Re: A simple diagram of a .ly file?
Graham Percival wrote: I'll add some info like this, but I'll make it clear that a lilypond file _usually_ has three parts, that this is a simplification, and that users should consult section x.y for an accurate description. I think you need to make clear that the .ly format is actually very much free-form, and that you are merely listing conventions. -- 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
Score Layout / Page Breaks etc...
Hello everyone,
I'm trying to pull all the various parts of a score
and place them into one score. I've been experimenting with many different ways
of putting a file together. The one thing I can't seem to do is make a page
break. I've followed (I think -- well it looks right) the manual on combining
several pieces to make a large one but the "breakbefore = ##t" command is always
ignored. If I compile the example in the manual "10.1.13 Creating titles" and
add the \header { breakbefore = ##t} to the second pieceit
works.
Can anyone help am I overlooking
anything?
Currently running Windows XP /
2.7.26
Thanks in advance.
Trent
==
#(ly:set-option 'point-and-click #f)
\include "english.ly"
#(set-global-staff-size 16)
\paper { bottommargin = 2\cmleftmargin =
2\cmraggedbottom = ##fraggedlastbottom =
##flinewidth = 7\in }
\include "01Movt.ly"\include "02Movt.ly"\include
"03Movt.ly"%\include "04Movt.ly"
\book {\header {title = "Sonata IV"composer =
"Thomas Arne"}
\score {\new StaffGroup
\ViolinIa\ViolinIIa\basfiga
\Bassoa\midi
{}\header { opus = "Op. 3 No. 2" }\layout
{\context { \Score \override InstrumentName #'space-alist =
#'((left-edge . (extra-space . 6)))} }}
\score {\new StaffGroup
\ViolinIb\ViolinIIb\basfigb
\Bassob \midi
{}
\layout { }}
\score {\new StaffGroup
\ViolinIc\ViolinIIc\basfigc
\Bassoc \header {
breakbefore = ##t }\midi
{}\layout { }}
}
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Verse and refrain spacing
I have recently started trying out Lilypond, now that I have got round
to getting an up to date version (2.6.3). For my first attempt I have
tried a Christmas carol and I have managed to work out all of the
problems except one. I have entered the refrain and three verses
following the trick at the end of section 7.3.7 (Vocal Music: More
stanzas) of the documentation. My problem is that there is too much
space between the lines of the first staff, which only contain the
refrain, because 3 lines worth of space is being allocated. Is it
possible to remove this space when it is not required? My code is
below.
Thanks
Joe
-
\version 2.6.3
#(set-default-paper-size a4)
\header {
title = Coventry Carol
composer = Traditional (1591)
}
global = {
\key d \minor
}
refrain = \lyricmode {
Lul -- ly, lul -- la,
thou lit -- tle ti -- ny child,
By by, lul -- ly lul -- lay,
thou lit -- tle ti -- ny child,
By by, lul -- ly lul -- lay.
}
verseone = \lyricmode {
\set stanza = 1.
O sis -- ters too,
How may we do
For to pre -- serve this day
This poor young -- ling,
For \set ignoreMelismata = ##t
whom we
\unset ignoreMelisma
do sing,
By by, lul -- ly lul -- lay?
}
versetwo = \lyricmode {
\set stanza = 2.
He -- rod, the king,
In his rag -- ing,
Char -- ged he hath this day
His men of might,
In his own sight,
All young chil -- dren to slay.
}
versethree = \lyricmode {
\set stanza = 3.
That woe is me,
Poor child for thee!
And e -- ver morn and day,
For thy part -- ing
\set ignoreMelismata = ##t
Nei -- ther
\unset ignoreMelismata
say nor sing
By by, lul -- ly lul -- lay!
}
sopMusic = \relative c' {
\set Score.measureLength = #(ly:make-moment 4 2)
g'1 g2 fis
\set Score.measureLength = #(ly:make-moment 3 2)
g1 bes2
a2. a4 g4 g
fis1.
g2 a bes
\set Score.measureLength = #(ly:make-moment 2 2)
c a
\set Score.measureLength = #(ly:make-moment 3 2)
g1 d'2
c2. c4 bes bes
a1.
g2 fis g
\set Score.measureLength = #(ly:make-moment 2 2)
c a
\set Score.measureLength = #(ly:make-moment 3 2)
b1.\fermata \bar ||
\context Voice = sopverse {
\set Score.measureLength = #(ly:make-moment 4 2)
g1 g2 fis
\set Score.measureLength = #(ly:make-moment 3 2)
g1 bes2
a1 g2
fis1.
g2 a bes
\set Score.measureLength = #(ly:make-moment 2 2)
c a
\set Score.measureLength = #(ly:make-moment 3 2)
g1 d'2
c1 bes2
a1 \slurDotted bes4( bes)
\slurDotted a2.( a4) g2
f1.
g2 fis g
\set Score.measureLength = #(ly:make-moment 2 2)
c a
\set Score.measureLength = #(ly:make-moment 3 2)
b1.\fermata \bar |.
}
}
tenorMusic = \relative c' {
d1 d2 d b1 d2 f2. f4 bes, c d1.
d2 f d ees d4( c) b1
f'2 f2. f4 d d d1.
d2 d bes ees d d1.\fermata
\context Voice = tenverse {
d1 d2 d d1
d2 f1 bes,4( c) d1.
d2 f d ees d4( c) b1
f'2 f1 d2 d1
\slurDotted d4( d) f1 \slurDotted bes,4( c) d1.
bes2 d bes ees d d1.\fermata
}
}
bassMusic = \relative c' {
g1 g2 d g,1 g'2 f2. f4 g g d1.
g2 f g c, d g,1
bes2 f'2. f4 g g d1.
g2 d g c, d g1.\fermata
\context Voice = basverse {
g1 g2 d g,1
g'2 f1 ees2 d1.
g2 f g c, d g,1
bes2 f'1 g2 d1
\slurDotted g4( g) \slurDotted f2.( f4) ees2 d1.
g2 d g c, d g,1.\fermata
}
}
\score {
\context ChoirStaff
\context Staff = sops
\context Voice = sopranos { \voiceOne \global \sopMusic }
\context Lyrics = sopverseone { s1 }
\context Lyrics = sopversetwo { s1 }
\context Lyrics = sopversethree { s1 }
\context Staff = tens {
\clef treble_8
\context Voice = tenors { \voiceOne \global \tenorMusic }
}
\context Lyrics = tenverseone { s1 }
\context Lyrics = tenversetwo { s1 }
\context Lyrics = tenversethree { s1 }
\context Staff = bass {
\clef bass
\context Voice = basses { \voiceOne \global \bassMusic }
}
\context Lyrics = basverseone { s1 }
\context Lyrics = basversetwo { s1 }
\context Lyrics = basversethree { s1 }
\context Lyrics = sopverseone \lyricsto sopranos \refrain
\context Lyrics = sopverseone \lyricsto sopverse \verseone
\context Lyrics = sopversetwo \lyricsto sopverse \versetwo
\context Lyrics = sopversethree \lyricsto sopverse \versethree
\context Lyrics = tenverseone \lyricsto tenors \refrain
\context Lyrics = tenverseone \lyricsto tenverse \verseone
\context Lyrics = tenversetwo \lyricsto tenverse \versetwo
\context Lyrics = tenversethree \lyricsto tenverse \versethree
\context Lyrics = basverseone \lyricsto basses \refrain
\context Lyrics = basverseone \lyricsto basverse \verseone
\context Lyrics = basversetwo \lyricsto basverse \versetwo
\context Lyrics = basversethree \lyricsto basverse \versethree
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
moving backwards in time ?
Hello.
I'm confused by the output of the attached file: lilypond creates
an empty bar. [And generates a programming error.]
And the clef change indicator is pushed to the next line.
Without the addition of the second \transpose part, the output
is as expected.
Also, if the \lyricsto line is commented out, it comes out fine.
Should I do this in another way or is it a bug?
Further experiment would seem to indicate it is related to the
cadenza commands:
- When removing both \cadenzaOn and \cadenzaOff, a second empty
bar appears (after the second, transposed, part).
- When removing only \cadenzaOff, the second part disappears
altogether!
Thanks,
Gilles
\version 2.6.3
theNotes = \relative c' {
\key d \aeolian
\cadenzaOn
d4 e f g a bes cis d
c bes a g f ees d
\bar |
d f a2 g bes d a cis e
\bar ||
% \cadenzaOff
}
text = \lyricmode {
1 2 3 4 5 6 7 8 _ _ _ _ _ _ _ I IV V
}
modeOnD = \context Voice = notes { \theNotes }
\lyricsto notes \context Lyrics = text { \text }
theMusic = \context Staff = Mode \with { \remove Time_signature_engraver } {
\transpose d d { \modeOnD }
\break
\transpose d c { \modeOnD }
}
\score {
\theMusic
\layout {}
}
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Rest Placement
I'm doing this in lilypond-book, version 2.6.4. The top line rests (the up
ones) appear in ledger lines above the stage. How do I stop it moving them
so far up?
ta,
Tim.
\begin[staffsize=20]{lilypond}
\version 2.6.0
up = \drummode { sn4 sn4 r2 sn4 sn4 r2 sn4 sn4 r2 sn4 r4 r2 \bar |.}
down = \drummode { r2 bd4 bd4 r2 bd4 bd4 r2 bd4 bd4 r4 }
\score
{
\new DrumStaff
\set Staff.instrument = 1.
\set Staff.minimumVerticalExtent = #'(-6 . 6)
\clef percussion
\new DrumVoice { \voiceOne \up }
\new DrumVoice { \voiceTwo \down }
\bar |.
}
\end{lilypond}
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Segmentation fault
I have tried installing both lilypond-2.6.4.3.x86.package and lilypond-2.7.19.x86.package on Mandrake 10.1. Both installs went smoothly once I figured out that I had to change the permissions to make the file executable. However, when I try to process a file I get a segmentation fault error. I've looked around but can't seem to find a specific fix. I did reinstall guile. Any help would be appreciated. Arthur ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Verse and refrain spacing
Joe I had a similar problem. Try \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t in the Staff context. Regards Uwe View this message in context: Re: Verse and refrain spacing Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
feature request: semi-automatic vertical spacement
Han-Wen,
It turns out that manually setting vertical spacement tweak is
way too fragile. They are easily broken when changing LilyPond version
for instance. Or if one set manually all tweaks, and then is told:
could you make margins a bit larger, or use another font size, then
the whole work has to be done again. and again.
When you made the vertical spacement tweaks possible, you added that it
could be possible as an extra feature to output a tweak file that could
be included later, for a second lilypond run.
Please tell me how much the following would cost, if possible:
First,
$ lilypond --output-tweaks tweaks.ily many-score-book.ly
would output a tweaks.ily file, containing vertical tweaks blocks for
*each* score in the input ly file. Each score tweak would look like, for
instance:
scoreTweaks = {
%% system 1
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((alignment-extra-space . 50.0))
\skip 2.*7 \pageBreak
%% system 2
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((alignment-extra-space . 18.88))
\skip 2.*8 \break
%% system 3
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((alignment-extra-space . 18.88))
\skip 2.*8 \pageBreak
...
}
The inter staff extra space would be computed thanks to a function that
the user could override, taking into account the total space left in the
page, the number of systems, and the number of staves for each system.
Then:
$ lilypond --use-tweaks tweaks.ily many-score-book.ly
would output the PDF score as usual, using the tweaks defined in
tweaks.ily for each individual score. LilyPond would take care of
including the appropriate tweak blocks in the appropriate place.
nicolas
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Re: User Experience Engineering
Citerar Linda Seltzer [EMAIL PROTECTED]: I would greatly encourage the project to focus on the user interface and the user experience if this is to catch on in a large way. Having to install separate editors (and who knows what bugs that will bring and what other mailing lists one will have to subscribe to...) or get into the system with DOS commands, and to understand what is wrong if the flags are wrong, etc. does not constitute user interface engineering. Hi, Your criticism is quite valid, IMHO. However, as far as I have observed, lilypond does not seem to be ready for getting a full-blown GUI just yet. The developers seem to be very aware of this; e.g., Han-Wen has written a proof-of-concept GUI called ikebana, which is too slow for practical use. This indicates that there are some problems in lilypond that need to be solved before a useful GUI can be created. One problem is that it's difficult to know what the right APIs should look like: if an officially supported GUI is written too early, it is likely that lots of reworking needs to be done due to poorly designed APIs. My observations of the recent development, is that deep changes under the hood, often tend to eliminate obstacles that prohibit the development of a GUI. (and as others already mentioned, third-party products like Denemo and Rosegarden could always implement lilypond-compatible GUIs). Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: User Experience Engineering
Hi, I have no say in Lilypond development, but I do have similar thoughts I would like to share (well as maybe a more bias windows user). Perhaps what some of us imagined before tried using Lilypond was that you just have to do a few clicking, and out comes the score. That was what I thought, and it was a initial shock for me that lilypond looks like programming with a syntax to learn, and painstaking just to enter notes, for such lazy and slow, mouse-addicted typist. If after all the purpose of lilypond is produce beautiful scores, why cant the input be visual? I dont have the answer. For me, if I wanted to compose, in my mind would be thinking where the notes on the score for entry, rather than what are the pitch names. For example, take 3d modelling/rendering software. I do appreciate the beauty of pov-ray rendered images, but it seems to me very painstaking to type the syntax, coordinates and everything just to generate each image. Could you imagine how if its used create a 3d movie? But I believe there are a couple of good frontends for it. If you have seen any relatively experienced user work in 3ds max (or maya, lightwave, blender3d..), its really like the mouse becomes a hand in the computer, and moulding 3d models from blocks like how pots are moulded from clay. In the meanwhile, I'm trying how I can enter notes visually in LilyTool, sort like a frontend, you click stuff on a staff and it inserts a extract of lilypond code maybe, but then I not too good at programming either. Till then, take your pick on the wide choices of score setting software, and even if still chose lilypond at the end, you can find the converters (abc, midi,musicxml, nwc.. ) or many others which can produce lilypond files (lilypad, gscore, denemo, noteedit, rosegarden, harmony assistance..), and issnt that the unix philosophy? Joshua Message: 6 Date: Thu, 5 Jan 2006 15:54:48 -0500 (EST) From: Linda Seltzer [EMAIL PROTECTED] Subject: User Experience Engineering To: lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain;charset=iso-8859-1 Dear Friends, Having previously worked at ATT Labs, where I was a member of the User Experience Forum, I would like to make a few comments as a relative outsider seeing the Lilypond project for the first time. This is a great endeavor and the software output is beautiful. I would greatly encourage the project to focus on the user interface and the user experience if this is to catch on in a large way. Having to install separate editors (and who knows what bugs that will bring and what other mailing lists one will have to subscribe to...) or get into the system with DOS commands, and to understand what is wrong if the flags are wrong, etc. does not constitute user interface engineering. A smooth user interface employing the standard already-debugged platforms, such as Notepad and Word on Windows, with everything bug free, is more important than more and more detailed features, which can be added later. Every 10 minues spent system administrating and installing things is 10 minutes that real work doesn't get accomplished. User experience engineering is just as important as other areas of software development. Sincerely, Linda Seltzer ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inputting special symbols
On 1/5/06, Werner LEMBERG [EMAIL PROTECTED] wrote: Byte Order Mark is only applicable to UTF-16. There's no such thing as an editor that puts a Byte Order Mark in UTF-8. This is not correct. UTF-8 can also start with BOM. The same is true for UTF-32. Thanks for the information. I've been using Unicode for ten years, and I never knew this. Surely enough, it's an FAQ: http://www.unicode.org/unicode/faq/utf_bom.html#25 - Kurt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Verse and refrain spacing
--- uunail (sent by Nabble.com) [EMAIL PROTECTED] wrote: Joe I had a similar problem. Try \override Score.RemoveEmptyVerticalGroup #'remove-first = ##t in the Staff context. Thanks, that's perfect! I was expecting to have to completely restructure the code. Now after changing the global size it fits nicely onto one page. ___ Yahoo! Exclusive Xmas Game, help Santa with his celebrity party - http://santas-christmas-party.yahoo.net/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Segmentation fault
On 7-Jan-06, at 10:08 AM, Arthur Dyck wrote:
I have tried installing both lilypond-2.6.4.3.x86.package and
lilypond-2.7.19.x86.package on Mandrake 10.1. Both installs went
smoothly
once I figured out that I had to change the permissions to make the
file
executable. However, when I try to process a file I get a
segmentation fault
error. I've looked around but can't seem to find a specific fix. I
did
reinstall guile.
Did this happen with a particular file, or just *any* file? Like,
{ c'4 }
?
If it's anything, try running lilypond -V foo.ly (where foo.ly is
that small snippet above) and send the result to bug-lilypond.
Cheers,
- Graham
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Re: Segmentation fault
On Saturday 07 January 2006 02:52 pm, Graham Percival wrote:
On 7-Jan-06, at 10:08 AM, Arthur Dyck wrote:
I have tried installing both lilypond-2.6.4.3.x86.package and
lilypond-2.7.19.x86.package on Mandrake 10.1. Both installs went
smoothly
once I figured out that I had to change the permissions to make the
file
executable. However, when I try to process a file I get a
segmentation fault
error. I've looked around but can't seem to find a specific fix. I
did
reinstall guile.
Did this happen with a particular file, or just *any* file? Like,
{ c'4 }
?
If it's anything, try running lilypond -V foo.ly (where foo.ly is
that small snippet above) and send the result to bug-lilypond.
Cheers,
- Graham
No, it failed on the snippet also with the following:
[EMAIL PROTECTED] Desktop]$ lilypond -V foo.ly
GNU LilyPond 2.7.19
LILYPOND_DATADIR=/opt/autopackage/share/lilypond/2.7.19
LILYPONDPREFIX=/opt/autopackage/share/lilypond/2.7.19
LOCALEDIR=/opt/autopackage/share/locale
Effective prefix: /opt/autopackage/share/lilypond/2.7.19
GS_LIB=/home/arthur/.fonts
PATH=/opt/autopackage/bin:/usr/bin:/bin:/usr/bin:/usr/local/bin:/usr/X11R6/bin/:/usr/games:/opt/autopackage/bin:/home/arthur/bin
Segmentation fault
Arthur
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Re: User Experience Engineering
On Sun, 8 Jan 2006, Joshua Koo wrote: I have no say in Lilypond development, but I do have similar thoughts I would like to share (well as maybe a more bias windows user). It seems to me that part of the issue that's at play in this thread is a matter of porting software from a Unix-based environment to Windows. Unix/Linux philosophy is very accepting of finding whatever editor works best for the user for the given application (in this case, creating lilypond files), where the Windows philosophy seems to be that if it doesn't automatically work with whatever is already installed, then it must be broken. If, as has already been pointed out, there were (more) people helping develop lilypond for Windows, perhaps this would be less of an issue. But on the subject of editors, I know one programmer who likes using notepad for coding (but that's only because he does a lot of work on other people's computers without knowing if they have his favorite editor available already). There are dozens of programmers editors available for Windows. I remember liking Note-Tab back when I was still on Windows, but I don't know if (a) it still exists, or (b) if it's any good for lilypond. ... If after all the purpose of lilypond is produce beautiful scores, why cant the input be visual? I dont have the answer. For me, if I wanted to compose, in my mind would be thinking where the notes on the score for entry, rather than what are the pitch names. Not being the sort who can compose at a computer (I'm a pen(cil) and paper man), I can't really understand this sentiment. I can respect it in others, but I can't understand it. Typesetting software, in my opinion, is not the best environment for composing; it is, however, an ideal environment for taking something that's already composed and making it look professional. I'm very comfortable using Finale, at least as comfortable as I am with Lilypond. I still can't compose in it, in spite of the fact that it is a (more) visually-based entry system. For example, take 3d modelling/rendering software. I do appreciate the beauty of pov-ray rendered images, but it seems to me very painstaking to type the syntax, coordinates and everything just to generate each image. Could you imagine how if its used create a 3d movie? But I believe there are a couple of good frontends for it. If you have seen any relatively experienced user work in 3ds max (or maya, lightwave, blender3d..), its really like the mouse becomes a hand in the computer, and moulding 3d models from blocks like how pots are moulded from clay. Again, this reminds me of the Unix-ish software philosophy: different tools for different jobs. Pov-Ray is not ideal for all sorts of image work, and is certainly not the best tool for every user. It is a very powerful tool in the hands of someone for whom it makes sense and who will use it for its intended purposes. ... Till then, take your pick on the wide choices of score setting software, and even if still chose lilypond at the end, you can find the converters (abc, midi,musicxml, nwc.. ) or many others which can produce lilypond files (lilypad, gscore, denemo, noteedit, rosegarden, harmony assistance..), and issnt that the unix philosophy? Perhaps. I've found that I have to correct a lot when I import from Rosegarden, and that I end up saving considerable time if I just go from beginning to end in whatever editor I happen to be using that day. LSR and the templates in the manual are more useful to me than any graphical entry system could be. But hitting the point of unix philosophy again, you're right on. Additionally, it's a matter of choice. I used the KDE Advanced Text Editor last week because I was in KDE and it was convenient. A couple weeks ago, I was using Emacs because I was editing a score that resided on my home computer, but I was at my parents' house. I hear jEdit with lilyTool is quite useful, and this is available for any OS that can use java 1.5. Josiah ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score Layout / Page Breaks etc...
On 7-Jan-06, at 4:13 AM, Trent Johnston wrote:
I'm trying to pull all the various parts of a score and place them
into one score. I've been experimenting with many different ways of
putting a file together. The one thing I can't seem to do is make a
page break. I've followed (I think -- well it looks right) the manual
on combining several pieces to make a large one but the breakbefore =
##t command is always ignored. If I compile the example in the manual
10.1.13 Creating titles and add the \header { breakbefore = ##t} to
the second piece it works.
breakbefore requires a piece field, ie
\header{
breakbefore = ##t
piece =
}
I thought that I'd added that to the manual under bugs... if it isn't
there, or if it's in the wrong place, could you let me know?
Thanks,
- Graham
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Re: Score Layout / Page Breaks etc...
Thanks Graham.
I'm looking at the 2.7 documentation online and under 10.1.11 Page breaking
the reference to adding piece is not there..
Regards,
Trent
- Original Message -
From: Graham Percival [EMAIL PROTECTED]
To: Trent Johnston [EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Sent: Sunday, January 08, 2006 12:46 PM
Subject: Re: Score Layout / Page Breaks etc...
On 7-Jan-06, at 4:13 AM, Trent Johnston wrote:
I'm trying to pull all the various parts of a score and place them
into one score. I've been experimenting with many different ways of
putting a file together. The one thing I can't seem to do is make a
page break. I've followed (I think -- well it looks right) the manual
on combining several pieces to make a large one but the breakbefore =
##t command is always ignored. If I compile the example in the manual
10.1.13 Creating titles and add the \header { breakbefore = ##t} to
the second piece it works.
breakbefore requires a piece field, ie
\header{
breakbefore = ##t
piece =
}
I thought that I'd added that to the manual under bugs... if it isn't
there, or if it's in the wrong place, could you let me know?
Thanks,
- Graham
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chord name vertical spacing in 2.7.2x
With at least 2.7.25 through current CVS a minor (:m only one I tested)
chord name takes more vertical space than a simple chordname.
Change one of the a chord names in the attached to see this.
Paul Scott
\version 2.7.12
\include minorspacenotes.ly
#(set-global-staff-size 24)
\score {
\context ChordNames {
\set chordChanges = ##t
\changes
}
\context Staff = soprano
%\override Score.RemoveEmptyVerticalGroup #'remove-first = ##t
\context Voice = soprano { \global \melody }
%\set staff.instrument = S
%\context Lyrics = soprano { s1 }
%\context Lyrics = soprano \lyricsto soprano
%\simultaneous {
% \versei
%}
%\new Staff \piano
%\midi { \tempo 4=66 }
}
\version 2.7.25
#(set-global-staff-size 21)
\header {
title = Chord spacing test
}
\paper{
raggedbottom = ##t
raggedlastbottom = ##t
betweensystemspace = .03\in
betweensystempadding = .03\in
interscoreline = .01\in
}
global = {
%\set Score.restNumberThreshold = #0
\time 3/4 \partial 4
s4 s4*3*3 s2 \bar \break
s4 s4*3*3 s2 \bar \break
s4 s4*3*3 s2 \bar \break
s4 s4*3*3 s2 \bar |.
}
Key = { \key c \major }
i = \relative c'' { }
melody = \relative c' {
\Key
e4 g2 e4 g2 e4 g2 a4 f2
d4 f2 d4 f2 d4 f2 g4 e2
c4 e2 c4 e2 c4 e2 f4 d2
d4 d2 e4 f2 b,4 c2. ~ c2
}
harmony = \relative c' {
}
changes = \chordmode{ s4 c4*3 c c f g g g c a:m a f d g g c }
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Re: User Experience Engineering
On Sat, 07 Jan 2006 19:14:18 -0500, D Josiah Boothby [EMAIL PROTECTED] wrote: On Sun, 8 Jan 2006, Joshua Koo wrote: I have no say in Lilypond development, but I do have similar thoughts I would like to share (well as maybe a more bias windows user). It seems to me that part of the issue that's at play in this thread is a matter of porting software from a Unix-based environment to Windows. Unix/Linux philosophy is very accepting of finding whatever editor works best for the user for the given application (in this case, creating lilypond files), where the Windows philosophy seems to be that if it If after all the purpose of lilypond is produce beautiful scores, why cant the input be visual? I dont have the answer. For me, if I wanted to compose, in my mind would be thinking where the notes on the score for entry, rather than what are the pitch names. Not being the sort who can compose at a computer (I'm a pen(cil) and paper man), I can't really understand this sentiment. I can respect it in others, but I can't understand it. Typesetting software, in my opinion, is not the best environment for composing; it is, however, an ideal environment for taking something that's already composed and making it look professional. I'm very comfortable using Finale, at least as comfortable as I am with Lilypond. I still can't compose in it, in spite of the fact that it is a (more) visually-based entry system. As a composer, I don't prefer using the mouse or the text keyboard when composing at a computer. My current preferred method is a MIDI keyboard and Digital Performer, using simultaneously the MIDI (like a piano roll) and QuickScribe (staff notation) viewers, but focusing mostly on the MIDI view. While, as Joshua points out, there are limitations to using text to represent music while composing, there are also limitations to staff notation, both in its description of the musical sounds (for example, staff notation requires decisions regarding chromatic and rhythmic spelling, where MIDI representation in DP is spelling-independent and visual distances are consistent for any spelling of an interval or duration) and in the efficiency of entering the music, particularly when armed with nothing but a mouse. Thus, I have found Sibelius, and especially Finale, to be limiting when composing, especially during the experimental stages, where I move things around a lot. A final manifestation of a passage I compose in Sibelius ends up with a ton of ties and double-sharps and the like after all the transpositions, inversions, and moves. The MIDI representation in DP is not that way, nor is the QuickScribe notation which is derived from it. Sibelius and Finale are least problematic when the piece is finished and I am creating a final score. However, at that point, Lilypond is more intuitive, faster, and produces a better score, so I use it instead. And, as others have mentioned, typesetting from scratch in Lilypond (after composing a piece in DP) is as fast or faster than cleaning up a MIDI import from DP into Lilypond, Finale, or Sibelius. I think this process I use is another example of the UNIX/Linux way of doing things. Some have mentioned the ability to use one of many programs for the same task, depending on the task or the user; but I think another aspect is choosing a different combination of single-task programs depending on the overall task and the user. For theory graphics, I combine Lilypond with Adobe Illustrator. For composing, I use Digital Performer and Lilypond. For typesetting parts and doing Schenker graphs, just Lilypond. The contrast is the typical Windows user who wants one program to do it all. I think that many believe that will be cheaper and easier to learn; however, my work has been more efficient since splitting up the tasks into the programs which perform them best, and I think the programs have been easier to manage when I have less to remember about each particular interface. Additionally, Digital Performer + Lilypond costs about the same as Finale or Sibelius (academic), and Lilypond + Illustrator is less than $100 (academic), for those who don't need MIDI, but want more advanced GUI graphics than is easily done with Lilypond alone. So, the a la carte way of doing things is not more expensive, or more difficult; but it produces better results. It also will allow some to apply a visual way of doing things to Lilypond's beautiful notation, without changing the typesetting environment for other users. In my opinion, Lilypond, Digital Performer, and Adobe Illustrator are all the best at what they do; or at least the best at what I use them for. All of them have an efficient and useful interface, even if they all take some time to learn. And they work together well enough that there is no good reason to make Lilypond try to do what DP,
Mandriva 2006 install segfaults
Dear lists, I am currently, after an absence of a few months while waiting for the new version of my OS - due to errors updating the requested software - , trying to get Lilypond to get working on my new system. Installed Mandriva 2006, downloaded the tar-balls of 2.7.25, *26, and *27. Ran ./configure, which went well, and make all. On all three tar-balls the result was the same, a segfault while generating the fonts. The last 20 lines of the logfile for 2.7.27 are: LOGFILE DUMP Font `parmesan26'... Warning: no extra font information for this font. Consider writing a XX_guess_font_info() routine. Using encoding file: `./out/parmesan26.enc' Running Metafont... Tracing bitmaps... Too many bits found when loading character 33warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 34warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 35warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 36warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 37warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 38warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 39warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 40warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 41warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 42warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 43warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 44warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 45warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 46warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 47warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 48warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 49warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 50warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 51warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 52warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 53warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 54warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 55warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 56warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 57warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 58warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 59warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 60warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 61warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 62warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 63warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 64warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 65warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 66warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 67warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 68warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 69warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many bits found when loading character 70warning: /usr/bin/gf2pbm: command exited with value 512 (ignored) Too many
