Re: Multi-measure rest width again
I've just submitted a patch to the CVS repository of the development version that solves this problem. /Mats Antonio PALAMA' wrote: I'm still trying to increase the width of some specific multimeasure rests. The instruction \property Staff.MultiMeasureRest \set (or \override) #'minimum-length = #100 has no effect. I have to use the ugly hack (time 2/4): s2 \bar R2*15 \bar s2 | \property Score.currentBarNumber = #RIGHT NO to achieve some result. I am using 1.6.6. Is this a bug or a missing feature? Am I ill-documented? Is this issue going to be fixed in the developement version? Thanks for your help, Antonio Palama' ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Reisen für Behinderte
Reisen für Behinderte Sehr geehrte Damen und Herren, unser Verlag gibt Hotel- und Reiseratgeber für Rollstuhlfahrer / Behinderte heraus. Hier die Informationen über unsere Fachliteratur: *** Vereine, Verbände und Organisationen erhalten von uns 30% Rabatt (bei einer Mindestbestellmenge von 3 Exemplaren pro Buchtitel oder 20% Rabatt bei 2 Ex./Titel). *** Band 1: Der Hotelführer HANDICAPPED-REISEN DEUTSCHLAND beschreibt auf 560 Seiten 1000 rollstuhlgeeignete Hotels, Pensionen und Ferienhäuser in Deutschland. Mit genauen Angaben über Türbreiten, stufenlose Eingänge, rollstuhlgerechte Badezimmer, etc. 14. Auflage, Oktober, 2002, Einzelpreis 19,50 EUR inkl. Versand, ab 3 Stück 30% Rabatt, 2 Stück = 20%. Band 2: Im Hotelführer HANDICAPPED-REISEN AUSLAND werden 900 behindertengeeignete Unterkünfte in Europa und weltweit auf 540 Seiten vorgestellt. 10. Auflage, Dezember 2002, Einzelpreis 19,50 EUR inkl. Versand, ab 3 Stück 30% Rabatt, 2 Stück = 20%. Band 3: Das Buch REISEN FÜR BEHINDERTE stellt auf 130 Seiten das Angebot von 90 Reiseveranstaltern, Vereinen und Organisationen vor, die sich auf Reisen für Behinderte spezialisiert haben. 3. Auflage, Februar 2003, Einzelpreis 9,80 EUR inkl. Versand, ab 3 Stück 30% Rabatt, 2 Stück = 20%. Die Zeitschrift HANDICAPPED-Kurier für Rollstuhlfahrer / Behinderte informiert 6 x jährlich über Freizeit, Reisen, Kultur, behindertengerechtes Bauen, behindertengerechte PKW und über wichtige Termine und Veranstaltungen. Abo-Preis 24,- EUR pro Jahr. Ein Probeheft kann kostenlos und unverbindlich angefordert werden. Weitere Infos auch unter www.fmg-verlag.de Bestellungen: per E-Mail: [EMAIL PROTECTED] Fax. 02159- 815 624 Tel. 02159-815 622 Mit freundlichen Grüßen FMG-Verlag, Postfach 2154, 40664 Meerbusch Nikolaus-Otto-Str. 8, 40670 Meerbusch Redaktion: Nicole Friedrich, Peter Stolla, Yvo Escales ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Shifting text markup and reharsal marks
I understand that the official method to shift a text markup vertical is \property Voice.TextScript \override #'padding = #N I also seem to understand that the units used are the separation of staff lines and that the instruction increases the minimum distance of the text to other objects. My question is: Is there a method to specify an absolute vertical shift of the text in metric units e.g. \mm or \cm? I there a method to specify horizontal shifts? Thanks for your help, Antonio Palama' ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Multi-measure rest width again
Mats Bengtsson wrote: I've just submitted a patch to the CVS repository of the development version that solves this problem. /Mats Thank you, will it be available in 1.6.X or have I ro wait until 1.8.0? Antonio ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting text markup and reharsal marks
My understanding of padding is to ensure separation to the next object.
I frequently use extra-offset instead of padding to move text, and that gives
both horizontal and vertical. Format is (from memory - horiz vert might be
interchanged)
\property Voice.TextScript \override #'extra-offset = #'( horiz . vert )
and I usually use the \once operator since the offset is usually for the next
markup only. {Replace horiz and vert with numeric values in staff spaces.) I
haven't tried whether the values can be 'real' or fractions, so far I've only
needed integer, but I can see fractions being required.
I personally think that would be a mistake to allow move/position by absolute
distances, since the score could be recast in any number of sizes (13, 16, 20
point, etc.) The scaling factor of 'staff spaces' allows for appropriate
relative tracking.
HTH
/Hans
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Ack: segno(and so..) and pre-release
Thank you all ... On Mon, 31 Mar 2003, Simon G. P. Bailey wrote: On Mon, 2003-03-31 at 12:32, Joerg Anders wrote: Perhaps somebody could give a short answer to 6 questions: i've seen this form in orchestral waltzes. normally part 3 is then ... On Mon, 31 Mar 2003, Mats Bengtsson wrote: In baroque music, a fermata is often used to denote Fine. You often see this also at the end of pieces without any D.C or D.S, where On Mon, 31 Mar 2003, David Raleigh Arnold wrote: You need to know that after taking a D.S or D.C., repeat signs and first endings (alternatives) are ignored, and the 2nd ending is played, Ok, in my implementation this works if you set the coda sign before the 1st ending ... Perhaps against the orthograhie but I think a musician would understand this. unless there is a third. ... who likes it can test the LilyPond export of an interim variant at: http://rnvs.informatik.tu-chemnitz.de/~jan/note_pre/note_pre.html As far as I can see LilyPond attaches the Segno, Dal Segno ... to a note or rest. And here is the question: Repeat including or excluding this note? There is still no documentation. The Segno staff is the last point in Insert menu. For correct replay please set the Segno, Dal Segno, Coda ... signs in every staff, otherwise ... (don't know hat happens) -- J.Anders, Chemnitz, GERMANY ([EMAIL PROTECTED]) ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Chord symbol spacing question
Hi folks, this question is probably related to the Shifting text markup... thread. So here it goes: Is there a possibility to insure that the chord symbols are properly spaced? When a line in the score gets crammed, something saying: F+5/B Bbmaj7 easily mutates to: F+5/BBbmaj7 which is ugly to read. Is there a way to _ensure_ that some spacing is provided between two chord symbols (maybe also a padding or extra-offset property)? Kind regards, Amy -- Amelie Zapf Louey Amy P.A. Entertainment Service GbR Weichselstr. 17, 12045 Berlin http://www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
\mbinput is broken [Was: Re: nested lilypond-book files?]
\include and \input are the standard LaTeX procedures to split a long
document into several .tex files. lilypond-book requires that the
commands be used as \mbinclude and \mbinput with Lilypond .ly files.
\mbinclude works as expected, and, like plain \include, does a
\clearpage before and after the included file. \mbinput, however, is
broken. lilypond-book crashes with the following output:
Traceback (most recent call last):
File /usr/bin/lilypond-book, line 1540, in ?
do_file(input_filename)
File /usr/bin/lilypond-book, line 1424, in do_file
chunks = read_doc_file(input_filename)
File /usr/bin/lilypond-book, line 1007, in read_doc_file
chunks = chop_chunks(chunks, 'input', do_input_file, 1)
File /usr/bin/lilypond-book, line 953, in chop_chunks
newchunks = newchunks + func(m)
File /usr/bin/lilypond-book, line 880, in do_input_file
return read_doc_file(m.group('filename'))
IndexError: no such group
Is this a known bug, or is there something wrong with my installation? I
need to use \mbinput, because I don't want the \clearpages inserted by
\mbinclude.
Oscar A. Valdez
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: segno (and so ...)
On Monday 31 March 2003 09:06 pm, Paul Scott wrote: David Raleigh Arnold wrote: On Monday 31 March 2003 05:32 am, Joerg Anders wrote: Hi all! Some users requested LilyPond export of segno, dal segno ... in NoteEdit. I've problems to understand the system. (I never was at music school) Maybe it is too easy ;-) Note! I have to implement the replay! An illegal workaround is to have a 1.3. alt and a 2.4. alt. Another is D.C. with repeat. I don't know why you would call it an illegal workaround. It's fairly new, that's all. And I certainly concede that the fermata instead of fine is legal, but I have never seen it and I think that most would not understand it. Maybe it's more helpful to list what would be totally understood today and might serve as a minimum acceptable implementation. D.C,, D.S,, the coda sign, and fine will be adequate for almost everything. The coda may appear as an alternative ending instead of as part3 at the end. part1 codasignwithvoltabracket coda fine part2 D.C. or part1 codasign part2 D.C. codasign coda are both played: part1 part2 part1 coda The former might be preferred if the coda were only a few measures long. -- Don't grasp the nettle firmly. Just let go of the damn thing. dra@ http://www.openguitar.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Ack: segno(and so..) and pre-release
On Tuesday 01 April 2003 12:49 pm, Joerg Anders wrote: Thank you all ... On Mon, 31 Mar 2003, Simon G. P. Bailey wrote: On Mon, 2003-03-31 at 12:32, Joerg Anders wrote: Perhaps somebody could give a short answer to 6 questions: i've seen this form in orchestral waltzes. normally part 3 is then ... On Mon, 31 Mar 2003, Mats Bengtsson wrote: In baroque music, a fermata is often used to denote Fine. You often see this also at the end of pieces without any D.C or D.S, where On Mon, 31 Mar 2003, David Raleigh Arnold wrote: You need to know that after taking a D.S or D.C., repeat signs and first endings (alternatives) are ignored, and the 2nd ending is played, Ok, in my implementation this works if you set the coda sign before the 1st ending ... Perhaps against the orthograhie but I think a musician would understand this. unless there is a third. ... who likes it can test the LilyPond export of an interim variant at: http://rnvs.informatik.tu-chemnitz.de/~jan/note_pre/note_pre.html As far as I can see LilyPond attaches the Segno, Dal Segno ... to a note or rest. And here is the question: Repeat including or excluding this note? Including. It relates to a bartype anyway, not a note or rest. It could even be text following the music on the same line. blah blah || D.S. but it's almost always underneath a single stave or between staves just before the next bartype. if a D.S. did not coincide with a bartype near it, it would have to refer to another double bar near it. I have seen that only once, and it's not pretty. There is still no documentation. The Segno staff is the last point in Insert menu. For correct replay please set the Segno, Dal Segno, Coda ... signs in every staff, otherwise ... (don't know hat happens) -- Don't grasp the nettle firmly. Just let go of the damn thing. dra@ http://www.openguitar.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Very Urgent
Dear Sir, It is my great pleasure get intouch with you this great minute. My name is Mrs S. A William and I am married to Late Dr S. A William who died last three months. I saw your contact in one of my late husband's files. And contacting you is concerning the unfinished company project which my late husband was about establishing in your country before his death. However, my late husband has a partner in your country in person of Mr Smith H Aron who advise my husband to establsh a company in your country and after my late husband's trip to your country where he attended a business meeting with Mr Smith H Aron and other business partners of theirs, they decided to go to Seria leon to visit their Lawyer but unfortunately they were intercepted and mudered by the Rebels. And since the death of my husband, my inlaws has seized all my late husband's properties and Bank Accounts theirby making it difficult for me to feed my children or send them to school. So right now, there is this money (USD45.5 Million) deposited in one of the Security Companies by my late husband which he had wanted to transfer to your country for onward establishment of the Company which non of my inlaws know about it and I have also found out from the Security Company that my late husband only gave them a Standing Order to transfer the money to your country in three weeks time with intention of advising them of the Bank Account and Name Of Beneficiay where to paying the money in your country as soon as the agreemeent is signed with Mr Smith H Aron and others, but he was unable to conclude the arrangemen before his death. And since I have nothing to lay my hands on to feed my children and send them to school after the seizure of all my husband's fortune/properties by husband's family, I will like to present you to the Security Company as the beneficiary/the person whom my late husband had wanted to transfer the money to in your country so that the Security Company can transfered this money to your Account and then we share it together. Further to this as a matter of importance, please note that the Security Company has already advise me to send them the Name and Bank Account of the Beneficiary in your Country whom they will send the money to. PLEASE NOTE: that this transaction is absolutely risk free will last only three working days before conclusion and as soon as I hear from you, I shall like to discuss your compensation with you so as to enable you know what will be your share before as soon as the money is being transfered to you. As a matter of importance and security of our information, please reply me through this email address: [EMAIL PROTECTED] and also send me your private telephone and fax number. Thanks and God Bless as I am urgently awaiting to hearing from you. Mrs. S. A William ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Roman numerals in figured bass; also, TEXMF and TEXMFCNF behavior
Lilypond is wonderful, and its body plan is just right. Thanks.
I have two questions.
1. Lilypond has limited support for figured bass in the traditional
form of columns of digits indicating intervals relative to the bass note.
Today, for both pedagogical and practical reasons, it is common
to esplicitly give, besides those numbers, a Roman numeral
(sometimes in upper or lower case for, resepctively, major and minor)
indicating the chord root, such as
7 6
I V V V4
This kind of figured bass, appearing below the staff, is distinct from the so
called chord notation such as
FdimF7 Cmin
etc. Is there a way in lilypond to notate these Roman
numerals in the figured bass?
2. I use the kpathsea method of organizing TeX fonts. Specifically, beside the
system texmf tree in /usr/share I use a standard-structure texmf tree for the
user, called ~/.texmf, where I store user-defined fonts.
When I installed lilypond I couldn't get its fonts to appear until I ran the
lilypond.sh script in /etc/profile.d. After that lilypond worked right,
but my user fonts had become unaccessible. To get them back,
I had to do some searching. I finally changed the lilypond-generated export
echo $TEMF
{/usr/share/lilypond/1.6.6,{!!/home/tt/texmf,!!/usr/local/share/texmf,!!/usr/share/texmf}}
to
echo $TEXMF
{/usr/share/lilypond/1.6.6,{!!/home/tt/.texmf,!!/usr/local/share/texmf,!!/usr/share/texmf}}
(note the change /home/tt/texmf -- /home/tt/.texmf). I do not understand
this TEXMF story and its stepping over TEXMFCNF. (By the way, when is the
script lilypond.sh automatically executed if I leave it in /etc/profile.d?)
Do you have any suggestions how to do this right, and can you give the
installer a few more words of explanations? I'm afraid many potential
users may be turned off by this first difficulty and never come back.
Many many thanks.
--
Tom Toffoli
Prof. Tommaso Toffoli [EMAIL PROTECTED] |
ECE Dept., PHO531 | home:
Boston University 617/353-9846 | 617/864-8545
8 Saint Mary's St. fax -6440 | 26 Athens St.
Boston, MA 02215| Cambridge, MA 02138
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
StemTremolo too short
This is a relatively minor nit, but I'm doing some 32nd note tremolos (d2:32). The downward stems look fine, but the upward stems look a little too short. The bottom tremolo stripe collides with the note head. Does anyone know of a way to fix this? ~ John Williams ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting text markup and reharsal marks
Hans Forbrich wrote:
My understanding of padding is to ensure separation to the next object.
I frequently use extra-offset instead of padding to move text, and that gives
both horizontal and vertical. Format is (from memory - horiz vert might be
interchanged)
\property Voice.TextScript \override #'extra-offset = #'( horiz . vert )
and I usually use the \once operator since the offset is usually for the next
markup only. {Replace horiz and vert with numeric values in staff spaces.) I
haven't tried whether the values can be 'real' or fractions, so far I've only
needed integer, but I can see fractions being required.
I personally think that would be a mistake to allow move/position by absolute
distances, since the score could be recast in any number of sizes (13, 16, 20
point, etc.) The scaling factor of 'staff spaces' allows for appropriate
relative tracking.
HTH
/Hans
Thank you; this is exactly what I was looking for; will try it tonight.
I agree that absolute distances are not the proper way to handle
this problem but until now, the only way I found to do offsets was
the LaTeX hack:
c4^\\hspace{5mm} Allegro
or something similar.
Does the instruction you give modify the offset of rehearsal marks too or
have I to use a diffent property like Voice.RehearsalMark or something
similar?
Thanks again,
Antonio
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
