Re: attached dvi?
Aaron [EMAIL PROTECTED] writes:
Sorry, here it is again.
Seems like you prefer other ways, but I make a last attempt.
Modify /usr/bin/ly2dvi:
latex_cmd = 'elatex'% instead of latex
%\usepackage[latin1]{inputenc} % commented out
then use ly2dvi -P on the following:
\version 1.6.6
\header {
title = Title
language = hebrew,english
}
\score {
\addlyrics
\notes {
\clef bass
\key d \major
\time 3/4
d4. a8 g4
}
\context Lyrics \lyrics {
Tamm, \\R{ta} damm
}
\paper {
papersize = a4
indent = 0.0\cm
}
}
I can not test it, since I have no hebrew fonts installed.
Give it a try, and let me know what happens.
Feri.
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Re: Split stem for different pitches on same staff level
On Sunday 29 June 2003 05:18 am, P Scott Horne wrote: In the key of D-flat major, I wrote d,16 bes' a' aes d, bes' and got for the middle chord two noteheads side by side, preceded by a natural sign with a flat sign superimposed. Aside the obvious error (presumably a bug) of superimposing accidentals, this notation is incorrect. Standard practice Almost, maybe. Schott has used this |\ instead of /\ that. To me it looks better than the Y. Gardner Read in inventing this notation did not consider that there might be many other notes in the chord, but the engravers at Schott did. A zero tuplet bracket is a far better idea. It really adheres better to music engraving tradition, which did not use tools which draw lines at angles other than vertically or horizontally from a point. Other angles were ruled between points, but protractors weren't used AFAIK. A zero tuplet bracket also can be used whether or not separate voices are being noted, to clarify passages where chords sprawl horizontally because of seconds, unisons, dotted notes and accidentals. DaveA -- The biggest losers of all are the winners of an unjust war. The wars are not over. Just the winning part is over. Bush lied. Thousands died. dra@ http://www.openguitar.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: attached dvi?
Ferenc,
you win!!! wow,
see attached dvi.
Aaron
On Mon, 2003-06-30 at 16:16, Ferenc Wagner wrote:
Aaron [EMAIL PROTECTED] writes:
Sorry, here it is again.
Seems like you prefer other ways, but I make a last attempt.
Modify /usr/bin/ly2dvi:
latex_cmd = 'elatex'% instead of latex
%\usepackage[latin1]{inputenc} % commented out
then use ly2dvi -P on the following:
\version 1.6.6
\header {
title = Title
language = hebrew,english
}
\score {
\addlyrics
\notes {
\clef bass
\key d \major
\time 3/4
d4. a8 g4
}
\context Lyrics \lyrics {
Tamm, \\R{ta} damm
}
\paper {
papersize = a4
indent = 0.0\cm
}
}
I can not test it, since I have no hebrew fonts installed.
Give it a try, and let me know what happens.
Feri.
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frenec.dvi
Description: TeX dvi file
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bug?
I have a fresh build of Lily 1.7.23 (ChangeLog 1.1044) and the following
produces strange results. In the first and third measures the font is
neither \large nor \italic. This syntax worked before. Oddly enough,
it works in measure two.
-David Bobroff
v1.7.23 on RedHat 9
%%%
\score {
\notes \relative c' {
\time 4/4
\key c \minor
c4\ff^\markup{\italic \large marcato} d es f
R1^\markup{\center \italic \large a tempo}
c4^\markup{\center \italic \large a tempo} d e f
}
}
%%
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Re[5]: Soon 1.8 release?
GP What version are you using? I just tested it on a CVS version from 1.7.20, GP and it worked. The grace notes appear at the beginning of the next bar, GP instead of at the end of their proper bar, but it _does_ compile. On the current stable version, it did not compile. But from what you're telling me, the result in 1.7.20 isn't much better anyway. I'm going crazy about not being able to put graces at the end of bars, because I'm copying a lot of 18th century music, where it is sooo very recurrent, that it's a pain in my round one. HWN Do you have some scans for me? I've never seen graces at the end of HWN bars, save for the graces following a trill. HWN Getting grace notes right in various combinations is a lot of work, so HWN I don't really want to add \aftergrace as well, unless it is really HWN necessary. Here (do you mind if this is a facsimile?): * http://tinyurl.com/dzmu/duphly.jpg The bass is a typical Alberti type bass, very common at the period (18th century), which coincides with the apparitions and growing popularity of the piano-forte. Using two graces after white, is a very, very common effect. Of course, that is not the only use of graces at the end of a measure, but it is most accessible one, as I had the scans on my hard drive. Two other cases were graces are problematic are in the two excerpts below: * http://tinyurl.com/dzmu/duphly2.jpg In this one, I have a hard time believing the long unmeasured end phrase would look good in Lilypond at all. * http://tinyurl.com/dzmu/duphly3.jpg It is simply impossible to reproduce the second bass measure, in the bass part, without using a dirty hack with font size changes. Jeremy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
another bug?
As of ChangLog 1.1045 the problem with \markup texts has been fixed (as well as some other things that went wrong) but the \mark letters appear to be a couple of sizes smaller than they were before. -David Bobroff ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: help required in input/test
The example in boxed-molecule.ly does not use the new macro (at least in 1.7.22). I'd be interested in examples of how to use that macro. Especially to see if I can wire it into markup. I'd like to draw boxes around parts of a text markup. Dick On Sun, 2003-06-29 at 16:59, Mats Bengtsson wrote: 3) boxed-molecule.ly: knowledge of #'molecule-callback. I think we're missing a few boxes in this example. Note that there is a predefined Scheme macro available now for boxeded molecules. I don't remember if this example file uses the macro or contains some old definition of its own. /Mats ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user -- Dick Schoeller mailto:[EMAIL PROTECTED] http://schoeller.ne.client2.attbi.com/ 781.449.5476 Er ist ein Narr, der meint, es sei nicht schad, das Kind auszuschutten mit dem Bad - Thomas Murner 1512 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Split stem for different pitches on same staff level
David Raleigh Arnold wrote: On Sunday 29 June 2003 05:18 am, P Scott Horne wrote: In the key of D-flat major, I wrote d,16 bes' a' aes d, bes' and got for the middle chord two noteheads side by side, preceded by a natural sign with a flat sign superimposed. Aside the obvious error (presumably a bug) of superimposing accidentals, this notation is incorrect. Standard practice Almost, maybe. Schott has used this |\ instead of /\ that. To me it looks better than the Y. I agree. As you pointed out, the Y works only for two-note chords. A zero tuplet bracket is a far better idea. It would be cleaner than a split stem. Is there a good way to implement it in LilyPond? Thanks for the suggestion. Scott Horne ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Soon 1.8 release?
Jeremy wrote: HWN Do you have some scans for me? I've never seen graces at the end of HWN bars, save for the graces following a trill. HWN Getting grace notes right in various combinations is a lot of work, so HWN I don't really want to add \aftergrace as well, unless it is really HWN necessary. Here (do you mind if this is a facsimile?): * http://tinyurl.com/dzmu/duphly.jpg The bass is a typical Alberti type bass, very common at the period (18th century), which coincides with the apparitions and growing popularity of the piano-forte. Using two graces after white, is a very, very common effect. Of course, that is not the only use of graces at the end of a measure, but it is most accessible one, as I had the scans on my hard drive. Two other cases were graces are problematic are in the two excerpts below: * http://tinyurl.com/dzmu/duphly2.jpg In this one, I have a hard time believing the long unmeasured end phrase would look good in Lilypond at all. * http://tinyurl.com/dzmu/duphly3.jpg It is simply impossible to reproduce the second bass measure, in the bass part, without using a dirty hack with font size changes. Indeed. These examples are extremely common and are essential for printing music. A basic of my music studies. Paul Scott ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
