Re: midi2ly key and rests
Helge Kruse wrote: I gave the switch --key at midi2ly, but this changed the output of midi2ly in any way. Also –output has no effect to midi2ly. Another annoying thing is that all rests are silent rests. This makes it difficult to read play the music. If you send a minimally small example to the bugs mailist, I can add this to our bug tracker and you might be able to do this in some new version of lilypond. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[Mischa Falkenburg] STUMPED...
Can someone please help this guy?
---BeginMessage---
Hello,
I've only recently found-out about LilyPond...and I'm enjoying it
immensely!
There are many pieces of music that I've composed over the years, and
NOW finally, a way to help make it easier for others to read!
To the stumped part...
In one of the pieces, written while working on the ocean for 2 years,
there are a series of repeating measures (mimicking the movement of the
water surface), in fact, the 1st measure of the piece repeats for a
total of 24 times before the next change happens.
It is scored for piano. When I checked the LP documentation, I found
what I thought I could use...namely:
\new Voice {
\set countPercentRepeats = ##t
\repeat percent etc.(inserting the # of repeats here) {the notation}
}
What ended-up happening was adding a blank piano staff, shifting the
original down, and then following with the measure repeats...2%/3%/4%/,
etc. to 24.
Obviously, if I even used the correct commands, I inserted it in a bad
spot. Here is the original file:
\version 2.10.0
upper = \relative {
\time 7/8
\key g \major
\clef treble
g'16[g] r8 g16[g] r8 g8[a g]
}
lower = \relative {
\clef bass
\time 7/8
\key g \major
r8 b,16[b] r8 b8[c b] b16[b]
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
...could you show me WHERE to insert the command, or even, let me know
what the correct command would be?
Thanks for your time. If you need to farm this out to someone else
involved with Documentation, then please do so. I've been trying one
combination after another with zero success.
Thanks-in-advance for your help,
Mischa Falkenburg
---End Message---
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http://www.xs4all.nl/~jantien | http://www.lilypond.org
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RE: Beethoven Sonata Op31 No 3 (was Constructive Criticism and a Question)
David
I had a look at the bar in the Beethoven Sonata Op 31 No 3
which you mention. The way to render it correctly in LP
with a '5' over the 5 notes of the second beat and a 12 over
the 12 notes of the third beats is as follows (I've added
the \include, a couple of braces and corrected a few notes
to make it render correctly stand-alone):
\include english.ly
\score {
\relative c'' {
\clef treble
\key ef \major
\time 3/4
bf16[d, f ef]
\times 4/5 {d16[ ef f g a]} % ie 5 16th
notes in the time of 4
\times 8/12 {bf32[a c bf d c bf a g f g ef]} % ie 12 32nd
notes in the time of 8
}
}
\layout {ragged-right = ##t}
This bar (attached) now looks pretty well the same as my
Augener's Edition of the sonata. The only difference is the
5 and 12 appear above the notes rather than beneath them.
Perhaps someone more knowledgable could explain how to
change their positioning.
Trevor
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
David Fedoruk
Sent: 25 December 2006 05:32
To: Lilypond mailing list
Subject: Re: Constructive Criticism and a Question
Hello:
I've been watching this discussion or debate.
There are two ways to
look at this problem. The first is from a
programmer's point of view
where the programmer is experienced with some
computer languages,
these days its upper level languages more and
more. For these people,
lilypond typesetting code feels comfortable when
it is syntactically
correct and when it makes sense in either
computer or mathematical
terms. A mathematical algorithm is what they are
used to seeing.
The other group has less mathematical knowledge,
very little (very
little compared to a programmer working on a
major project like
Lilypond) programming knowledge or experience. In
all likelihood the
only thing that connects these people is the
printed musical score.
At least in part I think these points have
already been made. The
question that occurs to me as a novice Lilypond
user (and one who
jumps in the deep end with complex scores!) is
this: How will you
deal with other types of prolongation or
compression of notes into one
or more beats or where the composers intentions
are clear but they are
not immediately mathematically correct?
The example below is a single bar from a
Beethoven Piano Sonata (Opus
31 number 3, 1st mvt. bar 53) in which two more
out of the ordinary
examples occur next to each other. You will
excuse any mistakes in
coding here, this doesn't render as it should.
upper = \relative c'' {
\clef treble
\key ef \major
\time 3
bf16[d f ef] \times 5/4 d16[ ef f g a]
bf32[bf a c bf d c bf a g c g ef]
}
You can see how there are three beams, one for
the notes in eaech
beat. The first and second beat are quite clear,
but the third one has
eluded me as yet. The score has 12 thirty-second
notes beamed together
with 12 below the note heads.
The printed score is clear to the performer. The
Lilypond code I
suspect is far more complex. The only way that 12
thirty-second notes
will fit into one beat is if they are triplets,
but in context, they
are not played or heard as triplets.
My only comment in this discussion is that the
Lilypond code to
represent this short passage should be as clear
as the printed score I
am reading.
No argument here - I wasn't advocating a
specific syntax, but simply
raising the possibility that the tuplet's span
could be an argument of
the function. Otherwise, we're simply turning
\times into \tuplet
without really changing anything about its
functionality.
I think I agree with this, except that any type
of prolongation or
compression of notes should be able to use this function.
cheers
--
David Fedoruk
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one
life time is not enough
for music Sergei Rachmaninov
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Op 31.png
Description: PNG image
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Re: [Mischa Falkenburg] STUMPED...
\new Voice {
\set countPercentRepeats = ##t
\repeat percent etc.(inserting the # of repeats here) {the notation}
}
So you want to add
\set countPercentRepeats = ##t
to your music, and then use a repeat:
\repeat percent etc.(inserting the # of repeats here) {the notation}
and stick the repeated music in the the notation section.
What ended-up happening was adding a blank piano staff, shifting the
original down, and then following with the measure repeats...2%/3%/4%/,
etc. to 24.
Obviously, if I even used the correct commands, I inserted it in a bad
spot. Here is the original file:
I messed up the indentation, but replace the upper and lower in your
parts with these:
upper = \relative c'' {
\time 7/8
\key g \major
\clef treble
\set countPercentRepeats = ##t
\repeat percent 20 {
g16[g] r8 g16[g] r8 g8[a g]
}
}
lower = \relative {
\clef bass
\time 7/8
\key g \major
\set countPercentRepeats = ##t
\repeat percent 20 {
r8 b,16[b] r8 b8[c b] b16[b]
}
}
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Re: Constructive Criticism and a Question
On Saturday 23 December 2006 03:10, Frédéric Chiasson wrote:
Might it be possible to use
\tuplet 3:2 {x x x}
for the usual operation, and if we want to have many tuplets of the same
kind, to use
\tuplet 3:2 { {x x x} {y y y} {z z z} }
Might resolve the clarity problems.
Doesn't look good to me, syntax becomes unclear for cases like
\tuplet 3:2 { x {y y y } z }
However, it would IMHO be OK to write a separate music function with this
syntax, something like:
\tupletSequence 3:2 {{ x x x} {y y y} {z z z}}
--
Erik
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Re: Constructive Criticism and a Question
On Monday 25 December 2006 07:05, Joe Neeman wrote: On 12/21/06, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Erik Sandberg escreveu: BTW, in this case it may be good to register the fraction as its own argument type, so \tuplets and \tuplet are generic music functions, both with signature (tuplet-fraction? music?) it would be cool if we could pull this off, that would make \time generic too. Could you make 3:2 equivalent to #'(3 . 2)? Then - you don't need to introduce a new type - we could use x:y everywhere instead of the scary (it certainly was for me when I first started with lilypond) #'(x . y) With the current way the parser works, you'd probably be able to do something like #(ly:export '(x . y)); of course we can add a define-music-function style synonym on top of that, like #(make-fraction x y) BTW, I have some ideas to change the way SCM expressions work in the parser; unfortunately I haven't had the time to code lilypond for a very long time though, and other things are of higher priority. My idea is that the detection of types after ly:export should be carried out by the parser rather than lexer; this would allow a more intuitive behaviour of music macros the day they are implemented (it would be possible to delay the evaluation of inline SCM expressions) -- Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
On Monday 25 December 2006 06:32, David Fedoruk wrote:
Hello:
I've been watching this discussion or debate. There are two ways to
look at this problem. The first is from a programmer's point of view
where the programmer is experienced with some computer languages,
these days its upper level languages more and more. For these people,
lilypond typesetting code feels comfortable when it is syntactically
correct and when it makes sense in either computer or mathematical
terms. A mathematical algorithm is what they are used to seeing.
The other group has less mathematical knowledge, very little (very
little compared to a programmer working on a major project like
Lilypond) programming knowledge or experience. In all likelihood the
only thing that connects these people is the printed musical score.
At least in part I think these points have already been made. The
question that occurs to me as a novice Lilypond user (and one who
jumps in the deep end with complex scores!) is this: How will you
deal with other types of prolongation or compression of notes into one
or more beats or where the composers intentions are clear but they are
not immediately mathematically correct?
The example below is a single bar from a Beethoven Piano Sonata (Opus
31 number 3, 1st mvt. bar 53) in which two more out of the ordinary
examples occur next to each other. You will excuse any mistakes in
coding here, this doesn't render as it should.
upper = \relative c'' {
\clef treble
\key ef \major
\time 3
bf16[d f ef] \times 5/4 d16[ ef f g a] bf32[bf a c bf d c bf a g c g ef]
}
You can see how there are three beams, one for the notes in eaech
beat. The first and second beat are quite clear, but the third one has
eluded me as yet. The score has 12 thirty-second notes beamed together
with 12 below the note heads.
The printed score is clear to the performer. The Lilypond code I
suspect is far more complex. The only way that 12 thirty-second notes
will fit into one beat is if they are triplets, but in context, they
are not played or heard as triplets.
My only comment in this discussion is that the Lilypond code to
represent this short passage should be as clear as the printed score I
am reading.
try \times 8/12 { ... }
(by default, this will probably display as 12:8 above the notes, which can be
tweaked to just show 12)
IMHO, this is an argument for a mathematical notation: You must know what you
are doing to notate the music (i.e., multiplying durations with 8/12), just
saying that a 12 should be displayed above would make it difficult to
maintain the .ly code.
--
Erik
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Re: Very Beginner's Guide
In message [EMAIL PROTECTED], Bonnie Rogers [EMAIL PROTECTED] writes For consistency, you probably should decide which version of English you will use, American or British, and whether you will give both versions every time or just the first time you use a term that is different in British and American usage. Stops is British English, periods is American (note capital A) English, but elsewhere you are using the American term quarter note. In British English a quarter note is a crotchet. For what it's worth, most of us ignorant Americans need a translation of the British terms. I don't know if the reverse is true. Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. (I've simplified some 1500 years of history here, but it's a complicated mess :-) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
In message [EMAIL PROTECTED], Pierre Abbat [EMAIL PROTECTED] writes On Sunday 24 December 2006 14:34, Manuel wrote: I'm sure you are right. My English needs you. fourth, not quarter, it should be. The duration of a note, however, is a quarter. Not in English it isn't! :-) In American, yes ... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
In message [EMAIL PROTECTED], Manuel [EMAIL PROTECTED] writes I suppose that the cleanest solution would be to post this chapter for Mac, then copy and modify it twice, to suit the needs and wants of Linuxers and Windowers respectively. Afterwards if can be decided whether to amalgamate them into one, or for the sake of clarity to leave them separate. I am getting the feeling that Linux is more complicated than Windows, but Linuxers are happier people. I've never seen a Linux, not even in a zoo. What does it look like? A fat, satisfied penguin that has either just got laid, or laid into a *large* plate of herring. If you really haven't met linux, find a cover disk on a computer mag, install it on some spare space on your hard drive, and give it a spin. Just don't expect it to be like Windows (it's MUCH more reliable, for example, and far more prone to do what it's told, not what it thinks you wanted). Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
In message [EMAIL PROTECTED], Manuel [EMAIL PROTECTED] writes Am 24/12/2006 um 20:30 schrieb Christopher A. LaFond: stop may not seem obvious to all. In America, we use the word period; I don't know what is used in other English speaking countries. My recommendation is Add full stops (periods) for dotted or double dotted notes: Christopher, may be for non-native speakers the word period could be confusing in that context. But if stop is not quite clear, a solution could be: Add full stops (called periods in american English) for dotted or double dotted notes What do you think? For consistency, I'd say Add periods (full stops) for dotted or double-dotted notes. Seeing as the base language of the manual seems to be American anyway ... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
In message [EMAIL PROTECTED], Cameron Horsburgh [EMAIL PROTECTED] writes Incidentally, Manuel, one more spelling problem! The English term for 'quarter note' is 'crotchet', not 'crochet'. As your spell checker would suggest 'crochet' is an English word --- it's a form of knitting which (AFAIU) uses a single hooked needle. No need to get crotchety over it ... :-) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Mischa Falkenburg] STUMPED...
Mischa Falkenburg wrote:
Thanks Graham, that did the trick!
So, am I correct in assuming that my first mistake was to have the line
...\new Voice?
Yes. You already have the Voices (implicitly created inside your new
Staffs).
Also, in order to try and avoid any future problems, should I keep
everything else ABOVE the...
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
If you're just writing for piano, then yes. Put everything inside your
upper= and/or lower= sections.
Cheers,
- Graham
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Re: Very Beginner's Guide
Anthony W. Youngman wrote: Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. According to the Oxford English Dictionary, Scots is a dialect of English, not a similar language. The language in Ireland, by the way, is Irish, and not generally referred to as Gaelic by anyone who knows better, and the Celtic language of Scotland is called by its native speakers Gaelic (first syllable pronounced gal -as in the feminine of guy). So though they don't identify British English, they do identify English English and Scots English, which most assume are more similar to one another than they are to American English, or at the very least, having a more mutually intelligible vocabulary. From the OED: Under English *c.* *English English*, English as spoken in England as differentiated from that spoken, e.g., in the United States of America. Under Scots *2.* Of language: *a.* The distinguishing epithet of the dialect of English spoken by the inhabitants of the Lowlands of Scotland. Also /absol./ as /n./, the Scottish dialect. -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net After things go from bad to worse, the cycle will repeat itself. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Da Capo al Fine
Joe, I tried this but it didn't quite work:
\version 2.10.0
\new ChoirStaff
\relative
\new Staff
{
\clef treble
\key g \major
\time 2/4
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
\partial 16*4
g'16 a b c d8 d16 b e8 e16 c d4 c8 c16 a b8 b16 g a8 a16 fis g4
\mark Fine
\bar :|:
d' c b8 b16 g a8 a16 fis g4 d' c b8 b16 g a8 a16 fis g4
\once \override Score.RehearsalMark #'break-visibility = #all-visible
\mark D.C. al Fine
\bar ||
}
\new Staff
\relative
{
\clef bass
\key g \major
g,8 g' b, b' c, c' b, b' a, a' g, g' d, d' g, g'
b, b' a, a' g, g' d, d' g, g' b, b' a, a' g, g' d, d' g, g'
}
As you can see, the word Fine appears too late, on the beginning of
the second accolade (is that the word?) above the sharp sign, the
other words are also too close to the music, and I need the whole to
be printed below the staff (the lower staff, even) rather than above.
About the Absolute Beginners guide, please see my reply to Graham (a
little later).
Manuel
Am 27/12/2006 um 09:16 schrieb Joe Neeman:
On 12/26/06, Manuel [EMAIL PROTECTED] wrote:
(Joe, I respect your privacy, of course, but I notice that you sent
this message to me alone.)
Oops, I just clicked the wrong button.
Are you not one of the core developers of LilyPond?
It seems I am gradually becoming one.
I'm not, at least yet, sold on the wiki thing, probably because I
don't really know or understand it. Allow me to take some time to
get acquainted with that kind of thing.
If you like, I can try to get it going by putting up the first part
of your tutorial. I also have very little experience with wikis but
I don't believe they are very difficult to use.
I do have lots of small questions, of course. Speaking of wich,
maybe you can help me here. I want to put Fine and Da Capo al
Fine in a piece, and use a single numeral time signature in
another. If you know how to insert the magic words, I would send
the little files to you. And please believe that I have read the
manual. I just didn't get it.
These are really questions for the user list. But since I know the
answer to the first question, I'll give an example:
\version 2.10.0
\relative {
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
c d e f g a b c\mark Fine \bar ||
c b a g f e d c
\once \override Score.RehearsalMark #'break-visibility = #all-
visible
\mark D.C. al Fine
\bar |.
}
Note that I need to override break-visibility because by default,
RehearsalMarks are only visible at the beginning of a line or in
the middle, but not at the end. For the first override, try
changing it to CENTER or LEFT to see its effect.
Am 26/12/2006 um 20:19 schrieb Joe Neeman:
On 12/26/06, Manuel [EMAIL PROTECTED] wrote:
Am 26/12/2006 um 18:41 schrieb Joe Neeman:
Our documentation guru is also our bug meister
Who is he?
Graham Percival
the interference of any of the developers.
But that's part of my point. I write do this for that purpose, then
somebody else suggests a change, and so forth. But will it really
work always? How do I know? I need and want the developers.
Judging by your work so far, you don't really need the developers
at every step along the way. It's probably good to have a
developer look at the tutorial from time to time, but you really
don't want to involve one for every small change.
If you have a small question, just ask on the user list. The
developers read the list anyway, so if a user doesn't answer your
question, a developer can. If you want Graham or some other
developer to review the entire tutorial, you can ask him. But be
prepared to wait for a while; I happen to know that he has a
backlog of bugs he is currently dealing with.
For what it's worth, I think the opinions of new users are more
important than the opinions of the developers, especially on
tutorial material. The developers already know how LilyPond works
so they're unlikely to find any tutorial confusing, even if it
explains things very badly.
By the way, if you use the wiki, it's much easier for people to
error-check new material. You can view the history of a page and
compare any two versions. Thus if you make some series of changes,
you can ask on the list for people to error-check the changes
between 1 January 2007 and 13 February 2007 at 2:00 pm. Then they
can quickly pull up a summary of what has changed between the two
versions and error-check the changes without reading the whole
tutorial.
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Java Music Specification Language exports LilyPond now
Hello LilyPond users, We are pleased to announce a new release of JMSL, the Java Music Specification Language This release of JMSL includes the new LilyPond exporter. JMSL provides the user with a rich set of tools for making computer music. Among these is a common music notation package called JMSL Score, which can be controlled by software or by user interaction. JMSL Score exports to MusicXML, San Andreas Press's SCORE Music Typography Program, and now LilyPond. Quick start to test LilyPond exporter. 1) Download JMSL at http://www.algomusic.com/algomusiclicense/request_jmsl_demo_license.html 2) After installation and licensing, double click on the icon in folder Win - run_jmsl_score.bat or OSX - run_jmsl_score.command 3) A notation editor will open with two empty staves. 4) Right click on a staff to enter some notes (Macs command-click) 5) Selected menu item Score - Export - LilyPond and provide a filename 6) Pass the .ly file you have just created to LilyPond for conversion to pdf format I will be very happy to hear feedback from users, including of course bug reports, but also comments on LilyPond style. JMSL is available at http://www.algomusic.com Thank-you Nick Didkovsky, algomusic.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
Just for the most curious ones, this is how rhythms are taught to french children : quarter-note is called : noire (black) since it's balck half-note is called : blanche (white) since it's white full-note is called : ronde (round) since... there is no stem eight-note is called : croche (crotchet / hook) since it have one beam 16th note is called : double-croche, guess why easy isn't it ^^ except that you have to use lilypond and to convert mentally croche=8 so double-croche=16... O_o Yota, citizen of the pond On 12/27/06, Christopher A. LaFond [EMAIL PROTECTED] wrote: Anthony W. Youngman wrote: Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. According to the Oxford English Dictionary, Scots is a dialect of English, not a similar language. The language in Ireland, by the way, is Irish, and not generally referred to as Gaelic by anyone who knows better, and the Celtic language of Scotland is called by its native speakers Gaelic (first syllable pronounced gal -as in the feminine of guy). So though they don't identify British English, they do identify English English and Scots English, which most assume are more similar to one another than they are to American English, or at the very least, having a more mutually intelligible vocabulary. From the OED: Under English c. English English, English as spoken in England as differentiated from that spoken, e.g., in the United States of America. Under Scots 2. Of language: a. The distinguishing epithet of the dialect of English spoken by the inhabitants of the Lowlands of Scotland. Also absol. as n., the Scottish dialect. -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net After things go from bad to worse, the cycle will repeat itself. ___ 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: Very Beginner's Guide
Yota, could you post the original French? Thank you! Manuel Am 27/12/2006 um 15:43 schrieb yota moteuchi: Just for the most curious ones, this is how rhythms are taught to french children : quarter-note is called : noire (black) since it's balck half-note is called : blanche (white) since it's white full-note is called : ronde (round) since... there is no stem eight-note is called : croche (crotchet / hook) since it have one beam 16th note is called : double-croche, guess why easy isn't it ^^ except that you have to use lilypond and to convert mentally croche=8 so double-croche=16... O_o Yota, citizen of the pond On 12/27/06, Christopher A. LaFond [EMAIL PROTECTED] wrote: Anthony W. Youngman wrote: Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. According to the Oxford English Dictionary, Scots is a dialect of English, not a similar language. The language in Ireland, by the way, is Irish, and not generally referred to as Gaelic by anyone who knows better, and the Celtic language of Scotland is called by its native speakers Gaelic (first syllable pronounced gal -as in the feminine of guy). So though they don't identify British English, they do identify English English and Scots English, which most assume are more similar to one another than they are to American English, or at the very least, having a more mutually intelligible vocabulary. From the OED: Under English c. English English, English as spoken in England as differentiated from that spoken, e.g., in the United States of America. Under Scots 2. Of language: a. The distinguishing epithet of the dialect of English spoken by the inhabitants of the Lowlands of Scotland. Also absol. as n., the Scottish dialect. -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http:// www.celticharper.net After things go from bad to worse, the cycle will repeat itself. ___ 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: Very Beginner's Guide
Am 27/12/2006 um 14:12 schrieb Anthony W. Youngman: It gets worse :-) What the Americans call a full note, the English call a semi-breve (literally, a half-note) :-) Ah, but you may be wrong there: breve means short-timed, thus half-of- short, maybe even doubly-short. It is somehow funny that there never was a unit-note, as we would now call the whole note (1) Manuel So an American quarter-note is actually an eighth-note. :-) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ 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: Getting involved
On 12/27/06, Till Rettig [EMAIL PROTECTED] wrote: Ok, I see, I was quite unclear. First about this mentioned passive forms: Direkt imperative as in English sounds in German somehow unpolite, maybe indeed the active style that Han-Wen mentioned. Actually it is some kind of passive form (so you can see what is going on would be translated damit man sehen kann, was passiert). So I mean here this German man form speaking about passive. Ah, you mean impersonal rather than passive. Passive is one of three grammatical *voices* available in European languages (active, middle, passive) whereas the German man-construction is an example of the impersonal *pronoun*, just like French on. The German ... damit man sehen kann, was passiert is in the active voice and, as such, doesn't arouse the type of ire that grammarians reserve for the passive. (Note that the passive does exist in German, but requires some form of werden, as in Der Brief wird von mir geschrieben.) AFAICS, German man and French on still sound perfectly natural and are the unmarked impersonal constructions. Note that English has an equivalent construction with the impersonal pronoun one, as in this way, one can see what's going on. But the acceptability of impersonal one in English varies greatly by both dialect and register. British English -- especially written British English -- seems to still manage the construction unselfconsciously, but it sounds horribly stilted to my American ears. So, as it turns out, you're really advocating for impersonal pronouns (instead of second-person pronouns) in the German translations, and not the passive voice. Impersonal German man should be fine; it's the passive that might be troublesome ... -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Absolute Beginners - Anacrusis
This is to invite criticism for the anacrusis part of the chapter,
which I added towards the end.
Manuel
( ... )
As a last thing in our little first beginners' chapter, we'll give
you the tool for beginning your melodies with an anacrusis or
upbeat. This is the
\partial
command. If you need, say, a quarter-note anacrusis, you type
quarter note - asterisk - one after the commad, in this way:
\partial 4*1
For example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 4*1
b c d e f g a b c }
(insert graphic here)
For an anacrusis of five 16th. notes, or semiquavers, type:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
d16 b c d b c4 d e f g a b c }
These commands will work right for any equivalent rhythmic value,
e.g. in this last case:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
d16 b4 c d e f g a b c }
(insert graphic here)
You just have to set the rhythmic value of the whole anacrusis in
this way:
\partial x * y
where x stands for a rhythmic value - like 4 for a quarter note -
and y stands for the quantity of those, like 1 . Thus
\partial 4*1
will give you an anacrusis of a quarter note, or two eighth notes,
etc.
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Re: Any way to turn off warning: ignoring too many clashing note columns?
On 11/18/06, Trevor Bača [EMAIL PROTECTED] wrote:
Hi,
Unlike certain other programs, I've found that the warnings that Lily
issues during parsing, interpretation and preprocessing usually matter
a great deal; warnings are usually a sign either that there's a bug
that needs to be reported or that I'm doing something wrong that will
eventually come to haunt me.
For that reason I like to run completely 'clean' lilypond files that
generate no warnings whatsoever. And, in fact, this has always been
possible to do, even in very complex cases.
But now I've run into the following case:
%%% BEGIN %%%
\version 2.10.0
\new Staff
\new Voice \with {
\override Stem #'direction = #up
} { c''4 c''4 c''4 c''4 }
\new Voice \with {
\override Stem #'transparent = ##t
\override NoteHead #'duration-log = #1
} { e'4 e'4 e'4 e'4 }
\new Voice \with {
\override Stem #'direction = #down
} { c'4 c'4 c'4 c'4 }
%%% END %%%
GNU LilyPond 2.10.0
Processing `348.ly'
Parsing...
Interpreting music... [1]
Preprocessing graphical objects...
348.ly:6:27: warning: ignoring too many clashing note columns
} { c''4 c''4 c''4
c''4 }
348.ly:6:22: warning: ignoring too many clashing note columns
} { c''4 c''4
c''4 c''4 }
348.ly:6:17: warning: ignoring too many clashing note columns
} { c''4
c''4 c''4 c''4 }
348.ly:6:12: warning: ignoring too many clashing note columns
} {
c''4 c''4 c''4 c''4 }
Layout output to `348.ps'...
Converting to `348.pdf'...
The resulting output is letter-prefect (see ex), but there are copious
warnings. What's going on here is that I've concocted a special
notation that renders the middle notes of each 'chord' stemless with
Stem #'transparent = ##t (rather than, say, \remove Stem_engraver).
The Stems in the middle Voice still exist, though, so that clashing
note column warnings result.
So my question is: is there any way to turn off the clashing note
column warnings? I think this is the one place where one of Lily's
warnings truly is completely harmless and I feel safe turning it off.
More importantly, I really need to see any *other* warnings that Lily
generates, which is quite hard given the original sourcefile (which
runs many thousands of lines).
(I could of course pass Lily's output through sed, but that doesn't
seem as clean as a commandline option to disregard this specific
warning, for example.)
Alternatively, is there some way I can doctor up my example to avoid
the clashing note column warnings in the first place (which would
actually be preferrable)?
As of the 2.11 series, there is a new feature that can be turned on with
\override NoteColumn #'ignore-collision = ##t
in the Score context.
The example above then renders with no warnings.
--
Trevor Bača
[EMAIL PROTECTED]
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Re: Da Capo al Fine
Joe, I get these error messages:
44:37: Fehler: GUILE signalisierte einen Fehler fur den hier
beginnenden Ausdruck
\once \override Score.RehearsalMark #
break-visibility = #begin-of-
line-invisible
44:38: Fehler: syntax error, unexpected STRING, expecting
SCM_IDENTIFIER or SCM_TOKEN or '='
\once \override Score.RehearsalMark #b
reak-visibility = #begin-of-
line-invisible
Manuel
Am 27/12/2006 um 17:48 schrieb Joe Neeman:
On 12/27/06, Manuel [EMAIL PROTECTED] wrote:
Joe, I tried this but it didn't quite work:
You're nearly there -- I've just put in some more overrides to get
(I hope) what you want:
\version 2.10.0
\new ChoirStaff
\relative
\new Staff
{
\clef treble
\key g \major
\time 2/4
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
In order to have the rehearsal marks below the staff, insert
\override Score.RehearsalMark #'direction = #DOWN
In order to have more space above the rehearsal marks, insert
\override Score.RehearsalMark #'outside-staff-padding = #2
\partial 16*4
g'16 a b c d8 d16 b e8 e16 c d4 c8 c16 a b8 b16 g a8 a16 fis g4
In order to make the Fine visible at the end of a system but
invisible at the start of a system, insert
\once \override Score.RehearsalMark #break-visibility = #begin-of-
line-invisible
\mark Fine
\bar :|:
d' c b8 b16 g a8 a16 fis g4 d' c b8 b16 g a8 a16 fis g4
\once \override Score.RehearsalMark #'break-visibility = #all-visible
\mark D.C. al Fine
\bar ||
}
\new Staff
\relative
{
\clef bass
\key g \major
g,8 g' b, b' c, c' b, b' a, a' g, g' d, d' g, g'
b, b' a, a' g, g' d, d' g, g' b, b' a, a' g, g' d, d' g, g'
}
As you can see, the word Fine appears too late, on the beginning
of the second accolade (is that the word?)
Possibly the word you want is system
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Re: Da Capo al Fine
...as well as:
Unbound variable: break-visibility
at the end.
Manuel
Am 27/12/2006 um 17:48 schrieb Joe Neeman:
On 12/27/06, Manuel [EMAIL PROTECTED] wrote:
Joe, I tried this but it didn't quite work:
You're nearly there -- I've just put in some more overrides to get
(I hope) what you want:
\version 2.10.0
\new ChoirStaff
\relative
\new Staff
{
\clef treble
\key g \major
\time 2/4
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
In order to have the rehearsal marks below the staff, insert
\override Score.RehearsalMark #'direction = #DOWN
In order to have more space above the rehearsal marks, insert
\override Score.RehearsalMark #'outside-staff-padding = #2
\partial 16*4
g'16 a b c d8 d16 b e8 e16 c d4 c8 c16 a b8 b16 g a8 a16 fis g4
In order to make the Fine visible at the end of a system but
invisible at the start of a system, insert
\once \override Score.RehearsalMark #break-visibility = #begin-of-
line-invisible
\mark Fine
\bar :|:
d' c b8 b16 g a8 a16 fis g4 d' c b8 b16 g a8 a16 fis g4
\once \override Score.RehearsalMark #'break-visibility = #all-visible
\mark D.C. al Fine
\bar ||
}
\new Staff
\relative
{
\clef bass
\key g \major
g,8 g' b, b' c, c' b, b' a, a' g, g' d, d' g, g'
b, b' a, a' g, g' d, d' g, g' b, b' a, a' g, g' d, d' g, g'
}
As you can see, the word Fine appears too late, on the beginning
of the second accolade (is that the word?)
Possibly the word you want is system
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Re: Absolute Beginners - Anacrusis
Manuel wrote: This is to invite criticism for the anacrusis part of the chapter, which I added towards the end. Manuel ( ... ) As a last thing in our little first beginners' chapter, we'll give you the tool for beginning your melodies with an anacrusis or upbeat. or pickup (common American name) This is the \partial command. If you need, say, a quarter-note anacrusis, you type quarter note - asterisk - one after the commad, in this way: \partial 4*1 No need for the *1. We don't say c4*1 or s4*1. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How does staff-size relate to pixels?
Hi there, I'm working on a tool-like widget to use for tweaking scores. For a given staff size, how many pixels is 1 staff-space? Cheers, Stewart ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? This is the \partial command. If you need, say, a quarter-note anacrusis, you type quarter note - asterisk - one after the commad, in this way: \partial 4*1 No need for the *1. We don't say c4*1 or s4*1. Paul Scott Right you are, I'll change that. Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Manuel wrote: Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? Yes. There are probably some musicians who are not familiar with anacrusis. Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Da Capo al Fine
On 12/27/06, Manuel [EMAIL PROTECTED] wrote: Joe, I get these error messages: 44:37: Fehler: GUILE signalisierte einen Fehler fur den hier beginnenden Ausdruck \once \override Score.RehearsalMark # break-visibility = #begin-of-line-invisible 44:38: Fehler: syntax error, unexpected STRING, expecting SCM_IDENTIFIER or SCM_TOKEN or '=' \once \override Score.RehearsalMark #b reak-visibility = #begin-of-line-invisible Sorry. There is a missing apostrophe: it should be #'break-visibility ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Da Capo al Fine
Thank you, it is *much* better now. But I still get an error message: Warnung: Eigenschafts-Typprufung fur outside-staff-padding (backend-type?) kann nicht gefunden werden. vielleicht ein Tippfehler? Warnung: Zuweisung wird trotzdem durchgefuhrt [8][11] And the words do appear too close to the staff. Manuel Am 27/12/2006 um 20:09 schrieb Joe Neeman: On 12/27/06, Manuel [EMAIL PROTECTED] wrote: Joe, I get these error messages: 44:37: Fehler: GUILE signalisierte einen Fehler fur den hier beginnenden Ausdruck \once \override Score.RehearsalMark # break-visibility = #begin-of- line-invisible 44:38: Fehler: syntax error, unexpected STRING, expecting SCM_IDENTIFIER or SCM_TOKEN or '=' \once \override Score.RehearsalMark #b reak-visibility = #begin-of- line-invisible Sorry. There is a missing apostrophe: it should be #'break-visibility ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners
Pierre Abbat wrote:
On Monday 25 December 2006 10:36, Geoff Horton wrote:
It would be better to call them brackets or braces consistently,
rather than switching.
The curly ones {} are braces. The square ones [] are brackets. Greater-than
and less-than signs, when used to enclose something c e g, are called
brokets. It might be good to explain somewhere the difference between single
brokets and double brokets, which has confused me.
Wow, I'm more used to angle-brace... :)
phma
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begin:vcard
fn:Daniel Tonda Castillo
n:Tonda Castillo;Daniel
email;internet:[EMAIL PROTECTED]
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The markup functions don't work with changed fonts
Hello,
Using : LilyPond 2.11.4, Mac OS X 10.4.8
I think I have found a bug. When using changed fonts with the function
make-pango-font-tree, the functions \italic and \bold don't work anymore.
What do you think?
Frédéric
The input code :
\version 2.11.4
\paper{
#(define fonts (make-pango-font-tree Times New Roman
Helvetica
Courier (/ 20 20)))
ragged-right = ##t
}
\relative {
c^\markup {\italic Italic?} d^\markup{ \bold Bold? }
}
Untitled.pdf
Description: Adobe PDF document
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Collisions and warning message
Greetings to all:
I get a warning when compiling a piece of music:
Ignoring grob for slur. avoid-slur not set? What does this mean?
I shortened the example and also found out that there are a bunch of
collisions that appear when using fingerings and string numbers.
Just for the purpose of making the collision appear on purpose, I added
a fingering and changed the a to aes'\3-2-\RH #i8. The flat and
the fingering clash. I know that I could use some padding, but shouldn't
this be managed by the NoteCollision stuff?
¿Maybe you can test it and see if it's a bug or a mistake on my part?
%% BEGIN
\version 2.11.5
snu = { \set stringNumberOrientations = #'(up) }
snd = { \set stringNumberOrientations = #'(down) }
#(define RH rightHandFinger )
\context Staff
\time 2/4
\clef G_8
\context Voice \relative c {
\voiceOne
\stemUp
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(up)
\snu aes'\3-2-\RH #i8 %% The flat is to demonstrate the collision
\( b\3-3-\RH #m c\3-4-\RH #i d\2-2-\RH #m |
e\2-4-\RH #a4 e4 \)
}
\new Voice \relative c {
\voiceTwo
\stemDown
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(down)
a-0-\RH #p2
a2
}
%% END
When I remove the string number directions and the fingering directions
I also get clashes. I attach the png output also.
Daniel Tonda C.
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Re: Da Capo al Fine
On 12/27/06, Manuel [EMAIL PROTECTED] wrote: Thank you, it is *much* better now. But I still get an error message: Warnung: Eigenschafts-Typprufung fur outside-staff-padding (backend-type?) kann nicht gefunden werden. vielleicht ein Tippfehler? Warnung: Zuweisung wird trotzdem durchgefuhrt [8][11] And the words do appear too close to the staff. Ah, sorry. outside-staff-padding is a new feature in 2.11. In 2.10, change it to padding (and maybe boost the value up to 3 or so). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How does staff-size relate to pixels?
In the next version of LilyPondTool (to be released until Sunday) there will be
a visual tweaking tool. There I use the following (magnification is 100 for
100% IIRC):
public static final double STAFFSIZEFACTOR = 3.5;
public static final double STAFFSIZEBIAS = 3;
public static double pixelToStaffSize(int pixels, double staffSize, double
magnification) {
return pixels / ((staffSize * STAFFSIZEFACTOR - STAFFSIZEBIAS) * (magnification
/ 10));}
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Re: Has anyone extended \include?
Eduardo Vieira-3 wrote:
Citando Rick Hansen (aka RickH) [EMAIL PROTECTED]:
If you have done this can you share it or sell it to me? (please dont
suggest m4, I gave up on that monster)
Thanks
Hi, Rick! Yes, this preprocessor looks scary, as well as some advanced
programming with Scheme. But once I got into reading about the GEMA
preprocessor and didn't look as complicated as m4. Maybe it's worth a try.
Another thing I found out that is *really* useful with text editing,
manipulating: Learn Regular Expressions. You can do quite a few tricky
search
and replace tasks. And most of text editors for programmers support them.
Eduardo
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Thanks Eduardo,
I am liking the GEMA pre-processor, here is how I implememnted snippet
libraries of canned lilypond code that can be macroized and for
inclusion in lilypond source.
SAMPLE chord library GEMA definition (the macro parameters are root,
chordname, duration with a period delimiter):
GEMA_Chord * * *.=\\transpose c $1 \{ \\relative \{\
\
@cmpi{$2;Maj7;; c e g b;}\
@cmpi{$2;Maj7_1;; c\5 g' b e;}\
@cmpi{$2;6;; c e g a;}\
! etc, etc, etc...\
\
$3 \} \};
SAMPLE of what the lilypond source would look like prior to GEMA resolution:
GEMA_Chord c Maj7 4.
GEMA_Chord c 6 4.
SAMPLE of what GEMA resolves (output to be compiled by lilypond):
\transpose c c { \relative { c e g b4 } }
\transpose c c { \relative { c e g a4 } }
This is much easier than scheme music functions for generating lp source
code. GEMA was pretty easy to figure out how to use by a non-programmer
(like me), in about 2 hours time I was able to make the above chord library
macro. I only have to now change my build scripts to run GEMA ahead of
lilypond. To keep my LP code cleaner I'm prefixing all my future macros
with GEMA_.
In my sample above the @cmpi functions act like a big CASE statement to
output the desired music based on the second parameter (chord name). The
first parameter (the chord root) is appended to a \transpose statement. The
last parameter (the duration) is appended behind the generated notes. In my
chord library I only need to state each chord inversion once (with roots of
c). I expect the library to have a thousand different inversions eventually
so this will help in future productivity in generating chords for all
purposes.
Thanks again
Rick
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Re: lilypond on freebsd 6.1
Karl Hammar karl at aspodata.se writes: After installing lilypond 2.10.5 freebsd-x86 I get this, /usr/libexec/ld-elf.so.1 :shared object lidm.so.2 not found required by lilypond. Are you sure it said lidm and not libm? What can I do next to get it working? I would try ldd, like: $ ldd /usr/bin/lilypond libdl.so.2 = /lib/libdl.so.2 (0x4003) libpangoft2-1.0.so.0 = /usr/lib/libpangoft2-1.0.so.0 (0x40034000) ... And resolve any not found lines, which will probably be libm. Do you have (this is BSD4.11): $ ls -l /usr/lib/libm.s* lrwxrwxrwx 1 root wheel 9 Sep 15 2005 /usr/lib/libm.so - libm.so.2 -r--r--r-- 1 root wheel 117024 Jan 21 2005 /usr/lib/libm.so.2 Regards, /Karl --- Karl HammarAspö Data karl at aspodata.se Lilla Aspö 2340Networks S-742 94 Östhammar +46 173 140 57 Computers Sweden +46 70 511 97 84 Consulting --- On my laptop I did a new install of freebsd 6.1 One of the first things is trying to get lilypond op and running. This is the result : .!!! marcel# ldd /usr/local/lilypond/usr/bin/lilypond /usr/local/lilypond/usr/bin/lilypond: libintl.so.8 = not found (0x0) libguile.so.17 = not found (0x0) libgmp.so.7 = not found (0x0) libpangoft2-1.0.so.1400 = not found (0x0) libpango-1.0.so.1400 = not found (0x0) libgobject-2.0.so.1000 = not found (0x0) libgmodule-2.0.so.1000 = not found (0x0) libglib-2.0.so.1000 = not found (0x0) libiconv.so.6 = not found (0x0) libfontconfig.so.2 = not found (0x0) libfreetype.so.9 = /usr/local/lib/libfreetype.so.9 (0x2832c000) libz.so = /usr/lib/libz.so (0x28391000) libm.so.2 = not found (0x0) libc.so.4 = not found (0x0) And the ls -l : marcel# ls -l /usr/lib/libm.s* lrwxrwxrwx 1 root wheel 14 Dec 25 17:09 /usr/lib/libm.so - /lib/libm.so.4 lrwxr-xr-x 1 root wheel 9 Dec 27 09:07 /usr/lib/libm.so.2 - libm.so.3 What I don't understand is how to solve this missing libm. because it is there in /usr/lib directory. When I do lilypond it come back with this message; marcel# lilypond /usr/libexec/ld-elf.so.1: Shared object libm.so.2 not found, required by lilypond Regards Marcel. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Da Capo al Fine
Joe Neeman wrote:
On 12/27/06, *Manuel* [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] wrote:
Thank you, it is *much* better now. But I still get an error message:
Warnung: Eigenschafts-Typprufung fur outside-staff-padding
(backend-type?) kann nicht gefunden werden. vielleicht ein
Tippfehler?
Warnung: Zuweisung wird trotzdem durchgefuhrt
[8][11]
And the words do appear too close to the staff.
Ah, sorry. outside-staff-padding is a new feature in 2.11. In 2.10,
change it to padding (and maybe boost the value up to 3 or so).
Could that anything to do with why my Scheme definitions containing:
#{ \once \override TextScript #'padding = #$padding #}
seem to have stopped working?
Paul Scott
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Re: command line lilypond, midi to stdout
I wrote:
I was hoping to combine lilypond with this on the command
line like this:
cat mysong.ly | lilypond - | velchanger | mysong.midi
Anybody have any ideas how I can accomplish that in a single
command? My cycle is
edit,convert-to-midi,listen-in-garage-band, and I'm trying
to get it down to as few steps as possible to go from the
edit to hearing it
and Graham Percival replied
Write a shell script:
- songtomidi.sh
#!/bin/sh
FILE=$(basename -s ly $1 )
lilypond ${FILE}.ly
velchanger ${FILE}.midi
... etc
Thanks, Graham,
I'm a little embarrassed that I didn't think to do that. That will
solve the problem.
Pondering The lilypond doc (for 2.8.8) suggests that there are
certain extensions a user can make by including some scheme code in
her .ly file (at least that's my understanding of what I read). Is
control of midi note velocity something I could accomplish that way?
I have snooped through the lilypond source code (2.9.29) and I see all
notes have velocity=127 (called dynamic_byte_) assigned in the
constructor and it appears they are never altered. But I wonder if
note objects are something I can modify using a scheme extension. Is
it possible? Are there examples of what sort things can be done with
extensions?
Bob H
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Absolute Beginners' guide in Spanish
Daniel Tonda Castillo is volunteering to translate the Beginners' guide into Spanish. I'm writing this with his permission. So, Spanish speakers: rejoice! ¡Ándale y métele y dale nomás! Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Polyphony doubleslurs to chord
Ezequiel
Slurs operate only within a single Voice context, whereas
one of your slurs would need to operate across two different
Voices - Voice 1 before the \\ and Voice 2 after the
\\ - in the way you have written it.
You can achieve the double slur which I think you want by
moving the 'c' from the 'a c' chord into Voice 1, and
putting a slur in each of the two Voices, as follows (see
1.png):
\version 2.8.6
\score {
\relative c''
{ c8( [ d8 ] c4) } \\ { fis4( a) }
}
\layout {ragged-right = ##t}
Putting the 'c' in Voice 1 seems better musically, but if
you really wish to keep the a c as a chord with a single
stem, you need a fiddle - hide the c4 in Voice 1 (leaving
it there to terminate the slur) and put the 'c' back in the
chord in Voice 2 (see 2.png):
\version 2.8.6
\score {
\relative c''
{ c8( [ d8 ] \hideNotes c4) } \\ { fis4( a c) }
}
\layout {ragged-right = ##t}
Double slurs operate only in a single voice, so they don't
help here where the differing rhythms require two Voices.
HTH
Trevor
-Original Message-
{ c8 [ d8 ] } \\ { fis,4 } ( a c )
i want to have a double slur from the c8 and
fis,4 to the chord a
c i have doubleslurs ##t but it only gives one slur
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1.png
Description: PNG image
2.png
Description: PNG image
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Re: Da Capo al Fine
On 12/27/06, Paul Scott [EMAIL PROTECTED] wrote:
Joe Neeman wrote:
Ah, sorry. outside-staff-padding is a new feature in 2.11. In 2.10,
change it to padding (and maybe boost the value up to 3 or so).
Could that anything to do with why my Scheme definitions containing:
#{ \once \override TextScript #'padding = #$padding #}
seem to have stopped working?
Only if you're trying to use padding to bring TextScripts closer to the
staff as opposed to pushing them farther away. The changes in vertical
positioning are documented in section 11.7 of the 2.11 manual (Vertical
collision avoidance). If you're seeing a change in behaviour that isn't
documented there, it's most likely a bug.
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Re: lilypond on freebsd 6.1
Thank you very much. Did as you wrote and it works perfectley. regards Marcel. 2006/12/27, Kim Shrier [EMAIL PROTECTED]: On Dec 27, 2006, at 8:51 AM, Marcel Campenhout wrote: After installing lilypond 2.10.5 freebsd-x86 I get this, /usr/libexec/ld-elf.so.1 :shared object lidm.so.2 not found required by lilypond. I made a sym.link from de libm.so.3 -- libm.so.2. placed one in /usr/lib and one in /usr/libexec but the result is the same error. What can I do next to get it working? regards Marcel. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Just symlinking libm.so.2 to libm.so.3 or making a copy of libm.so.3 and renaming it to libm.so.2 will not work since the library has version information in it and the dynamic library loader will not be faked out. libm.so.2 is from FreeBSD 4.x so you need to install the compat4x port. This is located in /usr/ports/misc/compat4x. After making and installing this port, lilypond should be able to locate the libm.so.2 library. If you don't want to build the port, there is a binary package version that can be installed by retrieving the package from the FreeBSD ftp site or it should be on your 6.1 installation CD's. Kim -- Kim Shrier - principal, Shrier and Deihl - mailto:[EMAIL PROTECTED] Remote Unix Network Admin, Security, Internet Software Development Tinker Internet Services - Superior FreeBSD-based Web Hosting http://www.tinker.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Beginners' Guide for Absolute beginners - Spanish
Greetings! ¡I've been following up on the absolute beginnner thread and am thrilled about it! Several items: the guide is set from MacOS, which opens the door for an adaptation for other OS'es and then there's the language thing. If we translate the guide to spanish (for example), then there should be an \include spanish.ly at the beginning, and maybe the code should also be translated, ¿What do you think? Daniel Tonda C. begin:vcard fn:Daniel Tonda Castillo n:Tonda Castillo;Daniel email;internet:[EMAIL PROTECTED] version:2.1 end:vcard ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Chordal polyphony - suggestion
Hello,
I'm a pianist, and in piano music, itš quite usual that polyphony is
occasional - in many times, I need say that one note is hanging over
several other notes in the same hand. What's the difference between my
proposed chordal polyphony and the way polyphony is now implemented in
LilyPond?
1. Notes occuring in both ends of the chordal polyphony block are
treated as chord, so the tie can lead to any voice on the beginning and
from any voice on ending of chordal polyphony block without explicit
voice management.
2. If in the specific time point there are several notes of the same
duration in different voices, they are treated as single chord with
automatic stem direction handling.
3. Chordal polyphony voices differ from VoceXXX normal polyphony voices,
placement and shifting of notes is dynamic.
Suppose the syntactic delimiter for chordal polyphony is ... ,
then it would be easy to write:
\relative cˇˇ {
\time 3/4
c8 a~
a4 \\
f8 f
f4
}
... and to get resutl similar to one shown in attachement (different
notation software was used). I hate the balast I must write in LilyPond
to get such a result.
I wish you happy new year.
Tomas Valusek
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Correction - Chordal polyphony - suggestion
Hello,
a little typo occured in my snippet - correct is:
\relative cˇˇ {
\time 3/4
c8 a~
a4 \\
f8 f~
f4
}
Tomas Valusek
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Re: Absolute Beginners - Anacrusis
Paul, I have now changed this part. What do you think?
( ... )
And last but not least in our little first beginners' chapter, we'll
give you the tool for beginning your melodies with an anacrusis, also
known as upbeat or pickup. This is the
\partial
command. If you need, say, an eight-note anacrusis, you type
\partial 8
For example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 8
b8 c4 d e f g a b c
\bar |.
}
(insert graphic here)
Just state the rhythmic value you need, including dots:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 4.
d8 b d c4 d e f g a b c
\bar |.
}
(insert graphic here)
Now consider the following example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
c16 d c b d c4 d e f g a b c
\bar |.
}
(insert graphic here)
There is no rhythmic value equivalent to that anacrusis, so we used a
formula:
\partial x * y
where x stands for a rhythmic value - like 16 for a sixteenth
note or semiquaver and y stands for the quantity of those, like
5 . The sign in between is an asterisk. Thus
\partial 16*5
will give you the preceding example's result. Change the values of
this formula to suit your needs. Remember that it doesn't matter how
the rhythmic value of the anacrusis is distributed among several notes:
\partial 2
is good for a half note, or two quarter notes, or two eighth notes
and a quarter note, or any other combination of rhythmic values
adding up to a half note.
Am 27/12/2006 um 19:17 schrieb Paul Scott:
Manuel wrote:
This is to invite criticism for the anacrusis part of the
chapter, which I added towards the end.
Manuel
( ... )
As a last thing in our little first beginners' chapter, we'll give
you the tool for beginning your melodies with an anacrusis or
upbeat.
or pickup (common American name)
This is the
\partial
command. If you need, say, a quarter-note anacrusis, you type
quarter note - asterisk - one after the commad, in this way:
\partial 4*1
No need for the *1. We don't say c4*1 or s4*1.
Paul Scott
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\score blocks in included files
Hello, I'm typesetting instrumental music, and am trying to produce one file for each instrument, and one file for the conductor's score (for which the input file includes all the other input files). I put the music for each instrument into a separate file, and intend to run lilypond on each individual .ly file to generate the score defined in that file. I created the following music function to detect whether or not the current file is being included by another file (the conductor's score file): %% returns the music expression only if this is the toplevel file iftop = #(define-music-function (parser location music) (ly:music?) (if (let* ( (filename (car (ly:input-file-line-char-column location))) (output (ly:parser-output-name parser)) (outlen (string-length output))) (or (string=? filename output) (and ( (string-length filename) outlen) (char=? #\. (string-ref filename outlen)) (string=? output (substring filename 0 outlen)) ) ) music (make-music 'SequentialMusic 'void #t However, lilypond won't let me apply this function to a \score block, nor will it let me save the \score block to a variable, then apply it to that variable. I've tried applying this function to only the music inside the \score block, but then I can't prevent duplication of \header blocks. It'll probably let me apply this function to a score created with ly:make-score, and I know that I can always create two files for each instrument, one with the music and one with the \score block, but is there any easier way to do what I'm trying to do? Surely it's not uncommon to want to produce multiple files for instrumental scores? Or am I just not doing it the right way? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Collisions and warning message
Greetings to all:
I get a warning when compiling a piece of music:
Ignoring grob for slur. avoid-slur not set? What does this mean?
I shortened the example and also found out that there are a bunch of
collisions that appear when using fingerings and string numbers.
Just for the purpose of making the collision appear on purpose, I added
a fingering and changed the a to aes'\3-2-\RH #i8. The flat and
the fingering clash. I know that I could use some padding, but shouldn't
this be managed by the NoteCollision stuff?
¿Maybe you can test it and see if it's a bug or a mistake on my part?
%% BEGIN
\version 2.11.5
snu = { \set stringNumberOrientations = #'(up) }
snd = { \set stringNumberOrientations = #'(down) }
#(define RH rightHandFinger )
\context Staff
\time 2/4
\clef G_8
\context Voice \relative c {
\voiceOne
\stemUp
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(up)
\snu aes'\3-2-\RH #i8 %% The flat is to demonstrate the collision
\( b\3-3-\RH #m c\3-4-\RH #i d\2-2-\RH #m |
e\2-4-\RH #a4 e4 \)
}
\new Voice \relative c {
\voiceTwo
\stemDown
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(down)
a-0-\RH #p2
a2
}
%% END
When I remove the string number directions and the fingering directions
I also get clashes. I attach the png output also (removed the png
attachments because it seems that the message got rejected).
Daniel Tonda C.
begin:vcard
fn:Daniel Tonda Castillo
n:Tonda Castillo;Daniel
email;internet:[EMAIL PROTECTED]
version:2.1
end:vcard
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Absolute Spanish Beginners
Anthony, Daniel Tonda has just began translating the first chapter into Spanish, but he needs some help with Linux, which I can't provide. He says things about OpenOffice and ooLilyPond that I don't understand. Coud you perhaps give him some hints? Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Absolute Spanish Beginners
Pierre, I just wrote to Anthony about this, now I remember that you are a Linuxer. There is now a Spanish translation of the beginner's guide's first chapter. Daniel is doing that, but I can't help him with his Linux needs. So I thought perhaps you might drop him some hints to get him started? Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Da Capo al Fine
Joe, Yes! Now it worked just fine - thanks. Manuel Am 27/12/2006 um 21:06 schrieb Joe Neeman: On 12/27/06, Manuel [EMAIL PROTECTED] wrote: Thank you, it is *much* better now. But I still get an error message: Warnung: Eigenschafts-Typprufung fur outside-staff-padding (backend-type?) kann nicht gefunden werden. vielleicht ein Tippfehler? Warnung: Zuweisung wird trotzdem durchgefuhrt [8][11] And the words do appear too close to the staff. Ah, sorry. outside-staff-padding is a new feature in 2.11. In 2.10, change it to padding (and maybe boost the value up to 3 or so). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners
Le mercredi 27 décembre 2006 à 17:13 +0100, Manuel a écrit : Graham, I think the present tutorial is an excellent piece of work as it is, only unclear in certain parts for beginners like me. It looks like it was made by people with deep and systematic knowledge of the matter but less didactical experience. I like the idea to try and expand beginners and see what happens. deep and systematic knowledge of the matter as you say doesn't qualify well a tutorial but rather a reference. I'd say official Lily tutorial isn't always wordy enough: in some sections, a lot of important details are not explicited. In my humble opinion, a quick comparison between the official tutorial and your work shows these offending sections: - in Running LilyPond for the first time, there isn't enough details about how to run LilyPond, which differs depending on the platform. - in First steps, there isn't enough emphasis on syntax correctness: many Lily newbies are certainly not programmers, or even haven't learnt any programming language. I don't understand in which way the first chapter is too long. Didactically speaking it is as short as it can be, and you surely don't mean the file size? Graham cezrtainly means the chapter should be splitted into several sections, just like the current Lily HTML docs (one small section per page). To insert patches would seriously compromise the clarity for the adresees. What do you mean? Aren't patches the best way to see changes? If you're interested in doing more doc work (say, an hour or two a week; if you'd like to do more that's totally welcome!) Yes, if I understand you correctly: would you call what I have being doing doc work? Of course you have! In my opinion your work helps criticizing and improving the current tutorial (see below). Keep up the good work and go on suggesting doc improvements/additions! But let me explain: once a beginner understands correctly how the program works, he can go ahead and use a reference work, as is already contained in the tutorial. Then he is no longer a beginner, but a user (both have quite different support needs). This process I find not easy to do with the tutorial if you don't know anything about command-line programs, for instance. One didactically-oriented beginners guide can coexist with the reference-oriented tutorial, I think. I'm against having two tutorials: a reference-oriented tutorial is no longer a tutorial, and there is already a reference manual. There are already enough sources of information to make beginners lost. I'd vote for Graham's proposal #2: splitting your work into small sections and merging them into the tutorial. If the matter is making patches, I volunteer to do that, as I've already been working in the docs for French translations. Of course, this requires you accept that your work is integrated into LilyPond docs. A guide for total beginners might even take a load off the support guys, but could also encourage more people to use LilyPond. Some of my colleagues wouldn't mind paying hundreds of euros for a commercial program if it is easier to use, which it isn't, but it looks easy because of the graphic interface toys. I totally agree with you. Cheers, -- John Mandereau [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Unequal, changing time signatures in parts
Hello, I have a manuscript from my organ teacher I'm attempting to transcribe. So far, so good, but the beginning of one composition has me stumped, despite looking for hints in the archive, snipits, and documentation. The piece begins with a somewhat unmeasured section; the bass is a slightly modified version of Adoro Devote, and the accompaniment is a tone cluster composed of tied whole notes. The cluster starts with a high d, and then after each phrase of the plainchant the next lower semitone is added (cis, c, b bes...fis) so that at the end of the chant, the full cluster is sounding. It is very beautiful. The problem I'm having is reconciling the whole note notation in the cluster with the varying meter of the chant within Lilypond; the bars in the chant are 9/8, 8/8, 10/8, 8/8, 10/8, 6/8, 8/8. 8/8. So, I can't get the tone cluster additions to line up properly with the chant phrases. In the manuscript, my teacher used vertical arrows in the score to emphasize the aligment of the tones where a new cluster tone enters. I'm happy to place barlines instead, as drawn arrows across three staves sounds pretty exotic. Once this section concludes, the rest of the score changes time frequently, but all parts are in the same time so I'm home free. I've looked at staff measure length and the arguments of \time, but can't seem to find a way to affect one staff without messing up the other. Any solutions or hints welcome. Thanks, Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: brackets vs braces (was Very Absolute Beginner. . .)
In over 40 years with computers I have never seen or heard that term. I use the term I learned angle brackets. I don't recommend using brokets without defining it. Paul Scott I've never seen the term broket either, though physicists and mathematicians use the term bra-ket in connection with quantum mechanics among other things. Maybe this is what was meant. Most musicians, naturally, will be unfamiliar with this terminology. from wikipedia.org: Bra-ket notation is the standard notation for describing quantum states in the theory of quantum mechanics. It can also be used to denote abstract vectors and linear functionals in pure mathematics. It is so called because the inner product of two states is denoted by a bracket, x|y consisting of a left part x|, called the bra, and a right part, |y, called the ket. The notation was invented by Paul Dirac, and is also known as Dirac notation. It is also the notation of choice in quantum computing. Tim Reeves Chemical Engineer, Engineering Services Dept. TOKYO OHKA KOGYO America, Inc. [EMAIL PROTECTED]___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Manuel wrote: Paul, I have now changed this part. What do you think? That all seems great! You might consider adding to the following the explanation about the reversal of the numbers from the way we normally think, e.g. 16*5 instead of 5*16 (or 5/16). (insert graphic here) There is no rhythmic value equivalent to that anacrusis, so we used a formula: \partial x * y where x stands for a rhythmic value - like 16 for a sixteenth note or semiquaver and y stands for the quantity of those, like 5 . The sign in between is an asterisk. Thus \partial 16*5 will give you the preceding example's result. Change the values of this formula to suit your needs. Remember that it doesn't matter how the rhythmic value of the anacrusis is distributed among several notes: \partial 2 is good for a half note, or two quarter notes, or two eighth notes and a quarter note, or any other combination of rhythmic values adding up to a half note. Thanks for all your work on this! Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Absolute Beginners - Chapter One
Dear LilyPonders,
here is the whole first chapter one more time, with all latest
corrections and suggestions incorporated. Further criticism is
nevertheless encouraged.
Manuel
LilyPond's
Beginners Guide
for the
Absolute Beginner
(Mac OS X version)
Chapter One.
Open a new LilyPond window.
Then type this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select Typeset file from the Compile menu.
A small window will open, where you can follow the proceedings, and
then a .pdf document will appear, with this result:
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called curly braces
{
and
}
are essential. You must always write your music inside such braces.
Also, LilyPond is case sensitive, which means that in our little
example, c (that's lower case) is right, but C (that's upper
case) would be wrong.
LilyPond has certain pre-set values, called defaults, which will
apply whenever you do not ask for something different. In our present
example, for instance: the treble clef, 4/4 time signature, quarter
notes (or crotchets, for non-American English speakers).
You can, of course, change these and all other defaults; indeed you
can engrave contemporary notation, orchestral scores, do MIDI files,
and more. But all that lies further down the road. For the moment, we
will teach you how to engrave a simple melody.
First, we'll give you a very useful tool to input your notes, called
the relative mode.
In our example, we have written each note with an octave
denomination: one apostrophe:
'
for the so-called first octave, which is the octave immediately
above and including the middle c - that's the central c in the piano
keyboard - and two apostrophes:
''
for the second octave, the one immediately above the first octave.
But now, using the relative mode, you will save yourself a lot of
work. Erase what you wrote before in the LilyPond window and write
this instead:
\relative
{ c d e f g a b c }
Note that the \relative command comes before and outside the { } .
Also, be very precise in the way you write this and all other
commands: don't allow a space between the backslash and the word,
since for instance:
\ relative
will not work, and only
\relative
will be fine.
Save the file again, close the .pdf and select Typeset file from
the Compile menu. The result will be the same C-major scale:
(insert graphic here)
But now, with the
\relative
command, the first note is automatically engraved as close as
possible to the middle c and every further note will be engraved as
close as possible to the previous note. As close as possible means
calculating the smallest interval. Thus if you modify your input to
this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf
before compiling)
You will get this result:
(insert graphic here)
You can analyze the exercise and see that the first note e appears a
third above middle c rather than a sixth below; the same happens with
the following g, a third above in relation to the preceding e; then
comes the c that is a fourth above the g instead of a fifth below,
and so forth.
Now in this mode, when you add an apostrophe, it makes the note
appear one octave higher than it would have appeared without the
apostrophe. Two apostrophes make for two octaves, and so forth.
To make a note one octave lower than it would otherwise appear, add a
comma:
c,
or two or more for more octaves:
c,,,
See it here:
\relative
{ c' g e' d c c, d c }
(insert graphic here)
Good. Now let's see how to select the following:
Clefs
Time signatures
Keys major and minor
Rhythmic values
Sharps and flats
Double bars and repeat bars.
These are simple things to do. Write this example:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f g a b c }
The result is our first example of a C-major scale:
(insert graphic here)
but this time you see the way some defaults are set. Change them
easily, like this:
\relative
{
\clef alto
\key cis \minor
\time 2/2
c d e f g a b c }
This should look thus:
(insert graphic here)
Don't worry just yet about the naturals. We'll explain them when we
come to talk about keys.
You set the clef by naming the one you want: in the preceeding
example, we wrote alto instead of treble. Other clefs are called:
tenor (C clef on the fourth line)
bass (F clef on the fourth line)
as well as
french (G clef on the first line)
soprano (C clef on the first line)
mezzosoprano (C clef on the second line)
baritone (C clef on the fifth line)
varbaritone (F clef on the third line)
subbass (F clef on the fifth line)
percussion (percussion clef)
tab (tablature clef)
and also chiavette-type clefs like
G_8
which is the one used for guitar music and modern tenor parts. And
there are more!
To set the key,
Re: anacrusis
Manuel wrote: Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? FWIW, as an American musician, I've never come across anacrusis, but I'm not a professional musician or a composer. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Collisions and warning message
Daniel Tonda Castillo wrote: Ignoring grob for slur. avoid-slur not set? What does this mean? You may safely ignore it for now. If you're interested in fixing it (can be done with no programming skills, just a text editor, diff, and a bit of time) let me know. It's on my list of odd jobs that I'll be looking for volunteers to do. Just for the purpose of making the collision appear on purpose, I added a fingering and changed the a to aes'\3-2-\RH #i8. The flat and the fingering clash. I know that I could use some padding, but shouldn't this be managed by the NoteCollision stuff? http://code.google.com/p/lilypond/issues/detail?id=193can=1q=fingering Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unequal, changing time signatures in parts
Erik wrote: I've looked at staff measure length and the arguments of \time, but can't seem to find a way to affect one staff without messing up the other. Have you looking in the index for polymetric scores? Have you looked at the advanced notation chapter of the manual and read 8.4.1 polymetric notation? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \score blocks in included files
gnomino wrote: \score block, but is there any easier way to do what I'm trying to do? Surely it's not uncommon to want to produce multiple files for instrumental scores? Or am I just not doing it the right way? Don't stick a \score in the individual instrument parts. See D.3.2 String quartet parts for an example. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
