You asked for a better reference.
The following shows the appropriate section of the file:
==============================
% 41
e4. d8 c2 r2 |
% 42
e4. e8
}
% alto
rightTwo = \relative c'' {
\global
% 1 to 2
\repeat unfold 2 {R1.}
===============================
Search for comment "% 42". If you go the line following comment "% 42", the
first note is "e4.", followed by note "e8".
If I remove the note "e8", the file compiles. However, if I add any note
after the "e4.", such as "e8", I receive the message: Exited with return
code -1073741819
I was building this score measure by measure. Everything worked fine until I
reached the line following "% 42".
Please let me know if this message is clear.
I also regret that the sample is not tiny, but I don't know any other way to
show the example.
Thanks for your willingness to look at this file. I hope that I can get it
to work.
Joe Srednicki
-----Original Message-----
From: lilypond-user-bounces+jos.srednicki=verizon....@gnu.org
[mailto:lilypond-user-bounces+jos.srednicki=verizon....@gnu.org] On Behalf
Of lilypond-user-requ...@gnu.org
Sent: Monday, January 25, 2016 7:08 PM
To: lilypond-user@gnu.org
Subject: lilypond-user Digest, Vol 158, Issue 148
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Today's Topics:
1. Re:Determining what parameters exist for an item (Thomas Morley)
2. Re:simplifying chromatic scale notation (Urs Liska)
3. Compiling a file results in message: Exited with return code
-1073741819. (Joseph N. Srednicki)
4. Re:Compiling a file results in message: Exited with return
code -1073741819. (Urs Liska)
----------------------------------------------------------------------
Message: 1
Date: Tue, 26 Jan 2016 00:13:44 +0100
From: Thomas Morley <thomasmorle...@gmail.com>
To: David Nalesnik <david.nales...@gmail.com>
Cc: "Charles O. Lawrence" <charlesolawre...@bellsouth.net>,
Lilypond-User Mailing List <lilypond-user@gnu.org>, David
Kastrup
<d...@gnu.org>, Carl Sorensen <c_soren...@byu.edu>
Subject: Re: Determining what parameters exist for an item
Message-ID:
<cabsfgyv_f8cuobmtg85ydzkoluntt3-ju6mbiq9kkkdo55b...@mail.gmail.com>
Content-Type: text/plain; charset=UTF-8
2016-01-25 21:00 GMT+01:00 David Nalesnik <david.nales...@gmail.com>:
>
>
> On Mon, Jan 25, 2016 at 1:47 PM, Kieren MacMillan
> <kieren_macmil...@sympatico.ca> wrote:
>>
>> Hi Harm,
>>
>> > if a property is settable, this does not mean your setting takes
>> > any effect.
>> > I don't speak of user-errors in syntax, missing context, etc, but
>> > sometimes an engraver does not listen to a certain property, maybe
>> > because it's hard-coded or not really needed or for other good reasons.
>>
>> Excellent point. I?m sure it?s a pie-in-the-sky thought? but?
>>
>> Is there a way, in your [wonderful] list of _all_ properties, to have
>> Lily automatically say which will have an effect?
No.
To illustrate:
TextScript has 'font-name as a property, but setting it will not always have
an effect!!
'font-name in musicglyph-markup-command is hardcoded to #f, otherwise
LilyPond would try to take it from "TeX Gyre Chorus" in the example below,
with little chance for nice output, I'd say ...
{
\override TextScript.font-name = "TeX Gyre Chorus"
a'1-\markup { "This is a clef: " \musicglyph #"clefs.G" } }
This is only one single example (there are other markup-commands doing
similar) for one single grob...
>> Or is that as simple as ?adjusting a property will have an effect if
>> and only if it?s listed on the grob?s ?homepage? in the IR??
Again, no.
See, David's explanation, below.
>
>
> Just because a grob supports a certain interface doesn't guarantee
> that there's code written to handle all of the interface's properties
> for that particular grob. Also, an overridable property doesn't
> necessarily have a default value listed in the IR: 'color, for example.
>
> DN
Sorry,
Harm
------------------------------
Message: 2
Date: Tue, 26 Jan 2016 00:24:29 +0100
From: Urs Liska <u...@openlilylib.org>
To: lilypond-user@gnu.org
Subject: Re: simplifying chromatic scale notation
Message-ID: <56a6aead.1060...@openlilylib.org>
Content-Type: text/plain; charset="windows-1252"
Am 26.01.2016 um 00:05 schrieb musicus:
> @Simon: I was not aware of Clairnote, but that direction was not my
> intention...
>
> @Kieren: I agree with you regarding reading...
> my point is that this notation could help to understand and remember
> the structure.
> Especially in modern/ contemporary music there are many cases with
> limited justification for complicated notation .
> "THIS is soo simple, why didn't the composer use an easy way to notate
> it, so that i don't have to put so much effort in reading and learning
> it??"
>
>
> Attached a short excerpt of Liszt's Mephisto waltz... Maybe you cannot
> play this without calculating a bit, but you definitily will get the
> anomaly of the line immediately.
This is a perfect example why I severely doubt this works.
It is immediately clear that (e.g.) the second measure features a
*scale* with a d sharp somewhere. But which notes *exactly* are to be played
is totally unclear.
The notation suggest as much that the second measure starts with an a as it
suggests an ais. And if I look at that sequence I would immediately say that
between the third and fourth note there is a whole tone and not a semi-tone.
The main problem is that I have to *estimate* where the "notehead" is
printed and what that means. And if that's intentional or inexact. This
definitely does *not* make it easier to read, quite the contrary: it adds
ambiguity and room for misreading. This notation looks like (and would IMO
be more appropriate for) an inexact and somewhat aleatoric notation where
the written notes only approximate the intended "outline"
of a melody.
Not giving a pitch an exact position (such as *on* or *between* staff
lines) guarantees ambiguity.
A much more consistent approach to what you suggest would be (as was
discussed recently) a notation where each chromatic pitch has its own place
on the staff, i.e. a system with more lines. This is unambiguous - but I
doubt that it makes reading easier either.
My 2cts
Urs
>
>
> _______________________________________________
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
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Message: 3
Date: Mon, 25 Jan 2016 19:04:18 -0500
From: "Joseph N. Srednicki" <jos.sredni...@verizon.net>
To: <lilypond-user@gnu.org>
Subject: Compiling a file results in message: Exited with return code
-1073741819.
Message-ID: <001901d157cd$1a7a2620$4f6e7260$@verizon.net>
Content-Type: text/plain; charset="us-ascii"
Please see the attached file.
Go to line 253.
The file compiles cleanly up until this point.
However, when I try to add more than one note to the line 253, I receive the
error message: Exited with return code -1073741819.
Please let me know if I am doing something wrong or if there is a workaround
to resolve this situation.
Thanks
Joe Srednicki.
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------------------------------
Message: 4
Date: Tue, 26 Jan 2016 01:08:09 +0100
From: Urs Liska <u...@openlilylib.org>
To: lilypond-user@gnu.org
Subject: Re: Compiling a file results in message: Exited with return
code -1073741819.
Message-ID: <56a6b8e9.80...@openlilylib.org>
Content-Type: text/plain; charset="windows-1252"
Am 26.01.2016 um 01:04 schrieb Joseph N. Srednicki:
>
> Please see the attached file.
>
>
>
> Go to line 253.
>
>
>
> The file compiles cleanly up until this point.
>
>
>
> However, when I try to add more than one note to the line 253, I
> receive the error message: *Exited with return code -1073741819.*
>
> * *
>
Please give us some more reference to what line you are talking about.
I find that line 253 is:
% alto
So nothing to add notes to ...
Urs
> Please let me know if I am doing something wrong or if there is a
> workaround to resolve this situation.
>
>
>
> Thanks
>
>
>
> Joe Srednicki.**
>
> * *
>
>
>
>
>
>
>
> _______________________________________________
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
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------------------------------
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End of lilypond-user Digest, Vol 158, Issue 148
***********************************************
\version "2.18.2"
\language "english"
\header {
title = "In dir ist Freude"
composer = "Johann Sebastian Bach (1685-1750)"
opus = "BWV615"
% Remove default LilyPond tagline
tagline = ##f
}
\paper {
#(set-paper-size "letter")
}
global = {
\key g \major
\numericTimeSignature
\time 3/2
}
% raise a tie
raiseTie = {
\once \override TieColumn #'tie-configuration = #'((9.5 . 1) (10.0 . 1) (4.0 . 1))
}
% REPEATED SECTIONS
% Pedal motif 1
% mm 1-3, 3-4, 4-5, 11-12
pedOne = \relative c {
% 1
r4 d\ltoe g\rtoe b,8\ltoe c\rtoe d\rtoe c\ltoe d4\rtoe |
% 2
g,4\ltoe r r2 r |
}
% Repeated:
% LH Bass 1-2
% Pedal 7-8
% LH Bass 18- 19
% Pedal 24-24
motOne = \relative c' {
% 1
d2 d c |
% 2
b8 d a c b d g, b a d fs, a |
}
% Soprano mm. 3 to 12
% repeated as mm 20 to 29
sopA = \relative c'' {
% 3
d2 r8 g, d' g r a, d fs |
% 4
g8 d a c-4 b d g, b-4 a d fs, a |
% 5
d2-2-5 d c |
% 6
b8-1-3 g'-5 fs e d c b-3 d c b a c-5 |
% 7
b8 d, e fs g-1 a b c-1 d e fs d |
% 8
g4 r r2 r2 |
% 9
d2 d c |
% 10
b2. a4 b2 |
% 11
d2 d c |
% 12
b8 d,-1 e fs g-1 a b c-1 d e fs d |
}
% Alto mm. 3 to 12
% repeated as mm 20 to 29
altA = \relative c'' {
% 3 to 4
\repeat unfold 2 {\skip 1.}
% 5
g8 d g a b2 a |
% 6 to 8
\repeat unfold 3 {\skip 1.}
% 9
r4 \stemUp a \shiftOn b2 a |
% 10
g2. fs4 d2 |
% 11
c'2 b a \shiftOff |
% 12
\skip 1.
}
% Tenor mm. 3 to 12
% repeated as mm 20 to 29
tenA = \relative c' {
% 3
d2 d c |
% 4
b8 g'-1 fs e d-1 c b d c b a c |
% 5 to 8
\repeat unfold 4 {\skip 1.}
% 9
\change Staff = "right"
f,4\rest \stemDown fs' g2 d |
% 10
d2. c4 b2 |
% 11
fs'2 g s |
% 12
\skip 1.
}
% Bass mm. 3 to 12
% repeated as mm 20 to 29
bassA = \relative c' {
% 3
g8 d-5 g-4 a-3 b2 a |
% 4
g4 r r2 r2 |
% 5
b2 d,8\rest g d' g d,8\rest a' d fs |
% 6
g8 \stemUp d,,-5 e fs g a b-3 c \stemDown d e-4 fs d |
% 7
g8 fs-3 g a b-4 c d e \clef treble \stemUp fs g a fs |
% 8
b4 r r2 r |
% 9
\clef bass
d,,8\rest \stemDown e' d c b a g a fs a g fs |
% 10
\stemUp g8-1 g,-5 a b \stemDown c d e-3 fs g-1 a-3 b g |
% 11
a8-1 fs-2 g-1 a-4 b c d-1 e-3 \clef treble \stemUp fs-2 g e fs |
% 12
g4-1 a4\rest g2\rest g2\rest |
}
% -------------------
% soprano
rightOne = \relative c'' {
\global
% 1
R1.
% 2
d2 d c |
% 3 to 12
\sopA
% 13
g'8 e d c d-5 b a g a-4 g fs e |
% 14
fs2.-3-4 a4-2-5 g a |
% 15
b2. e,4 a2~ |
% 16
a8 c b a g fs e fs g4-4 fs-3 |
% 17
e2~-2 e8 fs-3 g-4 a-1 \stemDown b c d e |
% 18
\stemUp fs,8-2 c' b a b-4 a g a fs-2 a-3 g-1 fs-2 |
% 19
d'2 d c
% 20 to 29
\sopA
% 30
g'8 e d c d2-5 c-2-4 |
% 31
b2. a4 g8 a b c |
% 32
d2 r8 g-5 fs e fs2-5 |
% 33
r8 f8 e d e-5 d c b c2-4 |
% 34
r8 c-5 b a b4.-5 b8 a4. a8 |
% 35
g2 r r |
% 36
r8 a b c r c-3 d e d c b a |
% 37
b2. a4 g8fs g4 |
% 38
r4 d'8 c b a g a b4 a |
% 39
g4. d8 g2~ g8 fs g a |
% 40
b2 c d |
% 41
e4. d8 c2 r2 |
% 42
e4. e8
}
% alto
rightTwo = \relative c'' {
\global
% 1 to 2
\repeat unfold 2 {R1.}
% 3 to 23
\altA
% 13
\skip 1.
% 14
\stemDown d,2. c?4 b c |
% 15
d8 f-3 e-1 d-2 c2~-1 c8 d-2 b-1 c |
% 16 to 18
\repeat unfold 3 {\skip 1.}
% 19
g'4 r r2 r2 |
% 20 to 29
\altA
% 30
r2 r8 \stemDown b a g a2 |
% 31
g1.~ |
% 32
g8 fs g a b2-1 r8 c-3 b-2 a-1 |
% 33
g2 r r8 b a g |
% 34
fs2-2 r8 fs8 g4~ g8 e fs4 |
% 35
g2 r r8 d e f |
% 36
e2 a1 |
% 37
r8 a8 g fs g4 fs d d |
% 38
r4 a' g r4 r8 d r c~ |
% 39
c8 a b4~ b2 r2 |
% 40
r8 a' g f r g f? e r f? e d |
% 41
r8 b' c g e2 r2 |
}
% tenor
leftOne = \relative c' {
\global
% 1 to 2
\repeat unfold 2 {\skip 1.}
% 3 to 12
\tenA
% 13
\change Staff ="left" \clef bass \stemUp b2 b cs2 |
% 14 to 15
\repeat unfold 2 {\skip 1.}
% 16
b1 r8 b r a~ |
% 17
a8-2 c-1 b-2 a-3 g-1 fs-2 e-3 fs-2 g-1 a-4 b-3 c-2 |
% 18 to 19
\repeat unfold 2 {\skip 1.}
% 20 to 29
\tenA
% 30 to 31
\repeat unfold 2 {\skip 1.}
% 32
\change Staff = "left" \stemUp b8 a-4 b c d2-1 c\finger "2-1" |
% 33
\stemUp b2. a4 g b |
% 34
a2\finger "2-1" r8 a b c d2 |
% 35
d2 r8 b c d b2 |
% 36 to 37
\repeat unfold 2 {\skip 1. }
% 38
r4 d~ d8 c b a g4 fs |
% 39
g1 r2 |
% 40
\skip 1.|
% 41
c2 \skip 1 |
}
% bass
leftTwo = \relative c' {
\global
% 1 to 2
\motOne
% 3 to 12
\bassA
% 13
\clef bass
R1. |
% 14
r8 \stemDown b a g a-1 fs-2 e d \stemUp e-1 c-2 b a |
% 15
gs2 \stemDown a8-4 b'-1 a g? fs e-1 ds-4 e |
% 16
ds2-1-4 e2. d4 |
% 17
e2 r r |
% 18 to % 19
\motOne
% 20 to 29
\bassA
% 30
\clef bass r2 r2 r8 \stemDown fs' e d |
% 31
r8 e-1 d c b-1 a g fs e fs g a |
% 32
r2 r8 b a g r a g fs |
% 33
g2-2-3 c,4-5 d-1-4 e c |
% 34
d4\finger "4-5" e8 fs g2\finger "2-5" a |
% 35
r8 g a b g4 fs g2 |
% 36 to 37
<<
{\skip 2 d'1~ |d2 }
\\
{\stemUp c2. b4 a2 | g2 }
\\
{\stemDown a2. g4 fs e | d2 r8 d' r c b a b4 }
>>
% 38
\stemDown r4 fs g2 d2~ |
% 39
d2 d8 g, a b c d e fs |
% 40
g4 \stemUp g, a \stemDown a' b \stemUp b, |
% 41
\stemDown c2 r8 b'8 c g e c e g |
}
pedal = \relative c {
\global
% Music follows here.
% 1 to 6
% repeat the first pedal motif 3 times
\repeat unfold3 {\pedOne}
% 7 to 8: a repeat of mm 1-2 bass, left hand
\motOne
% 9
g'4 d g b,8 c d c d4 |
% 10
g,4 r r2 r2 |
% 10 to 11
\pedOne
% 13 to 15
\repeat unfold 3 {R1.}
% 16
r4 b e g,8 a b a b4 |
% 17
e,2 r r |
% 18 to 19
\pedOne
% 20 to 23
\repeat unfold 2 {\pedOne}
% 24 to 25
\motOne
% 26 to 29
\repeat unfold 2 {\pedOne}
% 30 to 31
\repeat unfold 2 {R1.}
% 32 to 33
\pedOne
% 34
r2 d'\ltoe c\ltoe |
% 35
b2. a4 g2 |
% 36
g2 fs1 |
% 37
g2 r4 d'\ltoe g\rtoe b,8\ltoe c\ltoe |
% 38
d8 c d4 g b,8 c d c d4 |
% 39
g,1 r2 |
% 40
R1. |
% 41
r4 g' c e,8 f g f g4 |
% 42
c4 r r2 r |
}
\score {
<<
\new PianoStaff <<
\new Staff = "right" << \rightOne \\ \rightTwo >>
\new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }
>>
\new Staff = "pedal" { \clef bass \pedal }
>>
\layout { }
}
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