LilyPond 2.4.6 for cygwin?
Hello, for some reason I sometimes still use my old (2.4.6) cygwin version. Now I accidently upgraded to a newer (2.8.8?) version, which I did not want (and did not work btw). Is there any chance to reinstall 2.4.6? I have not found it on the servers I looked up. Any hints appreciated. Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
passing music symbols to define-music-function
Hi,
how is it possible to write music functions which use symbols as
parameters which get interpreted as pitch entities by the function?
I made three examples below to illustrate the problem. The third works
but is less than ideal in the lilypond source as the main purpose of
the definition is to get rid of the \parenthesize and the enclosing
chord brackets.
--
Orm
P.S.: Can anybody point me to reference on how to enlarge the
parenthesis or how to turn them into square brackets? I'm quite
comfortable writing scheme code and don't mind to delve into the
depths of lilypond as long as I get a hint on where to start and what
to change where.
--
The following two code segments *don't* work:
bracket = #(define-music-function (parser location note )
(symbol? )
#{
\set fontSize = #-4
\once \override Stem #'transparent = ##t \parenthesize $note4
\set fontSize = #1
#})
\relative c' {
\bracket #'f
}
bracket = #(define-music-function (parser location note )
(ly:music? )
#{
\set fontSize = #-4
\once \override Stem #'transparent = ##t \parenthesize $note4
\set fontSize = #1
#})
\relative c' {
\bracket f
}
--
This works:
bracket = #(define-music-function (parser location note )
(ly:music? )
#{
\set fontSize = #-4
\once \override Stem #'transparent = ##t $note
\set fontSize = #1
#})
\relative c' {
\bracket \parenthesize f4
}
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Re: LilyPond 2.4.6 for cygwin?
Thomas Scharkowski [EMAIL PROTECTED] writes: Now I accidently upgraded to a newer (2.8.8?) version, which I did not want (and did not work btw). Bug report, please. Is there any chance to reinstall 2.4.6? When you run Cygwin's setup.exe, it first downloads all packages to be installed. If you did not delete those, they are still on your hard disk. Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
proportional notation
Hi, trying to convince lilypond to keep the proportional notation correct is very time-consuming (ca. 1/2 hour for one line; sigh!). It is especially hard to figure out, why the second value of the ly:make-moment form sometimes has to get doubled in order to make a bar stretch out 10% more than with half the value. Can someone shed a light on how the algorithm works, so that I can get better estimates and don't have to recompile that often? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tutorial
Hello everybody,
I may be out-topic, but I would like to talk about how useful Wiki
applications might be to Lily...
For instance, Christophe Dang Ngoc Chan has started writing a quite good
Wikibook, based on the official tutorial.
http://fr.wikibooks.org/wiki/Introduction_%C3%A0_LilyPond
Currently it is only in French, but as he told me, he would be ready to
start another one in English. I find it would be a very good idea to open
some Wiki-based Lilypond tutorial, or unofficial Documentation. This would
make corrections much easier and simpler, and moreover this could help
promoting Lilypond, since the Wikibooks-Wikipedia community is huge and very
active.
And if you like the Wiki idea, I'd like to add that there may be several
opportunities to combine Wiki and Lilypond typesetting ; for instance one
could imagine some extension like LaTex-oriented Wikipublisher (
http://www.wikipublisher.org/wiki/ ), but especially designed for
Lilypond...
Just my 2 cents.
Thank you all. I love this list :)
2006/12/3, Graham Percival [EMAIL PROTECTED]:
Mats Bengtsson wrote:
Right! This first example of the tutorial is somewhat idealized to hide
unnecessary complications. I hope you haven't got stuck there but rather
kept reading and experimenting with the program.
Graham, maybe we should modify this first example so the user output is
exactly the same as the version printed in the tutorial.
I'm not opposed to this; I've gone back and forth on the issue myself.
To be honest, biggest reason that I haven't changed it already is that
{c d e f g...}
are in the bass clef range, so we either introduce \clef bass at the
very beginning, or have huge ledger lines in the treble clef.
I've added this to my list of easy jobs for people interested in
helping. (I'll probably post it tomorrow)
Cheers,
- Graham
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Re: LilyPond 2.4.6 for cygwin?
Thomas Scharkowski [EMAIL PROTECTED] writes: Now I accidently upgraded to a newer (2.8.8?) version, which I did not want (and did not work btw). Bug report, please. I get: Segmentation fault (core dumped) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.4.6 for cygwin?
Thomas Scharkowski [EMAIL PROTECTED] writes: Is there any chance to reinstall 2.4.6? When you run Cygwin's setup.exe, it first downloads all packages to be installed. If you did not delete those, they are still on your hard disk. Jan. Thank you, I managed to reinstall 2.4.6-1 from my harddisk, but when running, I get the following message: -- error: can't find 'feta20.afm' Music font has not been installed properly. Aborting -- I remember having seen this message before, and that there was a solution, but this was quite long ago and I don't remember. Can anyone help? Thank you Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tutorial
Am 03/12/2006 um 00:04 schrieb Graham Percival:
Mats Bengtsson wrote:
Right! This first example of the tutorial is somewhat idealized to
hide
unnecessary complications. I hope you haven't got stuck there but
rather
kept reading and experimenting with the program.
Graham, maybe we should modify this first example so the user
output is
exactly the same as the version printed in the tutorial.
I'm not opposed to this; I've gone back and forth on the issue
myself. To be honest, biggest reason that I haven't changed it
already is that
{c d e f g...}
are in the bass clef range, so we either introduce \clef bass at
the very beginning, or have huge ledger lines in the treble clef.
You can leave the excersice as it is, only tell the student what he
is going to see as a result and, in the next step, explain how to
change the different values, like the time signature, octave, clef,
etc. In this way, one can fiddle with the music and learn.
I've added this to my list of easy jobs for people interested in
helping. (I'll probably post it tomorrow)
Cheers,
- Graham
For me as an absolute beginner the tutorials - the pdf as well as
the htlm and even the new french one - are sometimes useful and
sometimes not. My main difficulty arises from not knowig where to
write a prescribed instruction. Something is being taken for granted
which I should be able to learn before going so far.
I gather that I should start a document writing the version number; I
suppose that I should then keep going from the general to the
particular but, since many things are preset defaults, I would only
need to specify those things as are different.
Manuel
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proportional notation screws up score
Hi, it seems proportional notation and the spacing is more broken than I ever expected. I'm extremely frustrated (especially after I put so much hope into lilypond) having spent 5 days to enter 12 lines of music and now having lost 4 hours of work trying to space 4 lines of music correctly (with the musicians waiting...). I urge the maintainers of the documentation to put a warning in big bold letters to the section of proportional notation (8.4.3) that users encountered severe bugs in the spacing algorithm or maybe skipping the section stating that lilypond is capable of proportional notation altogether. For anybody able to help I uploaded the score in question here: icem-www.folkwang-hochschule.de/~finnendahl/download/violine-test.tgz To generate the score, gesamt.ly has to be evaluated by lilypond. To see what is wrong, you can simply change the expression #(ly:make-moment 8 99) at the end of line 10 into #(ly:make-moment 8 100) and reevaluate. In my version (2.11.0-1) the first staff system stretches out all the way to the right paper edge while being far too short with the 99 setting. To get a feeling why this is so strange, compare the output of a 98 to the output of a 99). But you can also leave that line alone and change the next ly:make-moment into different values to observe completely unpredictable results (it would even be funny if I hadn't run into a severe time problem). I'm completely at loss here and will probably have to resort to non-proportional notation (which is less than suboptimal in the special case of that piece) or go back to handwriting (after throwing my computer out of the window). -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
MIDI volumes
I am trying to change the volume of a Midi track (want one louder than the rest). All I can find is the following which I don't understand. midiMaximumVolume (number) Analogous to midiMinimumVolume. midiMinimumVolume (number) Sets the minimum loudness for MIDI. Ranges from 0 to 1. Related question, how do I know if what context these properties apply to (staff, voice etc?) Andrew ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: passing music symbols to define-music-function
Orm Finnendahl escreveu: Hi, how is it possible to write music functions which use symbols as parameters which get interpreted as pitch entities by the function? I made three examples below to illustrate the problem. The third works but is less than ideal in the lilypond source as the main purpose of the definition is to get rid of the \parenthesize and the enclosing chord brackets. -- Orm P.S.: Can anybody point me to reference on how to enlarge the parenthesis or how to turn them into square brackets? I'm quite comfortable writing scheme code and don't mind to delve into the depths of lilypond as long as I get a hint on where to start and what to change where. The parenthesis code is in output-lib.scm ; Check define-grobs.scm (ParenthesesItem) to see how it is wired into LilyPond ; I would expect that setting font-size on that grob will change the size. -- 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: passing music symbols to define-music-function
Thanks for the help! I'll look into it.
For those interested: I found a workaround for now in the following
way:
bracket = #(define-music-function (parser location note )
(ly:music? )
#{
\once\override TrillSpanner #'transparent = ##t
\pitchedTrill s32 \startTrillSpan $note s32 \stopTrillSpan
#})
and then in the score:
\bracket f
It's not beautiful, but it works.
--
Orm
Am 03. Dezember 2006, 16:15 Uhr (+0100) schrieb Han-Wen Nienhuys:
The parenthesis code is in output-lib.scm ; Check define-grobs.scm
(ParenthesesItem)
to see how it is wired into LilyPond ; I would expect that setting font-size
on that
grob will change the size.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
LilyPond Software Design
-- Code for Music Notation
http://www.lilypond-design.com
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Re: proportional notation screws up score
On 12/3/06, Orm Finnendahl [EMAIL PROTECTED] wrote:
Hi,
it seems proportional notation and the spacing is more broken than I
ever expected. I'm extremely frustrated (especially after I put so
much hope into lilypond) having spent 5 days to enter 12 lines
of music and now having lost 4 hours of work trying to space 4 lines
of music correctly (with the musicians waiting...).
I urge the maintainers of the documentation to put a warning in big
bold letters to the section of proportional notation (8.4.3) that
users encountered severe bugs in the spacing algorithm or maybe
skipping the section stating that lilypond is capable of proportional
notation altogether.
For anybody able to help I uploaded the score in question here:
icem-www.folkwang-hochschule.de/~finnendahl/download/violine-test.tgz
To generate the score, gesamt.ly has to be evaluated by lilypond. To
see what is wrong, you can simply change the expression
#(ly:make-moment 8 99) at the end of line 10 into #(ly:make-moment 8
100) and reevaluate. In my version (2.11.0-1) the first staff system
stretches out all the way to the right paper edge while being far too
short with the 99 setting. To get a feeling why this is so strange,
compare the output of a 98 to the output of a 99). But you can also
leave that line alone and change the next ly:make-moment into
different values to observe completely unpredictable results (it would
even be funny if I hadn't run into a severe time problem).
I'm completely at loss here and will probably have to resort to
non-proportional notation (which is less than suboptimal in the
special case of that piece) or go back to handwriting (after throwing
my computer out of the window).
Hi Orm,
Wow, after rendering the score I can totally see why you're so frustrated.
I use proportional notation in most of my scores and I have some best
practices. But I'm also afraid that we probably won't be able to get
your score exactly the way it should look with the current
implementation of the proportional notation package.
First the pointers:
1. I almost always turn on \override SpacingSpanner
#'strict-note-spacing = ##t together with propotional notation. This
causes nonrhythmic glyphs like accidentals and clefs to have no impact
on spacing whatsoever.
2. There is a bug with proportional not dealing with skips correctly.
Proportional notation handles notes and rests correctly. But
proportional notation freaks out with skips. I noticed this some time
ago but haven't really drawn any special attention to the bug because
a reasonable workaround is to use a transparent rest (or transparent
note) in place of a skip. But this is a problem and does need to be
fixed because using this workaround can (and does) lead to all sorts
of interpreter warnings about clashing note columns or unknown rest
direction. Here's a snippet and I'll crosspost the bug list; to see
what's going on, render the example and note that the spacing of all
three scores should be identical but that the 2nd score is not:
%%% BEGIN %%%
\version 2.11.0
\new Score \with {
propotionalNotationDuration = #(ly:make-moment 1 64)
} {
\new Staff {
c'4
c'4 % proportional spacing ok here with notes -- OK
c'4
c'4
}
}
\new Score \with {
propotionalNotationDuration = #(ly:make-moment 1 64)
} {
\new Staff {
c'4
s4 % proportional spacing freaks out here because of the skip -- BUG
c'4
c'4
}
}
\new Score \with {
propotionalNotationDuration = #(ly:make-moment 1 64)
} {
\new Staff {
c'4
\once \override Rest #'transparent = ##t
r4 % propotional spacing ok here with notes and rests -- WORKAROUND
c'4
c'4
}
}
%%% END %%%
3. I saw the discussion on the list a couple of days ago about setting
proportionalNotationDuration in the middle of musical input and was
quite surprised to find out that this was possible. It obviously is
possible (as the violin score here shows) but I wonder if the behavior
is well-defined. I guess that's a question for Han-Wen, but it doesn't
surprise me that resetting proportionalNotationDuration in mid-input
can confuse the spacing algorithms. FWIW, I set
proportionalNotationDuration once in the header of the Score context
only. However, this set-only-once idea obviously won't work where
there are tempo changes. At a tempo change I would start a new spacing
section and then reset proportionaNotationDuration, thus minimizing
the number of different settings to proportionalNotationDuration.
4. I have no idea why this is, but wider values assigned to
proportionalNotationDuration seem to help achieve the look of true
proportional notation considerably. By wider I mean *shorter*
durations that thus result in spacing the music more widely. So:
proportionalNotationDuration = #(ly:make-moment 1 64)
works a lot better than
proportionalNotationDuration = #(ly:make-moment 1 8)
What seems to be the case is that there's some weirdness when rhythmic
elements in the score (like
Re: proportional notation screws up score
Trevor Bača escreveu: 2. There is a bug with proportional not dealing with skips correctly. Proportional notation handles notes and rests correctly. But proportional notation freaks out with skips. I noticed this some time ago but haven't really drawn any special attention to the bug because a reasonable workaround is to use a transparent rest (or transparent note) in place of a skip. But this is a problem and does need to be fixed because using this workaround can (and does) lead to all sorts of interpreter warnings about clashing note columns or unknown rest direction. Here's a snippet and I'll crosspost the bug list; to see what's going on, render the example and note that the spacing of all three scores should be identical but that the 2nd score is not: \override SpacingSpanner #'uniform-stretching = ##t seems to work over here. 3. I saw the discussion on the list a couple of days ago about setting proportionalNotationDuration in the middle of musical input and was quite surprised to find out that this was possible. It obviously is possible (as the violin score here shows) but I wonder if the behavior is well-defined. I guess that's a question for Han-Wen, but it doesn't surprise me that resetting proportionalNotationDuration in mid-input can confuse the spacing algorithms. FWIW, I set proportionalNotationDuration once in the header of the Score context only. However, this set-only-once idea obviously won't work where there are tempo changes. At a tempo change I would start a new spacing section and then reset proportionaNotationDuration, thus minimizing the number of different settings to proportionalNotationDuration. as explained in the manual (albeit a bit poorly), classical proportional notation is a combination of different spacing options. Each option has its own property, and must be switched on separately. The 2.8 NEWS files shows the effect of each property separately. -- 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: proportional notation screws up score
Hi Trevor, Han-Wen, thanks a lot for your efforts to help me out and thanks a lot for your ideas and thoughts! Sorry if I sounded desperate. Trevor's post seems to indicate that it might not work out to get everything perfectly aligned (although I was very close for the first three lines before the spacing engine freaked out). I can live with that at the moment if I can get it roughly correct by aligning the barlines of the graph and the music at every tempo change for example. The musicians will have a rehearsal CD anyway to relate their playing to the tape. If I got it right, I should skip the whole idea of changing the value of the proportionalNoteDuration during the piece. My questions: 1. How do I change the spacing-increment in mid-music? I tried \override Score.SpacingSpanner #'space-increment = #2.8 but this seems to set the spacing increment once and for all. Changing Staff.SpacingSpanner didn't seem to change anything. If that is impossible the minimum I could get away with would be to set ragged-right to ##f and set the width of each staff system to align with the graph. But as far as I understood, the page-width can only get globally set in the \page layout block. Is there a way? Am 03. Dezember 2006, 10:29 Uhr (-0600) schrieb Trevor Bača: So if you have time after you finish the violin piece, perhaps wecould together contact Han-Wen and ask first for advice on what suchan enhancement might look like (like how would a graph paper spacingpackage get turned on and off, and how could it be reset in mid-inputto accommodate tempo changes as occur here in the violin piece?) andsecond on whether we could sponsor such work sometime in the 2.11series of releases. If you're interested, please let me know and I'll be happy to sponsor. Great idea! I'm in of course, thanks for the offer! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to increase space between chord names and the fret diagram?
How can I increase the space between the chord names and the fret
diagrams? At present the names are nearly right on top of the muted or
open string symbols.
Stephen
---
\score{
\new ChordNames \chordmode {
d
g
a
a:7
}
\new Lyrics \lyricmode {
\markup {\fret-diagram-terse #x;x;o;2;3;2; }
\markup {\fret-diagram-terse #3;2;o;o;o;3; }
\markup {\fret-diagram-terse #x;o;2;2;2;o; }
\markup {\fret-diagram-terse #x;o;2;o;2;o; }
}
\layout{
ragged-right = ##t
\context{
\Lyrics
\override LyricSpace #'minimum-distance = #2.0
}
}
}
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Two questions about note heads
1) Is it possible to remove the note head for just a single note in a line? I still want the stem and all, just not the note head, and only for one note. 2) Can you set a custom symbol as a note head? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to increase space between chord names and the fret diagram?
This is described in the section Vertical spacing inside a system
in the manual. You could either increase the vertical extent of the
ChordNames context downwards or of the Lyrics context upwards.
/Mats
Quoting Stephen Torri [EMAIL PROTECTED]:
How can I increase the space between the chord names and the fret
diagrams? At present the names are nearly right on top of the muted or
open string symbols.
Stephen
---
\score{
\new ChordNames \chordmode {
d
g
a
a:7
}
\new Lyrics \lyricmode {
\markup {\fret-diagram-terse #x;x;o;2;3;2; }
\markup {\fret-diagram-terse #3;2;o;o;o;3; }
\markup {\fret-diagram-terse #x;o;2;2;2;o; }
\markup {\fret-diagram-terse #x;o;2;o;2;o; }
}
\layout{
ragged-right = ##t
\context{
\Lyrics
\override LyricSpace #'minimum-distance = #2.0
}
}
}
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Re: Two questions about note heads
Quoting Peter Budny [EMAIL PROTECTED]: 1) Is it possible to remove the note head for just a single note in a line? I still want the stem and all, just not the note head, and only for one note. See the section called Common Tweaks for instructions on how to make something invisible. The layout object for note heads is called NoteHead. 2) Can you set a custom symbol as a note head? There are many shapes to choose from in LilyPond, see the section called Special noteheads in the manual. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scheme question on strict substitution
On Thursday 30 November 2006 21:32, [EMAIL PROTECTED] wrote:
Hello,
. . . one problem is that this [giving the syntax of each keyword] would
still just tell a small part of the full syntax.
I think it would give a big part of the full syntax, even if not the whole
picture. It would enable a user to know
(1) what type of arguments have to follow the keyword;
(2) whether (s)he has accidentally omitted one of the required
arguments (when debugging);
(3) whether (s)he should write a macro definition or a function
definition to specify a \whatever construct involving the
keyword;
(4) what the types should be in the event that (s)he winds up writing a
function definition.
Full or not, that's a lot of useful information. And I'm talking about
just a list of the syntax for each keyword, *not* the semantics. A syntax
specification can be short but still tremendously useful. Specification
of the semantics takes a lot of blah-blah, and nobody would have the time
to write up all the semantics.
Another problem is that the
rule I gave really was too simple. For example, you cannot say
^some text in a .ly file
without having a note in front of it, still you can define a macro
mytext = ^some text
and then use it as c \mytext
That's a general problem in LilyPond, knowing what kind of expression
constitutes a valid right-hand side of a macro definition. (I'm amazed
that the above definition works.)
A different but related problem concerns something I don't know the right
term for, something like context-free equivalence maybe: for example,
I can say
foo = \markup { \bold Zanzibar }
bar = \markup { Stand on \foo }
but I can't say
bar = \markup { Stand on \markup { \bold Zanzibar } }
You will object that I would have no *reason* to say that anyway,
but it nevertheless constitutes a toy example of non-transferability:
\foo is not equivalent to \markup { \bold Zanzibar }
despite the = sign in the macro definition, and that's surprising.
The reason for this is that foo is not a macro; it's a variable. Similarly, in
C you can write
int i = 5+9;
foo(i);
which is _not_ the same as the (invalid) expression
foo((5+9));
(this example is not exactly analogous to what you're trying, but it
illustrates that variables and macros are different things).
The special thing about 'markup' is that it isn't a function; it's rather a
special token that marks that the following code should be interpreted as
markups.
--
Erik
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Re: LilyPond 2.4.6 for cygwin?
You could do the following: install 2.6.5-1 for Windows from http://lilypond.org/web/install/older-versions and run it from Cygwin. This is perhaps easier. Fred Thomas Scharkowski a écrit : Thomas Scharkowski [EMAIL PROTECTED] writes: Is there any chance to reinstall 2.4.6? When you run Cygwin's setup.exe, it first downloads all packages to be installed. If you did not delete those, they are still on your hard disk. Jan. Thank you, I managed to reinstall 2.4.6-1 from my harddisk, but when running, I get the following message: -- error: can't find 'feta20.afm' Music font has not been installed properly. Aborting -- I remember having seen this message before, and that there was a solution, but this was quite long ago and I don't remember. Can anyone help? Thank you Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple sections in ChoirStaff
Hi,
Here comes two versions of the SATB example as a starter. In the first
version, all the lyric lines are placed using
alignAboveContext/alignBelowContext. In the second one, I only
use this feature where it is necessary, i.e. when the lyrics is above
the corresponding stave.
Apart from placing lyrics, another standard situation where this
feature is extremely useful is for ossia sections.
=
\version 2.10.0
global = {
\key c \major
\time 4/4
}
sopMusic = \relative c'' {
c4 c c8[( b)] c4
}
sopWords = \lyricmode {
hi hi hi hi
}
altoMusic = \relative c' {
e4 f d e
}
altoWords =\lyricmode {
ha ha ha ha
}
tenorMusic = \relative c' {
g4 a f g
}
tenorWords = \lyricmode {
hu hu hu hu
}
bassMusic = \relative c {
c4 c g c
}
bassWords = \lyricmode {
ho ho ho ho
}
\score {
\new ChoirStaff
\new Staff = women
\new Voice =
sopranos { \voiceOne \global \sopMusic }
\new Voice =
altos { \voiceTwo \global \altoMusic }
\new Staff = men
\clef bass
\new Voice =
tenors { \voiceOne \global \tenorMusic }
\new Voice =
basses { \voiceTwo \global \bassMusic }
\new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
\new Lyrics \with {alignBelowContext=women} \lyricsto altos \altoWords
\new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
\new Lyrics \with {alignBelowContext=men} \lyricsto basses \bassWords
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
}
}
}
\score {
\new ChoirStaff
\new Staff = women
\new Voice =
sopranos { \voiceOne \global \sopMusic }
\new Voice =
altos { \voiceTwo \global \altoMusic }
\new Lyrics \with {alignAboveContext=women} \lyricsto sopranos \sopWords
\new Lyrics \lyricsto altos \altoWords
\new Staff = men
\clef bass
\new Voice =
tenors { \voiceOne \global \tenorMusic }
\new Voice =
basses { \voiceTwo \global \bassMusic }
\new Lyrics \with {alignAboveContext=men} \lyricsto tenors \tenorWords
\new Lyrics \lyricsto basses \bassWords
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
}
}
}
==
Regards
/Mats
Quoting Graham Percival [EMAIL PROTECTED]:
Geoff Horton wrote:
Sorry, it seems that you (or somebody else) will need to recreate the
examples. If you create an example for SATB, please also write
something for the general case (ie going in a
not-specifically-vocal-music location).
Can you (or someone) suggest a use for this in a non-vocal situation?
I'd rather do something at least marginally useful, but I can't think
of a time it'd be used.
Since I don't really understand what we're talking about, no. :)
However, by write something, I don't necessarily mean an example.
Just some text we can toss somewhere in section 9.2 or 9.3 or chapter
11 or wherever.
In other words, there should be no information that can only be found
in the templates.
Cheers,
- Graham
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Re: DynamicLineSpanner padding
This problem has been discussed before and in the mailing list archives, you can find some tricks to get the desired alignment using hidden letters, but I agree that it should be handled better by default. /Mats Quoting Orm Finnendahl [EMAIL PROTECTED]: Hi, as a follow-up: The same seems to apply for TextSpanners in general. In the following example, the baselines of the s.t. and s.p. aren't aligned either: \override TextSpanner #'edge-text = #'(s.t. . s.p.) f2~ \startTextSpan f2 \stopTextSpan | It looks pretty bad and the only fix in this case is to use empty spaces for the edge textes and then do simple text markup, shifting the text around with padding, which is unlikely to be the purpose of the edge-text property. Should I file that as a bug report somewhere? -- Orm Am 02. Dezember 2006, 17:02 Uhr (+0100) schrieb Orm Finnendahl: Hi, I observed a nasty behaviour trying to set the #'padding property of the DynamicLineSpanner: The \p and \pp are not baseline-aligned with the \ff or \mf. Has this been reported before? To me this looks like something which should rather get corrected in lilypond itself than cluttering the script with different padding values before and after each \pp. -- Orm ___ 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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: DynamicLineSpanner padding
Hi Mats, thanks for the reply. Am 03. Dezember 2006, 20:33 Uhr (+0100) schrieb Mats Bengtsson: This problem has been discussed before and in the mailing list archives do you have any idea how the thread was called? I presume, the workaround is similar to using a \strut box in TeX? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to increase space between chord names and the fret diagram?
On Sun, 2006-12-03 at 20:09 +0100, Mats Bengtsson wrote: This is described in the section Vertical spacing inside a system in the manual. You could either increase the vertical extent of the ChordNames context downwards or of the Lyrics context upwards. /Mats So do this: \override Lyrics.VerticalAxisGroup #'y-extent = #'( 0 . 3 ) Is that what you mean by increase the vertical extent of Lyrics? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tutorial
As of now, there are three things between me and happiness, at least concerning the first half of my first work with LilyPond, so I can show it to people like a newborn child: - I need to insert the titles for the different pieces. I'm sure Mat's solution is right, but I can't implement it. I put an example in an earlier message. - I need to put the page numbering in the center. I looked in page formatting and elsewhere in the tutorial but I don't know how to do it. - I need to increase or decrease the distance between a specific staff and the next one. Among other places I read under Controlling spacing of individual systems but did not find the information. Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Used Chords
Hello i have a sheet music that has two pages, in the second page there is a lot a free space i want to place in the second page a list of the chords used before a their position in fret diagram. Any help? Ezequiel Sierra ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation screws up score
On 12/3/06, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Trevor Bača escreveu: 2. There is a bug with proportional not dealing with skips correctly. Proportional notation handles notes and rests correctly. But proportional notation freaks out with skips. I noticed this some time ago but haven't really drawn any special attention to the bug because a reasonable workaround is to use a transparent rest (or transparent note) in place of a skip. But this is a problem and does need to be fixed because using this workaround can (and does) lead to all sorts of interpreter warnings about clashing note columns or unknown rest direction. Here's a snippet and I'll crosspost the bug list; to see what's going on, render the example and note that the spacing of all three scores should be identical but that the 2nd score is not: \override SpacingSpanner #'uniform-stretching = ##t seems to work over here. OK, yes, it works here to. Can't believe I hadn't figured that out before ... very useful indeed. So the observation is something like: uniform-stretching spaces skips proportionally. (My previous mental gloss on uniform-stretching was something like: uniform-stretching spaces simultaneous tuplets evenly. Very useful attribute for rhythmically involved stuff.) -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond and editors
If you are on Windows, I created this syntax highlighter for the Context editor: www.context.cx Here is the highlighter plug in I created: http://forum.context.cx/index.php?topic=1396.0 First download/install Context editor, then download/copy the highlighter file to the appropriate directory, then whenever you open a ly file in context it will be highlighted, it also separates scheme code from lilypond code style-wise. I entered around 700 or so lilypond reserverd words in the highlighter and the sceme code appears with a gray background, it also matches opening/closing brackets, hilights comments differently, etc. and acceps unicode or ascii data. So long as you only need ASCII then it's probably ok, but last time I checked it did *not* support UTF-8 properly (even though it claims something along the lines of utf-8 awareness on the front page) so at least for me, it's pretty much useless.. YMMV of course.. my 0.02€ Simon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation screws up score
On 12/3/06, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Orm Finnendahl escreveu: Hi Trevor, Han-Wen, thanks a lot for your efforts to help me out and thanks a lot for your ideas and thoughts! Sorry if I sounded desperate. Trevor's post seems to indicate that it might not work out to get everything perfectly aligned (although I was very close for the first three lines before the spacing engine freaked out). I can live with that at the moment if I can get it roughly correct by aligning the barlines of the graph and the music at every tempo change for example. The musicians will have a rehearsal CD anyway to relate their playing to the tape. If I got it right, I should skip the whole idea of changing the value of the proportionalNoteDuration during the piece. My questions: 1. How do I change the spacing-increment in mid-music? I tried \override Score.SpacingSpanner #'space-increment = #2.8 but this seems to set the spacing increment once and for all. Changing look for New spacing area in the manual. Hi Orm, We added the \newSpacingSection command during 2.9 and it's now described in section 11.4.2 of the 2.10 manual. A confession: I sponsored the word on \newSpacingSection but haven't in fact used it in a real piece (though the need is coming in the next couple of weeks in the current piece I'm working on). So, I can't make any rock-solid promises on the effect of \newSpacingSection, however my impession is this: use \newSpacingSection anywhere in mid-input that you want to be able to reset the attributes of the the spacing spanner (Score.SpacingSpanner). This should be useful in proportional scores because it lets you reset the spacing-increment attribute. (Normally you can only set SpacingSpanner attributes once in a piece; the \newSpacingSection command is the way around this previous restriction.) I haven't played wtih spacing-increment much, but it seems like spacing-increment = #2 is the basic idea behind proportional notation, right? (Double duration == double spacing.) So, if that assumption is correct, I'm not really sure why we would want to tweak spacing-increment (instead of just leaving it always set to #2). Oh, unless tweaking spacing-increment is the way to effect spacing changes at each of the timesignature changes in the violin piece. (If that does turn out to work, could you post back to the list?) -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
svg backend
Hello. I'm trying to use the svg backend of 2.8.8 but am getting the following error: warning: can't decypher Pango description: Century Schoolbook (this actually occurs many, many times, probably once for each instance of text). When I open the svg file with inkscape, I am presented with a single blank page (the input is a 6 page score). The manual states that it will dump a separate file for each page, but only one file is generated. I've copied the OTF fonts to ~/.fonts as suggested by the manual. What else am I missing? Thanks, Julian Peterson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation screws up score
On 12/3/06, Orm Finnendahl [EMAIL PROTECTED] wrote: Hi Trevor, Han-Wen, thanks a lot for your efforts to help me out and thanks a lot for your ideas and thoughts! Sorry if I sounded desperate. Trevor's post seems to indicate that it might not work out to get everything perfectly aligned (although I was very close for the first three lines before the spacing engine freaked out). I can live with that at the moment if I can get it roughly correct by aligning the barlines of the graph and the music at every tempo change for example. The musicians will have a rehearsal CD anyway to relate their playing to the tape. If I got it right, I should skip the whole idea of changing the value of the proportionalNoteDuration during the piece. My questions: 1. How do I change the spacing-increment in mid-music? I tried \override Score.SpacingSpanner #'space-increment = #2.8 but this seems to set the spacing increment once and for all. Changing Staff.SpacingSpanner didn't seem to change anything. See mail from just a second ago, but short answer: \newSpacingSection \override Score.SpacingSpanner #'space-increment = #2.8 If that is impossible the minimum I could get away with would be to set ragged-right to ##f and set the width of each staff system to align with the graph. But as far as I understood, the page-width can only get globally set in the \page layout block. Is there a way? I wouldn't do this; real proportional scores should be ragged right on nearly every line (depending on the rhythmic duration of the line, of course) and ragged-right = ##t is the semantically correct way to do this in Lily. Am 03. Dezember 2006, 10:29 Uhr (-0600) schrieb Trevor Bača: So if you have time after you finish the violin piece, perhaps wecould together contact Han-Wen and ask first for advice on what suchan enhancement might look like (like how would a graph paper spacingpackage get turned on and off, and how could it be reset in mid-inputto accommodate tempo changes as occur here in the violin piece?) andsecond on whether we could sponsor such work sometime in the 2.11series of releases. If you're interested, please let me know and I'll be happy to sponsor. Great idea! I'm in of course, thanks for the offer! Yes, of course; however, it sounds like Han-Wen's suggestions from earlier today probably *can* get really true proportional spacing, if all settings are used correctly in concert with each other. Try stripping out all spacing settings *except immediately following a \newSpacingSection command* and see if that gets it. And make sure to set uniform-stretching = ##t to that you measure-long skips get spaced correctly, too. And if you can get it, then it sure would be nice to prepare a page of your score as a HOW-TO for inclusion in the manual (which I'd be happy to coauthor with you). OTOH, if we definitely can not produce true proportional spacing from the existing package, then my offer for sponsorship is of course still open (I just don't want to ask Han-Wen for work that we don't actually need!). Good luck! -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation screws up score
Hi Trevor, thanks for the reply. When the piece is done it can be used for documentation. True proportional notation isn't exactly what I need and is far from desirable as the accidentals would always collide with barlines etc. I made much better experiences with shifting or removing extra spaces at the right spots to make it look as if it is spaced proportionally. Maybe there is a way to describe to Han-Wen what is needed, once I found out, how to achieve the right results using lilypond. Right now it is a very tedious and time-consuming task to redefine the spacing for nearly every measure and then waiting for the engine to render it and optimize the result. There should be some notion of a global timing which can be related to lilyponds typesetting engine meaning that if some note constructs take up extra space, the next or previous notes should be adjusted to compensate for the loss, ideally the error should get stretched out over a couple of notes to make it look nicer. -- Orm Am 03. Dezember 2006, 15:26 Uhr (-0600) schrieb Trevor Bača: On 12/3/06, Orm Finnendahl [EMAIL PROTECTED] wrote: Hi Trevor, Han-Wen, thanks a lot for your efforts to help me out and thanks a lot for your ideas and thoughts! Sorry if I sounded desperate. Trevor's post seems to indicate that it might not work out to get everything perfectly aligned (although I was very close for the first three lines before the spacing engine freaked out). I can live with that at the moment if I can get it roughly correct by aligning the barlines of the graph and the music at every tempo change for example. The musicians will have a rehearsal CD anyway to relate their playing to the tape. If I got it right, I should skip the whole idea of changing the value of the proportionalNoteDuration during the piece. My questions: 1. How do I change the spacing-increment in mid-music? I tried \override Score.SpacingSpanner #'space-increment = #2.8 but this seems to set the spacing increment once and for all. Changing Staff.SpacingSpanner didn't seem to change anything. See mail from just a second ago, but short answer: \newSpacingSection\override Score.SpacingSpanner #'space-increment = #2.8 If that is impossible the minimum I could get away with would be to set ragged-right to ##f and set the width of each staff system to align with the graph. But as far as I understood, the page-width can only get globally set in the \page layout block. Is there a way? I wouldn't do this; real proportional scores should be ragged right onnearly every line (depending on the rhythmic duration of the line, ofcourse) and ragged-right = ##t is the semantically correct way to dothis in Lily. Am 03. Dezember 2006, 10:29 Uhr (-0600) schrieb Trevor Bača: So if you have time after you finish the violin piece, perhaps wecould together contact Han-Wen and ask first for advice on what suchan enhancement might look like (like how would a graph paper spacingpackage get turned on and off, and how could it be reset in mid-inputto accommodate tempo changes as occur here in the violin piece?) andsecond on whether we could sponsor such work sometime in the 2.11series of releases. If you're interested, please let me know and I'll be happy to sponsor. Great idea! I'm in of course, thanks for the offer! Yes, of course; however, it sounds like Han-Wen's suggestions fromearlier today probably *can* get really true proportional spacing, ifall settings are used correctly in concert with each other. Try stripping out all spacing settings *except immediately following a\newSpacingSection command* and see if that gets it. And make sure toset uniform-stretching = ##t to that you measure-long skips get spacedcorrectly, too. And if you can get it, then it sure would be nice to prepare a page ofyour score as a HOW-TO for inclusion in the manual (which I'd be happyto coauthor with you). OTOH, if we definitely can not produce trueproportional spacing from the existing package, then my offer forsponsorship is of course still open (I just don't want to ask Han-Wenfor work that we don't actually need!). Good luck! -- Trevor [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions about note heads
Mats Bengtsson mats.bengtsson at ee.kth.se writes: Quoting Peter Budny gtg655b at mail.gatech.edu: 2) Can you set a custom symbol as a note head? There are many shapes to choose from in LilyPond, see the section called Special noteheads in the manual. I should have been more clear... I meant a completely custom symbol, by picking something out of the Feta font, not just changing the style. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: DynamicLineSpanner padding
On 12/3/06, Orm Finnendahl [EMAIL PROTECTED] wrote:
Hi Mats,
thanks for the reply.
Am 03. Dezember 2006, 20:33 Uhr (+0100) schrieb Mats Bengtsson:
This problem has been discussed before and in the mailing list
archives
do you have any idea how the thread was called? I presume, the
workaround is similar to using a \strut box in TeX?
Hi Orm,
I think dynamics (and lots of other stuff) *top*-align by default.
Odd, but there it is.
I asked about bottom alignment in this post where Kieren offered a
workaround using transparent letters:
http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00037.html
Later in September Markus Schneider gave the really lovely suggestion
of using a fake transparent f (which has both appropriate
ascenders and descenders) together with the \combine markup command to
force the fake f to take up no space. Kinda like a strut, but
inheriting the dimensions of the f glyph. Markus's mail was sent
September 18, but I'll be damned if I can make Namazu reveal the
correct thread through searching. (Namazu seems to just completely
shut down every once in a while.)
I now have a standard.scm that I \include in every Lily input file,
starting with definitions like these, taken directly from Markus's
suggestion:
ppX = #(make-dynamic-script (markup #:combine #:transparent #:dynamic
f #:line(#:hspace 0 #:dynamic pp #:hspace 0)))
pX = #(make-dynamic-script (markup #:combine #:transparent #:dynamic
f #:line(#:hspace 0 #:dynamic p #:hspace 0)))
mpX = #(make-dynamic-script (markup #:combine #:transparent #:dynamic
f #:line(#:hspace 0 #:dynamic mp #:hspace 0)))
fX = #(make-dynamic-script (markup #:combine #:transparent #:dynamic
f #:line(#:hspace 0 #:dynamic f #:hspace 0)))
ffX = #(make-dynamic-script (markup #:combine #:transparent #:dynamic
f #:line(#:hspace 0 #:dynamic ff #:hspace 0)))
And if you check for the thread from around September 18 you can see
some fairly complex examples of the same sort of thing working with
spanner edge text, too, like here:
\new Staff \with {
\override TextSpanner #'dash-fraction = #'()
\override TextSpanner #'direction = #down
\override TextSpanner #'bound-padding = #1
}
\time 3/8
\new Voice {
c'8 c'8 c'8
}
\new Voice \with {
\override TextSpanner #'staff-padding = #3
} {
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f a)
(markup #:combine #:transparent f ))
s8 \startTextSpan
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f b)
(markup #:combine #:transparent f c))
s8 \stopTextSpan \startTextSpan
s8 \stopTextSpan
}
\new Voice \with {
\override TextSpanner #'staff-padding = #5.5
} {
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f d)
(markup #:combine #:transparent f ))
s8 \startTextSpan
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f d)
(markup #:combine #:transparent f f))
s8 \stopTextSpan \startTextSpan
s8 \stopTextSpan
}
\new Voice \with {
\override TextSpanner #'staff-padding = #8
} {
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f g)
(markup #:combine #:transparent f ))
s8 \startTextSpan
\override TextSpanner #'edge-text = #(cons
(markup #:combine #:transparent f h)
(markup #:combine #:transparent f i))
s8 \stopTextSpan \startTextSpan
s8 \stopTextSpan
}
(I personally think that at least dynamics should exhibit baseline
alignment by default, but at least there's an easy workaround with
definitions like those above.)
--
Trevor Bača
[EMAIL PROTECTED]
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Re: Scheme question on strict substitution
Hello,
As regards the issue of context-free equivalence --
I can say
foo = \markup { \bold Zanzibar }
bar = \markup { Stand on \foo }
but I can't say
bar = \markup { Stand on \markup { \bold Zanzibar } }
[so]
\foo is not equivalent to \markup { \bold Zanzibar }
despite the = sign in the macro definition
The reason for this is that foo is not a macro; it's a variable.
Similarly, in C you can write
int i = 5+9;
foo(i);
which is _not_ the same as the (invalid) expression
foo((5+9));
(this example is not exactly analogous to what you're trying, but it
illustrates that variables and macros are different things).
No, it illustrates that variables and literals are different things.
In C, means contents of an address, and i is an address, but
(5+9) is not, so you can't write in front of (5+9). But in LilyPond,
\ in \foo means eval(foo), where foo is a variable, but \ in
\markup is not an eval operator, or any other kind of operator, it is
just a character used lexically to indicate a keyword. There will
inevitably arise cases where users are confused about acceptable syntax
because of the various different uses of \ (consider also 2\cm).
The special thing about 'markup' is that it isn't a function; it's rather a
special token that marks that the following code should be interpreted as
markups.
If that's all there were to it, then
bar = \markup { Stand on \markup { \bold Zanzibar } }
would work. The special thing about \markup is that it is analyzed
strictly lexically: it can have only certain lexical items in it, like
\bold, \raise, \column,... Given that as a starting point, it must have
been very difficult to write the additional code to allow it to contain
also constructs like \foo (where foo is a defined variable). If it had
been analyzed dynamically, then *both* the above expression and
bar = \markup { Stand on \foo }
would work, since \foo and \markup { \bold Zanzibar } both
produce exactly the same stencil as a result. Maybe I'm griping too
much, maybe that's what you meant by saying that \markup isn't a function.
I must sound ungrateful, nitpicking about syntactical inconsistencies.
To be more reasonable, what I have learned by using *any* typesetting
program is that music layout is wildly difficult. It is almost
unbelievable that Han-Wen, Jan, and others (I'm sorry I don't know all the
names) managed to create a working system to produce such beautiful
results. Certain parts of LP syntax are hard to be sure of when you're
writing a .ly file, but the gorgeous printed output never ceases
to amaze me.
-- Tom
***
On Fri, 1 Dec 2006, Erik Sandberg wrote:
On Thursday 30 November 2006 21:32, [EMAIL PROTECTED] wrote:
Hello,
. . . one problem is that this [giving the syntax of each keyword] would
still just tell a small part of the full syntax.
I think it would give a big part of the full syntax, even if not the whole
picture. It would enable a user to know
(1) what type of arguments have to follow the keyword;
(2) whether (s)he has accidentally omitted one of the required
arguments (when debugging);
(3) whether (s)he should write a macro definition or a function
definition to specify a \whatever construct involving the
keyword;
(4) what the types should be in the event that (s)he winds up writing a
function definition.
Full or not, that's a lot of useful information. And I'm talking about
just a list of the syntax for each keyword, *not* the semantics. A syntax
specification can be short but still tremendously useful. Specification
of the semantics takes a lot of blah-blah, and nobody would have the time
to write up all the semantics.
Another problem is that the
rule I gave really was too simple. For example, you cannot say
^some text in a .ly file
without having a note in front of it, still you can define a macro
mytext = ^some text
and then use it as c \mytext
That's a general problem in LilyPond, knowing what kind of expression
constitutes a valid right-hand side of a macro definition. (I'm amazed
that the above definition works.)
A different but related problem concerns something I don't know the right
term for, something like context-free equivalence maybe: for example,
I can say
foo = \markup { \bold Zanzibar }
bar = \markup { Stand on \foo }
but I can't say
bar = \markup { Stand on \markup { \bold Zanzibar } }
You will object that I would have no *reason* to say that anyway,
but it nevertheless constitutes a toy example of non-transferability:
\foo is not equivalent to \markup { \bold Zanzibar }
despite the = sign in the macro definition, and that's surprising.
The reason for this is that foo is not a macro; it's a variable. Similarly, in
C you can write
int i = 5+9;
foo(i);
Re: crash with lilypond 2.10
Guy Durrieu a écrit : With lilypond 2.10, I got problems. I succeeded in building lilypond, but when running it, I get a bus error (code 138) for several scores (but not all scores). Investigating the problem a little more, it seems that it is a call to a guile procedure which crashes lilypond. I made many many different tentatives, without any success. Today I tried 2.10.1, and... no more bus error! Thanks a lot for the right update ! -- Guy Durrieu. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Guy DURRIEU ONERA/TIS/DTIMtel(33) 05.62.25.26.59 CERT, 2, avenue Edouard Belin B.P. 4025 fax(33) 05.62.25.25.93 31055 TOULOUSE CEDEX 4 FRANCE e-mail [EMAIL PROTECTED] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Used Chords
If you search the mailing list archives, you will find some examples, for example in http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00414.html Note, however that that email was written before the new FretBoards feature was included, which is now available in version 2.10. Unfortunately, it seems that the only major documentation is the example under NEWS and the example called fret-boards.ly in the Regression Test document. /Mats Ezequiel Sierra wrote: Hello i have a sheet music that has two pages, in the second page there is a lot a free space i want to place in the second page a list of the chords used before a their position in fret diagram. Any help? Ezequiel Sierra ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.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 lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.4.6 for cygwin?
Thank you, but I need version 2.4.6. (BTW I normally use the newest Windows version). The mail archives showed several similar problems (can't find feta...) and maybe the solution is to get an older version of ec- fonts-mftraced (1.0.2). Is there any chance? Thomas You could do the following: install 2.6.5-1 for Windows from http://lilypond.org/web/install/older-versions and run it from Cygwin. This is perhaps easier. Fred Thomas Scharkowski a écrit : Thomas Scharkowski [EMAIL PROTECTED] writes: Is there any chance to reinstall 2.4.6? When you run Cygwin's setup.exe, it first downloads all packages to be installed. If you did not delete those, they are still on your hard disk. Jan. Thank you, I managed to reinstall 2.4.6-1 from my harddisk, but when running, I get the following message: -- error: can't find 'feta20.afm' Music font has not been installed properly. Aborting -- I remember having seen this message before, and that there was a solution, but this was quite long ago and I don't remember. Can anyone help? Thank you Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to increase space between chord names and the fret diagram?
That's not exactly what I had in mind. Since the default value of
minimum-Y-extent in Lyrics is (-1.2 . 2.4) (see the program reference
for the
Lyrics context to find out,
http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/Lyrics.html#Lyrics),
and since the fretboards are much higher than normal lyrics, I would rather
use something like
\score{
...
\layout{
ragged-right = ##t
\context{
\Lyrics
\override LyricSpace #'minimum-distance = #2.0
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1.2 . 9.0)
}
}
}
/Mats
Stephen Torri wrote:
On Sun, 2006-12-03 at 20:09 +0100, Mats Bengtsson wrote:
This is described in the section Vertical spacing inside a system
in the manual. You could either increase the vertical extent of the
ChordNames context downwards or of the Lyrics context upwards.
/Mats
So do this:
\override Lyrics.VerticalAxisGroup #'y-extent = #'( 0 . 3 )
Is that what you mean by increase the vertical extent of Lyrics?
Stephen
--
=
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
=
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