RE: Clarifying otave check (\octave) in Section 6.2.2
C below middle C is just c all by itself so the syntax should be
a, b, c= d e f g a b
(rising steadily up the bass clef :-)
I remember using this test recently, and it does work. The problem I had
(Han-Wen sent me a fix) was that I needed the facility to force an
octave change, but I didn't want an error message that I knew all about.
Note that if you have any note durations it's c=4. - that threw me
initially and I was wondering why I couldn't get it to work.
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Charles Cave
Sent: 06 July 2006 06:29
To: lilypond-user@gnu.org
Subject: Clarifying otave check (\octave) in Section 6.2.2
I am exploring the use of the feature described in section 6.2.2 of
checking that the notes are in the correct octave.
The manual says:
Octave checks make octave errors easier to correct: a note may be
followed by =quotes which
indicates what its absolute octave should be. In the following example,
\relative c'' { c='' b=' d,='' }
the d will generate a warning, because a d'' is expected (because b' to
d'' is only a third), but
a d' is found. In the output, the octave is corrected to be a d'' and
the next note is calculated
relative to d'' instead of d'.
Question
Specifing ' is fine for octaves above middle C, but specifying , for
octave below doesnt work.
Here is a test program:
\version 2.8.3
\score {
\new Staff
\relative c''' {
c b a g f e d
% should now have reached the C above middle C
c='' b a g f e d
% should now have reached Middle C
c=' b a g f e d
% should now have reached the C below Middle C
% Problemhow can I check if the next c is
% The C one octave below middle C?
c= b a g f e d
c=, b a g f e d % this doesnt work
}
\layout { }
}
Error:
octavecheck.ly:20:6: warning: octave check failed; expected c', found:
c,
c=, b a g f e d
---
Charles Cave
Sydney, NSW, Australia
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RE: MultiMeasureRest - trying to be clever ...
Thanks Graham. The section I needed was 9.2.6 (I think 9.2.3 simply describes what I said I'd tried to do...) And no disrespect, but I think Thibault is spot on with his first sentence. The lilypond documentation is the size of a small novel! Finding what you're looking for isn't easy. And I know it's small comfort to you on the lily list, but I'm on a list where questions are often answered with it's in the manual. Thing is, that manual is maybe 20 volumes, MOST of which are individually bigger than the lily manual. The problem is that if you keep the manual small you have to leave things out, if you put everything in people can't see the wood for the trees. What do you do? Cheers, Wol -Original Message- From: Graham Percival [mailto:[EMAIL PROTECTED] Sent: 04 July 2006 16:37 To: Anthony Youngman Cc: lilypond-user@gnu.org Subject: Re: MultiMeasureRest - trying to be clever ... Anthony Youngman wrote: Is there any way I can change its value within the Score or Staff context, and have it take effect at Voice level? I did try \set MultiMeasureRest.expand-limit = 1 Look at \set in the index! This will direct you to 9.2.3. The VERY FIRST EXAMPLE of \set involves changing a property at the Score level! Of course, for expand-limit you probably want \override instead. On a more general level, the use of \override seems quite common. It would be nice to be able to change the defaults - there are various places where lilypond and I disagree as to what is normal. I don't remember seeing anything about it in the manual, 4.6 Style sheets ?! 9.2.6 Changing context default settings ?!?! Anthony, please read the manual. I've spent literally over *100 HOURS* writing and updating manual since April. When people complain about the lack of info in the docs, when that info is clearly *IN* the docs -- in some cases, when that info has been in the docs for years -- I really wonder why I bother. I mean, if I stopped working on lilypond and worked at McDonalds serving fries, I would have made over $800 in that time. That would cover two months of rent. - Graham, LilyPond Documentation Editor. For now. * * This transmission is intended for the named recipient only. It may contain private and confidential information. If this has come to you in error you must not act on anything disclosed in it, nor must you copy it, modify it, disseminate it in any way, or show it to anyone. Please e-mail the sender to inform us of the transmission error or telephone ECA International immediately and delete the e-mail from your information system. Telephone numbers for ECA International offices are: Sydney +61 (0)2 8272 5300, Hong Kong + 852 2121 2388, London +44 (0)20 7351 5000 and New York +1 212 582 2333. * * ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Lilypond store?
I notice you're in the UK too ... I don't know how it works, but a lot of the stuff I'm doing may be licensable but not public domain. Especially stuff that's licenced with the Performing Rights Society, we may be able to typeset it ourselves, then sell (probably printed only :-( parts of stuff that's still in copyright. Only snag is, we'd need to keep good books in order to make returns to the PRS. I need to repeat (ianal) but I *think* we can do this, we need to check up on the legalities before we try it for real... Cheers, Wol From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Stewart HolmesSent: 05 July 2006 00:17To: lilypond-user@gnu.orgSubject: Lilypond store? Okay... this may seem like a strange place for this, but it's seem the best place to put it in order to get attention/opinions. What I'm proposing is some kind of a collaboration between Lilypond users to submit their scores to an online score (the scores being engraved from public domain sources, etc.). The money that is made from the sale of scores (either pdf/ly/both files) could then be distributed in 3 ways: 1) The upkeep of running the store 2) The creator of the score 3) The community Number 3: A chunk of the money would go into a piggy bank of sorts, which would be used to, upon application, help fund sponsorship of Lilypond features. That's me out... now let the shooting down commence (hopefully not). Stewart * * This transmission is intended for the named recipient only. It may contain private and confidential information. If this has come to you in error you must not act on anything disclosed in it, nor must you copy it, modify it, disseminate it in any way, or show it to anyone. Please e-mail the sender to inform us of the transmission error or telephone ECA International immediately and delete the e-mail from your information system. Telephone numbers for ECA International offices are: Sydney +61 (0)2 8272 5300, Hong Kong + 852 2121 2388, London +44 (0)20 7351 5000 and New York +1 212 582 2333. * * ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: segno, coda, etc. below rehearsal mark
Read the documentation on rehearsal marks. One of the default styles is
to use the barnumber.
\set Score.markFormatter = #format-mark-barnumbers
Incidentally, this will also probably get round the problem of keeping
track - I guess the problem is the rehearsal mark counter isn't
automatically updated in Shamus' workaround. Of course, if you're using
barnumbers as rehearsal marks you don't need to keep the counter
updated.
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Paul Scott
Sent: 30 June 2006 05:44
To: Shamus; lilypond-user@gnu.org
Subject: Re: segno, coda, etc. below rehearsal mark
Paul Scott wrote:
Shamus wrote:
It's probably not what you want, but I've found that
\once \override Score.RehearsalMark #'self-alignment-X = #left
\mark \markup { \box { A } \hspace #1.0 \musicglyph #scripts.segno
}
is an OK workaround. The downsides are that the segno is printed to
the
right of the rehearsal mark (not terrible in my opinion) and that
lily
no longer keeps track of the rehearsal symbols for you, so you have
to
keep track of them yourself. I'm sure there's a better way, but I'm
also
pretty sure you can't use \mark \default in combination with any
other
text markup. :-/
Thanks. I had seen this discussion but couldn't find it with Google
yet. I will probably use your solution.
Oops! The piece I am working on right now needs the bar numbers in the
boxes. I guess I'll have to put the bar numbers in by hand or write
that scheme code.
Paul
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RE: Some general comments
That sort of works ... but if Ian wants what I want, then it's a lot
more work than just that ...
This would be a very good example for Fairchild's AllAbouts.
Certainly, until I clean it up, my version is a mess. I've got a
linebreak at the barline where my ossia starts ... with the result that
between two consecutive bars I have THREE different barlines! Plus an
unterminated empty measure (not to mention an unwanted time signature,
which I couldn't work out how to remove because I didn't read the manual
properly :-)
Oh for more time to play and write it all up ... not that they're meant
to be anything else but all the ossia examples in the manual are at a
here's a tip to get you started level.
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Graham Percival
Sent: 28 June 2006 10:16
To: Ian Hawthorn
Cc: lilypond-user@gnu.org
Subject: Re: Some general comments
Ian Hawthorn wrote:
1. An extra lyric line is needed for harmony parts for a few bars.
2. An extra staff and lyric line for a soloist is required for one
section.
To add an extra staff, look up ossia. It works something like this:
{
c4 c c c
{c4 c c c}
\new Staff { e4 e e e }
c4 c c c
}
For more details, search the documentation and LSR. I'm not certain how
to add lyrics to this, since I don't do vocal music.
3. The lyrics for one section need to be aligned to a different part
than they are in the rest of the piece.
I believe that this point was addressed in some recent documentation
work (in the 2.9 docs; not yet available in the 2.8 docs).
There are workarounds for these things I know, some in the
documentation and some in the examples or discussed in this forum.
But they are NOT easy to use and here is why.
To an arranger these are simple events which happen at a
particular time and which you'd like to deal with via a simple
command at the point where they happen
I think the ossia example is fairly easy. Lyrics may be much harder to
deal with; I don't know.
Cheers,
- Graham
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RE: AllAbout Examples
I've started writing something on noteheads. This seems to be where it would fit in perfectly. (I probably ought to add stems and rests to it, but that can wait :-) I do feel something like this would be useful. As you say, we currently have the User Manual (great for getting started) and the Program Reference (great for technical detail). But there isn't a reference manual for users. Just one little point that I've come across with noteheads ... I suspect this section would be good if you based each piece on a low-level part of lilypond. Like in my example noteheads. And then include all the stuff that sits on top, like \setEasyNoteheads which, if I understand aright, does a host of fancy stuff like changing the notehead engraver, making fonts larger, etc etc. There's a lot of useful stuff in lily that is mid-level stuff like this. Often (as with easy noteheads) documented in its own right when it would make sense to put it with the underlying concept instead. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] .org] On Behalf Of Fairchild Sent: 22 June 2006 19:35 To: 'Graham Percival'; 'Kieren MacMillan' Cc: 'lilypond-user Mailinglist' Subject: AllAbout Examples LilyPond documentation is good. Newbies get started quickly with the User Manual. Regression Tests and Tips and Tricks contain a wealth of tutorial material. The Program Reference has detail for the initiated. However, based in my own experience and many postings on lilypond-user@gnu.org, I perceive a need for information that falls between content of tutorial and reference documentation -- more detailed than the tutorial material and less cryptic than the internals reference. I propose using the rendered Examples section of the documentation (now empty) to post a series of AllAbouts, prepared by users, each being an in-depth example of a narrow set of features: fonts, layout, header, embedded PostScript, rests, lyrics, tuplets, markup, etc. (The user perspective is valuable to identify information found difficult to extract from existing documentation.) (I have good starts at a couple of such examples. One, AllAboutAlternateScaling.ly is an example demonstrating scaling of things entered on staves. - - It's primary purpose is to scale cue notes, cadenzas, and alternate notes. - - It includes some Scheme code. - - It exposes some unexplained and inconsistent things. - - It could be useful as a regression test. - - It is intended to be used with jEdit, fixed-width font, tab stops every 5 characters.) Please comment on the proposal. Would AllAbouts be useful to you? Would you be willing to contribute? Who is now responsible for the Examples? Who is willing and able to manage postings? - Bruce -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graham Percival Sent: Thursday, June 08, 2006 6:38 PM To: Kieren MacMillan Cc: lilypond-user Mailinglist Subject: Re: Celebrity Deathmatch: Padding vs. Staff-Padding On 8-Jun-06, at 6:04 AM, Kieren MacMillan wrote: I'd rather that the example was three systems or less, though. I can easily make the *basic* example three systems or less. However, I think (i.e., have recently been thinking) that there should be, if possible, examples in (much) more depth -- articles, really -- and what I've written here was meant to be the start of such an article. I don't know exactly where such a beast would live -- it doesn't really belong in the standard docs, or the LSR, I think -- but it should be easily accessible. Maybe a Lilypond e-zine (with searchable archive)? That's what the new chapters 3-5 are for. We have - manual - tricks and tips - regressions tests - LSR - mailist archives - (lilypond wiki) The wiki appears to be stagnant, so we can basically cross it off. But that still leaves five places that newbies should ideally look for help before sending emails to the mailing lists. We need to reduce this number, not increase it! I have some ideas for combining tricks, regressions, and LSR. If we can do that (and I do mean we, since the Example Janitor is a necessary part of this), then I'll consider adding docs for articles/ezines/blogs/whatever. Cheers, - Graham ___ 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 * * This transmission is intended for the named recipient only. It may contain private and confidential information. If this has come to you in error you must not act on anything disclosed in it, nor must you copy it, modify it, disseminate it in any way, or show it to anyone. Please e-mail the sender to inform us of the transmission
RE: Lyrics problem ... Bug? Feature? ???
I've changed my approach - I felt all along that the rests were what was
screwing things up. (Which means, I think, that if I copy your example
exactly as you've given it, it'll be just as big a mess as before. But
I'll try your approach in a minute - I'm still going to send this email
because I do think there's something fundamentally wrong under this
somewhere...)
Unfortunately, I've just swapped one error for another. I've redefined
pennsylvania as
pennsylvania = { r2_\markup{ shout }
{ \override NoteHead #'style = #'cross f8. f16 f8. f16 f4 f f8.
f16 }
\addlyrics { Penn syl van ia six five thous and }
r4 }
which has had several effects. I no longer need to reset the notehead
style. lilypond no longer complains about getting its timing in a twist.
It is now complaining about trying to put noteheads and stems on a rest
(the r4 - and yes I did try reverting the notehead style - no effect
whatsoever). And because I've got two consecutive occurrences on the
same line, it's making the two lots of text avoid each other, which
looks daft.
Graham - I'll have to write something for the docs (I'm working from
2.8.0) because there appears to be no examples at all about how to embed
a lyric fragment in a larger piece. I'm attaching the lyrics to the
notes no problem - it's getting the resultant fragment successfully into
the bigger work that's the problem!
And part of that problem at least seems to be that \addlyrics just does
not like rests!
More investigation to follow - my current source attached ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 08 June 2006 12:43
To: Anthony Youngman
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics problem ...
I got the same programming error but still the output looked right
in the simplified example I tried. However, a better solution is to
use \lyricsto. For example, you can define a separate Voice context
for the music that the lyrics should follow and define a separate
identifier for the lyrics:
pennsylvania = \context Voice = pennsylvania {
\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4
}
pennsylvaniaLyrics = \lyricmode { Penn syl van ia six five thous and }
and redefine your \score block to:
\score {
\new Staff {
\set Score.skipBars = ##t
{
\clef bass
\voiceTimeSig
\voiceTromboneI
\voiceMarkup
}
}
\new Lyrics \lyricsto pennsylvania {
\pennsylvaniaLyrics \pennsylvaniaLyrics
}
\layout {
}
}
/Mats
Anthony Youngman wrote:
Just tried swapping your version for mine. No improvement :-(
And I'm still getting programming error: moving backwards in time in
the logs ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 08 June 2006 11:34
To: Anthony Youngman
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics problem ...
The problem is that \addlyrics doesn't really work that way, see Sect.
7.3.4 The Lyrics Context.
It seems that the following version actually does work:
pennsylvania =
\new Voice{\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
\addlyrics { Penn syl van ia six five thous and }
/Mats
Anthony Youngman wrote:
I'm now trying to add some words to a phrase ...
pennsylvania = {
{ \override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
% \addlyrics { Penn syl van ia six five thous and }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
\break
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\break
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
}
Note that the addlyrics line is commented out ... and I've copied the
layout of this from the example at the end of 7.3.1 in the manual ...
The music knows from elsewhere that both my alternative sections are
two bars long. When I compile the above, it works perfectly - the
notes
appear perfectly in the time bars.
As soon as I uncomment the lyrics line, the lyrics appear over the
correct notes, but the entire phrase seems to become four bars long -
completely messing up the bar structure! What am I doing wrong?
Note that the music both starts and ends with a rest, which is why I
haven't tried specifying music lengths for the words - and it seems to
be shoving the words in the correct place anyway.
Cheers,
Wol
*
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RE: Lyrics problem ... Bug? Feature? ???
Ummm ... your approach worked. Except not completely :-(
You'll notice my revised stuff has THREE occurrences of the lyrics (so
far). So I did a '\repeat unfold 3'. And got lyrics for the first two
only :-(
How difficult can it be :-( All I'm trying to do is create a two-bar
fragment that gets repeated in several places, so I can just drop it
into the music where it's needed ...
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Anthony Youngman
Sent: 12 June 2006 12:04
To: Mats Bengtsson
Cc: lilypond-devel@gnu.org; lilypond-user@gnu.org
Subject: RE: Lyrics problem ... Bug? Feature? ???
I've changed my approach - I felt all along that the rests were what was
screwing things up. (Which means, I think, that if I copy your example
exactly as you've given it, it'll be just as big a mess as before. But
I'll try your approach in a minute - I'm still going to send this email
because I do think there's something fundamentally wrong under this
somewhere...)
Unfortunately, I've just swapped one error for another. I've redefined
pennsylvania as
pennsylvania = { r2_\markup{ shout }
{ \override NoteHead #'style = #'cross f8. f16 f8. f16 f4 f f8.
f16 }
\addlyrics { Penn syl van ia six five thous and }
r4 }
which has had several effects. I no longer need to reset the notehead
style. lilypond no longer complains about getting its timing in a twist.
It is now complaining about trying to put noteheads and stems on a rest
(the r4 - and yes I did try reverting the notehead style - no effect
whatsoever). And because I've got two consecutive occurrences on the
same line, it's making the two lots of text avoid each other, which
looks daft.
Graham - I'll have to write something for the docs (I'm working from
2.8.0) because there appears to be no examples at all about how to embed
a lyric fragment in a larger piece. I'm attaching the lyrics to the
notes no problem - it's getting the resultant fragment successfully into
the bigger work that's the problem!
And part of that problem at least seems to be that \addlyrics just does
not like rests!
More investigation to follow - my current source attached ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 08 June 2006 12:43
To: Anthony Youngman
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics problem ...
I got the same programming error but still the output looked right
in the simplified example I tried. However, a better solution is to
use \lyricsto. For example, you can define a separate Voice context
for the music that the lyrics should follow and define a separate
identifier for the lyrics:
pennsylvania = \context Voice = pennsylvania {
\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4
}
pennsylvaniaLyrics = \lyricmode { Penn syl van ia six five thous and }
and redefine your \score block to:
\score {
\new Staff {
\set Score.skipBars = ##t
{
\clef bass
\voiceTimeSig
\voiceTromboneI
\voiceMarkup
}
}
\new Lyrics \lyricsto pennsylvania {
\pennsylvaniaLyrics \pennsylvaniaLyrics
}
\layout {
}
}
/Mats
Anthony Youngman wrote:
Just tried swapping your version for mine. No improvement :-(
And I'm still getting programming error: moving backwards in time in
the logs ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 08 June 2006 11:34
To: Anthony Youngman
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics problem ...
The problem is that \addlyrics doesn't really work that way, see Sect.
7.3.4 The Lyrics Context.
It seems that the following version actually does work:
pennsylvania =
\new Voice{\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
\addlyrics { Penn syl van ia six five thous and }
/Mats
Anthony Youngman wrote:
I'm now trying to add some words to a phrase ...
pennsylvania = {
{ \override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
% \addlyrics { Penn syl van ia six five thous and }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
\break
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\break
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
}
Note that the addlyrics line is commented out ... and I've copied the
layout of this from the example at the end of 7.3.1 in the manual ...
The music knows from elsewhere that both my alternative sections are
two bars long. When I compile the above, it works perfectly - the
notes
appear perfectly in the time bars.
As soon as I uncomment the lyrics line, the lyrics appear over the
correct notes, but the entire phrase
RE: Lyrics problem ... Bug? Feature? ???
Thanks.
I'll play with all this and see where I get. I thought what I was doing
WAS simple :-( I'll also try the {} you mention in your other email.
And I'll download and read the 2.9 docu at some point. Although I get
the impression it might not be a good idea to upgrade for a while ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 12 June 2006 13:25
To: Anthony Youngman
Cc: lilypond-user@gnu.org; lilypond-devel@gnu.org
Subject: Re: Lyrics problem ... Bug? Feature? ???
Anthony Youngman wrote:
I've changed my approach - I felt all along that the rests were what
was
screwing things up. (Which means, I think, that if I copy your example
exactly as you've given it, it'll be just as big a mess as before. But
I'll try your approach in a minute - I'm still going to send this email
because I do think there's something fundamentally wrong under this
somewhere...)
Unfortunately, I've just swapped one error for another. I've redefined
pennsylvania as
pennsylvania = { r2_\markup{ shout }
{ \override NoteHead #'style = #'cross f8. f16 f8. f16 f4 f f8.
f16 }
\addlyrics { Penn syl van ia six five thous and }
r4 }
which has had several effects. I no longer need to reset the notehead
style.
What you said here made me completely confused, so I had to take a look
at
the implementation and learned something new. The construct
music_expression \addlyrics lyrics
will create a new Voice context for the music_expression.
lilypond no longer complains about getting its timing in a twist.
It is now complaining about trying to put noteheads and stems on a rest
(the r4 - and yes I did try reverting the notehead style - no effect
whatsoever). And because I've got two consecutive occurrences on the
same line, it's making the two lots of text avoid each other, which
looks daft.
The timing gets lost already at the end of the prima volta. I have no
idea
on what's going on here. Replacing
music_expression \addlyrics lyrics
by
\new Voice music_expression
in your example works well, so there's something more going on here that
I don't understand fully.
Still, my impression is that \addlyrics mainly was implemented to
support
extremely simple situations where your score in principle only has a
melody
and one or more lines of lyrics. What makes your example extra
complicated
is that you want to insert the same construct at a number of places in
the
score.
In a way, maybe the simplest solution for you is to do
pennsylvania = { r2_\markup{ shout }
\new Voice { \override NoteHead #'style = #'cross f8. f16 f8. f16 f4
f f8. f16 }
\context Lyrics = pennsylvanialyrics \lyricmode{ Penn8. syl16 van8.
ia16 six4 five4 thous8. and16 }
r4 }
Unfortunately, it means that you have to specify the durations of the
syllables
explicictly. Also, the second set of lyrics gets typeset one line too
low. I will
write a separate bug report about that issue.
Graham - I'll have to write something for the docs (I'm working from
2.8.0) because there appears to be no examples at all about how to
embed
a lyric fragment in a larger piece.
Sure there is! In the latest manual for version 2.9, you can find two
examples
in section 7.3.7.2 Divisi lyrics and I know that Eduardo has sent a
draft
of even more documentation to Graham, with related information.
/Mats
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RE: Lyrics problem ...
Just tried swapping your version for mine. No improvement :-(
And I'm still getting programming error: moving backwards in time in
the logs ...
Cheers,
Wol
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 08 June 2006 11:34
To: Anthony Youngman
Cc: lilypond-user@gnu.org
Subject: Re: Lyrics problem ...
The problem is that \addlyrics doesn't really work that way, see Sect.
7.3.4 The Lyrics Context.
It seems that the following version actually does work:
pennsylvania =
\new Voice{\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
\addlyrics { Penn syl van ia six five thous and }
/Mats
Anthony Youngman wrote:
I'm now trying to add some words to a phrase ...
pennsylvania = {
{ \override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
% \addlyrics { Penn syl van ia six five thous and }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
\break
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\break
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
}
Note that the addlyrics line is commented out ... and I've copied the
layout of this from the example at the end of 7.3.1 in the manual ...
The music knows from elsewhere that both my alternative sections are
two bars long. When I compile the above, it works perfectly - the notes
appear perfectly in the time bars.
As soon as I uncomment the lyrics line, the lyrics appear over the
correct notes, but the entire phrase seems to become four bars long -
completely messing up the bar structure! What am I doing wrong?
Note that the music both starts and ends with a rest, which is why I
haven't tried specifying music lengths for the words - and it seems to
be shoving the words in the correct place anyway.
Cheers,
Wol
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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Lyrics problem ...
I'm now trying to add some words to a phrase ...
pennsylvania = {
{ \override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
% \addlyrics { Penn syl van ia six five thous and }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
\break
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\break
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
}
Note that the addlyrics line is commented out ... and I've copied the
layout of this from the example at the end of 7.3.1 in the manual ...
The music knows from elsewhere that both my alternative sections are
two bars long. When I compile the above, it works perfectly - the notes
appear perfectly in the time bars.
As soon as I uncomment the lyrics line, the lyrics appear over the
correct notes, but the entire phrase seems to become four bars long -
completely messing up the bar structure! What am I doing wrong?
Note that the music both starts and ends with a rest, which is why I
haven't tried specifying music lengths for the words - and it seems to
be shoving the words in the correct place anyway.
Cheers,
Wol
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not act on anything disclosed in it, nor must you copy it, modify it,
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inform us of the transmission error or telephone ECA International immediately
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RE: Lyrics problem ...
Just compiled it with the lyrics line uncommented, and I notice the log
says programming error.
The relevant files are attached for debugging - the part file is the
one to compile ...
# -*-compilation-*-
Changing working directory to `C:/Documents and Settings/wally/My
Documents/Music/Peninsular/Pennsylvania'
Processing `C:/Documents and Settings/wally/My
Documents/Music/Peninsular/Pennsylvania/partTromboneI.ly'
Parsing...
Interpreting music... [8]
programming error: moving backwards in time
continuing, cross fingers
[16]
Preprocessing graphical objects...
Calculating line breaks... [3][6][9][12][15][16]
Calculating page breaks...
Layout output to `partTromboneI.ps'...
Converting to `partTromboneI.pdf'...
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Anthony Youngman
Sent: 07 June 2006 12:12
To: lilypond-user@gnu.org
Subject: Lyrics problem ...
I'm now trying to add some words to a phrase ...
pennsylvania = {
{ \override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4 }
% \addlyrics { Penn syl van ia six five thous and }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
\break
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\break
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
}
Note that the addlyrics line is commented out ... and I've copied the
layout of this from the example at the end of 7.3.1 in the manual ...
The music knows from elsewhere that both my alternative sections are
two bars long. When I compile the above, it works perfectly - the notes
appear perfectly in the time bars.
As soon as I uncomment the lyrics line, the lyrics appear over the
correct notes, but the entire phrase seems to become four bars long -
completely messing up the bar structure! What am I doing wrong?
Note that the music both starts and ends with a rest, which is why I
haven't tried specifying music lengths for the words - and it seems to
be shoving the words in the correct place anyway.
Cheers,
Wol
*
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error you must not act on anything disclosed in it, nor must you copy
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e-mail the sender to inform us of the transmission error or telephone
ECA International immediately and delete the e-mail from your
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York +1 212 582 2333.
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partTromboneI.ly
Description: partTromboneI.ly
header.ly
Description: header.ly
voiceStaff.ly
Description: voiceStaff.ly
voiceTromboneI.ly
Description: voiceTromboneI.ly
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Re: How to work with makefile?
In message [EMAIL PROTECTED], Eduardo Vieira [EMAIL PROTECTED] writes Hello list! Once in a while I see .ly examples posted in this list in a zip file containing several pieces and a file called makefile. I suppose it is to put all the parts together. Is it possible to work with it Windows? If you're running it under Cygwin ... 'make' is part of the GNU development tools. I use it, but I'm currently using the ?mingw version of lilypond and don't know how to get make to work with that. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request - jazz / bigband notation and caesurae
In message [EMAIL PROTECTED], Paul Scott [EMAIL PROTECTED] writes Anthony W. Youngman wrote: In message [EMAIL PROTECTED], Paul Scott [EMAIL PROTECTED] writes 4) not sure what it's called, but it looks like a right parenthesis hanging from the note head, usually seen for trombones and trumpets, and again is a form of gliss. I think this is called a fall. Price: 65 EUR; I will need some scans to be sure that we're talking about the same thing, though. I could contribute a small amount (20 EUR) for these. That leaves 45 EUR - £30. I think I can stump that up ... Are you saying you are only interested in the fall (plus the caesura) since the glisses can be done with invisible notes? I'm not sure they can ... see my other post Paul Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request - jazz / bigband notation and caesurae
In message [EMAIL PROTECTED], Han-Wen Nienhuys [EMAIL PROTECTED] writes [EMAIL PROTECTED] schreef: Seeing as I've made enough of a fuss about other things ... I've seen somebody else ask about modern tram-line caesurae, and I want things like a free-format gliss ... What sort of price am I looking at to sponsor these - I guess it's just a new character in a font? Basically the four things I can think of at the moment are 1) tram-line caesurae Basically, the straight version of the tram-line we have now? I can add those for free with any of the following features. Yes please. Seeing as this is a modern caesura, I would suggest you alter the definition of the gregorian caesura to override the modern, and make the modern available by default. That way, it won't break any existing scores, but will give new scores the modern version by default. 2/3) straight-line and zigzag glisses WITHOUT a terminating note You could make a gliss to a transparent note. But I can also add it as feature. Price: 130 EUR. Ummm. Thinking about it, I'm not sure... I looked up hidden notes in the manual, and I'm not still not sure how to do it. Hidden notes have a duration, and what happens if I'm in 2/4 and want to gliss down a minim... Bear in mind also, it's jazz, and I'm a trombonist. What if I want to gliss *slowly* UP TO a minim? That's going to be a nightmare notation!!! I need my minim right-justified in the note space and the gliss occupies the minim-width. You had a problem with terminating one-note crescendi etc. I thought you had zero-length notes and then I tried it - it doesn't work :-) Can I suggest you fix both that problem and mine by making 0 a valid note length that also suppresses the note from printing. Then I can gliss from/to a zero length note, and your cresc/descresc can terminate on a zero note :-) Plus I need to be able to flag a note as right-justified so I can gliss to it :-) 4) not sure what it's called, but it looks like a right parenthesis hanging from the note head, usually seen for trombones and trumpets, and again is a form of gliss. I think this is called a fall. Price: 65 EUR; I will need some scans to be sure that we're talking about the same thing, though. I've found some printed and hand-written examples. I'll scan them as soon as I can, but expect a few days delay... Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clef transposition: tenor - bass
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes If the problem is that you don't know tenor clef yourself and input the music, pretending that it has a bass clef, not a tenor clef, then you will input the music a fifth too low, so you could use \transpose f c' Or pretend it's treble clef and use \transpose c' bf (and knock two flats off the key signature). That's what trombone players who only know treble clef do when presented with a part in tenor. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clef transposition: tenor - bass
In message [EMAIL PROTECTED], Roman [EMAIL PROTECTED] writes I think it's much more easier now to tranpose the notes in my head and afterwards write them directly as a staff in bass clef, as Mats Brengtsson proposed. My Idea was to first write the notes in tenor clef so that I can check if I did everything wright on an outprint. Afterwars I wanted to transpose everything with one command into a bass clef staff with appropriate transposed notes in the bass clef staff, but that doesn't seem to work this way. Tenor is NOT a transposing clef for the Bb Trombone! A concert middle C is a bass clef middle C (one ledger line up) is a tenor clef middle C (fourth staff line up). The only thing I can think of is you're muddling it with treble clef in Bb, where the trombone IS a transposing instrument, but a simple \transpose c' bf (or the reverse) and the use of the treble_8 clef will deal with that. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: FW: Re: clef transposition: tenor - bass
In message [EMAIL PROTECTED], Ralph Little [EMAIL PROTECTED] writes Hi, I've just thought of a good example, and sorry if I sound patronising :( Say you wanted to score a piano-accompanied solo for tenor trombone. A tenor trombone is usually pitched in Bb. Sorry. Wrong! If you mean a tenor trombone plays an open arpeggio of Bb, then it's ALWAYS pitched in Bb. If it's in Eb then it's an alto, and if it's in G then it's a bass. (I'll ignore Bb/F and Bb/F/G for the moment :-) What I think you mean is, if I play a written scale of C, then it sounds the concert scale of Bb which is only true for tenor trombone music written in treble clef. It's normal brass nomenclature to PRECEDE the instrument name by the open arpeggio that that instrument plays, and FOLLOW the name by the concert scale that gets played when a written scale of C is played. So a Bb Trombone will be scored in bass, tenor or alto clef at concert pitch, while a Trombone in Bb is implied to be a Bb Trombone (the instrument) and is scored as a transposing instrument in treble clef. I think exactly the same approach is taken with woodwind, except rather than being the open arpeggio, it's the open note with no keys pressed. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request - jazz / bigband notation and caesurae
In message [EMAIL PROTECTED], Paul Scott [EMAIL PROTECTED] writes 4) not sure what it's called, but it looks like a right parenthesis hanging from the note head, usually seen for trombones and trumpets, and again is a form of gliss. I think this is called a fall. Price: 65 EUR; I will need some scans to be sure that we're talking about the same thing, though. I could contribute a small amount (20 EUR) for these. That leaves 45 EUR - £30. I think I can stump that up ... I'll hunt up some examples, scan and post them. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: newbie part extraction on same page
In message [EMAIL PROTECTED], Mats Bengtsson
[EMAIL PROTECTED] writes
If you want two separate scores printed below eachother, just include two
\score{...} blocks in your input file. If they fit on the same page,
LilyPond
will print them on the same page.
I'm trying to do roughly the same thing ... but am having a different
problem.
Trombone part - so I want one score to print in bass clef, and the other
in treble clef. No problem there. But I want one part on one side of the
paper and the other on the other side. If I do the two parts separately
and use Acrobat to combine the resulting pdfs that's exactly what I
want.
What I THOUGHT I should do is move the \header inside the \score, and
then set printallheaders to true, as per 10.1. What do I get? No headers
at all! (I've tried setting it inside both \layout, and \paper.)
And where do I put \pageBreak? If I put it between the scores lily
objects. If I put it at the end of the first score, lily doesn't object,
but ignores it instead...
Cheers,
Wol
/Mats
Rick Hansen (aka RickH) wrote:
How can I extract 2 parts to print independently on the same page? Lets say
I have a 12 measure duet. I want to print the entire first part on the left
(or top) half of the page, and the entire second part on the right (or
bottom) half of the page, as 2 separate systems beginning to end. I could
not find any examples of this. Does it involve using the \book container
which I have no experience with? (There are also times I want the parts
printed as a single system but thats working already, now using the same
data variables, I want to do a same-page part extract.)
If someone can just steer me in the right direction I'm sure I can figure it
out,
Thanks
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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Re: clef transposition: tenor - bass
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes I still think that you are confusing things with the issue of transposing instruments, see http://en.wikipedia.org/wiki/Transposing_instrument. I'm not an expert in brass instruments, but according to that article, trombones read at concort pitch, i.e. they are not transposing. As an amateur trombonist, if that's what that article says, it's wrong ... Bb Trombones are concert pitch instruments when written in bass or tenor clef, so you're correct in saying that a tenor clef middle C is exactly the same note as a bass clef middle C. But a treble clef middle C is actually Bb a ninth below middle C. This leads to the interesting result that a treble clef D (ninth above middle C) looks exactly the same as a tenor clef middle C, and both notes represent a concert middle C! So if the OP has correctly entered the music from a tenor clef trombone part, then it is in concert pitch and all he need do is change the \clef to bass from tenor. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alignment bug?
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes Sorry to sound so negative, but even if you found a bug in version 2.6, nobody will care to fix it, since we have a new stable version 2.8. That's fair enough, provided it *has* been spotted and fixed. I know Cygwin lags the latest, it's just that if that's the latest on Cygwin I would hope for a bit of help. I'll have to try the native Windows version. I'd much rather be bleeding edge on linux but that's easier said than done... In my earlier answer and so far in this answer, I haven't looked too carefully at your exact question, but just tried to explain the general problems of using older versions. However, I happened to have an installation of version 2.6 available and when I tried your example, I noticed that LilyPond writes out a warning: type check for `self-alignment-X' failed; value `#Music FingerEvent' must be of type `number' and I happen to recognize that you have indeed found an old bug, namely that you couldn't use #left as an argument value. However, you can use #LEFT instead. Thanks very much. Confirmation it's an (old) bug, plus a work-around :-) Cheers Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alignment bug?
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes I really recommend you to upgrade to the latest stable version, 2.8.x. If find the Cygwin command interface convenient, you can still use the native Windows version available for download from www.lilypond.org if you just include it in $PATH. Bummer. It's a lot easier just to use cygwin itself ... Secondly, you shouldn't expect an example taken from one version of LilyPond to work directly with another version. So, for version 2.6.4, you should look at the manual for version 2.6, at least to learn the exact syntax and property names. But it feels like a bug !!! If the example works with right, but not left, it doesn't feel like something where the syntax has changed. It feels like something that's gone wrong! Okay - I might just get the answer upgrade to the latest version, but it would be nice to know whether it IS a bug, or whether I've just mis-understood the docu. I'll download the 2.6 docs, but I strongly suspect I'll find nothing has changed ... /Mats Quoting [EMAIL PROTECTED]: I've just copied the commonly tweaked properties alignment example from p174 of the 2.8 manual (section 8.1.3) If I don't alter the alignment, my text is centre-justified. If I copy the example exactly, my text is right-justified, as expected. If I change right to left, it goes back to the centre default! (Using the ?current cygwin version, 2.6.4) Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Codas, Segnos, and bar number documentation
As before, 2.6.4 lily (latest cygwin) and 2.8 docu ... Looking at the manual, codas and segnos are under Articulation, symbols that modify notes. Fine, except to me this seems completely wrong - they should be over bar-lines and modify the flow of music - they're like the : that means repeat this section! So I found the bit that said how to put a coda over the bar line, and it had a load of scheme code about fermatas, and a note to use \markup to access the appropriate symbol. It would be nice if it told you where to find the appropriate symbol, seeing as there doesn't seem to be a match between the names... I know I'm using a mismatch of prog/docu, but I'll have a look at the correct docu tomorrow, and the docu wasn't that helpful, seeing as it neither told me what I needed to know, nor where to look, despite the index telling me exactly what I was looking for and pointing me there... One last little point on the docu. In section 8.2.4 it tells you how to manually typeset barnumbers with the help of a load of scheme code. Isn't that now redundant? The previous section tells you how to use a bar-number as a rehearsal mark, which looks like it's exactly the same thing. I guess the scheme code is left over from versions of the docu before bar-number rehearsal-marks were added. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
2.6.x rpm install - failed dependencies
I'd like to upgrade from 2.4 to 2.6 but get the following error when I try to install the ghostscript items: $rpm -Uv ghostscript-8.15rc3-0.i386.rpm ghostscript-libs-7.07-41.i386.rpm error: Failed dependencies: ghostscript = 7.07-33 is needed by (installed) ghostscript-devel-7.07-33.i386 ghostscript = 7.07-33 is needed by (installed) ghostscript-gtk-7.07-33.i386 What exactly are these missing things, and where can I find them? Best, Anthony __ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fixing the number of systems per page
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes How about inserting page breaks explicitly where you want them? Then, LilyPond (version 2.4 or newer) should automatically space them out. You may have to reduce the setting of betweensystempadding, though. Great. So you suggest he does what he says he's already doing :-) I've got a similar problem, which is why this question interested me - but with me it's ragged-last-page = false (or whatever the correct syntax is). If I have 12 systems, and lily puts 10 per page, then it looks damn naff typeset at 10 + 2. Set ragged-last-page to false, and it looks damn naff with 6 + 6 and a massive intersystem gap. Then add to this bars (multi-bar rests in particular) that are horribly cramped because of the amount of markup they need, and the result just doesn't look nice :-( The only way round this I can see is to put all the *line* breaks in individually - which is effort lily is supposed to make unnecessary! Bearing in mind lily calculates how many bars, then systems, then pages it needs, and *then* (if I've got it right) goes back and calculates how best to lay it out, is there any way we can override this calculation? The way I'd do it is something like a systems-per-page directive with properties optimal, first-page, min, max. The OP here would choose property values of 6,6,6,6, while I'd probably choose 10,8,8,10. Lily would then use this to calculate where line and page breaks actually go. In my example, it would say can't cram 12 lines into 10, therefore two pages of 8, whereas for the OP it would either say six is fine or five is too small, make it six. (We might add a condense threshold telling lily whether to add or subtract a page - in my example we're condensing 20% - 2 extra lines in 10 - while if I had 22 lines it would only be 10% and might well be doable.) Only then would it actually start working out line and page breaks ... /Mats Cheers, Wol [EMAIL PROTECTED] wrote: Hymnal project; see example file, attached. I'm forcing page breaks so that they only occur at the end of a hymn. As a result, the number of systems varies between five and six systems per page. I would like to always have six systems on each page, and have the horizontal spacing change as necessary to achieve this. Any way to do this? -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adding number to percent repeat
In message [EMAIL PROTECTED], Ishizaki [EMAIL PROTECTED] writes Hi, I'm using Lilypond 2.4.6 on Linux. Is there anyway to print repeated number onto the percent sign? Like this, 2 3 4 5 [music] | % | % | % | % | [another music] |... Oddly enough, I was thinking of asking the same question ... Incidentally, if it can't be done at present and someone is thinking of doing it, a related problem is exactly the same thing but with \unfold. eg 2 3 4 [music] | [samemusic] | [samemusic] | [samemusic] | [anothermusic] which I often come across. The latter probably isn't too hard to rig, but the former I don't know how to do. Oh - and something to watch out for - when using \unfold, the first repeated bar often has to be explicitly coded because of non-music expressions such as dynamics in the first bar, so whereas with % it would put '2' over the first repeated bar, with \unfold it may need to put '2' over the first bar. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font problem in 2.4.5
In message [EMAIL PROTECTED], Jan Nieuwenhuizen [EMAIL PROTECTED] writes Anthony W. Youngman writes: This is *linux*. rpm -U fails, rpm --install fails ... and why should I expect it to make any difference? TeX may have been updated, and there's a postinstall script. Unfortunately, mktexlsr doesn't make any difference either. The check that configure does is to look for ecrm10.pfa using: kpsewhich ecrm10.pfa. If that file is on your system, but kpsewhich does not find it, there is something wrong with your installation or TEXMF environment variable setting. Upgrading to .9 at least fixed ./configure. Now make seems to fail, I'll have to run it again to find out why - but again something to do with fonts iirc. So I tried 2.5 - which failed with loads of you need to upgrade X. Sounds like I might need to get a copy of SuSE 9.2... Jan. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font problem in 2.4.5
In message [EMAIL PROTECTED], Jan Nieuwenhuizen [EMAIL PROTECTED] writes Anthony W. Youngman writes: ec-fonts-mftraced is not installed - except rpm -U fails with already installed. Try to reinstall ec-fonts-mftraced or run mktexlsr by hand. This is *linux*. rpm -U fails, rpm --install fails ... and why should I expect it to make any difference? Unfortunately, mktexlsr doesn't make any difference either. Mind you, I do currently have 1.0.3 (just downloaded 1.0.9 - will that make any difference?) I notice also, 2.5 has no mention of requiring ec-fonts-mftraced, so I'll try installing that. Jan. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font problem in 2.4.5
In message [EMAIL PROTECTED], Jan Nieuwenhuizen [EMAIL PROTECTED] writes Anthony W. Youngman writes: There is a problem with the ec-fonts-mftraced package, it is not tetex-3.0 compatible. Bertalan made manual fixes for cygwin, but there is no autodetection yet. Any more news? Yes, ec-fonts-mftraced v1.0.12 is tetex-3.0 compatible. I'm trying to install 2.4.5 on SuSE 9.1, and seeing as ./configure fails it won't go any further :-( What is the error? ec-fonts-mftraced is not installed - except rpm -U fails with already installed. Jan. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font problem in 2.4.5
In message [EMAIL PROTECTED], Jan Nieuwenhuizen [EMAIL PROTECTED] writes Doug Asherman writes: I compiled 2.4.5 from the tarball -- I'm trying to use it with tetex-3.0 The problem I'm seeing is that the generated .ps and .pdf files have no fonts except for the notes and associated stuff like time signatures, etc. But I'm not seeing title, composer, rehearsal marks, etc. There is a problem with the ec-fonts-mftraced package, it is not tetex-3.0 compatible. Bertalan made manual fixes for cygwin, but there is no autodetection yet. Any more news? I'm trying to install 2.4.5 on SuSE 9.1, and seeing as ./configure fails it won't go any further :-( Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beginner tutorial to install lily on mac
In message [EMAIL PROTECTED], Graham Percival [EMAIL PROTECTED] writes On 9-Feb-05, at 4:09 PM, Anthony W. Youngman wrote: And can I make a plea for documentation to be available in dead-tree format... the manual is nice (I've got a printed copy) but so much only appears to be available on screen - which is all well and good until you want to actually read the stuff! I do a moderate amount of reading/working on my daily commute - when I have no computer access... There's a pdf with everything -- 250 pages or so. Print whatever chapters you're interested in. If you mean the 236 page manual, I've already printed off a copy ... which does not appear to be EVERYTHING. I've just tried to prove it by going to lilypond.org and looking at what's available there, but I'm getting 403 forbidden when I click on the documentation links :-( I don't appear to have documentation installed on the system I'm currently on ... But looking at the manual, section 7.1.3 refers you to a load of other documentation - which does not appear to be available in pdf form. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: inimf -where is this?
In message [EMAIL PROTECTED], Tapio Tuovila [EMAIL PROTECTED] writes I installed tetex3.0 and tried to compile lily2.4 from cvs. The configure script asks me to install required programs: inimf inimfont. Now I'm sure this sounds stupid, but how is this done? Where can I get those? sorry to bother you with a thing like this. greetings, Tapio What OS are you using? Dunno about any others, but if you're using SuSE linux, pin inimf and pin inimfont should tell you what packages you need. That might (or might not) work for other linux distros. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beginner tutorial to install lily on mac
In message [EMAIL PROTECTED], Jan Nieuwenhuizen [EMAIL PROTECTED] writes Libero Mureddu writes: ! I've decided to write a tutorial that explains how to install lilypond on a mac, having in mind someone that doesn't know nothing about linux, free software, use of the terminal ecc. That's great. If it is useful, I can complete it with some screenshot, too. It's just a draft, so it contains many mistakes. It could be very useful if we could use it to replace http://lilypond.org/web/download/macos.html However, in its current form it is way too long. The plain instruction, with screenshot, should not have so many details that it is scary. If those are necessary, they could be on a new html page. I'm trying to write a little getting started tutorial (intended more for print, not web, I do NOT like html help ...) and was going to write up Cywin and SuSE. Sounds like this might fit in there well :-) And can I make a plea for documentation to be available in dead-tree format... the manual is nice (I've got a printed copy) but so much only appears to be available on screen - which is all well and good until you want to actually read the stuff! I do a moderate amount of reading/working on my daily commute - when I have no computer access... Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: opus/composer alignment
In message [EMAIL PROTECTED], Erik Sandberg [EMAIL PROTECTED] writes thanks. I have added the bug to the database. It will not be fixed in the 2.4 series, but as Daniel pointed out it is fixed in 2.5. You can pass -f ps to lilypond, this will make the output slightly different; the composer will be slightly off to the right instead. If it's fixed in 2.5 but will not be backported, when can we expect 2.6? I'm particularly interested because of stuff that's been added for me :-) Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transpose, transposition, and relative
In message [EMAIL PROTECTED], Graham Percival
[EMAIL PROTECTED] writes
On 5-Feb-05, at 9:40 AM, David Raleigh Arnold wrote:
As I've said before, please tell me exactly what section(s) should
changed, and exactly
what should be changed or added.
Table of Contents
* GNU LilyPond \u2014 The music typesetter
* Preface
o Notes for version 2.4
* 1 Introduction
o 1.1 Engraving
o 1.2 Automated engraving
Something like this? -- Relevant Features/Limitations
(of the languages (TeX, LaTeX, Scheme, etc.)
o 1.3 What symbols to engrave?
o 1.4 Music representation
o 1.5 Example applications
While you do skirt the topic several times in the section, I think it
deserves a subsection heading. daveA
OK, got it. We should have a section about Relevant
features/limitations.
I'm not certain if the intro is the best place for it -- maybe
somewhere in
chapter 7 or 8 would be better? -- but we can work that out later.
Now what should I include in such a section? In other words,
(see my above quoted section) what exactly should be added?
As the person who started all this ...
The problem is that I missed the one line about midi.
I would suggest two changes. In the section about transposition, the
*first* sentence should say something like this command is used to
convert transposed music to concert pitch for midi output only. For
printed output use transpose.
And in the section about transpose, okay ... I know it's me being dense
but ... the manual goes on about transposing music to output a part. I
didn't make the manual leap to inputting a part. Going on about the
trombone again, but how about ... Or consider an instrument like the
trombone, where parts may be in either Bb or C. A part can be wrapped in
\transpose c bf when entering from a Bb part, and then that can be
wrapped in either \transpose c c or \transpose bf c depending on
which part you want to produce.
The problem is, it never crossed my mind (and it's not obvious from the
manual) that you can actually do \transpose c bf { \transpose bf c {
music }}. And it probably never crossed anybody else's mind as to why
on earth anyone would want to do such a thing :-) but if you want to
produce a score and parts from the same set of notes, it makes life a
lot easier (at least it does for me) if I can simply assume any music
fragment is in C unless I've forced it to something else for a specific
reason.
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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Re: Vertical spacing isn't working...
In message [EMAIL PROTECTED], Graham
Percival [EMAIL PROTECTED] writes
On 18-Jan-05, at 5:10 AM, [EMAIL PROTECTED] wrote:
Got it. I'm trying to increase the space between systems on a page,
and minimumVerticalExtent is for staves in a system ...
(it is possible though, that it is impossible to easily generate
tighter
spacing. If you have a lot of notes, then they simply have to be
very small
in order to fit on one page)
What did work, though, was
\layout {
betweensystemspace = 10\mm
}
Thanks, I didn't know that. Info added to CVS.
This is actually documented in section 7.5.11. I do think, actually (and
planned to do some work on it) that this should be expanded to be far
more important in the manual.
I've got a half-written tutorial for lilypond, and it's intended to
cover this sort of thing. I'm hoping to get some music I can set as a
tutorial from one of my bandmasters, but what I would love is either a
Sousa or Kenneth Alford March. Does anyone know where I can get an out
of copyright copy to work on?
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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Re: transpose, transposition, and relative
In message [EMAIL PROTECTED], Han-Wen Nienhuys [EMAIL PROTECTED] writes don't confuse \transposition and \transpose. \transposition sets the transposition of the instrument playing. This is used for getting cue note transpositions and MIDI output correct. \transpose changes the pitches of a music expression. The above was interpreted as Thanks. So I can't do what I want :-( I know someone said there was a macro in jEdit or emacs or something that would transpose parts, but what I was hoping I could do was enter the part straight from treble clef, and tell lilypond that it was written in Bb. Looking at the example for the horn certainly makes it look like that is possible ... I think that needs clarifying somewhat in the manual ... Bummer! Another entry in my I wish lilypond had that list ... I'll really have to get into programming in Scheme and C++ :-) Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
marks, voltas, and key signatures
Various problems I want to fix ... Marks - I want to put some text on a barline. I thought it was \mark \markup, but that centres the text over the barline - no use when it's a long text :-( I want the text to start over the bar, not centred. How do I left-justify a mark, or what else should I do? Voltas - is this a bug? They're floating way too high over the staff. An x time bar to me should be sitting almost touching the staff. But there's a gap the same height as the volta between it and the staff. AS I say, is this a bug, or how do I move the volta down? And key signatures. I'm not used to seeing accidentals cancelled then reset. If I go from, say, three flats to four, lilypond gives me SEVEN accidentals, three naturals and four flats. To me it should be just four flats. Likewise, going from four flats to three, I would expect the key signature to be one accidental followed by three flats. How do I get this behaviour? Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using Lilypond as a Lilypond preprocessor.
In message [EMAIL PROTECTED], Erik Sandberg [EMAIL PROTECTED] writes Since this intermediate file is a valid Lilypond file, an intermediate pass can perform some kind of transformation on it before passing it back to Lilypond for actual processing. Is this reasonable ? or is Lilypond's internal data structure too complex for this to be feasible ? Something similar to this is on our todo. The hope is that we will have something working before summer. Sounds a bit like something I would like ... of course this might already be in lilypond ... I'm thinking of buying a music-scanning program. Which is fine - until I feed it say a trombone part. If I want to convert from treble clef to bass clef, for example (or the other way) I have to transpose by a ninth. Bass to treble isn't a problem - the original is concert pitch and I use the transpose command. But I *don't* want to have my master music in a transposed pitch - it'll get confusing if I have parts in Eb, Bb, G (for the brass, add Ab etc for woodwind...). If my music scanner chucks out a midi as written, I can convert from midi to lily, and then I'd like to be able to put a \transpose in there, convert from lily to lily, and have the resulting output in concert pitch (or octaves thereof). Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Another Lilypond Story
In message [EMAIL PROTECTED], James Moore [EMAIL PROTECTED] writes If you own the copyright on a piece of intellectual property, you have the ability to grant a license to use it, in much the same way you can grant licenses to use any type of property that you own. This is from an American point of view - haven't the faintest idea what European/Asian/etc concepts look like. Bearing in mind copyright is governed by the Berne Convention, it's pretty much the same the world over. And something which seems to get a heck of a lot of people trying to grok the GPL (especially over dual-licencing), you need to understand that it is *impossible* to have both a copyright and a licence to the same thing. If I own the copyright to a work, then I do *not* have a licence. If I have a licence, then obviously I do not own the copyright. Once you've grasped that fact, licensing should be a lot easier to understand - failure to grasp that seems to lie behind an awful lot of confusion over copyright. Oh - it is possible to have both copyrights in and licences to a work, but only if it's a composite work, and for each bit of that work you only have one or the other - let's say three people composited the parts, one for each instrument, of Poulenc's sonata for trumpet, horn and trombone. If, as a trombonist, I did the trombone, then I would own the copyright in the trombone part, and have a licence to the other two parts (and to the entire work as a whole). But I *don't* have both a licence and a copyright applying to any single part of the work. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partial warning, prints OK?!
In message [EMAIL PROTECTED], Albert Einstein [EMAIL PROTECTED] writes Hi. Maybe it is problem with crotchet rests. If I have time 2/4 and I used rest for whole partial 4 bar should I write r4 or R4 or maybe other rest. For time 2/4 for whole measure bar I use R2. What with partial 4? Whatever. The point is, you MUST have that number there. I think I had used just r, assuming it mean r4. But because the last note of the previous bit was, say e2, it assumed I meant r2. Oops. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partial warning, prints OK?!
In message [EMAIL PROTECTED], Albert Einstein [EMAIL PROTECTED] writes I have music for five instruments - ChoirStaff in v. 2.2.5. For second and third staff I get warnings: barcheck failed at: -1/4:; prints is OK, and manual calculating pass. When I lilypond separetly the staffs I don't get this warnings. If I understand you correctly, this got me too, until I realised what was going on ... Have you *ex*plicitly specified the note length of the first note of your second and third staffs? If the last note of your first staff is, say, a minim, but you assume the first note of your second staff defaults to a crotchet then BOOM - you assumed wrong and there's your problem. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: german mailinglist for lilypond?
In message [EMAIL PROTECTED], Hans Forbrich [EMAIL PROTECTED] writes One variation I have used when writing to German lists to which I belong: Being of German descent but having a somewhat limited vocabulary, I will write the question in both my limited German and in English. I usually get help in two ways then - in my problem and in my German. I'd go along with that, actually (and I'm the same as you - I had a German grandmother :-) Other languages are fine, so long as they are accompanied by an English translation. I agree with Werner's concern - splitting to language-based lists will do very little more than splinter the already limited (albeit excellent) resources that are available. (And give the spam-bots more lists to haunt.) Yup. I don't think more lists are a good idea, either (hence the desire to permit other languages if necessary). Again, I've seen the same sort of thing - foreign posts were accepted, but replies were usually bilingual - in the original language and in English. But as a native English speaker who considers himself European, I really don't like the idea of a foreign language (namely American) as our lingua franca ... The majority of Europeans (by a long way) speak a variant of German as their native language. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: microsoft version of lilypond
In message [EMAIL PROTECTED], Hilary de Vries [EMAIL PROTECTED] writes Hi folks Have downloaded the cygwin setup and have got stuck. When I get to the cygwin setup- choose your site window, I don't know which site to choose! Can you tell me which one? Pick one close to you. There should be either hensa (mirror.ac.uk) or Imperial (ic.ac.uk) on the list. That hasn't always worked for me, and my alternative was somewhere in Germany (.de). As the other poster said, you can choose anywhere, but practicality says the closer the better. look forward to hearing from you Hilary de Vries (Scotland) Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spam [was: Fwd: Meta-topic: Spam filtering and bounced messages]
In message [EMAIL PROTECTED], Graham Percival [EMAIL PROTECTED] writes On 20-Nov-04, at 3:54 AM, Sean Reed wrote: i subscribe to a number of lists which only allow subscribers to post. would the list managers consider adding this function to the lilypond users list? It has been considered in the past, but rejected: we want it to be easy to post to lily-users. Asking confused new users to subscribe to the mailing list before asking questions could sufficiently deter some people that they simply give up on Lilypond. Or insist that all non-member posts are moderated? I know it's a pain and delays things for non-subscribers, but allowing spam mucks things up for subscribers :-( Just respond to a non-member post with an acknowledgement that says you are not a list member - your post has been held for moderation and will be posted shortly. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web page documentation
In message [EMAIL PROTECTED], Bryan Stanbridge [EMAIL PROTECTED] writes I was just wondering how many people use the web-page version of the LilyPond documentation on Windows? The thing is, on Windows it is more convienient to use the pdf version and could mean that only this bit of the documentation needs to be built and distributed. However, hyperlinking the table of contents would be helpful (if possible) I do, quite frequently. I don't know why it's more convenient to use the PDF rather than the website. I find myself using the website far more frequently than the PDF version. I *H*A*T*E* hypertext documentation. That said, I've converted the pdf to dead tree, and find that extremely useful ... Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Meta-topic: Spam filtering and bounced messages
In message [EMAIL PROTECTED], David R. Linn [EMAIL PROTECTED] writes To rephrase your advice - Don't bounce. Either bounce or accept and discard. reject and bounce are the same thing! I'm sorry but bounce and reject are not the same thing. One implies sending a message back to the putative sender; one merely implies telling the incoming SMTP relay that the message has not been (or in some cases, will not be) accepted and makes dealing with the message the problem of the incoming relay. Except, to the best of my knowledge, bounce means that *I* send a DSN back to the original sender, and reject means that the relay is honour-bound to send a DSN back to the original sender. The only practical difference is who sends the DSN. And as I said, in my case (because download and drop is not a practical option) there is no way I can suppress the sending of the DSN. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Meta-topic: Spam filtering and bounced messages
In message [EMAIL PROTECTED], Patrick Hubers [EMAIL PROTECTED] writes Except, to the best of my knowledge, bounce means that *I* send a DSN back to the original sender, and reject means that the relay is honour-bound to send a DSN back to the original sender. The only practical difference is who sends the DSN. And as I said, in my case (because download and drop is not a practical option) there is no way I can suppress the sending of the DSN. This is getting *very* off topic, but: As David R. Linn said, bounce and reject are *not* the same. Rejecting means that the receiving SMTP-server refuses to accept the message at all (return a 550 response), meaning the sending SMTP-server can't deliver the message at all. Bouncing means that the receiving server *does* accept the message, but then sends a message back to the *email address* in the message envelope, which may have nothing to do with the actual sender. In which case, I *A*M* rejecting, and yet I still get this message saying I've been suspended. When I configure my reject rules, my mail client sends a 550 back to the relay. I presume that my ISP's mail server is doing the same. The problem is, if it's come from the sender's ISP's relay servers, I bet the effect is the same as what you call a bounce. But - to put it simply - I *know* I'd doing what you call rejecting, I send a 550, and it still gets me dropped from the list. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get it working.
In message [EMAIL PROTECTED], Christ van Willegen [EMAIL PROTECTED] writes Sarah wrote: WinXP saves Lilypond input code as *.txt, no matter what; and I can't get it to calm down. Do you edit this in Notepad? Here's a tip if you di use it: Enclose the filename in the save dialog in... When you save a file as test.ly with the quotes included, it will be saved as test.ly on disk. When you just type test.ly in the save dialog, Windows will save it as test.ly.txt, rendering the binding of Lilypond to .ly files not working. Or change file type (I don't use notepad - I guess it has it) to all files. But that's why it's adding .txt - it's assuming you're editing a text file, you haven't told it otherwise, so it helpfully adds the correct extension :-( Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: another fingering question
In message [EMAIL PROTECTED], Han-Wen Nienhuys
[EMAIL PROTECTED] writes
[EMAIL PROTECTED] writes:
^ and _ are provided as a shorthand for:
\override Script #'direction = UP/DOWN
My only comment here is that (when using \markup) it does not appear to
be a shorthand for *override*. It seems to be a shorthand for *specify*.
In other words, an override is optional - but IME (2.2) ^ and _ are a
necessity.
no, you can also leave out the direction, eg.
c-4
Sorry, wrong example!
I did say - when using \markup.
So (this is from memory) if I do c\markup{ mute } it fails, but
changing it to c^\markup{ mute } works fine.
I might have got my syntax wrong (probably have) but adding the ^ or _
was the difference between it working and failing! Having written my
stuff without them, I was forced to add them to every occurrence in
order to get it to work.
\markup { \finger DIGIT }
Jan.
Seeing as we're discussing this, is there a mechanism whereby fingering
can be added automatically? For example, bes' would always
automatically be fingered 1 (brass players will recognise a transposed
Bb :-)
No, but I can code it up for you, if you like! Very cheap, only $25
:-)
If I get the time, I'll code it myself (I want to learn) but what it
would need is some way of specifying the fundamental note (eg for a
trumpet I would choose concert B flat below middle C), and once you've
got that note the fingering for every valved brass instrument is
identical relative to that note. And for my own instrument (the slide
trombone) the principle if not practice is the same :-)
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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Re: another fingering question
In message [EMAIL PROTECTED], Han-Wen Nienhuys [EMAIL PROTECTED] writes If I get the time, I'll code it myself (I want to learn) but what it would need is some way of specifying the fundamental note (eg for a trumpet I would choose concert B flat below middle C), and once you've Try writing a music function, which takes the fundamental as an extra argument. I'd have to add the fundamental as some staff property or whatever - just like you specify \transpose I'd specify the fundamental there. So's I would just modify the notehead engraver or similar, and it would say if the note is x semitones above the fundamental, then the fingering is y. I don't know whether I'd be better off hard-coding the entire range of notes - about three octaves or more - or specifying all the open notes then specifying the fingering from the open note above. Cheers, Wol -- Anthony W. Youngman - wol at thewolery dot demon dot co dot uk HEX wondered how much he should tell the Wizards. He felt it would not be a good idea to burden them with too much input. Hex always thought of his reports as Lies-to-People. The Science of Discworld : (c) Terry Pratchett 1999 ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Band parts - a newbie's view
- Begin Forwarded Message -
Envelope-to: [EMAIL PROTECTED]
Date: Tue, 27 Jul 2004 23:48:15 +0100
To: [EMAIL PROTECTED]
From: Anthony W. Youngman [EMAIL PROTECTED]
Subject: Band parts - a newbie's view
User-Agent: Turnpike/6.02-U (kadi9FnjOBL6XNAiRMnYuwUxdX)
Quick bio - I'm a professional programmer and amateur musician ...
I'm trying to set some band parts, and I'm using 2.2.2 on cygwin. Okay,
some things are probably me trying to do things the wrong way, but
some things appear to be bugs...
What I'm trying to do is make stuff generic - not repeat stuff across
files - and some things are annoying while at least one thing appears to
be a bug...
I've put all the header info - title, composer etc into a header.ly
file. I include this in a part file, followed by a header { instrument
= } section. This second header section appears to wipe the first :-(
at any rate, all I get is the instrument name and everything else is
lost. Commenting out the second section means the first one appears ...
And the instrument is in the wrong place ... it gets put in the middle
of the header :-( As far as I'm concerned, on a part it belongs left
justified just above the first stave, and presumably on a score it
belongs just above or to the left of the relevant stave.
Okay - having moaned - how do I fix this the way I want? Do I need to
install source or can it be done in Scheme as part of the standard user
install? And if I need the source, what language is it? C++? I want to
make the header print the way I want :-), and I presume I need to add a
Staff.Instrument property to get that to print properly in a score...
Another annoying thing when trying to produce parts ... I've found that
putting time signatures, speed markings etc in a separate part is
great for getting timings right etc. Unfortunately, it seems that s
and \skip are classed as notes, so when I try to collapse bars with
the R syntax in the part, it doesn't work :-( (as an aside, how do I do
multi-bar rests with a time signature of eg 9/8? Does R1*9/8*n work?)
Two other annoyances (and in my mind they're UI blunders ...).
Practically every piece of music I've played that has letter rehearsal
marks DOES use the letter I. It's fine to have a default that doesn't,
but the manual appears to say our tradition doesn't use it, therefore
we won't let you use it. Bad! Where do I change it? And do I have the
option of passing a list of marks for it to use?
The other is, if I ask for a time signature of 3/4, that's what I get.
Or 9/8. Or 6/8. Or 5/4 or almost anything. But if I ask for 2/2 or 4/4,
then that's what I DON'T get. Bad bad bad! If I want common or
cut-common, then I should be able to ask for that directly. And in my
experience 4/4 and common are not the same thing - I often play pieces
that have both ...
Have any of these points been addressed post 2.2.2? And if not, where
and how do I go about fixing them?
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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Multi-bar rests - can I do what I want?
I've got the following in one of my part files...
\score {
\new Staff {
\set Score.skipBars = ##t
\notes {
\voiceStaff
\TromboneBassC
}
}
Notice I've set skipBars to true. Basically, \voiceStaff contains time
signatures, key signatures etc and I want to include it with every part.
Each bar consists of \skip 1*3/4 or whatever. \TromboneBassC contains
all the notes for the trombone, and has a fair bit of stuff like R1*3 or
whatever. Obviously, in the score these are going to get exploded. But I
want them collapsed in the part, and I guess \voiceStaff won't let it
:-(
I tried putting the R syntax into \voiceStaff, but it then puts rests in
the part, messes up the stems, etc etc. Am I going to have to ditch
\voiceStaff and put it all in \TromboneBassC, or can I get it to do what
I want?
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
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type 1 fonts for 1.7.17
I have Lilypond 1.7.17 installed via fink running on mac osx. However I have no type 1 fonts. How can I get them along with the with accompanying lilypond.map file? Anthony ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
