Re: User Experience Engineering
Dear Linda, I whole-heartedly agree with your comments about user experience being very important to adoption of any user-oriented computing product. One problem with GUIs is that they MUST be tailored to the way the user wants to, or needs to be trained to, work. Thus, the challenge becomes providing a comfortable environment - one that fits the way the developer is convinced will be convenient. The spin-off of this problem is that the developer resources then become diverted from core functionality to interface functionality. My favorite example is the plethora of accounting packages ... by GAAP principals, and by law, accounting within a country must conform to basic standards. Therefore Simply Accounting, Quick Books, Microsoft Money, etc. all MUST do exactly the same thing internally. Therefore the only difference is in the interface - and that is driven entirely by perceived convenience. Sadly, the [lack of] quality inherent in these products because of diversion of scare developer resources is well documented. Over the past 15 years, we have seen a number of changes: client-server; 3-tier; and most recently web-services and the service oriented architecture. In all of these, there is a clear separation between the functionality of the user interface and the functionality of the service provider (server or web service). In terms that might make more sense to your suggestion, Lilypond might best be considered a very advanced music typesetting service provider. The API (application programmer's interface) happens to be one of more .ly data files. There is, perhaps unfortunately, no supplied sample user interface - as those of us who have spent time with Lilypond have found that manual interaction directly at the API level is ultimately faster and more flexible than attempting to use a graphical UI. (I have also found this to be true in 90%+ of all applications I've used - command line IS faster, more robust, more flexible, less resource intensive and less conducive to error and physical [health] problems such as RSI, than GUI. It's just not as 'pleasant'.) As long as the API is accessible, there are opportunities for others to develop client portions - many in fact, that would make sense for specific situations. However, I can envision no single user interface that would conveniently run the gambit of capabilities that are in Lilypond (therefore there would need to be several interfaces) . The bickering of what is 'the right' interface for a situation - being heavily culturally influenced - could easily set back Lilypond development several years if the current Lilypond developers were to be involved. My personal conclusion: Let the graphic artists and user interface specialists do what they do best; let the Lilypond developers do what they do best; let the joining come at the API level - which is defined. Please do not take this as a negative to your comment - in fact it is the opposite. I just happen to believe that the Lilypond (server) side is not the right place. Perhaps at the Rosegarden (GUI) side, though. -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 38, Issue 17
I see value in the discussion, but also a serious distraction for the primary developers. Is it worth taking this offline? It's easy enough to create a private discussion group (invitation only, no spam scrapers - we hope). Let me know (mailto:[EMAIL PROTECTED]) -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Embedded Measures
Are you perhaps looking for something like this? http://lilypond.org/doc/v2.7/input/test/lily-1831563529.ly Or like this? http://lilypond.org/doc/v2.7/input/test/lily-1576890297.ly -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stupid question regarding absolute pitch designations
On October 9, 2005 01:58 pm, P B wrote: Why is middle C (C3) given the absolute pitch designation This is a topic for ongoing argument in virtually every music related newsgroup and distribution list to which I subscribe. Basically - pick a system and go ... because you'll offend someone, somehow, somewhere no matter what you chose. However, I refer you to one reasonably good site and diagram that seems to be reasonably well recognized: http://www.dolmetsch.com/musictheory1.htm#midi /Hans ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Which bison version to use to build on Linux?
Are you familiar with the fix to the known bug for bison 1.875 'fix'? If not, the fix is described in section 1.6.1 on the lilypond 'Install' page. /Hans -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Price quote for better tied chords?
On August 19, 2005 10:39 am, VSD wrote: So we would have now (please correct me if I'm wrong): - Steve D: EUR 100 - Kieren Richard MacMillan: EUR 100 - me (Vincent): EUR 100 - Jay Hamilton: EUR 50 - Bertalan Fodor: EUR 50 that's EUR 400. Then we would just need another EUR 50. a-ny-bo-dy-el-se? C'mon people, lily needs beautiful tied chords! :) Hans Forbrich: EUR 50 -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ossia above staff
I second that, together with an offer for a modest amount of funding.
Note that the ossia samples to which I have access include the following
features:
1) above the 'master'
2) smaller font
3) may start at location other than bar line
4) dashed lines (lined up with bar lines) join master to ossia
Samples are in Schirmer's Operatic Anthology (Vol V - bass). let me know if
copies are required.
/Hans
On May 2, 2005 02:47 am, Mats Bengtsson wrote:
I turn this into a feature request (alternatively a question to
those who are more competent than me).
Is there any way to produce an ossia that begins in the middle of
a score line and is printed above the main stave?
/Mats
Bertalan Fodor wrote:
Are you refering to something similar to the ossia.ly example
in Tips and Tricks document?
Yes.
In that case, use Solution 2 in the example and just move the
ossia Staff before the main Staff in the \score{...}.
But that way my ossia Staff will not be instantiated at the place I want
it.
Actually the 2nd Solution is not an ossia, because the staff starts at
the beginning of the line, not the place where it should.
So that tip is not correct at all.
Bert
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Re: Font questions
Thanks David. That font set looks interesting. I'm working on some of Mussorgsky's songs and for the lyrics, I'm looking at doing the Cyrillic with the IPA underneath. I'll have to dig in whether it solves my needs. On questions 1 2, I should have mentioned these are unicode music symbols that could occur in the music sections, as compared to the lyric section. If Lilypond covers the complete set, I think it could be interesting to see the Lilypond fonts *marketed* as a set of unicode fonts as well. /Hans -- Pleased as punch user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Font questions
Just wondering whether 1) Lilypond supports the Unicode music symbols? regular: http://www.unicode.org/charts/PDF/U1D100.pdf byzantine: http://www.unicode.org/charts/PDF/U1D000.pdf 2) Whether Lilypond does, or perhaps will, support the Unicode encoding for these symbols? 3) With the advances in 2.5, are we be able to use fonts capable of handling Cyrillic or IPA characters? If yes, does anyone know of a decent source for those? Thanks /Hans -- User of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: My opinion
On March 16, 2005 01:14 am, Tim Fechtner wrote: Hello! Maybe this isn't the place, but well. I think that the development of lilypond is going in the right direction, and the new feature like independence from TeX, SVG export and in the future a graphical backend are exactly what I personally need. Thanks to all developers for making this possible. Yet another who agrees! (Again) Tim (PS: Also the idea of using XML as input format whould be a big step.) I had the same idea and question several years ago. The response was an adamant 'NO'. I've since concluded that the response was, and still is, correct. If nothing else, separation ensures that Lilypond is not to dancing to someone else's definition, relegating Lilypond to a 'mere music typesetting program, albeit producing superior quality output'. Other reasons: - keeps the syntax tight; - maintains independence of possible front end mechanisms; - keeps flexibility to support the community's needs. Far better, IMO, is an efficient conversion, possibly using convert-ly /Hans -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Q: 2.4.4 or 2.4.5?
Does 2.4.5 *require* tetex 3 or does it also support tetex 2? Been trying to upgrade from the SuSE 9.2 supplied lilypond 2.2.6, and have had a number of issues building 2.4.5 from scratch ... out of desperation, I backed down to 2.4.4 and built that version with minimal challenges. Thanks /Hans -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie problem
{c1~ \\ {s4 s4\ s4\! \ s4\!}
c4 c c c}
Try something like
{ c1 ~ c4 c c c } \\ {s4 s4\ s4\! \ s4\! s1 }
HTH/Hans
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Re: Tie problem
Thanks for the correction. /Hans -- Proud user of Lilypond Music Typesetting Tools http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: german mailinglist for lilypond?
On Friday 26 November 2004 12:17, Anthony W. Youngman wrote: In message [EMAIL PROTECTED], Werner LEMBERG [EMAIL PROTECTED] writes If there were enough persons interested in, then perhaps with a little bit help I could maintain a german mailinglist. While being a native German speaker, I fear I won't have enough time to discuss problems on two lists... And while convention says international newsgroups/mailing lists should be in English, I see no reason why we should be so arrogant as to expect others to speak our language. Why shouldn't people post to the mailing list in other languages if their English isn't good enough? It just means that they are going to get less help because fewer people will understand the question :-) One variation I have used when writing to German lists to which I belong: Being of German descent but having a somewhat limited vocabulary, I will write the question in both my limited German and in English. I usually get help in two ways then - in my problem and in my German. I agree with Werner's concern - splitting to language-based lists will do very little more than splinter the already limited (albeit excellent) resources that are available. (And give the spam-bots more lists to haunt.) JMHO /Hans ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond won't float
Change the statement to 2.2.0 ... convert-ly will then attempt to convert FROM
2.2.0 up to the current 2.3.19.
The version statement should represent the version of lilypond that compiles
correctly. This is then used by convert-ly as the starting point from which
to do the conversion.
Also - please keep responses ON the list - if you are having problems, oythers
will as well then they can look through the archives to get help.
/Hans
On Friday 01 October 2004 11:08, you wrote:
There wasn't a version statement, so I added
\version 2.3.19 (the version of Lilypond I'm running)
and then got this:
[EMAIL PROTECTED] jackmason]$ convert-ly test.ly
/usr/bin/convert-ly (GNU LilyPond) 2.3.19
Processing `test.ly' ... Applying conversions:
[EMAIL PROTECTED] jackmason]$ lilypond test.ly
Now processing `test.ly'
Parsing...
test.ly:4:15: error: unknown escaped string: `\notes':
\score { \notes
{ c4-( c4-) } }
test.ly:4:14: error: syntax error, unexpected STRING:
\score { \note
s { c4-( c4-) } }
error: failed files: test.ly
On Fri, 2004-10-01 at 12:46, Hans Forbrich wrote:
Open the test.ly file. Is there a 'version' statement near the top? It
would look like like
\version 2.3.9
or
\version 1.1.6
If not, add one like \version 2.2.0 and try the conversion again.
/Hans
On Friday 01 October 2004 10:11, Jack Mason wrote:
I am running Linux, Fedora Core 2, Lilypond 2.3
What do you mean run convert-ly on test.ly
When I run convert-ly I get:
[EMAIL PROTECTED] jackmason]# convert-ly
/usr/bin/convert-ly (GNU LilyPond) 2.3.19
When I try this, I get:
[EMAIL PROTECTED] jackmason]# convert-ly test.ly
/usr/bin/convert-ly (GNU LilyPond) 2.3.19
Processing `test.ly' ...
/usr/bin/convert-ly: can't determine version for `test.ly'
/usr/bin/convert-ly: skipping: `test.ly'
Thanks for your help
On Thu, 2004-09-30 at 14:35, Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
On 29-Sep-04, at 9:25 PM, Jack Mason wrote:
test.ly:2:20: error: unknown escaped string: `\notes':
\score { \notes
{ c4-( c4-) } }
You're trying to build a test file made for 2.2 using LilyPond 2.3.
Please
run the convert-ly script on test.ly. What OS are you using?
Since the original poster has
X-Mailer: Ximian Evolution 1.4.6 (1.4.6-2)
I reckon it's Linux.
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Re: Installing from downloaded files or CD
On Wednesday 22 September 2004 07:36, Peter Flynn wrote: I want to install lilypond for a colleague who only has a 14.4Mb/s dial-up connection (don't ask!). Can I download the relevant files on my (faster) connection, burn a CD, and install them on the target machine? Yes. On the Cygwin site you'll find a bit of a users manual. Scan through that and you will note that there is a section on Downloading the source. It's fairly intuitive and works - I've used it several times. HTH /Hans ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bash: ly2dvi: command not found
On Sunday 18 April 2004 09:06, Klemens Moser wrote: Hello. I tried installing Lilypond about 20 times (from different servers) and I don't know, what should be wrong with it; I did everything like it's described. Problem: $ ly2dvi -p foo bash: ly2dvi: command not found You state you did everything as described. Where was this described? If you used a current document and current version of lilypond - and if the document matches the version you installed, then we have a bug! The 'ly2dvi' command was replaced with just 'lilypond' in version 2. If you did not verify the document and software versions match, I strongly encorage reviewing the matching documents as there have been a significant number of changes. /Hans BTW: I made the same mistake! ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with lilypond installation...
Lilypond has 4 distribution lists. They act just like any email address, but any [authorized] email that is sent to them will be distributed to all registered members. Authorized means being on the registered list, and that can be accomplished through the links at http://lilypond.org/web/about/ I would not be concerned about sending this item in particular to the [EMAIL PROTECTED] list (I've copied the list in any case). However, in the future I would encourage you to keep all discussion on the list as we have noticed that when one person has an issue, frequently others either have the same issue and community effort can resolve it quickly. /Hans On Wednesday 07 April 2004 05:51, you wrote: Hello! I could send it to userlist... How does it works? B.R. Ilkka Salonen On Tuesday 06 April 2004 11:18, you wrote: Hello! Thank you for helpin me... I reinstalled Fedora core and installed again the lilypond. Everything is now working properly! Linux can also be sometimes like windows- reinstalling helps! Best, Ilkka Salonen I'm glad that this has helped. Sadly you did not copy (or simply send to) the lilypond user list and therefore noone else will benefit from your experience. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Basic questions about LilyPond.
I personally think many people go about the evaluation totally backwards. They first ask 'how easy is it to get started'. Unfortunately once the honeymoon is over, then it's time to get serious and accomplish some real tasks. Every 'easy to use' package I've seen quickly grinds to a halt. I encourage you to look at ALL the documented examples, especially the Tips and Tricks and the Regression Tests, as well as the results to be found at the Mutopia Project (http://www.mutopiaproject.org) If the end result of Lilypond is flexible enough and visually satisfactory, then the cost [of setting up and learning] of Lilypond is worth it. If you do not like what you see, then it's not worth your trouble. Lilypond, whether on a Windows machine, a Mac or a Linux/Unix box is driven by a very simple keyboard input and edit mechanism (identical on all). Many people look at that and run away in disgust because they wanbt to place the notes wit ha mouse - not realizing the mouse-based input they hope for will be quicker to learn but ultimately slow them significantly (in my case by 3x longer to do an equivalent score vs my eval of Finale) - your mileage may vary!!! The worst part about Lilypond is that bugs, and problems get fixed too fast and features get implemented too quickly. The best part about Lilypond is that musicians I for whom I've typeset copies have all universally commented on the quality and have enjoyed using the results. One thing to keep in mind - Lilypond is not as composition tool, it is a music typesetting tool. As far as I know Finale and Sibelius don't even attempt to make that claim. (Finale - music notation software; Sibelius - writing, playing, printing and publishing music notation). Score wants to compare itself to 'traditional engraving' and probably comes closest of the commercial ones, but I find their entire font too 'round'. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.1.35 released
On Sunday 28 March 2004 09:04, Han-Wen Nienhuys wrote: I would like to request proofreaders to take a look at the chapter Changing defaults. Parts of this chapter have been rewritten recently, and haven't been scrutinized closely yet. (Not sure whether 'User' or 'Devel' was appropriate ...) In: Interpretation contexts, I needed to read several times the paragraph This is contextual information. and it can b... . Please verify my understanding of this paragraph, to the end of page, in the following paraphrase: -- At any instant in time printed music can be viewed from the Voice, the Staff and the Score perspective. In each perspective, or Context in Lilypond terminology, there are some known rules and some known properties. These Contexts do not work in isolation but interact in a heirarchical fashion. The Score is the base of the heirarchy within which one or more members of the Staff family may be operate. In each Staff one of more Contexts, such as members of the Voices families, may exist. Each Context takes responsibility for some musical rules, musical or graphical objects (grobs) and associated properties. These may be introduced within a Context, for example a Voice creates a Notehead, or may be refinements of elements from another level in the heirarchy. For example the Voice may introduce an accidental and the Staff then maintains the rule to show or suppress the accidental for the remainder of the measure. A Context is defined using the \context keyword in the \paper block. Full description of these available is in the program reference, see Contexts. Many are defined in the engraver-init.ly file. Part of the definition includes giving the Context a 'type name' such as Voice, Staff, ChoirStaff, and so on. Once defined, a context can be used in the score by instantiating (also known as 'creating') the context. In a simple score this is automatically done. However in a complex score it is necessary to create a context manually using the \new keyword and optionally naming that instance. Naming a context instance allows explicit reference to that context. Some examples of named contexts include Voices (Trumpet, FirstHorn, Soprano, Bass) or Staves (Up for the top piano staff, Down for the lower piano staff). It is also possible to define new Contexts and modify existing ones. More details are available in the following sections: Creating contexts: Changing context properties on the fly : Modifying context plug-ins: Layout tunings within contexts: Changing context default settings: Defining new contexts: Which properties to change: If the above is accurate and useful to the documentation, feel free to use it. Otherwise please help me fix my understanding. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: OT: How to become a mutopia-writer
On Monday 22 March 2004 05:48, David Raleigh Arnold wrote: As far as I know, currently in the United States of America the Copyright stays with a person or organization until 125 years 70, I thought. I'm getting confused again - Canada is playing around with some ideas here as well. (Serves me right for relying on memory instead of looking it up.) Project Gutenberg PD description at http://promo.net/pg/vol/pd.html is decent pretty good at a high level outline. after the death of that person. However, since the laws were changed over time, if the work was published *in the U. S.* The laws are different for each country. before a specific date (I use 1904, but it might be 1907), It advances every year. It started in 1911 or something like that, so it was pushed back 20 years? It's hard to keep up. :-( daveA Yup. 1923 is a major cutoff in the US anything published with a copyright mark before 1923 has a 75 year copyright protection; after 1923 and before 1977 has 95 year protection; anything after 1977 - hope the author has put it into public domain (or GPL) 'cause your waiting a loong time. Sorry for confusion /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: OT: How to become a mutopia-writer
On Sunday 21 March 2004 10:09, Roland Goretzki wrote: Hello, I spent a lot of time on the website of mutopia, but couldn't find the answers to some questions, so I ask here, because here are some mutopia-writers on this mailing-list, aren't they? I want to typeset the studies op. 10 and op. 25 from F. Chopin with lilypond for the mutopia-project. I'd asked this question before Chris indicated there would be a mailing list to discuss this'real soon now'. Since I'm in a similar situation, let me summarize what I know: There are two main concepts - 'copyright' and 'public domain'. The copyright (das Recht Kopien, Aenderungen und Ausgaben herzustellen) belongs to a person or to an organization unless that person has assigned it, for example to a publishing copmpany. OR it is passed into the Public Domain and then it belongs to everyone. All published work, including music, has several 'copyrights' that need to be respected. Some of the copyrights belong to: - the music composer; - the poet or libretist; - the typeset 'editor'; - the font creator; - anyone involved in 'creative additions' which may include -- libretto translation; -- fingering; -- comments; -- new ossia, new endings, and so on; - for performance (Records/Schallplatten), also include the artist(s) and any technical people involved in the production. In some cases the composer will sell the copyright to a publisher. For example, as far as I know, much of Pucchini's work was sold to Ricordi who now holds the copyright. Each country has their own copyright laws. You must become familiar with the copyright law in your country before you start publishing using Lilypond. (Copyright lawyers have a nasty habit of sneaking up behind a person.) As far as I know, currently in the United States of America the Copyright stays with a person or organization until 125 years after the death of that person. However, since the laws were changed over time, if the work was published before a specific date (I use 1904, but it might be 1907), it is automatically in the Public Domain. Again this is for the United States. An example of the legal situation is the CD Sheet Music. The publishing company, Theodore Presser, has collected many pieces of sheet music that are in the Public Domain and now distributes them as PDF documents on CD. (See http://www.cdsheetmusic.com) They have put their own corporate logo on the first sheet and give permission to print as many copies as you wish. Being in Canada, I have purchased some CDs which include most of Schubert and Schumann 'Leider' and I have verified that some are exact copies of Henle Verlag, Baerenreiter and even Ed. Peters that are now Public Domain. Some of these CDs you can not purchase because the Copyright on one or two pieces has not expired in Germany. In order to publish using Lilypond whether on Mutopia or elsewhere, ALL of the following must be true: - you are free to publish any part that is in the Public Domain (for example, the notes as written by the original composer) - you must have the permission of ALL the current copyright holders whose work you wish to duplicate. You must watch carefully for 'artistic changes', even if they are only one or two notes, fingering, dynamics or other articulations. If you have a document that has a copyright date or some other mark that can be verified as a date of publication (so wie eine Widmung mit Datum) you may be able to determine whether it is now in the public domain. Otherwise you need to research, including asking the publisher. My experience is that publishers will not respond because there is no possible financial benefit for them. Since I am the proud owner of several hundred pages of music manuscripts (mainly vocal) published before 1900, I want to re-publish the works using Lilypond and probably Mutopia. I am starting to review the Canadian and United States copyright laws and am willing to discuss my findings. I would also like this information about the German (or other European) laws since publishing on the internet will automatically become international. /Hans (mein geschriebenes Deutsch ist leider nicht sehr gut. Aber waere froh bei Privat-email weiter zu schreiben oder uebersetzen. Normally addresse is 'singing_bass bei telus punkt net') ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Any idea when 2.2 will be defined/released?
Any idea what new features capabilities are being planned before 2.2 is released or what time frame 2.2 is expected. I have seen some amazing advances in Lilypond lately and I'm itching to use the new features, syntax and capabilities in 'production'. In my case, production is reproducing a 400+ page out-of-copyright book (published in 1882) that is rapidly decaying. I will be starting with the individual songs using Lilypond 2.1.x, I hope to avoid returning to all the older pieces for upgrades on completion. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Publishing using Lilypond ....
I am have (re)started discussions with a local professional print/binding shop around professionally publishing some Lilypond-based work. In part, I'd like to set something up around Tex-based small-run business here (here being St. Albert - adjacent to Edmonton, Alberta, Canada). Anyone have any related experiences or wisdom that I can/should reference in the negotiations? /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: [ot] SPAM/Worm problem
On Sunday 29 February 2004 16:37, Erik Sandberg wrote: MK c) reject every mail containing attachments other than .ly or .png. Hm.. but this will not help once there are worms based on .ly :) This will only be a problem if using .ly or .png automatically invokes a program that the worm can exploit (to propogate itself). Many users, especially those with Outlook, simply have .zip, .exe, .pif, .bat and .scr files automatically opened on receipt of mail. * I just received a Bagle.C message apparently from me (well, from my [EMAIL PROTECTED] self) on the closed-post development list. This happened despite the fact that the list is closed-for-posting and I work on an UltraSPARC machine where Microsoft software does not run. That's weird.. you mean that you were not infected by that worm? Then, where did those messages come from? I have received some emails, supposedly from myself. It's called spoofing - a form of electronic impersonation (or identity theft). Nothing wierd about it. The program opened reads the user's address book, composes a new email to random people on the address book and make them appear to be from other random people from te address book. As far as I know, this can happen easily in Outlook and a few other MS-based mail programs. As far as I know it does not happen if a) you don't open the attachmenyt or b) you use a unix/linux mail client. * The specific suggestion to block ZIP files will close the current pathway by which some requests for help are sent. The standard response to a user whose message has been blocked because it is too large is to suggest that she or he ZIP the file demonstrating the problem and send it as an attachment. Are we, as a group, ready to say to someone needing help You need to reduce your problem to one that will fit into XXX bytes? Does the Lilypond Wiki support uploads? If so, then use that as a method to post support filers and block ALL attachments to this group/list. (and yes, I know Han-Wen and Jan have better things to spend their time on than approving messages.. but I'm sure there's some person on the list willing to act as a co-moderator) /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
List for non-Lilypond music-typesetting questions?
Does anyone know of a list where general music typesetting questions are discussed? I have a number of questions that are not Lilypond specific and am not sure whther this would be the right forum. For example, I am working on copying a book that is now PD (copyright 1882). A number of pieces are attributed to a composer 'By per.' (eg: Marshall By Per.). I think that means 'by/with permission', but looking for confirmation. TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Choral music
On Thursday 19 February 2004 19:05, Doug Asherman wrote: Hi: I'm trying to do something simple: a choral arrangement with an arbitrary number ( 4) of verses positioned between two staves. The soprano and alto parts would be in the treble staff, and the tenor and bass notes would be in the bass clef staff. There is probably a simple way to do this, but I can't seem to find it. I can do this in musiXteX (granted, I had to hack the musixcho macros a bit), but doing it in lilypond eludes me. If someone could point me in the right direction, I'd be much obliged. The template files in the documentation might be useful. You could also look at Mutopia (http://www.mutopiaproject.org) for some samples. I'm just starting on a project to put an oldmusic book into public domain through the Mutopia Project. One piece I've just about cleaned up with Lilypond 2.1.24 is a vocal piece using 3 voices (2 treble and 1 bass) and 3 verses. I'm willing to send it to this list with a request for feedback from the more experienced writers. It's a small 16-bar piece that could suit as a slightly more complex template. Any objections? The piece is 'Never Forget the Dear Ones' by George F. Root (1820-1895) published in Treasury of Song for the Home Circle edited by Prof. D. H. Morrison. The book is copyright Hubbard Brothers, 1882 and published J.W. Keeler Co. / Philedelphia, PA. (The book is 400+ musty, crumbling pages that simply needs to be preserved!) /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: bar letters
On Monday 16 February 2004 14:40, Paul Scott wrote: Sometimes show music I work with has bar letters instead of bar numbers for part of the score. Is this possible with Lily or could it be? Are you referring to Rehearsal Marks? They tend to be slightly larger than bar numbers and are often enclosed in a box or circle. If yes, this is well documented. Look at the unified index for Rehearsal Mark and at the tips and tricks for an example of enclosing in a box. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Where is version 2.0.2/3 to download?
I noticed the announcement of version 2.0.2 and I note the 'stable' documentation page show version 2.0.3, but I see no .gz for either version on the new server. Is this deliberate? (Since I run a customized SuSE 8.2, I prefer to compile from source.) TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Using tag from command line?
Han-Wen Nienhuys wrote: If you are proficient in Scheme, you could use the -e SCHEME-CODE command line option for lilypond-bin to achieve this, something like -e (define-public my-remove-tag part) (lilypond.py doesn't support this option) The other solution is to do echo #(define-public my-remove-tag tag tag-include.ly and \include tag-include.ly. Bingo! I hadn't thought about using the \include. A perfect interim solution! Picky note - for anyone trying a cut paste on this, the echo should read echo #(define-public my-remove-tag tag) tag-include.ly (In the end, I guess I'll have to learn Scheme!) /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Adjust vertical space in pianostaff?
Looking for some advice - I'm using the workaround from the examples to keep the piano pedals and dynamics in alignment. For some systems the piano parts are well within the staff and there are no dynamics. Using the workaround, these systems appear very far apart, relative to other systems. Therefore I'd like to change the PianoStaff VerticalAlignment 'forced distance' at various points in the score. Unfortunately I can't seem to find the magic incantation to do this (probably because I really don't understand 'translator' - still rereading the context section of the doc.) Per the sample, I set the forced-distance in the translator section in the paper block. As far as I can tell that sets it for the entire score. How do I reset this at some point the the music section of the score block? Thanks in advance /Hans (lilypond 2.1.16 on SuSE 8.2) ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: I'm stumped - code check plz
chip wrote: David Raleigh Arnold wrote: \property Score.skipBars = ##t R1*3 r4 r8 g''2. you have 4 1/2 beats here \property Score.skipBars = ##t R1*3 e''8. e''16 e''8 e''16 e''16 e''4 r4 Thanks for the replies guys. This is curious - the offending measure is written r4 r8 g''2. which works out to 4 beats exactly. If I remove the . the music runs 1/4 + 1/8 + (1/2 + 1/4) = 1 1/8 You are using advanced math. That's my favorite trick! I didn't think that was in the public domain g ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: can a group of notes be assigned to a constant?
chip wrote:
Can a group of notes, maybe the verse, be assigned to a constant? Then
the chorus could be assigned to another constant. That would save
re-typing all the same notes over several times. Just call the constant
at the appropriate time.
I thought I had seen this in the manual but now cannot find it. I'm
gonna keep looking in the meantime.
--
Chip
Do you mean something like (going from memory ...)
MyNotes = \notes { c4 d2 e8 }
ChoirNotes = \notes {
\MyNotes
\notes { a b c }
\MyNotes }
HTH
/Hans
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Re: relative mode quandary with example
chip wrote:
I am using relative mode to enter notes, and have defined a variable to
hold a phrase, which contains one ' mark on the first note. When I call
that variable in the piece multiple times consequitively, it is raised
an octave each time because of the ' mark. I can't add a , to the last
note becuase that will lower the last note an octave too low. Is there a
way to work around this or should I use absolute mode?
The code in question is copied below.
Thanks
--
Chip
The code in question -
interTwo = \notes {
r8 r16 fis' fis4 r gis
ais4 r8 ais gis4 ais
}
Try
interTwo = \notes {
\relative c' c {
r8 r16 fis' fis4 r gis
ais4 r8 ais gis4 ais
}
}
IIRC, that tends to work.
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Re: 6/4 rests
Aaron wrote: Hi all, I just enter a trio which has a number of time changes. When I have rests in 5/4 or 6/4 measures, like measures with whole rest or combos that equal a whole measure lilypond reads them as one large measure and make the dvi also that way: 6/4 r1| r1 | r1 | r1 | r1 | becomes 6/4 r1 r1 r1 r1 r1 | I can get it to work by filling the measures with half rests but it looks most strange. Am I just writing a whole rest wrong?? or is this a bug. I can't attach my file because of the size and I am debugging it for other errors still. Thanks Aaron IIRC, you can use the upper case R instead of lower case r to tell Lilypond to mark a 'whole bar' rest instead of a 'whole note' rest. Can't remember the timing values though. HTH /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: command line option to specify output filename?
Niki Pantelias wrote: Hello, Sorry if this question is answered in the documentation somewhere -- I have not been able to find it. Is there a command-line (or other?) option to specify the path and/or filenames separately for the .pdf, .ps, .dvi, and .tex output files? I would like to send each of these to a separate subdirectory to make them easier to keep track of when generating lots of parts. With version 2.0.1, entering lilypond -help gives the syntax. I believe the same goes for ly2dvi and lilypond-book Also - the use of 'out' directories is discussed in the lilypond-book sections. If you're adventurous or familiar with *nix make command, check out the Mutopia Project's copy of Handel's Giulio Cesare for a great example of controlling the output of a large score. This is at http://www.mutopiaproject.org browse by instrument orchestra 6th in. HTH /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Version 2.0 for Windows?
Bertalan Fodor wrote: It has been just uploaded to the main cygwin server. Bert Works just as advertised. Many thanks. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Newbie question
Your Question 1: Historically it has been considerd a bad idea to keep the bar spacing the same between 'lines', presumably because it is wasy to lose track of which 'line' you are reading. Most music publishers/typesetters I have seen will actually go out their way to ensure the lengths are not the same. However, you can make certain adjustments using the \break command to tell Lilypond how many bars (brackets) you have on a line. Also you may notice the space allocated is influenced by the number of 'note positions'. So you could come close by having a set of 'invisible' 16th or 32nd notes in each bar and terminating each 'line' with a \break. Your Question 3: Suggestions: 1) Ask away. This is the only way the documentation writers will know what is frequently asked so they can adjust the documents based on popularity of questions. (I think you'll find that this is one of the friendlier mail lists around.) 2) Look at the 'examples', the 'regression tests' and 'tips and tricks' referenced by the appropriate documentation page from http://www.lilypond.org. Most popular, and many obscure, constructs seem to be there so you can look up the style visually and then click on the file name to see how it's done. You could use the following patterns for the links: http://lilypond.org/doc/vXXX/input/template/out-www/collated-files.html http://lilypond.org/doc/vXXX/examples.html http://lilypond.org/doc/vXXX/input/regression/out-www/collated-files.html http://lilypond.org/doc/vXXX/input/test/out-www/collated-files.html (replacing vXXX with v1.6, v1.8, v1.9 as appropriate) 3) Experiment. I have yet to see anything in the input that will break Lilypond. (Things may not run or work the way I expect, but it won't actually damage the computer or the program!) 4) Search the Lilypond archives - a convenient search field is on the http://www.lilypond.org page. Hope this helps /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Per note staff switched in chords?
Since work on 1.9 is started: Any chance of getting per-note staff switches in chords? I'm running into a lot more situations with a chord spanning 2 staves and the workaround of using simultaneous extending the stem is 'not elegant'. One possibility: I'd love to see a way of naming a pair of staves as a group (already done I think) and then indicating a note switches staff from the previous note simply using a postfix '+', or some other variant. Counter argument could come if a note could cross more than 2 staves, but is this possible? /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Congrats on YARPR
I just installed 1.8.0 on SuSE 8.2 - heavily customized, and having guile 1.6.4 in place due to earlier install so I can't help on that discussion either (so sorry, no RPM at this time) After having installed 1.7.-11,-12,-21,-24,-27 . I have to join everyone else in congratulating 'the team' on YARPR (Yet Another Real Phenomenal Release). The install was painless and the regression test and reprocessing was indeed flawless. The only wishes for the near future specifically related to install: 1) Add a comment at the end of the make install reminding people to look up to the previous section for building the docco - the sequence seems strange because (if I understand correctly) you need Lily installed to make web (talk about a minor nit-pick) 2) Add a 'make install-doc' to move the documentation to a preferred location. (eg: I tend to use /usr/local/doc/) This allows the build source to be archived. Many thanks /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Public Domain Question
On a similar note [sic], does anyone know of a distribution list, newsgroup or service that does discuss or assist people in determining whether copy is in public domain? Attempts to discuss with publishers (eg: Schirmers and Edition Peters) seem to /dev/null. (I inherited a moderate amount of vocal sheet music and I would like to lily-post and/or publically perform some of this.) TIA /Hans (in Canada) d wrote: I have Dvorak's Symphonies 6 7 printed by Dover Publications, ISBN: 0-486-28026-8 CODE: 28026-8. The back cover has the following information, Unabridged Dover (1994) republication of the edition published by N. Simrock, Berlin, 1882 and 1885. I know Dvorak's works went into public domain in the mid 1970s but I do not know all the laws behind publishers retaining the rights of a composer's work. The following information is given at http://www.mutopiaproject.org/legal.html. When an editor (or arranger, or typesetter) makes changes to a composer's music, the edition he creates is a derived work. The editor then has the right to restrict the reproduction of this edition, as well as the composer. It is not until both the composer and the editor have been dead for 70 years that the copyright on the edition expires and the restrictions on the edition are lifted. Works published after 1922 in the USA may be subject to additional restrictions. Now my question, since this Dover publication states that it is a republication of the Simrock edition published in 1882 and 1885, and this is not an edition that has altered the original publication am I free and clear to copy this score note for note into Lilypond and distribute it on http://www.mutopiaproject.org? Thanks for any assistance, David Hughes ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Joining text?!
Mats Bengtsson wrote: 1) Can this lyrics tie be handled in Lilypond? If you want Lilypond to handle two syllables like a single one, just include them in quotes: Two words. Then, you have to find some symbol that looks like the tie. How about Two$\frown$words ? Thanks. I've also found the plain underscore, as documented, does a reasonable job of linking the two words to a note. I'll try your suggestion for the visual effect. This happens a lot in classic vocal, especially in Italian opera. Is there an 'official' way to request this feature for future development (after the current 1.8 rush)? ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: notation apps
noname wrote: I have recently come across Lilypond, but since I am not a programmer I am a little overwhelmed. Is there a notation application similar to Finale or Sibelius for the Linux platform? Any assistance would be greatly appreciated. NoteEdit seems to do a fairly decent job of capturing notes graphically, and is only one of the many fine programs in that genre, but the whole genre is simply designed to handle 'notes'. It depends on what you want - graphics-oriented programs make the music entry easier but simply do not handle the niceties required to transform the 'block of notes' into sheet music. I have also tried scanning using MusiTex' SmartScore and ended up taking twice as long as manual input searching and fixing mistakes. With Lilypond's ascii input, after setting up my music skeleton (paper, score block) I input the notes very, very quickly (letter=note followed by an optional number=duration). Which is roughly what the graphical front-end programs give. Then I go back and 'beautify' the music for production-ready quality. It does take time but the result have gotten a 'wow' every time! ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics on skips
Fulko van Westrenen wrote: Hello, Some of you assumed that I wanted to add text to the end, but that is not the case: lilypond-book would have done a fine job. I want to add some text in the middle of a piece, but that text has no melody. The accompanying(?) music continues, but that small piece of text goes without rithm of melody. I simply have a s1-skip to fill with a few words. Can this be done? (I'm not an expert, take this FWIW ...) How about replacing the skip with some invisible notes to which the text can attach itself? That could also allow failrly fine control of the text layout. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Joining text?
[Lilypond 1.7.27 / SuSE 8.2] I have some vocals, mainly in Italian, where two words (or the last syllable of a word and the first syllable of the next word) are handled on the same note. In the source, these are joined using what looks like a 'tie' in the lyrics. A few questions 1) Can this lyrics tie be handled in Lilypond? 2) What is this effect and/or tie called? (so I can try to look it up in the documentation) 3) Has this been discussed in the list? (Roughly when? so I can try to look it up in the archives) 4) How do others simulate this? TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: A convert-ly issue? 1.6.x 1.7.11 1.7.25
Han-Wen Nienhuys wrote: Commenting the bulk of the source out, it appears the offending construct is bes^#'( italic decresc. ) a g f | 1) Should this be rewrittend to use the new Markup capability? 2) If so, should convert-ly handle this? fixed in CVS. Confirmed that 1.7.26 gives expected result. (And the checking goes on ..) Thanks /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
A convert-ly issue? 1.6.x 1.7.11 1.7.25
I have a number of scores that I'd originally input run successfully in Lilypond 1.6.x (Cygwin build around Sept last year), then convert-ly to 1.7.11 12 early this year and run successfully. I just tried the previous version against the 1.7.25 build and it failed. After convert-ly it still fails with the same message. The short error mesage out of Lilypond 1.7.25 is copied at the bottom. Commenting the bulk of the source out, it appears the offending construct is bes^#'( italic decresc. ) a g f | 1) Should this be rewrittend to use the new Markup capability? 2) If so, should convert-ly handle this? TIA /Hans --- output of ly2dvi -P All2 All2.log 21 under SuSE 8.2. (All prereq's upgraded to latest sources as of June 23) ly2dvi (GNU LilyPond) 1.7.25 Running /usr/local/bin/lilypond...GNU LilyPond 1.7.25 Now processing: `All2.ly' Parsing... Interpreting music...[8][16][24][32][40][45] Preprocessing graphical objects... Calculating line breaks... [3][6][9][12][15][18][21][24][27][30][33][36][39][42] paper output to `All2.tex'... writing header field `title' to `All2.title'... writing header field `composer' to `All2.composer'... writing header field `arranger' to `All2.arranger'... Backtrace: In unknown file: ?: 0* [Axis_group_interface::group_extent_callback #Grob System 1] ?: 1* [Side_position_interface::aligned_side #Grob BarNumber 1] ?: 2* [Align_interface::alignment_callback #Grob VerticalAlignment 1] ?: 3* [Hara_kiri_group_spanner::y_extent #Grob HaraKiriVerticalGroup 1] ?: 4* [Side_position_interface::aligned_side #Grob TextScript 1] ?: 5* [Grob::molecule_extent #Grob TextScript 1] ?: 6* [brew-new-markup-molecule #Grob TextScript ] In /usr/local/share/lilypond/1.7.25/scm/new-markup.scm: 664: 7* (let* (# #) (if # # #)) 667: 8 (if (markup? t) (interpret-markup grob chain ...) ...) 669: 9 [Text_item::text_to_molecule #Grob TextScript (italic a tempo) ...] /usr/local/share/lilypond/1.7.25/scm/new-markup.scm:669:9: In procedure assoc in expression (Text_item::text_to_molecule grob t ...): /usr/local/share/lilypond/1.7.25/scm/new-markup.scm:669:9: Wrong type argument in position 2 (expecting association list): italic ly2dvi: error: LilyPond failed on input file All2 (exit status 2) ly2dvi: warning: Running LilyPond failed. Rerun with --verbose for a trace. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Errors building 1.7.22 SuSE 87.2 (gcc 3.3)
Jan Nieuwenhuizen wrote: The flex that you use is not compatible with your g++. Update your installation or send a bug report to SuSE. Many thanks - I upgraded to flex 2.5.31 from http://sourceforge.net/projects/lex and the make all completed. Now to complete the install test. I recommend the Install document be updated to reflect this location for the flex sources. Possibly after the warning about Flex, you might want to add The latest builds for gcc 3.3-compatible Flex are available at the SourceForce Lex project site and reference the http://sourceforge.net/projects/lex FYI - My confusion arose from the Flex website (which has not been updated since April 2000). The software directory it identifies only goes up to Flex 2.5.4a. Since SuSE 8.2 is delivered with Flex 2.5.4, I incorrectly assumed 2.5.4a is the highest available version. Again, many thanks to all you you for such a great piece of software. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Errors building 1.7.22 SuSE 87.2 (gcc 3.3)
I'm attempting to build lilypond 1.7.22 on SuSE 8.2 Pro. The results of the seconds attempt to make all are included at the end (with sincere apologies to all for size). My configuration is: gcc 3.3 python 2.2.2 guile 1.6.2 gnu make 3.80 flex 2.5.4a bison 1.875a SuSE comes with gcc 3.3 prerelease, so this may be a symptom of a common problem. (SuSE 8.2 comes loaded with Lilypond 1.6.6, but I need the features in 1.7 that I'd learned/used under SuSE 8.0 built with gcc 2.95) In previous discussion (May 30) when this failed for 1.7.20, Graham suggested downgrading to gcc 3.2. I'd prefer not to get and build a lower version if I can avoid it. Ideas, suggestions appreciated. /Hans output of 2nd run of make all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C buildscripts all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C python all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C scripts all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C flower all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C lily all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C mf all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C ly all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C tex all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C ps all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C scm all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C po all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C make all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C cygwin all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C debian all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C /home/pops/SourceTarballs/lilypond-1.7.22/stepmake all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C Documentation all make --no-builtin-rules PACKAGE=LILYPOND package=lilypond -C input all true make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/buildscripts' true make[1]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.22/buildscripts' make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/python' true make[1]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.22/python' make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/scripts' true true make[1]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.22/scripts' make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/flower' make PACKAGE=LILYPOND package=lilypond -C include all true make[2]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/flower/include' true make[2]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.22/flower/include' make[1]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.22/flower' make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.22/lily' rm -f ./out/lexer.dep; DEPENDENCIES_OUTPUT=./out/lexer.dep ./out/lexer.o g++ -c -DHAVE_CONFIG_H -DSTRING_UTILS_INLINED -Iinclude -I./out -I../flower/include -I../flower/./out -I../flower/include -O2 -finline-functions -g-O2 -finline-functions -g-Wall -W -Wmissing-prototypes -Wconversion -o out/lexer.o out/lexer.cc In file included from /usr/local/include/c++/3.3/backward/iostream.h:31, from /usr/local/include/FlexLexer.h:47, from out/lexer.cc:241: /usr/local/include/c++/3.3/backward/backward_warning.h:32:2: warning: #warning This file includes at least one deprecated or antiquated header. Please consider using one of the 32 headers found in section 17.4.1.2 of the C++ standard. Examples include substituting the X header for the X.h header for C++ includes, or sstream instead of the deprecated header strstream.h. To disable this warning use -Wno-deprecated. In file included from /usr/local/include/FlexLexer.h:47, from out/lexer.cc:241: /usr/local/include/c++/3.3/backward/iostream.h:36: error: `istream' is already declared in this scope /usr/local/include/c++/3.3/backward/iostream.h:36: error: using declaration ` istream' introduced ambiguous type `istream' lexer.ll: In member function `virtual int My_lily_lexer::yylex()': lexer.ll:603: error: cannot convert `std::istream*' to `istream*' in assignment lexer.ll: In member function `void yyFlexLexer::yy_load_buffer_state()': lexer.ll:1126: error: cannot convert `istream*' to `std::istream*' in assignment lexer.ll: In member function `void yyFlexLexer::yy_init_buffer(yy_buffer_state*, std::istream*)': lexer.ll:1177: error: cannot convert `std::istream*' to `istream*' in assignment /usr/local/include/c++/3.3/bits/locale_facets.h: At top level: lexer.ll:135: warning: `int yy_start_stack_ptr' defined but not used lexer.ll:136: warning: `int yy_start_stack_depth' defined but not used lexer.ll:137: warning: `int*yy_start_stack' defined but
Error compiling - SuSE 8.2/Lily 1.7.20
Just getting around to installing Lilypond 1.7 on my new SuSE 8.2 environment. I've encountered the error listed. SuSE 8.2 has extremely recent dev tools which may cause the problems. I've been upgrading the various tools described on the Lilypond development build site to try to resolve this (and currently upgrading gcc to the production release). In the list below, where I indicate upgraded, I've tried to build Lilypond using both. gcc version 3.3 20030226 (prerelease) (supplied by SuSE) python 2.2.2(supplied by SuSE) bison (GNU Bison) 1.75 (supplied by SuSE) bison (GNU Bison) 1.875a (upgrade) guile 1.6.2(supplied by SuSE) make 3.80 (supplied by SuSE) flex 2.5.4 (supplied by SuSE) flex 2.5.4a (upgrade) Advice appreciated. /Hans make[1]: Entering directory `/home/pops/SourceTarballs/lilypond-1.7.20/flower' rm -f ./out/getopt-long.dep; DEPENDENCIES_OUTPUT=./out/getopt-long.dep ./out/getopt-long.o g++ -c -DHAVE_CONFIG_H -DSTRING_UTILS_INLINED -Iinclude -I./out -I../flower/include -I../flower/./out -O2 -finline-functions -g-O2 -finline-functions -g-Wall -W -Wmissing-prototypes -Wconversion -o out/getopt-long.o getopt-long.cc getopt-long.cc:22: error: parse error before `const' getopt-long.cc: In function `char* dcgettext(...)': getopt-long.cc:24: error: `s' undeclared (first use this function) getopt-long.cc:24: error: (Each undeclared identifier is reported only once foreach function it appears in.) make[1]: *** [out/getopt-long.o] Error 1 make[1]: Leaving directory `/home/pops/SourceTarballs/lilypond-1.7.20/flower' make: *** [all] Error 2 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting text markup and reharsal marks
My understanding of padding is to ensure separation to the next object.
I frequently use extra-offset instead of padding to move text, and that gives
both horizontal and vertical. Format is (from memory - horiz vert might be
interchanged)
\property Voice.TextScript \override #'extra-offset = #'( horiz . vert )
and I usually use the \once operator since the offset is usually for the next
markup only. {Replace horiz and vert with numeric values in staff spaces.) I
haven't tried whether the values can be 'real' or fractions, so far I've only
needed integer, but I can see fractions being required.
I personally think that would be a mistake to allow move/position by absolute
distances, since the score could be recast in any number of sizes (13, 16, 20
point, etc.) The scaling factor of 'staff spaces' allows for appropriate
relative tracking.
HTH
/Hans
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Re: Lilypond and OCR?
Rutger - I would be very interested in obtaining a copy of your niff2ly filter. I use SmartScore from MusicTek. This one is associated with Finale, not Sibelius. The recognition can be reasonably good - if you are lucky (95%+ on good quality printing, and I actually had one at 100%). Recognizes lyrics moderately well, poor on articulations. Depending on version, handles '2 to unlimited' voices, but I find it gets confused - a lot - keeping multiple voices straight on a single staff. Doesn't seem to handle staff-switching. Does a good job on (piano) chords. One version apparently recognizes tabulature (no experience). Difficulty comes in the transfer to Lilypond - internal format (enf), MIDI or NIFF 4 6a or Finale (fin) Since I ended up primarily doing one-voice-at-a-time midi midi2ly (time skew bug, 6 vocal + piano voices), and had a deadline, this was not necessarily a pleasant experience. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Slurs going both directions
I had misread your original statement and was only looking at the samples that involved slur across both staves, not the 'S' - apologies for the misdirection. Based on the image, this is a neat looking slur - I suspect it would be a challenge to get the curves right, especially avoiding collisions. 1) Is it possible to simulate using the arbitrary drawing capability also shown on those pages? 2) Do you see this happening often? I've never run across it before, but that means nothing g. /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \scores in a lily-book included file?
Sly gets the notes out of the .ly file. All you would have to do
is copy the .sly score, delete lines 1-2 and 9-x, and run sly.
If you want both the long and short, you would have a different name
on the new includes. Not a problem.
DaveA
I think I'll have to take another look at Sly. My previous concern was for
the final width of the source - 700 measures x 19 voices (including
lyrics, chords, etc) and a lot of fine tuning manipulation ... a typical
'line' for 1 measure would run about 450 characters wide
Also, I'm not at all sure whether it is a feature of lilypond-book,
LaTeX, or TeX.
Reasonably certain this is a lilypond-book feature ... recompiles only
those items it determines are changed. (my guess only).
Could this be the problem with the multiple scores? If the first c
There seem to be two completely separate situations here that, under some
circumstances, may have similar appearances: one for the multiple
scale/transpose/block of notes issue and the other on using multiple
score block in a lilypond-book file.
For the first, in my oinion this should be in one score block anyway,
using Lilypond's native sequential '{}' simultaneous '' capability. So
effectively the scale issue could be handles with \notes { { \scale } {
\transpose g \scale } , etc. In many cases the {} could be left out unless
there were embedded simultaneous sequences (especially with ignored skips
at the end) that needed to be kept in step. I have run into a number of
examples of this.
For the second, the following may be an answer - The piece I had actually
ended up with about 25 to 30 score blocks in the same lilypond-book .tex
source file, and that worked well. The trick was to separate each with
\begin{lilypond}- \end{lilypond}and then each new score automatically
started a new line but not a new page. The pain is needing to redo all the
pre- score block stuff (mainly includes in my case, so insignificant pain!)
A secondary benefit - each score block has it's own .ly/tex file only the
.ly/tex file for the score block being edited was recompiled. Therefore
the total time to recompile was roughly the same as ly2dvi for a specific
block, with all the advantages of lilypond-book.
/Hans
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Re: Multi-voice grace note work-around? Also abc2ly questions
Grace notes ... If this is the same problem, it has been recently discussed under title Problems with grace notes, barlines, accidentals and is documented as a bug. Effective workaround seems to be to place a grace 'skip' note in each staff/voice at the same place. I have noticed the same types of concerns with midi2ly - I have no experience with abc2ly and I did not expect more out of a midi source. Hopefully the new NoteEdit release will help us out ... I have not read about or installed NoteEdit but I would not mind a abc2ly noteedit lilypond cycle, assuming NoteEdit can handle .ly input. Anyone else have experience? /Hans Joyce Wilson wrote: I saw in the archives that there is some way to work around the problem with the extra barline being created after a grace note in multi-part music, but I need a bit more explanation to be able to do it successfully, since my attempts so far have just made the grace note disappear. An example would be most welcome. On the abc2ly topic, I have a couple of questions. I'm finding that when I run abc through abc2ly, I don't just have to go through and add in whatever extra notation I'm using Lilypond for (measure numbers, breath marks, note accents, text markup like 'D.C. al Fine', and cautionary accidentals like '(#)' -- if it's possible to do this stuff in abc, please tell me and I'll quit bothering the list! : ). I also have to make a lot of fixes of things which worked fine in abc. A multipart piece with a time signature change in the middle proved especially problematic (In lilypond, the top line started in 4/4 and switched to 2/4, but the other three lines started out in 2/4, even after I edited the abc to explicitly specify the starting time sig for each part as 4/4)-- I ended up having to convert each part individually, and then reassemble the resulting snippets of lily code. I guess my general question is: are there any tips for writing especially abc2ly-friendly abc? What determines where the line-breaks are in the output from abc2ly? They seem to be rather random, which makes it difficult for me to find my way around to do editing. My current (laborious) approach is to go through the converted lilypond code and insert line breaks before each \bar and then tidy it up so that exactly one measure is on each line. Then I can at least navigate by counting measures. Is there some way to get abc2ly to do this for me? Graham, thanks for directing me to the lilypond templates-- that did indeed allow me to get StaffGroup working the way I wanted. Pip-pip, Joyce ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Multi-voice grace note work-around? Also abc2ly questions
Grace notes ... If this is the same problem, it has been recently discussed under title Problems with grace notes, barlines, accidentals and is documented as a bug. Effective workaround seems to be to place a grace 'skip' note in each staff/voice at the same place. I have noticed the same types of concerns with midi2ly - I have no experience with abc2ly and I did not expect more out of a midi source. Hopefully the new NoteEdit release will help us out ... I have not read about or installed NoteEdit but I would not mind a abc2ly noteedit lilypond cycle, assuming NoteEdit can handle .ly input. Anyone else have experience? /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \scores in a lily-book included file?
Any reason for needing separate 'score' starts. It seems you want to use the
'sequential' capability, something like
\score {
\transpose c'{ \scale }
\transpose g' { \scale }
\transpose d'{ \scale }
}
This would run the c' scale, followed immediately by then the g', etc. Or,
by putting a \break after each \scale you could have each scale on a separate
line as well.
BTW, I really like the 1.7 transpose syntax - \transpose c' g' { } (from and
to) - you can link the transpose request to the key change, for example
\tranpose aes d {}
/Hans
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Re: 1.7 fixes
I've used 1.7.13 since release (+ about 1 week), 1.7.12 for about 1 month
before 13 - absolutely no crashes, no unexpected output, etc. I am very
pleased.
My environment is Linux - SuSE 8.0, and I rebuilt the latest version of all
the prerequisite programs (needed Bison 1.875a to complete the 1.7.13 install
... thanks for figuring that out, Jan)
All of my use has been traditional church-choir-vocal Guitar-Chords + Solo +
SA + TB + Piano (2 voices each hand) and I recently completed a 70+ page
Cantata that needed selective transposing. No issues, no glitches, beautiful
output, and only one thing requiring future attention (stem alignment for
stemUp when mixing notehead sizes).
For other uses, I can not comment.
The incentive to move to 1.7 was the fixed chordnames. The benefits included
a much better chord mode , very clearly handling multiple voices in one
voice line using {} \\ {} , much nicer markup, and the new \transpose
syntax.- to name a few. (In fairnes, the multiple voice capability might have
been there in 1.6 - I didn't check).
There are a few things I'd like to see before 1.8, including having a 'macro'
to call up the rehearsal-mark font, similar to \small, \italic, \large, etc.
(should give an idea of my opinion of the required improvements).
So for the use described, I encourage upgrading to 1.7 ...
/Hans
David Bobroff wrote:
ability to put text markup over block rests. How stable is it? I'm
currently running 1.6.8 on Cygwin. To run 1.7 I'd have to run it on Linux
(just have to rearrange some furniture) wouldn't I?
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Re: multiple \scores in a lily-book included file?
I agree to a certain extent. Judicious use of music and { music } and
\break - along with a very strict naming rules (drawing on years of large
project s/w coding experience) - helped me recently (70+ page Cantata).
You are however quite correct - the source score blocks are very, very
ugly.
I could also request the reverse - having an external file containing the
music assigned to an Identifier, I'd love to be able to 'extract bars 3-8'
into the current score.
/Hans
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Re: Slurs going both directions
Look at the examples, tips trickx andregression tests - I seem to remember exactly that situation in one of them. Specifically check http://lilypond.org/development/input/test/out-www/test.html (or http://lilypond.org/stable/input/test/out-www/test.html) and search for slur ... /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Is Lilypond right for me?
I am far from an expert on this, having used Lilypond for several months and
TeX/LaTeX for several minutes g. However I am so pleased with the quality
of Lilypond and flexibility of LaTeX that I will continue to learn use both.
You ask: will Lilypond allow ... I do not think this is really a
restriction from Lilypond, but more an issue of how much you want to learn.
My general comments to your question:
1) Installing Lilypond:
I highly recommend reading the install guides twice before starting, and
ensuring all prerequisites are installed and working. Once the prerequisites
are in, installing is relatively straightforward. (Mind you I use the Cygwin
(stable) and the SuSE Linux (development) versions of Lilypond and can not
comment on your OS.
2) Learning Lilypond:
a) If you are looking for beautiful, but unadorned, music then Lilypond is
very, very easy to learn. Follow the tutorial and you can get output within
minutes of starting (assuming successful install). I include notes, basic
dynamics and text in this.
b) If you are looking for adornments, multiple voices on a staff, interesting
combinations of staves or lines, and/or fine control over placement, then be
prepared to spend a lot of time. I have literally spent hundreds of hours
using Lilypond and I get results that make people drool - yet I consider
myself between novice and intermediate.
3) Lilypond and TeX/LaTeX
I'm just getting into this area and I'm starting to use LaTeX, so all I can
offer is thoughts. I have no idea how TeXShop works and therefore no idea how
realistic the suggestions could be.
Based on my observation, it seems Lilybook basically looks for the
'begin/end{lilypond}' or 'lilypondfile{}' marks in the TeX file, strips those
segments and runs Lilypond on them, creates an interim file and writes a copy
of the original document with a reference the interim file in place of the
Lilypond 'command'. You can then run TeX/LaTeX against the re-written
document. The interim file and the re-written TeX file are left available for
inspection or reuse.
Although it may be a kludge, I see no technical or legal restriction in
copying the resulting reference to the Lilypond interim file to your final
document. I see some logistics issues, but that is another matter.
Therefore, it should almost be possible to use the following steps (which may
have a negative effect on your layout in TeXShop):
a) write a TeX or LaTex 'master' script to create the interim file (lily-[a
big number].tex)
b) rename the interim file
c) use TeXShop to write your math oriented document
d) reference/include the Lilypond interim in your document - this may be a
manual process.
For your case, you will probably end up with a large number of interim files -
one per music 'segment' that you want to include.
4) Another variant that might be useful: you can create a picture (.png) of
the music which you can embed in your document. This variant is probably
supported directly by TeXShop. The negatives include keeping the Lilypond
environment in sync with your document. I have no experience with .png
generation, but you can use the Search at http://www.lilypond.org/search to
get more information.
HTH
/Hans
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Trick needed? Chord - 1 note crosses staff
Looking for a trick or tip, pref. 1.7.13 or higher In the PianoStaff, I have an octave chord around middle C. The pianist would prefer to see the lowest note in the lower staff, the rest of the chord in the upper staff. I'd expect to write something like g e c \translator Staff = down g to get the desired effect. Right now it appears that 1) Using the old chord syntax, the entire chord is translated to the staff and 2) using the new chord syntax, the \translator is not accepted at all. TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 1.7.12: minimumVerticalExtent and HariKariStaffContext
Attached. This also demonstrates the method of staff layout I'm using since I suspect the problem is mine, not Lily's To rephrase the issue ... in a multistaff situation (in my case, ChordNames + StaffGroup w/ 3 staves lyrics + PianoStaff), if any intermediate staff disappears due to HariKari, there seems to be a certain amount of space reserved for that 'staff' and that increases the gap betwen the 'survivors' above and below. (I use staff in quotes since this applies to staff, lyrics and chordnames) This is very noticeable with the Guitar ChordNames above the system, less noticeable but still true with regular staves. spaceTest3.ly checks this with the ChordNames line inside the StaffGroup definition, which really highlights the variation as staves are lost. spaceTest4.ly places the ChordNames line outside the StaffGroup. The effect is only noticed when the entire StaffGroup has suicided. Checked against 1.7.12 13 on SuSE 8.0+. Apologies for the size of attachments. /Hans Han-Wen Nienhuys wrote: Please supply a small .ly example. spaceTest3.ly Description: application/unknown-content-type-ly_auto_file spaceTest4.ly Description: application/unknown-content-type-ly_auto_file ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 1.7.12: minimumVerticalExtent and HaraKiriStaffContext
This works beautfully. I humbly express my thanks and my awe at the resolution
time. (I also, with considerable embarassment, correct my spelling of HaraKiri.
g)
/Hans
Han-Wen Nienhuys wrote:
This took a while for me to figure out, but you didn't use hara kiri
for the lyrics. I changed this so Lyrics, ChordNames and FiguredBass
all use hara kiri by default. I believe this fixes your problem. You
can check this for yourself by inserting
\translator {\LyricsContext \remove Axis_group_engraver \consists
Hara_kiri_engraver }
\translator {\LyricsVoiceContext \remove Axis_group_engraver \consists
Hara_kiri_engraver }
into the \paper block.
--
Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen
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Mixing notehead sizes in a 'chord'?
In the piece I'm working - SATB + Piano - the Tenors have 'alternate'
notes which are designated by a reduced notehead size. Since IMHO these
are 'one voice', ideally these alternates could be represented (Lily
1.7.13) as
c \tiny a \normfontsize 4.-( e \tiny c \normfontsize 8-)
However, trying this I find that all noteheads in a chord become the
same size.
A second variant would be to create 2 voices ... (which should also
allow separate slurs/ties for each pair - also needed, but probably a
separate question)
{c4.-( e8-) } \\ { \stemUp \slurUp \tiny a4.-( c8-) }
This seem to work some of the time, but occasionally the stems get out
of alignment. More accurately, the alignment of the tiny normal
noteheads is on the 'front' of the grob which, when stems are up, causes
the tiny and the normal stems to both be visible. (Making stems
transparent results in a gap between the tiny notehead the 'master'
stem, therefore not acceptable.)
Related questions:
1) Any hope of getting mixed notehead sizes in a chord sometime?
1a) If it's there now, how do I do this? (What did I overlook?)
--- or ---
2) How can I use 'stem-based' notehead alignment or nudge the tiny notes
to line up with the stems of the normal font?
Advice, corrections, pointers to appropriate doc, etc. appreciated.
/Hans
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Q on Lilybook - mixing notes and text
The Cantata I'm working on has narration interspersed in the music, something like 'system1, narration1, system2-7, narration2, system8-15' , etc. Can Lilybook handle this, or do I need to break up the music manually? If yes, pointers to examples will be extremely appreciated. (Otherwise I'm about to start hacking the score apart ... Thanks /.Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Errors building 1.7.13 - SUSE
I'm running into some issues building 1.7.13 ... error compiling lily/out/parser.cc ... ideas/comments appreciated. /Hans Sources: downloaded from Canadian mirror Lilypond to verify Environment: SUSE 8.0 kernel, + GCC 2.95.3, Python 2.2.2, Bison 1.875, Guile 1.6.3, Flex 2.5.4a (reports 2.5.4 on flex -v, but I'm reasonably sure it's 2.5.4a) The last lines from the make are rm -f ./out/parser.dep; DEPENDENCIES_OUTPUT=./out/parser.dep ./out/parser.o g++ -c -DHAVE_CONFIG_H -DSTRING_UTILS_INLINED -Iinclude -I./out -I../flower/include -I../flower/./out -I../flower/include -O2 -finline-functions -g -I/usr/local/include -O2 -finline-functions -g -I/usr/local/include -Wall -W -Wmissing-prototypes -Wconversion -o out/parser.o out/parser.cc out/parser.cc: In function `int yyparse(void *)': out/parser.cc:4862: parse error before `goto' out/parser.cc:4853: warning: label `yyerrlab1' defined but not used make[1]: *** [out/parser.o] Error 1 rm out/parser.cc out/lexer.cc make[1]: Leaving directory `/usr/local/src/lilypond-1.7.13/lily' make: *** [all] Error 2 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with grace notes, barlines, accidentals
If I understand grace notes correctly, they do not take any time from the base
notes. The first alternative therefore has only 7 - 8ths of the 4/4 tempo
or the baseline before the alternative is a 7/8 partial measure and the
alternative starts 1/8 into the second bar (or some other 'partial' measure
variant).
While this may not reflect the original music, try adding a s8 immediately
before the end of the first alternative (in both voices), comment out or remove
the \property Score.defaultBarType and the \bar | statements, and ponder the
result. Another possibility is the \grace note in the first alternative is a
base note, not a grace.
Also note that, if my understanding of grace notes is correct, the \grace {s8}
that appear, especially in voice2 are totally unnecessary, and even distracting.
As an aside, I find that trying to override Lilypond with anything other than
positioning or style (eg: 4/4 vs 'C') is frequently useless - it adds to the
maintenance, causes me no end of puttering, and Lily generally comes very close
to the 'right' thing anyway. So the first thing I do after conversion is strip
out everything except the notes, add bar checks, and look at the result to start
making 'engraving' decisions. (To that end, I wish the converters had a 'notes
only' option!)
/Hans
Laura Conrad wrote:
Jan == Jan Nieuwenhuizen [EMAIL PROTECTED] writes:
Presumably something (probably the grace note) has lily
confused about where the measure starts.
Jan Yes, you have me confused too. It looks like instead of setting
Jan barType to empty, and adding bar-line glyphs at other places,
This is how abc2ly works. I don't think having it parse every measure
for whether it's partial is a good idea.
Jan you'd better add a (some?) \partial commands; to tell lily
Jan how much beats there are left in the measure.
The measures are all 4/4 bars. There's nothing really wierd about
this. The grace notes must be what's confusing.
So it looks like the workaround for the grace note bug includes a \partial as
well as (or instead of?) the \grace{s8}, when the grace note is in the
middle of a measure. It doesn't seem to be necessary when the grace
note is at the start of a measure for some reason
Attached is the fixed file. I still think not having a bar line (or
some syntax that allows specification of a barline) at the start of
the first alternate is a bug.
test.lyName: test.ly
Type: LY File (application/x-unknown-content-type-ly_auto_file)
--
Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ )
(617) 661-8097 fax: (801) 365-6574
233 Broadway, Cambridge, MA 02139
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Re: Spreading staffGroups across page
This is one of the frustrations I meet up with regularily. I hope this
helps (and also hope that others have better knowledge/experince to share),
but the best I have come up with to date is in 3 steps:
1) ensure that the correct papersize is set (before setting the 'font')
so at the start, right after the header before my notes, I have
\paper = { papersize = letter }
\include paper16.ly
(this does not seem to work right in my Cygwin/Lilypond 1.6.7 but is great
in Suse Linux, esp. Lilypond 1.7.12/13. I have not traced why, so not sure
whether it's a bug.)
2) minimze the 'reserved staff area' ... for each Staff/Lyric/ChordName
\property Staff.minimumVerticalExtent = #'( -3 . 3 )
3) set the paper block in the score to modify the 'print area'
\paper { interscoreline = 10\mm % seems to be space between systems
textheight = 252\mm % seems to be total space
allowed for Lily on page
linewidth = 170\mm % seems to be space across the
page for a system
\translator { \HaraKiriStaffContext }
}
I've played with these things until the frustration has been minimized, and
I find that 1) 3) are simply 'cut paste' whereas 2) usually takes a bit
of fiddling. For example, min vertical extent for Lyrics usually ends up (
-1 . 0 ), ChordNames ( 0 . 0 ), Staff somewhere around ( -2 to 3 . 1 to 3
) I'm starting down the Lilybook path now in hopes to get a better control
over this.
HTH
/Hans
Daniel Ashton wrote:
I'm working with organ music, so three staves, of which the top two are
in a StaffGroup. This is with 1.6.8/cygwin or 1.6.5/redhat
let line = a set of measures in all staves
(What's a better word for line in this definition?)
I can understand that lily cannot squeeze another line onto the current
page. However, it leaves a fair amount of white space at the bottom of
the page. Is there a way to have lily dynamically spread the extra
white space (or some of it) between the lines?
--
Daniel Ashton PGP key available http://Daniel.AshtonFam.org
mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org
mailto:[EMAIL PROTECTED] ICQ# 9445142 http://ZephyrBrass.com
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Re: Easy way to transpose voices
use the \transpose 'command'
\context Voice = one { \voiceOne \transpose a \VoiceOne }
will change the note pitch, and all other pitch related stuff (eg: keys) in
the \VoiceOne music block from c to a (down 4 1/2 steps). However, you may
end up fiddling a bit ... there is an interaction between \transpose
\relative that caused me some grief.
Daniel Ashton wrote:
I have the following in my score block:
\global
\property Score.skipBars = ##t
\context StaffGroup
\context Staff = rightHand
\Key
\context Voice=one { \voiceOne \VoiceOne }
\context Voice=two { \voiceTwo \VoiceTwo }
\context Staff = leftHand
\clef F
\Key
\context Voice \VoiceThree
\context Voice=three { \voiceTwo \VoiceFour }
\context Staff = pedal
\clef F
\Key
\context Voice \VoiceFive
All the \notes are in \VoiceOne, \VoiceTwo, etc. Is there an easy place
to put \transpose af to move everything down two steps? Or do I have
to go into each of the voices?
Ultimately, I would want to keep the voice definitions (the \notes) in
an original key, and have a given instrument transpose voice(s) for
itself as necessary. Is that possible?
--
Daniel Ashton PGP key available http://Daniel.AshtonFam.org
mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org
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Re: Staff movement broken by StaffGroup, implicit voiceOne?
I suspect you mean \translate Staff=leftHand, not \transpose ... different
functions.
First thing I'd check is whether all the names Staff contexts are defined
and held within the StaffGroup. A similar thing happened to me it turned
out I'd accidently uppercased a letter in the live staff name, and Lily
thought it was a different context.
I'd also consider removing HariKari or putting in the occasional rest
instead of skip to force it during testing.
/Hans
Daniel Ashton wrote:
This is probably not news, but it tripped me up briefly today:
Using 1.6.x, organ music:
I have a bass voice which starts in the left hand, and after several
bars moves to the pedal. I set it be on the pedal staff. In the \notes
I began with \transpose Staff=leftHand . At the appropriate place I
used \transpose Staff=pedal .
After finishing the score I went back and added StaffGroup. The
transpose still happened, but it transposes to an anonymous staff inside
the StaffGroup. Because I'm using HaraKiriStaffContext, the pedal staff
never shows up.
To fix the problem I broke the voice into two separate voices. I now
have this for the left hand:
\context Staff = leftHand
\clef F
\Key
\context Voice \VoiceThree
\context Voice=three { \voiceTwo \VoiceFour }
Interestingly, for the duration of VoiceFour, the notes inside
VoiceThree behave as if they were stricken with \voiceOne. Which is
exactly what I want, but it was a pleasant surprise.
--
Daniel Ashton PGP key available http://Daniel.AshtonFam.org
mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org
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Re: 1.7.12: Multiple marks?
(Still on 7.1.12 - Suse 8.0)
I tried the suggestion - works well for note-attached markup, but I can not get it
to work for rehearsal marks.
/Hans
Han-Wen Nienhuys wrote:
for 1.7 , please use
\markup { \column ...stuff... }
--
Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen
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1.7.12: minimumVerticalExtent and HariKariStaffContext
(Suse 8.0 + w/ Lilypond 1.7.12) I have a score with StaffGroup: Guitar (ChordNames) + Solo staff lyrics + SA staff lyrics + TB lyrics staff + PianoStaff On the second system, Solo, SA TB are HariKari'd but Guitar has a single chord. That chord is dangling up in the middle of the page, almost independent of any music. As Solo, SA, TB come in the Chordnames approach closer to the system and when all three vocals are visible, the whole system has a very pleasing effect. In some systems, I have Piano + Solo only, SA only or TB only. Interestingly the further up the StaffGroup, the larger the displayed gap between the PianoStaff and the active vocal. I have been playing with the minimumVerticalExtent for Staff, Lyrics and ChordNames with good success when all staves are visible, but less success for systems with HariKari'd staves. It almost appears that a spot is maintained even when the associated staff or chord is suppressed - even when minimumVerticalExtent = ( 0 . 0 ). Or possibly the spacing for lyrics is maintained even when there are no associated notes. Am I missing something or using the wrong overrides? TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
1.7.12: Multiple marks?
The source for the current score I'm working has multiple 'marks' on the same bar - the bar I'm looking at has a 'rehearsal mark (circled bar number)', a 'segno' and a 'narrator's mark (*N)' stacked at the same spot. If I use multiple \mark indicators [\mark 23 \mark *N, \mark #'(music scripts-segno)], only one is visible. I can work around this by placing the marks close to the bar, or nudging each mark individually. Do I need to manage these individually or am I (again) overlooking an easy method? TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 1.7.12: Multiple marks?
Many thanks for the suggestion. This is s close it loses the 'rehearsal mark' font for the 23 and the *N (it comes out the same as normal lyrics text.) My next attempt was \mark #'(lines (mark 23) (mark *N) (music scripts-segno)) but that did not change to the rehearsal mark font (I think that is what the document means by 'mark'.) As an interim, I'm reasonably pleased with \mark #'(lines (Large 23) (Large *N) (music scripts-segno)) Thanks again /Hans Mats Bengtsson wrote: How about (untested) \mark #'(lines 23 *N (music scripts-segno)) /Mats Hans Forbrich wrote: The source for the current score I'm working has multiple 'marks' on the same bar - the bar I'm looking at has a 'rehearsal mark (circled bar number)', a 'segno' and a 'narrator's mark (*N)' stacked at the same spot. If I use multiple \mark indicators [\mark 23 \mark *N, \mark #'(music scripts-segno)], only one is visible. I can work around this by placing the marks close to the bar, or nudging each mark individually. Do I need to manage these individually or am I (again) overlooking an easy method? TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to organize the source?
Thanks to all who responded - and special thanks for reminding me of Mutopia. The idea of a \global had not even occured to me - I'm effectively duplicating that the hard way. (Hence the reason for the question!) /Hans Graham Percival wrote: Not as far as I know. If you're curious about what other people do, you could look at mutopia -- they have many lilypond files, ranging from instrumental solo to SATB choir to full orchestra. Your approach looks reasonable. I personally have one \global voice, which has all spaces, \breaks, \key, \time, and \mark, but there's nothing wrong with spreading that across two voices. For most of my files, I have one file with just the music (for example, tetra.ly) and then a number of individual instruments -- violin1.ly, violin2.ly, viola.ly, cello.ly, and sc-tetra.ly. sc stands for score. I made a simple script that does ly2dvi sc-*.ly (along with xdvi with my favourite settings), which I can use for any project. When I'm working on tetra, it complies sc-tetra.ly; when I'm working on my overture, it complies sc-orch.ly; etc. (when I'm writing for orchestra, I split the one music file into sections -- winds.ly, brass.ly, etc) Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
1.7.12 - chords slurs question
I'm using 1.7.12 (very happily!!!) on Suse 8.0. However, the following gives a parse error e c 8 ( ) d b which hopefully gives the same result as e8 ( c d ) b Am I writing it wrong in the new chords mode? Thx /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 1.7.12 - chords slurs question
Excellent! That's done the trick. Many thanks. A follow up question: Where is this documented? (in other words, what piece of information or web site or mail list have I overlooked?) I have not run across this syntax in the online development user manual documentation. The places I looked in the User manual: slur (http://lilypond.org/development/Documentation/user/out-www/lilypond/Slurs.html#Slurs) do not show chords in examples; chords (http://lilypond.org/development/Documentation/user/out-www/lilypond/Chords.html#Chords) do not show slurs in examples; articulations (http://lilypond.org/development/Documentation/user/out-www/lilypond/Articulations.html#Articulations) do not show either chords or slurs. /Hans Han-Wen Nienhuys wrote: all articulations should follow , i.e. e c-( d b-) -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Matching stems/slurs on mutliple voices
How do I set this up correctly: going from a joined dotted-quarter note to 3 part divisi flagged eigth note, I need to play with the visibility and stem lengths. In effect, what I have is: v1: cis4. () fis8 v2: cis4. () cis8 v3: cis4. () a8 When I place these all on the same staff, I need to 1) supress the cis4. notehead stem from v2 v3 2) suppress the cis4. dots from v2, v3 3) suppress the cis8 and a8 stem and flag from v2, v3 4) lengthen the fis8 stem (and move the flag) from v1 5) fiddle with the direction and placement of the v2, v3 slurs No problem with 1, 3 5 - but I can't seem to get 2 4 right. Hints/pointers/solution greatly appreciated. TIA /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: 1.6.5 - is this a memory issue? or my mistake?
Now it all falls into place! Although I had read the section several
times, obviously I didn't quite get the concept (or context).
Many thanks
/Hans
Mats Bengtsson wrote:
Adding note head to incompatible stem (type = 8):
r1 s1 \stemDown f
,2 s2
This typically happens when you have two separate lines of
music in the same Voice context. What you probably want to
do is something like
\context Voice=upper {\voiceOne c4 d e f | g a b c}
\context Voice=lower {\voiceTwo c2 f | g e }
What's important here is the different names given to the
two voices. The macros \voiceOne and \voiceTwo are described
in the tutorial and in the reference manual.
/Mats
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1.6.5 - is this a memory issue? or my mistake?
I'm running LilyPond 1.6.5 on Cygwin under Win98. I'd input some music
( {SA} + {TB} + Piano) and printed it to my satisfaction. Since the
choir wanted only part transposed, I'd split the voices into A and B
- B being the section to be transposed. Now I am currently running
into an issue in the B part with warning ...
Adding note head to incompatible stem (type = 8):
r1 s1 \stemDown f
,2 s2
The questions: Could this be a memory issue? or Is this typical of a
syntax error (mismatched brace/beam/etc.)? (if yes, I'm going nuts
trying to find it!)
I have significant detail, as well as a copy of beoth before after
files for followup if necessary.
Thanks
/Hans
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Re: Having scandinavic letters in headers
Most of the music I write is using the German umlaut characters in the heading and the lyrics. Right now I use Cygwin (currently 1.6.5, but I also did this in 4.x), and I tend to use Windows Notepad or Wordpad for basic editing. The workaround I've created for myself is to create a comment towards the top of the file with all the characters (created easily in MS Word), and then I copy and paste the specific character directly while editing the file. Cumbersome, not elegant, but workable. /Hans [EMAIL PROTECTED] wrote: Hallo! Lilypond version 1.4.12.jcn5. Is there any possibility to write the right song names and song writer names like Möttönen in the the headers? Even if I use notation 'M\ott\onen' it doesn't print right. Best rgds, Heikki Pollari ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Transpose - output to a new .ly
Is it possible to have the transposed music output to a new lilypond .ly file? I've keyed in a piece where the score was in ges minor (already transposed). This means there are an awful lot of 'es' and 'is' ... it would be nice to get a fresh .ly transposed to a 'cleaner' key for maintenance reasons. Or just return the piece to the composer's original A minor without having the (perceived?) overhead of transposing. Thanks /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: What to do now [formerly (no subject)]
Steven, or Andy (you seem to be using Steven's email) (Copying Lilypond-user list ... hopefully this might help some other newbies as well) 1) Please ... a) Make sure the list is included, as the information just might be useful for others; b) Ensure you use a subject line in your emails; c) Give a bit of information about your envinronment ... your questions are too short, and I need to make a lot of assumptions. Due to these assumptions, I may inadvertently seem to insult you or your skills. 2) You imply that you have installed the program - although you never do say that, nor do you let anyone know what kind of computer or operating systems you are using. I will assume that you are using WIndows. I also assume you clicked on the Install Lily Now link on the WIndows Binaries page. Is this correct? 3) It's not a DOS application. It's a Linux application, and uses the Cygwin 'operating system'. As compared to many Windows applications, you MUST do some readong, otherwise you could easily get lost. Do you understand Unix or Linux in any way? Your answer will greatly affect how the friendly people on this list can respond. If you do not understand Unix or Linux, I strongly encourage you to go to the Cygwin site at http://www.cygwin.com/ to get familiar with the basic concepts of the environment. Specifically, go to the menu on the left side and click on the User's Guide link. and start reading at least Chapter 1 - until the section on 'Expectations for UNIX programmers'. 4) Assuming you installed the Cygwin application, did you read past the Install Lily Now paragraph on the page? You do not let anyone know whether you have done the basic tests or installed any of the supporting stuff. There are other things to do, and possibly to install as described on that page.. There is also a section on testing Lilypond to make sure you've installed correctly. 5) Do you realize that the basic flow for running lilypond is: a) Get into 'unix' (what you call 'DOS') and move to the directory that you want to work in. This is called a 'shell'. Use the 'cd' command to 'c'hange 'd'irectory. b) Create / edit a file that contains the 'note description' you want (use Notepad if you want, but store the file as .ly instead of .txt). Use the Tutorial to get an idea of what the .ly file contents will look like. (Do NOT use Microsoft Word or Wordperfect or similar - they leave all sorts of charaters in the file.) c) Start Lilypond entering ly2dvi -P xyz.ly in the shell. Replace xyz with the name of your file. Or you could use some tricks like ly2dvi -P xyz.ly lily.log 21 to record all messages and errors to the file lily.log. d) If any error messages - look at the eror messages (either on the screen or in the log file) and fix the .ly file ... you will likely need to look through the manual at http://www.lilypond.org (use the Manual link, menu left side). Once you've fixed some or all errors, return to c) above and rerun lilypond. 6) Finally, look at the resulting xyz.ps file using a PostScript viewer such as GhostView - hopefully you installed that as directed on the install page. /Hans Steven Thompson wrote: HANSWhere do i go from the Dos application i thought it was a procgram for writing music yet i get an application that looks similar to a Dos application FromAndy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: (no subject)
The quick answer - go to http://www.lilypond.org ... click on the appropriate download link (menu, left side). I think the web page would be familiar comfortable to most people with Linux or GNU experience so I will assume you are looking for the Windows version. Therefore, from the http://lilypond.org home page, click on the 'Windows Binaries' link (left side menu, in the Download segment) ... click on the "Install Lily Now" link (in the Quick Install section, towards the top of the main window area) ... if you start this from Internet Explorer, this could start automatically. Lilypond runs in Linux or other Unix variants. One variant in particular, Cygwin, is designed to run in a Windows environment - it runs very well on my AMD-500 running Windows 98 SE. So I run Windows, which runs Cygwin, which runs Lilypond in what appears initially to be a "DOS prompt" window. I do not believe there is a 'native' Windows version. Personal comment ... The web site is very typical of a Linux or GNU site - all the information is there, but in most of these sites I've always had to go through the entire contents at least once to familiarize myself with the general organization, as well as the purpose and thought process of the program. This may seem tedious, but it is very much worth your time - especially given the value and flexibility of a superb product like Lilypond. Hope this helps /Hans Steven Thompson wrote: hiI found your web site confusing and just wanted to know how I can get hold of lilypond? Andy
Re: Parse error attempting to resize font (1.4.12/Windows)
Mats Bengtsson wrote:
... I've been using the online manual and tutorial,
as well as mutopia to 'learn by example'.
As you say, many of the Mutopia examples are written
for fairly old Lilypond versions. You can update some
of the features using the program convert-ly, but if
you want a better set of examples to learn from, take
a look at the files in the directories input/test/ and
input/regression/ included both in the source code tree
and somewhere in the precompiled packages. You can actually
view many of them in the document Regression test on the
web site.
Excellent suggestion.
The Tutorial was great for the absolute basics, but I didn't really know where
to go from there. I found some sheet music on Mutopia, found that it matched
what I needed and used that as a template. Since then I've read about
convert-ly and will definitely be using that.
There is a lot of theory
behind this that I'm not familiar with - won't be until I get Linux up
again, stuff like moving grobs manually to avoid collisions the system
gave up on (probably my fault).
Well, it's got nothing to do with Linux or Windows. If you send
a short example to the mailing list illustrating the problem,
I'm sure someone will give you a hint in the right direction.
I concur. It's just that getting Linux up is more of a priority than getting
some of the finer elements right now. Once that is done, I'll have the time
to get into LilyPond seriously.
I note some of the mutopia examples
I've referred to use a lot of deprecated syntax.. However I do recall
the online (static) manual mentions 'simultaneous' and {} as shorthand.
Of course, you want to stick to the shorthand as soon as you do
any serious typesetting.
One thing I'm interested in - has anyone thought of using XML as a
neutral definition language in front of LilyPond? Potentially more
verbose, but there are potential benefits as well. (Probably will start
this as a separate thread if I get any takers on this question.)
Developing a definition language is a tedious task, the current
Lilypond input language has evolved gradually over many years.
It would certainly be possible to develop another syntax but I
must admit I don't see any benefits. In my opinion, one of the
major advantages of Lilypond is that you can enter the music fairly
quickly without having to spoil you arm using the mouse, so
verbosity is a clear disadvantage in this case, unless it could
lower the learning threshold for a beginner. I don't see how XML
could help in that respect.
I see no basic problem with the fundementals for LilyPond, and I am quite
enthusiastic about it.
However, I've been around markup languages (MLs) since the early 80s and find
them quite useful. XML was created to separate the content from the
formatting, ultimately allowing developers to create special format handlers.
The examples I've seen in LilyPond tend to require mixing content with
formatting. I also noted that raw input is quick, but debugging, especially
format issues, takes a while; that was actually the reason why I started
thinking about this.
I also agree that a well designed language that separates the content (melody,
etc.) from the formatting requirements could be a challenge to create.
LilyPond already provides the basis for such a language so it's probably not a
huge leap, primarily verbosity and syntax. However, some of the benefits are:
1) Input could be almost as rapid as LilyPond
2) A definition language enforces syntax, therefore a strict type checker
could be built at input time
3) It could provide additional transparency between LilyPond and other
systems, including Midi, ABC, etc.
4) XML inherently allows rapid access to, and extraction of, subtrees.
Subtrees could be visualized as 'parts' or 'voices', therefore extracting and
printing individual parts should become easier
5) You can suppress the formatting without altering input, allowing rapid
display of the music.
Since all of these things can be done already, although in some cases using
'workarounds', in some ways this discussion becomes philosophical. I have
noticed in the internet that there are some attempts at creating an XML
definition, so we will eventually end up with either raw XML input to LilyPond
or an XML2Ly converter. (I'd rather see this community have input to the
definition.)
Just some thoughts. If this discussion carries on, I suggest we put it in a
separate subject line.
/Hans
Regards
/Mats
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Parse error attempting to resize font (1.4.12/Windows)
All,
First - many thanks for producing Lilypond. It's wonderful! (And hopefully
this is using plain text - if not, my apologies in advance)
I'm using LilyPond 1.4.12 under Windows 98 (SE). I've created the .ly file
and it works great, until I try ro resize the font. Below are the 'score'
section that works, the one that fails, and the log of the failure. A
similar failure occurs regardless of the font size attempted.
Any assistance appreciated. (direct replies to
mailto:[EMAIL PROTECTED])
Thanks in advance
/Hans
--
Score that works ...
\score {
\simultaneous {
\Sorastro
\piano
}
}
---
Score that fails ...
\score {
\simultaneous {
\Sorastro
\piano
}
\paper { papersize = letter }
\include paper16.ly
}
-
Error log
Running LilyPond...
GNU LilyPond 1.4.12
Now processing: `/home/dad/lily/mine/sorv2.ly'
Parsing...
/usr/lilypond-1.4.12-1/share/lilypond/ly/paper16.ly:5:12: error: parse
error:
paperSixteen
= \paper {
/usr/lilypond-1.4.12-1/share/lilypond/ly/paper16.ly:12:21: error: parse
error:
\paper {\paperSixteen
}
error: lilypond: command exited with value 256
Traceback (most recent call last):
File /usr/lilypond-1.4.12-1/bin/ly2dvi, line 834, in ?
run_lilypond (files, outbase, dep_prefix)
File /usr/lilypond-1.4.12-1/bin/ly2dvi, line 432, in run_lilypond
system ('lilypond %s %s ' % (opts, fs))
File /usr/lilypond-1.4.12-1/bin/ly2dvi, line 234, in system
error (msg)
File /usr/lilypond-1.4.12-1/bin/ly2dvi, line 132, in error
raise _ (Exiting ... )
Exiting ...
-I /home/dad/lily/mine -H dedication -H title -H subtitle -H subsubtitle -H
footer -H head -H composer -H arranger -H instrument -H opus -H piece -H
metre -H meter -H poet -H texttranslator -H papersize -H textheight -H
pagenumber -H language -H latexheaders -H latexoptions -H linewidth -H
latexpackages -H orientation /home/dad/lily/mine/sorv2
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Re: Parse error attempting to resize font (1.4.12/Windows)
That did the trick. There is another similar question ( Nov. 2001) on
the list with a similar question so you get 2 kudos with one response.
The 'manual' does not explain this well - then again I am relatively new
(been at LilyPond for less than 3 weeks) so I'm not used to the nuances
in the documentation. I've been using the online manual and tutorial,
as well as mutopia to 'learn by example'. There is a lot of theory
behind this that I'm not familiar with - won't be until I get Linux up
again, stuff like moving grobs manually to avoid collisions the system
gave up on (probably my fault). I note some of the mutopia examples
I've referred to use a lot of deprecated syntax.. However I do recall
the online (static) manual mentions 'simultaneous' and {} as shorthand.
One thing I'm interested in - has anyone thought of using XML as a
neutral definition language in front of LilyPond? Potentially more
verbose, but there are potential benefits as well. (Probably will start
this as a separate thread if I get any takers on this question.)
Again, thanks
/Hans
Rune Zedeler wrote:
Hans Forbrich wrote:
\score {
\simultaneous {
\Sorastro
\piano
}
\paper { papersize = letter }
\include paper16.ly
}
You need to include paper16.ly outsides the scoreblock, like this:
\include paper16.ly
\score {
\simultaneous {
\Sorastro
\piano
}
\paper { papersize = letter }
}
Btw, where have you found the manual? I don't even think that the
simultaneous-syntax is mentioned in the resent manuals...?
-Rune
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