Re: Mac testers needed for Frescobaldi!
Ok for all, here is my initial testing of said app. I wrote up a very rough usability document that expresses my concirns with the app. It can be found at the following link. https://www.dropbox.com/s/no0qvaxxalnf1m4/usability%20document%20for%20frescobauldi.pdf I hope this helps a bit. Should you have any questions feel free to contact me. I can't promisje to know all the answers but I can try. Be blessed to all. On Apr 22, 2014, at 3:42 AM, Davide Liessi davide.lie...@gmail.com wrote: Dear FrescobaldiLilyPondMac users, as some of you may know, I'm trying to make Frescobaldi more Mac-friendly, by packaging it as a native application bundle inside a standard DMG disk image. I would be very grateful if you could test the experimental application bundle I prepared and report the results and your version of Mac OS X, especially if you are running 10.7 (Lion) or higher. [1] You can find a DMG disk image containing the application bundle at https://www.dropbox.com/s/o4o65629jv9ytw4/Frescobaldi-2.0.16-dev-20140421.dmg The test should be harmless: the only collateral effect is that any change you'll make to the settings inside this application bundle will be picked up by your usual installation of Frescobaldi, since they'll share the same preferences file. [2] Anyway, please be aware that this application bundle is considered experimental and is built from a development version of Frescobaldi, so it isn't suitable for everyday use: after the tests I advise you to delete the application bundle and wait for the next release. [3] Best wishes. Davide [1] My machine runs 10.6 (Snow Leopard) and I currently have only occasional access to a 10.8 (Mountain Lion) machine. [2] Actually, if your usual version of Frescobaldi is older than October 2013, your settings will become inaccessible from that version, while they will still be accessible from versions of the program newer than that date. But if you're running such an old version, you should seriously consider updating to a newer one: Frescobaldi has improved a whole lot in the last months! [3] To avoid messing with your current setup (except for the settings changes) and forgetting to delete the application bundle after the test, you can run the application directly from the disk image, without copying it to the /Applications directory. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
Ok. yeah I'm trying to create a lot less work for my self especially now
because if I get this job out of town I will be gone for 3 months and I want to
do this as a gift.
The variables and the systems idea will I think make it easier. why o why did
I not do this with the last assignment? lol! Ah well. I'm learning slowly and
this project I think will teach me a lot. lol!
thanks all. time to get cracking.
On May 24, 2013, at 12:11 PM, Wim van Dommelen m...@wimvd.nl wrote:
On 24 May 2013, at 03:21 , Sarah k Alawami wrote:
Actually I was thinking the variables for the piano since one of the
sections repeats a lot in the right hand. Will all of that still compile if
I have the files's variables like that or do I need to then create a
veritable for the foe itself?
Whatever makes it easier for you to write/read. You can have more variables
in one file or have a file (with all the variables in it) included in another
file, or have one variable used inside another one, for example
one = \relative c' { c4 d e c }
two = \relative c' { e4 f g2 }
three = \relative c' { g'8 a g f e4 c }
four = \relative c' { c4 g c2 }
piano = { \time 4/4 \one \one \two \two \three \three \four \four }
\score
{
\new Staff
\piano
}
etc. The important thing is to make easy understandable, but the big
advantage is to be able to do some of the parts, get these OK and build on it.
Regards,
Wim.
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Re: An idea for a systematic development of a large score.
I was thinking of putting my variables in each file that way I can do a bit less less typing, at least in that file. will this still work in the end when I compile all files in to one score and parts for the choir and me and the pianist? Well, I won't need the score, how ever the person conducting it might. *smiles* Take care all. On May 21, 2013, at 1:17 PM, Ian Hulin i...@hulin.org.uk wrote: Hi wjm and list, On 17/05/13 02:26, wjm wrote: Greetings! After watching Sarah K Alawami's work on a score recently on this user-list, but not having the musical and compositional skills to make constructive remarks, and after reading the thread entitled 'stylesheet structure', it occurred to me that an approach might be found which might make the whole process a little less opaque. snip Here is a pointer to some of the templates referenced in the Learning Manual as Appendix A5: (development version documentation) http://www.lilypond.org/doc/v2.17/Documentation/learning/orchestral-templates (stable version documentation) http://www.lilypond.org/doc/v2.16/Documentation/learning/orchestral-templates If you want to invest a bit more time, there are a couple of packages which allow you to set up large score if you invest a bit of time in the learning curve, both of which I have used. One is Reinhold Kainhofer's orchestrallily, which is at http://reinhold.kainhofer.com/orchestrallily/index.html#The-Orchestrallily-Package There is a pointer to download the file at that address. Once downloaded, you may need to run it through convert-ly if running a version of LilyPond after V2.14. Reinhold has had to bow out of actively participating in the LilyPond lists, but I'm sure he'd be OK answering any queries from people using the package. The other possibility is Mark Witmer's ly-score package at github - see www.github/mwitmer/LyUtil#readme. Hope this is useful. Cheers, Ian Hulin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
Actually I was thinking the variables for the piano since one of the sections repeats a lot in the right hand. Will all of that still compile if I have the files's variables like that or do I need to then create a veritable for the foe itself? On May 23, 2013, at 3:31 PM, Wim van Dommelen m...@wimvd.nl wrote: Hi Sarah, On 23 May 2013, at 19:46 , Sarah k Alawami wrote: I was thinking of putting my variables in each file each variable only *once* in a file, I presume that way I can do a bit less less typing, at least in that file. will this still work in the end when I compile all files in to one score and parts for the choir and me and the pianist? Well, I won't need the score, how ever the person conducting it might. *smiles* Yes, that is possible if I understand correctly what you want to do. For example you can make a set of files: - clarinet-1.ly, contains the variable with the notes and everything for clarinet 1 - clarinet-2.ly, contains the variable with the notes and everything for clarinet 2 - clarinet-part.ly, contains only the structure for the clarinets, includes the clarinet 1 and 2 files (so NO extra typing) and produces print and midi for it, so you can check and correct simply those parts. - hobo.ly, the variable with the notes for the hobo, etc. - piano.ly, similar for the piano, etc. - total-score.ly, uses all of the other include-files, ahs the structure of the ensemble and produces the total for the conductor Etc. Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
lol. try nigh impossible if you have absolutely no knowledge of the terminal. I tried frescoboldi in the windows environment and it sucked. I think for this arrangement for now I'll have alto2.ly, alto1.ly, soprano2ly, soprano 1-1.ly and soprano1.ly then the piano part.ly or what ever it will be. Hopefully I can then combine all the parts and stuff. This piece should when finished be sweet as it's been in my head for 3 years and I've always wanted to do this. Take care guys. On May 17, 2013, at 8:34 AM, Wim van Dommelen m...@wimvd.nl wrote: On 17 May 2013, at 03:26 , wjm wrote: After a lot of fiddling around I came up with this schema:- I use a similar approach. This approach is well-facilitated in Frescobaldi, using the point-and-click correlation between the output pane and the relevant input file. (Frescobaldi calls up the relevant .ily file even if it is not loaded at the time - a very convenient feature). Whether this would work well for someone with severe visual impairment or other disability, I don't know. Difficult to say, they use other graphical oriented programs, so my guess is managing Frescobaldi is probably doable. Another and much greater problem is that I noticed several of the blind users do use a Mac, and installing Frescobaldi on a Mac is not easy. Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: An idea for a systematic development of a large score.
does not sound like a bad idea. I'm gong to be working on an arrangement of oh
come equal and hope to get it done by November or so. it's a surprise for a
very special friend of mine who is let's say very fragile in health and I want
to give it to her choir. I'm thinking of writing all the parts including the
piano part f in separate files. As I don't use frescoboldi due to its
inaccessibility I have to use texshop and lily pond. Tha'ts fine. and I hope
this can work and be readable and singable by all members of this very special
choir.
Since Im not a pianist that [part will not be too easy but I can tinker a bit
and come up with something.
Thanks for the suggestion and I might start on this as soon as I finish my
proficiency and other tests coming up tomorrow.
This time I do want this score performed hopefully this year if she will let me.
If I can get it done before november that would be good.
Take care all and again thanks for the idea.
On May 16, 2013, at 6:26 PM, wjm mooney...@aim.com wrote:
Greetings!
After watching Sarah K Alawami's work on a score recently on this user-list,
but not having the musical and compositional skills to make constructive
remarks, and after reading the thread entitled 'stylesheet structure', it
occurred to me that an approach might be found which might make the whole
process a little less opaque.
After a lot of fiddling around I came up with this schema:-
Write separate files for each instrument, containing only its musical
elements, and name them 'instrument'.ily, signifiying that they are not to be
compiled directly by Lilypond.
Write separate files for each instrument, \includeing the relevant .ily
file, and with enough information to allow Lilypond to process it correctly.
(This would enable 'proofing' of each instrument for musical correctness
concerning octaves, barchecks, etc., without having to deal with the complete
score).
Write a separate file for the version, paper, header, sections, naming it
version-paper-header.ily
Write a separate file for the global constants; time, beat, key, etc.,
-structure, naming it global.ily
Write an overarching 'score' file \includeing all the relevant .ily files,
and containg any additional information for the final processing by Lilypond,
naming it 'musical-title'.ly
This approach is well-facilitated in Frescobaldi, using the point-and-click
correlation between the output pane and the relevant input file. (Frescobaldi
calls up the relevant .ily file even if it is not loaded at the time - a very
convenient feature).
Whether this would work well for someone with severe visual impairment or
other disability, I don't know.
Regards,
Bill
This is how a work might be structured:-
+
global.ily
version-paper-header.ily
+
bass.ily
bassoon.ily
cello.ily
clarinet.ily
drum.ily
flute.ily
horn.ily
oboe.ily
score.ily
trumpet.ily
viola.ily
violin-ii.ily
violin-i.ily
+
bass.ly
bassoon.ly
cello.ly
clarinet.ly
drum.ly
flute.ly
horn.ly
oboe.ly
trumpet.ly
viola.ly
violin-ii.ly
violin-i.ly
+
fullscore.ly
+
Example files are as follows:-
global.ily ---
==
global=
{\time 12/8
\tempo 4. = 100
\key g \major
}
==
version-paper.ily ---
==
\version 2.17.15
\header
{
%whatever is wanted from the full header definition as in the Lilypond
documentation...
}
#(set-global-staff-size 17)
\paper
{
indent = 30 % space for instrumentName
short-indent = 15 % space for shortInstrumentName
}
==
a music file ---
==
\include version-paper.ily
\include global.ily
\include bass.ily
\score {
{ \global \bassMusic }
\layout { }
}
==
the 'score' file ---
==
\score {
\new StaffGroup = StaffGroup_woodwinds
\new Staff = Staff_flute
{
\set Staff.instrumentName = #Flute
\global\fluteMusic
}
\new Staff = Staff_clarinet
{
\set Staff.instrumentName =
\markup { \concat { Clarinet in B \flat } }
\transposition bes
\global \transpose bes c' \clarinetMusic
}
\new Staff = Staff_bassoon
{
\set Staff.instrumentName = #Bassoon
\global \bassoonMusic
}
\new StaffGroup = StaffGroup_brass
\new Staff = Staff_hornI
{
\set Staff.instrumentName = #Horn in F
\transposition f
\transpose f c' \global \hornMusic
}
\new Staff = Staff_trumpet
{
\set Staff.instrumentName = #Trumpet in C
\global \trumpetMusic
}
\new RhythmicStaff = RhythmicStaff_percussion
\set RhythmicStaff.instrumentName = #Percussion
\global \percussionMusic
\new StaffGroup = StaffGroup_strings
\new StaffGroup =
octave checks in the viola line of my assignment are failing.
Hello to all. Octave checks in my viola part are failing. I made sure that the right octave signs are there but I must be hearing it differently then what I'm reading on the page the source that is. I mace sure that unless I want to change o gives each note must be at at most a 4th a part before I would want to. The exception and I think the trouble is the tritones that are in the piece. No it's not 20th century music. lol!¬ Here is a link to my .ly file. I am really hoping i can get this done by today as that's when it's due. https://dl.dropboxusercontent.com/u/1672188/final%20score.ly Be blessed all. and I'm sick of this assignment. I'm dreaming in code. lol! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: octave checks in the viola line of my assignment are failing.
Ah. except my midi file is not being created for some reason. I'll just put that part through a website I can't recall, but it generates midi files of lily pond music and see whas a miss. I don't want to hear the whole score yet. lol! Thanks. On May 14, 2013, at 8:53 AM, David Kastrup d...@gnu.org wrote: Sarah k Alawami marri...@gmail.com writes: Hello to all. Octave checks in my viola part are failing. I made sure that the right octave signs are there but I must be hearing it differently then what I'm reading on the page the source that is. I mace sure that unless I want to change o gives each note must be at at most a 4th a part before I would want to. The exception and I think the trouble is the tritones that are in the piece. No it's not 20th century music. lol!¬ From URL:http://www.lilypond.org/doc/v2.16/Documentation/notation/writing-pitches#relative-octave-entry: If no octave changing mark is used on a pitch, its octave is calculated so that the interval with the previous note is less than a fifth. This interval is determined without considering accidentals. _Without_ _considering_ _accidentals_. This is stressed again later: As explained above, the octave of pitches is calculated only with the note names, regardless of any alterations. Therefore, an E-double-sharp following a B will be placed higher, while an F-double-flat will be placed lower. In other words, a double-augmented fourth is considered a smaller interval than a double-diminished fifth, regardless of the number of semitones that each interval contains. That means that you _can't_ figure out relative mode by listening to the Midi. The note _names_ are what determines the intervals here, not the audible intervals. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: octave checks in the viola line of my assignment are failing.
lol. I did that and it seems to work, but it is failing majored in the viola part. I tried to make a midi of just th part by putitn it in to a test file but it is not working correctly. I can never tell when my octaves will in your words run away though. as I'm hearing it in my enternal ear then what is actually supposed to be on the page. lol! Thanks. On May 14, 2013, at 10:06 AM, Wim van Dommelen m...@wimvd.nl wrote: Line 274 for Violin I should be (I think): g, d b g4 d'8 b a g g d b g4 d'8 b a g| I assume the first note in the tritone runs in the melody also. Note that what you did in Violin II is perfect, you did put in the octave checks, LilyPond will then issue a warning AND change the note to the octave you want it to be as if you specified that note in an absolute pitch. You can do the same in Violin I and other parts where the octave run away, Those octave check warnings are the only one you can sort of safely disregard, they put thing back on track. Regards, Wim. On 14 May 2013, at 17:47 , Sarah k Alawami wrote: Hello to all. Octave checks in my viola part are failing. I made sure that the right octave signs are there but I must be hearing it differently then what I'm reading on the page the source that is. I mace sure that unless I want to change o gives each note must be at at most a 4th a part before I would want to. The exception and I think the trouble is the tritones that are in the piece. No it's not 20th century music. lol!¬ Here is a link to my .ly file. I am really hoping i can get this done by today as that's when it's due. https://dl.dropboxusercontent.com/u/1672188/final%20score.ly Be blessed all. and I'm sick of this assignment. I'm dreaming in code. lol! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: an easier way to create the midi block
Hello. Your trick does not work too well. I stays completion successful but
there's no midi on my desk top where i have my files.
Here is an example of a ly file I want to test with this. If I can get this to
work I can work faster to get this done by 11:59 tonight. lol!
flute.ly
Description: Binary data
Take care and be blessed, and thanks.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too much?
lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: an easier way to create the midi block
lol. right now i don't want any printed output. I just want to hear it so I can
know if my octaves ran away on me and went on a trip with out my permission.
lol!
I'll try it out anyways. it said completion successful so wonder what happened?
Take care and be blessed.
On May 14, 2013, at 4:19 PM, Carl Peterson carlopeter...@gmail.com wrote:
I think you need to include all your music notation in another set of braces
and add a layout block to get printed output, like this:
\score {
{
% music notation goes here
}
\midi { } % need this for midi
\layout { } % need this for pdf
}
On Tue, May 14, 2013 at 7:13 PM, Sarah k Alawami marri...@gmail.com wrote:
Hello. Your trick does not work too well. I stays completion successful but
there's no midi on my desk top where i have my files.
Here is an example of a ly file I want to test with this. If I can get this
to work I can work faster to get this done by 11:59 tonight. lol!
Take care and be blessed, and thanks.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too
much? lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: an easier way to create the midi block
Interesting. It worked when I did this before but now I'm unsure of how I did it lol! here is the change I tried to make.
flute.ly
Description: Binary data
It's in the ly file in line 66 that it errors out. lol!Take care.On May 14, 2013, at 4:19 PM, Carl Peterson carlopeter...@gmail.com wrote:I think you need to include all your music notation in another set of braces and add a layout block to get printed output, like this:\score {
{ % music notation goes here}\midi { } % need this for midi\layout { } % need this for pdf
}On Tue, May 14, 2013 at 7:13 PM, Sarah k Alawami marri...@gmail.com wrote:
Hello. Your trick does not work too well. I stays completion successful but there's no midi on my desk top where i have my files.
Here is an example of a ly file I want to test with this. If I can get this to work I can work faster to get this done by 11:59 tonight. lol!
Take care and be blessed, and thanks.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too much? lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version "2.17.11"
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: odd bar check errors
lo. I know this. but when I rewrite the measure to include what would have been equivalent, that is what I wanted them to play no bar check errors. at least not for the grace notes. Maybe it's operator error but as of now since I'm reaching the dead line I cannot change the score. On May 13, 2013, at 2:03 AM, and...@andis59.se wrote: On 2013-05-13 07:44, Sarah k Alawami wrote: Hello to the list. I notice that some of my grace notes are also causing the bar check errors Just a reminder: Grace notes are musical ornaments, printed in a smaller font, that take up no additional logical time in a measure. // Anders -- English isn't my first language. So any error or strangeness is due to the translation. Please correct my English so that I may become better. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
Thanks. I was going off of the templet on the site. The whole song with out repeats is 23 measures long, with repeats it's double that I think. I'm not performing this Here is a recording of the harpsichord part I was to orchestrate.. It jumps all over the place and I'm not aloud to change the line of the melody. https://dl.dropboxusercontent.com/u/1672188/lessons%20in%20harpsichord%20orchestra%20assignment%20in%20g%20major.mp3 Take care. On May 13, 2013, at 5:22 AM, Wim van Dommelen m...@wimvd.nl wrote: Hi Sarah, You sure have come a long way, but I think it is already a nice result. What I see: - line 17: the opening bracket is still before the \relative instead of after. That causes a problem that the musical expression seen by the \relative is only the next statement, that is the \key g \major. After that LilyPond will interpret the notes for the flute as absolute. But be carefull in changing it, because there are some octave jumps and by adding these up LilyPond can let the notes runaway. - line 68: the jump from g'' to b''' is impossible, it arrives here because it starts at \relative c'', goes to the d, to the g (all without quotes) and then the b' is interpreyed as b''. This is a typical example of LilyPond running away in the height because all the quotes add up. My guess is that the quote after the b is wrong and you want this b in the same range. Remove and check if this is what you want. This happens also at some other places, for example on line 70 where it goes to the next octave because the higher d is closer then the lower one. This is how \relative works: the last note specified was an a, the next is a d without quote or comma so it fetches the d closest by. But my guess is you don't want that high d but one octave lower. You'll get that one by specifying d, (the note followed by a comma). - line 26: the notes do not match up to 12/8, LilyPond complains on the barcheck. Reading the discussion on the \grace note, I'm wondering if you want a grace note here or that note is just part of the regular music the \grace command acts on the next expression, in this case the gis and it does NOT count it for the whole measure, so now you have 11/8. Either the \grace should be out or another /8 should be in somewhere. I cannot decide for you. - line 187: next barcheck problem: same problem with 1/8 missing (or a stray \grace) - several places: you specify different size of the repeats, for example in the flute part you a \repeat on line 20 spanning a significant piece of the music (it ends in line 43), but in the clarinet part you start a repeat on line 65 ending in the midlle of line 67. This piece is much smaller. LilyPond will insert several repeat marks and propagate these when possible to the other parts as well. It makes the result a little bit messy. Because it is a small piece and I think you only want the repeats to avoid typing too much notes, you can think of taking out the ones you don't need. Like line 67 already show the d4. and r4. twice, the repeat is too much. - line 125: the bassoon normally uses a bass-clef, insert it here after the global! - line 61: here you \transpose the clarinet music, but you do it wrong! It should be \transpose bes c' because that is how the clarinet is written. But in line 429 you do it again which cancels out the first action. Plus you also mention \transposition in line 427. My advise: remove the \transpose in line 61, also remove the \transposition in line 427 and leave 429. Because your piece is written in concert pitch g major, it should now for the clarinet part show a major. - line 176: same problem for the horn: remove it and also the \transpose in line 441. Good luck and have a good performance! Regards, Wim. On 13 May 2013, at 07:44 , Sarah k Alawami wrote: Hello to the list. I notice that some of my grace notes are also causing the bar check errors but most of them I think are happening at the end dog repeats where there's an incomplete measure as it was filling time so you can go back and repeat the anicrusis. Over all thats all I'm noting, that and the wrong octaves that I'm still not sure how to fix. sometimes I hate perfect pitch, like today. Attached is the .ly file. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
getting error already have slur in my compilation
Hello there. I've never seen this before. I got "already have slur" I checked and all looks well but this is an odd one.Here is the .ly file. I got rid of all the bar checks except for a few that looked correct. did I miss something? again? final score.ly Description: Binary data I hope one day I can know enough to help out as well. but for now I'm taking baby steps lol!Take care all and be blessed. Sarah Alawami.msn and aim: marri...@gmail.comskype: marrie1 (let me know where you know me from)twitter: http://twitter.com/marrie1podcast/blog: http://tffppodcast.compodcast twitter: http://twitter.com/tffppodcastyoutube channel: http://youtube.com/marrie125 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting error already have slur in my compilation
Hmm. I thought I closed the slur with ) that was the first thing I checked. Yeah they are 2 note slurs. r8 b8(\p\ cis) d4. r8 fis,8( ais) cis4. 2 2 note slurs in the measure. I even tried the 3 note slurs with the rest in the middle and it still errors out. Suggestions? I want to have this played like this. lol! On May 13, 2013, at 8:58 PM, Andrew Bernard andrew.bern...@gmail.com wrote: Hello Sarah, The reason you get this is you have opened a slur with ( but not closed it before opening a new slur with ( again. You need to close the first bracket. Deleting the first unpaired bracket makes the warning go away, so this seems to be the problem, Do you want nested slurs, or is this just a simple mistake? Andrew On 14 May 2013 13:46, Sarah k Alawami marri...@gmail.com wrote: Hello there. I've never seen this before. I got already have slur I checked and all looks well but this is an odd one. Here is the .ly file. I got rid of all the bar checks except for a few that looked correct. did I miss something? again? I hope one day I can know enough to help out as well. but for now I'm taking baby steps lol! Take care all and be blessed. Sarah Alawami. msn and aim: marri...@gmail.com skype: marrie1 (let me know where you know me from) twitter: http://twitter.com/marrie1 podcast/blog: http://tffppodcast.com podcast twitter: http://twitter.com/tffppodcast youtube channel: http://youtube.com/marrie125 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
I think I got it. I still have errors in the score lay out because I was trying to add instruments that were not there in the firs place lol! but can someone plz make sure at least the time sig is right? Take care and be blessed. final score.ly Description: Binary data In the mean time I'll get working on the viola part. lol! Thanks all. On May 11, 2013, at 11:28 PM, Wim van Dommelen m...@wimvd.nl wrote: You horn music goes wrong because the opening bracket is in line 169 instead of directly after the \relative and \transpose. And before that another one is missing. I think in the bassoon, same problem with \relative there. Sorry, I don't have enough time now to look at it in detail Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
pizz and arco: a question
Ok. in braille music, I see the word pizz and i know until I see arco I
have to pluc the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat. So
can I put a custom text after the \volta repeat 2 {custom text, music} to let
them know to do arco the second time? or what ever I decide to do? I might do
pizza for the first time and arco for the second time through. is this an
easy thing to do? I tried looking up custom text but kind of got no ware. lol!
This manual is huge! lol! and i cannot commit all of it to memory.
Take care all and be blessed.
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Re: pizz and arco: a question
What does the ^ symbol mean again? I use the words as the table of symbols is
an image only. I wrote about that some ware on this list a while ago. lol!
I'll try the mbark up.
I have slur marks. and I have not played the cello or viola in a while. Will
the pizz part even though it is slered will they know, play these separately,
don't try and slur these notes because you logically cannot? Unless techniques
have changed since the 7 years I abandoned these instruments. lol!
Thanks and I'll give it a shot.
On May 12, 2013, at 12:05 PM, Tim McNamara tim...@bitstream.net wrote:
On May 12, 2013, at 11:52 AM, Sarah k Alawami marri...@gmail.com wrote:
Ok. in braille music, I see the word pizz and i know until I see arco I
have to plug the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat.
So can I put a custom text after the \volta repeat 2 {custom text, music} to
let them know to do arco the second time? or what ever I decide to do? I
might do pizza for the first time and arco for the second time through.
is this an easy thing to do? I tried looking up custom text but kind of got
no ware. lol! This manual is huge! lol! and i cannot commit all of it to
memory.
How about using \markup to write such information?
c4^\markup Pizz., 2nd time arco d4 e4 f4
would put the directions above the staff; substituting an underscore for the
carat would position the text below the staff.
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Re: pizz and arco: a question
Hey thank you thank you thank you for the mark up idea. It appears to have
worked and didn't error out so I guess that's good. I can't wait to get this
done. I'm sick of hearing this song over and over and… at least in my head
anyways.
Be blessed.
On May 12, 2013, at 12:05 PM, Tim McNamara tim...@bitstream.net wrote:
On May 12, 2013, at 11:52 AM, Sarah k Alawami marri...@gmail.com wrote:
Ok. in braille music, I see the word pizz and i know until I see arco I
have to pluc the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat.
So can I put a custom text after the \volta repeat 2 {custom text, music} to
let them know to do arco the second time? or what ever I decide to do? I
might do pizza for the first time and arco for the second time through.
is this an easy thing to do? I tried looking up custom text but kind of got
no ware. lol! This manual is huge! lol! and i cannot commit all of it to
memory.
How about using \markup to write such information?
c4^\markup Pizz., 2nd time arco d4 e4 f4
would put the directions above the staff; substituting an underscore for the
carat would position the text below the staff.
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final touches to the score
Ok. can someone please go over the score and correct what I missed? I think I missed some braces and misplaced some accent marks but please let me know if the notes are in the proper ranges of the instruments as I'm still 1, learning them and 2, learning lily pond. I still could not get the bass drum and snare and symbol in lile the teacher wanted as I was unsure how to add those and Im working on a misstranscribed copy in braille so some notes might be wrong, but I'll let my professor know Also how will I get all of this to fit on 8.5 by 14 inch legal paper? what do I need to modify in the paper block to get this to print out correctly tomorrow? Attached is the ly file. You guys have been so so helpful and I'm just trying to fight my way through to the end of this project. lol! Take care all and be blessed. final score.ly Description: Binary data I hoep I can learn enough to help out one day and give sage advice. lol! Hehahaa. S___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches to the score
Ok. I correct what I could, but I'm having issues with the grace notes. I tried putting the \grace command both before and after the note where the grace note is and no change. What now? I think there is a similar issue with the \trill command which I got to work before but can't get to work now. Attached is the corrected ly file. final score.ly Description: Binary data On May 12, 2013, at 6:17 PM, luis jure l...@internet.com.uy wrote: on 2013-05-12 at 16:45 Sarah k Alawami wrote: Ok. can someone please go over the score and correct what I missed? I found many errors when compiling of different kinds, mainly: lilypond syntactic errors, bar check errors, and octave errors. I don't know how to proceed. I could try to identify and locate some of the errors for you to correct, or I could try to modify the file myself and send it back to you. But that's risky, because from some obvious mistakes, I don't know how the correct output should be. Also people with better knowledge of Lilypond could contribute. Some syntactic errors i found are: in line 397 you wrote G4 (capital letter G) instead of lowercase g (lilypond is case sensitive), and you wrote \partial 8 in every music variable. The manual says The \partial command should be used only at the beginning of a piece., and lilypond complained about it when compiling. I deleted all the extra \partials, and I return you the file with only these two corrections. In my opinion the next thing would be taking care of the numerous bar check errors. For example, in line 348, beginning of cello part, you have: g8( b d g4.) g,8( b d 4.g) | perhaps you meant: g8( b d g4.) g,8( b d g4.) | There are many others, but I suspect some (many?) are related to \repeat problems. Someone else already called your attention that in some places you're using \repeat 1, which makes me think that you got it wrong: the number is the *total* number of times the expression will appear. So if you want something repeated once, you should write \repeat 2, because that's the total number of times it will appear. So check your \repeats. Once the bar checks are solved and everything is in place we should look at the octave problems. Best, ljfinal score.ly___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches to the score
Hey thanks for pointing those out. I'm still having failed bar checks where there is a pick up note in to the measure, but the check fail happens at the end of the repeat where that measure is incomplete anyway. Here is the attached almost corrupted ly file. final score.ly Description: Binary data I'm still having issues with the grace notes though. I don't know what's up there. Any help, please? Thanks and be blessed. On May 12, 2013, at 7:13 PM, Tim McNamara tim...@bitstream.net wrote: On May 12, 2013, at 6:45 PM, Sarah k Alawami wrote: Ok. can someone please go over the score and correct what I missed? I think I missed some braces and misplaced some accent marks but please let me know if the notes are in the proper ranges of the instruments as I'm still 1, learning them and 2, learning lily pond. I still could not get the bass drum and snare and symbol in lile the teacher wanted as I was unsure how to add those and Im working on a misstranscribed copy in braille so some notes might be wrong, but I'll let my professor know Also how will I get all of this to fit on 8.5 by 14 inch legal paper? what do I need to modify in the paper block to get this to print out correctly tomorrow? Attached is the ly file. You guys have been so so helpful and I'm just trying to fight my way through to the end of this project. lol! There are multiple LilyPond problems as identified in the error log. The first attempt at compiling failed due to a note spelled as G4 instead of g4 at line 397. If that is fixed, it will compile but badly. You should be able to catch that one easily, since the error log gives you the line number. There are many barcheck failures meaning you've got some errors in time values- bars that don't add up to 12/8. The barchecks should also give you information about where the problem is, but I never use them because my charts are simple lead sheets with a melody and chordnames, so it's easy to troubleshoot those problems. You've got a \partial that is not at the beginning of the piece; indeed, you've got two \partials, one before the \volta and one afterwards. It is the latter that LilyPond is probably complaining about, because \partial should only be used before the first bar. Things like \accent, \grace etc. should not have a space between them and the note. It's c4\accent and not c4 \accent. I've never used \grace notes in a chart, so I don't know but I would guess that if the \grace is detached from the note, then it would be counted differently and might result in some of your barcheck problems. BTW, \accent goes *after* the accented note without a separating space, it is not clear looking at your .ly file to which note the \accent marks refer. I think there are problems with \repeat percent 1 and \repeat percent 2 but I don't know the correct usage of those; I use \repeat volta in my charts but otherwise just write out short passages that are repeated. Relying on the musician's memory creates a higher risk of performance errors. There are also multiple musical problems. The ranges of several/most instruments are obviously incorrect. For example, in the first measure, the bassoon is 7 ledger lines below the staff- and playing two notes at once. I don't know the range of the bassoon but I doubt it is that many octaves below middle C. I think the bassoon is normally written in bass clef and you've got it in treble clef. At the end, the cello notes are 16 ledger lines above the staff and the bass is 18 ledger lines above, which neither instrument could possibly play and no one could sight read in performance. There are other range problems in other places, but you'll never see those until you can get it to compile by fixing that G4. You've got the violin and viola playing four note chords. Can they even physically do that? It looks like you've got multiple instruments playing in the wrong keys (if the concert instruments are playing in G (one sharp), the Bb clarinet, trumpet, etc. should be notated in their transposed keys (A or three sharps in this case). Horn in F appears reasonably transposed from G major to C major. As for naming instruments by specific transposition, it is more usual to call a Clarinet in Bb a Bb Clarinet to avoid confusion (it looks like you are saying the clarinet should be playing in Bb even though the key signature is G major); I also think that the convention is that a clarinet is a Bb transposing instrument unless otherwise stated (e.g., Eb clarinet). As for Trumpet in C, trumpet is a Bb transposing instrument and I have never seen a non-transposing trumpet (i.e., C trumpet), although they could exist and I could just be ignorant... I have not played orchestral music since playing cello in the 4th grade- almost 45 years ago). One pretty easy thing, though. You can set paper size in the \paper
Re: odd bar check errors
Hello to the list. I notice that some of my grace notes are also causing the bar check errors but most of them I think are happening at the end dog repeats where there's an incomplete measure as it was filling time so you can go back and repeat the anicrusis. Over all thats all I'm noting, that and the wrong octaves that I'm still not sure how to fix. sometimes I hate perfect pitch, like today. Attached is the .ly file. Take care. final score.ly Description: Binary data On May 12, 2013, at 10:12 AM, Noeck noeck.marb...@gmx.de wrote: Hi Sarah, in the lines 114 and 169 your braces are still not right, they should be after the \relative c command and not before. In line 315 and 366, there is a closing brace missing (I suppose). With these changes, LilyPond is able to compile it and the time signatures are right (12/8). But there are some remaining issues: * What do you intend with \repeat volta 1? Why would you want to put something in a repeat that is not repeated. * The octaves are probably not correctly set (up to 20 ledger lines). * There are lots of failing bar checks, i.e. wrong durations. * Wrong durations may be connected to full measure rests written as R1 instead of R1*12/8 * Linked to that, the durations of different staffs and voices do not match, therefore you have a lot of additional repeat bars in the score. * There are slurs starting but not ending. I hope this helps you to proceed. A slightly corrected version (braces and rests) is attached. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: writing percussion notes
Hey thanks for the help all of you have given. I'm writing the timpani notes as if they are regular music. I tried a new staff but that failed, probably my error lol! I read about the \drums thing but I don't quite understand how it will work after the percussionMusic equals \relative c then the key then timpani time sig and so forth. I understand the abbreviations for high hat and snare and such and to write them as if they were music with the values, but where do I put them since they will be resting through out most of the piece. Do I have to use the voiceOne voiceTwo etc etc to do this and just make sure I aline everything so I don't have misaligned measures? lol! Take care and be blessed. On May 8, 2013, at 6:04 AM, Carl Peterson carlopeter...@gmail.com wrote: On Wed, May 8, 2013 at 8:54 AM, D'Arcy J.M. Cain da...@druid.net wrote: On Wed, 8 May 2013 08:38:44 -0400 Carl Peterson carlopeter...@gmail.com wrote: The end result would be two staves without grouping, one for timpani and another for the bass/snare. I think you are correct except that the OP said; Ok. I'v never seen percussion music so I don't even know how to looks. I have to in this final assignment write for 3 timpani's, 1 player playing them, a bass drum and symbol, one player playing them and a snare. So I think three staves if I read that right. One for the timpani, one for the bass drum and cymbal (not symbol, btw) and a separate one for the snare. Sorry, missed that...may have been the symbol vs. cymbal, but anyway... It does seem like a strange setup. At first I though marching band but marching bands have one timpani per player don't they? With marching bands it depends (I think) on the performance venue. Virtually all of my experience with marching band is field performance (such as a sports venue), where the timpani will be placed at one side of the field and played in concert setting along with keyboards, gong, chimes, etc., and the timpani will be played by a single performer (who may be doing other things, depending on how much the timpani are used). Typically when these bands parade, they leave the timpani home. I think I've read of parade bands that use timpani with one performer per drum. It's only a strange arrangement to me in that I would have probably paired the snare and cymbal (depending on whether the cymbal is intended to be played ride or crash), but ultimately in percussion the assignment of instruments depends on which ones are being used simultaneously. In a Sousa march, you would probably need three percussionists because each instrument is used a lot and simultaneously. Many pieces may suffice with just one. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
odd bar check errors
Ok. I'm in 12/8 and i put that in the \global veritable and put the \blobal veritable in every part of this score that I'm working on for the moment where it should have gone, I think. How ever, something is still up as 'm counting where the bar checks are failing and I'm getting the right amount of eighth notes. I also have some other errors but I'll take a look at those later. I hope I can get this project done by tomorrow. I might need someone's help as I'm crunching for time and I have to have this handed in monday. I do have a paper size question but I'll ask that later as the teacher was very specific. If I can't read it, you are not getting graded. Anyway enough rambling from me. If I were not so pressed for time it would be better but ah well. The ly file is attached and hope the message will not be rejected. If it is I'll put a link to the file on my dropbox. Thanks. final score.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
What I mean is I want them to go back and repeat the measure once more or at
least that section. so it should be instead \repeat percent 2 {what ever that
music was} instead of what never Ihad?
I still get confused with the braces but math was not and never will be my
strong point.
Most of the bar check errors I counted correctly and they all added up to 12
eight notes as the thing is in 12/8 time.
Take care.
On May 11, 2013, at 9:48 AM, Phil Holmes m...@philholmes.net wrote:
- Original Message - From: Sarah k Alawami marri...@gmail.com
To: lilly pond discuss discuss lilypond-user@gnu.org
Sent: Saturday, May 11, 2013 5:25 PM
Subject: odd bar check errors
Ok. I'm in 12/8 and i put that in the \global veritable and put the \blobal
veritable in every part of this score that I'm working on for the moment
where it should have gone, I think. How ever, something is still up as 'm
counting where the bar checks are failing and I'm getting the right amount of
eighth notes. I also have some other errors but I'll take a look at those
later. I hope I can get this project done by tomorrow. I might need
someone's help as I'm crunching for time and I have to have this handed in
monday. I do have a paper size question but I'll ask that later as the
teacher was very specific. If I can't read it, you are not getting graded.
Anyway enough rambling from me. If I were not so pressed for time it would be
better but ah well. The ly file is attached and hope the message will not be
rejected. If it is I'll put a link to the file on my dropbox.
Thanks.
There's a few problems with braces { } and double bracket placing,
which we can help you with, but I'm confused with what you intend by:
\repeat percent 1 { d4. r4. }
Normally \repeat percent requires a number greater than one. What do you
mean by this?
--
Phil Holmes
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Re: odd bar check errors
Uh? Odd? Did I mess up in the \global veritable some ware? That just does not make sense. 4/4 does not equal 12/8 unless you want to count everything as triplets. I hope I did not brake anything. On May 11, 2013, at 9:50 AM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Sarah: I notice that although you indicate 12/8 in the global command the score prints with C or 4/4. I am not sure how to fix this yet I am sure that it effects the bar checks. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Sarah k Alawami Sent: Saturday, May 11, 2013 9:26 AM To: lilly pond discuss discuss Subject: odd bar check errors Ok. I'm in 12/8 and i put that in the \global veritable and put the \blobal veritable in every part of this score that I'm working on for the moment where it should have gone, I think. How ever, something is still up as 'm counting where the bar checks are failing and I'm getting the right amount of eighth notes. I also have some other errors but I'll take a look at those later. I hope I can get this project done by tomorrow. I might need someone's help as I'm crunching for time and I have to have this handed in monday. I do have a paper size question but I'll ask that later as the teacher was very specific. If I can't read it, you are not getting graded. Anyway enough rambling from me. If I were not so pressed for time it would be better but ah well. The ly file is attached and hope the message will not be rejected. If it is I'll put a link to the file on my dropbox. Thanks. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
Yeah I've been trying to do that eliminating a bunch of errors along the way.
bit by bit. I'll check on that later. and see where the closing right brace
should be.
Ty.
On May 11, 2013, at 10:12 AM, Wim van Dommelen m...@wimvd.nl wrote:
Hi Sarah,
Remember that error-messages do have a function. The program communicates to
you that it cannot follow.
Your problems start in line 14 by forgetting the opening bracket { of the
\relative. But I can only guess where the closing bracket should be. The
bracket don't add-up to matching sets { }.
Take my advice: as son as an error pops up, try to fix it in the next round.
Accumulation of so many errors gets you in trouble.
Regards,
Wim.
On 11 May 2013, at 18:25 , Sarah k Alawami wrote:
Ok. I'm in 12/8 and i put that in the \global veritable and put the \blobal
veritable in every part of this score that I'm working on for the moment
where it should have gone, I think. How ever, something is still up as 'm
counting where the bar checks are failing and I'm getting the right amount
of eighth notes. I also have some other errors but I'll take a look at
those later. I hope I can get this project done by tomorrow. I might need
someone's help as I'm crunching for time and I have to have this handed in
monday. I do have a paper size question but I'll ask that later as the
teacher was very specific. If I can't read it, you are not getting graded.
Anyway enough rambling from me. If I were not so pressed for time it would
be better but ah well. The ly file is attached and hope the message will not
be rejected. If it is I'll put a link to the file on my dropbox.
Thanks.
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Re: odd bar check errors
Really? It's in this harpsichord score in front of me lol! and it always has
been in my years as a chellist and singer. lol! I might just write it out and
that's actually what I've been doing for the oboe players and bassoon. lol!
Take care.
On May 11, 2013, at 1:07 PM, Phil Holmes m...@philholmes.net wrote:
- Original Message - From: Sarah k Alawami marri...@gmail.com
To: lilly pond discuss discuss lilypond-user@gnu.org
Sent: Saturday, May 11, 2013 6:32 PM
Subject: Re: odd bar check errors
What I mean is I want them to go back and repeat the measure once more or at
least that section. so it should be instead \repeat percent 2 {what ever
that music was} instead of what never Ihad?
Yes - that would be \repeat percent 2. However, I really think it's not
worth using that notation for such a short repeated phrase - it's so much
easier to spell it explicitly, and I think classical musicians don't see this
notation often. I'm now in the 2nd year of a music degree, and I've never
seen it used in notation we've been given.
--
Phil Holmes
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Re: odd bar check errors
Cool cool. Well I think I'm still bar check failing even though I am counting
the bars right. I put the braces where they should be I think. thanks for the
advice about repeats though. i think I might or might now write out the shorter
repeats. but not the longer ones. This is going to be a simple form. nothing
too complex since the deadline for this is monday. Groans I have a recording if
anyone wants to write me off list and compare it with output at least the
melody line once I get my stuff straightened. Let me know.. I want to be sure
this looks correct in print.
attached is the file.
final score.ly
Description: Binary data
On May 11, 2013, at 1:07 PM, Phil Holmes m...@philholmes.net wrote:
- Original Message - From: Sarah k Alawami marri...@gmail.com
To: lilly pond discuss discuss lilypond-user@gnu.org
Sent: Saturday, May 11, 2013 6:32 PM
Subject: Re: odd bar check errors
What I mean is I want them to go back and repeat the measure once more or at
least that section. so it should be instead \repeat percent 2 {what ever
that music was} instead of what never Ihad?
Yes - that would be \repeat percent 2. However, I really think it's not
worth using that notation for such a short repeated phrase - it's so much
easier to spell it explicitly, and I think classical musicians don't see this
notation often. I'm now in the 2nd year of a music degree, and I've never
seen it used in notation we've been given.
--
Phil Holmes
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Re: writing percussion notes
yep this is an orchestration class I'm in. Mainly this thing will have some g2 and d3 notes in there with some rests. It's a very simple piece and I'm making it sound simple by having a lot of times where they don't play lol! I'm starting to hate the piece but ah well. I'll look at this thread again when I get there as I'm still working in the horn calls. Blah~ and all of this is due by monday. Thanks all. On May 8, 2013, at 5:38 AM, Carl Peterson carlopeter...@gmail.com wrote: (Thinks back to orchestration class four years ago) The timpani (technically this is a plural noun) will be notated on one staff. If I remember correctly, there are standard-sized timpani, each with its own range. The practice I was taught in orchestrating for timpani (by a percussionist) was to basically assign each drum a pitch in their range (preferably in the middle of the range, for the best sound) as a starting point. You can move from this, but keep in mind that it can take a non-trivial amount of time to change the pitch of a drum, so a good starting place for writing this is (drone on drum 1) | (drone on drum 2 while pedaling drum 1 to a new pitch) | (drone on drum 1 at the new pitch). Silence in the transition period is also good, as it allows a timpanist to quietly play the timpani to make sure the pitch is right The bass and snare will generally be written on a single percussion line, particularly since there is one performer (they can. I've not done any composition for percussion in LilyPond (I think I saw documentation for this), but this is notated on a percussion staff where each line and space in combination with a certain notehead indicates the instrument to be played. See here: http://en.wikipedia.org/wiki/Percussion_notation. The end result would be two staves without grouping, one for timpani and another for the bass/snare. Cheers, Carl On Wed, May 8, 2013 at 12:38 AM, Sarah k Alawami marri...@gmail.com wrote: Ok. I'v never seen percussion music so I don't even know how to looks. I have to in this final assignment write for 3 timponies, 1 player playing them, a bass drum and symbol, one player playing them and a snare. I know there are to be 3 percussion lines, but in the case of the timpani's how do I indicate which ones they need, or should I? and in the case of the non pitched instruments how do I indicate those notes, or rhythms that is? Sorry if I'm not making sense. I'm not a band nerd. lol! should I do new staff groups? or is it all 3 lines on 1 staff? if so yuck! Take care. and thanks all. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
writing percussion notes
Ok. I'v never seen percussion music so I don't even know how to looks. I have to in this final assignment write for 3 timponies, 1 player playing them, a bass drum and symbol, one player playing them and a snare. I know there are to be 3 percussion lines, but in the case of the timpani's how do I indicate which ones they need, or should I? and in the case of the non pitched instruments how do I indicate those notes, or rhythms that is? Sorry if I'm not making sense. I'm not a band nerd. lol! should I do new staff groups? or is it all 3 lines on 1 staff? if so yuck! Take care. and thanks all. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
multi measure rests
I read the docs on how to do this but is there an easier way to memorize how to do this? the fractions confuse the heck out of me lol! I'm in 12/8 so I'll have 4 doted quarter notes so would the multi measure rest look like this for one measure R4. R4. R4. R4. | for example? Thanks all. and sorry for all of the questions. Take care. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi measure rests
Ok. I see there a dotted hole note, but a dotted whole note or in this case whole rest is only 8 eithgh notes if I counted correctly which my coffee deprived brain probably did not lol! I get the feeling that i'm making this harder then it really is. lol! Take care all and thanks. On May 3, 2013, at 9:23 AM, bobr...@centrum.is wrote: - Original Message - From: Sarah k Alawami marri...@gmail.com To: lilly pond discuss discuss lilypond-user@gnu.org Sent: Friday, May 3, 2013 4:13:44 PM Subject: multi measure rests I read the docs on how to do this but is there an easier way to memorize how to do this? the fractions confuse the heck out of me lol! I'm in 12/8 so I'll have 4 doted quarter notes so would the multi measure rest look like this for one measure R4. R4. R4. R4. | for example? Thanks all. and sorry for all of the questions. Take care. For one measure rest in 12/8: R1. Several measures rest in 12/8, for example, 8 measures: R1.*8 -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi measure rests
Possibally. Like I said I'm so new to lily pound and I'm trying to read the docs as best I could but sometimes the explanations are just a tad unclear. lol! and I'm trying to do my final assignment from a transcription in braille gone wrong. lol! Take care. On May 3, 2013, at 9:58 AM, Urs Liska u...@openlilylib.org wrote: A MultiMeasureRest for one measure always _looks_ like a whole note rest, no matter how long its real duration is. Maybe it's this what you mix up? Best Urs Sarah k Alawami marri...@gmail.com schrieb: Ok. I see there a dotted hole note, but a dotted whole note or in this case whole rest is only 8 eithgh notes if I counted correctly which my coffee deprived brain probably did not lol! I get the feeling that i'm making this harder then it really is. lol! Take care all and thanks. On May 3, 2013, at 9:23 AM, bobr...@centrum.is wrote: - Original Message - From: Sarah k Alawami marri...@gmail.com To: lilly pond discuss discuss lilypond-user@gnu.org Sent: Friday, May 3, 2013 4:13:44 PM Subject: multi measure rests I read the docs on how to do this but is there an easier way to memorize how to do this? the fractions confuse the heck out of me lol! I'm in 12/8 so I'll have 4 doted quarter notes so would the multi measure rest look like this for one measure R4. R4. R4. R4. | for example? Thanks all. and sorry for all of the questions. Take care. For one measure rest in 12/8: R1. Several measures rest in 12/8, for example, 8 measures: R1.*8 -David lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multi measure rests
Actually I'm not. The university brailled my piano transcript Im working off of. It would be nice though if maybe a musk student could learn lily pond and output it in to braille so all of my stuff could be done in house. using music vml or some such thing. Take care. On May 3, 2013, at 2:30 PM, Noeck noeck.marb...@gmx.de wrote: Hi, I also have a question for you: You seem to use braille music output from LilyPond. Is that builtin in LilyPond? Could you (or anyone) point me to some documentation how to use that? I would like to try it. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: an easier way to create the midi block
Hello. thanks for your reply.
Unfortunitally it is impossible to show line numbers in the mac version of lily
pond. and having to count that many manually is going to be a chore lol! I
have made the suggestion that there be an option to show line numbers and I
tried the control e command for jumping to the error in the score but that does
nothing according to voice over.
Thanks.
On May 2, 2013, at 12:52 AM, Wim van Dommelen m...@wimvd.nl wrote:
Hi Sarah,
The closing bracket } on line 34 is one too much. And in line 156 there is
some strange - not lilypond - text.
When I compiled this I noticed one important thing: the flute and trumpet (in
C) melodies show one sharp for \key g \major,
but the line you indicate with Clarinet in B-flat shows two flats (\key bes
\major). That must be a typo, I found that you transpose it twice: once in
line 37 and again in line 77. I suggest you remove the transposing in line 37
and you change the key in line 38 to the same for everyone: \key g \major.
Then everything you write down is in concert-pitch, only the display for the
clarinettist is in his/her key.
Regards,
Wim.
On 2 May 2013, at 04:27 , Sarah k Alawami wrote:
Ok. Even putting in the final score assignment fails. i don't' know where
i'm going wrong as lily pond on the mac side of things does not show line
numbers. That would be nice. and I'm not even done creating the score wight
eh flute part. roar. and some instruments are missing so I will have to add
those in if I can figure out how.
final score.ly Here is my thing attached.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too
much? lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: an easier way to create the midi block
Hey don't worry about it. I'm still a new beginner of lily pond and am trying
my hardest to get this assignment done in 2 weeks, Ok a week and a few days.
I'll take a look at the editor you mensioned and if I don't make any progress
soon someone can help me in correcting the mistakes until I really get a grasp.
I'd do it myself and take the time to learn, but I'll probably dedicate my
summer to that as I'm working on an arrangement of one of my favorite christmas
carols for a very special teacher at my university as a present. I hate asking
for help, but this time time is of the essence and I feel I'm making pretty
good progress since I started out learning lily pond in january lol!I want to
get good grades on this since it is my final assignment for this class lol!
For the poster who wanted to know, I'm using the lily pond program and that has
no line numbers lol!
take care all.
On May 2, 2013, at 11:10 AM, Wim van Dommelen m...@wimvd.nl wrote:
Oeps,
I'm sorry, I simply assumed that mentioning line numbers would be easy for
you. Lots of editors use these, on my Mac I often use TeXShop for Lilypond
and LaTeX. Basic functionality but with(!) line numbers.
In what way do you prefer a response? I could do the edits and send back the
file to you for example.
Regards,
Wim.
On 2 May 2013, at 17:02 , Sarah k Alawami wrote:
Hello. thanks for your reply.
Unfortunitally it is impossible to show line numbers in the mac version of
lily pond. and having to count that many manually is going to be a chore
lol! I have made the suggestion that there be an option to show line
numbers and I tried the control e command for jumping to the error in the
score but that does nothing according to voice over.
Thanks.
On May 2, 2013, at 12:52 AM, Wim van Dommelen m...@wimvd.nl wrote:
Hi Sarah,
The closing bracket } on line 34 is one too much. And in line 156 there is
some strange - not lilypond - text.
When I compiled this I noticed one important thing: the flute and trumpet
(in C) melodies show one sharp for \key g \major,
but the line you indicate with Clarinet in B-flat shows two flats (\key bes
\major). That must be a typo, I found that you transpose it twice: once in
line 37 and again in line 77. I suggest you remove the transposing in line
37 and you change the key in line 38 to the same for everyone: \key g
\major. Then everything you write down is in concert-pitch, only the
display for the clarinettist is in his/her key.
Regards,
Wim.
On 2 May 2013, at 04:27 , Sarah k Alawami wrote:
Ok. Even putting in the final score assignment fails. i don't' know where
i'm going wrong as lily pond on the mac side of things does not show line
numbers. That would be nice. and I'm not even done creating the score
wight eh flute part. roar. and some instruments are missing so I will
have to add those in if I can figure out how.
final score.ly Here is my thing attached.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too
much? lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: an easier way to create the midi block
No it's for 2 flutes. so they will know to divide those 2 parts. lol!
I tried the \score thing but even seeing the layout of one of these things has
my head spinning lol!
I'm still quite quite new to lily pond and am learning it crush time style as I
need it to pass the is class I'm in. I wish I had more time to learn
everything. lol!
Take care.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too much?
lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
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Re: an easier way to create the midi block
Hey thanks that sort of worked, except my relative c is not working It's being
played int eh wrong octave and my \repeat percent 2 thing is not working
either. it is failing with a bar check and it should not as 2 of those make a
complete measure.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too much?
lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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Re: an easier way to create the midi block
Ok. Even putting in the final score assignment fails. i don't' know where i'm
going wrong as lily pond on the mac side of things does not show line numbers.
That would be nice. and I'm not even done creating the score wight eh flute
part. roar. and some instruments are missing so I will have to add those in if
I can figure out how.
final score.ly
Description: Binary data
Here is my thing attached.
On May 1, 2013, at 12:13 AM, and...@andis59.se wrote:
On 2013-05-01 05:47, Sarah k Alawami wrote:
Is there an easier way to make the midi block with out remembering too much?
lol!
Don't you need a \score ?
If I add \score { before {\relative c,,
and add \midi{} } last in the file I get a midi file.
I attach the changed file. NB! I'm using version 2.17.11
// Anders
PS! Not being a flutist (?) I'm a bit surprised that a flute can play two
notes at the same time!
--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
flute_music_ame.ly___
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an easier way to create the midi block
Hello. I'm starting from scratch with a score doing the separate parts then I'm going to include them all in to one file and transpose where needed with the instruments that need it. I got through the first part fine, but I want to hear if I have any mistyped octave marks and stuff. I tried making the midi block but failed. I know I have some bar check errors and I'll fix those once I count it out in my head. I was going off of a score in front of me so perhaps I mistranscribed it. Here is the .ly file. Is there an easier way to make the midi block with out remembering too much? lol! flute_music.ly Description: Binary data Take care. and be blessed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change of plans for this final project
It's actually for a b flat clarinet but I already changed it to the right key.
the instructor was very very very specific in his instructions lol!
right now Im working on the parts separately in the file. flute and oboe for
now. The piece is not very creative. lol! I read on how to do this in the
manual but will have to consult this again when it comes time to put this
monster together lol!¬
Take care.
On Apr 29, 2013, at 1:09 AM, Wim van Dommelen m...@wimvd.nl wrote:
Hi Sarah,
1. If you write \key g \major and present this score to a clarinettist --
playing on a B-flat clarinet -- the piece will sound as \key f \major.
2. If you write \key g \major and present this score to a horn player --
playing a horn in F -- the piece will sound as \key c \major.
3. When in doubth I use the little mnemonic trick I learned on the basic
school: When you play a (written) C on a B-flat clarinet it sounds like a
B-flat on the piano (which is in concert-pitch, one whole note lower), so
when you want to play the sound a piano produces when playing the C you have
to adjust the same amount on your clarinet, one whole note higher, play a D.
4. So for the horn in F: when you play the G on the horn it sounds as a C.
The keys go parallel to this.
5. Looking at your example, assuming these notes are shown to
instrumentalists:
\key g \major { g fis e d }
will sound (in your ear) as:{ g fis e d } on a piano
will sound (in your ear) as:{ f e d c } on a
B-flat clarinet
will sound (in your ear) as:{ c b a g } on a F
horn
will sound (in your ear) as:{ e dis c bes } on a A clarinet
6. Because instrumentalists are used to a certain notation, you have to keep
in mind what note you want to sound and transpose the score accordingly. For
this example I assume you want the notes g fis e d to sound, in concert-pitch
as if on a piano. For all these instruments you transpose like this:
\version 2.16.0
{
%piano:
\clef treble
\key g \major
\relative c'' { g fis e d }
% B-flat clarinet:
\clef treble
\transpose bes c' {
\key g \major
\relative c'' { g fis e d }
}
% F horn:
\clef bass
\transpose f c' {
\key g \major
\relative c { g fis e d }
}
% A clarinet:
\clef treble
\transpose a c' {
\key g \major
\relative c'' { g fis e d }
}
}
Note that I put the \key signatures inside the \transpose sections so I let
Lilypond do that conversion also.
I hope this helps you and doesn't lead to more confusion.
Regards,
Wim.
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Re: change of plans for this final project
Hehahahaha. Yeah I can transpose as a pianist. I do it all the time. I just don't note down what I'm playing. Drives singers hattie as I am one to I like to annoy them by playing hymns in the keys they re not written on the page. lol! Btw for the poster who posted the stuff for lily pond v 2.16 it will be grately appreciated. do I need to do this in the score or when it comes time to include all of this music of this horrible assignment? lol! Sarah Alawami: Owner of Alawami productions, where quality is key. Check us out on the web at http://alawamiproductions.com/mastering On Apr 29, 2013, at 7:54 AM, Daniel Rosen drose...@gmail.com wrote: On Apr 29, 2013, at 10:17 AM, Francisco Vila paconet@gmail.com wrote: El 29/04/2013 14:03, Daniel Rosen drose...@gmail.com escribió: That which would solve a problem for pianists and composers, not so much for singers, would pose a new big problem for sax, clarinet etc. instrumentalists who had to learn how to play (read for) every size again from scratch. As long as they have scores especially prepared for them, their lifes are now happier as they are. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com Of course. Like I said, I realize it's not going anywhere for precisely that reason. The most important part of my original comment was the start: If I had my way... So, in other words, if you like things the way they are, all you need to do is make sure that I never become the Supreme Overlord of the World. (I have no aspirations at all toward that office, so preventing me from attaining it should be easy enough for you. :P) DR Sent from my iPhone ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
hiding empty staves until they are needed
Hello. In lily pond i am creating my final assignment for the semester. Yee! lol! except not. I don't want to write rests and i plan on maybe writing out the repeats. I don't now yet. I want to though hide empty staves until they are needed, then hide the staves again. I saw this in a choir score i was reading for one of our concerts and wondered if that is possible that way i don't have to write out rests. Also how will this effect the parts i will eventually create for each player to turn in to the prof. I have until may 10 probably to complete this assignment and i want to work on a bit at a time so i don't get a headache lol! i'm still using lily pond v 2.16 Thanks. And i'm not looking forward to starting this project. I already have a templet i found on the lily pond manual which is close enough. I can probably remove the staves i'm not going to use so as not to waist paper or what ever the prof will do with it lol! take care all and thanks for your patience. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
short names for instruments
Ok.. Here is the instrumentation for this final assignment. I do have some
questions so bare with me.
I have the templet almost complete except the choir voices are still in there.
I guess I remove then and change the layout block to reflect that after I'm
done with the music part itself
2 Flutes
2 Oboes
2 Clarinets
2 Bassoons
2 Horns
2 Trumpets
2 Tenor Trombones
0 Tuba
Timpani (2-3 drums)
Bass Drum Cymbal (1 player)
Snare Drum
Violin I (8)
Violin 2 (6)
Viola (4)
Violoncello (4)
Contrabass (2)
Everything that is missing is the bassoon I think. and the trumpet is in the
wrong place according to the score I think. if I remember the way the score
looks.
Here is the templet I have so far.
#(set-global-staff-size 17)
\paper {
indent = 3.0\cm % space for instrumentName
short-indent = 1.5\cm % space for shortInstrumentName
}
fluteMusic = \relative c' { \key g \major g'1 b }
% Pitches as written on a manuscript for Clarinet in A
% are transposed to concert pitch.
clarinetMusic = \transpose c' bes
\relative c'' { \key f \major bes1 d }
trumpetMusic = \relative c { \key g \major g''1 b }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c { d'1 fis }
percussionMusic = \relative c { \key g \major g1 b }
sopranoMusic = \relative c'' { \key g \major g'1 b }
sopranoLyrics = \lyricmode { Lyr -- ics }
altoIMusic = \relative c' { \key g \major g'1 b }
altoIIMusic = \relative c' { \key g \major g'1 b }
altoILyrics = \sopranoLyrics
altoIILyrics = \lyricmode { Ah -- ah }
tenorMusic = \relative c' { \clef treble_8 \key g \major g1 b }
tenorLyrics = \sopranoLyrics
pianoRHMusic = \relative c { \key g \major g''1 b }
pianoLHMusic = \relative c { \clef bass \key g \major g1 b }
violinIMusic = \relative c' { \key g \major g'1 b }
violinIIMusic = \relative c' { \key g \major g'1 b }
violaMusic = \relative c { \clef alto \key g \major g'1 b }
celloMusic = \relative c { \clef bass \key g \major g1 b }
bassMusic = \relative c { \clef bass_8 \key g \major g,1 b }
\score {
\new StaffGroup = StaffGroup_woodwinds
\new Staff = Staff_flute {
\set Staff.instrumentName = #Flute
% shortInstrumentName, midiInstrument, etc.
% may be set here as well
\fluteMusic
}
\new Staff = Staff_clarinet {
\set Staff.instrumentName =
\markup { \concat { Clarinet in B \flat } }
% Declare that written Middle C in the music
% to follow sounds a concert B flat, for
% output using sounded pitches such as MIDI.
\transposition bes
% Print music for a B-flat clarinet
\transpose bes c' \clarinetMusic
}
\new StaffGroup = StaffGroup_brass
\new Staff = Staff_hornI {
\set Staff.instrumentName = #Horn in F
\transposition f
\transpose f c' \hornMusic
}
\new Staff = Staff_trumpet {
\set Staff.instrumentName = #Trumpet in C
\trumpetMusic
}
\new RhythmicStaff = RhythmicStaff_percussion
\set RhythmicStaff.instrumentName = #Percussion
\percussionMusic
\new PianoStaff
\set PianoStaff.instrumentName = #Piano
\new Staff { \pianoRHMusic }
\new Staff { \pianoLHMusic }
\new ChoirStaff = ChoirStaff_choir
\new Staff = Staff_soprano {
\set Staff.instrumentName = #Soprano
\new Voice = soprano
\sopranoMusic
}
\new Lyrics \lyricsto soprano { \sopranoLyrics }
\new GrandStaff = GrandStaff_altos
\with { \accepts Lyrics }
\new Staff = Staff_altoI {
\set Staff.instrumentName = #Alto I
\new Voice = altoI
\altoIMusic
}
\new Lyrics \lyricsto altoI { \altoILyrics }
\new Staff = Staff_altoII {
\set Staff.instrumentName = #Alto II
\new Voice = altoII
\altoIIMusic
}
\new Lyrics \lyricsto altoII { \altoIILyrics }
\new Staff = Staff_tenor {
\set Staff.instrumentName = #Tenor
\new Voice = tenor
\tenorMusic
}
\new Lyrics \lyricsto tenor { \tenorLyrics }
\new StaffGroup = StaffGroup_strings
\new GrandStaff = GrandStaff_violins
\new Staff = Staff_violinI {
\set Staff.instrumentName = #Violin I
\violinIMusic
}
\new Staff = Staff_violinII {
\set Staff.instrumentName = #Violin II
\violinIIMusic
}
\new Staff = Staff_viola {
\set Staff.instrumentName = #Viola
\violaMusic
}
\new Staff = Staff_cello {
\set Staff.instrumentName = #Cello
\celloMusic
}
\new Staff = Staff_bass {
\set Staff.instrumentName = #Double Bass
\bassMusic
}
\layout { }
}
so is this change going to be wary? I have not even started out writing notes.
and for the clarinet and those that transpose so I need to mentally think and
change of plans for this final project
Ok. I read in the manual since this will be a score and parts that it would probably be easier if I made the files individually. the combined then in t the score and parts needed for the conductor and students, or in this case the prof. I think this is a good idea so I don't have to count rests and see what is and is not metrically alined. lol! Well almost. Some will have to have multiple staffs according to the inductions. My question is this. Since some instruments transpose do I need to write them in the key that the piece is in (in this case g major) and put in the transpose command later? this would be easier as I have perfect pitch and have issues as I'm hearing the piece but have to think in the case of a clarinet a major second lower. lol! right now that hurts my brain and I need to try and get this done by may 10. or earlier. lol! What is the easiest way with out getting a major headache to tackle this beast. lol! Take care all. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change of plans for this final project
On Apr 28, 2013, at 12:10 PM, Sarah k Alawami marri...@gmail.com wrote:
Ok. coolio. I'm not there yet. as I'm still working on the flute part
separately. but for the clarinet since it is a major second lower and is a b
flat instrument do I have to transpose its key in f as the piece is in g? or
am I thinking the wrong direction? lol!I'm a choir geek not a band nerd. lol!
I'll write the pitches as I hear them for now then worry about keys later, or
is that the wrong way to go?.
Take care.
On Apr 28, 2013, at 11:46 AM, David Kastrup d...@gnu.org wrote:
Sarah k Alawami marri...@gmail.com writes:
Ok. I read in the manual since this will be a score and parts that it
would probably be easier if I made the files individually. the
combined then in t the score and parts needed for the conductor and
students, or in this case the prof. I think this is a good idea so I
don't have to count rests and see what is and is not metrically
alined. lol! Well almost. Some will have to have multiple staffs
according to the inductions. My question is this. Since some
instruments transpose do I need to write them in the key that the
piece is in (in this case g major) and put in the transpose command
later? this would be easier as I have perfect pitch and have issues as
I'm hearing the piece but have to think in the case of a clarinet a
major second lower. lol! right now that hurts my brain and I nee
d to try and get this done by may 10. or earlier. lol! What is the
easiest way with out getting a major headache to tackle this
beast. lol!
Before version 2.17.13, you want to avoid having \transposition inside
of \transpose because its behavior is somewhat strange.
\transposition gives the relation between audible and visible pitch.
If you want to enter stuff in true pitch, you can transpose it down
visually by using \transpose. So if you write something like
\new Staff {
\transposition bes
\transpose bes c' { bes ces' des' es' }
}
then what you write inside of the \transpose command is transposed one
note up visually, but the bes that looks like c' after the transposition
sounds like bes still.
--
David Kastrup
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Re: change of plans for this final project
Ok, so in this case this thing is in g. so if I write something like
\key g \major
[g fis e d |
} How would that look transposed to the horn in f? besides the key being a
forth higher then what I'm actually hearing. I think. I'm trying to remember my
theory classes from years ago lol!
Take care.
On Apr 28, 2013, at 12:39 PM, David Kastrup d...@gnu.org wrote:
Daniel Rosen drose...@gmail.com writes:
-Original Message-
From: David Kastrup [mailto:d...@gnu.org]
Sent: Sunday, April 28, 2013 2:46 PM
To: lilypond-user@gnu.org
Subject: Re: change of plans for this final project
\transposition gives the relation between audible and visible pitch.
If you want to enter stuff in true pitch, you can transpose it down
visually by
using \transpose. So if you write something like
\new Staff {
\transposition bes
\transpose bes c' { bes ces' des' es' } }
then what you write inside of the \transpose command is transposed one
note up visually, but the bes that looks like c' after the
transposition sounds
like bes still.
--
David Kastrup
David, this is something that I've come across in the past that has
confused me as well.
You snipped from my reply the following important information:
Before version 2.17.13, you want to avoid having \transposition
inside of \transpose because its behavior is somewhat strange.
Keep that in mind, and keep \transposition out of \transpose. Or the
result will confuse you...
Can you explain in greater detail exactly what the difference is
between \transpose and \transposition, and why there are two separate
commands?
Because they do entirely different things. \transposition does not
change the visible score, it only makes a difference regarding what you
hear.
\transpose changes both visible and audible notes by the same amount.
At any rate, the documentation is pretty good by now, so try
URL:http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-pitches#instrument-transpositions
--
David Kastrup
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Re: change of plans for this final project
Ok. I think then I'll prob write it in the \transpose command, but will this work in v 2.16 and up? On Apr 28, 2013, at 12:13 PM, David Kastrup d...@gnu.org wrote: Sarah k Alawami marri...@gmail.com writes: Ok. coolio. I'm not there yet. as I'm still working on the flute part separately. but for the clarinet since it is a major second lower and is a b flat instrument do I have to transpose its key in f as the piece is in g? or am I thinking the wrong direction? If you write the \key inside of the \transpose, you'll be writing it like you hear it, just like the notes. If outside, you'll write like the clarinet players will read it. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
where does the repeat code go?
In reading the following documentation for repeats http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Repeats where does the code go? I think in listening to this piece and analyzing before I go in that there are 2 sets of repeats. and I'm trying to minimize the work I need to do on this piece lol! There are a lot of crazes that are the same throughout the whole piece. At the end of the piece how do I indicate as this is 2 giant repeats that I want a retard at the end only not after the repeat of the second large phrase? I guess I'll get to that later lol! Take care all. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
the question of triplets
Ok. I understand how triplets work. I've played them often enough lol! but in lily pond according to the manual it says it's written in a fraction. That's the part I don't get. I'm very horrible at math so is there a way to comprehend these triplets. I think they are eighth notes if I hear the recording correctly. I do not have a copy of the brailled piano piece yet so I'm not sure. Any tips? This thing is due by may 10th but I'm hoping I can get this done minus the repeats. roar. Take care all. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: articulation simbols
I guess I'll have to remember those symbols then. lol! The manual did not explain them at all. Is there a way to memorize these? I'm coming from braille music here lol! lol. I know what percent is. I think I might have been going faster then my brain. Hehahah. Thanks and take care. On Mar 18, 2013, at 6:03 PM, Tim Reeves tim.ree...@tokamerica.com wrote: Message: 2 Date: Mon, 18 Mar 2013 13:00:40 -0700 From: Tim Reeves tim.ree...@tokamerica.com To: lilypond-user@gnu.org Subject: Re: lilypond-user Digest, Vol 124, Issue 124 Message-ID: of01d29e28.05b80cfb-on88257b32.00696897-88257b32.006de...@tokamerica.com Content-Type: text/plain; charset=us-ascii Message: 8 Date: Sat, 16 Mar 2013 15:20:32 -0700 From: Sarah k Alawami marri...@gmail.com To: lilly pond discuss discuss lilypond-user@gnu.org Subject: articulation simbols Message-ID: 70420b68-2597-433f-b1cc-47d884d5d...@gmail.com Content-Type: text/plain; charset=us-ascii Hello to all. I was tryign to look up accents and staccato marks in lily pond. I found a lit of articulations but it just shows the image of music and the manual at least as far as I can tell does not explain what % and - and + mean etc etc etc. I thin I remember how to do it but is there text I can write? I tried accent and staccato, but that failed with a bang. i put comments on where these things should be for my own benefit so I can add them before the project is due, and just wrote the notes down for now. any thoughts on how I should go about doing this? Thanks and be blessed. + is not really an articulation, it is the symbol for a stopped note. OK, Lilypond calls it an articulation. I don't (I'm a horn player, but so is Han-Wen who I'm sure put it in originally, so go figure!) % is not an articulation, it is the symbol for a comment (in the lilypond code). - combines with other symbols to make articulations: . (staccato) (accent) - (tenuto) etc. It is quicker to type than \staccato etc. Example: d4- f- g- a g8-. e-. c-. g-. c4-- e-- d-^ f-^ Sorry for messing up the thread subject. One of the drawbacks of getting the emails in digest format is you have to change the subject when you reply. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches, but getting errors.
lol. I already fixed that last night. Hehahaha. thanks though. Be blessed. On Mar 17, 2013, at 3:54 AM, MING TSANG tsan...@rogers.com wrote: Hi, I am also new to lilypond. I spot typo error on line 181. The code should be \barI not \bar\. I make change and it compiles. Ming. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: articulation simbols
Ah thanks. yeah I got it done and hope it's playable tomorrow. We'll see. I can't play it but im not a good pianist. lol! Thanks for those I'll make note of them as I'm sure I'll be using them in the class a lot lol! Sarah Alawami: Owner of Alawami productions, where quality is key. Check us out on the web at http://alawamiproductions.com/mastering On Mar 16, 2013, at 9:57 PM, Werner LEMBERG w...@gnu.org wrote: \staccato \tenuto \accent Will give this a go. It's a glaring omission in the manual (and thus a severe obstacle for blind users) that most articulation symbols are not described verbally but only shown as images. http://lilypond.org/doc/v2.16/Documentation/notation/list-of-articulations Sorry for that. Please don't hesitate to ask if you are looking for something and you can't find it! The more you ask the greater the pressure to us to document it :-) Werner PS: This is bug #1189, almost three years old. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
articulation simbols
Hello to all. I was tryign to look up accents and staccato marks in lily pond. I found a lit of articulations but it just shows the image of music and the manual at least as far as I can tell does not explain what % and - and + mean etc etc etc. I thin I remember how to do it but is there text I can write? I tried accent and staccato, but that failed with a bang. i put comments on where these things should be for my own benefit so I can add them before the project is due, and just wrote the notes down for now. any thoughts on how I should go about doing this? Thanks and be blessed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: articulation simbols
Ok. I was for some odd reason surrounding it in quotes. I'll play with that and thanks goodness I commented in my file where these things were lol! Will give this a go. Using v 2.16 I think, the latest stable release. Not ready to go beta as I'm still very much learning and doing my best. Tc all. On Mar 16, 2013, at 3:24 PM, ryanmichaelmcclure ryanmichaelmccl...@gmail.com wrote: Hi there! To be honest, I don't use the symbols like + and things like that. Here is what I use: After the note in question, after a duration if it has one, add the following: \staccato \tenuto \accent For example, if you wanted an accent over a half note c: c2\accent Let me know if things are still not working -Ryan McClure -- View this message in context: http://lilypond.1069038.n5.nabble.com/articulation-simbols-tp142832p142833.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
final touches, but getting errors.
Ok. I don't recall changing anything in this templet. All was working fine until I added some accent marks and such. those compiled ok but now when I added the \bar| I got the compilation errors. I know I'm close. did I miss an equals sign some wares? here is the ly file. and I'm aware I missed a crescendo some ware as well. I'll fix that. piano reduction of young person's guide.ly Description: Binary data Take care all.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches, but getting errors.
Actually that's the first thing I checked and I don't think I found a missing
close brace.. I'll look again in case I missed it. That was my thinking to
actually.
Take care.
On Mar 16, 2013, at 9:06 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
Sarah:
When I compiled the file I got the unexpected string error message for the
unexpected String \set PianoStaff.instrumentName = #Piano . My
experience is that this occurs when I fail to have a closing brace, },
correctly paired with an opening brace , {. This may or may not be the
case here. It is a place to start checking.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Sarah k Alawami
Sent: Saturday, March 16, 2013 8:10 PM
To: lilly pond discuss discuss
Subject: final touches, but getting errors.
Ok. I don't recall changing anything in this templet. All was working fine
until I added some accent marks and such. those compiled ok but now when I
added the \bar| I got the compilation errors. I know I'm close. did I miss
an equals sign some wares?
here is the ly file. and I'm aware I missed a crescendo some ware as well.
I'll fix that.
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Re: final touches, but getting errors.
Got it. I had \bar\ not \bar| All fixed now. Strange that would cause the
error. I would have expected something like unknown escape string or something
like that. Now it's all done. lol!
Thanks for the hint.
Take care.
On Mar 16, 2013, at 9:06 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
Sarah:
When I compiled the file I got the unexpected string error message for the
unexpected String \set PianoStaff.instrumentName = #Piano . My
experience is that this occurs when I fail to have a closing brace, },
correctly paired with an opening brace , {. This may or may not be the
case here. It is a place to start checking.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Sarah k Alawami
Sent: Saturday, March 16, 2013 8:10 PM
To: lilly pond discuss discuss
Subject: final touches, but getting errors.
Ok. I don't recall changing anything in this templet. All was working fine
until I added some accent marks and such. those compiled ok but now when I
added the \bar| I got the compilation errors. I know I'm close. did I miss
an equals sign some wares?
here is the ly file. and I'm aware I missed a crescendo some ware as well.
I'll fix that.
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Re: roling cords
No I mean like when you have a fist full of cord and you want the cord to play on the beat but it's so big you have to role from the top to the bottom. Here is a badly played example. sorry about the ringing c sharp. it's broken. http://alawamiproductions.com/dl/DM421359.MP3 It's not arpasiated but a friend of mine explained when we had to do this for theory something about a bracket being placed around the cord to be roled. I'm going off of hazy memory here. Thanks and take care. I will look at the docs anyways just in case. On Mar 14, 2013, at 5:06 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Sarah: If by rolling chords you mean an arpeggio this might be of help: http://www.lilypond.org/doc/v2.16/Documentation/notation/expressive-marks-as -lines Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Sarah Alawami Sent: Thursday, March 14, 2013 4:25 PM To: lilly pond discuss discuss Subject: roling cords I might need to role a few coreds in this piano reduction. I know the term ala harp, or somethign like that. Would that text work in lily pond before the less then and grater then symbols or is there an easier way to do this? No mark up language. I'm not quite ready to memorise that yet. I'm thinking ahead as I need to reduce 24 measures by monday and don't want to bother anyone much lol! I have other questions but I'll ask them as time goes on. Tc all and be blessed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: roling cords
Ok. so based on the example I played I have no choice. so do I just put the whole shebang on beat one and hope the pianist, in this case either me or the prof or a class mate would have the sense to do what I did, better then me of corse. lol. I know how to build the cord in lily pond but I'm wondering if I need to do something special or will they just know, unless they have hands that can stretch 2 octaves lol! do I need that bracket or how ever my sighted friend described it to me when we put it in to a piece I was composing about 5 years ago? the teacher rolled that cord the way we had indicated. Tc all and be blessed. I should be up to that point tomorrow in the piece. By then hopefully I would have decided what to do. Take care all and thanks for putting up with me. On Mar 15, 2013, at 8:24 PM, Shane Brandes sh...@grayskies.net wrote: If it is a Chopin piece simply rolling a large chord would not be inappropriate. Rolling chords was probably a much more common practice in that era anyway. In any event, early recordings and anecdotal evidence suggest such a thing. So the point is if you feel you need to roll a chord to make the pitches and fullness of sonority go for it and it is not really necessary to mark such things unless the chord is clearly smaller than a tenth and you need to indicate a roll of a chord where it would not otherwise be physically required. Shane On Fri, Mar 15, 2013 at 8:06 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Sarah: What is the Chopin piece? I may have a copy and could see what you want. Mark -Original Message- From: Sarah k Alawami [mailto:marri...@gmail.com] Sent: Friday, March 15, 2013 4:58 PM To: Mark Stephen Mrotek Subject: Re: roling cords lol. My hands are not that big. I wish I could play that big cord with one hand, but the octave a's will be probably be best played wit the left hand on the and of 3, then the higher octave a's be played with the rest of the cord on 1, but I don't' want the pianist to be restricted with rhythm especially since I might be playing this, I hope not. I'm trying to pull a chopin where he has these big cords but the bottom note is played first like in the middle section of rain drops. but hopefully I'm being clear on this. My instrument is not piano, it's voice. lol! Be blessed. I sent the reply as well to the list in case someone else has any other ideas. Take care. On Mar 15, 2013, at 4:47 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Hi Sarah: I listened to your example. Is the chord to be played by one hand or by two? Is it all in one staff or split between two? Mark -Original Message- From: Sarah k Alawami [mailto:marri...@gmail.com] Sent: Friday, March 15, 2013 3:11 PM To: Mark Stephen Mrotek Subject: Re: roling cords No I mean like when you have a fist full of cord and you want the cord to play on the beat but it's so big you have to role from the top to the bottom. Here is a badly played example. sorry about the ringing c sharp. it's broken. http://alawamiproductions.com/dl/DM421359.MP3 It's not arpasiated but a friend of mine explained when we had to do this for theory something about a bracket being placed around the cord to be roled. I'm going off of hazy memory here. Thanks and take care. I will look at the docs anyways just in case. On Mar 14, 2013, at 5:06 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Sarah: If by rolling chords you mean an arpeggio this might be of help: http://www.lilypond.org/doc/v2.16/Documentation/notation/expressive-m a rks-as -lines Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Sarah Alawami Sent: Thursday, March 14, 2013 4:25 PM To: lilly pond discuss discuss Subject: roling cords I might need to role a few coreds in this piano reduction. I know the term ala harp, or somethign like that. Would that text work in lily pond before the less then and grater then symbols or is there an easier way to do this? No mark up language. I'm not quite ready to memorise that yet. I'm thinking ahead as I need to reduce 24 measures by monday and don't want to bother anyone much lol! I have other questions but I'll ask them as time goes on. Tc all and be blessed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi output
Actually I copied all the notes to the templet of piano that why i just had to write in the measures.. Thanks and no worries about your english. it's all good. On Mar 12, 2013, at 1:30 AM, and...@andis59.se wrote: On 2013-03-12 04:46, Sarah k Alawami wrote: I decided to change threads to make the list archives more clean *smiles* Ok. now that I have the bar checks sorted at least for these 4 measures and Ill stop there for tonight, how do I render it as a midi so I can hear if Im right int he octaves or not. I want to do this until I'm comfortable and can do this with out relying on my ears as much Here is the .ly file again. Hello Sarah, I'm a beginner like you so this might be not perfect (but I'm sure someone will correct what's wrong). I have put the notes outside the staff. I think it makes it cleaner and it's easier to reuse parts. Best Wishes // Anders -- English isn't my first language. So any error or strangeness is due to the translation. Please correct my English so that I may become better. piano reduction 03-11-2013.ly___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative is not the best way of entering complicated music
Ok. I suck at reading staff lines. I come from braille music where th eoctive signs are given to me and I sing or play badly the correct pitches based on the octave mark. I'll try and give this mental thing a go since I bass in treble anyways around middle c so that might or might not help. lol! I'm determined to learn lily pond the best I can with out much of a headache. lol! Thanks and be blessed. On Mar 10, 2013, at 8:41 PM, Nick Payne nick.pa...@internode.on.net wrote: On 11/03/13 08:57, Sarah k Alawami wrote: Is there a way to memorize or through pattern recognition how many ' and , symbols it takes to jump octaves? Think of it in terms of staff lines or spaces: a note within a fifth of the previous note doesn't need ' or , to get the correct pitch, with accidentals being ignored in the calculation. So if a note is on a staff line or ledger line, then if the next note is closer than two lines above or two lines below, then it doesn't need ' or , to get the correct pitch. Similarly, if a note is on the space between two staff lines or ledger lines, then if the next note is closer than the second space above or below it doesn't need ' or , for correct pitch. If a note is more than an octave away then add or subtract octaves until it's within an octave, then see if it's within a fifth or not to determine how many ' or , needed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
one bar check failing
Hello. I have 1 bar check failing at what it says is at 1/2 I looked at the second beat of the first measure and the cord is still a half note. the time is 3/2 Here is my .li file piano reduction 03-11-2013.ly Description: Binary data Note that I did not even attempt to put it in a piano staff first. I'm just doing notes first. I was trying to do the midi block to see if I got the octaves correct. If I can get the first 2 measures correct I should be fine. and thanks for the explanation. I think I'm getting it now. Take care and be blessed.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: one bar check failing
Yeah. Here is the log. I already know I don't have a version statement in lol! This is starting after the version statement error which I already know about. warning: no music found in score warning: no music found in score Interpreting music... /Users/SA/Desktop/piano reduction 03-11-2013.ly:8:26: warning: barcheck failed at: 1/2 f, a d2 a d f d f a | Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `piano reduction 03-11-2013.ps'... Converting to `./piano reduction 03-11-2013.pdf'... Success: compilation successfully completed it converted but why the bar check fail? Take care and be blessed. On Mar 11, 2013, at 7:51 PM, Nick Payne nick.pa...@internode.on.net wrote: On 12/03/13 12:13, Sarah k Alawami wrote: Hello. I have 1 bar check failing at what it says is at 1/2 I looked at the second beat of the first measure and the cord is still a half note. the time is 3/2 Here is my .li file Note that I did not even attempt to put it in a piano staff first. I'm just doing notes first. I was trying to do the midi block to see if I got the octaves correct. If I can get the first 2 measures correct I should be fine. and thanks for the explanation. I think I'm getting it now. I don't get any barcheck error on the example you posted. Are you sure that is actually where you are seeing the error? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: one bar check failing
Oh crap! Ok! Why oh why did I not think of that! Ok. I could kick myself. but I'll do that later lol! Now back to work, I hope. On Mar 11, 2013, at 7:55 PM, Graeme Lee gra...@omni.net.au wrote: Hi Sarah. notes and key/time signature should follow the \relative c' in a block. Everything is being reset with the new staff block. Hope this helps! Graeme On 12/03/2013 12:13 PM, Sarah k Alawami wrote: Hello. I have 1 bar check failing at what it says is at 1/2 I looked at the second beat of the first measure and the cord is still a half note. the time is 3/2 Here is my .li file Note that I did not even attempt to put it in a piano staff first. I'm just doing notes first. I was trying to do the midi block to see if I got the octaves correct. If I can get the first 2 measures correct I should be fine. and thanks for the explanation. I think I'm getting it now. Take care and be blessed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: one bar check failing
Cool. it worked! Now why did the midi file not create? only the pdf. I don't'
want to move on unless I know my octaves are correct. in the right hand
anyways. lol!
Thanks and be blessed.
On Mar 11, 2013, at 8:09 PM, wjm mooney...@aim.com wrote:
Hi,
If you move the opening curly brace to below the \relative line
and remove the \new Staff line altogether the result should compile with no
bar-check errors and no, possibly unwanted, empty staff lines.
The altered result is below.
I hope this helps.
Regards
Bill
\relative c'
{
\key d\minor
\time 3/2
%\new Staff
\set Staff.midiInstrument = #piano
f, a d2 a d f d f a |
f bes d4 g e'8 a f' bes g' a f' g e' f d' e cis'2 |
}
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midi output
I decided to change threads to make the list archives more clean *smiles* Ok. now that I have the bar checks sorted at least for these 4 measures and Ill stop there for tonight, how do I render it as a midi so I can hear if Im right int he octaves or not. I want to do this until I'm comfortable and can do this with out relying on my ears as much Here is the .ly file again. piano reduction 03-11-2013.ly Description: Binary data . I realize the ending looks a bit strange until I get the left hand in if I can do that by tonight, but there. the bar check errors are gone btw. thanks and be blessed.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative is not the best way of entering complicated music
Oh the docs messed up. lol! It was in the notes reference guide at the octave
checks section.
Here is the example they gave.
\relative c'' {
c2 d='4 d
e2 f
}
so I followed the directions unless I just red it wrong. lol! whichI probably
did as I was rushing to get the assignment done. lol!
Take care and be blessed.
On Mar 10, 2013, at 12:56 AM, David Kastrup d...@gnu.org wrote:
Sarah k Alawami marri...@gmail.com writes:
I actually tried the let's say e='t or how ever the docs were
written. I don't have them up at the moment and it failed with unknown
rhythm. Iactually meant e5 on the piano. so how would have I fixed
this if I had if I remember
[relative c'' for middle c if I remember that to and i place an e='5
in the block 5 measures down? so I know that's the pitch I want?
LilyPond does not relate to American (or scientific) pitch notation,
to the degree where it goes unmentioned in standard documentation or
even glossary. This is arguably a rather glaring omission.
The book said it would correct it if it was wrong but it just through
up an error saying unknown rhythm.
LilyPond never uses numbers for pitches, so what you should have written
was e='' (c' is C4, so e'' is E5).
--
David Kastrup
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Re: \relative is not the best way of entering complicated music
Well I'm used to writing numbers as my theory person had us do for our key
board tests so I see c4 and think, Oh middle c on the piano. so that's how I
interpreted it in the docs as a middle c not a quarter note. I also
misinterpreted the ' symbol to mean a single quote so it literally did mean c 4
on the piano not a quarter note. Way too many terminal commands for me that
night I guess. lol!
Is there a way to memorize or through pattern recognition how many ' and ,
symbols it takes to jump octaves? besides writing down a few notes and going
to the tuneful site to listen to see if I messed up? as that's what I've been
doing and it yeps but it slows me down a lot. and we don't' really want that.
Tc all and be blessed.
On Mar 10, 2013, at 2:23 PM, David Kastrup d...@gnu.org wrote:
Sarah k Alawami marri...@gmail.com writes:
Oh the docs messed up. lol! It was in the notes reference guide at the
octave checks section.
Here is the example they gave.
\relative c'' {
c2 d='4 d
e2 f
}
so I followed the directions unless I just red it wrong. lol! whichI
probably did as I was rushing to get the assignment done. lol!
4 is the quarter note duration of the note with pitch d'. I don't think
you followed any given directions here. Rather you followed directions
you made up on the fly yourself based on what you read into the example.
--
David Kastrup
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Re: \relative is not the best way of entering complicated music
I actually tried the let's say e='t or how ever the docs were written. I don't
have them up at the moment and it failed with unknown rhythm. Iactually meant
e5 on the piano. so how would have I fixed this if I had if I remember
[relative c'' for middle c if I remember that to and i place an e='5 in the
block 5 measures down? so I know that's the pitch I want?
The book said it would correct it if it was wrong but it just through up an
error saying unknown rhythm.
'd rather enter in the pitches like they are on a piano starting with c1 being
low c and c8 being very high c all the way to the right of the keyboard.
thoughts?I like your idea btw.
On Mar 9, 2013, at 4:51 PM, Keith OHara k-ohara5...@oco.net wrote:
It took me years to realize that \relative was making LilyPond more difficult
for me. I very often forget what was the last pitch I typed, especially when
working on a few music expressions in parallel, and even when I do remember
the
burden of deciding if the interval is a fourth or fifth is distracting.
I use temporary parallel constructions a lot, so the most recent pitch in the
input is not always the most recent pitch in time. Re-arrangements of the
input require re-checking of the intervals at the boundaries.
The \transpose function is useful for picking the natural octave of the voice.
I always know where I am in the range of the target voice or instrument. When
using \transpose, for any music with intervals larger than fourths, absolute
pitch entry requires less typing than \relative (with or without octave
checks):
\relative c''' { r8 a g a f a e a | d,='' a' a, a' b, a' cis, a' |
d,='' a' cis, a' d, a' e a | f=''1 }
\transpose c c'' { r8 a g a f a e a | d a a, a b, a cis a |
d a cis a d a e a | f1 }
*Short* segments of music can be easier to type inside a \relative
construction,
and these short \relative constructions be put inside the \transpose c c''
{...}
We can re-arrange the \relative constructs with no extra effort, and if the
segments are short enough that we never need to rearrange things /inside/ of
them, we are spared the need to figure intervals.
As soon as you start entering music more complicated that a single melody
line,
I recommend using \relative only on short segments of music---the contiguous
single melody lines within the more complicated piece.
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Re: editor Re: final score
I can't see well enough to do that. Actually I can't see at all and vo is
notable at differentiation these things. It won't recignase a gray image in a
title bar Im trying to install the last commit of the lily pond tool in to
Jedit with no success at all and all the directions said was to unzip it in
the Jedit directory which was ~/libraries/JEdit/
No dice. The program never found the plugin folder so I could install it via
the plugin manager.
Tc and be blessed.
On Mar 3, 2013, at 11:02 PM, Jacques Menu jacques.m...@tvtmail.ch wrote:
Hello Sarah,
My setup it to use TeXShop, which is part of TeXLive, to edit the .ly files.
A trick : in order not to lose the current selection or cursor positition
when you re-activate an editor window, click in the gray background of its
title bar, not in in the text pane below.
I compile the files in the Terminal with:
lily myFile.ly
The command can be called again with the up arrow of the keyboard.
lily is defined as an alias in ${HOME}/.bashrc:
alias lily=/Applications/LilyPond.app/Contents/Resources/bin/lilypond
--pdf
Another way round is to define a function in ${HOME}/.bashrc to avoid
typing the .ly extension of the file:
function lil ()
{
/Applications/LilyPond.app/Contents/Resources/bin/lilypond --pdf ${1}.ly
}
and then lil myFile does the compilation.
Sorry if I over-explained things you already know.
Regards,
Le 4 mars 2013 à 06:57, Sarah k Alawami marri...@gmail.com a écrit :
yeah I'm horrible at compiling stuff and using the terminal. i was looking
for a GUI way of doing this. and I've never even heard of JEdit. lol! Not
even on windows. yeah I'm a geek but not much of one lol! plus I'm not sure
point and click will work with voice over. I know it does not work too well
with nvda and windows as of yet. Will try and follow the manual
instructions but since I dunno where python is located on mac and its
running what ever version came with osx mountain lion I dunno.
Tc and be blessed. all.
On Mar 3, 2013, at 9:47 PM, flup2 phili...@philmassart.net wrote:
Hello,
There are some solutions for text editing with LilyPond under Mac OS X. But
one of the easiest to get working is the JEdit + lilypondtool combo. That
editor has line numbering, is far easier to install than Frescobaldi and
keeps point-and-click unlike TeXShop, TextMate or Textwrangler
Installation instructions are here given for Windows, but they are pretty
similar with OS X: http://lilypondtool.blogspot.be/p/install-configure.html
http://lilypondtool.blogspot.be/p/install-configure.html
Philippe
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/final-score-tp141977p141993.html
Sent from the User mailing list archive at Nabble.com.
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Re: final score
Hey! I can't help beeing a beginner. lol! Hehahaha. No offense taken btw. It's like learning anything really. you fall a lot but you keep trying and trying and one day it just clicks. I did not know about the control e thing since prefs are dimmed on the mac side of lily pond for some odd reason. Someone suggested emacspeak but I'm not going to compile that as I really am no good at the terminal. lol! Well not as good as I should be. Anyways guys I appreciate all the help given and I hope to give advice as well when I'm more experienced with lily pond Will keep you all updated on the next assignment. Class was canceled today., but I get the feeling this class will hep me learn lily pond a lot. Take care all and be blessed and thanks for the advice both on and off list. On Mar 4, 2013, at 12:30 PM, Roland Goretzki rol...@roland-goretzki.de wrote: Hello list, hello Francisco, You wrote: [ ... ] B. On error, hit Control E and the cursor jumps to the text coordinates of the error. So, no need to count lines or even to have them numbered. Well, I disagree with this conclusion, for the following two reasons: 1. Even for advanced lilypond users it can be necessarily to count line numbers: If there is a problem, You cannot solve, and have to discuss it on this mailing list, it's very useful pointing out, on which line the problem seems to be. 2. In this special case: Sarah seems to be a very beginner of lilypond, and the help, which I (and David) tried to give, could only bee helpful with finding the correct lines. Best Regards Roland ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final score
Oh and btw the command E thing does not work. it does not appear to jump to anything even when running the cmd r command. using v 2.16 here. and voice over and mountain lion 10.82 with all updates applied. Is this supposed to do something when hitting control e or cmd e? Can someone verify this works with voice over on and voice over will read where the error is and such? Take care all and I thank you again. On Mar 4, 2013, at 12:30 PM, Roland Goretzki rol...@roland-goretzki.de wrote: Hello list, hello Francisco, You wrote: [ ... ] B. On error, hit Control E and the cursor jumps to the text coordinates of the error. So, no need to count lines or even to have them numbered. Well, I disagree with this conclusion, for the following two reasons: 1. Even for advanced lilypond users it can be necessarily to count line numbers: If there is a problem, You cannot solve, and have to discuss it on this mailing list, it's very useful pointing out, on which line the problem seems to be. 2. In this special case: Sarah seems to be a very beginner of lilypond, and the help, which I (and David) tried to give, could only bee helpful with finding the correct lines. Best Regards Roland ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: divisi parts and another general question
Cool. so if let's say the cello part had a double stop and i don't remember all
the other notes as I'm just waking up but for example the cello part would read
something like
{c c, g g c' |
}
since the double stop is on g and c? the notes before it would be single notes
only. and I mean g2 and c3 as in where they are on the piano. it is doable if
they play the g on string 4 and the c on string 3. lol! I'm doing my best here
lol! I'll get this with time and a lot of practice. lol!
tc all.
On Mar 2, 2013, at 10:24 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
You wrote:
Yeah that's it. I don't' quite understand how that works. I read the
section but was a bit confused on the double back slash method. Is
there an analogy I could use to maybe help me on that one? I'm getting
everything else slowly but yeah. I think where I'm getting confused is
when to use that method you described and what notes to put there. if
that makes sense
The next about 12-14 hours I can't further mail, but for now a little
more precise: My example was
c ees4 c ees { ees8. d16 } \\ b4 c
1. If both of the parts BEFORE and AFTER the double back slash contain
more than one note, it's necessary to put it in {}.
2. You have to take care, which length You've had before the double back
slash, because without specifiing it new AFTER the double back slash,
the length from before is valid.
Demonstrating both 1. and 2. the example above might be written as:
c ees4 c ees { ees8. d16 } \\ { b16 b b b } c4
Of course, in the Prelude there aren't four sixteenth's b, it's only to
show how it has been to write, if there are more than one note in this
part. As You can see, both parts between {} must have in summary the
same length.
Another point is, that, what You want to be the top note(s), has to be
written before the double back slash, and the bottom note(s) after the
double back slash.
HTH
Take care.
I'll try ... ;-)
Best Regards Roland
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Re: divisi parts and another general question
Ok. it looks like the viola part needs to be device as these double stops are
not fun. here it is with the notes and cords with out taking the divisi in to
consideration.
{ c aes, g ees |
ees f des ees c ees | }
Just the first 2 measures
so would I have to imply the double less then sign at the top to indicate the
divisi and the double back slash method for this? so it would be something like
{ c aes, g ees |
ees f {des ees} {c ees} | \\} single note safer that? Actually I won't be
getting out of that divisi for a while it looks like. so would I have to switch
to then voice 1 and voice 2? if so that will be annoying. lol!
On Mar 3, 2013, at 8:13 AM, David Kastrup d...@gnu.org wrote:
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi David,
Here is one difference: #{ ... #} creates copies of music
identifiers referenced via \... inside.
That's not relevant for anything you mentioned explicitly, but it
_would_ have triggered issue 2263 in case you were using _chord_
_repetition_ in connection with \relative.
I definitely use a lot of chord repetition, and I always (= 99% of the
time) use \relative. In fact, until only recently, most of my code had
\relative {} instead of the now-promoted \relative x {} [where x is
the first note in the music expression]. (I am slowly updating my old
code to fix this.)
I do not remember that we promoted \relative x, actually. What I wanted
to promote at one point of time was having \relative { ... } be
equivalent to \relative f { ... } since then the first note inside can
_always_ be specified as if it was absolute:
\relative c' { f' } - f''
\relative c' { g' } - g'
\relative f { f' } - f'
\relative f { g' } - g'
Since \relative f looks contrived (it's not easy to explain what makes f
special), being able to leave off the pitch and have it secretly
replaced by f would make sense.
Of course, it would appear that enough legacy code with \relative {
... } is around to make that change somewhat painful.
Furthermore, I can report with total confidence that the bug I
encountered was an octave displacement problem — I remember that
vividly, since it was so irritating (and inexplicable).
So it seems that
URL:http://code.google.com/p/lilypond/issues/detail?id=2263,
previously
URL:http://code.google.com/p/lilypond/issues/detail?id=1110.
were/was almost certainly the problem(s).
Can you say with 100% certainty that this issue is now solved, and
hence that I will get identical results the my function and the
simpler function (which I prefer)?
Yes. I completely reimplemented the whole of chord repetition after the
EventChord changes (issue 2240) made it possible to distinguish chords
and single notes in music expressions (rather than just in the parser).
That was not just further touchup work on a flawed implementation. I
don't know of any remaining code in LilyPond that gets confused by
copying nowadays (as of 2.16).
Independently, you can by now (not sure about the version) write #music1
and #music2 inside of sequential music in #{ ... #} and in that manner
avoid the copying that takes place when writing $music1 and $music2. It
is not really all that important, and since LilyPond often works
destructively on music expressions, copying more than necessary is to be
preferred over copying less than necessary. One difference, however, is
that point-and-click for $xxx expressions points to the call of the
music function whereas point-and-click for #xxx expressions points to
the original music expression.
p.s. I'm relieved to have proven to myself that my memory was to be
trusted on this after all! =)
The repeatchord debacle could not just be triggered by music functions.
Even just sticking something in a music variable before doing \relative
on it would have been sufficient. So writing the function without any
copying (as the Scheme version did) would only have prevented one way of
blowing up on the old repeat chord implementation.
Given the amount of friendly words that I lost over the repeatchord
feature and its original implementation on the developer list, it is
somewhat embarrassing that I did not make the connection here.
--
David Kastrup
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Re: divisi parts and another general question
Hey thanks for that explenation. I think I'm finally getting it. here is I
think the first 2 or 3 measures od the part. I can't keep track anymore. as I'm
not used to thinking in separate parts. lol! Hehahaha. and I think I'm missing
a closing right brace some ware.
{ c aes, g ees |
ees f {des c } \\ {ees ees } |
\bar |.
}
I don't' want to go any further until I know I have the hang of it somewhat. I
have to go through the piano part twice and notate what I'm hearing.
Be blessed all and good luck.
On Mar 2, 2013, at 10:24 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
You wrote:
Yeah that's it. I don't' quite understand how that works. I read the
section but was a bit confused on the double back slash method. Is
there an analogy I could use to maybe help me on that one? I'm getting
everything else slowly but yeah. I think where I'm getting confused is
when to use that method you described and what notes to put there. if
that makes sense
The next about 12-14 hours I can't further mail, but for now a little
more precise: My example was
c ees4 c ees { ees8. d16 } \\ b4 c
1. If both of the parts BEFORE and AFTER the double back slash contain
more than one note, it's necessary to put it in {}.
2. You have to take care, which length You've had before the double back
slash, because without specifiing it new AFTER the double back slash,
the length from before is valid.
Demonstrating both 1. and 2. the example above might be written as:
c ees4 c ees { ees8. d16 } \\ { b16 b b b } c4
Of course, in the Prelude there aren't four sixteenth's b, it's only to
show how it has been to write, if there are more than one note in this
part. As You can see, both parts between {} must have in summary the
same length.
Another point is, that, what You want to be the top note(s), has to be
written before the double back slash, and the bottom note(s) after the
double back slash.
HTH
Take care.
I'll try ... ;-)
Best Regards Roland
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Re: Aligning lyrics between rests
I dont' recall anything in the tutorial about lyrics. Since I am still learning
about the visual world of music can you give an example as to why you would
want to do this? Just curious here and I absorb everything I learn in case I
need it later.
Tc all and be blessed.
On Mar 3, 2013, at 12:36 PM, Kevin Zembower kzembo...@verizon.net wrote:
Any thoughts on this question?
I thought that there was a command that could 'detach' a section of
lyrics from the music for a specified time. Does this sound familiar to
anyone? Would this work in this case?
Thanks for your suggestions.
-Kevin
On Sat, 2013-03-02 at 11:43 -0500, Kevin Zembower wrote:
Thanks for your help on my first problem. It emboldens me to ask about
another problem I'm having. And here, I can show a snippet. This is from
the Gloria, part of the New Mass for John Carroll (copyright GIA, Inc.
For the curious:
http://www.giamusic.com/search_details.cfm?title_id=19491):
\version 2.12.3
\include english.ly%Use English notation
\header {
title = Gloria
}
melodytwo = \relative c'' {
\key g \major % fs
r2 r4 g4 | a4 a2 a4 |
fs2. fs4 | g4 g2 a4 |
b2. r4 | r1 |
r2 r4 g4 | a2 a2 |
fs2. fs4 | g2 a2 |
b2. r4 | r1 |
r2 r4 g4 | a4 a2 a4 |
fs2. fs4 | g4 g fs2 |
e2. r4 |
}
texttwo = \lyricmode {
Have | mer -- cy on | us, have | mer -- cy on | us.
\markup {
\column { You take away the sins
\line { of the world, }
}
}
re -- | ceive our | prayer, re -- | ceive our | prayer.
\markup {
\column { You are seated at the
\line { right hand of the Father,}
}
}
have | mer -- cy on | us, have | mer -- cy on | us.
}
\score{
\new Voice = two { \melodytwo }
\new Lyrics \lyricsto two \texttwo
\layout {
indent = 0
\context {
\Staff
\remove Time_signature_engraver
\remove Bar_number_engraver
}
}
}
My problem is that I'd like the words appearing in the \column sections
to appear between the two quarter-rests in bars 5 and 7, and bars 11 and
13, or starting from the quarter-rest in bar 5 and filling bar 6, and
starting from the quarter-rest in bar 11 and filling bar 13. These words
are sung by the choir and are set to music in the full score, but on the
congregational handout, they just appear with rests.
Thanks, again, for your help and suggestions. I also welcome any
suggestions on the overall style and contents of this snippet.
-Kevin
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final score
Ok. wight he viola part and I'm still loosing track of my octaves it's not even
funny. I know when to switch but I'm so used to playing on a keyboard I dunno
if lily pond will switch or if I'll have a violist who will shoot me lol!
(insert a very bad joke of my instructors here).
Anyways it looks ok, but there are still a lot of errors I can't work out as I
did this based of of a templet someone helped me with. Thanks. btw.
Here is the log.
Processing `/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly'
Parsing...
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:27:0: error:
syntax error, unexpected STRING
violin = \new Voice \relative c' {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:38:0: error:
syntax error, unexpected
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:49:0: error:
syntax error, unexpected NOTENAME_PITCH
g fis g g |
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:77:21: error:
syntax error, unexpected UNSIGNED
ees f f ees8\fermata
48\fermata | c, c'1\fermata
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:77:53: error:
syntax error, unexpected
ees f f ees8\fermata 48\fermata | c, c'1\fermata
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:80:0: error:
syntax error, unexpected STRING
cello = \new Voice \relative c' {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:99:0: error:
syntax error, unexpected STRING
bass = \new Voice \relative c {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:120:0: error:
syntax error, unexpected \score
\score {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:123:34: error:
syntax error, unexpected UNSIGNED
\new staff \global \violin
2
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:124:26: error:
unknown escaped string: `\viola'
\new Staff \global
\viola
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:124:26: error:
syntax error, unexpected STRING
\new Staff \global
\viola
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:125:26: error:
unknown escaped string: `\cello'
\new Staff \global
\cello
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:125:26: error:
syntax error, unexpected STRING
\new Staff \global
\cello
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:126:26: error:
unknown escaped string: `\bass'
\new Staff \global
\bass
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:126:26: error:
syntax error, unexpected STRING
\new Staff \global
\bass
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:130:1: error:
syntax error, unexpected end of input
}
warning: no music found in score
Interpreting music...
Preprocessing graphical objects...
Interpreting music...
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:54:55:
warning: barcheck failed at: 1/4
\new Voice { \voiceTwo aes aes g c8\fermata r8\fermata
|
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `string score assignment number 1 03-01-2013.ps'...
Converting to `./string score assignment number 1 03-01-2013.pdf'...
fatal error: failed files: /Users/SA/Desktop/string score assignment number 1
03-01-2013.ly
Here is the .ly file
string score assignment number 1 03-01-2013.ly
Description: Binary data
for someone's reference. I think I'm beginning to get the hang of this. Now
the dynamics are missing but I can always add them in tonight. do I need to
specify the paper size and stuff? I did not do this yet but that can come last.
I was only worried about th emotes and I want my instructor to at least read
the pdf.
This has been a good project and I thank all of you who have and continued to
help me through my journey.
If this ever gets played for real some ware and I doubt it will since to me it
is awful, I hope I can record it. lol!
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Re: final score
Actually what I'm asking is why all the errors in when it comes t the new staff
command. As for the png file I can't see it. so I have no idea if octaves will
be rendered correctly and the midi block is not working either so I can hear of
something is a miss. Also there was one error that confused me. it was at
03-01-2013.ly:50:0: error: syntax error, unexpected NOTENAME_PITCH
and the line I think it showed was g fis g g |
but when I took a look at that line it looked ok to me.
Should I implement the chive check to make sure that no one is jumping all over
the place as this piece is pretty linear in all parts. Other then that I think
it is ok, other then the face the midi thing won't generate. so I can hear if I
made a mess of some parts. lol! I'm in relative mode which helps a lot.
Take care all and be blessed.
On Mar 3, 2013, at 4:26 PM, SoundsFromSound soundsfromso...@gmail.com wrote:
Hi Sarah,
I'm a little confused. What exactly are you asking in this post here?
Is this close to looking how you want it?
When I engrave your code, this is what I see:
http://lilypond.1069038.n5.nabble.com/file/n141978/string_score_assignment_number_1_03-01-2013.png.jpg
Sarah k Alawami wrote
Ok. wight he viola part and I'm still loosing track of my octaves it's not
even funny. I know when to switch but I'm so used to playing on a keyboard
I dunno if lily pond will switch or if I'll have a violist who will shoot
me lol! (insert a very bad joke of my instructors here).
Anyways it looks ok, but there are still a lot of errors I can't work out
as I did this based of of a templet someone helped me with. Thanks. btw.
Here is the log.
Processing `/Users/SA/Desktop/string score assignment number 1
03-01-2013.ly'
Parsing...
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:27:0:
error: syntax error, unexpected STRING
violin = \new Voice \relative c' {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:38:0:
error: syntax error, unexpected
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:49:0:
error: syntax error, unexpected NOTENAME_PITCH
g fis g g |
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:77:21:
error: syntax error, unexpected UNSIGNED
ees f f ees8\fermata
48\fermata | lt;c, c'gt;1\fermata
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:77:53:
error: syntax error, unexpected
ees f f ees8\fermata 48\fermata | lt;c, c'gt;1\fermata
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:80:0:
error: syntax error, unexpected STRING
cello = \new Voice \relative c' {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:99:0:
error: syntax error, unexpected STRING
bass = \new Voice \relative c {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:120:0:
error: syntax error, unexpected \score
\score {
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:123:34:
error: syntax error, unexpected UNSIGNED
\new staff \global \violin
2
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:124:26:
error: unknown escaped string: `\viola'
\new Staff \global
\viola
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:124:26:
error: syntax error, unexpected STRING
\new Staff \global
\viola
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:125:26:
error: unknown escaped string: `\cello'
\new Staff \global
\cello
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:125:26:
error: syntax error, unexpected STRING
\new Staff \global
\cello
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:126:26:
error: unknown escaped string: `\bass'
\new Staff \global
\bass
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:126:26:
error: syntax error, unexpected STRING
\new Staff \global
\bass
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:130:1:
error: syntax error, unexpected end of input
}
warning: no music found in score
Interpreting music...
Preprocessing graphical objects...
Interpreting music...
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:54:55:
warning: barcheck failed at: 1/4
\new Voice { \voiceTwo aes aes g c8\fermata r8\fermata
|
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `string score assignment number 1 03-01-2013.ps'...
Converting to `./string score assignment number 1 03-01-2013.pdf'...
fatal error: failed files: /Users/SA/Desktop/string score assignment
number 1 03-01
Re: divisi parts and another general question
By george I think I'm getting it! Sorry to the rest of you have to watch me
jump for joy but m sure by the time my final comes around I will be offering
advice rather then asking it lol! or maybe not. We'll see how hard the test is
in may.. Hopefully he will give me a week to do it not a few days like this 1
pager. Heha.
also I don't think he wants us to mess with the notes. He wants us to stick
with the ones in the book. and we would have parallel octaves if I did that and
that is a no no in classical theory. I could ask him about that though tomorrow
if I remember.
Tc all.
On Mar 3, 2013, at 6:21 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
You wrote:
Ok. it looks like the viola part needs to be device as these double
stops are not fun. here it is with the notes and cords with out taking
the divisi in to consideration.
{ c aes, g ees |
ees f des ees c ees | }
The first note has to be g instead of c, because c is in the violin 2,
and not playing the g in viola You would be missing it.
The second note has to be aes instead of aes, in relative mode,
because aes, and all the following notes would sound one octave lower.
so would I have to imply the double less then sign at the top to
indicate the divisi and the double back slash method for this? so it
would be something like
{ c aes, g ees |
ees f {des ees} {c ees} | \\}
First: I don't understand the double back slash here.
Second: {des ees} ?? This would not sound at the same time.
If You want des and ees sound at the same time, it's necessary
to put in into e. g. des ees
single note safer that? Actually I won't be getting out of that divisi
for a while it looks like. so would I have to switch to then voice 1
and voice 2? if so that will be annoying. lol!
The double back slash method is good for short divisi, that's right, and
for longer it's better usind voice 1 and voice 2.
In my opinion there are not enough need for divisi in the viola, so I'd
always take the double back slash methode there.
Best Regards Roland
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Re: final score
Is there a way to have line numbers turned on in lily pond so I don't have to
count them? I don't' see a way to get to a presences thing in lily pond 2.16
for mac osx. This would help a lot in terms of errors. or can I correct it
direct from the log file? I doubt it.
Thanks.
S
On Mar 3, 2013, at 7:49 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
I think You should carefully read this complete mail, because it may
solve many problems. :-)
To revise Your .ly with the information from the log, you should always
go top-down, that means You should firstly take the first error You see.
That's because of many errors use to be errors resulting from previous
error(s).
In this case it is the error concernin line 27::
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:27:0:
error: syntax error, unexpected STRING
violin = \new Voice \relative c' {
Well, unexpected STRING means there was something not closed before,
and so You can find that in line 10 there begins the violin 1 part, and
this is not closed in line 25 (as You perhaps did assume), because the }
in line 25 corresponds with the { in line 12. So You are missing the
corresponding } to the { in line 10.
Correcting this in line 25 writing } } instead of }, You will find,
that after new compliling the first error will be at line 35, which
means, that the score before line 35 is quite correct for lily to
compile it.
And so on, I think You will find many mistakes one after another, which
I found at a first glance, par example the next mistake is a superfluous
} in line 32, resulting in the second error message concerning line 35.
And so on.
But one heavy multiple mistake You possibly wouldn't find by Yourself is
the thing with the macro names of the violin parts:
In line 10 You are starting the code for violin 1, which You want to
have been written as Violin 1, and in the macro You call it violin,
there is nothing wrong with it.
But then, in line 27, You are starting the code for violin 2 (which You
want to have been written as Violin 2), and You are using the same
macro name violin as for violin 1. lilypond cannot handle this, so You
have to chose a macro name different from the macro name for violin 1.
Later, in the score section, You are using this macro as \violin 2,
which You didn't declare anywhere in the previous code. This is the one,
but the other is, that You cannot say violin 2 for the macro name,
because of You may not use digits or blanks in macro names. Respecting
this in the .ly-file I've sent You before, I called the two macro names
violin_I and violin_II, and it did compile fine. :-)
HTH and good luck.
Best Regards Roland
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Re: final score
Well I saw a presences thing in the lily pond menu but it was dimmed. Any way
how to make it undimmed so I can see if there is a line numbers thing?
This would make it much much easier in solving errors and keeping track of
where I am in terms of the piece. or pieces I will be doing this semester and
for the next few years.
On Mar 3, 2013, at 7:49 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
I think You should carefully read this complete mail, because it may
solve many problems. :-)
To revise Your .ly with the information from the log, you should always
go top-down, that means You should firstly take the first error You see.
That's because of many errors use to be errors resulting from previous
error(s).
In this case it is the error concernin line 27::
/Users/SA/Desktop/string score assignment number 1 03-01-2013.ly:27:0:
error: syntax error, unexpected STRING
violin = \new Voice \relative c' {
Well, unexpected STRING means there was something not closed before,
and so You can find that in line 10 there begins the violin 1 part, and
this is not closed in line 25 (as You perhaps did assume), because the }
in line 25 corresponds with the { in line 12. So You are missing the
corresponding } to the { in line 10.
Correcting this in line 25 writing } } instead of }, You will find,
that after new compliling the first error will be at line 35, which
means, that the score before line 35 is quite correct for lily to
compile it.
And so on, I think You will find many mistakes one after another, which
I found at a first glance, par example the next mistake is a superfluous
} in line 32, resulting in the second error message concerning line 35.
And so on.
But one heavy multiple mistake You possibly wouldn't find by Yourself is
the thing with the macro names of the violin parts:
In line 10 You are starting the code for violin 1, which You want to
have been written as Violin 1, and in the macro You call it violin,
there is nothing wrong with it.
But then, in line 27, You are starting the code for violin 2 (which You
want to have been written as Violin 2), and You are using the same
macro name violin as for violin 1. lilypond cannot handle this, so You
have to chose a macro name different from the macro name for violin 1.
Later, in the score section, You are using this macro as \violin 2,
which You didn't declare anywhere in the previous code. This is the one,
but the other is, that You cannot say violin 2 for the macro name,
because of You may not use digits or blanks in macro names. Respecting
this in the .ly-file I've sent You before, I called the two macro names
violin_I and violin_II, and it did compile fine. :-)
HTH and good luck.
Best Regards Roland
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Re: final score
Actually I took the score templet string quartet and modified it to be the
string score that I wanted violin 1, violin 2 and viola and cello and bass. so
maybe I miscopied the templet or something to that effect.
Tc and be blessed.
On Mar 3, 2013, at 8:11 PM, wjm mooney...@aim.com wrote:
Greetings,
I've been tinkering with your piece and have produced the following, which
compiles with 0 errors but might not reflect what you actually intended...
however, I hope it is of some help.
Some of your original error messages seemed to be as a result of '{' or '}'
in the wrong places... and timing errors due to not explicitly stating note
durations... Note also that Lilypond doesn't seem to like variable names
containing numbers ie violin1 isn't liked. NB also that variable names are
different from Instrument names! :)
It might pay to re-read the Learning and Notation Manuals' section talking
about voices! :)
Please do a close comparison with your original... :)
I hope all this is of some use.
Regards
Bill
\version 2.16.0
\header
{ title = score assignment 1 }
global= {
\time 4/4
\key c \minor
}
violin =
%\new Voice
\relative c' {
\set Staff.instrumentName = #Violin 1
g4 aes g8.( f16) ees4 |
ees4 f ees8.( des16) c4 |
d4 e! g8.( f16) ees4 |
d4 g b8.( a16) g4\fermata |
ees' ees d d |
c d b8.( a16) g4 |
c' aes g8.( f16) ees4 |
ees f ees8.( d16) c4 |
ees' ees d d |
c d b8.( a16) g4 |
c' aes g8.( f16) ees4 |
ees f ees8.( d16) c8\fermata r8\fermata |
c''1\fermata |
}
violinb =
%\new Voice
\relative c' {
\set Staff.instrumentName = #Violin 2
% from measures 1-4 { \voiceOne ees ees ees8. d16 c4 |
c4 des c8. bes16 c4 |
b c c c |
c c fis d |
% from measures 1-4 \new Voice { \voiceTwo c c b8. d16 c4 |
c des c8. bes16 aes4 |
b c c c |
c b d d |
g fis g g |
g c d c |
{ \voiceOne c des b c | }
\new Voice { \voiceTwo aes aes g c | }
\oneVoice
{
g fis g g |
g c d c |
}
{ \voiceOne c des b c8\fermata r8\fermata | g1\fermata | }
\new Voice { \voiceTwo aes4 aes g c8\fermata r8\fermata | c1\fermata \bar| }
}
viola =
\relative c' {
\set Staff.instrumentName = #Viola
\clef alto
c4 aes, g ees |
ees f { des c } \\ { ees ees } |
{ d e aes g } \\ { f g aes g } |
fis g c' b |
% bridge first time
r4 r r r |
r4 r r r |
c4 aes g g |
ees f f ees |
% bridge second time with ending
%r4 r r r |
%r4 r r r |
c4 aes g g |
ees f f ees8\fermata f8\fermata | c, c'1\fermata
\bar |.
}
cello =
\relative c' {
\set Staff.instrumentName = #Cello
\clef bass
c4 f g g c |
aes des ees aes |
g c f c |
a d g, d g|
%b section first time through c' c'' b bes |
a aes g f |
ees f b, c |
aes des g c, |
%bridge second time through with ending
c' c'' b bes |
a aes g f |
ees f b, c8\fermata r8\fermata |
aes4 des g c, |c' g1\fermata
\bar |.
}
bass =
\relative c {
\set Staff.instrumentName = #Bass
\clef bass
c4 f g g c |
aes des ees aes |
g c f c |
a d g, d g|
%b section first time through c' c'' b bes |
a aes g f |
ees f b, c |
aes des g c, |
%bridge second time through with ending
c' c'' b bes |
a aes g f |
ees f b, c8\fermata r8\fermata |
aes4 des g c, |c' g1\fermata
\bar |.
\bar |.
}
\score
{
\new StaffGroup
\new Staff = musica \violin
\new Staff = musicb \violinb
\new Staff = musicc \viola
\new Staff = musicd \cello
\new Staff = musice \bass
}
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Re: editor Re: final score
Yeah is there a line editor I could use? I thought lilly pond had line numbers on by default but the since the prefs option is dimmed for some odd reason I dunno. lol! You are right that it would speed up my progress greatly. is there a line editor that's a guy for mac that you know of that can take .ly files and still compile them correctly? I don't have or use a braille display and have not for years so I'm working with I have which is the lily pond editor for mac osx v 2.16. Tc all and be blessed. On Mar 3, 2013, at 8:46 PM, Roland Goretzki rol...@roland-goretzki.de wrote: Hello list, hello Sarah, You wrote: Well I saw a presences thing in the lily pond menu but it was dimmed. Any way how to make it undimmed so I can see if there is a line numbers thing? This would make it much much easier in solving errors and keeping track of where I am in terms of the piece. or pieces I will be doing this semester and for the next few years. I'm using the editor vim, which shows the line numbers per default. I remember You are using a mac, am I right? Well, I don't know the editors at mac, and You especially have to use a braille editor, correct? If You can get a braille editor for mac with this feature, that would solve it. In Your previous mail You wrote something about beeing not so far after two weeks. An editor with line numbers would extremely increase not only the working tempo, but also the learning tempo, I think. :-) Good luck. :-) Best Regards Roland ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: editor Re: final score
Iuse a screen reader called voice over. It is not that good in the terminal so if line numbers could be enabled in lily pond that would be nice as I could then see where the mistake is and correct it. or copy and paste the relevant line on to the list or what not. Take care. all and be blessed. On Mar 3, 2013, at 9:27 PM, Roland Goretzki rol...@roland-goretzki.de wrote: Hello list, hello Sarah, I don't have or use a braille display and have not for years ... Upps, how can You read without a braille display? I'm not familiar with the lilypond editor, so others could better help You with it. The following only with saying, that vim is an editor with (similar to lilypond) a steep learning curve (but neverthelss the best I know): Vim is also for mac. The vim editor (also for blind) with explanation, but as far as I can see, only in german: http://www.linux-fuer-blinde.de/55-0-texteditor-vim.html The vim-download page for macintosh: http://www.vim.org/download.php#mac HTH Best Regards Roland ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: editor Re: final score
yeah I'm horrible at compiling stuff and using the terminal. i was looking for a GUI way of doing this. and I've never even heard of JEdit. lol! Not even on windows. yeah I'm a geek but not much of one lol! plus I'm not sure point and click will work with voice over. I know it does not work too well with nvda and windows as of yet. Will try and follow the manual instructions but since I dunno where python is located on mac and its running what ever version came with osx mountain lion I dunno. Tc and be blessed. all. On Mar 3, 2013, at 9:47 PM, flup2 phili...@philmassart.net wrote: Hello, There are some solutions for text editing with LilyPond under Mac OS X. But one of the easiest to get working is the JEdit + lilypondtool combo. That editor has line numbering, is far easier to install than Frescobaldi and keeps point-and-click unlike TeXShop, TextMate or Textwrangler Installation instructions are here given for Windows, but they are pretty similar with OS X: http://lilypondtool.blogspot.be/p/install-configure.html http://lilypondtool.blogspot.be/p/install-configure.html Philippe -- View this message in context: http://lilypond.1069038.n5.nabble.com/final-score-tp141977p141993.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: divisi parts and another general question
Drat it! I must have been very tired when writing the second violin part. Bleh!
Now on to the divisi. How do I do this? once I get the rhythms correct that is?
I'm hoping to get the rest of it done today. The cello and bass parts will be
easy. they are just octaves. I think I'll leave the 5gths out as I believe they
are in the upper parts and I want that oomph.
thanks very much for explaining. I'll keep practicing. Maybe I am glad he gave
me this piece slow as it is. lol!
Be blessed all.
On Mar 2, 2013, at 5:31 AM, Hwaen Ch'uqi hwaench...@gmail.com wrote:
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect, and, though I believe that
was meant to be deprecated, I am pretty sure it still works in the
latest stable version.
Second, there are still plenty of errors, regarding both pitch
and rhythm, in this latest example. In the former case, remember
always to write the pitch which you _want_ to be _heard._ If you want
to hear an E-flat, write an E-flat. If you want to hear an E-natural,
simply write e. This rule of coded notation applies no matter which
key signature you indicate at the beginning of your score. LilyPond,
being mightily well designed, will consider the pitches which you have
written and will interpret and display them visually according to the
rules of the key signature which you have indicated. So, because, I
trust, you will have begun your piece with the indication
\key c \minor
the E-flat which you have written will be placed appropriately on the
staff _without_ any accidentals - that is, without a flat sign -
because it is understood (via the visual indicator at the beginning of
the piece, where the modified pitches of the key signature are
actually shown) to be an E-flat. Continuing with this example in c
minor, an E-natural, having been written simply as e, will be
displayed in the printed score in the correct place on the staff with
a natural sign accompanying it: You do not need to include in your
code an exclamation point, because LilyPond already knows that
E-natural does not belong in that key and will automatically place a
natural sign in the score; this is why LilyPond was telling you that
you were using unexpected exclamation points. In music of the common
practice, these exclamation points - or courtesy accidentals - should
be used very sparingly. Regarding the latter case of rhythm, the
result is that you are notating as if the Prelude is written in 5/4
rather than 4/4.
Third, I very much understand your frustrations, having also made
the transition from Braille to printed music via LilyPond. In
actuality, many of the underlying principles of coded notation are
strikingly similar; this makes the points of difference at times hard
to remember or even to process. In the case of key signatures and
accidentals, for example, what you read on the Braille page is nearly
exactly what one reads on the printed page; both operate under the
same rules of accidentals relative to the key signature. LilyPond,
however, needs the most raw material with which to work - meaning, in
this case, the actual pitches which you want to be heard, not seen or
read. It will then do its magic correctly based upon the key signature
which you have given. To extend this slightly, having supplied
LilyPond with the correct raw material, if you then changed nothing
but the key signature, the visual output would look different,
according to the rules of the new key signature: what you would _hear_
would remain unchanged. So, while the learning curve of LilyPond may
admittedly be steep (in large measure because you will have to become
acquainted with the general rules of visual layout in order to use
LilyPond most effectively), I encourage you never to flag in your
resolve; for, though its inception was centered around a different
need and demand, it has certainly proven to be a godsend to a wider
clientelle.
I hope this has been somewhat helpful to you, and best of luck to you.
Hwaen Ch'uqi
On 3/1/13, Sarah k Alawami marri...@gmail.com wrote:
Ok. one more question for the night then I'll be done with this for tonight
as I want to at least get the 2 violin parts written then work on viola,
cello and bass tomorrow and sunday.
I will be having divici parts for the second violin parts. I know odd but
there you go. I tried the text thing
Here is what I'm trying to accomplish. Realize and I did not say this
before that I read braille music so what I see is different from what the
print people see. We have the text and dynamics before the notes like divisi
and unison and stuff. in parenthesis. but here is what I was going for.
{
c e4 c e b! e4.divisi d8 c4unis |
divisi a c aes c g c4. unis b8 a4 |
}
Am I
Re: a lot of accidentals. how do I notate them?
Actually the while cord is a quarter note so it is a extremely slow 4/4 like quarter equals 60. the only exception is when you have the dotted rhythm and now I see where i went wrong. I just forgot to subdivide. Funny I do that all the time in my singing. I'll redo those parts. I'm surprised that no errors occurred in the compilation when I compiled at least that first part. lol! You note a flat as being an f. In the manual they use ES not f and for sharp which makes sense they use is I'll look again at the manual and see. Take care. On Mar 1, 2013, at 10:40 PM, Roland Goretzki rol...@roland-goretzki.de wrote: Hello list, hello Sarah, You wrote: Ok. I had to get rid of some a naturals that it thought were errors. when I play c minor scale on the piano I often use a flat not a natural.I think this was what might have been tripping me up. I'll have to listen to this and see. No pun intended. lol! For a beginner it is a lot of work, I think, but we should give it a chance! :-) d4 e! g4. f8 e Assuming You're using english.ly and You've set \key c \minor, this simply has to be: d e g8. f16 ef4 Then no further thinking about accidentals is needed. The notes You have to write, must only give the pitch. And, very important, as Urs pointed out: first of all you definitely should get your rhythms right, it's always 4 4 8. 16 4 and not 4 4 4. 8 4 That's for the violins, not for viola, cello and bass. Otherwise it wouldn't correspond with par example the cello or bass, which both of them have only quarter notes. I've attached a not too long .ly-file with the structure of all, containing all instruments: 1. violin about four bars 2. violin about two bars viola, cello and bass, each of them about one bar. At the end of the file You'll find six bookparts, one for the whole Score, containing all instruments, the other five for the five instruments. Compiling the .ly-file (with or without finishing the seperate instruments) will result in creating six .pdf's: chop-op_28_20-1.pdf 1. violin chop-op_28_20-2.pdf 1. violin chop-op_28_20-3.pdf viola chop-op_28_20-4.pdf cello chop-op_28_20-5.pdf bass chop-op_28_20.pdf the whole score You can take this as a starting point, writing the rest of the notes for each instrument. The instrument parts, which You have to finish, begin in the file at line 29 and end at line 51. Good luck! :-) Best Regards Roland chop-op_28_20.ly___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: divisi parts and another general question
I did read that section but this also has some unison parts as well. I'll play with that. I'd expect the divisi and tutti text to work as I see that in many many scores, for example a mozart piece we are doing where there's a quartet solo. Thanks. and be blessed. On Mar 2, 2013, at 10:04 AM, Jethro Van Thuyne p...@jethro.be wrote: Sarah k Alawami (02 Mar 2013 @ 18:55) Now on to the divisi. How do I do this? once I get the rhythms correct that is? I'm hoping to get the rest of it done today. The cello and bass parts will be easy. they are just octaves. I think I'll leave the 5gths out as I believe they are in the upper parts and I want that oomph. For divisi, have a look here: http://www.lilypond.org/doc/v2.16/Documentation/notation/multiple-voices For short occurances of divisi, I like to use what the manual calls the double backslash construct. Jethro. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: divisi parts and another general question
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
but this goes back and forth all the time through out this 1 to 2 minute piece.
so in this case would the double back slash work? and if so how do you get back
to the unison voice with that approach? I get the feeling it has something to
do with those left and right brackets but am drawing a blank. Will they know
hopefully that you do a divisi? he wants us to write in the text divisi and
unison or unis or tutti so I'm kind of in a bind here as to what to do
I understand the left braces are part of the big picture but then after that it
gets a bit confusing. and I suck at math. lol! Ill keep playing with this and
see if I can creature something at least readable. lol!
On Mar 2, 2013, at 8:47 AM, Hwaen Ch'uqi hwaench...@gmail.com wrote:
Greetings David,
Indeed, your point is well stated, demonstrated, and taken. I
merely include the possibility for the sake of completeness; I myself
find the latter option quite useful, as I then do not have to remind
myself that 'c' actually refers to the pitch an octave below the
fairly common reference point of middle c. Regardless, I would imagine
that someone wishing to use a \relative block has already familiarized
himself with the rules that govern the coding of intervals.
Hwaen Ch'uqi
On 3/2/13, David Kastrup d...@gnu.org wrote:
Hwaen Ch'uqi hwaench...@gmail.com writes:
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect, and, though I believe that
was meant to be deprecated, I am pretty sure it still works in the
latest stable version.
Why would you recommend using a deprecated non-documented way of
entering music which is non-explicit in its behavior?
\relative { f } - f'
\relative { g } - g
That makes only sense in relation to c', so why not write it explicitly?
--
David Kastrup
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Re: divisi parts and another general question
Uh, I'm not there yet and I'm using 2.16 not 2.17. Ok. so if I use the voiceOne
and the voiceTwo thing and there is a unison between the 2 voices how would I
indicate that since my ideas just went out the window? lol! I'm so used to
braille text where text is indicated and symbols and stuff. I'm not quite ready
nor am I good enough yet to use functions. lol! Iv'e already started to notata
voice 1 of the violin 2 part but it will go in to a unison with voice 2 in mid
measure so using the
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
do I put the unison note in both voices? and hope they can read my writing? as
this will go in to unison for 1 or 2 notes mid measure and get right back to
split parts.
Thanks.
On Mar 2, 2013, at 10:55 AM, Noeck noeck.marb...@gmx.de wrote:
Am 02.03.2013 19:51, schrieb Kieren MacMillan:
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
Wow, that is useful!
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Re: divisi parts and another general question
Yeah I think what I'll do since the voices are in unison mid measure and brake
back out in to split parts is just put both notes on both voices unless
there's a slightly easier way to do this? as the \OneVoice never in theory
happens. and rhythms are going to be slightly different so writing in parallel
is not going to be possible as it will throw up errors.
thoughts?
On Mar 2, 2013, at 11:06 AM, David Kastrup d...@gnu.org wrote:
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi Sarah,
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
\version 2.17.13
split =
#(define-music-function (parser location music1 music2) (ly:music? ly:music?)
(make-music
'SequentialMusic
'elements
(list (make-music
'SimultaneousMusic
'elements
(list (make-music
'SequentialMusic
'elements (list voiceOne music1))
(make-music
'ContextSpeccedMusic
'property-operations '()
'context-id 2
'context-type 'Voice
'element (make-music 'SequentialMusic
'elements (list voiceTwo music2)
oneVoice)))
Uh, any reason this is not just
split =
#(define-music-function (parser location music1 music2)
(ly:music? ly:music?)
#{ { \voiceOne $music1 \oneVoice }
\context Voice = 2 { \voiceTwo $music2 }
#})
Why make things more complex than necessary?
--
David Kastrup
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making progress I think. Thanks all.
Well I'm getting fewer errors lol! Here is the score attached
second violin part.ly
Description: Binary data
I got some errors but the pdf still produced. here is the log
Processing `/Users/SA/Desktop/second violin part.ly'
Parsing...
/Users/SA/Desktop/second violin part.ly:7:11: error: syntax error, unexpected
'}'
c c fis d |
}
/Users/SA/Desktop/second violin part.ly:4:0: error: errors found, ignoring
music expression
{ \voiceOne ees ees ees8. d16 c4 |
/Users/SA/Desktop/second violin part.ly:0: warning: no \version statement
found, please add
\version 2.16.2
for future compatibility
fatal error: failed files: /Users/SA/Desktop/second violin part.ly
I see that I got a faidel error so what Id I do wrong/ I counted to make sure
there were no rhythm errors and tried to follow the manual to the best of my
ability.
I think though I'm slowly getting the hang of this thanks to all of your help
and the manual.
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Re: making progress I think. Thanks all.
Bleh. I must have mistyped something. or just missed it when skimming.Well I just fixed it and it compiled. Ok Ok I have no version but I'm doing the parts separately for now so i don't get too overwhelmed and loose my place.Here is the second violin pdf or as far as Iv'e gotten. I know that it ends on a 5 cord lol!
second violin part.pdf
Description: Adobe PDF document
Btw how do I end the piece? Do I do a double bar line on every staff? or is there a global ending thing I can use? I don't' mind dong the double bar line as it will be an indication to me that the piece is done lol!I'll take care of dynamics later but right now as long as I get the notes down …Tc allOn Mar 2, 2013, at 12:26 PM, Urs Liska li...@ursliska.de wrote:
Am 02.03.2013 21:20, schrieb Sarah k
Alawami:
Well I'm getting fewer errors lol! Here is the score attached
I got some errors but the pdf still produced. here is the log
Processing `/Users/SA/Desktop/second violin part.ly'
Parsing...
/Users/SA/Desktop/second violin part.ly:7:11: error: syntax error, unexpected '}'
c c fis d |
}
You have } at the end of the third and fourth line of your music.
The first one of these should be removed.
See, you finish off the music _expression_ with the curly brace (in
the third line), but it shouldn't be finished as it is continued in
the next line.
So LilyPond will assume you closed the group, and now it wonders why
there is another closing curly brace (that doesn't match an opening
curly brace).
/Users/SA/Desktop/second violin part.ly:4:0: error: errors found, ignoring music _expression_
{ \voiceOne ees ees ees8. d16 c4 |
/Users/SA/Desktop/second violin part.ly:0: warning: no \version statement found, please add
\version "2.16.2"
for future compatibility
fatal error: failed files: "/Users/SA/Desktop/second violin part.ly"
I see that I got a faidel error so what Id I do wrong/ I counted to make sure there were no rhythm errors and tried to follow the manual to the best of my ability.
I think though I'm slowly getting the hang of this thanks to all of your help and the manual.
Tc all and be blessed.
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Re: making progress I think. Thanks all.
Sorry to the poor person getting this twice. I forgot to put the list name in the to field.begin msgBleh. I must have mistyped something. or just missed it when skimming.Well I just fixed it and it compiled. Ok Ok I have no version but I'm doing the parts separately for now so i don't get too overwhelmed and loose my place.Here is the second violin pdf or as far as Iv'e gotten. I know that it ends on a 5 cord lol!
second violin part.pdf
Description: Adobe PDF document
Btw how do I end the piece? Do I do a double bar line on every staff? or is there a global ending thing I can use? I don't' mind dong the double bar line as it will be an indication to me that the piece is done lol!I'll take care of dynamics later but right now as long as I get the notes down …Tc allOn Mar 2, 2013, at 12:26 PM, Urs Liska li...@ursliska.de wrote:
Am 02.03.2013 21:20, schrieb Sarah k
Alawami:
Well I'm getting fewer errors lol! Here is the score attached
I got some errors but the pdf still produced. here is the log
Processing `/Users/SA/Desktop/second violin part.ly'
Parsing...
/Users/SA/Desktop/second violin part.ly:7:11: error: syntax error, unexpected '}'
c c fis d |
}
You have } at the end of the third and fourth line of your music.
The first one of these should be removed.
See, you finish off the music _expression_ with the curly brace (in
the third line), but it shouldn't be finished as it is continued in
the next line.
So LilyPond will assume you closed the group, and now it wonders why
there is another closing curly brace (that doesn't match an opening
curly brace).
/Users/SA/Desktop/second violin part.ly:4:0: error: errors found, ignoring music _expression_
{ \voiceOne ees ees ees8. d16 c4 |
/Users/SA/Desktop/second violin part.ly:0: warning: no \version statement found, please add
\version "2.16.2"
for future compatibility
fatal error: failed files: "/Users/SA/Desktop/second violin part.ly"
I see that I got a faidel error so what Id I do wrong/ I counted to make sure there were no rhythm errors and tried to follow the manual to the best of my ability.
I think though I'm slowly getting the hang of this thanks to all of your help and the manual.
Tc all and be blessed.
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Re: Why divisi? Re: divisi parts and another general question
I could if I wanted to, how ever Our orchestra are horrible at double stops and
if you have let's say 10 second violins trying to play a double stop you are
asking for trouble so normally we do a divisi, and he I think wants us to try
it. the cello and bass will be easy actually, or shall I say easier. just
octaves.
Tc all. and be blessed.
On Mar 2, 2013, at 1:58 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
You wrote:
I did read that section but this also has some unison parts as well.
I'll play with that.
Sorry, but why do You want to use divisi in this peace at all?
I wonder if You got a view of my example.
Let's see the first bar of all five instruments:
violin_I = \relative c''{
g4 af g8. f16 ef4
}
violin_II = \relative c'{
c ef4 c ef b ef8. d16 c4 % bar 1
}
viola = \relative c'{
g af g ef g
}
cello = \relative c{
c4 f, g g c
}
bass = \relative c,{
c4 f, g c
}
As You can see in the violin_II part, the player has to play three times
two notes at the same time, and after that only 1 note at the same time.
Playing two notes at the same time occasionally is quite usual for
violin, so I can't see a reason for divisi.
In the whole peace no instrument needs to play more than two notes at
the same time.
I think, using the complete structure I gave in my example, You could
have a real chance to finish this until Monday. :-)
Best Regards Roland
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Re: making progress I think. Thanks all.
got it. I also looked at the section with repeats but since I already wrote out
the b section by hand it's a bit too late to turn around now. Next time though
I think I will do that. and I'm sure my instructor will have something to say
about that but I'm in the beginning stages of this class lol!
On Mar 2, 2013, at 1:36 PM, SoundsFromSound soundsfromso...@gmail.com wrote:
Hi Sarah,
Try here, this should help you with bars.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars
\bar |.
etc.
Ben
Sarah k Alawami wrote
Sorry to the poor person getting this twice. I forgot to put the list name
in the to field.
begin msg
Bleh. I must have mistyped something. or just missed it when skimming.
Well I just fixed it and it compiled. Ok Ok I have no version but I'm
doing the parts separately for now so i don't get too overwhelmed and
loose my place.
Here is the second violin pdf or as far as Iv'e gotten. I know that it
ends on a 5 cord lol!
Btw how do I end the piece? Do I do a double bar line on every staff? or
is there a global ending thing I can use? I don't' mind dong the double
bar line as it will be an indication to me that the piece is done lol!
I'll take care of dynamics later but right now as long as I get the notes
down …
Tc all
On Mar 2, 2013, at 12:26 PM, Urs Liska lt;
lists@
gt; wrote:
Am 02.03.2013 21:20, schrieb Sarah k Alawami:
Well I'm getting fewer errors lol! Here is the score attached
I got some errors but the pdf still produced. here is the log
Processing `/Users/SA/Desktop/second violin part.ly'
Parsing...
/Users/SA/Desktop/second violin part.ly:7:11: error: syntax error,
unexpected '}'
c c fis d |
}
You have } at the end of the third and fourth line of your music.
The first one of these should be removed.
See, you finish off the music expression with the curly brace (in the
third line), but it shouldn't be finished as it is continued in the next
line.
So LilyPond will assume you closed the group, and now it wonders why
there is another closing curly brace (that doesn't match an opening curly
brace).
/Users/SA/Desktop/second violin part.ly:4:0: error: errors found,
ignoring music expression
{ \voiceOne ees ees ees8. d16 c4 |
/Users/SA/Desktop/second violin part.ly:0: warning: no \version
statement found, please add
\version 2.16.2
for future compatibility
fatal error: failed files: /Users/SA/Desktop/second violin part.ly
I see that I got a faidel error so what Id I do wrong/ I counted to
make sure there were no rhythm errors and tried to follow the manual to
the best of my ability.
I think though I'm slowly getting the hang of this thanks to all of your
help and the manual.
Tc all and be blessed.
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second violin part.pdf (42K)
lt;http://lilypond.1069038.n5.nabble.com/attachment/141902/0/second%20violin%20part.pdfgt;
-
composer | sound designer
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/making-progress-I-think-Thanks-all-tp141899p141903.html
Sent from the User mailing list archive at Nabble.com.
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