Re: Elongating Measures
There are a couple typos in my last post. It should be minLen, of course.
On Sat, Sep 7, 2024 at 10:12 AM Greg Lindstrom
wrote:
> Kieren (and friends) -
>
> Thank-you. This works great. And since I want to use it in a number of
> locations I made a couple of functions:
>
> % Length Crescendo - Specify a minimum length for the crescendo
> lCresc = #(define-music-function(parser location minLen) (integer?)
> #{
> -\tweak minimum-length #'numLen -\<
> #})
>
>
> % Length Decrescendo - Specify a minimum length for the decrescendo
> lDcresc = #(define-music-function(parser location minLen) (integer?)
> #{
> -\tweak minimum-length #'numLen -\>
> #})
>
>
> Which cleans things up a bit:
>
> \time 3/2 af bf(c)\!|
> \time 2/2 df1\f \lDcresc 7 \breathe|
> c2\mf af|
>
>
> Thanks for the help!
>
> --greg
>
>
> On Fri, Sep 6, 2024 at 7:55 PM Kieren MacMillan <
> kie...@kierenmacmillan.info> wrote:
>
>> Hi Greg,
>>
>> > I would like it to be longer so the decrescendo is a bit more prominent.
>> > [snip]
>> > Is there a way I can specify the length of the measure or otherwise
>> make it longer?
>>
>> Here’s one option:
>>
>> %%% SNIPPET BEGINS
>> \version "2.25.11"
>>
>> {
>> df2\mf df\< |
>> \time 3/2 df df( f)\! |
>> \time 2/2 f1\f -\tweak minimum-length 12 -\> \breathe |
>> f2\mf c |
>> c ef\< |
>> }
>> %%% SNIPPET ENDS
>>
>> Hope that helps!
>> Kieren.
>> __
>>
>> My work day may look different than your work day. Please do not feel
>> obligated to read or respond to this email outside of your normal working
>> hours.
>>
>>
Re: Elongating Measures
Kieren (and friends) -
Thank-you. This works great. And since I want to use it in a number of
locations I made a couple of functions:
% Length Crescendo - Specify a minimum length for the crescendo
lCresc = #(define-music-function(parser location minLen) (integer?)
#{
-\tweak minimum-length #'numLen -\<
#})
% Length Decrescendo - Specify a minimum length for the decrescendo
lDcresc = #(define-music-function(parser location minLen) (integer?)
#{
-\tweak minimum-length #'numLen -\>
#})
Which cleans things up a bit:
\time 3/2 af bf(c)\!|
\time 2/2 df1\f \lDcresc 7 \breathe|
c2\mf af|
Thanks for the help!
--greg
On Fri, Sep 6, 2024 at 7:55 PM Kieren MacMillan
wrote:
> Hi Greg,
>
> > I would like it to be longer so the decrescendo is a bit more prominent.
> > [snip]
> > Is there a way I can specify the length of the measure or otherwise make
> it longer?
>
> Here’s one option:
>
> %%% SNIPPET BEGINS
> \version "2.25.11"
>
> {
> df2\mf df\< |
> \time 3/2 df df( f)\! |
> \time 2/2 f1\f -\tweak minimum-length 12 -\> \breathe |
> f2\mf c |
> c ef\< |
> }
> %%% SNIPPET ENDS
>
> Hope that helps!
> Kieren.
> __
>
> My work day may look different than your work day. Please do not feel
> obligated to read or respond to this email outside of your normal working
> hours.
>
>
Elongating Measures
Hello -
I am arranging a chart where I have whole notes in a measure and I would
like to start at forte and decrescendo to mezzo-forte (or whatever). The
problem is the measure comes out short:
[image: image.png]
I would like it to be longer so the decrescendo is a bit more prominent. I
tried putting in silent quarters thinking it might do the trick:
df2\mf df\<|
\time 3/2 df df(f)\!|
\time 2/2 <<{f1}{s4\f\>s4 s4 s4}>>\breathe|
f2\mf c|
c ef\<|
Is there a way I can specify the length of the measure or otherwise make it
longer?
Thanks,
--greg
Fonts and Tempo
Good evening - Let me start off by saying I'm loving working with lilypond to engrave music. Well Done!! Questions. How can I do this (an umlaut over the o??) [image: image.png] And on tempo markings (the "ca." after the equal sign. I could do it as all text but wanted to know if there's a more "lilypond" way to do it). [image: image.png] And as long as I'm asking (and you're still reading). How about this (a half note = a quarter note. I'd be happy to do it without the arrows -- which I think borders on silly -- but I'll give extra credit): [image: image.png] Thanks for any help you can provide. I have the Lilypond 2.12 Notation Reference so if you even point me to the section to reference I'll work it out. Kind Regards, --greg
Re: Alternate Measures
Kieren, My Original Question: >> Is there a way I can set something at the top of the file where I can >> specify which version of the measure(s) I want engraved? Kieren's Response: >Look for \tag, and you'll find exactly what you want! My reaction: Bingo, Bango, Bongo!! This is EXACTLY what I'm looking for and it works like a champ. I can now arrange custom parts for my section based on the technical ability of my players. Thanks. And THANKS to the developers for thinking of this and coding it up. --greg On Sat, Mar 18, 2023 at 3:38 PM wrote: > Hi Greg, > > > Is there a way I can set something at the top of the file where I can > > specify which version of the measure(s) I want engraved? > > Look for \tag, and you'll find exactly what you want! > > Hope that helps, > Kieren. >
Alternate Measures
Hello, I am reworking the bass (tuba) parts for my section in the Natural State Brass Band. For those of you not familiar with the British-style Brass band, ALL members of the band are expected to have exceptional technique. The piece I'm reworking has 32nd note runs (1/4 = 90) which members of my section just can't play, so I'm writing "simplified" versions which either play every other note or a small (3 or 4 note) snippet. When all 3 parts are played together the entine lick is covered. So, my question. Is there a way I can set something at the top of the file where I can specify which version of the measure(s) I want engraved? For example, suppose I have a "variable" called "part_name" which I can set to "full" or "simple". I am looking for something like this: a4 b c d| # We all play this if (part_name == "full" Then a8 a b b c c d d| # this measure for our advanced players else a4 b c d| # this measure of our "junior" players end a4 b c d # we're all back to playing together again I'm currently using "ossia" notation, but it's cluttering the part up, though it's nice to see what others are doing. Is there anything I can do short of having 2 copies of the parts differing only by the few measures I've changed? Thanks Everyone! --greg
Repeated Music
Hello all - I am working on a score in Lilypond 2.22.1 and believe I saw, somewhere, a notation to use in the programming of the notes to repeat the previous measure of notes. Not in the music, I use the various repeats all the time; this is in the editor when I am coding the notes so I would not have to do this: \time 4/4 c4 d e f | c4 d e f | c4 d e f | but this: \time 4/4 c4 d e f | | | I've looked through the docs and can't find it. I don't even know what to call it. Can anyone help me on this (or, perhaps, I'm just imagining I saw it)? Thanks, --greg
Placement of Coda
Hello All,
I keep learning and my score is looking even better! With help from this
list, I separated the Coda from the main body of the score and even figured
out how to suppress a time signature which was appearing at the end of the
"blank" line between the main part and coda. The even better part is that I
place all my "transition" code (the tempo, time signature and any other
"common" code going into every part) in variables so all I had to do was
modify this "transition" variable and every part was updated!
I'm getting some (apparent) inconsistencies with where the Coda sign is
being placed:
Solo Euphonium (placement is great, maybe a bit high):
[image: image.png]
Here's the Bass Trombone part. Notice the Coda sign is much lower (actually
touching the staff). This appears to be due to the Solo Euphonium having
the 3 measures rest which must fint "under" the Tempo marking.
[image: image.png]
And the Eb Bass part is colliding with the clef sign. Is this due to a lack
of key signature?
[image: image.png]
Here's the transition definition:
m_coda_transition = {
\bar "||" \mark\markup { \small "D.S. al Coda (m. 54)" }
% Set segno sign as rehearsal mark and adjust size if needed
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\cadenzaOn
\stopStaff
\repeat unfold 1{
s1
\bar "" }
\repeat unfold 3{
s1
\bar "" }
\startStaff
\cadenzaOff
\break
\once \override Staff.KeySignature.break-visibility =
#end-of-line-invisible
\once \override Staff.TimeSignature.break-visibility =
#end-of-line-invisible
\once \override Staff.Clef.break-visibility = #end-of-line-invisible
\once \override Score.RehearsalMark.extra-offset = #'( -5 . -3 )
\once \override Score.RehearsalMark.font-size = #3
\mark \markup { \musicglyph "scripts.coda" }
\time 2/4
\tempo "Poco Piu mosso" 4=168
\set Staff.beatStructure = 1,1
}
And here's an example of how I use it in the parts:
\mark\default % === I === I
=
\m_cxv_transition ef8) r r r4. r2|
R1*5/4*3|
r8 d,\ff-> a'->~a4 d,8-> a'->( b) g a~|
a4 d,8 a'->( bf) g a f d bf|
g2. g8( e) c a
%
%= CODA === CODA
CODA ==
%
\m_coda_transition
f''8 r r4|
R2*3|
f,16\p( e f g) a( g a bf)|
c16(\< b c d) e(c d e)|
Re: Score, DS and Coda Question
Oh, good gravy! IT IS in the snippets; I can't believe I missed it: Positioning segno and coda (with line break) https://lilypond.org/doc/v2.22/Documentation/snippets/repeats#repeats-positioning-segno-and-coda-_0028with-line-break_0029 My apologies, everyone. I really do try to find things in the documentation before asking. --greg On Fri, Sep 30, 2022 at 1:36 PM Hans Aikema wrote: > Greg, > > I think what you're looking for is present in the selected snippets > section of the documentation: > > > https://lilypond.org/doc/v2.22/Documentation/snippets/repeats#repeats-positioning-segno-and-coda-_0028with-line-break_0029 > > > On 30 Sep 2022, at 20:33, Valentin Petzel wrote: > > Hello Greg, > > could you maybe be a bit more specific about what you want to achieve? > Maybe > add an image or something. > > Cheers, > Valentin > > Am Freitag, 30. September 2022, 20:22:01 CEST schrieb Greg Lindstrom: > > Hello Everyone, > > > I've engraved a score which includes a "D.S." and Coda. I had no problem > > adding the Text (D.S. al Coda") and signs, but currently there is no break > > in the score between after the measure to go back to the sign and the > > actual coda. In other works I've seen, the Coda is "broken off" from the > > main score to make it stand out. > > > I have ideas on how to do this but thought I'd ask because I went to the > > trouble to manually combine two parts in the score only to later discover > > the \partCombine feature. Before I try to "tong and hammer" this, is there > > a better (easier, "lilypond") way? > > > Thanks! > > --greg > > >
Score, DS and Coda Question
Hello Everyone, I've engraved a score which includes a "D.S." and Coda. I had no problem adding the Text (D.S. al Coda") and signs, but currently there is no break in the score between after the measure to go back to the sign and the actual coda. In other works I've seen, the Coda is "broken off" from the main score to make it stand out. I have ideas on how to do this but thought I'd ask because I went to the trouble to manually combine two parts in the score only to later discover the \partCombine feature. Before I try to "tong and hammer" this, is there a better (easier, "lilypond") way? Thanks! --greg
A Word of Thanks
I just have to take a minute to say "Thank-You '' to everyone who has had anything to do with creating Lilypond. I have been dabbling in it for a few years but decided to get serious about it 6 months ago. I've been learning all I can and even ordered the printed manual (which I HIGHLY recommend to anyone wanting to learn). The brass band I play in (Natural State Brass Band, nsbb.org -- I'm that good looking chap in the middle of the basses) is presenting a piece which had no full score, just a (very) condensed one. I decided to take the parts and create a full score and the results are eye-poppingly beautiful. It was so much fun I did it again, this time (manually) combining a few parts to clean things up a bit. Imagine my surprise when I discovered "partCombine"! Fantastic. I intend to keep learning with the goal of generating some income engraving scores. I've been a professional computer programmer for over 25 years, so I really enjoy the ability to "program" the notes and other information. The results are simply beautiful. Thanks, everyone. You will be seeing me around, hopefully answering questions and maybe even getting into some of the development efforts. Best Regards, --greg
Score vs. Individual Parts
I have created my first full score for brass band and euphonium solo using Lilypond (and Frescobaldi). The score looks wonderful; I've had it bound at a local print shop and it looks downright professional. There are a number of things to correct and I've created an issue for each and will correct them and reengrave. Being a professional computer programmer, I went to the trouble of checking everything into a code repository (github) to ensure I can track all my changes and not lose all this work if my computer decides to die. I've ordered the Lilypond manual from Lulu and plan to read through it to learn more about Lilypond; I do much better with printed media rather than electronic. but have questions: 1. I'd like to place line and page breaks in the individual parts. Being a player, I appreciate when consideration is taken as to where page breaks fall. I have individual files for each part with the "notes" in a separate file and the score bringing everything together. Is it possible to place breaks in the part so it does not affect the score? 2. The score looks best on 11" x 17" paper but the first print shop I contacted could not spiral bind anything that large (I found another shop which could do it and I'm glad I did). I set the paper size in the score to 8.5" x 11" and while things can fit, it is extremely cramped. Is there a setting to reduce the size of everything (staves, notes, dynamics, etc.) as I reduce the paper size? 3. On the individual part, I'd like to place the instrument name in the upper left corner of the page. Currently, it is on the first staff. 4. Can I place a header on the second and following pages which would show the title and page number of the piece in a smaller font than the first page? Perhaps all of this is in the manual which will be arriving in the next few days. But any help or direction would be greatly appreciated. Thanks for your help. I hope to start writing code snippets and answering questions as I gain more experience. ---greg
Re: Controlling Slur Marks
Thank-you to Leo Correia de Verdier for excellent instructions. I'm pleased
with the results. I see later in the documentation there is a snippet on
how to merge voices, so that's next on my list.
[image: image.png]
<<
{s8 s16^"ossia" s16 a16(g f e)| g16(f e d) s4|}
\\
{f16(e f g) a(f c a)| g16(a bf g) c(bf a g)|}
>>
On Tue, Aug 30, 2022 at 12:37 PM Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> wrote:
> The easiest way would be to use \voiceOne and \voiceTwo instead of \stemUp
> and \stemDown (recommended anyway in most cases). Otherwise _( and ^( works
> too.
>
> HTH
> /Leo
>
> 30 aug. 2022 kl. 19:30 skrev Greg Lindstrom :
>
>
> I am finishing up engraving my first full score. It's a piece for brass
> band where we could not find a score anywhere and the one we've ordered has
> been backordered for 6 months! I took it upon myself to pull all the parts
> and engrave away. Eventually, I will hook up a midi keyboard to enter stuff
> like this, but I'm as quick, if not quicker, typing it in and
> controlling just about everything the first time through.
>
> Lilypond is an impressive system and I use it over the 2 "big" commercial
> engraving packages because I think the final product just looks better.
>
> But, to my question...
>
> I have a very short Ossia that I would like to add to a chart I'm
> engraving. I'd rather not break it out onto its own staff (just to save
> space in the score) so I'm adding it as a CueVoice. The problem is the slur
> marks on the main line are above and the slurs on the ossia are below (see
> snippet). Is there a way to control where the slur marks appear, in the
> same spirit as stems up and down? Is it preferred to break the ossia out in
> its own staff:?
>
> Thanks!
> --greg
>
> [image: image.png]
>
> And the code to generate it
>
> <<{f16(e f g\!) a(f c a)|
> \stemDown{g16(a bf g)\> c(bf a g\!}|
> }
> {
> \new CueVoice{
> \stemUp s16 s8^\markup\small{ossia} s16 a'16(g f e)|
> g16(f e d) s4|
> }
> }
> >>
>
>
Controlling Slur Marks
I am finishing up engraving my first full score. It's a piece for brass
band where we could not find a score anywhere and the one we've ordered has
been backordered for 6 months! I took it upon myself to pull all the parts
and engrave away. Eventually, I will hook up a midi keyboard to enter stuff
like this, but I'm as quick, if not quicker, typing it in and
controlling just about everything the first time through.
Lilypond is an impressive system and I use it over the 2 "big" commercial
engraving packages because I think the final product just looks better.
But, to my question...
I have a very short Ossia that I would like to add to a chart I'm
engraving. I'd rather not break it out onto its own staff (just to save
space in the score) so I'm adding it as a CueVoice. The problem is the slur
marks on the main line are above and the slurs on the ossia are below (see
snippet). Is there a way to control where the slur marks appear, in the
same spirit as stems up and down? Is it preferred to break the ossia out in
its own staff:?
Thanks!
--greg
[image: image.png]
And the code to generate it
<<{f16(e f g\!) a(f c a)|
\stemDown{g16(a bf g)\> c(bf a g\!}|
}
{
\new CueVoice{
\stemUp s16 s8^\markup\small{ossia} s16 a'16(g f e)|
g16(f e d) s4|
}
}
>>
Help with Rhythm Notation
I am working on transcribing a euphonium solo and have come across a rhythm that I cannot figure out how to notate. As an aside, I am loving lilypond and am impressed with the level of detail that has gone into it. It makes engraving scores fun! Here is the figure; it is a single beat in 5/4 time (so it's duration is 1 quarter beat): 4-32nd notes a triplet consisting of 3-32 notes 4-64th notes I'm not even sure of how to divide this up, as the 4-32nd notes would take twice as long as the 4-64th notes. I'm note sure what the composer is going for or how the performer will interpret it, but I want to be faithful to the part (there isn't a full score -- only a piano reduction -- so I'm engraving the parts to make it). Normally, I would have the 32nd and 64th note beams with an 8th note beam between each of the 3 groups, but the 3 groups are not of equal duration. Any help on this would be greatly appreciated. --greg
Vertical Fill
I'm using Lilypond 2.22.1 and would like to add a page break but when I use "\pageBreak" the score "stretches" to fill the page. Is there a command to fill the page so the next score starts at the top of the next page without stretching the previous page? Thanks! --greg
Re: Repeated Meaures
Wow! This works GREAT! Thank-you!
--greg
On Tue, Oct 26, 2021 at 3:35 PM Jean Abou Samra wrote:
> Le 26/10/2021 à 21:47, Greg Lindstrom a écrit :
> > This is not a high priority request. I'm just wondering if the
> > following can be done.
> >
> > I'm writing out a bass part with lots of repeated measures. I'm using
> > \repeat percent X{measure}, where "X" is the number of times I want
> > the measure to repeat. Works great!
> >
> > Can I:
> >
> > 1. Place the count above each measure? If you repeat 6, 8, 12 times it
> > can be maddening!
>
>
> Yes. Although the documentation was only added
> in version 2.23.3, the feature itself is much
> older. Have a look at
> https://lilypond.org/doc/v2.23/Documentation/notation/bars#measure-counts
>
>
> > Place notations along the way? For example, I may want 2 strong
> > measures and then 2 measures which decrescendo into the next passage.
> > Even if I split this into 2 parts, \repeat percent 2 {uhm-pah} \repeat
> > percent 2{uhm-pah}, there's no way I can see to place a decrescendo at
> > the start of the second grouping.
>
>
> Put the dynamics along with the repeat in a
> simultaneous music construct << >>. Overall,
> the passage might look like this:
>
> \version "2.22.1"
>
> \new Staff \with {
>\consists Measure_counter_engraver
> }
> <<
>\repeat percent 8 { f'4 r c' r }
>{ \startMeasureCount s1*2\< s\> s\< s\> <>\! }
> >>
>
> Best,
> Jean
>
Repeated Meaures
This is not a high priority request. I'm just wondering if the following
can be done.
I'm writing out a bass part with lots of repeated measures. I'm using
\repeat percent X{measure}, where "X" is the number of times I want the
measure to repeat. Works great!
Can I:
1. Place the count above each measure? If you repeat 6, 8, 12 times it
can be maddening!
2. Place notations along the way? For example, I may want 2 strong
measures and then 2 measures which decrescendo into the next passage. Even
if I split this into 2 parts, \repeat percent 2 {uhm-pah} \repeat percent
2{uhm-pah}, there's no way I can see to place a decrescendo at the start of
the second grouping.
Currently, I write all the measures out and notate the count:
f4 r c r|f4 r^"(2)" c r|f4\> r^"(3)" c r|f4 r^"(4)" c\! r|
Which works well. I can place dynamics or other notations as I please.
Thanks for any tips or help you can provide. Again, I have a good
workaround so please don't spend a lot of time on this unless you just
really love the challenge.
--greg
Re: Cadenza in a Score
\cadenzaOn and \cadenzaOff do exactly what I am looking for; I apologize for not finding those before asking the list. As far as "turning off" and the other parts, I've decided to put the cadenza in the other parts as a CueVoice. Once I get the score completed I may look at trying to turn the parts off for the cadenza, but it's not a top priority for me. There is also an "Alternative Ending" to consider, but that's about 32 measures in the future. I would like to say how much FUN it is to use Lilypond and Frescobaldi. I have friends using expensive commercial packages and I think my results are every bit as beautiful as theirs, if not more so (which may be, in part, of the effort I am putting into crafting the score). And the support on this list is far beyond anything I could have expected. Thanks to all for your hard work and dedication. --greg On Sat, Oct 16, 2021 at 4:36 PM Valentin Petzel wrote: > Hello Greg! > > Maybe \RemoveEmptyStaves (or equivalently > \override VerticalAxisGroup.remove-empty = ##t ) would do the trick? > > Also suspending bars in case of cadenzas is exactly what \cadenzaOn and > \cadenzaOff are for. But keep in mind that cadenzaOn will prevent > automatic > breaking, as no bar lines exists. So you either have no manually insert > \bar "" > Or you could also do > \set Score.defaultBarType = "" > \set Score.barAlways = ##t > For the Cadenza and > \set Score.defaultBarType = "|" > \unset Score.barAlways > After the cadenza. > > Cheers, > Valentin
Cadenza in a Score
I am constructing a score with 4 instruments (tuba/euphonium quartet) and have come to a spot where Euph 1 has a cadenza. Since it is an extended passage, I would like to "suspend" the 4 lines of the score and have only the cadenza line, then go back to having the 4 line score after the cadenza. Is this possible? The only example I saw in the documentation was to have the cadenza in the score with the other parts. / | Euph 1: Euphonium 1 Notes. | Euph 2: Euphonium 2 Notes. | Tuba 1: Tuba 1 Notes | Tuba 2: Tuba 2 Notes \ Euphonium 1 cadenda.. / | Euph 1: Euphonium 1 Notes Continue. | Euph 2: Euphonium 2 Notes Continue. | Tuba 1: Tuba 1 Notes Continue | Tuba 2: Tuba 2 Notes Continue \ Also, can I suspend the time signature for the length of the cadenza so I do not have measure bars or numbers? Thanks! --greg
Complex Tuples
Hello Everyone - I am transcribing a piece called "Hope" by Dorothy Gates and need some help with a few of the triplet figures. In particular, I would like to know if it is possible to create a triplet out of the following (quarter note gets the beat): 1. An eighth and sixteenth note 2. An eighth and 4 thirty-second notes 3. A sextuplet consisting of: 1. 1 eighth note 2. 4 sixteenth notes Thanks for your help! Greg
Clarinet fingerings
I am new to Lilypond and am slowly trying to learn to use it. I have
rediscovered learning the clarinet and my teacher has asked me to start with
the G major and F major scales. I'm pretty much a novice with little
knowledge (thus far) of the deeper aspects and subtleties of musical
notation, but I'm working on it. I thought learning Lilypond would a) help
me create whatever scales I need - initially with the fingerings, to set me
on the right path and b) immerse me in the details, so I'd learn faster. I
have managed to construct what I think is the F major scale (see below) but
you'll also see that the clarinet fingerings are not showing up. E is doing
something but its diagram is different for a reason I don't understand and
none of the other fingerings are showing on the vanilla clarinet key
diagrams? Can anyone pont to what's going on, please?
Many thanks
Greg
(Frescobaldi: 2.19.0
Python: 3.4.6
python-ly: 0.9.4
Qt: 4.8.6
PyQt: 4.11.4
sip: 4.16.9
poppler: 0.43.0
python-poppler-qt: 0.24.0
OS: Linux-4.4.92-18.36-default-x86_64-with-SuSE-42.2-x86_64)
My .ly code follows:
\language "english"
#(print-keys-verbose 'clarinet (current-error-port))
\time 4/4
\relative f {
\key f \major
\textLengthOn
f4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two three four five six))
(lh . (thumb))
(rh . (four))
}
g4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two three four five six))
(lh . (thumb)))
}
a4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two three four five))
(lh . (thumb)))
}
b4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two three four))
(lh . (thumb)))
}
c4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two three))
(lh . (thumb)))
}
d^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one two))
(lh . (thumb)))
}
e4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one))
(lh . (thumb)))
}
f4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'((cc . (one)))
}
g4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
a4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
b4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
c4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
d4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
e4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
f4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
g4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
a4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
b4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
c4^\markup
\override #'(size . 0.5){
\woodwind-diagram
#'clarinet
#'()
}
}
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Re: listesso tempo
This is a little simpler:
\version "2.18"
\relative c' {
\time 4/4
| c4 c c c
\tempo \markup {
\fontsize #-1 {
\general-align #Y #DOWN \note #"4" #1
"="
\general-align #Y #DOWN \note #"4" #1
}
}
\time 3/4
| c c c
| c2.
}
You could not use \general-align but the = would no longer line up with
the noteheads.
If you need to use the notation more than once, you could create a
variable:
crotchetequalscrotchet = \markup {
\fontsize #-1 {
\general-align #Y #DOWN \note #"4" #1
"="
\general-align #Y #DOWN \note #"4" #1
}
}
\version "2.18"
\relative c' {
\time 4/4
| c4 c c c
\tempo \crotchetequalscrotchet
\time 3/4
| c c c
\tempo \crotchetequalscrotchet
\time 4/4
| c1
}
Hope that helps,
Greg.
On Fri, Apr 22, 2016, at 07:13 AM, Helge wrote:
> I want to write an indication that the beat continues at a meter
> change. I found in the notation manual a solution with \tempo
>
> \version "2.18"
> \relative c' {
> \time 4/4
> | c4 c c c
> \tempo \markup {
> \concat {
> \smaller \general-align #Y #DOWN \note #"4" #1
> " = "
> \smaller \general-align #Y #DOWN \note #"4" #1
> }
> }
> \time 3/4
> | c c c
> | c2.
> }
>
> Is there a simpler way to write this "listesso tempo"?
>
> Regards
> Helge
>
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Re: cue note fontsize inherited by uncued notes?
On 26/12/2015 22:14, Patrick Karl wrote:
> On 12/26/15 12:49 PM, Jacques Menu wrote:
>> Hello Patrick,
>>
>> Does:
>>
>> SWithCues = \relative c'' {
>>% R1
>>\new Voice {
>> \cueDuring #"A" #UP R1% 1
>>}
>>g4 a b c % 2
>> }
>>
>> solve your problem?
>
> Yes, indeed. Can you tell me why? And why does the initial R1 avoid
> the problem? Is it a general concept that cuing notes need to be put
> into a separate voice?
>
> Thanks for the answer.
>>
>> JM
>>
>>> Le 26 déc. 2015 à 17:00, Patrick Karl a écrit :
>>>
>>> The output from the following snippet seems odd:
>>>
>>> \version "2.19.32"
>>>
>>> A = \relative c'' {
>>> c4 b a g c b a g% 1-2
>>> }
>>>
>>> \addQuote "A" \A
>>>
>>> SWithCues = \relative c'' {
>>> % R1
>>>\cueDuring #"A" #UP R1% 1
>>>g4 a b c % 2
>>> }
>>>
>>> { \SWithCues }
>>>
>>> The notes in the 2nd measure as well as the full-measure rest in
>>> measure 1 look like cue notes rather than default size regular notes.
>>>
>>> If an uncued full-measure rest is added before the cued full-measure
>>> rest, the ouput looks correct.
I think it's because appending an R1 to the start or adding '\new Voice'
creates a Voice context, whereas a \cueDuring at the start creates a
CueVoice context. It's not immediately obvious that this might happen,
but see the Note here
[http://www.lilypond.org/doc/v2.19/Documentation/notation/writing-parts#formatting-cue-notes]:
"When a Voice starts with cueDuring ... the Voice context must be
explicitly declared, or else the entire music expression would belong to
the CueVoice context."
Greg.
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Re: using Lilypond
On 26/12/2015 13:44, judson collins wrote: > Hi Greg > Thanks > yes I realised I could edit the scale that was presented mulike editing > a web page. > So now I have done dozens of tests trying to figure what the codes are. > octaves, durations etc. > I will lok at frescobaldi tomorrow. Is there a tabulated page of > shortcut commands somewhere yo umight know of? > Kind Regards > > Jud Hi Jud, I would recommend working your way through the Learning Manual (http://lilypond.org/doc/v2.18/Documentation/learning/). That link is for version 2.18 (the stable version), which I would recommend for new users. Feel free to use Frescobaldi as your editor throughout. Once you are a bit more proficient, the Notation Reference will be useful (http://www.lilypond.org/doc/v2.18/Documentation/notation/). This includes a cheat sheet, which you might find useful: http://www.lilypond.org/doc/v2.18/Documentation/notation/cheat-sheet Frescobaldi also has a quick insert toolbar (Tools menu > Quick insert). Good luck! Greg. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using Lilypond
On 26/12/2015 12:55, Jud wrote:
> Hi all
> First post.
> I have downloaded Lilypond for windows 7.
> I went through the test that confims that Lily is working.
> I have been presented with the welcome notes as well as
> a command propt box. Where am I supposed to start typing text?
> The command box does not want to take any text.
> Looing at screen shoots it seems that maybe another screen should appear
> that has not loaded, one that I can type text into?
> As it is I can input anything anywhere. Much appreciated.
> Complete newby.
> regards
> J
>
>
>
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Hi Jud,
I'm using the Mac version but I think it's the same. The welcome notes
are contained within a comment block in the editor window:
%{ text here %}
Hopefully at the bottom of the window, you have some LilyPond code
starting with \header. Try modifying the notes contained within the
\relative section, and then typeset the file by going to the 'Compile'
menu and clicking 'Typeset file'. You may need to close re-open the PDF
file that LilyPond creates to see the changes you have made.
As Anders has said, Frescobaldi is a very useful editor, with many more
features than the basic LilyPond GUI.
Hope that helps. Welcome to LilyPond!
Greg.
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Re: Forcing bar number display at will
On 26/12/2015 11:26, Menu Jacques wrote:
> Hello Greg,
>
> Yes, exactly, thanks for the trick!
>
> JM
>
>> Le 26 déc. 2015 à 11:54, Greg a écrit :
>>
>> On 26/12/2015 09:40, Menu Jacques wrote:
>>> Hello folks,
>>>
>>> I find it convenient when I don’t have to play for a number of measures to
>>> decompose the multiple rests in portions corresponding to what the others
>>> play, and to have bar numbers showing up here and then to help catching up
>>> when I’ve got to blow again.
>>>
>>> What I don’t understand in the example below is why:
>>>
>>> \once\override Score.BarNumber.break-visibility = ##(#f #t #f)
>>>
>>> shows bar numbers 10 and 19 even though they’re at a beginning of line, and
>>> not 1.
>>>
>>> To get bar number 1 displayed, I’ve got to use:
>>>
>>> \once\override Score.BarNumber.break-visibility = ##(#f #t #t)
>>>
>>> Thanks for your help!
>>>
>>>
>>> %
>>>
>>> \version "2.19.33"
>>>
>>> %{
>>> http://lilypond.org/doc/v2.19/Documentation/notation/bars#bar-numbers
>>>
>>> The order of the three values is
>>> end of line visible,
>>> middle of line visible,
>>> beginning of line visible:
>>> \override Score.BarNumber.break-visibility = ##(#t #t #t)
>>> %}
>>>
>>> myDisplayBarNummber = {
>>> % Allow bar numbers to be displayed not only at beginning of lines:
>>> % \once\override Score.BarNumber.break-visibility = ##(#f #t #t)
>>> \once\override Score.BarNumber.break-visibility = ##(#f #t #f)
>>>
>>> % Allow bar number 1 to be displayed:
>>> \once\set Score.barNumberVisibility = #all-bar-numbers-visible
>>> }
>>>
>>> \layout {
>>> % indent = 0
>>> ragged-last = ##t
>>> }
>>>
>>> {
>>> % Allow first bar number to be displayed, and do it:
>>> \bar ""
>>> \myDisplayBarNummber
>>>
>>> R1*2 | \barNumberCheck #3
>>> \myDisplayBarNummber
>>>
>>> R1*3 | \barNumberCheck #6
>>> \myDisplayBarNummber
>>>
>>> R1*9 | \barNumberCheck #15
>>> \myDisplayBarNummber
>>>
>>> R1*7 | \barNumberCheck #22
>>> \myDisplayBarNummber
>>>
>>> R1*5 | \barNumberCheck #27 \break
>>> \myDisplayBarNummber
>>>
>>> R1*6 | \barNumberCheck #33
>>> }
>>>
>>> %
>>>
>>>
>>>
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>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>>
>>
>>
>> Is this what you had in mind?
>>
>> Greg.
>>
>>
>>
>>
>> \version "2.19.31"
>>
>> %{
>> http://lilypond.org/doc/v2.19/Documentation/notation/bars#bar-numbers
>>
>> The order of the three values is
>> end of line visible,
>> middle of line visible,
>> beginning of line visible:
>> \override Score.BarNumber.break-visibility = ##(#t #t #t)
>> %}
>>
>> myDisplayBarNummber = {
>> \once\override Score.BarNumber.break-visibility = ##(#f #t #f)
>> }
>>
>> \layout {
>> % indent = 0
>> ragged-last = ##t
>> }
>>
>> {
>> % Allow first bar number to be displayed, and do it:
>> \set Score.barNumberVisibility = #all-bar-numbers-visible
>> \bar ""
>>
>> R1
>>
>> % Now prevent all bar numbers unless overridden
>> \override Score.BarNumber.break-visibility = ##(#f #f #f)
>>
>> R1 | \barNumberCheck #3
>> \myDisplayBarNummber
>>
>> R1*3 | \barNumberCheck #6
>> \myDisplayBarNummber
>>
>> R1*9 | \barNumberCheck #15
>> \myDisplayBarNummber
>>
>> R1*7 | \barNumberCheck #22
>> \myDisplayBarNummber
>>
>> R1*5 | \barNumberCheck #27 \break
>> \myDisplayBarNummber
>>
>> R1*6 | \barNumberCheck #33
>> }
>>
>>
>>
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>
No problem.
Slightly improved version below, allowing \myDisplayBarNummber to also
display bar number at beginning of line e.g. in bar 27.
Greg.
\version "2.19.31"
%{
http://lilypond.org/doc/v2.19/Documentation/notation/bars#bar-numbers
The order of the three values is
end of line visible,
middle of line visible,
beginning of line visible:
\override Score.BarNumber.break-visibility = ##(#t #t #t)
%}
myDisplayBarNummber = {
\once\override Score.BarNumber.break-visibility = ##(#f #t #t)
}
\layout {
% indent = 0
ragged-last = ##t
% Prevent all bar numbers unless overridden
\override Score.BarNumber.break-visibility = ##(#f #f #f)
% Allow first bar number to be displayed
\set Score.barNumberVisibility = #all-bar-numbers-visible
}
{
\bar ""
\myDisplayBarNummber
R1*2 | \barNumberCheck #3
\myDisplayBarNummber
R1*3 | \barNumberCheck #6
\myDisplayBarNummber
R1*9 | \barNumberCheck #15
\myDisplayBarNummber
R1*7 | \barNumberCheck #22
\myDisplayBarNummber
R1*5 | \barNumberCheck #27 \break
\myDisplayBarNummber
R1*6 | \barNumberCheck #33
}
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Re: Forcing bar number display at will
On 26/12/2015 09:40, Menu Jacques wrote:
> Hello folks,
>
> I find it convenient when I don’t have to play for a number of measures to
> decompose the multiple rests in portions corresponding to what the others
> play, and to have bar numbers showing up here and then to help catching up
> when I’ve got to blow again.
>
> What I don’t understand in the example below is why:
>
> \once\override Score.BarNumber.break-visibility = ##(#f #t #f)
>
> shows bar numbers 10 and 19 even though they’re at a beginning of line, and
> not 1.
>
> To get bar number 1 displayed, I’ve got to use:
>
> \once\override Score.BarNumber.break-visibility = ##(#f #t #t)
>
> Thanks for your help!
>
>
> %
>
> \version "2.19.33"
>
> %{
> http://lilypond.org/doc/v2.19/Documentation/notation/bars#bar-numbers
>
> The order of the three values is
> end of line visible,
> middle of line visible,
> beginning of line visible:
> \override Score.BarNumber.break-visibility = ##(#t #t #t)
> %}
>
> myDisplayBarNummber = {
> % Allow bar numbers to be displayed not only at beginning of lines:
> % \once\override Score.BarNumber.break-visibility = ##(#f #t #t)
> \once\override Score.BarNumber.break-visibility = ##(#f #t #f)
>
> % Allow bar number 1 to be displayed:
> \once\set Score.barNumberVisibility = #all-bar-numbers-visible
> }
>
> \layout {
> % indent = 0
> ragged-last = ##t
> }
>
> {
> % Allow first bar number to be displayed, and do it:
> \bar ""
> \myDisplayBarNummber
>
> R1*2 | \barNumberCheck #3
> \myDisplayBarNummber
>
> R1*3 | \barNumberCheck #6
> \myDisplayBarNummber
>
> R1*9 | \barNumberCheck #15
> \myDisplayBarNummber
>
> R1*7 | \barNumberCheck #22
> \myDisplayBarNummber
>
> R1*5 | \barNumberCheck #27 \break
> \myDisplayBarNummber
>
> R1*6 | \barNumberCheck #33
> }
>
> %
>
>
>
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Is this what you had in mind?
Greg.
\version "2.19.31"
%{
http://lilypond.org/doc/v2.19/Documentation/notation/bars#bar-numbers
The order of the three values is
end of line visible,
middle of line visible,
beginning of line visible:
\override Score.BarNumber.break-visibility = ##(#t #t #t)
%}
myDisplayBarNummber = {
\once\override Score.BarNumber.break-visibility = ##(#f #t #f)
}
\layout {
% indent = 0
ragged-last = ##t
}
{
% Allow first bar number to be displayed, and do it:
\set Score.barNumberVisibility = #all-bar-numbers-visible
\bar ""
R1
% Now prevent all bar numbers unless overridden
\override Score.BarNumber.break-visibility = ##(#f #f #f)
R1 | \barNumberCheck #3
\myDisplayBarNummber
R1*3 | \barNumberCheck #6
\myDisplayBarNummber
R1*9 | \barNumberCheck #15
\myDisplayBarNummber
R1*7 | \barNumberCheck #22
\myDisplayBarNummber
R1*5 | \barNumberCheck #27 \break
\myDisplayBarNummber
R1*6 | \barNumberCheck #33
}
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Re: Position of rests in cue notes
On 24/12/2015 12:42, Peter Gentry wrote: I am using cuenotes in parts with extensive rests to give players reassurance with counting. The only issue is that rest are placed on the top leger line ie the F of treble clef. Is there a way to move these down to the midle leger line ie the B of the treble clef? Merry Christmas to all Ponders... regards Peter Gentry ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Hi Peter, Are you using \cueDuring? If so, you can change #direction to #UP or #DOWN, which places the small cue notes either above or below the rests. See http://lilypond.org/doc/v2.18/Documentation/notation/writing-parts#formatting-cue-notes If not, perhaps you could provide a minimal example? See http://www.lilypond.org/tiny-examples.html Thanks, Greg. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Embedding TeX/LaTeX in .ly files?
Hello,
Is it possible to embed Latex commands into text within .ly files?
Something like:
\markup{ 2^{nd}}, or perhaps \markup{ "$2^{nd}"}
I don't like the output of \super, but I use Latex all the time so I'm
quite comfortable with its commands, notation, etc.
For context: I started using Lilypond this morning and have gone
through the tutorial, part of the manual, and part of the "snippets"
page. So it's quite possible that this is documented and I've just
missed it.
Thanks,
Greg
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Re: AccidentalSuggestions below HorizontalBrackets?
Brilliant, thanks. (I was sure I'd tried that but I guess not... it's working now anyway!). Thanks, Greg. Neil Puttock wrote: > > Hi Greg, > > On 05/04/2008, Greg Swinford <[EMAIL PROTECTED]> wrote: >> >> Is it possible to get AccidentalSuggestions to go below >> HorizontalBrackets by >> default where there is a collision? I've tried outside-staff-priority on >> the >> accidentals but there doesn't seem to be an outside-staff-priority >> property >> for horizontal brackets. I'm using version 2.11.43. > > HorizontalBracket doesn't have a default setting for > outside-staff-priority, but it supports grob-interface so it's > available if you need it. > > Since AccidentalSuggestion's outside-staff-priority is set to 0, just > set it higher for HorizontalBracket: > > \override HorizontalBracket #'outside-staff-priority = #100 > > Regards, > Neil > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > > -- View this message in context: http://www.nabble.com/AccidentalSuggestions-below-HorizontalBrackets--tp16512202p16518817.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
AccidentalSuggestions below HorizontalBrackets?
Is it possible to get AccidentalSuggestions to go below HorizontalBrackets by default where there is a collision? I've tried outside-staff-priority on the accidentals but there doesn't seem to be an outside-staff-priority property for horizontal brackets. I'm using version 2.11.43. Thanks, Greg. -- View this message in context: http://www.nabble.com/AccidentalSuggestions-below-HorizontalBrackets--tp16512202p16512202.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Centering lyrics on notes with ties
Many thanks! I have now upgraded.
Greg.
On 4 Apr 2008, at 19:41, Kieren MacMillan wrote:
Hi Greg,
Is is possible to center all lyric syllables,
even those where the note has a tie attached?
Serendipitously, I sponsored this precise feature last summer:
\layout
{
\context { \Score lyricMelismaAlignment = #0 }
}
I believe Han-Wen added it into 2.11.30 so you might need to upgrade
in order to take advantage of it...
Hope this helps!
Kieren.
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Centering lyrics on notes with ties
Is is possible to center all lyric syllables, even those where the note has a
tie attached? I tried using \override LyricText #'self-alignment-X = #0, but
this property doesn't seem to affect notes with ties.
Thanks,
Greg.
---
\version "2.10.10"
melody = \relative c''
{
g1 ~ g2 g
}
words = \lyricmode
{
\override LyricText #'self-alignment-X = #0
hello hello
}
\score
{
<<
\new Voice = "melody" \melody
\new Lyrics \lyricsto "melody" \words
>>
\layout { }
}
--
View this message in context:
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Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Open brackets for colouration
I was wondering whether it was somehow possible to get open brackets (i.e. just a right angle at the start and end of the bracket with no line in between, like this: ┌ ┐) for notating colouration in mensural music. I've been playing around with the dashed line settings for horizontal (analysis) brackets but can't seem to find a way to make it look quite right. Currently I'm having to use text markups containing the right-angle symbols above the notes but it's not ideal. Many thanks, Greg. -- View this message in context: http://www.nabble.com/Open-brackets-for-colouration-tp15056580p15056580.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Line breaking within ligature brackets
Hi all! This is my first post and I'd just like to say thanks to the developers for such a brilliant program. I'm transcribing some mensural music into modern notation and trying to use ligature brackets to indicate the position of ligatures in the original. I'm having to use horizontal (analysis) brackets at the moment, however, as a large section of the music has at least one ligature over every barline. This is preventing any line breaking during this section and so the horizontal spacing is very squashed and the system spills over into the margin. Is it possible to allow line breaking during ligatures (or at least ligature brackets) as it is with horizontal (analysis) brackets? Many thanks, Greg. -- View this message in context: http://www.nabble.com/Line-breaking-within-ligature-brackets-tp15056519p15056519.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Brass Band lyre music
Will it ever be possible to use fixed, partial-note-head note spacings for all note values in the layout? The old hand engraved march cards in our band library use extreemly small note spacing to get it to fit on a card a bit smaller than A5 landscape. I have had a fiddle with make-moment settings, but it appears to only accept integer values. The following values produce an error #'base-shortest-duration = #(ly:make-moment 1 0.25 ) The value #(ly:make-moment 1 0 ) produces output with zero note spacing - a bit too severe. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doesn't work?
><
Whoops. I forgot the attachment. Sorry. Here it is...
On Apr 4, 2005 3:33 PM, Mats Bengtsson <[EMAIL PROTECTED]> wrote:I guess you forgot the attachment (or maybe it was very large so it wasfiltered away from the email by the mailing list server).Please try again to send it to the mailing list. /MatsGreg Sabo wrote:> I've attached a log file that sums up the problems I've been having.> I'm new to lilypond but I like what I see, but it seems I've hit a snag.> I'm sure I'm using all the right syntax: I copied this one from the> website.> I hope you guys can help me with this.> Or I could just give up and get Linux :)>>>>___>lilypond-user mailing list>lilypond-user@gnu.org>http://lists.gnu.org/mailman/listinfo/lilypond-user>>
px1.log
Description: Binary data
\score {
\notes { c'4 e' g' }
}___
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doesn't work?
I've attached a log file that sums up the problems I've been having. I'm new to lilypond but I like what I see, but it seems I've hit a snag. I'm sure I'm using all the right syntax: I copied this one from the website. I hope you guys can help me with this. Or I could just give up and get Linux :) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
parser problems gone
Thank you all, so very much. 1.5.59 compiled with no big problems and IT WORKS! I had thought that the subversion numbers were decimal, so that 5.9 was later than 5.59 Thanks for clearing that up. Now my only question (for the moment) is the one my 12 year old son, Geoffrey, asks me: Why are you (and the GNU community) so imbued with the Confucian value of benevolence, that you not only make great software freely available to the world, but you also spend time helping complete newbies? Thanks again Greg ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
INSTALL.txt
Hi again! Just a note to say that in the INSTALL.txt for 1.5.9 it says that RPMs are available for Mandrake at: rmpfind.net/linux/Mandrake/cooker/contrib/RPMS/ This is not true. There is no cooker directory in Mandrake and I looked around a bit and couldn't find Lilypond in the other directories. an RPM for Mandrake 8.2 IS available at: ftp://sunsite.uio.no/pub/unix/Linux/Mandrake/Mandrake-devel/cooker/cooker/Ma ndrake/RPMS2/lilypond-1.4.2-1mdk.i586.rpm Cheers Greg ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
parser problem
Hi all Here I am again with a question. A while ago I gave up on trying to build lilypond and used an RPM for 1.4.2, But since lilypond is improving so rapidly I decided to try to compile again, so, on my Mandrake 8.2 box, I tried to built lilypond-1.5.9. This time I got past the guile and gcc problems I had earlier, but got stopped by this error msg, close to the end of the make process, it would seem: % bison -d parser.yy parser.yy contains 2 shift/reduce conflicts. mv parser.yy.tab.h out/parser.hh mv: cannot stat `parser.yy.tab.h': No such file or directory make[1]: *** [out/parser.hh] Error 1 make[1]: Leaving directory `/root/lilypond-1.5.9/lily' make: *** [all] Error 2 [root@localhost lilypond-1.5.9]# I would appreciate anyone's help in getting past this. Thanks again in advance, and also for lilypond. Greg Guest ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
LaTeX woes
Hi all,
I loaded Mandrake 8.2 and Lilypond happily installed, and produced a .tex
output, but LaTeX would not work with it and produced the following error
msg:
[greg@localhost greg]$ ly2dvi -P w.ly
bash: ly2dvi: command not found
[greg@localhost greg]$ ly2dvi -P w.ly
Running LilyPond...
GNU LilyPond 1.4.2
Now processing: `/home/greg/w.ly'
Parsing...
Interpreting music...[4]
Preprocessing elements...
Calculating column positions... [3][4]
paper output to `w.tex'...
Analyzing w.tex...
Running LaTeX...
error: latex: command exited with value 32512
Traceback (most recent call last):
File "/usr/bin/ly2dvi", line 786, in ?
run_latex (files, outbase, extra)
File "/usr/bin/ly2dvi", line 607, in run_latex
system (cmd)
File "/usr/bin/ly2dvi", line 313, in system
error (msg)
File "/usr/bin/ly2dvi", line 206, in error
raise _ ("Exiting ... ")
Exiting ...
Perhaps its not worth the trouble solving my problem, since everything works
fine for me in windows. It just seems kind of silly to use emacs to write
the file lilypond for cygwin to process it and ghostscript to read it all in
a Windows box.
I'm open to any suggestions
thanks
Greg
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Thanks re Guile and French
Thanks Jan, Rune and Nicolas for your help. My French accent problem is solved, and I'm giving up on guile ( I reloaded Mandrake 8.0 which came with guile 1.4 and lilypond still complained about not being able to find guile-config ) and will take Jan's suggestion of upgrading to mdk8.2 and trying th RPM. Thanks also to Laura Conrad, whose web page full of wonderful music me convinced me to try Lilypond. And I'm delighted with what Lilypond can do and how little time it takes to input music. Greg ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
French text
Hi Another question. I found how to do French accents in the online docs, but have not found how to make a cedilla for c's. Could you tell me. TIA Greg
building guile
Hi, I am using Lilypond on cygwin and am trying to get it onto my Linux box Mandrake 8.0. None of the binaries work, and although I built guile (apparently successfully), when I try to run ./configure in lilypond, it complains that I can't find either libqthreads.so.0 or guile-config I know this is not a lilypond question, but I'd very much appreciate anyone's help in this matter. After building guile, I end up with a binary in /bin and a folder in /usr/share TIA Greg
Re: Lyrics on Multiple Staffs
Sorry for my question, I read some of the archive and found this question answered by Rune Zedeler so I'm fine now. Thanks ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Lyrics on multiple staffs
I am a complete Newbie in the wonderful world of Lilypond. So far I can do everything I wish, except to put lyrics under the appropriate staff in a system of several staves for example a different set of lyrics for the soprano and the alto. TIA Greg Guest ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
