Re: song problems
On Fri, Oct 23, 2009 at 11:56:03AM +0100, David Biddiscombe wrote: OIn the Bible-reference title I want a long dash, without spaces, between '3' and '14'. I think this should be produced by \char #2014, but that gives a different symbol. (Similarly, in the previous LilyPond version, \char #169 didn't produce the copyright symbol but as it does give that symbol in 2.12.2 it was evidently a bug in 2.4.6, so is the failure of \char #2014 likewise a bug?) Try \char #8212 instead. 2014 is the number in hexadecimal, and I don't that that's what \char uses. Or, as Kieren said, just put an em-dash straight into your file. OSorry, but my music-reading friends and I think the default-option bar lines are ugly--we've never seen any so fat! Out of interest, are you looking at these on a screen or a print-out? I find when I'm looking at my part on the screen, PDF readers tend to thicken the bar lines so they're at least one pixel wide, but then they come out fine when I print the file. -- Art is never finished, only abandoned. Leonardo da Vinci http://surreal.istic.org/ The buck starts here. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: indent-ly
On Fri, Oct 23, 2009 at 05:01:37PM +0200, Martin Tarenskeen wrote: works - how do you stop stdin? (i used ctrl+z) Ctrl + d ? You're both right. CTRL-z is Windows's way of signalling end-of-input; CTRL-d is likewise for POSIX-compliant systems. You can also do program file on both systems, and the contents of the file you name get to be the stdin of the program you name, without needing CTRL-anything. -- There is no such thing as a small specification change. http://surreal.istic.org/ The revolution will not be snowcloned. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
On Fri, Sep 25, 2009 at 07:36:21PM +0100, Anthony W. Youngman wrote: For the record, does he also want you to use the old Novello backwards eighth-note rest for quarter rests? I mean, that was also the common practice since Bach — but people [wisely] decided that a *real* quarter rest is less confusing to read. Is that a Novello thing? I still meet it quite a lot in old parts, especially marches. It's probably a BH thing as well. It's not THAT hard, once the shock of hitting the things has worn off :-) I play a lot of marches, but I can't recall ever seeing a BH one with those old-style rests. BTW, the first time I saw a part and immediately thought, Oh, this is a BH one, without looking at the publisher written at the bottom, I realised I was becoming an engraving nerd. -- Unless obstructed through environmental noise or great distance, holler- ing can be used to request line discipline from the link partner in State Idle. The use of cellphones is also an option, whereas throwing objects or using guns is not recommended.RFC 4824 signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website: initial comments
On Mon, Jun 22, 2009 at 09:15:35PM -0700, Graham Percival wrote: Any comments or offers of help? At the moment, I'm looking for overall design issues, like you should have a `blarg' section on the main menu or I can't find the current documentation on this new website. The three colours you base the design on are good choices. Used together they can be a bit startling, particularly when they are in big blocks like on the documentation page. I think the page would better reflect Lilypond's aesthetic superiority if you stuck to one major colour, at least per page. -- Sufficiently advanced humour is indistinguishable from tedium. corollary: Humour distinguishable from tedium is insufficiently advanced. http://surreal.istic.org/ Moi? signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
going to the next level
Last night I was copying out a part I have to play which is squashed onto a page too small to be clear. This part needed two functions I've previously put off writing because I thought they would be really hard. I tried them last night, sitting down with the NR, and I managed to churn out two of them. This experience has given me a lot more confidence with Lilypond: it feels like I've gone up a level, to borrow the language of RPGs. So all I was writing for was to say thank you to all the Lilypond people - programmers, documentation authors, mailing-list-question-answerers, bug list triagers, and even constructive-whingers. I can appreciate much more now how awesome this piece of software. I didn't previously understand how true it was when people said you can make Lilypond do anything - but it's even bigger than that: you can make any Lilypond construct look like anything you like. Now to anticipate questions people are likely to ask in reply. I don't think there was any one part of the documentation that made me feel more confident about it: it was more a coming-together of the things I'd already learned. 'NR 6.3 Building complicated functions' was something I referred to a lot, and the command index. One slightly hard thing was that to find the page on options I can give to spanners I had to follow the chain 1.8 Text - 1.8.1 Writing text - Text spanners - 5.4.7 Line styles - 5.4.5 Spanners. The 'Text spanners' section just links to TextSpanner in the IR, which was much less useful to me; it would be great if it linked to 5.4.5 directly, and I will write a patch to that effect unless someone beats me to it. The other answer is: yes, I will send in my useful functions. One is for adding flams to drum notes, and the other is for using a spanner to give a Fill indication. I also have a trivial function for printing the Git commit hash of the .ly file (I keep all my parts under version control) that I've been meaning to contribute for a while. I'll send you all of them some time when I'm not on my way out to work. -- There is no such thing as a small specification change. http://surreal.istic.org/ There is no need to shout. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: going to the next level
On Wed, May 27, 2009 at 01:15:35PM +0200, Valentin Villenave wrote: 2009/5/27 Daniel Hulme s...@istic.org: Now to anticipate questions people are likely to ask in reply. I don't think there was any one part of the documentation that made me feel more confident about it: it was more a coming-together of the things I'd already learned. 'NR 6.3 Building complicated functions' was something I referred to a lot, and the command index. One slightly hard thing was that to find the page on options I can give to spanners I had to follow the chain 1.8 Text - 1.8.1 Writing text - Text spanners - 5.4.7 Line styles - 5.4.5 Spanners. The 'Text spanners' section just links to TextSpanner in the IR, which was much less useful to me; it would be great if it linked to 5.4.5 directly, and I will write a patch to that effect unless someone beats me to it. Well, it hadn't occurred to me to put such a link here, since the Spanners per se are merely lines more than text... What kind of options are you referring to? I can't really see how we could link from 1.8.1.3 to 5.4.5 without going through 5.4.7... Well, it didn't occur to me to look for spanners under 'Useful concepts and properties'. I remembered seeing text spanners in the Text section, so I found it there. I knew I wanted something a bit like the canonical example rit . . . , so I did it and then looked for how to change the appearance of it. This took me to the 'Line styles' link next, but I wanted to change the position of the line more than its dottedness, so I followed the only link on that page. The settings I actually ended up changing were 'text', 'stencil-align-dir-y', and 'to-barline'. To my mind, 5.4.5 is more general, telling me about all the settings I can change on the spanner, whereas 5.4.7 just tells me about the values I can set one setting to. I'd prefer having 5.4.5 in the See also, before 5.4.7, and then 5.4.5 discussing the 'style property and linking to 5.4.7. -- And I see losing love is like a window in your heart: everybody sees you're blown apart; everybody sees the wind blow in Graceland. -- Paul Simon, 1986 http://surreal.istic.org/ An emergent, not a resultant. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: going to the next level
On Wed, May 27, 2009 at 09:23:13AM -0600, Matt Boersma wrote: On Wed, May 27, 2009 at 1:36 AM, Daniel Hulme s...@istic.org wrote: ... The other answer is: yes, I will send in my useful functions. One is for adding flams to drum notes, and the other is for using a spanner to give a Fill indication. I'm transcribing a lot of drum kit music and would find both of those very useful. I've uploaded my flam functions to LSR as snippet 566, and it's awaiting approval. My functions include \flam, \drag, and \ruff and can be attached to any drum note. (Also a ruff symbol that doesn't have to attach to a snare, as when finishing a drag with the kick drum.) I'm not quite sure I understand you correctly: it sounds like you have a ruff on the snare drum with the on-the-beat note being on the kick drum instead. It doesn't do that. I don't believe I've ever seen such a thing, and it sounds like a standard grace note would suit you just fine for that case (unless you've got lots of them going between different drums, in which case it sounds like you want to generalise my function). I haven't done the fill function yet. On writing up examples for the snippet, I find that it only works well in the one case I used it for last night: a whole bar, with actual notes (not spacers) throughout the bar. Since I need it to work with half-bar fills and with fills with no notes written in the staff, I'll upload it once I've managed that. It might not be until the weekend, but I need to finish copying out the part by next Thursday, as I'm playing from it then. -- Every program eventually reaches a point where it becomes harder to make a simple change than to rewrite the program from scratch. Unfortunately, when this point is reached, it is far too late to consider rewriting it. http://surreal.istic.org/ Shopping is hard. Let's do maths! signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond via web interface: security considerations
This might sound like nitpicking, but since security's concerned, I want to be absolutely clear. On Tue, May 19, 2009 at 01:08:28PM -0400, Mike Blackstock wrote: Furthermore, you just limit the number of utilities you put in the /bin directories; if you don't have the 'rm' command in there, then it can't be run, obviously. Removing the 'rm' binary will slow down someone who's trying to inject commands by having you process myfile.ly ; rm -rf / but it won't stop someone using Guile's POSIX system call module to do the same thing. A chroot jail will keep the webserver safe, but it won't stop people writing a Lilypond file that downloads a list of email addresses and send spam to all of them. -dsafe aims to protect against all of these attacks, but unless you know exactly what it permits and denies you can't know whether it's appropriate for the kind of use you intend. -- Follow the enemy and try to prevent the enemy carrying away the guns. On 25th Oct 1854, Lord Raglan, on a hill, can see one set of guns; Lord Lucan, down in the valley, sees a different, better defended, set, and leads the Light Brigade in its fateful charge. http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI output in Mac OS X 10.5.2
On Wed, Apr 15, 2009 at 07:49:44PM -0700, IoD wrote:
When I insert the \midi { } in the \score section of my Lilypond projects,
the only output produced are a .ps file and a .pdf file, no MIDI output. Is
there a known error/bug that could cause this? A common mistake that I could
be making? Any help you can offer?
You forgot to attach your .ly file. If you post that, or even just your
\score block, then probably someone will be able to help.
--
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fighting to do, because wherever he appeared he taught the cultivation
of the vine to the grateful and submissive natives.-- J.B. Morton
http://surreal.istic.org/One sells watches, the other watches cells.
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Re: adding to the LSR
On Wed, Apr 29, 2009 at 09:54:09PM +0800, Graham Percival wrote: Is it worth defining our own function replaceOnly(\\octave, ...) which does re.sub(\\octave[?a-z,A-Z], ...) or whatever the regex was? \\octave\b would work fine. \b matches a word Boundary. -- It's so hard to see the Sun with the truth in your eyes. http://surreal.istic.org/ “Beast that can talk,” read the sign signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
On Thu, Apr 09, 2009 at 01:01:56PM +0200, Simon Bailey wrote: no problems. always glad to help. although i will have to find a decent git tutorial at some point. ;) I can recommend http://gitready.com/ Maybe it's not for complete beginners, but it has a pretty good range of accessibility. It's in blog format with some extra navigation to help you find tips for your level of experience, and the comments on each article are just as good as the articles themselves, unusually for a blog. -- It must be accepted as a principle that the rifle, effective as it is, cannot replace the effect produced by the speed of the horse, the magnetism of the charge, and the terror of cold steel. -- British Cavalry training manual, 1907 ::: http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond midi extension
On Thu, Apr 09, 2009 at 08:16:32AM -0600, Carl D. Sorensen wrote: On the other hand, if I'm doing programming work and commit changes then find that I have a typo in my commit, it's much cleaner to rebase so that there is only one patch. Don't forget that if you want to correct a mistake in the most recent commit you can do it by adding files to the commit the usual way and then saying git commit --amend This also gives you an opportunity to update the commit message - it does this even if you haven't changed anything, which is an easy way to correct commit message typos. It's much easier than doing a rebase for the common case of changing the commit you have just done. -- Follow the enemy and try to prevent the enemy carrying away the guns. On 25th Oct 1854, Lord Raglan, on a hill, can see one set of guns; Lord Lucan, down in the valley, sees a different, better defended, set, and leads the Light Brigade in its fateful charge. http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond crashing with cue notes
On Wed, Apr 01, 2009 at 01:36:24PM -0700, northofscotland wrote: All the parts seem to work perfectly as stand-alone, un-cued but as I added the cue notes, building up with a series of \include statements at the head of the file, \cueDuring in the notes and \addQuote before the \score statement it all seemed to go pear shaped and hang - seemingly in some indefinite loop. It sounds like you might have done something like this. In a file a.ly you have \include b.ly and in the file b.ly you have \include a.ly So, when you run Lilypond on a.ly, it finds the \include command, and immediately goes to read b.ly. While it's doing this, it finds that \include command, and immediately goes to read a.ly. While it's doing that, it sees the first \include again, goes to read b.ly, and so on. Lilypond is in an infinite loop because that's exactly what you told it to do. Guessing from your description, what you want to do is have the notes that will appear in cues defined in a file called (for example) cues.ly, then include this file from each part's file so you can use the notes it defines in that part's cues and in the part itself. -- Follow the enemy and try to prevent the enemy carrying away the guns. On 25th Oct 1854, Lord Raglan, on a hill, can see one set of guns; Lord Lucan, down in the valley, sees a different, better defended, set, and leads the Light Brigade in its fateful charge. http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: download versie 2.12
On Wed, Apr 01, 2009 at 07:38:30AM +0200, Christ van Willegen wrote: On Tue, Mar 31, 2009 at 11:55 PM, Trevor Daniels t.dani...@treda.co.uk wrote: They vary, but Firefox has a recognised certificate which identifies the publisher as Mozilla Corporation. The certificate was issued by Thawte Code Signing CA. ...and those certificates are $599. Ouch. And, speaking from experience, the cash price of the thing is nothing compared to the organisational faff required to get one and sign binaries with it. You pretty much need a dedicated Windows box to store it on and do signing with, and one or two designated people to have the passphrase of the key. And if by some mishap you lose the key or the passphrase they charge even more money to send you a new one. It has no security benefit anyway. There are plenty of malwares around there with valid signatures; you just need the dough and some headed notepaper to convince the certificate authorities to sign your key. Signing the downloadable binaries (for all platforms) with OpenPGP means that users who want to can verify their integrity; if enough Vista users care enough about having to click through the security warning then there might be a good business model of selling signed installers (including the source code, of course, as per GPL). -- Trends on the internet are larger than they appear. http://surreal.istic.org/ Act your age, not your disk size. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd configure error
On Thu, Mar 26, 2009 at 09:06:22PM +0800, Graham Percival wrote: On Wed, Mar 25, 2009 at 07:08:40PM +0100, James E. Bailey wrote: GIT from git.sv.gnu.org git clone git://git.sv.gnu.org/lilypond.git This does not set up easy pulling or pushing in the future, and generally assumes that people know how to use git. I'm not sure what you mean by that. It sets up a remote named 'origin' and `git pull` works just fine after that. In the general case, `git push` also works if the remote repository given allows pushing. It also downloads all branches, which in most cases is not necessary. That's true, but hardly a huge problem. It's the difference between a .git of 69MB and 110MB, which for many users is negligible; and as for time of checkout, it's long enough either way that you'd go and make a cup of tea while you were waiting. It's hardly enough to consider switching VCSes for, in any case. Anyway, a quick search of the shows that an option to git clone to only track one branch was previously suggested and was thought to be a good idea, so I'm sure they'd be happy to accept a patch to this end. I'm willing to cook one up and act as liaison on the git mailing list if we're agreed here that we need it. -- Kanga said to Roo, Drink up your milk first, dear, and talk after- wards. So Roo, who was drinking his milk, tried to say that he could do both at once... and had to be patted on the back and dried for quite a long time afterwards. A. A. Milne, 'Winnie-the-Pooh' signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: an LM update
On Mon, Mar 23, 2009 at 04:52:58PM +0100, Francisco Vila wrote: 2009/3/23 Francisco Vila paconet@gmail.com: I have git version 1.5.6.3 and both git-format-patch and git[nohyphen]format-patch do work. James, what's the output of git --version? From your patch I see it is 1.6.2.1 ; has the hyphenated command been deprecated? this form is still useful to invoke man pages. Yes. The hyphenated commands were all deprecated well in advance and finally removed in 1.6. The manpages can still be accessed via the hyphenated names, but I think `git help command` is the recommended way (and has the same effect). -- It's so hard to see the Sun with the truth in your eyes. http://surreal.istic.org/ Gaudy, but effective. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: what do I do?
On Tue, Mar 17, 2009 at 08:40:42AM +0100, James E. Bailey wrote: On 16.03.2009, at 23:28, Jesper Caprani wrote: I get this: Processing `C:/Documents and Settings/Ejer/Skrivebord/test.log' [...] It looks at though you have an error in your input file. If you don't figure it out, Post the first 10 or so lines of your input so others can see and help you find the problem. It's even easier than that. It looks like you've run Lilypond on the wrong file. -- Sometimes it's a Boat, and sometimes it's more of an Accident. It all Depends on what? depends. On whether I'm on the top of it or underneath it. -- A. A. Milne, ‘Winnie-the-Pooh’ http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vim with LP syntax coloring on Mac OSX
On Mon, Mar 16, 2009 at 08:07:14PM +0100, Helge Kruse wrote: Jonathan Kulp wrote: I'm having trouble getting vim to do Lilypond syntax coloring on OSX. I have it all working fine on my Linux machines but I'm doing something wrong on the Macs. Does anybody know a good vim version for windows (including coloring, syntax help, etc.)? The one available on the Vim website works just fine. It also links to a 64-bit version, which I use every day. - So long as we avoid accepting as true what is not so, and always preserve the right order of deduction of one thing from another, there can be nothing too remote to be reached in the end, or too well hidden to be discovered. -- Descartes, 269 years before Kurt Gödel was born signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: emacs lilypond-mode and the midi command
On Mar 7, 2009, at 4:05 AM, James E. Bailey wrote: On OSX, the lilypond mode for emacs doesn't properly escape filenames. On Sat, Mar 07, 2009 at 04:44:41PM -0600, Tim McNamara wrote: Addendum: I was able to replicate this bheavior in Bash under Terminal. The problem appears to be how Bash handles spaces in filenames. Weird, in this day and age you'd think that shells would be intelligent enough to cope with this. Guessing whether something is a filename or not is a really bad idea, and can lead to very surprising behaviour. The accepted behaviour - that spaces separate command-line arguments except when escaped or when the whole argument is enclosed in quotes - is simple, consistent, and offers few opportunities to accidentally delete all your files. There is a new revision of Bash out in the past few weeks, which perhaps gets around this. I strongly doubt it. Any change like that would break backcompat and startle all of its users. [snip] If double quotes are put around the path, that seems to properly escape them, although even this was flakey on my Mac: That's not enough. What if your path has double quotes in it? Or backslashes? Anything that generates shell commands always needs to fully escape the arguments. -- The rules of programming are transitory; only Tao is eternal. Therefore you must contemplate Tao before you receive enlightenment. How will I know when I have received enlightenment? asked the novice. Your program will then run correctly, replied the master. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond on Leopard
On Sun, Feb 22, 2009 at 02:31:02PM -0500, Christopher Berg wrote: Additionally, the output files always get saved to my ~ folder, no matter where the .ly file was. The output files are always placed in the file you run Lilypond from. So, if you are in a terminal, your working directory is /Users/christopherberg, and you run: lilypond 'Documents/LilyPond files/bach.ly' then you get the output in your home directory. If instead, you change directory by running: cd 'Documents/LilyPond files/' before you start, then when you run Lilypond: lilypond bach.ly you get the output in the same directory. -- Art is never finished, only abandoned. Leonardo da Vinci http://surreal.istic.org/ God save the King! signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Drum writing...is there a way to save and recall custom commands?
On Tue, Feb 17, 2009 at 10:13:55AM -0800, RandomLilyPondUser wrote:
Thanks, that worked! I am new at lilypond, so sorry for the basic questions
(I did browse the documentation, btw),
Good for you. Most users find that the quickest way to get started with
Lilypond is to quickly read the Learning Manual cover-to-cover. This
introduces the basic concepts, like variables, so that when you later
come across a specific problem you can easily go to the right point in
the (more substantial) Notation Reference and quickly find the answer.
Toine Schreurs wrote:
You have to add drummode.
snflam = \drummode {
\override Stem #'length = #4
\acciaccatura {sn8}
\revert Stem #'length
sn4
}
for example, instead of the final sn hit being a
quarter note (sn4), say I wanted to make it a variable to change, so writing
\snflam16 would change the final note to a 16th note, \snflam8 would change
the final note to an 8th note, etc.
The way I prefer to do this is to move the sn4 out of the variable so
that snflam just contains the grace note. That way, when I come to use
it in the music, I just do \flam sn4, \flam sn2, or whatever.
--
“I like talking to Rabbit. He talks about sensible things. He doesn't
use long, difficult words, like Owl. He uses short, easy words, like
‘What about lunch?’ and ‘Help yourself, Pooh.’ I suppose, really, I
ought to go and see Rabbit.” A. A. Milne, ‘The House at Pooh Corner’
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Re: TAB question -- frescobaldi tab support
On Tue, Feb 17, 2009 at 10:25:19PM +0100, Grammostola Rosea wrote: My default Debian lenny version, works ok. But how do I install the newest lilypond on Debian testing? When I install the sh script, it doesn't work properly. In what way? Please give any error messages. When I want to install it from source I get: ERROR: Please install required programs: mpost makeinfo But I can't find those on Debian mpost is in the texlive-metapost package. makeinfo is in the texinfo package. -- I think you look like the Mona Lisa. You always seem to be at a window admiring the landscape that is actually behind you.Herve Le Tellier http://surreal.istic.org/Silence is thunder. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printed page does not match the .pdf file
On Sat, Feb 07, 2009 at 06:34:35PM +, Anthony W. Youngman wrote: I just don't know where or why Acrobat is finding this American Letter stuff (oh - I've got a Hickey Pouse WinPrinter - a laserjet 1000 series. Maybe that's why :-( Maybe, but I've heard of other people having the same problem with Acrobat 8. If you're still on 8, perhaps upgrading to 9 will fix it. I don't know of any workarounds. -- “Papa Hegel he say that all we learn from history is that we learn noth- hing from history. I know people who can't even learn from what happened this morning. Hegel must have been taking the long view.” -- John Brunner, ‘Stand on Zanzibar’ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace notes cause extra bar to contain them
On Sat, Jan 31, 2009 at 04:26:25PM +, Rob Canning wrote: hi, not sure whats going on here... if i isolate and render only one of the two staves then everything is fine but if i parse the .ly that contains two staves an extra bar gets created that contains the grace notes. It's not the grace notes that are causing the extra bar, it's the fact you have manual barlines in different places in each voice. If you comment out all the \bar dashed from your voiceF the superfluous barlines will disappear. any ideas why this is happening? Although grace notes don't take up the 'regular' time of the bar, they need to take up special 'grace time' so they can be correctly beamed and spaced within each group of grace notes. This means that the \bar in voiceE, which is after the grace notes, is at a different time to the corresponding \bar in voiceF, which is before the grace notes. -- Always crash crash crashWell come on and let me know You're happy when I'm running bash Should I play or should I code? One test is fine, next is black(with apologies to The Clash) So if you want a dodgy hack worse at http://surreal.istic.org/songs signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: short instrument name setting
On Wed, Jan 07, 2009 at 08:47:41AM -0500, Kieren MacMillan wrote: I avoid \tag at all costs — and suggest the same to other users, and warn newbies against it (or don't introduce them to it in the first place) — because it FORCES THE MIXTURE OF CONTENT AND PRESENTATION, which is A Bad Thing™. No, it allows you to add free-form *semantic* information to your content definition, just like you can by assigning music expressions to variables. \keepWithTag and \removeWithTag allow the presentation definition to read this semantic information and make presentation decisions based on it. If there's another (non-\tag) way to do the same thing, that's The Better Way™. If, for a specific presentation feature, there's another way to turn that feature on and off that doesn't require extra annotations in your content definition, then certainly, that's the better way in that case, but \tag is a powerful and general way of letting the user specify arbitrary extra data. This allows presentation decisions to be made where the presentation is defined, removing the need to inspect presentation options from within the content. -- Mary had a little sprout,From week to week, from month to month, Its fleece was green as grass, She kept the sprout in tow, She hitched it to a bit of string,And everywhere that Mary went, The silly little ass. The sprout was sure to go. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond Grand Organization Project: ongoing jobs
On Thu, Jan 01, 2009 at 01:40:09AM -0800, Graham Percival wrote: *Git help for writers We often receive reports of typos and minor text updates to the documentation. It would be great if somebody could create properly-formatted patches for these corrections. Technical requirements: knowledge of git, or at least willingness to learn git. Git is available on windows as well as OSX and Linux. I'm well-versed in git and happy to help anyone else with it. -- There is no such thing as a small specification change. http://surreal.istic.org/Criticise the behaviour, not the child. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Special note over a percent measure /OR/ How to set measure width
On Wed, Dec 10, 2008 at 01:44:08AM -0800, Pascal wrote: Here is the problem : i use 'repeat percent' feature but i'd like to change a note on 2nd and following measures. Not clear ? To avoid losing your time here is a picture of what a get : http://www.freeimagehosting.net/image.php?40c8e65398.jpg (this is with drum but could be with other instruments) I'm sorry to make a negative and unhelpful comment, but please don't do this if you want anyone else to read this part. If I were sight-reading and came across such a bar, I'd have to stop. About the closest I've ever seen to this is percent marks for one voice (the regular bass drum part) while the sd and cymbals in the other voice do more interesting things. -- “After all, one can't complain. I have my friends. Somebody spoke to me only yesterday. And was it last week or the week before that Rabbit bumped into me and said ‘Bother!’ The Social Round. Always something going on.” -- A. A. Milne, ‘Winnie-the-Pooh’ http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unfold and tremolo have different math
On Sat, Dec 06, 2008 at 12:15:16AM +0100, james wrote:
Sorry, cut off. How does this apply \times 2/3 { c8 c c} \times 2/3 {c c
c} \times 2/3 {c c c} is 9 repetitions of the note c, expressed as a
tremolo, this should be \repeat tremolo 9 \times 2/3 {c8}
Does it matter? Your example only does tremolo of single notes and
chords anyway, so why don't you use the other tremolo feature, of
writing c2.:8 As a percussionist, I think if such a marking came up in
some music that's in three I'd play it in the way you describe. If you
want to be completely unambiguous about the number of notes, or if your
actual music isn't in three, write them out in full (with unfold).
--
Listen to your users, but ignore what they say. - Nathaniel Borenstein
http://surreal.istic.org/ The revolution will not be snowcloned.
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Re: musicxml2ly
On Wed, Nov 26, 2008 at 11:05:46AM +0100, Martin Tarenskeen wrote: Comapare it to OGG vs. MP3. From the Open Source point of view it is recommended not to use MP3 but OGG. But in the real world everyone uses MP3. You made two statements there, both of which are untrue. A few years ago there were serious patent concerns over MP3, which made it likely that vendors including free MP3 decoders in their distributions, and maybe even users using them, would attract liability for patent infringement. It was because of this that distributions stopped including them, and recommended their users to switch to Ogg/Vorbis. This patent concern has died down since then, so such a recommendation is no longer in effect. Turning now to users, I'd like to see some evidence that everyone uses MP3, especially as I'm one of the non-MP3 users you claim don't exist. (I use FLAC for high-quality recordings and archival material, and Ogg/Vorbis for lower-quality sources.) To be honest, I think native support for ReplayGain is by itself enough of a reason to use one of MP3's competitors. True, if you go to iTunes you won't find Ogg/Vorbis music for sale, but that's because there's no implementation that has the kind of restrictions Apple wants to impose on its customers. But if you (hypothetically) download music from other kinds of distribution network, you'll find lots of Ogg/Vorbis and FLAC users out there, and even a few Speex users. And, looking at the world of commercial software, if you buy a recent PC game, there's a pretty good chance that its music and/or sound effects will be in Ogg/Vorbis format. -- Pedestrian: Anybody who is knocked down by a motor-car. -- Beachcomber http://surreal.istic.org/Yellow: it's the new khaki. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: percent repeat glyph
On Sat, Nov 22, 2008 at 01:17:27AM +, Neil Puttock wrote: I think the best option is to make the kerning settings tweakable. In fact, there's a TODO in the source suggesting this. I've just submitted a patch for review; attached is some sample output. I updated my source and had a play with it last night, and it's great. I had a quick look through some commercial parts to see what they looked like, and most of those I looked at had handwritten-look percent marks. It seems a bit odd to me, and out of keeping with the rest of the part, but I expect someone will ask for them eventually. Anyway, after trying a few settings, I stuck with slope 1.25, dot-negative-kern 0.6. I attach some sample output, which I'm sure the copyright owner won't recognise :-) On reflection, I think making them a bit more vertical looks better than just moving the dots inward. I like these settings so much more I'd like to request the defaults be changed, if there's consensus. Thanks for making this change so quickly. -- I can blink the lights and cat you files full of sad things, We can play XPilot just for two, I can serenade and gently play all your ogg files, Be your 'pache server just for you. (with apologies to Freddie Mercury) even more disdain for popular culture at: http://surreal.istic.org/songs signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vim syntax coloring curiousity
On Wed, Nov 19, 2008 at 08:28:26AM -0800, coralline algae wrote: I use vim in a terminal for editing, very occasionally something else like abiword I noticed recently and probably in the past that certain lilypond files were not opening with the syntax coloring. I'm using Vim 7.2 here. I tried pasting your code into a .ly file and opening it with Vim, both in a terminal and with gVim, and couldn't reproduce the behaviour you describe. I'm guessing that what you're doing is starting a file from scratch (i.e. without a filename)i; or, you're using some other extension than .ly. If you do this, Vim can't work out the filetype from the extension, so it has to guess. Without the comment lines at the top, Vim guesses (incorrectly) that your file is a generic config file, so it produces some (wrong) highlighting. With the comment lines, it doesn't guess anything. There are a few things you can do to let Vim know what you mean. Choose whichever one fits best with how you like to work. 1) When you start editing a new file, use :e something.ly to give Vim a filename to go on. It doesn't matter that something.ly doesn't already exist: Vim will assume you want to create it when you first do :w. This will automatically set the appropriate things up, just like when you open an existing file. (It works just as well to give the new filename as a command-line argument to Vim). 2) After you use :w something.ly to write a new file, use :e with no arguments immediately afterwards. This rereads the file you've just written, which triggers filetype detection. 3) If you are using some other extension, you can edit ~/.vim/ftdetect/lilypond.vim (such a file comes with Lilypond; if you installed through your package manager, it may be in /usr/share/vim/vim72 instead of ~/.vim). Copy the line that's already there and use a different extension like .itely. Lilypond dudes: please could we get some added to the installed version? Mine looks like au! BufNewFile,BufRead *.ly setf lilypond 4) You can use :set ft=lilypond to set the filetype for the file you're currently editing, in the current editing session. I think this is a bit of a last resort: it's much nicer to have Vim set the filetype automatically. On reflection, I guess that you're editing .lytex files or something, so option 3 is the one you want. -- Sentiment breeds weakness. Let it get a hold of you and you are dead. -- Terry Nation, Blake's 7 C13 ‘Terminal’ http://surreal.istic.org/One sells watches, the other watches cells. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
percent repeat glyph
I have just got back from a band rehearsal, and tonight for the first time I could see what bothers me about Lilypond's percent glyph: the dots are too far out. I think they should be horizontally closer to the centre, so that the space between the dot and the oblique stroke is more like the space between the dot and the staff lines. As it is, the pointy whitespace between the dot and the corner of the stroke makes it look like the dots are vertically off-centre in the staff space. Any thoughts, or am I alone here? I can try to put together a patch in the near future. -- Of all things, good sense is the most fairly distributed: everyone thinks he is so well supplied with it that even those who are the hardest to satisfy in every other respect never desire more of it than they already have. -- Descartes, 1637 http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic indentation in Vim
On Thu, Nov 13, 2008 at 10:03:02PM +0100, Martin Tarenskeen wrote: Hi Lilyponders, Any Vim users here ? I'm using Vim for editing Lilypond files on a Linux Fedora 9 system. I have syntax highlighting, which is great. How do I enable automatic indentation to make things even easier ? :set cin ai will give you pretty good indentation that works for any file. For indentation tailored to Lilypond's syntax, you will find in /usr/share/lilypond/*/vim/indent/lilypond.vim the appropriate options. If you copy all the files in /usr/share/lilypond/*/vim/ to the directory ~/.vimfiles, being careful to keep the same directory structure, and make sure that the line filetype plugin indent on appears in your ~/.vimrc, then the indentation options, syntax highlighting, and settings for understanding lilypond's output messages so you can jump to errors in your file (see :help quickfix if you don't know about this feature) will all be automatically set up when you edit a .ly file. -- Listen to your users, but ignore what they say. - Nathaniel Borenstein http://surreal.istic.org/ Calm down, it's only ones and zeroes. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic indentation in Vim
On Thu, Nov 13, 2008 at 11:39:28PM +0100, Frédéric Bron wrote: by the way, do you know how to change the default indentation in lilypond files from 2 spaces to 1 tabulation? Yes. Edit the file ftplugin/lilypond.vim (in the ~/.vimfiles directory; copy it from /usr/share/lilypond/*/vim if you use the 'runtimepath' method of having Vim read the files that Lilypond installs there). Find the line setlocal shiftwidth=2 and delete it. Then Vim will use the same value that it uses for everything else. -- The first step in avoiding a trap is being aware of its existence. The second step is being aware that the first step is not the only one. http://surreal.istic.org/Why did you resign? signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat volta: how many times to repeat?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On Sat, Nov 01, 2008 at 02:15:12PM +, Anthony W. Youngman wrote: The usual cause of this is a broken mailer using alternative. I sometimes suffer from that, but haven't seen an empty message ... Not in this case: it's multipart/signed. I guess that Windows Mail doesn't understand this type of message, which seems like a serious shortcoming. I know from experience that Thunderbird and Opera Mail both handle multipart/signed messages correctly, and both of those pieces of software are free to use. - -- It is inconsistent with the most rudimentary notions of fairness to blindfold a man and then impose a standard which only the sighted could hope to meet. -- Lord Bingham of Cornhill -+- http://surreal.istic.org/ www.publications.parliament.uk/pa/ld200506/ldjudgmt/jd051208/aand-1.htm -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iEYEARECAAYFAkkMd64ACgkQgoQ42ohbFw2S9wCcDF2XPxoPBU+/xbogZexxYQwz cIwAoJ75w8ZIgI1YtH0QWA29gOK1zBNX =pdzt -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat volta: how many times to repeat?
On Fri, Oct 31, 2008 at 04:38:43PM -0700, Roberto Leibman wrote:
\repeat volta 5 {hh8 hh hh hh hh hh hh hh}
I could use repeat percent, or repeat unfold, but then each bar is
spelled out and the song takes 4 pages instead of 2.
As a drummer, normally I'd expect to see percent repeats for something
like this. There are several reasons to prefer percent repeats in this
case:
1) It's usual (but not universal) to only use volta repeats in ensemble
music if everyone has a volta. Doing otherwise just causes confusion
when you want to name a position in the piece to the other players,
whose bar numbering would be different.
2) It means you have two ways to keep track of where you are: the bar
count in your head, and the position on the page. As they use different
parts of the brain, it's much harder for both of them to lose count or
get lost in other ways.
3) Believe it or not, there isn't really a standard notation for
repeating phrases more than twice. Other than in modern pop and rock
music, it's not something that happens very often IME, and every time
I've seen it, it's done in a different way.
I agree that for some repetitive pieces, a kind of multibar percent
repeat, which would work like multibar rests, would be nice to squash
the part up, but as there's no notation for that, I think percents is
the best solution available. If you want to reduce page count, I
recommend trying out \newSpacingSection. When Lilypond sees this (in a
passage of music), it recalculates its idea of how much width each beat
should get. It's particularly effective when changing from groups of
semiquavers (where each beat is quite wide) to crotchets or even
semibreves (where you want each beat narrow), or similar or vice-versa.
Changes like this are, as I'm sure you realise, quite common in some
kinds of percussion parts, so I've managed to make huge space savings
and readability improvements by scattering them about at double barlines
and at segues in medleys.
But if you're set on voltas, I suggest you use \mark \markup to put
whatever text you prefer over either the start or the end barline.
--
Always crash crash crashWell come on and let me know
You're happy when I'm running bash Should I play or should I code?
One test is fine, next is black(with apologies to The Clash)
So if you want a dodgy hack worse at http://surreal.istic.org/songs
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Re: Tuplet groupings / TupletBracket Padding
On Wed, Oct 29, 2008 at 10:22:32AM +, Erik Hagström wrote: Hi, I'm a new user of lilypond and I'm currently learning to write parts for drums with this great program. I got in too late to help with this particular problem, but I wanted to reply to say how nice it is to see more percussionists on the list. Commercial drum parts are pretty variable in quality and I often re-engrave them in Lilypond just to get them into a standard format, maybe add cues, and make them more readable. Anyway, I hope you continue to find Lilypond useful. -- Sequential composition: it's just one thing after another. http://surreal.istic.org/ The Internet is not evidence. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: line breaking help
On Wed, Oct 29, 2008 at 11:33:07PM +0100, Bailey James E. wrote:
I'm having some difficulty understanding where I'm going wrong. I have:
Well, if what you put in your mail is pasted straight from your file,
it's easy. This line:
Stimme = \relative d' {
StimmeABC = \relative {
c4 c2 c2 {s4 \break }
c2 c4
}
StimmeXYZ = \relative d' {
d2\fermata r4 { s4 \break } f4
f4. f8 b2
}
\score {
\new Staff \new Voice \with { \remove Forbid_line_break_engraver }
\StimmeABC
}
and this line:
\score {
\new Staff \new Voice \with { \remove Forbid_line_break_engraver }
\StimmeXYZ
both have opening braces that are never closed.
--
Sometimes it's a Boat, and sometimes it's more of an Accident. It all
Depends on what? depends.
On whether I'm on the top of it or underneath it.
-- A. A. Milne, ‘Winnie-the-Pooh’ http://surreal.istic.org/
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Re: FW: Re. OOoLilyPond, \include language does not work.
On Tue, Oct 21, 2008 at 05:56:29PM -0400, Music Site of Larry Jackson wrote: Hi, Anyone know how to get the \include language statement to work for LilyPond v2.10.33 compiling within OOOLilyPond v0.32? If nobody here answers (which seems likely, as OOoLilypond is a separately maintained project), I suggest you ask on the OOoLilypond forum at http://sourceforge.net/forum/forum.php?forum_id=614285 Good luck solving this problem. -- Sufficiently advanced humour is indistinguishable from tedium. corollary: Humour distinguishable from tedium is insufficiently advanced. http://surreal.istic.org/Why did you resign? signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
warning: programming error: must have Item for spanner bound of PercentRepeat
I'm trying to re-engrave a percussion part I have been given to play and
I get the above message, with a superfluous bar in my output. A minimal
example and Lilypond's resulting message follows. I started with 2.10.33
but updated to git master on Thursday night and the problem persists.
Even if the problem is with my file it seems that reporting an alleged
programming error must be helpful. I can try to fix the bug myself if
someone points me in the right direction.
Incidentally, it would be nice if there were some way to set the value
of the counter on percent repeats, so (for instance) if the first bar of
a phrase is slightly different from the second and subsequent bars, the
first percent mark is numbered 3 to agree with the phrase structure
(whereas now it would be 2). Also, a feature to only number every n'th
percent mark would also be nice. Both of these properties are found in
commercial parts, though less often than I would like.
=== percentrepeat.ly
\version 2.11.62
\include english.ly
basicSnare = \drummode { sn8 sn sn- sn }
basicBass = \drummode { bd8[ r16 bd16] bd8 r8 }
basicBar = \drummode {
\repeat unfold 2 {
\basicSnare \\ \basicBass
} |
}
piece = \drummode {
\time 4/4
\repeat percent 10 \basicBar
% ...
}
skips = #(ly:export (skip-of-length piece ))
\score {
\new DrumStaff
\new DrumVoice = 1 { \skips }
\new DrumVoice = 2 { \skips }
\piece
}
=== output.log
GNU LilyPond 2.11.63
Processing `percentrepeat.ly'
Parsing...
Interpreting music...
percentrepeat.ly:15:2: warning: programming error: must have Item for spanner
bound of PercentRepeat
\repeat percent 10 \basicBar
[8]
Preprocessing graphical objects...
programming error: Multi_measure_rest::get_rods (): I am not spanned!
continuing, cross fingers
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `percentrepeat.ps'...
Converting to `./percentrepeat.pdf'...
=== end
--
“After all, one can't complain. I have my friends. Somebody spoke to me
only yesterday. And was it last week or the week before that Rabbit
bumped into me and said ‘Bother!’ The Social Round. Always something
going on.” -- A. A. Milne, ‘Winnie-the-Pooh’ http://surreal.istic.org/
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Re: warning: programming error: must have Item for spanner bound of PercentRepeat
Thank you for your speedy reply.
On Sat, Oct 18, 2008 at 06:41:44AM -0500, Jonathan Kulp wrote:
I added one thing to your code and the results are different, without
programming errors and without the superfluous bar. See if you get what
you want with this block:
piece = \drummode {
\set countPercentRepeats = ##t
\time 4/4
\repeat percent 10 { \basicBar }
% ...
That's very interesting. My original file had that in a different place:
\new DrumVoice = 1 {\set countPercentRepeats = ##t \skips }
and the error still occurred. I took it out in the course of preparing a
minimal example. Oh well, I have a workaround now, so I can finish the
piece off.
--
Kanga said to Roo, Drink up your milk first, dear, and talk after-
wards. So Roo, who was drinking his milk, tried to say that he could do
both at once... and had to be patted on the back and dried for quite a
long time afterwards. A. A. Milne, 'Winnie-the-Pooh'
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Re: code suggestions
On Fri, Oct 10, 2008 at 03:03:53AM -0400, David Stocker wrote:
\paper {
#(set-paper-size concert)
}
This is entirely a matter of preference, but I'd suggest making the
closing brace be at the same indentation level as the line that opens
the block, like so:
\paper {
#(set-paper-size concert)
}
It makes it much easier to spot when you forget a closing brace. Your
text editor should be able to do this for you automatically, which will
also ensure that your indentation is consistent - sometimes in your file
you use two spaces, sometimes four, and sometimes a tab character. It
would stop you doing things like this:
rightHand = {
\tempo \markup { Allegretto }
\voiceOne {
\relative c'' {
%1
...
}
}
\\
\voiceTwo {
\relative c'' {
%1
...
}
}
\oneVoice {
\relative c'' {
...
}
}
...
}
The indentation's so confusing in that block I could only find the end
of rightHand's definition by using Vim's 'jump to matching bracket'
command.
leftHand = {
\relative c' {
\oneVoice
%1
R1 |
%2
R1 |
%3
R1 |
%4
R1 |
%5
R1 |
%6
R1 |
%7
r8 c16 b c8 g af c16 b c8 d |
Much as one bar per line is a useful rule, you might find it more
concise to abbreviate the first six bars to
R1*6
%7
r8 c16 ... |
Note that R rests (unlike r rests) have an implied bar check on either
end, so you don't need | before or after.
That's all I could spot in a brief skim; I can't spend more time on it
as I'm on the way out to work.
--
Art is never finished, only abandoned. Leonardo da Vinci
http://surreal.istic.org/ No one heard that but me.
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Re: postscript output with psbook and psnup
On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote: Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? I don't know. I'm using 2.10.33 on Debian/sid, and I've just tested running one of my lilypond scores through psbook, psnup, and psbook | psnup, and I couldn't get any of them to not be viewable with gv. Perhaps it is a Cygwin problem? Or perhaps it only happens with certain scores? -- It must be accepted as a principle that the rifle, effective as it is, cannot replace the effect produced by the speed of the horse, the magnetism of the charge, and the terror of cold steel. -- British Cavalry training manual, 1907 ::: http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Printing problem with Evince
On Wed, Sep 24, 2008 at 07:48:32AM -0500, Jonathan Kulp wrote: I have only a couple of non-free apps on my Ubuntu machines, and Acrobat Reader is one of them because of this problem. :( As someone else suggested, try kpdf, or use xpdf, which is what I use. xpdf is not really a modern GUI application, but I always use it from the command-line anyway. When zoomed out sometimes it causes little gaps between stems and noteheads, but it prints fine and shows up properly at reasonable zoom levels. Usually for printing I just give the PDF to lp, which is the command-line client for CUPS. (Ubuntu uses CUPS by default, I believe.) I've never had any problems. -- “I like talking to Rabbit. He talks about sensible things. He doesn't use long, difficult words, like Owl. He uses short, easy words, like ‘What about lunch?’ and ‘Help yourself, Pooh.’ I suppose, really, I ought to go and see Rabbit.” A. A. Milne, ‘The House at Pooh Corner’ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
On Mon, Sep 22, 2008 at 04:39:24PM -0700, Graham Percival wrote: On Mon, 22 Sep 2008 23:34:52 +0200 Valentin Villenave [EMAIL PROTECTED] wrote: In the meantime, a small basic google search box would mean the world to many of us -- or at least myself :-) Presumably these things are done with google's site:www.lilypond.org option. Can you also restrict the directory? I mean, if you're using the search box in the 2.11 docs, you don't want google to pop up links to www.lilypond.org/Documentation/2.10/user/Pitches.html Yep, site: works like that. -- Every program eventually reaches a point where it becomes harder to make a simple change than to rewrite the program from scratch. Unfortunately, when this point is reached, it is far too late to consider rewriting it. http://surreal.istic.org/ It's an old wall, Avon: it waits. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Voltas and polyphony
On Wed, Sep 17, 2008 at 10:42:59AM -0400, Steven Padalino wrote:
notes in section 1 \\
notes in section 1
Well, there's a problem right there. Did you mean to write this?
{ notes in section 1 }
\\
{ notes in section 1 }
The crucial point is that the \\ goes inside the . If you have more
than one section you just put them one after the other. I use this
inside repeats frequently, and have never had any trouble with it.
--
Always crash crash crashWell come on and let me know
You're happy when I'm running bash Should I play or should I code?
One test is fine, next is black(with apologies to The Clash)
So if you want a dodgy hack worse at http://surreal.istic.org/songs
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Re: editor for windows
On Sat, Sep 13, 2008 at 11:31:20AM +0200, Renaud Flavigny wrote: VIM for Windows is an excellent and very powerful test editor. Your could download from http://www.vim.org/ I completely agree. However, new Vim users might like to instead try Cream, which is essentially just Vim patched so that its default behaviour is a little less surprising to users who grew up with point-and-click text editors. http://cream.sourceforge.net/ -- Customer Waiter, waiter! There's a fly in my soup! Waiter That's not a bug, it's a feature. http://surreal.istic.org/ Not much change out of three sigmas. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Newby questions
On Sat, Sep 13, 2008 at 10:55:56AM -0400, [EMAIL PROTECTED] wrote:
[...]
\new Lyrics = sopranos { s1 }
\new Lyrics = sopranosb { s2 }
[...]
My question is about the \new Lyrics command. What's the {s1}
referring to? It uses sopransob to find the right set of lyrics.
When I had four verses, I used s1, s2, s3, and s4. got an error
message saying that 3 is not a duration. True, but what's that got to
do with anything.
s is a special note that works like a rest but doesn't generate any
visible output. To put it another way, it generates a space in the
score. (You can think of s as short for spacer or skip, just like r
is short for rest.) So s1 is a space a bar long, s2 is a space a
half-note (minim) long, and s3 is meaningless. It has nothing to do with
verse numbers at all: it's just there to make sure Lilypond doesn't
think your new Lyrics context is empty.
--
Only this, that it is better to use whom when in doubt, and even
better to reword the statement, and leave out all the relative pronouns,
except ad, ante, con, in, inter, ob, post, prae, pro, sub, and super.
-- James Thurber, Ladies' and Gentlemen's Guide to Modern English Usage
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Re: Again: Alignment of bars
On Tue, Sep 02, 2008 at 03:55:33PM -0400, Kieren MacMillan wrote: precisely. [From my engraving classes way back when, I seem to recall that it's harder for musicians to read systems that are aligned precisely, since the eye gets confused about which line to be following.] I can confirm from experience that this is true. Percussion parts are often very uniform, and one of the pieces I've been playing recently with my band has four bars per system all the way through the piece, with the music uniform enough to make the bars line up. I ended up four bars behind everyone else last week because I played the same system twice. (There were three consecutive identical systems.) -- Pedestrian: Anybody who is knocked down by a motor-car. -- Beachcomber http://surreal.istic.org/ No manual entry for life signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange appoggiatura behaviour
On Wed, Aug 27, 2008 at 10:32:31PM +0200, Reinhold Kainhofer wrote: Am Mittwoch, 27. August 2008 schrieb James E. Bailey: Oddly, in the attached code, if the appoggiatura is commented out, then the stems follow how they're supposed to. Is this a bug or a super-special feature of graceMusic that I just didn't know about? It seems that the grace note commands are yet another example of a command that messes up ooiceOne/voiceTwo settings (by simply reverting the stem direction instead of restoring the previous value). Other examples I'm aware of are the cue commands. I'm glad someone has pointed this out, as it explains some previously mysterious behaviour. As I use Lilypond mostly for typesetting drum parts, pretty much every piece has grace notes and multiple voices. If someone who knows could point me towards the appropriate bit of code, it would give me great pleasure to cook up a patch and send to -devel. -- Please consider the environment before flaming the author of this email. http://surreal.istic.org/ How's it going to end? signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Harp Pedals?
On Sat, Aug 16, 2008 at 02:46:31AM -0300, Han-Wen Nienhuys wrote: Lambda calculus is the reason that lambda is called like that, but it is as bad a name as cons/cdr/car. Scheme is a cleaned up version of LISP, but they left those warts in. Why is it a bad name? Scheme is a programming language. Its users are programmers. Programmers (at least the good ones) know what the lambda calculus is, so know to expect anonymous functions when they see lambda. Anonymous functions are, whatever keyword you use to make them happen, still something the user of the programming language needs to learn to use. Using lambda means that people who have never heard of the lambda calculus (who are not the primary users) need to learn something new. Not using lambda would mean that *everyone* needs to learn something new. Anyway, don't forget that in the simple case where your anonymous function doesn't use any variables other than its parameter, you can just use a named function instead, and avoid lambda completely. That is, if you can rewrite your anonymous function so it looks like (lambda (a b c ...) (some-function a b c ...)) you can replace it with some-function You might have to write some-function yourself. (Note that the ... means it doesn't matter how many parameters you have, it's not a part of the syntax.) -- It's so hard to see the Sun with the truth in your eyes. http://surreal.istic.org/ Krogoths are for defence. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: autobeams
On Thu, Aug 14, 2008 at 05:31:27PM +0200, Mats Bengtsson wrote:
If you care about the number of key strokes, why not add a short-hand,
using a music
function:
\version 2.10.0
% Usage \split {upper music} { lower music }
split = #(define-music-function (parser location upper lower )
(ly:music? ly:music? )
#{ { \voiceOne $upper } \new Voice { \voiceTwo $lower } \oneVoice
#})
OOC, why doesn't {...} \\ {...} do that anyway? Under what
circumstances would you want the upper part to be a different voice from
the one-voice part? And is it possible to override \\ to make it behave
like that if you wanted to change it for a whole piece all at once?
(Yes, I know you could use a music function instead and thus change it
everywhere by just changing the function definition.)
--
Sequential composition: it's just one thing after another.
http://surreal.istic.org/ No one heard that but me.
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GDP Single-staff polyphony
Looking over NR 1.5.2, I see what appears to be a typo in the fifth
paragraph of the 'Single-staff polyphony' page.
The method exposed creates two new voices when the {...} \\ {...}
construction is found in the code; to temporally add only one additional
voice to an existing one, it is necessary to instantiate that voice
explicitly.
I think temporally should be temporarily: this transposition is a
common error. And construction, used here and in the next paragraph,
seems like it would be better as construct.
But then I don't entirely follow the paragraph so I might
be wrong. In particular, I don't think exposed is really the right
word; in fact, I'd rephrase everything up to the semicolon as Each
music expression in the {...} \\ {...} construct is placed in a new
voice, distinct from the voice for single-voice music;
In addition, the little green box at the bottom of the page is in
German.
--
Can you read, Pooh? he asked a little anxiously. There's a notice
about knocking and ringing outside my door, which Christopher Robin
wrote. Could you read it? Christopher Robin told me what it said, and
then I could. A. A. Milne, ‘Winnie-the-Pooh’ http://surreal.istic.org/
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GDP Arabic time signatures
2.9.1.4, first paragraph: Where matching existing typeset music is not an issue, you may still want to adjust the beaming behaviour and/or using compound time signatures. using - use -- Of all things, good sense is the most fairly distributed: everyone thinks he is so well supplied with it that even those who are the hardest to satisfy in every other respect never desire more of it than they already have. -- Descartes, 1637 http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still confused about context vs. new
On Fri, Jul 18, 2008 at 08:50:51AM +0100, Trevor Daniels wrote:
In the meantime, the distinction is explained in NR 5.1.2 Creating
contexts, although this section has not yet been reviewed in GDP so maybe
it could be improved. Let me know to what extent it helps you. In any
case I'll bear your comments in mind when I get to that section.
I've just read it, and I'm still not quite clear. It looks like the only
difference between \new and \context is that \new ensures that you get a
fresh context by ignoring the identifier you give if necessary, whereas
\context deals with name collisions by smushing the new context into the
existing one in some way I don't understand.
This sort of makes the DrumVoice explicit instantiation make sense: if
\\ acts like \context rather than \new, then it is smushing its operands
into the \new DrumVoice=n { \skips } thing above.
If this is way off the mark I guess the section in question needs some
serious loving.
--
I tried snorting coke once, but the bubbles went right up my nose and I
knocked the glass over. -- ‘Sordid Confessions of a Teenage Innocent’
http://surreal.istic.org/ Krogoths are for defence.
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Re: GDP: NR 1.5 Simultaneous, second draft
(Sorry, forgot GNU lists don't set Reply-To, so sent this to Mr. Hammar
off-list by accident. Reposting to the list for the benefit of the
archives.)
On Thu, Jul 17, 2008 at 10:53:03PM +0200, Karl Hammar wrote:
Daniel:
Why not? I find myself wanting to go into two (or three) voices and back
again very frequently when typesetting percussion parts, and the 'right'
way is far too long-winded - often it would be longer than the music it
encloses. I always use the method given in the second example in NR
2.5.1.3 Percussion Staves, i.e. explicitly instantiating the voices
beforehand and using \\, in combination with skip-of-length. Does this
That is strange, why do you need to do the \new DrumVoice-lines in
drummode? Example of 2.5.1.3:
I don't know, but without those lines the effect is that each voice gets
to be on its own staff, only the first of which is in drum mode. I guess
that \\ creates the needed Voice contexts if they don't already exist,
but uses the default Voice rather than DrumVoice, which is then
'rejected' by the DrumStaff, pushing the voices out into separate
staves.
It sort of makes sense if I think about it as a programmer, but as a
user it's pretty annoying behaviour, especially as the first time I came
to do it it took a few hours of flicking between pages in the manual to
work out the appropriate incantation, and to find the skip-of-length
thing.
count as the right way, or is it still the wrong way? As a user, it
would be much easier for me to just be able to tell Lilypond once that
I'm doing drums, and then just put the music in, without using any kind
of method at all.
Ok, what happens if you replace the bd4 sn4 etc. with the snares from
last example of 2.5.1.2 ? By doing it this way, a tie is missing:
Isn't the missing tie just the usual ties can't cross voices problem?
I tend to work around that by the trick of 'hoisting' one end of the tie
into the other voice, replacing it with a space in its original voice.
So, in your example
\version 2.11.52
\new DrumStaff
\new DrumVoice = 1 { s1 *2 }
\new DrumVoice = 2 { s1 *2 }
\drummode {
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8 sn4:32~ |
{ \repeat unfold 16 hh16 }
\\
{ sn4 sn8 sn16 sn16 sn4 r4 }
}
the relevant lines become
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8
{ s4 | \repeat unfold 16 hh16 }
\\
{ sn4:32 ~ | sn4 sn8 sn16 sn16 sn4 r4 }
--
It's so hard to see the Sun with the truth in your eyes.
http://surreal.istic.org/ Peace through superior firepower.
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Re: GDP: NR 1.5 Simultaneous, second draft
Karl Hammar wrote:
Graham:
On Thu, 17 Jul 2008 09:03:07 +0100
Mark Knoop [EMAIL PROTECTED] wrote:
Given the number of emails on this list about slur, tie, etc problems
arising from using the { ... } \\ { ... } polyphony method,
would it perhaps be a good idea to at least include an example of the
right way to do it here?
{ \voiceOne ... } \new Voice { \voiceTwo ... } \oneVoice
Is that really the right method? I thought that \\ *was* the
right method... in fact, isn't \\ exactly the same as what you
propose?
...
No,
Why not? I find myself wanting to go into two (or three) voices and back
again very frequently when typesetting percussion parts, and the 'right'
way is far too long-winded - often it would be longer than the music it
encloses. I always use the method given in the second example in NR
2.5.1.3 Percussion Staves, i.e. explicitly instantiating the voices
beforehand and using \\, in combination with skip-of-length. Does this
count as the right way, or is it still the wrong way? As a user, it
would be much easier for me to just be able to tell Lilypond once that
I'm doing drums, and then just put the music in, without using any kind
of method at all.
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