lilypond-book - latex environment
Hi folks I managed to run lilypond-book, then LaTeX. But it took me some time to figure out all that I had to set in the environment. I would like to suggest that this be explained somewhere in the documentation for running lilypond-book. Suggestion: Let LILYPOND be the directory where you built lilypond. Then the following environment variables must be set: TEXINPUTS $LILYPOND/tex:$LILYPOND/mf/out: MFINPUTS $LILYPOND/mf: TEXPSHEADERS $LILYPOND/ps: Cheers Rutger ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Beams and repeats - bug report and syntax request
Hi folks,
I am running into a beaming problem within a repeat.
The repeat is between two eighth notes that would
normally be connected by a beam, but because of
the repeat they should be flagged, not beamed.
This triggers a bug in 1.6.8 (on Linux, RedHat 6.4
I think I am still running). The weird thing is that
the bug behaviour is wildly different depending whether
a \key was specified! See attachments of the two different
things, with and without key, both wrong.
---
Beside this bug, I would not mind to have a syntax
(or sugar for syntax) to specify that notes should
be flagged-not-beamed, e.g. a8[] b or something
like that. For obvious reasons, [a8] b does not do
what I want.
Cheers,
Rutger
\score {
\notes {
% \key a \minor
\time 3/4
\repeat volta 2 {
\partial 8
e''8 |
e''16 b'16 c''16 a'16 g'16 e''16 f'16 dis''16 e'8
}
\repeat volta 2 {
b'8 |
fis'8 c'''16 b''16 c'''8 e'8 d'8 c'''8 |
}
}
\header {
piece = Without key
}
}
\score {
\notes {
\key a \minor
\time 3/4
\repeat volta 2 {
\partial 8
e''8 |
e''16 b'16 c''16 a'16 g'16 e''16 f'16 dis''16 e'8
}
\repeat volta 2 {
b'8 |
fis'8 c'''16 b''16 c'''8 e'8 d'8 c'''8 |
}
}
\header {
piece = With key
}
}
inline: beam-repeat.png___
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Re: quick note insert in Emacs
On Saturday 08 March 2003 04:25 pm, you wrote: Hello, I type my lily scores in GNU Emacs. Having done a `M-x describe-mode', I found the `C-c i' facility (LilyPond-quick-note-insert) very interesting. Inspirated by this feature, I wrote a lilypond-quick-insert-mode, derived from lilypond-mode, which behaves a bit like LilyPond-quick-note-insert, with some little differences: - a midi sound is played when a note is inserted or modified (requires ALSA, though) - notes are entered first by giving their pitch, then they are eventually modified by giving duration, alteration, dots, octave etc, ie in the other way LilyPond-quick-note-insert works. Each key stroke actually modify the buffer, output is not defered. - as it is a mode, rather than a basic key-listening loop, other lilypond or general key bindings also work. - all the languages (dutsch, italian, german, ...) that I found in the documentation are provided. - choice is given between relative and absolute octaves (although I don't know if this is really usefull). and few other things. you switch from regular lilypond-mode to lilypond-quick-insert-mode by typing `C-c q' for instance, and then back to lilypond-mode by pressing `q'. Anyway, as it works for me, it might interest other emacs users. Here it is: http://nicolas.sceaux.free.fr/lilypond/ best regards, nicolas Thanks a million for doing this. I don't know how. I have some suggestions. One is to use c7 for c16, c5 for c32, c0 for c64 and c9 for c128. The mnemonic is to add the first and last digits. That way you can eliminate many instances of pressing the spacebar if you have a separate (minor mode?) for adding fingering. IOW: c'777c,5d would produce c'16 c'16 c'16 c32 d32 with 10 keystrokes rather than the 16 to get c'16 c c c,32 d, which is usually harder to read. The single keypress 8 could repeat c8 e g or c e g8 Suggestion two is to use relative pitch to enter the music but have the result not be relative, because relative pitch is quicker to enter but far nastier to work with after it is entered. Apologies if you did that already, but using either instead of both is more confusing, I think. That is because relative pitch is best thought of as an editing tool rather than a preprocessor. While you're at it, :-) there is a need for a transposing tool. Someone else asked for that recently, and hints were given how it might be done. Sometimes you may want to produce a phrase in a different key even in a different voice on the same staff, and \transpose is no help with that sort of thing. It's just for transposing instruments, and no help for tasks more related to composition. -- Lies are the first casualty of peace. dra@ or http://www.openguitar.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Lyrics placing
Okay, I've spent a few days poring over the docs and haven't been able to
figure this puzzle out.
The idea is that I have a pretty standard piano, melody and lyrics setup--
taken directly from the Classical-style vocal template. I've added a second
vocal line, which shows up fine and in the right place. My problem is that
the lyrics for the second line show up at the top of the staff, and I need
them below the staff.
I am using lilypond 1.6.8, compiled from code on SuSE Linux 8.1. The relevant
code section is listed below. The line in question is the staff called
muses.
Any help you could give would be much appreciated.
-Beldon
\score {
\addlyrics
\context Staff = gary {
\property Staff.autoBeaming = ##f
\property Staff.automaticMelismata = ##t
\melodyGary
}
\context Lyrics
\context LyricsVoice = Line-1 {
\property LyricsVoice . stanza = 1.
\garyOne }
\context LyricsVoice = Line-2 {
\property LyricsVoice . stanza = 2.
\garyTwo }
\addlyrics
\context Staff = muses {
\property Staff.autoBeaming = ##f
\property Staff.automaticMelismata = ##t
\melodyMuses
}
\context Lyrics
\context LyricsVoice = Muses-1 {
\property LyricsVoice . stz = 2.
\musesOne
}
\context PianoStaff
\context Staff = upper \upper
\context Staff = lower
\clef bass
\lower
\paper {
papersize = letter
\translator { \HaraKiriStaffContext }
}
% \midi { }
}
--
Last yeer I kudn't spel Engineer. Now I are won.
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Re: quick note insert in Emacs
(sorry if that thread is estimated a bit off-topic for the list) Sun, 9 Mar 2003 09:11:05 -0500, tu as dit : I have some suggestions. One is to use c7 for c16, c5 for c32, c0 for c64 and c9 for c128. The mnemonic is to add the first and last digits. this can already be done by redefining key bindings in the user's .emacs file for instance. (by default, here is how it works now: c1-c1 c2-c2 c3-c4 c4-c8 c5-c16 c6-c32 c7-c64 c8-c128) That way you can eliminate many instances of pressing the spacebar if you have a separate (minor mode?) for adding fingering. IOW: c'777c,5d would produce c'16 c'16 c'16 c32 d32 with 10 keystrokes rather than the 16 to get c'16 c c c,32 d, which is usually harder to read. The single keypress 8 could repeat c8 e g or c e g8 supposing that pitch keys are a b c d e f g, and duration keys the ones you exposed, the 8-key-long sequence c7ccc,5d (the default octave at the beginning being c'--b') produces the output (with absolute octaves) c'16 c' c' c32 d, which is equivalent to what you want. (I may add something to force durations to be written for all notes if the user likes.) It's quite quick. I chosed the following (arbitrary) behaviour: pitch keys actually insert a new note, duration/octave/dot/alteration keys modify the previously inserted note. It's due to my personnal wicknesses : I found pitches easier to be found by my fingers (it's like on a piano), than durations, which often require an extra thinking for me. As I make more mistakes with durations, I want them to be corrected faster. That is the case, with the way I chosed. (I don't know if I explain myself clearly.) I may add other behaviours, with duration-key inserting a new note with the given duration, and C-duration-key modifying the previous note duration, for instance. Suggestion two is to use relative pitch to enter the music but have the result not be relative, because relative pitch is quicker to enter but far nastier to work with after it is entered. Apologies if you did that already, but using either instead of both is more confusing, I think. That is because relative pitch is best thought of as an editing tool rather than a preprocessor. Actually, the typing is always done with relative octaves (that's why relative octaves are interesting), absolute/relative here applies to the output. In both mode, when you type a `g' after a `c', it is the `g' the octave below, that is c g with relative octave output, or c'' g' (for instance) with absolute octave output. the two options are possible in order to give the user the choice... I agree that absolute octave output is certainly less confusing for the reader. While you're at it, :-) there is a need for a transposing tool. Someone else asked for that recently, and hints were given how it might be done. Sometimes you may want to produce a phrase in a different key even in a different voice on the same staff, and \transpose is no help with that sort of thing. It's just for transposing instruments, and no help for tasks more related to composition. This is a bit more difficult, as it requires reading, rather than just writing. But I was also thinking about doing something like that (for emacs, though). nicolas ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Beams and repeats - bug report and syntax request
Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: Hi folks, I am running into a beaming problem within a repeat. like that. For obvious reasons, [a8] b does not do what I want. Actually, over here, [a8] does work, with some warnings. You are absolutely right, last time I tried [a8] was some versions back, sorry! Rutger ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics Placement
Please disregard my previous question. As I though, I figured it out after I sent the e-mail. I hate it when that happens. -Beldon -- Try to be the best of whatever you are, even if what you are is no good. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
treitler92:_journ_music
I would like to obtain access to Leo Treitlers article published in The Journal of Musicology, volume 10 Spring 1992 entitled The Unwritten and Written Transmission of Medieval chant and the start-up of musical notation. Please tell me how I can down load the article or purchase from the publisher. Thanks for your response, Jim Watson 360-437-0216. [EMAIL PROTECTED]. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
