Re: Alternative lines misaligned
If you search the mailing list archives, you will find that this is a fairly common questions, see for example http://lists.gnu.org/archive/html/lilypond-user/2004-11/msg00816.html There is also a solution in the LSR (see www.lilypond.org - Documentation for more information and a link), but I prefer to set the minimum-space property as described in the link above. /Mats Quoting Cris Kenton [EMAIL PROTECTED]: Dear all, When compiling a document (2.10.0) with alternative parts, I noticed that the lines above the alternative parts (2 parts) are not aligned producing an unpleasant output. Has anyone face this problem? THnks! Cris ___ 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
FretBoards in 2.10 - missing in manual?
Congratulations on 2.10. It is a great improvement. However there are some things that I would like to see better described. I will mention one here. In the News Changes section on the LilyPond website, the third bullet tells about a new feature, FretBoards. I can find no mention of it in the PDF manual. Where can I get some more information about it? Bodvar Bjorgvinsson http://www.bodvar.net --The difference between involvement and commitment is like an eggs-and-ham breakfast: the chicken was involved - the pig was committed. - Unknown ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
input files in OS X version
I've searched through the package contents of the OS X version, and the input/test directory which is refered to in the manual doesn't seem to be there. Ok, I'm a big boy, I can download a source tarball like the best of them, but shouldn't this stuff be somewhere in the distribution? Or is it? Victor. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: broken crescendo
Am 23. November 2006, 10:26 Uhr (-0800) schrieb Graham Percival: Sure! http://lsr.dsi.unimi.it/ o.k. I put it up there. It's called Broken Crescendo Hairpin and should be accessible by tomorrow (if I understood the system correctly). If you find the title misleading, just go ahead and change it. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Music for the Martians?
On 23 nov 2006, at 3:10, Graham Percival wrote: I think this is referring to people with 6-fingers. Typing e8_1 means first finger; typing e8_1 prints 1 as a TextScript. But what are martians and why are they playing my music? Shouldn't this message simply state that a 6 is a strange number to indicate a finger with? Yes, but somebody was feeling creative when they wrote that code. :) What message do you propose to change it with? I thought about that and I know that it is non-sensical to have 6 in there as a finger indication. But I decided to put it in and it is right to put it in for my purpose, otherwise it wouldn't be in. So I feel that this message can be safely removed from lilypond. Oh, and 2.8 didn't have that message and I did not confuse myself with six fingers either there ;-) So please remove it, or if it is felt that it is a just message, please state that it something like: Warning: fingering notation for finger number n. where n is greater than 5, or 4 depending on the instrument being described. In guitar music, we normally only deal with four fingers as the thumb is at the other side of the neck. So here it would be appropriate to give the message at finger number 5. Since it's clearly instrument dependent, and lilypond doesn't know about the instrument that the music is intended for, it is a strong indication that you cannot tell when to display this warning. So this is in favour of removing it. Groetjes, Arjan --- They both savoured the strange warm glow of being much more ignorant than ordinary people, who were only ignorant of ordinary things. -- Discworld scientists at work (Terry Pratchett, Equal Rites) --- It was funny how people were people everywhere you went, even if the people concerned weren't the people the people who made up the phrase people are people everywhere had traditionally thought of as people. And even if you weren't virtuous, as you had been brought up to understand the term, you did like to see virtue in other people, provided it didn't cost you anything. -- (Terry Pratchett, The Fifth Elephant) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Manual engraving video
On 23 nov 2006, at 8:09, Martial wrote: The fact that they chose to switch to computer-engraving doesn't contradict that hand-engraving is far better; see: http://lilypond.org/web/about/automated-engraving/introduction.html And the Lilypond product is great ! The interesting thing from the video that I took home from it is that the engraving of a piece is dependent on the tempo: an Andante piece should be typeset more dense than an Allegro piece. Is it possible to embed this rule into Lilypond? Perhaps driven via a new identifier \tempoText = Andante? http://cathemline.org/lily/fragment_typo.html Nice! --- A marriage is always made up of two people who are prepared to swear that only the other one snores. -- (Terry Pratchett, The Fifth Elephant) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (double)Slurs on whole Notes
Hey Graham.
Thanks a lot for the reaction on this one and the 'hairpinToBarline'. If it
helps in debugging: After a bit more investigation on the 'slurs', it seems
that it is not (only?) the length of the notes but the barline in between the
notes. The slur-algorithm seems to try to avoid any collision of a slur with
a barline. A test with ties shows, that this does not happen with tied notes.
regards
Thomas
Thanks, this bug has been entered as
http://code.google.com/p/lilypond/issues/detail?id=156
Note that it has nothing to do with double slurs, are your final line
demonstrates. I've simplified the example for the bug tracker.
Cheers,
- Graham
Thomas Frank wrote:
The follwing snippet shows a very strange behaviour of slurs on whole
notes which are not placed on the 'default'-side of the note. While the
quarter notes in the first line are just perfect, the same fails with the
whole notes in the second and third line.
Is there a way to work around this?
Is it a known bug?
cheers
Thomas
%% BEGIN CODE SNIPPET
\version 2.10.0
\relative c'' {
\set doubleSlurs = ##t
c e4( f a)( b d)( e g) |
\break
c, e1( | f a)( | b d)( | e g) |
\set doubleSlurs = ##f
\break
c, e1_( | f a)_( | b d)_( | e g) |
}
%% END CODE SNIPPET
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Re: which language for programming
On Wednesday 22 November 2006 19:31, Joseph Wakeling wrote: Doug Wellington wrote: Why can't you communicate with others using VB and/or AppleScript? I would submit that it's easier to create a graphical application with VB than just about any other programming language. If you want to communicate via windows, menus, buttons, etc, what's easier than VB? (And heck, once you learn VB, you can leverage that to write scripts in MS Office apps if you're so inclined...) Simple---because with VB and/or AppleScript you are tying yourself to one platform, or at any rate biasing yourself heavily. If I write in Perl or Python or Ruby, or for that matter C or C++, code is much more portable. I think there are portable implementation of VB (IIRC Mono has one). However, I suppose that doesn't help much because AFAIU the main point with VB is that Microsoft wrote a nice IDE for it in which it easy to draw windowed applications, and that IDE is not portable AFAIK. I think the earlier poster who suggested going straight for Scheme may have a point. Not only is it the core language for working with Lilypond, but it's a Lisp dialect, and Lisp is both the grandaddy of programming and the most flexible language there is. See for example, http://www.paulgraham.com/icad.html Another thought struck me: there's a pedagogical point in using statically typed languages, because those language teach you never should store different types of objects in the same variable, which is good programming practise. Both python and scheme (and most other suggestions here) are dynamically typed languages. For this reason, Boo may be a good candidate (it's more-or-less a python clone with the addition of an intricate static typing system); its main drawback is that it's not commonly used yet. -- Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changing the appearance of noteheads
Thank you very much! I already tried, but it doesn't work somehow. Are there
any known bugs? Probably I just do something stupid. In the layout block I
inserted this code:
\context{
\Staff
\override NoteCollision #'merge-differently-headed = ##t
}
It's rather strange, because it worked in another case!
Best wishes,
Martijn
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Re: Exporting timing information out of lilypond
Thomas Tensi escreveu: Hello, I'm trying to make MPEG-4 notation files from lilypond output. Each key frame is a score sheet (a PNG picture) shown for a specific time, but it has to be synchronous with the music played (also generated from lilypond). To achieve that I need a list of play times per sheet and the total number of sheets produced automatically. One idea is to have lilypond put out some MIDI meta event into its generated midi file whenever the page is broken. When looking at the MIDI generation code, it seems that no meta events are written at all, are they? Another idea is to link into the page breaking via some callback and to write a sequential file with the measures at page breaks. Together with the MIDI tempo track this should help in finding the absolute time positions. Is this possible or completely nonsensical? You have to delve into the output routines, written in Scheme. You can extract the systems on each page, and the timing (in whole notes from the start) for the start/end of each system. Those can be written to a file. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Manual engraving video
Arvid Grøtting escreveu: The problem is twofold: This print shop doesn't stock any cream-colored A3 paper which would be nice, and the finished sheet music is almost *too* sharp. this is mainly due to the whiteness of the paper. Using yellow paper decreases the contrast a bit, and will probably do what you want. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
SATB vocal score example
Hi,
In section D.4.1 of the manual for 2.8.7, there's nice example of a
SATB score.
In the example, the keyword \global is used in a way I cannot deduce
from the docs. In short (please see the doc section for the full
example):
sopMusic = \relative c'' { ... }
altoMusic = \relative c'' { ... }
...
\score {
\new ChoirStaff
...
\new Staff = women
\new Voice = sopranos { \voiceOne \global \sopMusic }
\new Voice = altos{ \voiceTwo \global \altoMusic }
...
}
What is the function of \global in \voiceOne and \voiceTwo?
Leaving it out does not seem to make a difference.
Just curious.
-- Johan
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Re: SATB vocal score example
In section D.4.1 of the manual for 2.8.7, there's nice example of a
SATB score.
I think that's my contribution :)
\global is not a keyword; it's defined at the top of the example, like this:
global = {
\key c \major
\time 4/4
}
In this case, omitting it makes no difference because those are the
default settings for LilyPond anyhow (blank key signature, 4/4 time).
Try changing the definition to
global = {
\key d \major
\time 3/4
}
and I think you'll see a difference.
(Graham, should the manual example be changed?)
Geoff
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Re: SATB vocal score example
When I look at it more closely, I don't think that example is something I contributed. But my explanation still holds. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music for the Martians?
Arjan Bos escreveu: So please remove it, or if it is felt that it is a just message, please state that it something like: Warning: fingering notation for finger number n. I vote for the latter. Patches/pushes appreciated. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
tweaking ending brackets and chord name heights
i'm writing a lead sheet (single staff melody with chord symbols above) mostly with success so far. however, i've noticed that when using alternate-ending repeats, lilypond puts the chord symbols above the repeat ending brackets, making the chords unappealingly high for that entire line. could someone point me in the right direction to figure out how to adjust the relative heights of the brackets and chord names? i have a feeling it'll be more involved than i will immediately understand... thanks in advance, bernie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tweaking ending brackets and chord name heights
bernie arai wrote:
i'm writing a lead sheet (single staff melody with chord symbols
above) mostly with success so far. however, i've noticed that when
using alternate-ending repeats, lilypond puts the chord symbols above
the repeat ending brackets, making the chords unappealingly high for
that entire line. could someone point me in the right direction to
figure out how to adjust the relative heights of the brackets and
chord names? i have a feeling it'll be more involved than i will
immediately understand...
You don't say what version you are using for later versions see:
7.2.3 Printing chord names
Which show how to put the volta brackets over the chords:
harmonies = \chordmode {
c1:m c:m \break c:m c:m d
}
\new ChordNames {
\set chordChanges = ##t
\harmonies }
\new Staff \transpose c c' \harmonies
HTH,
Paul Scott
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