Minimum lengths of Multimeasure Rests
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Hi folks, I'm currently cleaning up a file converted from 2.0.1 to 2.7.22. I'm having trouble getting my MultiMeasure Rests the way I want them. The original file had a line \override MultiMeasureRest #'minimum-length = #21 I know this worked when I first typeset the piece, but that's no longer the case. I don't seem to be able to find anything in the documentation to help me (although I can see it existed in the 2.0 series docs). Does anyone know the 'modern' way of adjusting the lengths of my mm-rests? Cameron Horsburgh -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.2 (GNU/Linux) Comment: Using GnuPG with Thunderbird - http://enigmail.mozdev.org iD8DBQFDmsK4voajcVq9gkURAnCVAJ9dro0UVn7WqowSCd/yJ5tLvEhAvACfV52v kpK2zn6KdczVLyvvGuvKKJI= =QwcP -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics alignment, stanza numbers, metadata
I have a bunch of questions that arose while setting a song. I've put up the ly and pdf (run through Lilypond 2.6.4) at http://www.blahedo.org/ly/comfort.ly http://www.blahedo.org/ly/comfort.pdf 1) Is there any way to make the stanza numbers line up? Virtually every time I've done stanza numbers, they've looked like this, sometimes worse (overprinting the start of the line). 2) I've noticed lyrics misalignments before, but they seem worse recently; this piece is a good example. Actually, as I look at it I think the lyrics syllables are horizontally centred with each other, but left-aligned with the note head. That's not how I thought it was supposed to work (and it doesn't look very good) 3) The metadata permitted in \header seems ill-suited for a lot of the stuff I'm typing in (old churchy stuff, mostly). There is a slot for texttranslator, according to the manual, but this is not printed; there is nothing for the name of the tune (often distinct from the name of the text), which is often printed in small caps. In other pieces, there's often notation on scriptural source (which is further distinct from the lyricist ie poet) or chant mode or multiple lyricists for different verses. Which is not to say that lilypond should natively support all of this, but it would be nice to have an otherLyricMetadata and otherMusicMetadata or two. -- -=-Don [EMAIL PROTECTED]http://www.blahedo.org/-=- By doing just a little every day, you can gradually let the task completely overwhelm you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Doubt:Significate of #
Hello again! I am reading step by step the tutorial that I can find at the web of lilypond and, except the dificulties that I have because of the language, I think I understand correctly and I am going to put it in practice nearly. Before that, I have some question that I cannot find in Documentation -probably for my clumsiness- and it is about some signs that I don't know what is its significated. In all examples that I find in tutorial, when I click on them I can find above to the zone that say the notes have to be write a text that incorporate signs like % and #. I know that the first one is to comment the lines, so there is no problem with that but I cannot find the significated of the second one ¿any help? It would be great if someone tell me, not only the significated of the sign, the place where I can find questions relative to that points. I wait to have expressed myself correctly. See you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Footnotes Symbols
Hi everybody I work with compositions and I loved the whole idea of Lilypond I'm thinking in start using it, but first I need to know if it's possible to add footnotes or any kind of text in any place in the score. Other question: Can I add images and symbols to a Lilypond score? See, I work with modern notation, so I need a lot of resources that normaly are not used in traditional notation. Thanks, and sorry the bad english. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bezier-sandwich stencil
Ok, thanks verry much. I'll check that :) Han-Wen Nienhuys writes: It looks as if you're making mistakes with Scheme quoting. You should use something like (list 'bezier-sandwich (list 'quote '(0 . 2) '(1 . 4) ... )) or '(bezier-sandwhich (quote ((0 . 2) (1 . 4) ... ))) I guess. You need an extra quote because the expression of a stencil is evaluated another time in the back-end. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Footnotes Symbols
I work with compositions and I loved the whole idea of Lilypond I'm thinking in start using it, but first I need to know if it's possible to add footnotes or any kind of text in any place in the score. This is probably what you are looking for: http://lilypond.org/doc/v2.6/Documentation/user/lilypond/LilyPond_002dbook.html#LilyPond_002dbook Other question: Can I add images and symbols to a Lilypond score? See, I work with modern notation, so I need a lot of resources that normaly are not used in traditional notation. If lilypond-book isn't enough for your purpose, maybe you'll have to include the output of lilypond into other softwares for further processing. I think that scribus and inkscape were mentioned on this ML. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi2ly on Mac OS X
Greetings to all, I have just recently started using lilypond, and I like it very much. I have a bunch of little compositions I made in Melody Assistant a few years ago. Now I want to translate them into lilypond files. midi2ly seems to be the way to do this. When I call midi2ly it fails with the following python traceback: Traceback (most recent call last): File /Applications/LilyPond.app//Contents/Resources/bin/midi2ly, line 48, in ? import midi ImportError: No module named midi I am using LilyPond 2.6.4 on Mac OS X 10.4. What is the best way to get lilypond to set the right path for the python modules? Cheers, Jim ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doubt:Significate of #
On Saturday 10 December 2005 14.44, Pedro Martínez wrote: Hello again! I am reading step by step the tutorial that I can find at the web of lilypond and, except the dificulties that I have because of the language, I think I understand correctly and I am going to put it in practice nearly. Before that, I have some question that I cannot find in Documentation -probably for my clumsiness- and it is about some signs that I don't know what is its significated. In all examples that I find in tutorial, when I click on them I can find above to the zone that say the notes have to be write a text that incorporate signs like % and #. I know that the first one is to comment the lines, so there is no problem with that but I cannot find the significated of the second one ¿any help? Hi, Did you read this? http://lilypond.org/doc/v2.7/Documentation/user/lilypond/Scheme-tutorial.html#Scheme-tutorial -- Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Scheme functions.
Hi, trying to use lilypond 2.4 for a songbook, I got into some trouble with some scheme code. 1. I want to use some other font and input encodings, than those which come with lilypond. Would you please add something like (define-public (define-encodings e) (set! coding-alist (append coding-alist (map (lambda (x) (cons (car x) (cons (cdr x) (delay (get-coding-from-file (cdr x)) e))) ) to encoding.scm? I think it would be useful even in 2.6 series, as it allows a user to develop lilyponds encoding features without changing the core files. 2. I want to use a chord naming scheme which is used in several eastern German songbooks (G for G major and gm for g minor). But trying to adapt one of the so called examples from lilypond/*/scm several scheme functions are not accessible from inside a .ly file: split-at-predicate (lily-library.scm) natural-chord-alteration (chord-name.scm) markup-join (markup.scm) accidental-markup (chord-name.scm) Could you please make them public or tell me about replacements please? Tobias. P.S.: I'm planning to make the chord naming public when I'm ready to use it in an easy way. -- ,---, Tobias /| Schlemmer / Tel.: 01 62 / 7 63 94 35| Dipl.-Math. / http://www.schlemmer.de.tt -. / [EMAIL PROTECTED] \ / GnuPG/PGP Public Keys: \ / 4A77CEF5 (RSA) bzw. DF2A703C (DSA) ' Jabber: [EMAIL PROTECTED] -'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,-'-,- Nun so wäre denn endlich die Untersuchung in die Geheimnisse der Mathematik gehüllt, damit doch ja niemand so leicht wage, sich diesem Heiligtum zu nähern. Johann Wolfgang von Goethe PGP-Unterschrift.asc Description: Digitale Unterschrift mit PGP/GnuPG ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Footnotes Symbols
Scribus will allow you to layer text or graphics on top of pdf or other image files. Arthur On Saturday 10 December 2005 07:14 am, Gilles wrote: I work with compositions and I loved the whole idea of Lilypond I'm thinking in start using it, but first I need to know if it's possible to add footnotes or any kind of text in any place in the score. This is probably what you are looking for: http://lilypond.org/doc/v2.6/Documentation/user/lilypond/LilyPond_002dbook. html#LilyPond_002dbook Other question: Can I add images and symbols to a Lilypond score? See, I work with modern notation, so I need a lot of resources that normaly are not used in traditional notation. If lilypond-book isn't enough for your purpose, maybe you'll have to include the output of lilypond into other softwares for further processing. I think that scribus and inkscape were mentioned on this ML. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottava bassa bug
On Friday 09 December 2005 02.37, Jonatan Liljedahl wrote: The below snippet shows a bug, the d,, note isn't affected by the octavation: (see bug.png) Any tips? The problem is that the \clef command is executed after the \octdn command; this overrides the middleCPosition property. This can be worked around e.g. by moving the \clef command to inside the staff-changing voice, or by starting the voice in the lower staff, after the \clef command has been executed. -- Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Footnotes Symbols
On 10-Dec-05, at 5:55 AM, Caio Barros wrote:
Other question: Can I add images and symbols to a Lilypond score?
See, I work with modern notation, so I need a lot of resources that
normaly are not used in traditional notation.
Use \markup { \epsfile #foo }. See overview of text markup
commands for details.
Cheers,
- Graham
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Lily-book in winXp?
Hi can anyone help me?
I have tried reading all about lilly-book, but cant
understand how to make a book (lots of text mixed with lilypond pictures??) in
winXp
I have read chapter 12 in the documentation but
dont know how to use LaTeX, Texinfo etc...?
an example:
\documentclass[a4paper]{article}
\usepackage{graphics}
\begin{document}
Documents for @command{lilypond-book} may freely mix music and
text. For example,
\begin{lilypond}
\relative c' { c2 g'2 \times 2/3 { f8 e
d } c'2 g4 }
\end{lilypond} Options
are put in brackets.
\begin[fragment,quote,staffsize=26,verbatim]{lilypond}
c'4 f16 \end{lilypond}
Larger examples can be put into a separate file,
and introduced with
\verb+\lilypondfile+.
\lilypondfile[quote,noindent]{screech-boink.ly}
\end{document}===
this should be some LaTeX code? How do I use
this?
Could someone post any peace of code to lily-book
made in windows???
Hope that some of you understand my
issue??
Best reguards
Jannik
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Library versions
Is it possible that when configuring lilypond you don't require the super-duper latest version of all the libraries unless there's actually some feature there that you need? I was just looking to try to compile from CVS, but in order to do that I would need to download and install half the libraries by hand as well, because you're using version that haven't made it even into fink's unstable branch yet. Which certainly sets an awfully high bar for contributing to the project, when you can't even get a working generated version of the _docs_ without hacking around with installing the bleeding-edge version of seven different libraries. -- -=-Don [EMAIL PROTECTED]http://www.blahedo.org/-=- Look, I tried the cat experiment. On the third trial, the cat was dead. On each of the subsequent 413 trials, it remained dead. Am I doing something wrong? --James Nicoll ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
An overview of the system
It all started with wanting to just move over a few pieces of text, but finally I sat down and worked my way through the labyrinth of figuring out how the system works. The problem is that there are a lot of high-level concepts, like grob or engraver, that are never really explained all in one easily-findable place in the docs (well, not that I found), so it's hard to understand the finicky stuff. Like, why use \set sometimes and \override other times. Anyway, I think I figured all that out, and in the course of taking notes I have something that might fit well into the LP docs somewhere. I've interspersed the prose with asterisked comments and questions that highlight things that are bugs in the docs or that I still didn't quite understand (or both). Hopefully someone else finds this helpful A context is an environment into which you enter your music; it can be created anonymously (\new) or named (\context). If you create a new context, either anonymously or with a new name, it puts that context right where you are in the enclosing context, and effectively puts your cursor at the beginning of that brand-new context. If on the other hand you open a context that has the same name as a previously created context, you are not creating a new context, but rather sending your cursor back to insert at the end of that existing, named context. * Voice claims it can't contain other contexts; but it can contain other Voice contexts. Each syntactic thing you can do for actual music entry---i.e. most of what you type inside \score other than managing contexts---is interpreted as a musical expression, much as 3+4 might be interpreted as a mathematical expression. As each expression is read in, it is classified as an Event (atomic events, e.g. NoteEvent) or a Music (for expressions composed of other expressions?). This music expression is then handed off to an engraver. * what is a Music really? * what is the difference between SkipEvent (e.g. s4) and SkipMusic (e.g. \skip 4)? * Typo in OverrideProperty SYNTAX def (propery); and syntax has changed from \property Ctxt.Obj \override #'prop = #newval to \override [Ctxt.]Obj #'prop = #newval * Is OutputPropertySetMusic what is now \set? Or PropertySet? * No SYNTAX for a lot of events e.g. FingerEvent, BarCheck * Could we see the subclasses of each music expression type? * In Music properties, no indication *which* types of expr each property can belong to Engravers are LilyPond entities that accept music expressions of interest to them and produce graphical layout objects (grobs). Most engravers will only care about certain types of music expressions; the NoteHeadEngraver won't care about a LyricEvent, for instance. Each kind of engraver comes by default in certain kinds of contexts, but this can be modified with \remove and \consists. The engraver works by looking at the properties of the specific music expression it was given (the pitch, duration, etc) and the properties of the current context. Each context has a variety of properties that keep track of where the engraving process is---what measure it's in, whether it's in the middle of a triplet, etc.---as well as some general properties of the context, like the stanza number or whether to beam. These properties can be modified with \set, and the changes remain to the end of the context, affecting how that context's engravers do their job. (To make changes not last that long, you can \set them to something else, \unset them, or use \once to make them only last for one time step in the first place.) [see also: 9.1.2 Changing context properties on the fly ff.] * 7.3.6 Switching the melody associated with a lyrics line; doesn't currently have its own node So as each musical expression is read in, it is passed to all engravers in currently active contexts that will accept that type of event/music, and these engravers look at the expressions and at the contexts' properties, and generate grobs. [See: grob-interface] * Are musics passed only when they're done? * What happens to events that are inside the musics? * In what order are the contexts visited---inside out? The created grobs have properties that can be modified just as for contexts, except with \override instead of \set---the idea is that the engraver would calculate values for each grob property, but you might want to override its choices by some offset amount. Here, unlike with \set, you *must* say which kind of object you're overriding for (and possibly also which context it's in). (\revert to delete change) These properties control exactly where and how an object is laid out. * When a 'direction property is labelled Up or down, left or right?, and its value is a number, this is confusing. * Again, not always clear which properties go with which grobs Once all the grobs are created, actually *printing* the engraved music is a trivial walk of the grobs, since they have all their relative size and shape and position
