Re: LilyPond 2.24.0 released!
Great! Thanks to everyone involved!! Any idea when there will be a Debian package? (Not that I can't install it the way I have done the all the other 2.23.x versions). Paul On 12/15/22 2:42 PM, Jonas Hahnfeld via Discussions on LilyPond development wrote: We are proud to announce the release of GNU LilyPond 2.24.0. LilyPond is a music engraving program devoted to producing the highest-quality sheet music possible. It brings the aesthetics of traditionally engraved music to computer printouts. This version includes improvements and fixes since the branching of the previous stable release in October 2020. A list of added features and other user-visible changes can be found at https://lilypond.org/doc/v2.24/Documentation/changes/ This release switches to Guile 2.2 and features a completely rewritten infrastructure for creating the official packages, finally allowing us to offer 64-bit binaries for macOS and Windows. These pre-built binaries are linked from https://lilypond.org/download.html and available from GitLab: https://gitlab.com/lilypond/lilypond/-/releases/v2.24.0 LilyPond 2.24 is brought to you by Main Developers: Jean Abou Samra, Colin Campbell, Dan Eble, Jonas Hahnfeld, Phil Holmes, David Kastrup, Werner Lemberg, Han-Wen Nienhuys, Francisco Vila Core Contributors: Erlend E. Aasland, Kevin Barry, Martín Rincón Botero, Tim Burgess, Thibaut Cuvelier, Jefferson Felix, David Stephen Grant, Jordan Henderson, Masamichi Hosoda, Nihal Jere, Martin Joerg, Michael Käppler, Doug Kearns, Mark Knoop, Thomas Morley, Lukas-Fabian Moser, Martin Neubauer, Knut Petersen, Valentin Petzel, Pete Siddall, Alen Šiljak, Samuel Tam, Timofey, Nathan Whetsell Font Contributors: Johannes Feulner, David Stephen Grant, Owen Lamb Documentation Writers: Michael Käppler, Daniel Tobias Johansen Langhoff, Thomas Morley, John Wheeler Translators: Federico Bruni, Walter Garcia-Fontes, Dénes Harmath, Masamichi Hosoda, Guyutongxue, Chengrui Li, Jean-Charles Malahieude, Benkő Pál and numerous other contributors.
Re: LilyPond 2.23.7 released
I just downloaded the Linux version from from Lily web site and got a tar.gz version instead of the .sh version I expected. Is this a change or a mistake? Thank you, Paul > On Mar 26, 2022, at 2:36 PM, Jonas Hahnfeld via LilyPond user discussion > wrote: > > We are happy to announce the release of LilyPond 2.23.7. This is termed > a development release, but these are usually reliable. If you want to > use the current stable version of LilyPond, we recommend using the > 2.22.2 version. > > Starting with this release, LilyPond requires Guile 2.2 and the > official binaries were created with the new infrastructure developed > over the past months. Issues reported for the previous release have > been addressed, in particular regarding performance (by integrating > compiled bytecode) and on Windows, where it is now possible to extract > the provided zip archive with the Windows Explorer and use special > characters in filenames. Please test this release and let us know about > problems that you encounter.
\fixed and \relative
Would it be reasonable to have \fixed optionally take it's starting point from its first pitch like \relative does? I jumped on this when this feature was added to \relative. \fixed was the important reason I have now switched completely from \relative to \absolute. Am I missing anything that \absolute does that \fixed doesn't? Thank you for commenting on this, Paul
Re: official GNU LilyPond maintainer
On Tue, Dec 27, 2016 at 05:25:08AM +, Graham Percival wrote: > With David stepping down, LilyPond is left without an official GNU > maintanier. Does anybody want to do fill this role? The relevant > documentation is: > https://www.gnu.org/prep/standards/html_node/index.html > https://www.gnu.org/prep/maintain/html_node/index.htm > > If nobody is interested in the position, I am willing to take it > up again. Great! Welcome back! Paul > > Cheers, > - Graham > > ___ > lilypond-devel mailing list > lilypond-devel@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-devel > ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Stepping up, contributor mentoring
On Tue, Nov 29, 2016 at 03:11:42PM -0800, Graham Percival wrote: > Hi all, I'm back. Welcome back!! > (I was planning on waiting until the new year, but David's news > made me re-evaluate my health now, and I think I have the energy > to take on more stuff. To make a long story short: depression, > burnout, quit academia, moved back to Vancouver, recovery. Also, > started ballroom and swing dancing! Great fun, absolutely > recommended, *especially* for other shy, socially anxious computer > geeks. +1 It's my main recreation. It's country swing here in Tucson. > Despite that help, I'm still not 100% recovered, but I'm > content with my progress, and I think that doing more volunteer > work will help.) Great! Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Printing movement titles in page header
On Thu, Jul 09, 2015 at 07:49:09AM +0100, Mark Knoop wrote:
> Hi - I posted this on the -user list yesterday, but no suggestions
> there. Perhaps someone on -devel has a suggestion?
>
> I'm trying to include the title of the current movement in the page
> header. This works if I use bookparts to seperate the movements, but
> not by setting header:piece in a score block. I don't want to use
> bookparts as I don't want pagebreaks between movements.
>
> Any ideas on how to achieve this? See commented example below.
I have edited the quoted text below. If I understand you correctly
the \header line goes outside of (below) the score block.
HTH
Paul Scott
>
> \version "2.19.22"
>
> \header {
> title = "My Piece"
> composer = "Me"
> tagline = ##f
> % piece only prints in header if set here or in bookpart header
> piece = "Global Piece"
> }
>
> \paper {
> oddHeaderMarkup = \markup
> \fill-line {
> \on-the-fly #not-part-first-page \fromproperty #'header:piece
> \on-the-fly #not-part-first-page \fromproperty #'header:title
> \on-the-fly #print-page-number-check-first
> \fromproperty #'page:page-number-string
> }
> evenHeaderMarkup = \oddHeaderMarkup
> }
>
> \book {
> \bookpart {
> % piece only prints in header if set here or in top-level header
> \header { piece = "Part 1" }
> \score {
> % setting piece here has no effect
> \header { piece = "Movement 1" }
> \repeat unfold 400 c'1
> }
> \header { piece = "Movement 1" }
> \score {
> % setting piece here has no effect
> \repeat unfold 400 d'1
> }
> \header { piece = "Movement 2" }
> }
> \bookpart {
> \score {
> % setting piece here has no effect,
> % even without a bookpart level header
> \repeat unfold 400 e'1
> }
> \header { piece = "Movement 3" }
> }
> }
>
> --
> Mark Knoop
>
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Re: the website is offline
On Fri, Jul 05, 2013 at 09:49:27PM +0100, Phil Holmes wrote: > - Original Message - From: "Mark Polesky" > > To: "lilypond-devel" > Sent: Friday, July 05, 2013 8:46 PM > Subject: the website is offline > > > >http://lilypond.org/ is currently unavailable. It's back. Paul Scott > > > >- Mark > > > It is. If it's not back tomorrow, I'll follow it up. > > -- > Phil Holmes > > ___ > lilypond-devel mailing list > lilypond-devel@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-devel > ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 06 June, 2011.
Yeayyy!!! Thanks for all the hard work!! Paul Scott On 06/05/2011 04:00 PM, Graham Percival wrote: It is now 00:00:10 BST on 06 June, 2011. I see precisely zero open Critical issues, and precisely zero Critical issues waiting to be verified. If you have been holding your breath, you can exhale. Cheers, - Graham ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Quesgion about breakbefore in \header { }
On 03/29/2011 01:14 PM, James Lowe wrote:
Hello,
From: lilypond-devel-bounces+james.lowe=datacore@gnu.org
[lilypond-devel-bounces+james.lowe=datacore@gnu.org] on behalf of Paul
Scott [waterho...@ultrasw.com]
Sent: 24 March 2011 21:19
To: lilypond-devel@gnu.org
Subject: Re: Quesgion about breakbefore in \header { }
On 03/24/2011 12:58 PM, James Lowe wrote:
Hello,
In the NR we have one reference to the option
breakbefore
which says
breakbefore
This forces the title to start on a new page (set to ##t or ##f).
i.e (I assume)
\header {
breakbefore = ##t
}
However for the life of me I cannot get this option to do anything.
\book {
\header {
title = "hello"
breakbefore = ##t % also did ##f
}
\score {
\repeat unfold 200 { a b c d }
}
}
I've removed the book part I've added another score construct and put some more
header info there:
\book {
\header {
title = "hello"
breakbefore = ##t % also did ##f
It works for me if I put it in a \header in the score block
}
\score {
\repeat unfold 200 { a b c d }
\header{ breakbefore = ##t }
}
\score {
\repeat unfold 200 { a b c d }
}
\header { ...more stuff ..}
}
---
Paul thanks for that (and Eluze)..
However breakbefore still seems rather vague on what it supposed to do.
Not rigorous but the only two places I ever put \header are before any
score blocks or immediately after the score block I am applying it to.
Paul
For example
\book {
\header { title = "Hello" }
\score {
\repeat unfold 10 { e'' e'' e'' e'' }
\header { breakbefore = ##t }
}
\score {
\repeat unfold 10 { b' b' b' b' }
}
}
Gives me a 'Hello" on its own and then score starts on the next page, and the
next score on the next page. So I get 3 pages in total.
However if I move the \header { breakbefore = ##t } anywhere else from this
specific place I get an 'unexepcted \header' error.. for instance:
\book {
\header { title = "Hello" }
\score {
\header { breakbefore = ##t }
\repeat unfold 10 { e'' e'' e'' e'' }
}
\score {
\repeat unfold 10 { b' b' b' b' }
}
}
The header is still inside the \score { } but this fails.
Also if I put it in the second \score construct like so:
\book {
\header { title = "Hello" }
\score {
\repeat unfold 10 { e'' e'' e'' e'' }
}
\score {
\repeat unfold 10 { b' b' b' b' }
\header { breakbefore = ##t }
}
}
I get the title on the page 1 with the first score and the second score on a
new page - 2 pages instead of 3.
If I add a second 'header' making the assumption that the breakbefore will
break the *previous* header, then this:
\book {
\header { title = "hello" }
\score {
\repeat unfold 10 { e'' e'' e'' e'' }
\header { title = "goodbye" }
}
\score {
\repeat unfold 10 { b' b' b' b' }
\header { breakbefore = ##t }
}
}
Outputs the same as the one previous (I get no "goodbye" in my title).
If I try to move my real header inside the \score { }
\book {
\score {
\repeat unfold 10 { e'' e'' e'' e'' }
\header { title = "goodbye" }
}
\score {
\repeat unfold 10 { b' b' b' b' }
\header { breakbefore = ##t }
}
}
Then I get 2 pages but no titles at all.
So I really don't know what use this is as
1. It only allows one \header { } title to be displayed - even if you add
different \header { } components (i.e. poet = or instrument = etc) they don't
print.
2. You must put the \breakbefore in a *very* specific place else it does
nothing or gives you a compilation error. You cannot just put it 'anywhere'
inside the score and you have to put it in the 'first' and then in a place
after the notes.
So I'm struggling to see the point of this breakbefore and wonder if anyone
really uses it in this context.
James
--
Paul Scott
Librarian
Southern Arizona Symphony Orchestra
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Re: Quesgion about breakbefore in \header { }
On 03/24/2011 12:58 PM, James Lowe wrote:
Hello,
In the NR we have one reference to the option
breakbefore
which says
breakbefore
This forces the title to start on a new page (set to ##t or ##f).
i.e (I assume)
\header {
breakbefore = ##t
}
However for the life of me I cannot get this option to do anything.
\book {
\header {
title = "hello"
breakbefore = ##t % also did ##f
}
\score {
\repeat unfold 200 { a b c d }
}
}
I've removed the book part I've added another score construct and put some more
header info there:
\book {
\header {
title = "hello"
breakbefore = ##t % also did ##f
It works for me if I put it in a \header in the score block
}
\score {
\repeat unfold 200 { a b c d }
\header{ breakbefore = ##t }
}
\score {
\repeat unfold 200 { a b c d }
}
\header { ...more stuff ..}
}
Paul Scott
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Re: Fwd: Music Glossary - 1.64 Concert Pitch
On 07/07/2010 04:06 PM, Wols Lists wrote: On 07/07/10 19:06, Paul Scott wrote: On Tue, Jul 06, 2010 at 11:54:29AM +0100, Wols Lists wrote: quote: The trombones are a special case: although they are said to be 'in F' (alto or bass) or 'in B-flat' (tenor), this refers to their fundamental note, not to their parts' transposition. (In fact, the trombones' parts are written at concert pitch with an appropriate clef -- alto, tenor or bass.) This differs from other instruments 'in F', 'in B-flat', and so on, which are transposing instruments. At least in modern American music this applies to all brass music written in bass clef as well as bassoon. All parts are written as if they were C instruments. If you play a C tuba you use different "valvings" when you see a note than you do if you are playing a Bb tuba. Bassoon could also be considered an F instrument but it's written as if it were a C instrument. Actually, I thought that was NOT true! I'm sure it's true for normal band music. I just rewrote a trombone part for tenor sax and I added 2 sharps and raised each pitch a ninth. Another example is dance/jazz/swing band music. All bass clef music is written in concert pitch. In particular the 4th trombone parts are usually played by a bass trombonist but the music is written the same as the other trombone parts. I can then read any of those parts on baritone (or alto) sax just by adding 3 sharps and pretending the clef is treble. I might be mistaken (the music might have been written with accidentals but no key signature - certainly it confused the hell out of me!) That's just some modern music which is composed that way (none of the parts have key signatures) contrasted with orchestral horn music which is usually written without key signatures. but I'm sure I've had some American band music put in front of me that (a) was in bass clef and (b) was transposed in Bf! Could be but I've never seen it. OTOH there are European orchestral bass clarinet parts which are written exactly that way. Okay. Let's try and rewrite both of them: Transposing instruments: Instruments whose notated pitch is different from their sounded pitch. They usually come in families which differ only in their fundamental pitch (the base note determined by the length of the instrument from mouthpiece to bell). This certainly *not* true for woodwinds. A "C" flute may have a C foot or a B foot. An Eb baritone saxophone may go to low Bb or low A, I thin we've had this discussion here before ... but as you have correctly said I'm a trombone player, not woodwind. The lowest note on a brass instrument has a half-wavelength equal to the length of the instrument. I get the impression that the lowest note on many woodwind instruments has a quarter-wavelength equal to the length of the instrument. At the end of the day, I was trying to get across the fact that the note depends on the length of the instrument - hence "determined by the length" rather than explicitly drawing any relationship. That works for me! So that explains your point about an Eb sax going to Bb or A - the lowest note on a woodwind is typically a harmonic of the fundamental rather than an octave of it (that funny 1/4 or 3/4 relationship). The lowest note on a woodwind is a fundamental. It's just not directly related to how the key of the instrument is determined. All woodwinds except the bassoon have a six finger notes in one of it's registers (harmonics) that is named D and usually written on the fourth line of the treble clef. I don't know what you mean by a "foot". Is that where you have eg a C flute, and by replacing the foot with a longer one you convert it to a B instrument? No. It's still a C instrument. Making an instrument longer like that would be directly analogous to what happens when you move the slide on your Bb trombone and make the instrument a little longer. It's still a Bb trombone. Like you change the pitch of a horn by changing its crook? If that's the case, my definition still holds - changing the foot changes the length, and therefore changes the fundamental. I'd call a flute like that a C/B flute, just like my trombone is a Bf/F - using the trigger adds extra tubing to change the fundamental (though like so much with instruments, I'd call that on the trombone a cheat - you don't call a four-valve euph a Bf/F!). But on woodwinds we can't change the fundamental that way. We would have to rebuild the instrument with the holes and keys moved proportionally to the added length. The thing I really wanted to get away from is the implication that the instrument is named after the transposing note, whereas reality is that the transposing note is chosen based on the fundamentals of the instrumen
Re: Fwd: Music Glossary - 1.64 Concert Pitch
On Tue, Jul 06, 2010 at 11:54:29AM +0100, Wols Lists wrote: > quote: > > The trombones are a special case: although they are said to be 'in F' > (alto or bass) or 'in B-flat' (tenor), this refers to their fundamental > note, not to their parts' transposition. (In fact, the trombones' parts > are written at concert pitch with an appropriate clef -- alto, tenor or > bass.) This differs from other instruments 'in F', 'in B-flat', and so > on, which are transposing instruments. At least in modern American music this applies to all brass music written in bass clef as well as bassoon. All parts are written as if they were C instruments. If you play a C tuba you use different "valvings" when you see a note than you do if you are playing a Bb tuba. Bassoon could also be considered an F instrument but it's written as if it were a C instrument. > > Okay. Let's try and rewrite both of them: > > Transposing instruments: > > Instruments whose notated pitch is different from their sounded pitch. > They usually come in families which differ only in their fundamental > pitch (the base note determined by the length of the instrument from > mouthpiece to bell). This certainly *not* true for woodwinds. A "C" flute may have a C foot or a B foot. An Eb baritone saxophone may go to low Bb or low A, > Except for those whose notated and sounding pitches > differ by one or more octaves (to reduce the number of ledger lines > needed), most such instruments are identified by the letter name of the > pitch class of their fundamental. This is the note which is written as C > when music is transposed. > > Trombones are a special case as the bass trombone is never transposed, Can you explain this? I realize you are a trombone player but this makes no sense to me. ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Fwd: Music Glossary - 1.64 Concert Pitch
On Tue, Jul 06, 2010 at 11:54:29AM +0100, Wols Lists wrote: > quote: > > The trombones are a special case: although they are said to be 'in F' > (alto or bass) or 'in B-flat' (tenor), this refers to their fundamental > note, not to their parts' transposition. (In fact, the trombones' parts > are written at concert pitch with an appropriate clef -- alto, tenor or > bass.) This differs from other instruments 'in F', 'in B-flat', and so > on, which are transposing instruments. At least in modern American music this applies to all brass music written in bass clef as well as bassoon. All parts are written as if they were C instruments. If you play a C tuba you use different "valvings" when you see a note than you do if you are playing a Bb tuba. Bassoon could also be considered an F instrument but it's written as if it were a C instrument. > > Okay. Let's try and rewrite both of them: > > Transposing instruments: > > Instruments whose notated pitch is different from their sounded pitch. > They usually come in families which differ only in their fundamental > pitch (the base note determined by the length of the instrument from > mouthpiece to bell). This certainly *not* true for woodwinds. A "C" flute may have a C foot or a B foot. An Eb baritone saxophone may go to low Bb or low A, > Except for those whose notated and sounding pitches > differ by one or more octaves (to reduce the number of ledger lines > needed), most such instruments are identified by the letter name of the > pitch class of their fundamental. This is the note which is written as C > when music is transposed. > > Trombones are a special case as the bass trombone is never transposed, Can you explain this? I realize you are a trombone player but this makes no sense to me. ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: LilyPond 2.13.21 released [correction]
On 05/12/2010 12:32 PM, Graham Percival wrote: [the previous announcement stated ".12" instead of ".21"] We are happy to announce the release of LilyPond 2.13.21. This release contains the usual number of bugfixes. However, a number of critical issues still remain, so this release is intended for developers only. Thanks!! I use the development version for all my work (at my own risk). This release should be of particular interest to package maintainers: we have made a few changes to the configure script and the required libraries. Barring any urgent bug reports, this is the build system and libraries that will be used for the next stable release. download.linuxaudio.org seems to be unavailable at the moment. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: texi2html web page, second attempt
Jonathan Kulp wrote: Graham Percival wrote: 3) Ok, so why do I want to use texinfo so much? - makes pdfs+info. I personally *never* use those formats, but I know that some people still use them. IMO, if we're going to support those formats for the manuals, we should support them for the information that's on the website. For what it's worth, I almost always go to the pdf manual first when I need to find something. Just for balance I always go to the HTML manual. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: unexpected \unfoldRepeats behavior
Jay Anderson wrote: On Sat, Jun 6, 2009 at 4:53 PM, Paul Scott wrote: Which is kind of ridiculous if you're writing an ensemble piece with many (even more than one) voices/parts. How can a midi of a multi-voice work with any repeats be done? I was working on a large score and originally kept the repeat structure separate from the individual parts and ran into the same unfold-not-working problem. I don't need MIDIs that often. Until it is established that this is a bug or the intended result I can get any MIDIs that I need by defining each section for each part as a separate definition that I can assemble as needed for the two different purposes. I thought about this a bit and decided it was best just to have the repeats in each part. If you're going to make a change to the repeat structure you're almost always going to have to change each part/voice to match. Since this is the case it makes sense to have the repeat structure in each part. *If* this is the case. I am most often working with a structure already determined by the composer who is not me. I often create corrected or easier to read ensemble parts or parts for people who don't do the doubling that the original parts call for. If for nothing else it makes it easy to find the beginnings and ends of repeats in each part. I put bar numbers or other references when needed. I don't mind having a separate file for the midi output but not being able to factor out the common timing and dynamics costs a lot of input time and makes it a lot harder to make sure I haven't dropped a bar somewhere. Actually I found that having the repeats in each part made it easier to notice that bars were off. Lilypond throws errors where it thinks the repeat timing problem is without having to look too much at the pdf output. My first pass at most of what I do is to create the global timing section. I then know by the rehearsal marks, etc. whether I have skipped some bars in the input of the music. I will now reread the documentation on unfoldRepeats to see if I should go any farther with this. Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: unexpected \unfoldRepeats behavior
Jay Anderson wrote:
On Sat, Jun 6, 2009 at 3:22 AM, Mark Polesky wrote:
I tried to answer a question on -user but hit a brick wall.
\unfoldRepeats failed to work when the music block was funneled from 2
separate expressions. Can someone explain this to me? Why does the
following code work for voiceA but not for voiceB?
Thanks.
- Mark
_
\version "2.13.1"
voiceA = \new Voice = "A" \relative {
\time 1/4
\repeat volta 2 { a' }
\alternative { { b } { c } }
}
% voiceB is built from 2 separate expressions funneled into one voice,
% but otherwise ought to be identical to voiceA, it seems:
voiceBrepeats = {
\time 1/4
\repeat volta 2 { s }
\alternative { { s } { s } }
}
voiceBnotes = \relative { \time 1/4 a' b c }
voiceB = \new Voice = "B" { << \voiceBrepeats \voiceBnotes >> }
% using \unfoldRepeats produces the expected MIDI output with voiceA,
% but not with voiceB. Why?
\score {
\unfoldRepeats \voiceA % change to \voiceB to test.
\midi { }
}
This is the expected behavior. Only the spacers will be unfolded in
voiceB. The repeat needs to be around the actual notes. Use
\displayMusic and you'll see why.
If you really do want this to work you're going to need some sort of
flatten function: '\flatten << \voiceBrepeats \voiceBnotes >>' which
would recursively combine the contents of nested parallel sections
into one SequentialMusic section. This would be tricky. It's easiest
to just put the repeats in all voices.
Which is kind of ridiculous if you're writing an ensemble piece with
many (even more than one) voices/parts. How can a midi of a multi-voice
work with any repeats be done?
I don't mind having a separate file for the midi output but not being
able to factor out the common timing and dynamics costs a lot of input
time and makes it a lot harder to make sure I haven't dropped a bar
somewhere.
Paul Scott
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Re: development on windows
Bertalan Fodor (LilyPondTool) wrote: - does anybody feel like making cygwin packages for the missing software? Well, for some time I used to be the cygwin maintainer of lilypond. Was quite nightmare. - does anybody have VMware (commercial version) and feel like making a small Linux installation which has all the required software? Potential contributors would be able to run this in the free VMware version. Why VMware? There are free alternatives, like MS Virtual PC, Sun VirtualBox. There have been free versions of VMWare for some time now. www.*vmware*.com/products/server/ Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: lilypond 2.13.1 up
Han-Wen Nienhuys wrote: Please try 2.13.1-2 to see if this helps. No error message and the PDF is fine now. Thanks, Paul With 2.13.1 on Debian sid I get: Converting to `./asthedeertenor.pdf'... `gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile="./asthedeertenor.pdf" -c .setpdfwrite -f "asthedeertenor.ps"' failed (256) ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: lilypond 2.13.1 up
Han-Wen Nienhuys wrote: On Wed, Jun 3, 2009 at 3:04 PM, Patrick McCarty wrote: Yes, I was testing the GUB binary at lilypond.org. I have just confirmed the problem on 64-bit GNU/Linux too. The problem seems to be exactly what the error message reports: there is no file gs_init.ps located in the installation directory. I already know what is wrong. I'll try to push a new release tonight. (I found this bug on XP and fixed it there. I was assuming that the Gub3 checksumming would rebuild the installers automatically, but that was naive.) With 2.13.1 on Debian sid I get: Converting to `./asthedeertenor.pdf'... `gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile="./asthedeertenor.pdf" -c .setpdfwrite -f "asthedeertenor.ps"' failed (256) Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: lilypond 2.13.1 up
Han-Wen Nienhuys wrote: On Wed, Jun 3, 2009 at 3:04 PM, Patrick McCarty wrote: Yes, I was testing the GUB binary at lilypond.org. I have just confirmed the problem on 64-bit GNU/Linux too. The problem seems to be exactly what the error message reports: there is no file gs_init.ps located in the installation directory. I already know what is wrong. I'll try to push a new release tonight. (I found this bug on XP and fixed it there. I was assuming that the Gub3 checksumming would rebuild the installers automatically, but that was naive.) With 2.13.1 on Debian sid I get: Converting to `./asthedeertenor.pdf'... `gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile="./asthedeertenor.pdf" -c .setpdfwrite -f "asthedeertenor.ps"' failed (256) Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Concert Pitch (a second try)
Carl D. Sorensen wrote: I'm going to step in here, perhaps where wise men fear to tread. The LilyPond music glossary isn't intended to be a definitive music dictionary, is it? Nope. A basic understanding of transposition should be all that is important here. So do we care what reference concert pitch uses? Does it matter if it's A=440, or A=445, or A=450? Some of us care for a non-notational reason: Woodwinds are built to specific proportions which make them much more in tune at a specific frequency. In the 1970s flutes were reproportioned by manufacturers who could afford to retool from Boehm's original 435 to 445. I didn't find the right keywords yet to find out what modern clarinets are designed for. There are old saxophones marked "low pitch" which are somewhat impractical when played with normally tuned pianos. I recently played my flute with a modern Yamaha Xylophone which was tuned to at least 445Hz. A bit of a challenge! Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Music Glossary - 1.64 Concert Pitch (2.12.2)
On Apr 3, 2009, at 3:49 PM, Anthony W. Youngman wrote: In message <7ca3d5a30904031519ya3b89hb87cf8f81a544...@mail.gmail.com>, Neil Puttock writes 2009/4/3 Anthony W. Youngman : In message , Anthony W. Youngman writes Ow! Sorry, reading this was painful (I play the trombone, as many of you know :-) Replying to myself ... Just in case anyone didn't realise (and I certainly didn't make myself clear :-) these are my revised versions that I think should replace the existing entries. Feel free to edit and improve. For example Concert A is 440Hz, the speed of sound in air is 343m/s, therefore an A clarinet (or any other A wind instrument) will have a length of 343/440 = 78cm. (Or be a power of 2 longer or shorter.) Concert A is definitely not the fundamental for an A clarinet: it's a cylindrical tube stopped at one end, so the wavelength of the fundamental is four times the length. Since the lowest note on a clarinet is usually the E below middle C unless it has an extension, the fundamental would be C sharp (D on a B flat). Ummm ... I think I might be getting physics fundamentals confused with musical fundamentals. But I'm COMPLETELY puzzled at your statement that the wavelength of the fundamental is FOUR times the length. I would guess the trombone is also "a cylindrical tube stopped at one end", and the wavelength of any note played must be an integral number of half-wavelengths. So we have 1/2-wavelength giving me a pedal Bb, 2/2 giving me the fundamental Bb, and 3/2 giving me an F. I don't see how the physics would work to give you a quarter- wavelength as you claim. I just did some quick online research and he is right. A tube closed on one end like a clarinet or trumpet has a wavelength that is four times the length of the tube. A flute is open on both ends so it has a wavelength of double the length of the tube. Concert A would be either the first (B flat clarinet) or second (A clarinet) overblown note, i.e., third harmonic of E or F. Mmmm... I think that explains a lot. Most notes played by brass instruments are "overblown" in the wind sense - do most wind instruments mostly not overblow? Sure! anything above the first octave of a conical instrument (flute, saxophone) or the first 12th of a cylindrical bore instrument (clarinet) is overblown or uses a vent key to give the same effect. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Music Glossary - 1.64 Concert Pitch (2.12.2)
Anthony W. Youngman wrote: Ow! Sorry, reading this was painful (I play the trombone, as many of you know :-) 1.64 concert pitch The pitch at which the piano and other non-transposing instruments play, such music is said to be 'in C'. Officially, it is defined as "A = 440", meaning that the note A in the treble clef indicates a sound that has a frequency of 440Hz. There are other standard frequencies, but they have mostly fallen into disuse. This convention is used for (almost?) all instruments with multiple sounding parts, eg tuned percussion and strings. Instruments with a single sounding part (woodwind, brass) follow a different convention and are generally known as transposing instruments, although for some instruments (eg flute, oboe), the two conventions lead to the same result. The trombone is unusual in that music for it can be written using either or both conventions. 1.311 transposing instrument Instruments whose notated pitch is different from concert pitch. Most of these instruments are identified in their name by their fundamental pitch - this being the note whose wavelength is equal to length of the instrument. For example Concert A is 440Hz, the speed of sound in air is 343m/s, therefore an A clarinet (or any other A wind instrument) will have a length of 343/440 = 78cm. (Or be a power of 2 longer or shorter.) We could probably get to the truth from here but this is not correct as stated. My A clarinet is not 78cm long. It is significantly shorter. I don't know if this is more accurate for a brass instrument. It could be. I guess you would be talking about a trombone in 1st position or a valved instrument with the valves not depressed. For an A clarinet a low C (sounding concert A 220Hz) you would be fingering a note which only used about 1/2 the length of the instrument. For a C above that (sounding A 440Hz.) you would be using most of the length of the instrument but this is the 2nd harmonic of a cylindrical bore which is probably not a reasonable place to apply your description. This note is always written as middle C in the treble clef, and is usually referred to as "being in 'X'" where X is the fundamental of the instrument it's written for. As mentioned above this not the fundamental for a woodwind even if it is for a brass instrument. The most common fingering for a woodwind is the six finger note which is D (in the upper register for clarinets or G for a bassoon). From there we get to a C by either adding one finger or by removing most of the fingers. Neither using either the tube with no fingers down or all fingers down is really equivalent to a brass instrument for the purposes of this discussion. From one point of view you would call a bassoon an F instrument, a normal clarinet (Bf) an Eb instrument (equivalent to an F recorder). Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: CSS style for
Resent from subscribed address. Patrick McCarty wrote: Hi Paul, On Fri, Feb 06, 2009 at 12:14:27PM -0700, Paul Scott wrote: I haven't complimented our fantastic documentation lately. It is truely amazing!! Thanks! Is it true for anyone else that the effective font for all the HTML enclosed in tags is somewhat smaller which in not a problem except for symbols like "^", etc.? If so would anyone consider adding a style for tags which slightly increased the font size. I see this with Firefox 3 and the latest Debian version of SeaMonkey. Many browsers set the default size of monospace fonts smaller than serif and sans-serif fonts. This includes any browser with the Gecko rendering engine, which Firefox and SeaMonkey both have. The problem is that other browsers (most notably IE and Opera) do not have this particular setting. So, if we increase the font size of monospace fonts, everything enclosed in tags will be larger than the regular text! So, my best recommendation is to increase the default size of monospace fonts within your browser. Thanks!! Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: CSS style for
Patrick McCarty wrote: Hi Paul, On Fri, Feb 06, 2009 at 12:14:27PM -0700, Paul Scott wrote: I haven't complimented our fantastic documentation lately. It is truely amazing!! Thanks! Is it true for anyone else that the effective font for all the HTML enclosed in tags is somewhat smaller which in not a problem except for symbols like "^", etc.? If so would anyone consider adding a style for tags which slightly increased the font size. I see this with Firefox 3 and the latest Debian version of SeaMonkey. Many browsers set the default size of monospace fonts smaller than serif and sans-serif fonts. This includes any browser with the Gecko rendering engine, which Firefox and SeaMonkey both have. The problem is that other browsers (most notably IE and Opera) do not have this particular setting. So, if we increase the font size of monospace fonts, everything enclosed in tags will be larger than the regular text! So, my best recommendation is to increase the default size of monospace fonts within your browser. Thanks!! Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
CSS style for
I haven't complimented our fantastic documentation lately. It is truely amazing!! Is it true for anyone else that the effective font for all the HTML enclosed in tags is somewhat smaller which in not a problem except for symbols like "^", etc.? If so would anyone consider adding a style for tags which slightly increased the font size. I see this with Firefox 3 and the latest Debian version of SeaMonkey. Thanks for reading this, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Directory name of aux is invalid
dem...@suffolk.lib.ny.us wrote: On Tue, Jan 6, 2009, Trevor Daniels said: The names are case-insensitive, and they cannot be used as directory names or the first part of a filename (the bit before the dot). please note, in DOS (and many of its contemporary file systems), what users think of as the filename is not actually a ten character field but in fact two seperate entitys, the name (6 characters), and a 3 character extension. It's actually (at least in DOS) an 8 character name and a 3 character extension and I'm not sure I can agree about the two separate entities part. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: shorthand for autoBeam control
Werner LEMBERG wrote:
>>> My special example is this where such a shorthand would be quite
>>> convenient:
>>>
>>> c4 c c \times 2/3 { r8 c16 } c8
>>>
>> This may have nothing to do with your proposal/question but as a
>> reader I would find your example much harder to read/sightread than
>>
>> c4 c c \times 2/3 { r8[ c16] } c8
>> or
>> c4 c c \times 2/3 { r8[ c16 } c8]
>>
>
> Yes. What I really would like to write is
>
> c4 c c \times 2/3 { r8 c16[] } c8
>
> and I just demonstrated a case where my proposed notation would be
> helpful.
>
My point is that is it not helpful in this case because it produces a
notation which is IMO harder to read than the two variations that I
gave. Maybe you can give an example where \noBeam makes something
easier to read instead of harder.
Paul
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Re: shorthand for autoBeam control
Werner LEMBERG wrote:
> I'm not sure whether this has been discussed before: What do you think
> of using `c[]' as a shorthand for `\autoBeamOff c \autoBeamOn'?
>
> Currently, `c[]' produces
>
>_
> |
> |
> O
>
> (a note with a beamlet to the left and right), which is neither
> documented nor makes much sense IMHO.
>
> My special example is this where such a shorthand would be quite
> convenient:
>
> c4 c c \times 2/3 { r8 c16 } c8
>
This may have nothing to do with your proposal/question but as a reader
I would find your example much harder to read/sightread than
c4 c c \times 2/3 { r8[ c16] } c8
or
c4 c c \times 2/3 { r8[ c16 } c8]
Paul Scott
> (see attached image).
>
>
> Werner
>
>
>
>
>
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Re: Fwd: [PATCH] Re: Octavation syntax consistency
Reinhold Kainhofer wrote: > Hello Han-Wen, > Do you have any opinion about this patch (adds \ottava #x, which is > supposed > to make #(set-octavation x) obsolete)? Okay to apply to master? Shouldn't that really be \octave #x since other commands are in English? Paul Scott > > Cheers, > Reinhold > -- Weitergeleitete Nachricht -- > > Subject: [PATCH] Re: Octavation syntax consistency (was: grand > predefined-command thread) > Date: Samstag, 28. Juni 2008 > From: Reinhold Kainhofer <[EMAIL PROTECTED]> > To: lilypond-devel@gnu.org > > Am Samstag, 28. Juni 2008 schrieb Reinhold Kainhofer: > > Am Samstag, 28. Juni 2008 schrieb Valentin Villenave: > >> This is not really a predef, but for the past couple of weeks I've > >> been trying to implement an easier syntax for octavations, e.g. > >> > >> \octava 1 > >> or > >> \octava #1 > >> > >> instead of > >> > >> #(set-octavation 1) > >> > >> Such a command would be much more consistent with the rest of the > >> (non-Scheme) LilyPond syntax (not to mention much easier to type, > >> since typing the hash character on a French keyboard requires you to > >> twist your arm ;-)... > >> > >> I couldn't come up with a patch, but I thought someone more skilled > >> than me could write it in a sec... > > Well, you don't need to be skilled too much, but that part about "a > sec" is > > definitely true ;-) Attached is an example. > > > Basically, you write a music-function and inside that music function you > > simply copy the stripped-down contents (which is only one line, > anyway!) of > > the set-octavation function, which is for some strange reason > defined as a > > scheme function rather than a music function. What's the reason for > this? > > AFAICS, that scheme function is not used inside any other code, so I > see no > > reason why that shouldn't be a music function. > > > So the whole function boils down to: > > > ottava = #(define-music-function (parser location octave) (number?) > > (_i "set the octavation ") > > (make-ottava-set octave) > > ) > > Attached is a patch, which adds this music function to LilyPond and > musicxml2ly, together with a conversion rule, docs changes (I don't know > French, so please check if the text there needs to be changed, too!), > updated > regression tests, etc. > > I choose ottava as the name, since that's the musical term. However, > there > might arise some confusion with the function \octave, which I propose to > rename to \octaveCheck (similar to \barNumberCheck) to make its purpose > clearer. > > What do you think about this? > > Cheers, > Reinhold > - ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Fwd: [PATCH] Re: Octavation syntax consistency
Reinhold Kainhofer wrote: > Hello Han-Wen, > Do you have any opinion about this patch (adds \ottava #x, which is > supposed > to make #(set-octavation x) obsolete)? Okay to apply to master? Shouldn't that really be \octave #x since other commands are in English? Paul Scott > > Cheers, > Reinhold > -- Weitergeleitete Nachricht -- > > Subject: [PATCH] Re: Octavation syntax consistency (was: grand > predefined-command thread) > Date: Samstag, 28. Juni 2008 > From: Reinhold Kainhofer <[EMAIL PROTECTED]> > To: lilypond-devel@gnu.org > > Am Samstag, 28. Juni 2008 schrieb Reinhold Kainhofer: > > Am Samstag, 28. Juni 2008 schrieb Valentin Villenave: > >> This is not really a predef, but for the past couple of weeks I've > >> been trying to implement an easier syntax for octavations, e.g. > >> > >> \octava 1 > >> or > >> \octava #1 > >> > >> instead of > >> > >> #(set-octavation 1) > >> > >> Such a command would be much more consistent with the rest of the > >> (non-Scheme) LilyPond syntax (not to mention much easier to type, > >> since typing the hash character on a French keyboard requires you to > >> twist your arm ;-)... > >> > >> I couldn't come up with a patch, but I thought someone more skilled > >> than me could write it in a sec... > > Well, you don't need to be skilled too much, but that part about "a > sec" is > > definitely true ;-) Attached is an example. > > > Basically, you write a music-function and inside that music function you > > simply copy the stripped-down contents (which is only one line, > anyway!) of > > the set-octavation function, which is for some strange reason > defined as a > > scheme function rather than a music function. What's the reason for > this? > > AFAICS, that scheme function is not used inside any other code, so I > see no > > reason why that shouldn't be a music function. > > > So the whole function boils down to: > > > ottava = #(define-music-function (parser location octave) (number?) > > (_i "set the octavation ") > > (make-ottava-set octave) > > ) > > Attached is a patch, which adds this music function to LilyPond and > musicxml2ly, together with a conversion rule, docs changes (I don't know > French, so please check if the text there needs to be changed, too!), > updated > regression tests, etc. > > I choose ottava as the name, since that's the musical term. However, > there > might arise some confusion with the function \octave, which I propose to > rename to \octaveCheck (similar to \barNumberCheck) to make its purpose > clearer. > > What do you think about this? > > Cheers, > Reinhold > - ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: GDP: LM 1.2 About the docs
Graham Percival wrote: > On Wed, 23 Jul 2008 10:16:37 -0700 > Paul Scott <[EMAIL PROTECTED]> wrote: > > >> Magnificent! >> >> Trivial word: s/operating/operation/ >> > > Thanks. BTW, the actual syntax is s/before/after/, but I got the > meaning. :) > Doh! I really did know that working with early editors many years ago as well as with sed. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: GDP: LM 1.2 About the docs
Graham Percival wrote: > I think I've finished LM 1 Introduction -- in particular LM 1.2 > About the documentation. > > Could people check it out, make sure that what I've written there > matches with their idea of the doc organization, check that I > haven't missed anything, etc? > > http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/index.html > Magnificent! Trivial word: s/operating/operation/ About the Application Usage (AU) <http://kainhofer.com/%7Elilypond/Documentation/user/lilypond-learning/About-the-Application-Usage-_0028AU_0029.html#About-the-Application-Usage-_0028AU_0029>: this discusses the actual programs and operation system-specific issues. About the Application Usage (AU) <http://kainhofer.com/%7Elilypond/Documentation/user/lilypond-learning/About-the-Application-Usage-_0028AU_0029.html#About-the-Application-Usage-_0028AU_0029>: this discusses the actual programs and operating system-specific issues. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 2.11.50 broken on PPC (and/or Windows?)
Valentin Villenave wrote: > Greetings, > > I'm receiving several reports stating that the latest development > release is broken on PPC and Windows. > > I can't test the PPC build, and the Windows build I tested has not > failed so far (I suspect this might only be a syntax issue). Could > anyone help by testing it further? > I get 217 Bus error on PPC (Tiger). This may show up twice since I first sent it from an unsubscribed address. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: building sections of the docs
Graham Percival wrote: On Sun, 06 Jan 2008 22:08:14 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Something is still missing or misconfigured. See below. Did you compile the lilypond *binary* yourself, or did you download a binary? (ie GUB) Have not compiled recently. GUBs have been great to me! [EMAIL PROTECTED]:~/lily/doc/Documentation/user$ make web This command __only__ works if you compiled lilypond yourself. ie cd ~/lily ./autogen.sh make You need a ton of dependencies for this to be possible. I therefore recommend that doc helpers build with GUB. But to do that, you *CANNOT* use "make web". Please see AU 1.2.4 for the exact command, because I can't remember it. Ok. I thought I had sent this. I have now successfully done a "make all" and a "make web" Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: building sections of the docs
Graham Percival wrote: On Sun, 06 Jan 2008 21:11:25 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Application Usage and have found 1.2.4. :) What does the following mean? You may build the manual ( Documentation/user/ ) without building all the input/* stuff. I have now followed the previous steps on that page and don't understand this one. If you do "make web" in the top source dir, it will build all the web-related stuff. All the examples in the input/ directory (and subdirs) takes as long to compile as the stuff in Documentation/user/ and for most doc work, they're not necessary. So if you only want the manual, do make web in the Documentation/user/ directory to avoid building unnecessary stuff. Something is still missing or misconfigured. See below. Paul [EMAIL PROTECTED]:~/lily/doc/Documentation/user$ make web /home/paul/lily/doc/stepmake/stepmake/generic-targets.make:144: out/dummy.dep: No such file or directory please ignore innocent warning about dummy.dep mkdir -p ./out touch ./out/dummy.dep echo '*' > ./out/.gitignore make --no-builtin-rules out=www WWW make[1]: Entering directory `/home/paul/lily/doc/Documentation/user' /home/paul/lily/doc/stepmake/stepmake/generic-targets.make:144: out-www/dummy.dep: No such file or directory please ignore innocent warning about dummy.dep mkdir -p ./out-www touch ./out-www/dummy.dep echo '*' > ./out-www/.gitignore make[1]: Leaving directory `/home/paul/lily/doc/Documentation/user' make[1]: Entering directory `/home/paul/lily/doc/Documentation/user' /usr/bin/python ../../scripts/lilypond-book.py -I ./ -I ./out-www -I ../../input -I ../../input/regression/ -I ../../input/manual/ -I ../../input/tutorial/ -I /home/paul/lily/doc/mf/out/ -I /home/paul/lily/doc/mf/out/ -I ../../input/lsr/ --process='/home/paul/lily/doc/out/bin/lilypond -I ./ -I ./out-www -I ../../input -I ../../input/regression/ -I ../../input/manual/ -I ../../input/tutorial/ -I /home/paul/lily/doc/mf/out/ -I /home/paul/lily/doc/mf/out/ -I ../../input/lsr/' --output=./out-www --format=texi-html --process="/home/paul/lily/doc/out/bin/lilypond -dbackend=eps --formats=ps,png,pdf -dinclude-eps-fonts -dgs-load-fonts --header=texidoc -I /home/paul/lily/doc/input/manual -dcheck-internal-types -ddump-signatures -danti-alias-factor=2" --verbose lilypond-learning.tely lilypond-book.py (GNU LilyPond) @TOPLEVEL_VERSION@ Reading lilypond-learning.tely... Dissecting... Writing snippets... Processing... Invoking `/home/paul/lily/doc/out/bin/lilypond -dbackend=eps --formats=ps,png,pdf -dinclude-eps-fonts -dgs-load-fonts --header=texidoc -I /home/paul/lily/doc/input/manual -dcheck-internal-types -ddump-signatures -danti-alias-factor=2 -I "/home/paul/lily/doc/Documentation/user" -I "/home/paul/lily/doc/Documentation/user" -I "/home/paul/lily/doc/Documentation/user/out-www" -I "/home/paul/lily/doc/input" -I "/home/paul/lily/doc/input/regression" -I "/home/paul/lily/doc/input/manual" -I "/home/paul/lily/doc/input/tutorial" -I "/home/paul/lily/doc/mf/out" -I "/home/paul/lily/doc/mf/out" -I "/home/paul/lily/doc/input/lsr" --formats=eps --verbose -deps-box-padding=3.00 -dread-file-list snippet-names'/bin/sh: /home/paul/lily/doc/out/bin/lilypond: No such file or directory command failed: /home/paul/lily/doc/out/bin/lilypond -dbackend=eps --formats=ps,png,pdf -dinclude-eps-fonts -dgs-load-fonts --header=texidoc -I /home/paul/lily/doc/input/manual -dcheck-internal-types -ddump-signatures -danti-alias-factor=2 -I "/home/paul/lily/doc/Documentation/user" -I "/home/paul/lily/doc/Documentation/user" -I "/home/paul/lily/doc/Documentation/user/out-www" -I "/home/paul/lily/doc/input" -I "/home/paul/lily/doc/input/regression" -I "/home/paul/lily/doc/input/manual" -I "/home/paul/lily/doc/input/tutorial" -I "/home/paul/lily/doc/mf/out" -I "/home/paul/lily/doc/mf/out" -I "/home/paul/lily/doc/input/lsr" --formats=eps --verbose -deps-box-padding=3.00 -dread-file-list snippet-names Child returned 127 make[1]: *** [out-www/lilypond-learning.texi] Error 1 make[1]: Leaving directory `/home/paul/lily/doc/Documentation/user' make: *** [web] Error 2 ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: building sections of the docs
Unfortunately it's easy to accidentally send these from an unsubscribed address. Graham Percival wrote: On Sun, 06 Jan 2008 17:14:24 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: I'm following instructions at: http://web.uvic.ca/~gperciva/advanced-tech.txt I'm trying to build to see the relationship between the source (.itely) and the actual doc. I'm very visual. I don't necessarily need WYSIWYG but I like seeing the output at some point. I haven't made any changes for the above reason. Is a commit necessary to be able to build? No, you don't need commit ability. Building the docs isn't covered on the uvic pages; instead, please see Application Usage, section 1.2.4 Building the docs without compiling LilyPond. (even if you _do_ compile lilypond yourself, this page is still useful) Whatever reference I found so far said Program Usage 1.2.4 and I couldn't find it. (Sometimes I'm very literal) Now I see Application Usage and have found 1.2.4. :) What does the following mean? You may build the manual ( Documentation/user/ ) without building all the input/* stuff. I have now followed the previous steps on that page and don't understand this one. It gives the same failure. I see that there is a config.make.in but not a config.make in the top directory. Did you run ./autogen.sh ? Do that, and ignore any errors. Then copy GNUmakefile.in to GNUmakefile -- again, see AU 1.2.4. Now I have. See above. For the record, what OS are you using? debian sid. Thanks, Paul Cheers, - Graham ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: building sections of the docs
Graham Percival wrote: On Sun, 06 Jan 2008 12:17:31 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: John Mandereau wrote: Can I build just pitches.itely portion of the doc's? If so how? No, but you can build/clean only stuff in Documentation/user (or any directory with docs) with these (mostly undocumented) incantations: I'm following instructions at: http://web.uvic.ca/~gperciva/advanced-tech.txt I'm trying to build to see the relationship between the source (.itely) and the actual doc. I'm very visual. I don't necessarily need WYSIWYG but I like seeing the output at some point. I haven't made any changes for the above reason. Is a commit necessary to be able to build? My favored command is: cd Documentation/user/ make web It gives the same failure. I see that there is a config.make.in but not a config.make in the top directory. I think this is translated into "make out-www www" or something like that, but "make web" is simpler. :) When I am in Documentation/user the above makes give me: [EMAIL PROTECTED]:~/lily/doc/Documentation/user$ make out=www local-WWW ../../make/stepmake.make:69: ../../config.make: No such file or directory ../../make/toplevel-version.make:6: /VERSION: No such file or directory Where did you get the sources from? I mean, is there a VERSION file in the top level? Yes. I may be able to track this down but there's probably someone who recognizes the problem. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: building sections of the docs
John Mandereau wrote: Le dimanche 06 janvier 2008 à 03:06 -0700, Paul Scott a écrit : Hi Graham or anyone who knows, Can I build just pitches.itely portion of the doc's? If so how? No, but you can build/clean only stuff in Documentation/user (or any directory with docs) with these (mostly undocumented) incantations: make out=www WWW # build all docs, and process subdirs recursively make out=www local-WWW # idem but restrict to current directory Thanks. It's not clear what above is literal and what is a variable. When I am in Documentation/user the above makes give me: [EMAIL PROTECTED]:~/lily/doc/Documentation/user$ make out=www local-WWW ../../make/stepmake.make:69: ../../config.make: No such file or directory ../../make/toplevel-version.make:6: /VERSION: No such file or directory ... Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
building sections of the docs
Hi Graham or anyone who knows, Can I build just pitches.itely portion of the doc's? If so how? TIA, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Leaving: replacements
Graham Percival wrote: On Sun, 06 Jan 2008 00:49:00 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Graham Percival wrote: If you want to jump into the technical side of things, see "advanced-tech.txt" (or perhaps you have already done this). To get an introduction to the non-technical side of the job, I recommend editing one of the unclaimed sections of NR1. (see "current.txt") "Text" has not been touched yet, while "Pitches" is almost perfect. Are you familiar with texinfo? My main career was as a programmer. Given that I am concerned about the time it would take to learn how someone else's code works well enough to be able to help there. Quite reasonable. I have actually looked at the scheme code a bit and have learned some Python partly to be able to understand GNU Solfege. That knowledge certainly can't hurt. After years of being a Forth expert C++ was my language of choice so who knows where any of that will go. In light of your last email I would be willing to try to work on writing/revising a section of the doc's that needs work if it's something I have enough knowledge of. Ok; NR 1 Pitches is the most urgent thing at the moment. Or perhaps "urgent" isn't the right word... I'd just really like to have one "perfect" section, so that in the future I can point back to it. Once you've finished reviewing Pitches (more for content than presentation), we'll see which sections are currently not being worked on. We're only doing NR 1 at the moment, and we'll probably have two or three unclaimed sections. Ok. I have a copy of pitches.itely and have looked at the guidelines on your site. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Leaving: replacements
Graham Percival wrote: On Tue, 01 Jan 2008 12:48:35 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Graham Percival wrote: An previously announced, am I gradually leaving LilyPond. This leaves a large number of tasks unfilled.ate lilypond knowledge) I would consider the job of Documentation Editor. Does it require building on multiple platforms? I have a GNU/Linux x86 box capable of doing the builds and a Mac G3 and possible access to an XP box. No, you don't need to build on multiple platforms... although as Han-Wen mentioned, there are vacant jobs that require such a setup. To clarify one possible misunderstanding, the Documentation Editor is a editor-in-chief position, overseeing all the documentation work. There are some people editing the documentation as part of GDP, but that's different from this position. The DE needs to be able to handle git, patches, diffs, building the docs, and fixing broken doc-builds. For the moment, I suggest getting involved in GDP. http://web.uvic.ca/~gperciva/ Ok. If you want to jump into the technical side of things, see "advanced-tech.txt" (or perhaps you have already done this). To get an introduction to the non-technical side of the job, I recommend editing one of the unclaimed sections of NR1. (see "current.txt") "Text" has not been touched yet, while "Pitches" is almost perfect. Are you familiar with texinfo? My main career was as a programmer. Given that I am concerned about the time it would take to learn how someone else's code works well enough to be able to help there. The documentation editor looked like the most logical for me because I have always considered myself a better editor that a writer. In light of your last email I would be willing to try to work on writing/revising a section of the doc's that needs work if it's something I have enough knowledge of. I am certainly capable of learning to use any of the software mentioned above (texinfo, etc.) that I have not used. I have probably used similar software. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \times vs. \tuplet
Graham Percival wrote:
On Sun, 09 Dec 2007 18:57:17 -0700
Paul Scott <[EMAIL PROTECTED]> wrote:
Graham Percival wrote:
The more complicated this change is, the more years it will take before it is
done. With that in consideration, I believe that simply replacing
\times
with
\tuplet
is the best thing to do right now.
With or without inverting the fraction?
Simply replace the text without changing anything else. So \tuplet 2/3 {c'8 c
c } gives you your typical thing.
Thanks,
Paul
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Re: \times vs. \tuplet
Graham Percival wrote: On Sun, 09 Dec 2007 18:07:45 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Paco Vila wrote: if "times" can be read as "multiplied by" this is no longer true with tuplet. I believe that was discussed which is why I asked my question. The more complicated this change is, the more years it will take before it is done. With that in consideration, I believe that simply replacing \times with \tuplet is the best thing to do right now. With or without inverting the fraction? Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \times vs. \tuplet
Han-Wen Nienhuys wrote: Paul Scott escreveu: Would it be unreasonable to simply add \tuplet as code/macro that would call or use \times? That way those of us who are not confused by \times can use it and those who prefer \tuplet can use that. That would not work; functions cannot take rational (eg. 2/3) arguments. You could have \tuplet #'(2 . 3) but that does not simplify lilypond syntax. Understood. No problem. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \times vs. \tuplet
Paco Vila wrote:
El Sat, 08 de Dec de 2007, a las 06:52:18PM +0100, John Mandereau dijo:
I second this; there has been a huge thread on lilypond-user, and
besides all different wishes that can hardly be satisified, I seem to
remember there was some general consensus about changing "\times" to
"\tuplet".
Just a comment:
if "times" can be read as "multiplied by" this is no longer true with tuplet.
With a triplet, fon instance, the more commonly point of view is to see it as "three in the space of two", but the times syntax changes this to be
2/3. No problem if you know that it is times 2/3, i.e. visible durations multiplied by 2/3 give real durations. With the tuplet syntax it would be
more logical to say \tuplet 3/2 {}
I believe that was discussed which is why I asked my question.
Would it be unreasonable to simply add \tuplet as code/macro that would
call or use \times? That way those of us who are not confused by \times
can use it and those who prefer \tuplet can use that.
Paul
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Re: MultiMeasureRest vs. MeasureRest
Mats Bengtsson wrote: Just as Rune, I'm not a native English speaker, but what about renaming at least the section title to something like "Full Measure Rests". The name of the LilyPond graphical object isn't that critical. Are we talking about documentation or code? Paul /Mats Quoting Rune Zedeler <[EMAIL PROTECTED]>: Paul Scott skrev: What about renaming MultiMeasureRest to MeasureRest? In English the first has the clear meaning of more than one measure while the second fairly clearly means one measure rest. ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \times vs. \tuplet
John Mandereau wrote: Le samedi 08 décembre 2007 à 14:26 +0100, Werner LEMBERG a écrit : Proposal: deprecate \times, use \tuplet instead. Good idea! Given that the previous discussion began with an email from you in 2005, I find your approval unsurprising. :) Hehe. I rather mean that it is now the right time to introduce this change. I second this; there has been a huge thread on lilypond-user, and besides all different wishes that can hardly be satisified, I seem to remember there was some general consensus about changing "\times" to "\tuplet". Will convert-ly force the change of \times to \tuplet? Will the fractional numbers be inverted? Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: MultiMeasureRest vs. MeasureRest
Rune Zedeler wrote: Now that we are into renamings... We get lots of questions from confused users who are unable to find out how to typeset a centered whole measure rest. What about renaming MultiMeasureRest to MeasureRest? In English the first has the clear meaning of more than one measure while the second fairly clearly means one measure rest. MeasuresRest might work. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 2.11.35 does not run
Paco Vila wrote: > GNU LilyPond 2.11.35 > ERROR: In procedure primitive-load-path: > ERROR: Unable to find file "ice-9/boot-9.scm" in load path > > I promise further testing. > > switching back to .De34 works fine. > Works fine on my Debian sid system. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: page breaks related to header size
Michael David Crawford wrote: > Paul Scott wrote: > > 2.11.34 > > > > In this example there is clearly room for another system on the first > > page. Removing anything from the header will allow another system to > > move to the first page. Whatever is removed from the header clearly > > doesn't take as much vertical space as one system. > > I have also found that increasing the height of the text at the bottom > of the first page will increase the page count. My piece "Recursion" > was seven pages, but when I reformatted its Creative Commons license > to be a couple lines longer, the score went to eight pages. I fiddled > with it for quite a while, but was completely unable to get it back to > seven pages and still be sensibly laid out. Thanks for replying. It seems to me there might be a bug in how the vertical size of the next system is calculated or subtracted from the available vertical space on the current page. I have posted this in case there is some setting I am missing. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
page breaks related to header size
2.11.34
In this example there is clearly room for another system on the first
page. Removing anything from the header will allow another system to
move to the first page. Whatever is removed from the header clearly
doesn't take as much vertical space as one system.
I have worked for several hours reducing my real example to the
following. If a simpler example is needed I will see what I can do.
Thanks,
Paul Scott
\version "2.11.34"
\include "english.ly"
#(set-default-paper-size "letter")
#(set-global-staff-size 20.8)
\paper{
paper-size = "letter"
ragged-bottom = ##t
ragged-lastbottom = ##t
top-margin = .2\in
bottom-margin = .4\in
head-separation = 0\in
foot-separation = 0\in
between-system-space = .08\in
between-system-padding = .08\in
before-title-space = .01\in
between-title-space = .01\in
after-title-space = .01\in
}
timingi = {
\time 4/4
s1*8
\break
s1*40
\bar "|."
}
asiii = <<
\relative c'' {
\repeat unfold 32 d4
\repeat unfold 128 f'4
}
{ s1\f s1*7 s1\f s1*15 s1\p s1*7 s1\f }
>>
asiiilii = \relative c {
R1*8
\repeat unfold 160 e4
}
\header {
title = \markup{ Page Break Test }
subtitle= \markup{ Subtitle }
subsubtitle = \markup{ Subsubtitle }
composer = \markup{
\column{
\line{ Line 1 } \line{ Line 2 } \line{ Line 3 } \line{ Line 4 }
\line{ Line 5 }
}
}
piece = \markup{ Test }
}
\layout {
indent = 0 \in
\context {
\Score
\override VerticalAxisGroup #'remove-first = ##t
}
\context { \RemoveEmptyStaffContext }
}
\score {
<<
\set Score.restNumberThreshold = #0
\new StaffGroup <<
\new Staff << \timingi \asiii >>
\new Staff << \asiiilii >>
>>
>>
}
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Re: Caesura, n-th time :)
Werner LEMBERG wrote: >> Well, the comment in mf/feta-schrift.mf: >> >>% I actually have no clue how they should look, so we use a >>% slightly curvy and tapered shape. >> >> seemed to imply that the shape was designed by guessing, not by >> using a hand-engraved example. Also, the corresponding threads in >> the mailing list archives gave the impression that all real-world >> examples encountered by users had the shape of straigth parallel >> slashes. That's why I suggested to replace the glyph. >> > > ... Basically, you are right, however, we have already to think about > backwards compatibility... > Perhaps a poll would be useful. I'm willing to bet that there is no one using the curved glyph except like me as a poor substitute for the real thing. Of course, if I am wrong I have no objection to the existance of the curved glyph. I will just be overjoyed if the correct glyph appears in 2.12. Thanks, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: input/tolsr/
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Graham Percival wrote: > Mats Bengtsson wrote: >> Excellent! I just hope that everybody who contributes with a new >> feature takes the time not only to make a regression test but >> also an illustrative example (and of course, some text for the >> main manual). (snip)> >> As long as we all >> agree that this is a temporary solution, waiting either for LSR >> to support multiple LilyPond versions and always stay up to date >> with the latest LilyPond releases or conversely for LSR to be fully >> integrated with the LilyPond releases, then it's fine. > I don't think that either of those will happen. I agree that it makes > life a bit harder for Trevor and the like... but I think we only have a > dozen serious users who track unstable. *hand* Paul Scott -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org iD8DBQFGPi4KVxeh4Z8mvCsRAuarAJ41I+w3Oj9T6yrjkpSgqEvm+j83ggCgmvze WDpboJPQTd4RWJq1UW30nk4= =+c/P -END PGP SIGNATURE- ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: About the possibility of including automatic transcription into lilypond
Graham Percival wrote: Gabriel Simões G. da Silva wrote: My name is Gabriel Simões and right now I'm starting my master degree in electrical engineering, specializing in dsp and audio dsp. I'm doing a Masters in computers science and music, so it's a highly related field. I don't know what you mean by "partitures", though. A partitura is a score. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: `R4*5*4' syntax not documented
Werner LEMBERG wrote: The very important syntax R4*5*4 (indicating a whole measure rest with the length of 5 quarters which is repeated 4 times) is not documented at all... Please ignore my answer. I somehow missed the "repeated 4 times" part. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: `R4*5*4' syntax not documented
Werner LEMBERG wrote: The very important syntax R4*5*4 (indicating a whole measure rest with the length of 5 quarters which is repeated 4 times) is not documented at all... That's what I use for a rest of 4 measures of 5/4. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: volta questions
J.P. Mellor wrote:
"Paul" == Paul Scott <[EMAIL PROTECTED]> writes:
Paul> J.P. Mellor wrote:
>> I know there's some question about exactly when the vertical
>> bar on the right side of a (final) volta bracket should be
>> printed. Here's a patch which produces the behavior I
>> suggested -- print it unless the bracket is broken or
>> shortened.
>>
Paul> What do you mean by shortened?
Attached is an example where the volta bracket has been shortened.
The second ending is 4 bars long but the bracket only covers the first
bar. In this case it makes complete sense to me to not print the
right vertical bar and I'm not suggesting changing this behavior.
That resembles a bug! I would expect
\alternative { { a1 } { a1 a1 a1 a1 } }
to give a 4 bar 2nd ending (draw the horizontal line for 4 bars).
I hope a developer will check in here.
Paul> I can't find any examples of mine where Lily prints the
Paul> right vertical bar.
I just found an example where Lily gives me a right vertical bar. (The
score I copied the part from does not have the right vertical bar). In
this case the measure has less beats than a full bar and is followed by
a double bar. From this and your example I might guess that it is the
presence of a double bar or other special bar that causes the right
vertical bar.
Would it take care of your needs if I'm right about the double, etc. bar
causing the closing vertical bar?
Attached is an example where lilypond automatically prints the right
vertical bar. I can quickly produce several different examples as
well. Nearly all of the music I have produced with lilypond in the 6
months that I've been using it has printed the right vertical bar.
This is consistent with how things are typeset in the published music
I have. That's why I raised the question in the first place.
Paul> I propose that the right vertical bar not be printed unless
Paul> the user specifies this less than normal behavior.
I'd be happy if the behavior could easily be switched between these 2
modes, say by setting the property finishVoltaBracket true or false.
Granted my collection of published music is limited, but it does
contain pieces printed over the last 75 years by a variety of
publishers. Except for shortened volta brackets described above, I
can find no examples where the right vertical bar is not printed. Is
there a style guide somewhere that discusses these and other stylistic
issues?
Looking a little more I find some examples of each style in my published
music.
Let's see if we get developer input here.
Paul
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Re: volta questions
J.P. Mellor wrote: I know there's some question about exactly when the vertical bar on the right side of a (final) volta bracket should be printed. Here's a patch which produces the behavior I suggested -- print it unless the bracket is broken or shortened. What do you mean by shortened? I can't find any examples of mine where Lily prints the right vertical bar. I propose that the right vertical bar not be printed unless the user specifies this less than normal behavior. Have fun, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: volta questions
Graham Percival wrote: J.P. Mellor wrote: Sure thing! Attached are much shorter examples. Thanks, there are much easier to analyze. volta_test1a.ly - missing vertical line segment on the right side of the volta bracket. This isn't done in printed music. There is some logic in this -- the music doesn't stop after the 2nd time ending -- but to be completely logical the left-most vertical segment of the 1st time ending should also be missing (since music doesn't start at the 1st time repeat). Perhaps you were sleepy when you wrote this. :) The beginning of the first ending is the place where you skip to the second ending the second time and is complete necessary. Anyway, regardless of the internal consistency (or lack thereof) of Western music, LilyPond's behavior here is not a bug. I totally agree that there need not be an end to a second ending and there is usually not a vertical line there. Have fun, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: volta questions
J.P. Mellor wrote: I have a few questions about voltas/alternatives. 1) Under some conditions the volta bracket is not printed completely. Manually using ||: or :|| will solve some of this. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
\mark \default in 2.9.24
This:
\version "2.9.24"
{ c1 \mark \default }
nMark = \mark \default
gives:
[EMAIL PROTECTED]:~/music/test$ lilypond nmark.ly
GNU LilyPond 2.9.24
Processing `nmark.ly'
Parsing...#nmark.ly:3:5>))((display-methods #) (name .
MarkEvent) (types general-music mark-event event)) >
#nmark.ly:4:8>))((display-methods #) (name .
MarkEvent) (types general-music mark-event event)) >
I'll send this to the bug list if I haven't missed something in the
latest manual.
Paul Scott
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2.9.21 location
2.9.21 is not linked from the website yet. Can someone remind me where I can get it and other versions? Thanks, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: invisible time signature example unclear (hymnody request)
Ted Walther wrote: > The example of doing an invisible time signature that is found in the > lilypond documentation really isn't very clear. > > In many hymns, the time signature is 4/4, but it starts off with a bar > in 2/4, 3/8, or similar. > > Oddly, in the second hymn I did, if I did the whole thing as 4/4, > lilypond complained that it couldn't find good places to break the > lines. But when I made the first bar 3/8 and the last bar 5/8, lilypond > produced something almost identical to the original. You can see what I > mean here: > > http://reactor-core.org/~djw/IsraelMarching.pdf > > Can someone clarify how to do invisible time signature changes? > > Failing that, can we have a "grace measure", similar to how we have > grace notes? > > Ted > If I understand you correctly that's what \partial is for (pickups). \partial s8*3 a8 b c %for three eight note pickups. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: changing the midi instrument; broken
Juergen Reuter wrote:
On Sun, 27 Aug 2006, Mats Bengtsson wrote:
Some further clarifications below.
...
However, as Erik says below, if you want to store the lyrics into a
variable, you have to do
mylyrics = \lyricmode { Here is my ly -- rics }
and then \lyricsto ... \mylyrics
Still remains the question why at all you would want to store the
lyrics into a variable.
Possible answer: Because you want to reuse the same lyrics at multiple
places in the score.
Right! There are often repeated phrases in lyrics.
Also I usually have the notes and words in a separate file from the file
that specifies the part or score.
Paul Scott
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Re: changing the midi instrument; broken
Ted Walther wrote: Is there a Debian-format repository where I can install the latest stable version of lilypond using apt-get? I don't believe anyone is packaging LilyPond for Debian. As you probably the latest Debian package is 2.6.3. The GUB's work fine even if there may be some redundancy in download and libraries with what's already on you machine. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Changing bar number alignment to left?
Mats Bengtsson wrote: Hi, Any objections if I change the current alignment of bar numbers from right to left (so they are printed to the right (sic.) of the bar lines)? See http://lists.gnu.org/archive/html/bug-lilypond/2006-07/msg00087.html If you mean self-alignment-X this causes the bar numbers at the beginning of a line to collide with the clef sign. I think it will take logic to distinguish between the bar numbers at the beginning of a line and the other bar numbers to implement this correctly. The current default works correctly for bar numbers at the beginning of the lines. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: using new fall and doit features in 2.9.13
John Mandereau wrote: Paul Scott wrote: Can someone tell me how to use the new fall and doit features. I guessed incorrectly \fall and \doit. Just like any new feature, go to the NEWS page in documentation and click the image. Thanks. I did go to the news page and even though I have clicked on the graphic in many other cases I didn't think of it then. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
using new fall and doit features in 2.9.13
Can someone tell me how to use the new fall and doit features. I guessed incorrectly \fall and \doit. TIA, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Problem with \partial
Anthony Youngman wrote: Well, there's English, and there's "English". I've come across the term "anacrusis" and would never have thought of calling it a pickup. "lead in" or "upbeat" are the terms I mostly hear people use, I think. Obviously there are regional differences. Pickup which can be plural for multiple notes is the most frequent term I have heard in my 54 years of rehearsing, performing and copying music. Maybe if anacrusis is more universal it might be better *if* \partial must be changed. Not to dispute other people's use of upbeat but you can see that it does make sense when used as the opposite of downbeat to describe a syncopated note beginning especially in jazz or swing figures. I will also admit that this term is relatively new in my experience. But then again, I'm strange :-) I talk about crotchets, minims etc. This mailing list is about the only place I ever meet terms like "quarter note". And even though I am aware of those words I have to look them up when I see them referred to. Have fun, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: Problem with \partial
Graham Percival wrote: Erik Sandberg wrote: On 7/9/06, Graham Percival <[EMAIL PROTECTED]> wrote: Erik Sandberg wrote: In an ideal world we wouldn't need workarounds like this, but it's useful to have a "fudge factor" \partial. Perhaps we could rename it, and hide it somewhere in the manual under "advanced tweaks"? :) There is already a property that can be set (Timing.measurePosition IIRC) which is what \partial modifies. Whoops, I should have realized this. OK, I'm happy -- ugly hacks are still possible, but \upbeat is a better term for real uses of \partial. :) I like \partial as it is. In my experience upbeat is the second half of a beat where downbeat is the first half of a beat. If it needs to be changed "pickup(s)" at least means what you seem to be referring to. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: automatic page breaks changed for 2.9.8?
Joe Neeman wrote:
On Thu, 2006-06-08 at 17:17 -0700, Paul Scott wrote:
A part produced with:
\book {
\score { }
\score { }
}
Using 2.9.8 seems to force a page break at the end of a movement
(\score) whether there is room for part of the next movement or not.
That is unless there is room for the next whole movement. This is very
neat but if there is not a way for a choice I think there should be.
2.8.4 does the more normal page breaking.
I can produce my example if necessary.
Please do. The following example works for me on 2.9 CVS (the first 4
systems of the second score are on the bottom of the first page)
\book {
\score { {\repeat unfold 55 {a b c d}} }
\score { {\repeat unfold 55 {a b c d}} }
}
It will take a while since will have to factor out several macro files.
Paul
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Re: automatic page breaks changed for 2.9.8?
Kieren MacMillan wrote:
Hi, Paul:
if there is not a way for a choice I think there should be.
\score
{
\layout
{
breakbefore = ##t
}
}
and
\score
{
\layout
{
breakbefore = ##f
}
}
I do use breakbefore = ##t when I want a break. Does this mean that the
default changed from false to true from 2.8.4 to 2.9.8? That is the
behavior I see.
Thanks,
Paul
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automatic page breaks changed for 2.9.8?
A part produced with:
\book {
\score { }
\score { }
}
Using 2.9.8 seems to force a page break at the end of a movement
(\score) whether there is room for part of the next movement or not.
That is unless there is room for the next whole movement. This is very
neat but if there is not a way for a choice I think there should be.
2.8.4 does the more normal page breaking.
I can produce my example if necessary.
Paul Scott
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Re: addition to documentation - ghost notes for drums/percussion
Graham Percival wrote: On 24-May-06, at 7:48 PM, bernie arai wrote: (append to section 7.4.3 ? or add new 7.4.4 ?) Thanks! Added to CVS. Ghost notes Ghost notes for drums and percussion can be created by using the Are "ghost notes" a technical percussion term? (I have no idea) And for wind instruments. A fairly common articulation in jazz. On saxophone the note is fingered and given almost no air - almost swallowed. Hence ghost note. Now that I have seen it I will probably add a \ghost definition to my "common.ly" file. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \displayMusic should begin with a newline
Johannes Schindelin wrote: Hi, On Thu, 11 May 2006, Paul Scott wrote: Graham Percival wrote: But IIRC windows doesn't support pipes -- Sure it does. The original DOS came from some version of Unix. Redirection and pipes have always been there. I just taught their use this week in a WXP class. At least DOS does not really. Since it is not multitasked, ] The point was really about redirection of I/O anyway. That shouldn't require multitasking. IIRC you can pipe only 64K of text, and it does not even fail if there was more data. Probably not a problem for cmd under WXP which is what is (should be) used by many. I realize that some may be using W98 which may have problems here but again the point was really redirection. Have fun, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: \displayMusic should begin with a newline
Graham Percival wrote: On 11-May-06, at 7:01 AM, Erik Sandberg wrote: On Thursday 11 May 2006 14:30, Graham Percival wrote: Processing `bug.ly' Parsing...(make-music 'SequentialMusic Try redirecting stderr and stdout to different files: lilypond bug.ly 2>err >out and you'll understand why the current behaviour is intended. OK, I suppose that I could add that to the manual; it's easy enough on linux and OSX. But IIRC windows doesn't support pipes -- Sure it does. The original DOS came from some version of Unix. Redirection and pipes have always been there. I just taught their use this week in a WXP class. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 2.9.2 octavation dashes not cancelled and more but not in 2.8.1-4
Graham Percival wrote: On 25-Apr-06, at 6:36 PM, Paul Scott wrote: Paul Scott wrote: Just the addition of #(set-octavation 1) causes the rest of the staff lines to be dashed. (commenting that line restores the solid staff lines.) Example later if necessary. I'm trying to get some parts out right away. This problem goes away with 2.8.1-4 as well as an unexplained conflict with my transpositions. (After the octavation change I get an unspecified whole step transposition). I recommend using 2.8 (the stable version) for real work. Understood. If you want to use 2.9 (the unstable development version), issues like this will crop up from time to time. Understood. I also use Debian sid. I would like to be able to contribute more to the project but this is all I have time to do right now. When they do, please report them in the bugs list or lilypond-devel; Ok. I thought I would post it here first since I didn't have a small example to prove it with, these problems are not relevant to lilypond-user. Ok. We're aware of this problem; I'm subscribed to the devel. list and must have missed that discussion. it will hopefully be fixed in the next version of 2.9. Great! Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: C++ vs. Scheme
David Feuer wrote: What's the rationale behind the division into C++ and Scheme? I don't quite see why Lilypond uses C++ and Guile rather than using a serious Scheme implementation (like PLT) and working to shift code from C++ over to Scheme. It's simple. Scheme code will probably never run as fast as C++. Some fully compiled language is needed for speed for the heavy internal calculations. I doesn't have to be C++ but Han-Wen is not going to rewrite the C++ at this point. Check the archive for these discussions. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: LIlypond 2.8 on K6 or K6-II?
Han-Wen Nienhuys wrote: Paul Scott wrote: Good question! That's the only place I've seen the illegal instruction but of course GMP (libgmp?) might be the fuse that's protecting the next illegal instruction in some other module. can you check 2.7.39-2 ? A quick test ran fine! What did you do? Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: LIlypond 2.8 on K6 or K6-II?
Jan Nieuwenhuizen wrote: Han-Wen Nienhuys writes: I'm compiling GMP with -march=i386 (Why) only GMP? Good question! That's the only place I've seen the illegal instruction but of course GMP (libgmp?) might be the fuse that's protecting the next illegal instruction in some other module. Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
LIlypond 2.8 on K6 or K6-II?
Will 2.8 GUB be compiled with -march=pentiumpro? Thanks, Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: default behavior for multiple \header{}s
Graham Percival wrote:
From the manual, 10.3.1,
http://www.lilypond.org/doc/v2.7/Documentation/user/lilypond/Creating-
titles.html
-
As demonstrated before, you can use multiple \header blocks. When
same fields appear in different blocks, the latter is used. Here is a
short example.
\header {
composer = "Composer"
}
\header {
title = "Title"
}
\score {
\new Staff { c'4 }
\header {
title = "New title" % overwrite previous one
}
}
-
However, this example does _not_ overwrite the previous definition of
title with "New title". (at least, not in 2.7.38) Is this
intentional or a bug?
But as the manual says in the very next section:
"normally only the |piece| and |opus| headers will be printed" which
probably should read overwritten.
Paul Scott
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Re: Development branch doesn't run on K6-II
Han-Wen Nienhuys wrote: Paul Scott wrote: Was this received or has anything new happened. I have several machines I was running Lily on and now can't. Thanks, Paul On Debian sid on a K6-II I get: GNU LilyPond 2.7.37 Program received signal SIGILL, Illegal instruction. 0xb7e25423 in __gmpn_mod_1 () from /usr/local/lilypond/usr/bin/../lib/libgmp.so.3 Hi, I've committed a fix, but I'm not sure whether it'll work. Try the 2.7.38 (which is being uploaded as I type this.) Same error in libgmp. Thanks for trying, If I get my K7 going again I can try modifying the make process to build for K6. Of course then I won't care as much because I will always run Lily on that machine. Am I the only one affected by this? Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Development branch doesn't run on K6-II
Was this received or has anything new happened. I have several machines I was running Lily on and now can't. Thanks, Paul On Debian sid on a K6-II I get: GNU LilyPond 2.7.37 Program received signal SIGILL, Illegal instruction. 0xb7e25423 in __gmpn_mod_1 () from /usr/local/lilypond/usr/bin/../lib/libgmp.so.3 Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Development branch doesn't run on K6-II
On Debian sid on a K6-II I get: GNU LilyPond 2.7.37 Program received signal SIGILL, Illegal instruction. 0xb7e25423 in __gmpn_mod_1 () from /usr/local/lilypond/usr/bin/../lib/libgmp.so.3 Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
make all ChangeLog 1.4688 fails
'make all' ChangeLog 1.4688 fails on Debian sid (after 'make clean'): Assembling raw font to `parmesan26.pfa.raw'... Copyright (c) 2000-2005 by George Williams. Executable based on sources from 12:08 5-Dec-2005. mv parmesan26.pfa ./out mv parmesan26.pfb ./out mv parmesan26.svg ./out make[1]: *** No rule to make target `out/PFAemmentaler-11.pfa', needed by `default'. Stop. make[1]: Leaving directory `/home/paul/lilypond/mf' make: *** [all] Error 2 Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: latest make all fails
Graham Percival wrote:
On 19-Feb-06, at 12:46 PM, Paul Scott wrote:
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:
1265: Misplaced {.
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:
1266: Misplaced {.
Fixed in CVS, thanks.
Thanks, the latest (ChangeLog 1.4653) builds and installs fine.
Now 'make web' gives (there are more errors before this):
/home/paul/lilypond/Documentation/user/out-www/lily-242571775.ly:275:19:
error: syntax error, unexpected STRING
\new Staff =
"bass" \bass]]
error: failed files: "lily-242571775 lily-1888003085 lily-214162626
lily-1857873103"
lilypond-book.py: warning: `lilypond' failed (status 1) (ignored)
lilypond-book.py: error: Process /home/paul/lilypond/lily/out/lilypond
--verbose --backend=eps --formats=ps,png --header=texidoc -I
/home/paul/lilypond/input/test -dinternal-type-checking
-danti-alias-factor=2 -dgs-font-load -I
'/home/paul/lilypond/Documentation/user' -I
'/home/paul/lilypond/Documentation/user' -I
'/home/paul/lilypond/Documentation/user/out-www' -I
'/home/paul/lilypond/input' -I '/home/paul/lilypond/input/regression'
-I '/home/paul/lilypond/input/test' -I
'/home/paul/lilypond/input/tutorial' -I '/home/paul/lilypond/mf/out'
-I '/home/paul/lilypond/mf/out' snippet-map.ly lily-51010512
lily-102219562 lily-1696771401 lily-1864761778 lily-1054314441
lily-890200228 lily-1857873103 lily-576854381 lily-214162626
lily-1888003085 lily-242571775 exited unsuccessfully.
Removing `examples.texi'
Removing `lilypond.texi'
Traceback (most recent call last):
File "../../scripts/lilypond-book.py", line 1694, in ?
main ()
File "../../scripts/lilypond-book.py", line 1677, in main
ly.exit (1)
File
"/home/paul/lilypond/out/share/lilypond/current/python/lilylib.py", line
86, in exit
raise _ ('Exiting (%d)...') % i
Exiting (1)...
make[3]: *** [out-www/lilypond.texi] Error 1
make[3]: Leaving directory `/home/paul/lilypond/Documentation/user'
make[2]: *** [WWW] Error 2
make[2]: Leaving directory `/home/paul/lilypond/Documentation'
make[1]: *** [WWW] Error 2
make[1]: Leaving directory `/home/paul/lilypond'
make: *** [web] Error 2
Paul
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latest make all fails
Compiling fdl.texi...
Writing `fdl.texi'...
lilypond-book.py: warning: option --psfonts not used
lilypond-book.py: warning: processing with dvips will have no fonts
DVIPS usage:
dvips -h ./out/lilypond.psfonts ./out/lilypond.dvi
mv -f ./out/lilypond.texinfo out/lilypond.nexi 2>/dev/null || mv -f
./out/lilypond.texi out/lilypond.nexi
LANG= makeinfo --enable-encoding -I ./out --output=./out/lilypond.info
out/lilypond.nexi
out/lilypond.nexi:177: warning: unrecognized encoding name `utf-8'.
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:1265:
Misplaced {.
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:1266:
Misplaced {.
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:1271:
Misplaced }.
/home/paul/lilypond/Documentation/user/out//instrument-notation.texi:1272:
Misplaced }.
/home/paul/lilypond/Documentation/user/out//programming-interface.texi:100:
Misplaced {.
/home/paul/lilypond/Documentation/user/out//programming-interface.texi:100:
Misplaced }.
makeinfo: Removing output file `./out/lilypond.info' due to errors; use
--force to preserve.
make[2]: *** [out/lilypond.info] Error 1
make[2]: Leaving directory `/home/paul/lilypond/Documentation/user'
make[1]: *** [all] Error 2
make[1]: Leaving directory `/home/paul/lilypond/Documentation'
make: *** [all] Error 2
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Re: 'make all' fails CVS 1.4637
David Bobroff wrote: On Sat, 2006-02-18 at 07:52 -0700, Paul Scott wrote: David Bobroff wrote: Current CVS (ChangeLog 1.4637) barfs fairly far into the build process: 1. Where do you find the ChangeLog version number? What I normally do is check here: http://cvs.savannah.gnu.org/viewcvs/lilypond/?root=lilypond ...to see if there has been an update since my last compile. There is also some CVS 'status' command to run that will display the current ChangeLog version of your local copy of the CVS sources. Thanks. I have looked at the CVS man pages but haven't taken the time to understand recently. 2. It seems to run anyway. Debian sid I've noticed that sometimes I can compile without trouble when others (other distributions that is) have problems. I think, for example, I've seen Debian users posting 'make all' failures when I have just successfully compiled a fresh checkout/update on the same ChangeLog version. What I meant was that I got the same error as you and got it again with 'make install' but that Lilypond version seemed to run anyway. 3. Is this list moderated? My posts take hours to arrive at the list but get to the OP faster. Recently my posts have been taking a while to come back to my 'in' box as well. There are times when it is only a matter of minutes. That is not the case now. I have seen your reply to me but have not seen your reply or the message you are replying to on the list. As I said in the other reply the very current version builds fine here. I am doing the 'make web' now. Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 'make all' fails CVS 1.4637
David Bobroff wrote: Current CVS (ChangeLog 1.4637) barfs fairly far into the build process: 1. Where do you find the ChangeLog version number? 2. It seems to run anyway. Debian sid 3. Is this list moderated? My posts take hours to arrive at the list but get to the OP faster. Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: 'make all' fails CVS 1.4637
David Bobroff wrote: Current CVS (ChangeLog 1.4637) barfs fairly far into the build process: The very latest (don't know ChangeLog version) builds for me on Debian sid. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: current CVS fails on Debian sid
Erlend Aasland wrote: This is already fixed in CVS. Just do a CVS update. I now get a different error. This is what 'make install' gives after getting an error in 'make all' which I wasn't sure was a problem: Processing `/home/paul/lilypond/ly/generate-documentation.ly' Parsing...[/home/paul/lilypond/out/share/lilypond/current/ly/init.ly[/home/paul/lilypond/out/share/lilypond/current/ly/declarations-init.ly[/home/paul/lilypond/out/share/lilypond/current/ly/music-functions-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/nederlands.ly][/home/paul/lilypond/out/share/lilypond/current/ly/drumpitch-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/chord-modifiers-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/script-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/scale-definitions-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/grace-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/midi-init.ly[/home/paul/lilypond/out/share/lilypond/current/ly/performer-init.ly]][/home/paul/lilypond/out/share/lilypond/current/ly/paper-defaults.ly[/home/paul/lilypond/out/share/lilypond/current/ly/titling-init.ly]][/home/paul/lilypond/out/share/lilypond/current/ly/engraver-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/dynamic-scripts-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/spanners-init.ly][/home/paul/lilypond/out/share/lilypond/current/ly/property-init.ly]][/home/paul/lilypond/ly/generate-documentation.ly[/home/paul/lilypond/out/share/lilypond/current/scm/documentation-lib.scm][/home/paul/lilypond/out/share/lilypond/current/scm/document-functions.scm][/home/paul/lilypond/out/share/lilypond/current/scm/document-translation.scm][/home/paul/lilypond/out/share/lilypond/current/scm/document-music.scm][/home/paul/lilypond/out/share/lilypond/current/scm/document-backend.scm][/home/paul/lilypond/out/share/lilypond/current/scm/document-markup.scm] Writing "lilypond-internals.texi"... error: can't find description for property lengthminimum-distance (backend) make[2]: *** [out/lilypond-internals.nexi] Error 1 make[2]: Leaving directory `/home/paul/lilypond/Documentation/user' make[1]: *** [install] Error 2 make[1]: Leaving directory `/home/paul/lilypond/Documentation' make: *** [install] Error 2 Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
bar numbers right aligned (default) on wrong bar?
In 2.7.34 the bar numbers appear to be right aligned on the previous bar.
Paul Scott
\version "2.7.34"
\relative c '' {
\time 4/4
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 1)
\override BarNumber #'self-alignment-x = #-1
a1 b c d
}
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Re: circling marks
Erlend Aasland wrote: On 2/16/06, *Paul Scott* <[EMAIL PROTECTED] <mailto:[EMAIL PROTECTED]>> wrote: Erlend Aasland wrote: I have not seen page numbers in the manual. Can you tell me where to see them? Yes, the right upper corner of each page (I assume you've downloaded the manual as pdf). In section 8.2.3 Rehearsal Marks I don't see enough explanation to learn what you have just shown me. \mark # creates a rehearsal mark (formatted using the markFormatter function). Example: \mark #5 ...will create a rehearsal mark with the number "5" if the markFormatter is set to mark-format-numbers, mark-format-box-numbers or mark-format-circle-numbers. If markFormatter is set to i.e. mark-format-alphabet, is will produce a rehearsal mark with the letter "E". That part's clear from the manual. If set to mark-format-barnumbers the current bar number is printed, (thus ignoring the # argument.) (I thought the mark-format-barnumbers function was documented, but I was wrong.) You can use mark-format-barnumbers, mark-format-box-barnumbers and mark-format-circle-barnumbers to get bar numbers as rehearsal marks. Thanks! I am using it and it works great! Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
current CVS fails on Debian sid
This is the end of a broken make on Debian sid. Let me know if you need more information. rm -f ./out/relocate.dep; DEPENDENCIES_OUTPUT="./out/relocate.dep ./out/relocate.o" g++ -c -Woverloaded-virtual -DHAVE_CONFIG_H -DNDEBUG -I./include -I./out -I../flower/include -I../flower/./out -I../flower/include -O2 -finline-functions -g -pipe -I/usr/include/freetype2 -I/usr/include/pango-1.0 -I/usr/include/freetype2 -I/usr/include/glib-2.0 -I/usr/lib/glib-2.0/include -Wno-pmf-conversions -W -Wall -Wconversion -o out/relocate.o relocate.cc relocate.cc: In function 'void setup_paths(const char*)': relocate.cc:292: error: invalid conversion from 'const char**' to 'char**' make[1]: *** [out/relocate.o] Error 1 make[1]: Leaving directory `/home/paul/lilypond/lily' make: *** [all] Error 2 Paul Scott ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: circling marks
Graham Percival wrote: On 16-Feb-06, at 2:44 AM, Paul Scott wrote: Erlend Aasland wrote: ... and by the way, this is documented on page 190 and 191 in the fine manual. I have not seen page numbers in the manual. Can you tell me where to see them? They exist in the pdf version. This is why I recommend referring to section numbers -- "section 8.2.3 Rehearsal Marks in the 2.7 docs" clearly refers to the same thing, whereas page numbers can be wildly inaccurate between different versions of the manual. Thanks. In section 8.2.3 Rehearsal Marks I don't see enough explanation to learn what you have just shown me. You're reading the 2.7 docs, right? It's right there. I am referring to documentation about format-mark-barnumbers and format-mark-X-barnumbers. I do not find any reference to these in the 2.7 docs on the LilyPond web site. My 'make web' is a few days behind. Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: circling marks
Erlend Aasland wrote: ... and by the way, this is documented on page 190 and 191 in the fine manual. I have not seen page numbers in the manual. Can you tell me where to see them? In section 8.2.3 Rehearsal Marks I don't see enough explanation to learn what you have just shown me. Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
Re: circling marks
Han-Wen Nienhuys wrote: Graham Percival wrote: On 6-Feb-06, at 1:04 AM, Erlend Aasland wrote: You can use this patch (touching scm/translation-functions.scm) in order to get format-mark-circle functions. Perhaps this patch should be applied in order to make it easier to use this kind of rehearsal marks? I personally prefer boxed marks instead of circled ones, but I've seen circled ones quite a bit. Han-Wen, can we commit this? yes. Can I use this to build something that works on \mark "37" just as is does on \mark \default ? IOW can I create a function so I can cause all \mark "" to be boxed or circled just by doing one \set or \override at the beginning of a block as can be done for \default ? What about another \default that causes the current bar number to be used as the \mark? Thanks, Paul ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
