Using 2.14 will not remain feasible for all the future. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: publish music book
Hi Jim, On 22/04/13 20:17, Jim Tisdall wrote: I'm preparing a book for publication. snip.. Lilypond has several methods to combine text and examples. One is lilypond-book, but due to the many examples in my chapters, I find that is too slow, so I'm deciding on other ways to include the graphics. No problem since everything is made possible, especially for a programmer. Probably some combo of lilypond with make. snip... Peace, Jim One possibility may be to use OpenOffice/LibreOffice with the OOOLilyPond extension to and then translate that to lilypondbook + snippets. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get a book twice with different page-footers?
Hi Harm,
Many thanks for the work-round, I'd found this problem too a while ago,
but am only just catching up with this list.
Cheers, :-) Ian
On 22/03/13 21:27, Thomas Morley wrote:
Hi Jan-Peter,
thanks for your reply.
2013/3/22 Jan-Peter Voigt jp.vo...@gmx.de:
Hello Harm,
I don't have a solution, but I found, that not-first-page is not defined in
the global space. You can't access it with $(display not-first-page).
Yep.
That's the problem.
If you (re-)define a procedure #(define (not-first-page layout props arg)
(interpret-markup layout props arg)) the example compiles.
So propably there is a way to expose the needed functions/vars to another
scope?
I found a very simple solution:
Instead of redefining all definitions from /ly/titling-init.ly I
simply include titling-init.ly
Et voil�:
\version 2.16.2
\include titling-init.ly
myname = #(ly:parser-output-name parser)
oddFooterMarkupI =
\markup \fill-line { XYZ }
oddFooterMarkupII =
\markup {
\on-the-fly #not-first-page
\fill-line { \with-color #red 123 }
}
writeBookTwice =
#(define-void-function (parser location book)
(ly:book?)
; process with oddFooterMarkupI
(ly:output-def-set-variable!
(ly:book-paper book)
'oddFooterMarkup
oddFooterMarkupI)
(ly:book-process
book
$defaultpaper
$defaultlayout
myname)
; process with oddFooterMarkupII
(ly:output-def-set-variable!
(ly:book-paper book)
'oddFooterMarkup
oddFooterMarkupII)
(ly:book-process
book
$defaultpaper
$defaultlayout
(format ~a-other-footer myname)))
\writeBookTwice
\book {
\bookpart { \repeat unfold 2 { c''1 \pageBreak } }
\bookpart { \repeat unfold 2 { cis''1 \pageBreak } }
}
Works.
Though, I've to test it with some larger real-life-examples.
Cheers,
Harm
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Re: call for italian users: translation of feathered beams and other terms
Hi Federico and Davide, In English we use the Italian work portamento when singers or players want to scoop between notes. Aren't doit and fall forms of portamento without a define start/end note? Doit (pron do-it) is a portamento up to the notated pitch, Fall is a portamento down from the notated pitch (hence falling off the note. HTH Cheers, Ian On 10/04/13 21:47, Federico Bruni wrote: 2013/4/10 Davide Liessi dal...@gmail.com mailto:dal...@gmail.com direct I can't understand this glossary entry, since there isn't enough context. I don't think it is specifically a musical term, and I couldn't find occurrences of direct in NR with a different meaning from the usual, literal, common one. Why is direct in the glossary? Why is it related to custos? no idea, I'll leave it untranslated doit fall Don't know an Italian term for these; maybe you could translate them like they did in German: glissando indeterminato verso l'alto/il basso or ... verso l'acuto/il grave. I think that it refers to bending. We don't have a term in italian. Maybe: piegatura della nota verso l'alto/basso (bending) ___ 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: force bookpart to start on left-hand page?
Hi Kieren,
On 10/01/13 18:24, Kieren MacMillan wrote:
Hi all,
Is there a way to force a bookpart to start on a left-hand page?
(i.e., to leave a blank page if necessary)
There's no direct way of doing this easily at the moment. I think this
is worth forwarding to the bugs list as an enhancement request, probably
getting hold of
\on-the-fly \fromproperty header:first-page-number and
working out the current page and wrapping these up as recto? and verso?
predicates, so you could do some scheme-function type stuff
forcelefthandpage = #(define-scheme-function ( layout )
(let* ((current-page (stuff to get hold of current output page))
(fpageprop (get hold of header first page))
(thepageno (- current-page fpageprop)))
(if (even? thepageno)
(#{ \pagebreak
\markup {\null} #})) ) )
Probably we could supply builtin recto? and verso? predicates so this
could be simplified to
(if (recto?)
(#{...#}))
Cheers, Ian
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Re: Robustly include project-specific scheme files?
On 21/10/12 22:00, Reedmace Star wrote: Dear LilyPond users, when working on LilyPond projects that require scheme coding, I sometimes find it convenient to collect scheme definitions in an external (but project specific) .scm file. Currently, I then simply call guile's load function to include it. Typical minimal setup: --- file my-scheme-defs.scm (same directory as master.ly) --- ;;; scheme definitions... --- file master.ly --- \version 2.16.0 #(load my-scheme-defs.scm) %% do something ... --- This, however, only works when calling lilypond on master.ly from that same directory. The load command looks for the .scm file in the present working directory, but not in the directory containing the including file. No such restriction applies with the \include command, which works exactly as expected. And in fact I like to occasionally compile a .ly file from a different directory, usually to collect output files from a run with non-standard parameters. So I'm looking for a reasonably concise method to make this work with scheme loads, too. One obvious solution would be to shell out '#' prefixes and put everything into LilyPond include files, but that's not really pretty, if only because editors do a better job at syntax highlighting and indentation with pure scheme files than with embedded scheme code. Is there a better way? Best regards, Reedmace Star If my-scheme-defs.scm is in path my-scheme-dir --- file master.ly --- \version 2.16.0 % allow guile to find your file. #(set! %load-path cons(my-scheme-dir %load-path)) #(load-from-path my-scheme-defs.scm) %% do something ... --- Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilybin
Hi Martin, On 22/09/12 23:24, Martin Tarenskeen wrote: When will www.lilybin.com be updated to use lilypond 2.16 (stable) or 2.17 (devel) ? Lilybin is layered on LilyPond and is not part of the base project. The author is Trevor Dixon (trevordi...@gmail.com). Either e-mail him direct or reply to the original thread entitled LilyBin Launch on the lilypond-user mailing list. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dynamics contexts
Hi James,
How about
\score {
\new Staff = tset \relative c' { c4 b d c e d f e}
\new Dynamics {
\override TextSpanner #'(bound-details left text) = text
\textSpannerUp
% --
\dynamicDown
% --
s4\startTextSpan s1_\ s4\! s_\p s\stopTextSpan
\textSpannerNeutral
\dynamicNeutral
}
}
\score {
\new Staff = tset \relative c' { c4 b d c e d f e }
{
\override TextSpanner #'(bound-details left text) = text
s4\startTextSpan s1_\ s4\! s_\p s\stopTextSpan
}
}
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Re: NR 4.1.6: blank-last-page-force and penalty values
Hi Joe, On 11/08/12 06:28, Joe Neeman wrote: On Fri, Aug 10, 2012 at 7:28 PM, Federico Bruni fedel...@gmail.com mailto:fedel...@gmail.com wrote: NR 4.1.6, \paper variable for page breaking http://lilypond.org/doc/v2.15/__Documentation/notation/other-___005cpaper-variables#___005cpaper-variables-for-page-__breaking http://lilypond.org/doc/v2.15/Documentation/notation/other-_005cpaper-variables#_005cpaper-variables-for-page-breaking I'd like to force the add of a blank page in case the number of pages in a book is odd. I guess I should use blank-last-page-force. I had a look at ly/paper-defaults-init.ly http://paper-defaults-init.ly to see the default values and I see that penalty values are numbers. Default value of blank-last-page-force is 0, so I guess that as I increase the number it's more likely to get the blank page. No, lilypond will never put a blank page at the end. You could probably achieve that in a pdf editor.� Also, the definition is not very clear, because it doesn't say explicitly what it actually does.. you have to guess it: ### blank-last-page-force The penalty for ending the score on an odd-numbered page. ### If you make blank-last-page-force large and use ly:page-turn-breaking, then lilypond will be unlikely to produce a score where the last page is odd-numbered. Instead, it will adjust the spacing in order to use one page more or fewer. How about calling this property allow-widow-recto-last-page? Maybe it's a bit of a mouthful, but it describes what it does on the can: the higher you set the value the less likely it is that ly:page-turn-breaking will produce a last page that is recto page if you're interested in doing duplex printing when you produce the PDF. Widow is used for lonely single lines in typography when the rest of the paragraph is set after a page break. Recto (normally) means odd-numbered (if you're starting page numbering at 1) because it's the right-hand page of a double-page spread, verso is the left-hand page of the spread, and is generally even-numbered. Just a thought I had in the bath after reading this thread. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TextSpanner duplicates text after \break
Hi Daniel, On 15/08/12 09:28, Daniel E. Moctezuma wrote: I would like to suggest to add this to the official docs (is very useful), by the way. Also I did notice that solution *doesn't* work with *ottava*, what would you suggest in this case? Maybe \override OttavaBracket #'(bound-details left-broken text) = ##f ? Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ERROR: Unable to find file ice-9/boot-9.scm in load path
Hi Damian, 1. Try running up lilypond with --loglevel=DEBUG, you'll see a lot more about directories and the values for PATH etc. 2. Guile does *not* like lists being passed to it as GUILE_LOAD_PATH or as -L prompt from the command line. It is absolutely not parsed like the bash shell PATH. These get simply added to Guile's %load-path variable, which is a scheme list. 3. LilyPond in its start-up code prepends its own root directory (let's call it $LILYPOND_DATADIR) *and* $LILYPOND_DATADIR/scm to guile/scheme's %load-path variable. 4. Run up the guile REPL from the command-line and type guile %load-path You should see something like: guile %load-path (/usr/local/share/guile/site /usr/local/share/guile/1.8 /usr/local/share/guile) guile Cheers, Ian On 21/01/12 13:20, Damian leGassick wrote: On 21 Jan 2012, at 13:09, James wrote: Hello, On 21 January 2012 12:55, m...@apollinemike.com m...@apollinemike.com wrote: On Jan 21, 2012, at 1:47 PM, Damian leGassick wrote: On 21 Jan 2012, at 12:08, Damian leGassick wrote: Hi I've seen this before and a search through the list says it was fixed in 2.14 just upgraded to 2.15.26 and i get GNU LilyPond 2.15.26 ERROR: In procedure primitive-load-path: ERROR: Unable to find file ice-9/boot-9.scm in load path is there a simple fix for this? I've tried adding the ice-9 folder to the PATH echo $PATH gives: /usr/local/git/bin:/usr/texbin:/usr/X11/bin:/usr/bin:/bin:/usr/sbin:/sbin:/usr/local/bin:/opt/local/bin:/Applications/LilyPond.app/Contents/Resources/bin:/Applications/LilyPond.app/Contents/Resources/share/guile/1.8/ice-9:/usr/texbin Ok - I get that it's I it's a guile error message I added export GUILE_LOAD_PATH=/Applications/LilyPond.app/Contents/Resources/share/guile/1.8 to my .bash_profile guile now launches in the terminal without the error, but lilypond still won't Damian (btw, Mac OSX10.6.8) Damian, I've cc'ed my response to the bug list - this should be opened up as an issue on the tracker. What would help a lot is if you added things to your PATH variable until LilyPond started working and let us know what the key addition(s) proved to be. Also, make sure to open a new terminal window every time you modify .bash_profile (I'm not assuming that you are not doing this, but I forget to do this all the time, so I figured it was worth saying). Also, and I had this same message on my Linux Box, and found it was to do with the relation of where I ran the command and where the file I am running LP on. So, for example if you use Terminal and cd *into* the same dir as the .ly file do you get the same message? -- -- James James, you are correct - cd-ing into the directory works, thanks Mike - I tried adding everything I could think of (I'm not a guile expert!) but couldn't make progress beyond: export GUILE_LOAD_PATH=/Applications/LilyPond.app/Contents/Resources/share/guile/1.8 export GUILE_LOAD_PATH=$GUILE_LOAD_PATH:/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm which gives the error: GNU LilyPond 2.15.26 /Applications/LilyPond.app/Contents/Resources/share/guile/1.8/srfi/srfi-1.scm:223:1: In procedure dynamic-link in expression (load-extension libguile-srfi-srfi-1-v-3 scm_init_srfi_1): /Applications/LilyPond.app/Contents/Resources/share/guile/1.8/srfi/srfi-1.scm:223:1: file: libguile-srfi-srfi-1-v-3, message: file not found Damian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 1.9.5, last beta before 2.0.0
Hi Wilbert, On 20/12/11 10:15, Wilbert Berendsen wrote: Hi all, Frescobaldi 1.9.5 has been released with the following changes since 1.9.4: * Updated translations: es, nl, cs * Bug fixes: - charmap now avoids characters narrow builds of Python can't handle - fix incorrect midi tempo when midi file contains tempo changes - fix importing the pyportmidi._pyportmidi module if that is used - really honor 'delete intermediate files' option * New features: - Documents list with optional per-directory grouping - helper applications can be specified to override operating system defaults - list of generated files in LilyPond menu * Improvements: - tooltips in music view show variable name of music definition - search bar in documentation browser - autocomplete on \include, \language - other small cosmetic improvements Download: https://github.com/downloads/wbsoft/frescobaldi/frescobaldi-1.9.5.tar.gz Please test and enjoy; if no big bugs will be found, this will become 2.0.0 on December 26th, 2011. Have you got a debian or Ubuntu package that sorts out all the dependencies for Poppler, PyQt4 and popplerqt4? I've not been able to install these by hand on Ubuntu 11.10 yet, and get Frescobaldi Music View going. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cuenotes are not displayed
Hi Stefan,
Should the \addQuote say rigth or right?
Cheers, Ian
On 15/10/11 20:46, Stefan Thomas wrote:
Sorry, there was a mistake with right and rigth. It should be
right in both cases!
2011/10/15 Stefan Thomas kontrapunktste...@googlemail.com
mailto:kontrapunktste...@googlemail.com
Dear community, in the following snippet the cuenotes are not
displayed. I think it has to do with the PianoStaff-context in the
Staff right. Is there a way to force lilypond to show the
cuenotes, without erasing the command \set
PianoStaff.instrumentName = Piano? Here is my snippet:
\version 2.14.2 right = { \set PianoStaff.instrumentName =
Piano c'' 4 g' a' b' c'' 4 d'' e'' f'' g'' 1 }
\addQuote rigth { \right }
^^^
typo?
anothoerinstrument = { c' 1 \cueDuring #right #UP { R1 } c'1 }
\score { \keepWithTag #'cued \new Staff \anothoerinstrument
}
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Re: fretboard diagram : removing the fret number on the side
Hi Marc, Carl and David, On 21/12/10 07:51, David Kastrup wrote: Carl Sorensen c_soren...@byu.edu writes: On 12/20/10 8:57 PM, Marc Mouries m...@mouries.net wrote: The fret diagram prints a fret number indication on the right that is confusing from a Violinist perspective. Is there any option for the fret diagram not to print it? Unfortunately, right now there is no way to change it. For instance, in the 2nd D chord i'd like to get rid of the iv or print i because on the Violin it is more helpful to think in terms of position than fret as there is none. So do you want fret indications in your violin fret diagrams? And how is the position calculated? You can't really calculate it all too well. In first position, the pinky is in the current scale a fifth above the empty string. In half position, it is a diminuished fifth, while the index finger is a half step above the empty string (if the index finger is a half step above the empty string, but the pinky is still a full fifth, it is not half position since you can still sound the next empty string). In third position, the index finger is a fourth above the empty string. Basically, the position more or less concerns the relation between the current scale and the hand position and fingering and is a somewhat fuzzy concept when the number of accidentals rises. I think it means slightly different things for different instruments, Some years ago I learnt some very basic Classical Guitar. If I remember right, 'position' meant you moved the thumb up behind a fret as if you were getting ready to barré a chord. So first position meant your thumb was behind the fifth fret (i.e. a fourth up). It looks like violin/viola/cello naming/numbering of positions is different because the instruments are tuned with intervals of a fifth between the strings instead of a fourth. It seems possible that we could put an option in to label the position instead of the fret. But at this point I don't know how to calculate the position. The position is not independent of the fingering. Indicating a position would only make sense in fret diagrams if you also spell out the fingering. I don't know whether there is any established scheme for that with violins. Don't know. Playing noddy-level classical guitar was as far as I got in finding out about the Dark Side (string-playing). Maybe better-informed people (Graham?) can let us know about all this. Then we can work out what the user requirement may be. Then we (probably Carl) can determine whether we can/should extend the fretboard facilities to cater for it. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \lyricmode and lyrics with numbers
Hi Szelga, Phil
On 28/09/10 14:36, Phil Holmes wrote:
- Original Message - From: szelga szelga@gmail.com
To: lilypond-user@gnu.org
Sent: Tuesday, September 28, 2010 1:54 PM
Subject: \lyricmode and lyrics with numbers
i have a .ly file imported from musescore. it has lyrics on church
slavonic
langiage which include numbers and other non-standard stuff (which,
with proper
fonts is rendered as proper church slavonic text). here is an example:
ApartAverseA = \lyricmode { \set stanza = 1. Хва -- ли1 -- те и4
-- мz Го --
спо1 _ дне. А#л -- ли _ лy _ і -- а. }
of course this is not processed correctly by lilypond. can i somehow
escape
these symbols to get a correct output?
Place the phrase which includes the number in inverted commas. и4
should do it.
Szelga, are you saying the Old Church Slavonic text looks OK in
musescore, but gets mangled during the export to LilyPond? If so, could
you tell us how the text should look.
Also, is the file produced by muscore encoded as UTF-8?
Phil, I think Szelga wanted to do the exact opposite of what you
suggested, the digits interspersed in the text are noise.
Cheers,
Ian
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Re: Help needed - missing .pdf file after running lilypond sucessfully. (MING TSANG)
Ming,
First of all see if your lilypond version is OK.
Click on the Windows Menu Button and Select the Run option. When the
window pops up type in cmd and click OK to start a terminal session.
The prompt should tell you you're in the My Documents directory for
your account.
Enter notepad test.ly and press the enter key.
In the notepad editor, type in
\version 2,12.0
\relative c' { c1 \bar |.}
Now do lilypond test.ly
Does this produce test.pdf on the directory? (Do
dir test.*
to find out.
If it does, this shows you Lilypond installation is OK.
If it is OK at this stage, fire up jedit and open test.ly. If
Lilypondtool is installed correctly you should see the pdf output in the
PDF viewer pane. Now try adding another note or something to test.ly
e.g. change the \relative block to
\relative c' { c1 | d1 \bar |.}
and compiling in Lilypondtool. If this fails it may mean there is
something wrong with the command Lilypondtool is generating to do the
compilation.
However, now go back to the cmd window where you compiled test.ly, and
change your working directory to the folder with your problem .ly file.
Do this by using the cd command
cd C:/Documents and Settings/Administrator/Desktop/LILY_POND
now use the following command from the command line
lilypond --verbose more-love-to-thee.ly
What messages do you see?
Btw has your Windows user account got write access to the Administrator
user's Desktop folder?
Also, try doing this in your Jedit session in the Console pane.
cd C:/Documents and Settings/Administrator/Desktop/LILY_POND
Now try clicking on the LilypondTool compile button in Jedit. Are the
results any different?
Cheers,
Ian Hulin
On 24/09/10 19:56, MING TSANG wrote:
Fr. Gordon,
The jedit version is 4.3.2; lilypond is v2.13.33. I see the viewer icon. I
single click it and it displays nothing. It is because the .pdf file is not
created even though the jedit console says it did generate a .pdf file.
Ming.
From: Father Gordon Gilbert fatherg...@gmail.com
To: tsan...@rogers.com; Lilypondusers Group lilypond-user@gnu.org
Sent: Fri, September 24, 2010 1:36:56 PM
Subject: Re:Help needed - missing .pdf file after running lilypond
sucessfully.
(MING TSANG)
Hi!
I have used Lilypondtool both on Windoze, and on Ubuntu, and the toolbar
immediately above the open file has little icons for everything you need.
One
of them is a tiny sheet of paper representing the PDF option. Do you have
that
on your version? If so, simply click that (once not twice) and your PDF
should
appear in a separate window in jEdit's native PDF viewer. Especially if your
compilation creates a ./ file name as I see it does.
Hope this helps.
Gordon+
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Re: Fw: Help needed - missing .pdf file after running lilypond sucessfully.
Ming, On 24/09/10 23:15, MING TSANG wrote: Hi, neuro: I think you problem can be resolved. Please refer to vol94 issue 94 message 3 from Phil Holmes. If you are not absolutely need .ps, don't try. My problem is after I added as suggested from Phil Holmes, I got the .ps file and I lost .pdf file. I comment out the line #(ly:set-option 'delete-intermediate-files #f) and re-run lilypond, but I lost both .ps and .pdf since. It has been a couple of days. I have been asking help from lilypond users to resolve. I now wait for help from lily4jedif user. Lilypond users: I run Command line lilypond (CMD.EXE) as c:Documents and Settings\Administrator\Desktop\LILY_PONDlilypond -f --pdf more-love-to-thee.ly and I get the following error message: GNU LilyPond 2.6.5 This means you have an ancient version of Lilypond installed on your machine, and the \version in your source file specifies a later Lilypond version as the minimum valid version. Make sure you're running in an account with administrator privileges, You need to download the latest LilyPond Version from the website (go for version 2.13.34 if you can, and save it in downloads directory). You should now de-install Lilypond 2.6.5 (there should be an Uninstall option in your Start | All Programs | Lilypond Menu. Once you've uninstalled V2.6.5, run the exe you have downloaded to install Lilypond 2.13.34. Run this command from the cmd window lilypond It should tell you it's running version 2.13.34. Now try your test again. Cheers, Ian error: Incorrect lilypond version: 2.13.32 (2.3.22, 2.6.5) Can anyone show me how can I set up CMD to run v2.13.33? I uninstall v2.6.5 and install v3.13.33 - how come I am still running v2.6.5. Thanks everyone, Ming. From: neuro黃å¸ä» neu...@gmail.com To: MING TSANG tsan...@rogers.com Cc: lilypond-user@gnu.org Sent: Fri, September 24, 2010 2:09:48 PM Subject: Re: Fw: Help needed - missing .pdf file after running lilypond sucessfully. Dear Dr. Tsang You might want to check out lilypond --help Actually, I have met similar, (or more precisely, reverse,) problems when I run 2.13.33 last month. It seems, lilypond have output a pdf file, without a ps file as the ps file was converted to pdf, when I run 2.13.33 last month, as lilypond musicfile.ly (The output files shoud be both ps and pdf, in my expectation.) So, to specifically assign the output to be a ps file, according to the --help, I run lilypond -f --ps musicfile.ly So, you might want to run lilypond -f --pdf musicfile.ly for specifically assign the pdf in your situation. options are -f --ps -f --pdf -f --png good luck ^_^ neuro 黃 neu...@gmail.com === 2010/9/25 MING TSANG tsan...@rogers.com: the following reply all did't go thru. Now I try again, just send ti lilypond users. - Forwarded Message From: MING TSANG tsan...@rogers.com To: Kaz Kylheku k...@kylheku.com Cc: lilypond-user@gnu.org Sent: Fri, September 24, 2010 8:58:11 AM Subject: Re: Help needed - missing .pdf file after running lilypond sucessfully. Kaz, thank you. I don't know how to run lilypond on CMD EXE. Can you provide some command line script? I try the alternative method as suggested. I got the following message: GS.EXE entry point not found -- the procedure entry point gsapi_delete_insta...@4 could not be located in the dynamic link library gs-8.70.dll For the past few days I have been rebooting window xp several times. Mark Polesky: thank you for pointing me to contact jedit users. I have send them an email and waiting for their response. From: Kaz Kylheku k...@kylheku.com To: MING TSANG tsan...@rogers.com Cc: lilypond-user@gnu.org Sent: Thu, September 23, 2010 11:02:24 PM Subject: Re: Help needed - missing .pdf file after running lilypond sucessfully. This mailing list is about Lilypond. What happens if you run just the lilypond executable? In windows you can open a CMD.EXE window on the folder and run lilypond on the file. If the executable is not in your %PATH%, you will have to use the full path. Alternately, you should be able, in Explorer, to right click on the .ly file and invoke the Generate PDF command from the popup menu. Be sure that no program has any of the output files (MIDI, PDF, ...) open, because this may prevent Lilypond from being able to write to the files. (Install a real OS to avoid that problem). If you follow this procedure and get a PDF, there is no Lilypond problem. Maybe the surrounding tools are eating the PDF. Also, when was the last time you rebooted that Windows? At least once every few days is a good idea. On Thu, 23 Sep 2010 15:51:34 -0700 (PDT), MING TSANG tsan...@rogers.com wrote: Here below is jedit console message display. According to the message a .ps file is generated and a .pdf is
define-music-function question
Hi all,
In a recent piece I've had occasion to produce a trill mark with an
accidental above, and stealing from the manual, I came up with
g4(^\markup{
\tiny \center-column {
\flat \musicglyph #scripts.trill }
for example.
As this cropped up more than once I thought it would be a good idea to
write a music function:
trillflat = #(define-music-function
(parser location note) (ly:music?)
#{$note^\markup{
\tiny\center-column{ \flat \musicglyph #scripts.trill }} )
But the parser/lexer gets upset with the ^ and I suspect it doesn't like
the # between the '#{' and '#}'. If I could find the routine that
translates the note into scheme make-music call I could do something like
#(define (make-a-script x)
(make-music 'TextScriptEvent 'direction 1 'text x))
#(define (add-script m x)
(set! (ly:music-property m 'elements)
(cons (make-a-script x) (ly:music-property m 'elements)))
#(define add-flat-trill m)
(add-script m (markup
#:line
(#:tiny
(#:center-column
(#:flat #:musicglyph scripts.trill))
#( define-music-function (parser location note) (ly:music?)
(let (m ly:whatever($note)
; ^^^
; Is there a real lily routine I can use here?
;
(add-flat-trill (m) )
)
Is there a real procedure callable from scheme to turn g4 or whatever
into:
(make-music
'SequentialMusic
'elements
(list (make-music
'EventChord
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 2 0 1 1)
'pitch
(ly:make-pitch 0 4 0))
so I can modify it with the add-flat-trill routine?
Any suggestions so I can have some reusable code to define a modified
trill are welcome.
Cheers,
Ian
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Re: Woodwind diagrams in lilypond
Hi Mike, This is really useful, but there's one nit regarding the flute fingerings, Not all flutes have a bottom b, and therefore the right-hand low-end key cluster will only have the bottom C# (cis) key, and one c roller. What is the right-hand x key about on the piccolo chart? If you can add something to use the relevant key-cluster appropriately that would be good. On 31/05/10 02:03, M Watts wrote: On 05/31/2010 02:10 AM, Mike Solomon wrote: Dear lilypond users, I am currently working on adding woodwind diagrams to lilypond, and I would love to hear lilypond users' opinions on this project. An excellent idea -- contrats on the work so far. Specifically, I would like to know from woodwind players and/or enthusiasts: 1) Are the diagrams correct in their nomenclature and positioning? One vital thing:-- The 'one', 'two' thru 'six' for the main keys/holes on all instruments are round the wrong way -- 'one' means first finger, left hand. So 'one' should be at the top, and 'six' at the bottom. 1+ Some w/w tutors also use a L1, L2, L3, R1 R2 R3 numbering system, but the low numbers are *always* at the headjoint end of the instrument and increase down to the footjoint end. Several minor things:-- Could the separator line between lh rh key be a bit longer? I like the way you only include relevant key clusters -- no need to show every key every time. Oboe: rh c cis ees keys are usually of equal size Saxophone: front f could be a bit bigger and closer to lh one; palm keys could be a bit bigger (lh d ees f); rh side keys could be a bit bigger (side bes, side c, high e). Maybe add baritone sax low A thumb key? Similar point to the low-b on the flute. Not all makes have this. Clarinet: maybe T R could be a bit smaller. Bass clarinet: some horns have an additional ees/aes lever in the lh little finger cluster; low c horns might have a 6th key for rh little finger (for low d), as well as 3 keys for rh thumb (low d, des, c) 2) Do the diagrams meet the standard of visual elegance to which you hold lilypond? I reckon so -- they're looking really nice; I like the ability to indicate depressedRing-to-open trills etc. If you are interested in extending this project to other instruments, please let me know. Maybe recorder, tin whistle, bagpipes Baroque flute, Simple-system flute (pre-Boehm keyed - used by 'Irish traditional music flute players). Simple-system clarinet. French-system bassoon. The code is written as such so that someone who knows how to use Scheme should be able to, by observing the way that the instruments are constructed, make their own instrument in the same manner. Very handy. 1+ Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \extractMusic documentation.
Salut Gilles, On 19/04/10 03:13, Gilles THIBAULT wrote: Hello everybody ! It has been a while since i wanted to provide deeper informations about the function discribed here : http://lsr.dsi.unimi.it/LSR/Item?id=542 This is done now. You can get this pdf of information and the last version of extractMusic.ly in this directory : http://gillesth.free.fr/Lilypond/extractMusic/ Note that the last version of extractMusic.ly has some new features and new functions. Here are the direct links http://gillesth.free.fr/Lilypond/extractMusic/extractMusic.ly http://gillesth.free.fr/Lilypond/extractMusic/extractMusic-doc.pdf I just hope that my english is not too bad, and that the explanations will be enough understandable ... Thanks for your hard work. The only real language issues are some of your function and parameter names: French remplacer - English replace (no m before the p), likewise French remplacement - English replacement. There are some other possible minor technical writing changes, but these are nit-picks. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff reappearance callback?
Hi all, On 27/02/10 22:24, Reinhold Kainhofer wrote: Am Samstag, 27. Februar 2010 18:45:26 schrieb Kieren MacMillan: Hi Michael, It looks like break-related items of all sorts, including break-visibility, should have more than the 3 categories of before break, after break, and no break. Then might should distinguish levels of break, including staff reappearance and page break. Excellent point! We should list all possibilities: 1. before line break 2. after line break 3. before page break 4. after page break 5. before staff reappearance 6. after staff reappearance 7. Before staff disappearance (in harakiri staves) Given that all the other states appear to be on/off, doesn't it imply there should be this one 8. After staff disappearance (i.e. the staff is currently being suppressed). It's probably no practical use, but you may need it for completeness if you want to do a what-state-is-the-staff-currently-in type enquiry in the code. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mailing Subject Format Inquiry
Steve, How about this: In Thunderbird 1. Create up a new address book Lilypond 2. Add the mailing list send address e.g. lilypond-user@gnu.org to the new address book 3. Create a new rule in Thunderbird to move to your lilypond-user folder Matching From Is in my address book Lilypond. Cheers, Ian On 17/02/10 20:35, Steven White wrote: For my part I just move everything to a lillypond-user folder now and its equivalent to me. I was fairly busy yesterday and unable to reply, but the thread has seen a lot of activity so. Let me try. The first two From Carl: You may want to consider having a chord and tweaking the note head of one of the notes (i.e., you can have a 1/4 note chord and tweak the note head of one of the notes to be a 1/2 note head.) Thank you for this it is the solution I finally took. I would not have thought about it on my own. Not sure exactly what you want here, but Chopin's piano music is full of chords containing notes of differing duration. There's an extended example of how to deal with them in the Learning Manual. Have a look at section 4.5.3 Real music example to see if that helps solve your problem. Trevor Also a big help. I have most of the source now. Planning on reviewing it Friday before I start back on the work. I have recived got several ideas on better methods for marking off sections of music. I will look in to them over the weekend and post some feed back on each. I missed a few emails in this thread so I switched Thunderbird to threaded view. It doesn't bug me to use multiple folders, But it can get rather clunky. Graham brings up a good point about screen size. I work on a 17 inch laptop most of the time which I regularly hook up to a 22inch LCD screen when in my lab. So, to me screen space isn't an issue and I often forget about people who need to work with larger fonts or prefer to check email on smaller devices phones/netbooks etc. procmail is not a bad idea. I am an IMAP user so I will have to think about it. The length of this thread actually makes me wonder if just writing a thunderbird extension would be worth the time. I'm still in the camp that I prefer the list name appended to the subject. I think it makes the emails look less personal, but that doesn't mean everyone should be forced to use them. Steven On 2/16/10 8:26 PM, Colin Campbell wrote: Peter Wright wrote: I've noticed this for a while with lilypond-user - like you, it's one of the minority of the mailing lists I'm on that *doesn't* use the subject prefix convention, so it's much less easy to do an eyeball-filter/scan as you describe. Colin's suggestion of filter rules to put things in different folders is fine, but that approach just doesn't work too well for me. I prefer to read (or at least scan) everything as it comes in - if the email's automatically sent off to another folder, I find I can just forget to check that folder. Just had a look at the options available in TB rule-triggered actions: Move message to Copy message to Forward message to Reply with template Mark as read ( left unread by default) Add star Set priority to Tag message and others. You can probably set up quite a sophisticated filtering system with a few mouse clicks: have some messages go to a folder (the folder name gets bolded while it contains unread mail, which is the visual cue to look in the folder), a subset of those messages could light up in a category relevant colour, others get copied to folder 2, still others get forwarded and deleted. The whole thing would become a very fast way of scanning your mail for noteworthy (oops, I meant LilyPond!) related stuff. HTH Colin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [frogs] Re: Numeric note heads for singers
Hi Carl and everyone, This looks a good idea in principle, but you've got to address what I call the tonic-sol-fa/solfeggio problem. You have to consider all of these (and I may have missed a few) 1. What is your base-level tonic? 2. what mode you are in (\major \minor \dorian etc.)? 3. = what key signature do you currently assume? 4. are you adopting \relative-type rules - when do you decide on an octave shift for the base tonic? 1. A good test for this would famously difficult singing range of the U.S. national anthem 5. How do you notate modulations when a piece is changing key, an f in the key of c needs to become an f# to prepare for a modulation into g, but you aren't quite ready to adopt the new key signature (and therefore reset the tonic) yet? I suppose you could do some of this with mark-up stuff 1. \key c - ^tonic=c or 2. \key c \major - ^tonic= c major 3. whatever \key is set as 4. you could use the \relative type idea, f4 c'4 notates as 4 1' on crotchet note-heads 5. Add the possibility of accidental f# or b flat being notated as 4# or 7b on note-heads, or 4^# 7^b (except use the flat-sign for b) Just some things to think about, HTH. Cheers, Ian On 10/01/10 02:05, Carl Sorensen wrote: On 1/9/10 12:50 PM, pound...@lineone.netpound...@lineone.net wrote: Original Message From: da...@thirdculture.com Date: 09/01/2010 19:01 To: Carl Sorensenc_soren...@byu.edu Cc: fr...@lilynet.netfr...@lilynet.net, lilypond-user@gnu.orglilypond-user@gnu.org Subj: Re: [frogs] Re: Numeric note heads for singers Carl, pounderd, and others, I like the idea of frogs picking up an idea like this. But, it's not real high priority, and in graphix-rendition terms it would be difficult to inscribe a 4 into the triangular pennant shape of fa because the triangle points in the opposite direction from the triangular outline of 4. Getting new singers to distinguish between tonic-triangle and fourth-triangle is the main thing. I guess there isn't any way of doing this right now, and that's a good answer to my question. Thanks, David Olson Culver City, CA David, Thanks for letting us know. It looks as though we all misunderstood the request. Would it be of use to have easy note heads that were circles but with 1 through 7 in them? It seems to me that that's what the shape notes do. David had an easy way of making that happen by setting the note head names for a given key, and I think (hope) he's planning on doing the automatic easy heads for scale degree. Thanks, Carl --- Join the Frogs! __ This email has been scanned by Netintelligence http://www.netintelligence.com/email ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accents in lyrics
Hi Aron, On 09/01/10 08:33, Aron wrote: Hello, I am not sur that the problem is a bug but I tried to find a solution to the problem but I didn't succeded. The problem is the following: letters with accents (such as é, à, ê,) do not appear in the lyrics. Instead of the letters appears the letter o, (or a circle?) in the .pdf or the .ps files. If the accent is in the middle of the word, the rest of the word is missing. The .log file tells me that everything is OK. Initially I used notepad ++, and after lilypad. But it doesn't change. Do you have your text editors (notepad++ and lilypad) set to save using UTF-8 encoding? Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GUI
Hi Graham, On 18/12/09 09:38, Graham Percival wrote: On Thu, Dec 17, 2009 at 09:32:50PM -0800, Jonathan Wilkes wrote: If you can suggest an improvement, especially in the Introduction pages, please do. LilyPondTool, Frescobaldi, Emacs and Vim are listed under Alternate Input. Since this link is to the right of Text Input, the implication is that they are alternatives to text input, which of course is false: All the information under the Text input link applies to these programs. Hmm. I'm trying to tie these two together: text input and alternate input are both the same color, and end in input. Maybe change Alternate Input to Input software, or Input programs, or Progams, At least One of Which You Will Use to Enter Your Scores if You At All Value Your Time and Sanity. I'm willing to change the name, but I'm not convinced that any of thsoe are more attractive than alternate input. More to the point, the bottom of text input tries to direct people there, with the easier editing environments stuff. Hmm, on second thought, what about calling it Easier editing? That alliterates, so it gets a 20% bonus to its attractiveness. :) The current /Alternative Input/ section really lists language-sensitive text editors which have capabilities for handling Lilypond source. They're sort of Text Editors with Attitude (hey, that alliterates too :-} ) and the ones that allow compilation and preview of pdf output, like Jedit/LilypondTool and Frescobaldi are well on the way to providing an IDE (Integrated Development Environment) for Lilypond. I can't think of anything really short and snappy so how about: /Text Editors with Lilypond Language Support/ or /Editors with Lilypond Language Integration/ or /Easier Lilypond Editing/. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font questions
Father Gordon Gilbert wrote: Ah-ha! I solved the e-acute problem! I had used an accented e from my chat program (XChat2 for Windoze), and that was what was strange. I took a letter from OpenOffice for that and now it's correct. On Windows you should be able to use a Ctrl+Alt+e shortcut in most programs to get the e-acute. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \set vs \override
Hi David,
David Kastrup wrote:
Han-Wen Nienhuys hanw...@gmail.com writes:
On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup d...@gnu.org wrote:
Right now I don't have the necessary clue level. Merely a gut hunch.
Why dont you invest some time to find out how it really works,
What do you think I am doing? Reading documentation, getting nowhere,
reading code, getting nowhere, asking on the list, getting pointed do
documentation, getting nowhere...
Seems like I need to find a capable investment banker for my time. My
own choices of investment don't show promising returns.
and then improve the documentation? That would help many more people
than just you.
I will not doctor the documentation before I consider myself having a
clue. And I am nowhere near that yet.
From the bread-crumb trail of your posts on the various lists, it looks
like you're exploring a similar set of avenues I was going down earlier
this year.
I wanted to add some properties for things at either \book block level
or the implicit \book level (i.e. a file where a \score or \relative has
no enclosing \book block). I notice you have just posted some questions
re top-level on one of the other lists.
I was nearly able to add some score-level contexts for what I wanted to
do but as my properties related to the output file-names for generating
the back-end files it was felt contexts were not appropriate for the job.
I had a look at the context*.cc /.hh files and it looked like this was
the distinction
\set simply assigns a value to the property
\unset - clear any value previous value given to this property by a
prior \set.
\override - set the property to the new value and push the old value
onto an internal stack
\revert - pop any previously saved value from the internal stack and
assign it to the property
If there are bells and whistles depending on whether its a grob or a
music translation property being manipulated, maybe do something like
property-statement :==
'\' property-verb property-keyword property-set-or-unset-clause
property-verb :== 'set' | 'unset' | 'override' | 'revert'
propert-keyword :== 'grob' | 'music' (maybe choose better keywords)
property-set-or-unset-clause :==
property-specifier | property-specifier '=' property-value
so you'd get something like
\set music Autobeaming = #t or \set music Voice.Autobeaming = #t
\set music Staff.ADueText = \markup { \italic à 2}
\override grob Stem #'(details beamed-lengths) = #'(4 4 3)
\revert grob Stem #'(details beamed-lengths)
Anyhow, at this point by brain began to overheat with trying to juggle
too many new concepts at once and I decided to go for the simple
approach and do what I wanted using functions.
It looks like you're made of sterner stuff than me, so if you do keep at
it and get a handle on the concepts, let us know what you've worked out
on the Frogs list, please, so we can get all these bells and whistles
recorded in the documentation.
Cheers,
Ian Hulin
(a Frog - still swimming in the shallow end of the Lilypond)
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Lilypond Editing Environments and output file names
This is a heads up for those like Bert and Wilbert who write editing support environments for Lilypond. I currently have a patch in for review which will allow Lily to redirect the backend output to another file for particular \book blocks. Currently you do this by setting environment variables like output-suffix. I've noticed that LilypondTool and Frescobaldi can get fooled using their internal pdf viewers about where the successfully compiled output is. I wonder if you editor guys can take an enhancement to make your PDF viewers sensitive to the code writing the final format to a different file name? Tracker no is 836, Patch code is at http://codereview.appspot.com/143055/show if you want to see what's there. Hope this helps you to keep your Lilypond layered projects ready for 2.14. (If my patch gets through, that is). Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Does anyone still use breakbefore?
Hi all, Can't you use a \bookpart block to achieve the page break at the start of a \score, too? Cheers, Ian Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 19. Oktober 2009 20:09:33 schrieb Joe Neeman: For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Nitpicking: It's a \header block variable (attached to each score) - I tried it as a paper variable and was quite confused when things didn't work ;-) Before I do, is there still a use-case for it? Yes, I think so. The use case I'm thinking of is works with multiple pieces: By default, pieces start in the middle of a page. But with the breakbefore header variable, one can automatically start a new page with each new movement (as opposed to manually inserting dozens of \pageBreak commands). The breakbefore is kind of a global switch, so one can easily change styles. Cheers, Reinhold ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[Fwd: Re: Does anyone still use breakbefore?]
Sorry all, sent this reply to devel, by mistake Ian ---BeginMessage--- Hi all, Can't you use a \bookpart block to achieve the page break at the start of a \score, too? Cheers, Ian Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 19. Oktober 2009 20:09:33 schrieb Joe Neeman: For a couple of years now, we've had Nicolas' cool top-level \pageBreak commands. So I'd like to get rid of the code supporting the old breakbefore \paper block variable. Nitpicking: It's a \header block variable (attached to each score) - I tried it as a paper variable and was quite confused when things didn't work ;-) Before I do, is there still a use-case for it? Yes, I think so. The use case I'm thinking of is works with multiple pieces: By default, pieces start in the middle of a page. But with the breakbefore header variable, one can automatically start a new page with each new movement (as opposed to manually inserting dozens of \pageBreak commands). The breakbefore is kind of a global switch, so one can easily change styles. Cheers, Reinhold ---End Message--- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making a book with LilyPond
Federico,
Put the \include english.ly call in your top-level file instead (see
below)
Cheers,
Ian
Federico Bruni wrote:
Hi Jan,
thanks for your reply.
Actually, I had tried \bookpart (see the 1st example below, in my first
email) but I have problems with \include.
If in the included files there's an \include (even a simple include
english.ly), it can't compile.
I attach a tiny example, where book-test.ly includes file1.ly and file2.ly.
It works just if you comment out the \include lines in file1.ly and
file2.ly.
Why?
I've checked this page:
http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Including-LilyPond-files#Including-LilyPond-files
All the files I want to include are in
~/lilypond/usr/share/lilypond/current/ly
so it's not a matter of path
Jan-Peter Voigt wrote:
Hello Frederico,
you can use \bookpart :
\book {
\bookpart{
\tocItem ...
\header {
title = ...
}
}
\bookpart{
\tocItem ...
\header {
title = ...
}
}
}
If you surround every piece with a bookpart-statement, you dont need
to pagebreak.
My mobile INet-Connection is quite slow right now, so you have to
google to find the right page in the docs.
Or someone else has a pointer ;)
I hope it helps!
regards,
Jan-Peter
Federico Bruni schrieb:
I'm trying to compile a number of scores in a book using just
LilyPond (I've tried lilypond-book before, but I had some trouble
with layout and as I'm not confident with LaTeX I dropped it).
I need a help to start in the right way.
What I want to print:
* table of content
* scores (let's say 2 scores, as example)
Each score should have the title printed at the beginning.
Page numbers should start from the first score, not from the toc
page: so from page 2 and not page 1 of the output.
In order to get a title for each piece, I guess I need to use \bookpart.
I tried the code below, but I get some weird error messages..
Probably, there's something wrong with the way I've included the
files in \bookpart
Any suggestion?
Thanks,
Federico
==
\version 2.13.3
\include english.ly
\paper {
% I'll add something later
}
\bookpart {
\header {
title = Score 1 %remove the \include english.ly from here
}
\include score1.ly
}
\bookpart {
\header {
title = Score 2
}
\include score2.ly %remove the \include english.ly from here
}
If I use the code below, the file compiles but I can't get the titles
at the beginning of each score.
\version 2.13.3
\markuplines \table-of-contents
\pageBreak
\tocItem \markup Score 1
\include score1.ly
\pageBreak
\tocItem \markup Score 2
\include score2.ly
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Re: chord duration
Christian Henning wrote:
Hi there, another problem. I hope people don't get too impatient with
me. I try to figure out how to define a chord notation that doesn't
quite fit into the normal mode. Please consider the following working
code example:
\version 2.12.2
#(ly:set-option 'delete-intermediate-files #t) % deletes the .ps file
automatically
\new ChordNames {
\chordmode {
g1 | g1:sus4 | g2 g4:sus4 |
g1 | g1:sus4 | g2. g4sus4 |
%^
% a dot after the length increases the length of the preceding note
% by 50%
}
}
Chistian, may I recommend
http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Cheat-sheet#Cheat-sheet
which would help as quick reference for this sort of thing.
Cheers,
Ian
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Re: Best name for function to create cross-style noteheads
Mark Polesky wrote: Trevor Daniels wrote: Given the wide variation in the use of the x-shaped note head I think the only possible name to use is one that reflects the shape of the note head - crossNote, crossNoteHead or similar - rather than trying to find a suitable generic name which adequately covers all these disparate uses. What do you guys think? - Mark \damped /music-expression/ with synonyms \crosshead /music-expression/ \guitarpizz /music-expression/ Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: thanks to whomever put this in the LSR...
Hi Reinhold,
I'm having a look at seeing if I can pick up the work Marek Klein did on
-devel. It covered amending the coded generating output file suffixes
to allow users to code user-specified names as the suffix. It changes
the function print-with-book in file lily-library.scm so one of the
internal variables uses a Scheme alist.
How much more work would it be to implement Patrick's suggestion below?
.
.
.
But it would be nice to have an option to override the file-name for
any arbitrary book. Something like
\book {
\paper {
output-file-name = Blah
}
\score {
...
}
}
.
.
.
As I understand it, the above would allow allow you to have a file
called something like mozsym40.ly and use
\paper {
output-file-name=SinfoniaK550
}
to generated SinfoniaK550.pdf, .png, .mid, .midi or whatever.
If you were using a file with multiple \bookparts or \score blocks,
1. should output-file-name in these blocks replace the definition in
the \book \paper block (if present) to produce Allegro.pdf, .midi
or
2. should it act like #(define output-suffix Allegro) so you produce
a file SinfoniaK550-Allegro.pdf, .midi etc? Or
3. should we have a separate output-file-suffix property to do this
trick, which would be for use only in \bookpart blocks?
I'm trying to get a clear idea of what would be clearest for users
before I send myself cross-eyed looking at the code.
Any opinions/pointers to set this Frog off in the right direction are
welcome.
Cheers,
Ian Hulin
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Donnerstag, 4. Juni 2009 01:01:24 schrieb Mats Bengtsson:
See
http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00833.html
and followups for the previous discussion on the topic. As far as I can
see, an implementation proposal is already available, just to commit.
Hmm, it seems that this has been completely forgotten... Does anyone have the
time to put the finishing touches on the patch?
In particular, get rid of the global var and properly use the variable from
the parser-lookup, also the comment is no longer valid.
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
-BEGIN PGP SIGNATURE-
Version: GnuPG v1.4.9 (GNU/Linux)
iD8DBQFKLAEsTqjEwhXvPN0RAlG1AKCEYYXJYUFeCSFTTZkARZ4zBpaHcACdGvkd
q0WId+UluAUa48LVj+7dAVA=
=UqgS
-END PGP SIGNATURE-
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Re: relative mode occasionally gets forgotten?
Hi Jon, Jonathan Kulp wrote: Chip wrote: snip I think this is the issue mentioned in the Known Issues for Chapter 1.1.2 Transpose in the Notation Reference. However, the two sentences included there are very confusing and should be rewritten make the issue more clear. -Patrick Yes, I see what you mean. Not sure I understand it myself. -- Chip If someone who understands the issue can send me new wording for this passage that makes it clearer, I will make a patch for the docs. There are two issues 1. The information is in the wrong place 2. It's written in confusing developer-speak. 1. The text should be in section 1.1.2 Transposing after the first example. Put it just before the bit reading If a part written in C (normal /concert pitch/) 2. The text should be changed from The relative conversion will not affect \transpose, \chordmode or \relative sections in its argument. To use relative mode within transposed music, an additional \relative must be placed inside \transpose. to Note that in the previous example the music supplied as /musicexpr/ uses a \relative command. This is because \transpose does not pick up any \relative settings you may have set up in the outer block containing your \transpose statement. If you use \relative pitches, always code /musicexpr/ as a \relative block when using \transpose Jon Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dashed, variable-thickness slurs
Hi Carl, I'll comment on the bits I feel qualified on: the documentation bits. It's taken me while following the threads on lilypond-devel and lilypond-user to work out */why/* this has been developed. The most common use seems to be so you can notate a phrase where notes have varying degrees of articulation or bowing weight, in a similar way that the hairpins show variations in dynamic intensity. Before seeing this thread, I'd only seen slur/phrasing marks with renditions like dotted or dashed to show added editorial phrasings as distinct from Urtext ones which were inherited from the composer's manuscript. Is there a slot in the documentation that covers the usage of all this fancy slur-sign stuff (LR NR)? Cheers, Ian Carl D. Sorensen wrote: Dear LilyPond users, I've posted a patch for approval that implements variable thickness dashed and part-dashed, part-solid slurs. I hope it will be fully implemented in 2.13.1. As a preview, here's some slurs that were output by the new code. Please let me know if these are acceptable, or if you'd like to see other changes. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Concert Pitch (a second try)
Hi all, O.K here goes, I've pruned some bits out where we were getting into acoustics, and tweaked a few bits. Cheer Ian Hulin Anthony W. Youngman wrote: 1.64 Concert pitch The convention (standardised by ISO 16) states that A above middle C represents the note at 440 Hertz. This is commonly notated by the statement A=440. There are many other conventions, such as diapason normal which was established by French law as A=435. Many of these conventions have fallen into disuse, although there are orchestras which typically tune to other pitches (usually pitching A slightly higher in order to sound brighter). Regardless of the exact frequency of A, instruments which play the standard frequency upon reading the note A are typically referred to as playing in concert pitch or in C. Instruments which sound a different note than that written are referred to as transposing instruments. These are typically brass or woodwind instruments. For most instruments, the standard pitch and transposing conventions produce the same result on the actual printed music, and the instrument is considered to be in C, for example concert flute, bassoon, C Clarinet, C Horn. Some other instruments are in C, use the reference concert reference pitch of A=440, but still transpose as far as their written music in concerned: examples are piccolo and descant recorder, transposing up an octave, and classical guitar and choral tenor parts which transpose down an octave. See also: transposing intruments and wikipedia entry for concert pitch. 1.311 transposing instruments Instruments where the written note is not the note that the instrument is intended to sound, according to standard pitch. The reason for this is to make it easy for players to switch between instruments of the same family that have different fundamental pitches, as the player can still use the same fingerings whatever size instrument is being played. Transposing instruments are named according to the fundamental (known on some brass instruments as the pedal) note. On a woodwind instrument this is normally the note obtained with all holes covered without over-blowing or use of speaker keys. On a brass instrument it the note obtained with most relaxed embouchure and the slide extended fully or all valves open. Individual instruments vary this principle by having extensions at bottom end of the instrument, but a simple case like the tenor recorder shows the basic principle. To make matters more complex, some instruments are transposing instruments, but their players actually play from parts written at concert pitch. Orchestral trombone and tuba players do this, while trombone players in brass bands treat their parts as if written for a true transposing instrument in Bb. When writing music for a transposing instrument, it is normal to refer to the instrument by its fundamental, e.g Bb Trumpet, A clarinet. Music for these instruments without a key signature (e.g. notated in C major) is assumed to be in Bb or A. If an instrument (e.g. flute) is normally notated in treble clef, then either the instrument's fundamental or the transposition should be mentioned if it is not in standard pitch (alto flute in G, G flute). If the instrument is in C, the instrument's fundamental should NOT be mentioned, and it should be notated as in C only if required to avoid confusion. The main reason for this convention is that, for all instruments in the same family, they share the same fingerings for any given written note, and players are easily able to switch between the various family members. Some examples of transposing instruments: piccolo (sounds octave higher than written) alto flute (sounds fourth lower than written) bass flute (sounds an octave lower than written) cor anglais (sounds fifth lower than written) clarinet in Bb (sounds tone lower than written) clarinet in A (sounds a minor third lower than written) bass clarinet (sounds a ninth lower than written) contrabassoon (sounds octave lower than written) all saxophones French Horn in F (sounding a fifth lower than written) trumpet in Bb (sounds tone lower than written) trumpet in A (sounds a minor third lower than written) trombone - brass bands only - in Bb (sounds tone lower than written) string contrabass (sounds an octave lower than written) -- Can anybody come up with any improvements on this? Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Canorus
Tim Slattery wrote: M Watts zwy648...@gmail.com wrote: Try their website https://canorus.berlios.de/wiki/index.php/Main_Page That's where I started, of course. I downloaded the program from there, but I can't find anything like a user guide or tutorial. And the User's guide choice on the Help menu is grayed out. AFAICT, you're just supposed to know There is a _very_ rudimentary User Guide at https:/canorus.berlios.de/wiki/index.php/Users_Guide It has a few key bindings and stuff for editing Lyrics but no hint on how to get started with a new score. As far as I can tell the developers came from a thing called NoteEdit running on Linux which has stopped development, so if any of you are Linux users, have a look at NoteEdit, see if _it_ has any documentation and if this gives you a clue on getting started. I think the first bit of Canorus has been a port to see if they can get the old NoteEdit code running on Windows and Mac/OS, too. My 2p worth Cheers, Ian No virus found in this outgoing message. Checked by AVG - www.avg.com Version: 8.0.237 / Virus Database: 270.11.3/1973 - Release Date: 02/26/09 07:03:00 No virus found in this outgoing message. Checked by AVG - www.avg.com Version: 8.0.237 / Virus Database: 270.11.4/1976 - Release Date: 02/27/09 13:27:00 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TAB question
Johan Vromans wrote:
Trevor Daniels t.dani...@treda.co.uk writes:
Note: Harmonics must be defined inside a chord construct even if
there is only a single note.
Thanks.
While on the topics of TABs,
\relative c' {
\new TabStaff {
\new TabVoice {
c4 d c e8 e |
c4 d e2 |
}
}
}
Shouldn't the 'e2' be rendered without a stem?
If you do this, how can the tab reader tell whether the notelength is e2
or e1?
How do you tell anyway now whether it's e4 or e2?
Cheers,
Ian
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Tab notation and note lengths
I've just read Johan's reply on another thread about tabs and note stems, which prompted me to ask. How do differentiate between crotchets (quarter-note) and minims (half-note) lengths in tab and also their dotted versions? Should lily use a white-font-on-black-black background for the strings when it represents a crotchet/quarter-note? Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: downloads don't work
Chip wrote: All the download links for 2.12--stable are broken. Chip maybe you didn't see John Mandereau's reply to another thread. Please use http://download.linuxaudio.org/lilypond/binaries/ instead Best, John Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Documentation Link on main Lilypond web page still points to 2.10.33
This is just to let you know that the main link to Documentation on the front web page needs cutting over to the V2.12.0 documentation. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Issue 714 in lilypond: let the .ly file specify the output filename
1. If you don't read this thread carefully, you might think that this has
already been fixed under Issue 404. Not so.
Graham's update was to the effect that this has been verified as an issue and
is still waiting implementation.
Han-Wen's comment on Issue 404 was that you couldn't fake what was needed
using output_suffix.
___
2. Could I ask the developers that maybe this should be implemented as
/outputfile the-filespec-you-want-without-a-path-or-extension
As the name is likely to get used for the graphical score out .pdf, .png etc.
and will probably also be used as the name for the .mid(i) file outputs.
Or would you want to do this with properties, e.g.
/layout {
outputfile = foo
}
/midi {
outputfile = bar
}
Just my 2p worth,
Cheers,
Ian
P.S. is there any way I could contribute to Lily if I only have a Windows only
system, or do you have to run Linux to be a grown-up Lily developer?
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Re: V2.12 downloads don't work
Chip wrote: All the download links for 2.12--stable are broken. Chip maybe you didn't see John Mandereau's reply to another thread. Please use http://download.linuxaudio.org/lilypond/binaries/ instead Best, John Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeats and midi blocks
Apologies to the list if this comes in twice, I'm replying using gmane newsgroup in Thunderbird for the first time :-) . Graham Percival wrote: snip It depends on why you're listening to the piece. I *do* want to hear it clunking along, since I only ever listen to midi as a quick proofread (ie any missed accidentals will sound very obviously bad). In that case, I don't need to listen to repeats multiple times. I take a bit more extreme view on this one. If the composer/arranger puts the repeats in a hand-written score, it's designed to be heard that way. That's why if we're rehearsing something with the flute quartet for the first time we always play it exactly as written on the first sight-read: if it's too late at night to do it properly then put off looking at it till next rehearsal. Similarly I feel the midi output should give as close a rendition of the written piece as possible. I know midi ouput has severe drawbacks but I find it useful to as a 'prooflisten' as I find it difficult to hear the whole ensemble sound (as opposed to individual instrument timbres) in my head when I'm producing a piece with Lily. If you *really* need to abbreviate the output, use the and keys on your playback app, but lily's midi output should give you the option of hearing the whole piece as the notation intended.. Cheers, - Graham Cheers Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeats and midi blocks
Hi Johan,
Johan Vromans wrote:
Graham Percival [EMAIL PROTECTED] writes:
It depends on why you're listening to the piece. I *do* want to
hear it clunking along, since I only ever listen to midi as a
quick proofread [...]
Yes, though I'd say Ian has a point, too. I use the midi initially to
'proofread', but finally I generate the complete piece with repeats
unfold. Should I make some corrections, I'd like to hear it without
repeats, and so on.
This snippet allows a command line option unfold-repeats to control
this behaviour:
maybeUnfoldRepeats =
#(define-music-function (parser location music) (ly:music?)
(if (ly:get-option 'unfold-repeats)
#{ \unfoldRepeats $music #}
#{ $music #}))
\score {
\maybeUnfoldRepeats \allMusic
\midi { }
}
Using lilypond -d unfold-repeats ... will now generate midi with
unfolded repeats.
Now, if we could only get rid of the warning no such internal
option: unfold-repeats...
-- Johan
Hmm... I may have a cunning plan. Write some wrapper functions
\setMidiRepeats to take a boolean flag and save this in an internal
Scheme variable, say unfoldmidirepeats. Your function then tests (if
Reinhold does this sort of thing in orchestrallily, so I should be able
to steal from the best . . . )
This sort of thing,
\setMidiRepeats = #(define-music-function parser location
unfoldmidirepeats music) (boolean? ly:music?)
if(unfoldmidirepeats)
#{ \unfoldRepeats $music}
#{ $music }
}
)
I'll probably need some extra Scheme functions to set the
unfoldmidirepeats variable to initial values and a known state but
you've given me something to work with.
Dankie en groetjes,
Ian
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Squawks in compilations when compiling using 2.11.63
I am getting the following diagnostics when I compile a lilypond file. I still get an OK Pdf file, but how do I track down the cause in my source code? Using --verbose just seems to develop a load of noise in the log file. Does anyone have any more information on debugging this, or does a grown-up lilypond developer need to have a look at it? Preprocessing graphical objects... programming error: FT_Get_Glyph_Name () error: invalid argument continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+FFF, file C:/Program Files/Easy LilyPond/LilyPond/usr/share/lilypond/current/fonts/otf/CenturySchL-Roma.otf Cheers Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Repeats and midi blocks
Why isn't the effect of \unfoldRepeats in a \midi block the default behaviour? If you're listening to a sound playback of your piece, don't you want to hear it as it would be played rather than the computer clunking along and playing all the \altenative bars one after another as now? How do I go about submitting this as an enhancement request? (Btw, I know this restriction is documented in NR 3.5.4) Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Windows V2.11.62 Kit reports itself as V2.11.61
Hi all, The last kit for Windows I installed for 2.11.62 says it's 2.11.61 when I do lilypond from a command window, It also behaves as 2.11.61 if I include a \version 2.11.62 in source. But a compliation still barfs if I include something that has become obsolescent with 2.11.62 like \bigger in my source file. Looks like it's a kit build hiccup. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: string number problem
Hi all,
I just noticed that Tom's original report of the problem used V2.10.33.
Jon answered this with a test saying it's working using V2.11.55.
Maybe this been fixed as a side-effect of other changes in V2.11
development?
Cheers,
Ian Hulin
Jonathan Kulp wrote:
div class=moz-text-flowed style=font-family: -moz-fixedTom,
Many thanks for the kind words about the documentation. It's very
gratifying to hear, and it also bears out what Graham says repeatedly,
which is that time spent on the docs is doubly (or more!) well spent.
I'm not sure why the barring position wouldn't work for you. It must
be that you misplaced the code somehow? I tried changing the example
in the documentation from XII to V and it worked perfectly. What you
have as a workaround might be o.k., but my guess is that it would only
work well if your spacing does not change. If, say, you add another
bar on that line or take away a bar, then the -- could end in
the wrong place. The textSpanner is anchored to specific pitches, so
it always starts and ends in the right place.
Here's the example from the docs with my change from XII to V:
\version 2.11.55
\relative c {
\clef treble_8
b16 d g b e
\textSpannerDown
\override TextSpanner #'bound-details #'left #'text = #XII
g16\startTextSpan
b16 e g e b g\stopTextSpan
e16 b g d
}
\relative c {
\clef treble_8
b16 d g b e
\textSpannerDown
\override TextSpanner #'bound-details #'left #'text = #V
g16\startTextSpan
b16 e g e b g\stopTextSpan
e16 b g d
}
Hope it helps!
Jonathan
Tom Cloyd wrote:
Jonathan,
Thanks for your response.
First - about an hour ago I came very close to posting a note of
appreciation about the documentation for 2.11 - it's magnificent - at
least the part for fretted instruments (the only part I've really
buried myself in). It appears that all my needs are met. I was amazed.
One aside: I couldn't get the example for hand position (e.g. IV- -
- - - - to indicate playing in 4th position) to work at all. Copied
it into my score code, and no go. So I went back to this, which is
simple and works fine, with a lot fewer keystrokes and Scheme mysteries:
\relative c'{ fis-1^IV - - - - - - - - - - - -
- - - - - - [_(g-2) a-4] b-1 [^(c-2) d-4]
e-1^V - - - - - - - - - - - [^(fis-3) g-4] | }
Looks good, too. Sometimes simple is better than conceptually
elegant. This simple text insertion business looks to me like it
could handle a multitude of sins. A useful kluge for for time
impoverished folks like me.
About the slurring problem:
You make a very important point - the problem I reported was a
warning message, not an error. My ver. 2.10 DOES produce perfect
output - I hadn't thought to look. I think this is acceptable, even
though I cannot make sense of the warning (nothing unusual about that
- warnings seem often to be useless to mere users).
So, I don't really have a problem. What I DO have now is a passage
with position indicators, string numbers, legato indicators,
fingering, accents, articulation marks, etc. It looks, and is, simply
wonderful. I'm so pleased.
I'm sure others have commented about this, but possibly it's worth
repeating: What I've been working on is a composition of my own for
classical guitar. Having it printed in a way that looks really good,
and is also very readable, in incredibly rewarding. This wonderful
tool turns out to be a motivation amplifier.
I'm considering quitting my day job, getting a night job waiting
tables, and turning to composition full time. Ah...the thought
passed. Nice thought, though.
Thanks to all...
t.
Jonathan Kulp wrote:
Oy. In all the time I spent working on that part of the docs, it
never occurred to me to try the fingerings and string numbers with
slurs.
So, I ran this code and while I got the same error message as you,
it was not a fatal error and the file continued to run, producing
perfect output (except that I haven't set the proper time signature,
anyway--see attached image). I'm running the development version
2.11.55 on Ubuntu 8.04. Maybe it would fix this problem for you to
install the latest version? Be forewarned that 2.11.55 has another
issue, discussed in a different thread, where the dots for dotted
notes are placed on lines instead of between them. I trust this
will be fixed in a forthcoming release as the developers are quite
vigilant for such things :)
What's weird about this avoid-slur warning is that in this
example, the slur is nowhere near anything that needs to be avoided.
The slur is on one side, the fingering/string indications on the
other. And when I added something that would possibly interfere
with the slur (an accent), it doesn't complain about that, but about
something else. Why would Lilypond complain about needing to avoid
anything?
Jon
Tom Cloyd wrote:
OK - here's a minimal version of my problem -
[running ver. 2.10.33]
input
Re: Re: best practices
Hi Kieran,
I really appreciate the spirit of the challenge, but can you correct it
as the alto flute's in G?
I think only the lines with the text markup saying (in F) need changes,
but can you repost the entire thing in case there's something I missed?
Cheers,
Ian
Kieren MacMillan wrote:
div class=moz-text-flowed style=font-family: -moz-fixedHello all,
For anyone who is interested in putting their 2¢ in on this discussion...
Here is a simple instrument-doubling-with-key-signature-changes
challenge:
%
\version 2.11.49
\include english.ly
#(set-global-staff-size 14)
\layout { \context { \Score printKeyCancellation =#f } }
global {
\time 4/4\key c \major s1*2 \bar ||
\key c \minor s1*2 \bar ||
\key d \major s1*4 \bar ||
}
flute =relative
{
c'4^\markup { flute (in C) } d e f | g1 | c,4 d ef f |
g1^\markup { alto flute (in F) } | d4 e fs g | a1 |
d,4^\markup { piccolo (in C') } e fs g | a1
}
\markup { C SCORE/PART }
\score { \new Staff =fl \global \flute }
\markup { TRANSPOSED SCORE/PART }
\score { \new Staff =fl \global \flute }
\markup { TRANSPOSED SCORE/PART SHOULD MATCH THE FOLLOWING: }
\score
{
\relative
{
\time 4/4 \key c \major c'4^\markup { flute (in C) } d e f |
g1 \bar || \key c \minor c,4 d ef f |
\key f \minor c'1^\markup { alto flute (in F) } \bar || \key
g \major g4 a b c | d1 |
\key d \major d,,4^\markup { piccolo (in C') } e fs g | a1
\bar |.
}
}
%%
The goal is to make this (i.e., the transposed score/part) happen with:
1. a minimum of additional code;
2. a minimum of structural changes (e.g., if possible, we want to
keep the key changes in a single variable, not break up the flute
music variable, etc.);
3. a maximum of code reusability.
In other words, something that can easily be put in a template for the
average Lilypond user.
Good luck!
Kieren.
p.s. For the record, I haven't been able to find a way to use \tag and
\transpose together to solve the problem -- it always requires code
duplication or restructuring -- but my intuition currently says that's
the best approach...
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Re: page-number
Bonjour Jean-Marie,
En premier, il me faut m'excuser du mauvais français.
Vous avez écrit, que vous utilisez la version 2.8.5.
Il se peut que vous ayez meilleurs résultats si vous utilisez une
version plus récente, dont les documents ont été révisés.
J'utilise au moment Lilypond version 2.11.42, mais j'ai utilisé toute
version dès 2.10.1 et le suivant marche pour moi:
\paper {
.
.
.
print-page-number = ##t
.
.
.
}
Savez-vous qu'il y a aussi une liste francophone pour Lilypond?
Salut,
Ian Hulin
Hello Jean-Marie
You said you were using version 2.8.5.
You may get better results if you upgraded to a newer version, where the
documentation has been updated.
At the moment I'm using Lilypond V2.11.42, but I've used every version
since 2.10, and this works for me:
\paper {
.
.
.
print-page-number = ##t
.
.
.
}
Did you know there's a French-language list for Lilypond?
Cheers,
Ian Hulin
labrousse wrote:
Bonjour,
Je ne sais si je dois écrire en anglais,
je crains que ce ne soit difficile à comprendre.
J'ai préparé un fichier dont les résultats à l'impression me satisfont,
mais je ne parviens pas à faire apparaître une numérotation des pages.
J'ai bien trouvé dans le document associé à la version 2.8.5 que j'utilise,
la variable print-page-number
dont je pense qu'il faut lui donner la valeur ##t,
mais je trouve pas où loger la commande \set print-page-number =#t .
Est-ce dans le \layout {} ?
Faut-il l'inclure dans un \paper {} ?
Et est-ce à écrire à l'intérieur du \score {} ?
Mes essais furent tous stériles.
Merci du dépannage d'un qui ne connaît ni Unix ni Linux.
Jean-Marie Labrousse
(Translation for non-French-speakers)
Hello,
I'm not sure whether I have to write in English,
I'm worried that this may be difficult to understand.
I've produced a score and like the output,
but I can't work out how to get page numbering to show up.
I've looked in the documentation for version 2.8.5 which I use
and although I found variable print-page-number which I think need setting to ##t,
I can't find out where to put the \set print-page-number = #t.
Does it go in \layour {}?
Does it have to go in \paper {}?
Does it need to be inside a \score block {}?
All my attempts so far are in vain.
Thanks from someone who doesn't know Unix or Linux
to anyone providing break-down service
Jean-Marie Labrousse
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Re: GDP: Time to plan the revision of NR 2 Specialist Notation
Trevor Daniels wrote: div class=moz-text-flowed style=font-family: -moz-fixedLilyPond-ers Grand Documentation Project Graham and his helpers have now completed a large part of the GDP revision of the first chapter of the Notation Reference (NR), most of the Learning Manual (LM) is finished, and the Music Glossary (MG) has been greatly extended. Pulling snippets from LSR into the NR is now working smoothly and seamlessly. You can see the latest versions at http://kainhofer.com/~lilypond/Documentation/index.html or in the 2.11.43 documentation. The next step is to revise the second chapter in the Notation Reference - NR 2 Specialist notation. To kick off this process the new suggested section headings can be found at http://web.uvic.ca/~gperciva/NR2-draft.txt , and we now need your comments on these before we begin work on the text. Are the names sensible? Is the grouping optimal? Are there other topics which should be included? Where a change to the headings is suggested the old heading follows in brackets on the same line, and an indication of the proposed content is shown under each heading, also in brackets, as section numbers in the existing NR for 2.11. Please look at these proposed headings and comment to the list. I'll revise the draft as views crystallise. There's no rigid time-scale for this. We'll wait until views stabilise, but this should take no more than one to two weeks. Trevor D __This email has been scanned by Netintelligence http://www.netintelligence.com/email /div Trevor, Do we need a 2.4.4 under Fretted stringed instruments for Mandolin, or a 2.4.5 for the viols? Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
OrchestralLily - Some Feedback
Hi Reinhold, I've just been trying out OrchestralLily with a a set of pieces I have been arranging for a Flute Quintet. Here is some initial feedback: 1. Beaming - the parts default to vocal/choral beaming rules, not appropriate in instrumental parts with quavers/eighth-note values and smaller. 2. Bar numbering - for my parts (but maybe not in scores) I'd like to keep the default Lily bar numbering at the start of each new line. 3. Time signature - should there be a XXXTimeSignature property we could set for a piece if there's not any polymetric stuff going on in the piece? 4. Please implement transposing soon! Are there any work-rounds for any of the above? Thanks in advance for any help you can give. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re:what does adorn mean in this context? question continues GDP
Jay Hamilton wrote: I knew/know what adorn in English and articulations are in music however in the context of 1.7.2.1 of the GDP they don't seem to mean that. What is 'adorned' here? Does it mean enhanced? (not to me) And looking at the code and seeing the result does anyone see a difference between text and GrobText? Just need an clearer way to say whatever it is that is happening with this code. Thanks in advance. Yours- Jay Jay Hamilton www.soundand.com 206-328-7694 Message: 6 Date: Tue, 19 Feb 2008 09:20:09 +0100 From: Nicholas WASTELL [EMAIL PROTECTED] Subject: Re: what does adorn mean in this context? GDP To: [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=US-ASCII On Mon, 18 Feb 2008 18:26:58 -0800 Jay Hamilton [EMAIL PROTECTED] wrote: There are two music functions, balloonGrobText and balloonText; the former takes the name of the grob to adorn, while the latter may be used as an articulation on a note. The other arguments are the offset and the text of the label. the words after the semicolon (;) look like they make sense but adorn and articulation don't really make sense I'm a native English (en-GB) speaker, but I am not familiar with the balloon function. ;-) However: To adorn is to decorate and enhance. It's rather an old-fashioned word, I suppose. http://en.wiktionary.org/wiki/adorn Articulation in this context is a musical term, meaning a mark (e.g., accent, staccato dot, stopped mark) against a note showing how it should be delivered (i.e., articulated). http://en.wiktionary.org/wiki/articulation It doesn't explain (to me) the difference between the two functions. I'd have a look in LSR, but it appears to be down at the moment. hth, Nick. There are two music functions, balloonGrobText and balloonText; the former takes the name of the grob to adorn, while the latter may be used as an articulation on a note. The other arguments are the offset and the text of the label. Jay, Nick, I'm writing this from similar perspective to Nick. This is my best guess at what the original wanted to say: There are two music functions, /balloonGrobText /and /balloonText/; /balloonGrobText /takes the name of the grob to which the balloon is attached, while you may use /balloonText /if the balloon is to behave similarly to the way an articulation does when it is attached to a note. The resulting English is fairly horrible but I think it puts back some of the facts that got distilled out when the original documenters were trying to go for conciseness. Hope this helps rather than obfuscates Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: Repeats
Palmer, Ralph wrote: Hi, All - I'm currently working on rewriting Repeats in the Notation Reference, and I don't care for the existing structure. Currently, it looks like this: 1.4 Repeats 1.4.1 Writing repeats 1.4.1.1 Repeat syntax 1.4.1.2 Normal repeats 1.4.1.3 Manual repeat commands 1.4.2 Other repeats 1.4.2.1 Tremolo repeats 1.4.2.2 Measure repeats However, since Repeat syntax discusses the common syntax for all the repeats, it would seem to make more sense to take it out of the section dealing with normal. I'd like to suggest: 1.4 Repeats 1.4.1 Repeat syntax 1.4.1.1 Repeat syntax and types of repeats (introduction of the syntactic construct) (following types of repetition are supported . . .) 1.4.2 Writing repeats 1.4.2.1 Normal repeats (I'd prefer a better term than normal) 1.4.2.2 Manual repeat commands 1.4.2.3 Tremolo repeats 1.4.2.4 Measure repeats It might also make sense to split 1.4.1.1 into 1.4.1.1 Repeat syntax, followed by 1.4.1.2 Types of repeats supported. Comments, please? Ralph This email has been scanned by Netintelligence http://www.netintelligence.com/email This looks like it needs an overhaul. I'd suggest you went for: 1. Writing Repeats 1. Types of Repeat Supported (following types of repeat are supported and what they mean, don't describe how this is implemented in the syntax yet) 1. Section repeats - covering several bars/measures ( i.e. ||: |||| | :|| ) 1. Simple section repeats 2. Section repeats with varying endings 2. One-and two bar/measure repeats (repeating a single bar/measure) (repeating a two-bar phrase) 3. Single-note repeats/measure (tremolos) 4. Manual repeats to save typing (no special notation produced, just the sequence of notes printed however many times) 2. Syntax of repeat command (structure this like the previous section, but show what you code with \repeat to achieve this, and the output) 1. Section repeats - covering several bars/measures 1. Simple section repeats 2. Section repeats with varying endings 2. One-and two bar/measure repeats (repeating a single bar/measure) (repeating a two-bar phrase) 3. Single-note repeats/measure (tremolos) 4. Manual repeats to save typing (no special notation produced, just the sequence of notes printed however many times) (Please note I couldn't reproduce the structured headings in my mail client, but I meain 1.4 Writing Repeats, 1.4.1 Types of Repeats Supported, 1.4.1.1 Section Repeats etc.) Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use?
Hi Kurt, The only other term I've heard is octavization, which is as ugly-sounding as octavation. I prefer octave transposition, which describes exactly what is going on in your piece. Cheers, Ian Hulin Kurt Kroon wrote: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? Since this will go into the glossary, please respond with the preferred term in any of these languages: Danish Dutch English Finnish French German Italian Spanish Swedish Thanks! Kurtis PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. __ This email has been scanned by Netintelligence http://www.netintelligence.com/email ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
(De)crescendo warning
Im
using V2.8.6.
Im
getting a warning saying lily cant find the start of a (de)crescendo,
although it seems happy with crescendo passages immediately before and after.
As far as I can tell the syntax for the \ \! block looks OK in all
cases.
Heres
a short test file
\version 2.8.6
\include english.ly
ffz = #(make-dynamic-script
ffz)
music = {
c1
\tag #'part
R1 \\
{
\set
fontSize = #-1
c4_cue f2 g4 }
\tag #'score R1
\set Score.rehearsalMark = #3
\mark \default
c1
\tag #'score \tag #'part
%{
No
problem with crescendo here
%}
{\time 9/8
c8 d e
\once
\override TextScript #'extra-offset = #'( 2.6 . 2.0 )
f\trill
g\ a b c\! r^\markup {//} |
\mark \default
R1*9/8 |
%{
This crescendo passage generates a warning
test.ly:27:52:
warning: can't find start of (de)crescendo
b16\pp
b\ b\fz b a a a\fz a fs fs fs\fz fs
\!|
%}
\time 6/8
b16\pp
b\ b\fz b a a a\fz a fs fs fs\fz fs \!|
%{
No
problem with crescendo here
%}
b8\ b8
b8 b8 b8 b8 \! |
}
}
\relative c' {
\keepWithTag
#'part \music
}
Is
this user error, a known restriction or a bug?
Thanks
in advance for your help.
Ian Hulin
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