Still don´t understand how to call LPbook
I would be very happy if someone could point me in a direction - where do I start lilypond-book? Is it a seperate program I have to start or do I type lilypond-book into the code somewhere? I´m on MacOS X and start LP by doubleclicking the app. Believe me, I have searched the manuals and the mailing history - there is some basic thing I just haven´t understood. -- My new CD Know Greed: http://cdbaby.com/cd/rogge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still don´t understand how to call LPbook
Did you read Section Notes for the MacOS X app in the manual? lilypond-book is a separate program that you have to run from the command line. Since I don't use Mac myself, I cannot provide more detailed explanation than that, but I'm sure someone else can fill in even more details if you wish. Also, I'm sure that there is information in the email list archives, but it may be in questions on midi2ly or any of the other separate programs distributed with LilyPond. /Mats Claus Rogge wrote: I would be very happy if someone could point me in a direction - where do I start lilypond-book? Is it a seperate program I have to start or do I type lilypond-book into the code somewhere? I´m on MacOS X and start LP by doubleclicking the app. Believe me, I have searched the manuals and the mailing history - there is some basic thing I just haven´t understood. -- = 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: Still don´t understand how to call LPbook
Claus Rogge wrote: Believe me, I have searched the manuals and the mailing history - there is some basic thing I just haven´t understood. http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Running-LilyPond - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Error message
Whenever I work with somewhat large files, LilyPond takes either an
extremely long time to compile or just stops working. The last time
it happened, a new window opened with this information:
(error: NSInternalInconsistencyException - Error (1000) creating
CGSWindow)
See the Console for a detailed traceback.
In the Console, I found:
File /Applications/LilyPond.app/Contents/Resources/__boot__.py,
line 28, in ?
_run('LilyPond.py')
File /Applications/LilyPond.app/Contents/Resources/__boot__.py,
line 25, in _run
execfile(os.path.join(base, 'Python', script), globals(), globals
())
File /Applications/LilyPond.app/Contents/Resources/Python/
LilyPond.py, line 214, in ?
AppHelper.runEventLoop()
File PyObjCTools/AppHelper.pyc, line 174, in runEventLoop
objc.error: NSInternalInconsistencyException - Error (1000) creating
CGSWindow
2007-01-21 23:19:33.328 LilyPond[286] LilyPond Error
2007-01-21 23:19:33.329 LilyPond[286] An unexpected error has
occurred during execution of the main script
I divided the file into smaller portions and it works perfectly, but
I don't understand why I have so much trouble otherwise. Is it a
mistake in my input?
Manuel
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Re: Error message
Am 23/01/2007 um 13:03 schrieb Mats Bengtsson:
Please always tell what LilyPond version you use and on what operating
system (here I guess from your error message that you use MacOS).
/Mats
Yes, it is version 2.10.0 on Mac OS 10.4.8
Manuel
Manuel wrote:
Whenever I work with somewhat large files, LilyPond takes either
an extremely long time to compile or just stops working. The last
time it happened, a new window opened with this information:
(error: NSInternalInconsistencyException - Error (1000) creating
CGSWindow)
See the Console for a detailed traceback.
In the Console, I found:
File /Applications/LilyPond.app/Contents/Resources/
__boot__.py, line 28, in ?
_run('LilyPond.py')
File /Applications/LilyPond.app/Contents/Resources/
__boot__.py, line 25, in _run
execfile(os.path.join(base, 'Python', script), globals(),
globals())
File /Applications/LilyPond.app/Contents/Resources/Python/
LilyPond.py, line 214, in ?
AppHelper.runEventLoop()
File PyObjCTools/AppHelper.pyc, line 174, in runEventLoop
objc.error: NSInternalInconsistencyException - Error (1000)
creating CGSWindow
2007-01-21 23:19:33.328 LilyPond[286] LilyPond Error
2007-01-21 23:19:33.329 LilyPond[286] An unexpected error has
occurred during execution of the main script
I divided the file into smaller portions and it works perfectly,
but I don't understand why I have so much trouble otherwise. Is it
a mistake in my input?
Manuel
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--
=
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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Re: White diamond, black diamond, and possible small sponsorship?
On 1/23/07, v!ctor [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
Trevor,
I suppose you thought of just changing the size of the black diamond, like
this:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\override NoteHead #'font-size = #6
\once \set shapeNoteStyles = ##(mi mi mi mi mi mi mi)
c'4
}
%%% END %%%
Obviously, the shape is still not the same although the sizes now match. You
can also try something like this, although it might seem a bit too hacky:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup #:combine #:musicglyph
noteheads.s0harmonic #:fontsize 2 #:musicglyph noteheads.s2neomensural)
c'4
}
%%% END %%%
Notice how, while the diamonds are now identical in shape, the stem of the
black diamond does not reach its correct position. Not sure exactly why, but
I guess you would have to make a \once tweak of this too.
Let me know if you find a better way.
Hi Victor,
As it turns out, Max opened up FontForge and made the new glyph this
week. It works great so long as you have Max's new font folder, so I'm
urging him to mail -devel for inclusion in the standard distribution.
(And stem alignment does work correctly with Max's new glyph, too.)
--
Trevor Bača
[EMAIL PROTECTED]
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Re: Still don´t understand how to call LPbook
2007/1/23, Graham Percival [EMAIL PROTECTED]: Claus Rogge wrote: Believe me, I have searched the manuals and the mailing history - there is some basic thing I just haven´t understood. I assume you know how to use command line on Mac OSX ? If you do not, here's the way: in your Finder, open Applications/Utilities/Terminal.app If you aren't familiar with command line, I advise you to look at http://www.westwind.com/reference/OS-X/commandline/ for instance, or the official Apple manual at http://manuals.info.apple.com/en/Command_Line_v10.4.pdf (starting from page 25). Regards, Valentin Villenave. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Questions regarding creation of a new glyph (was: White diamond, black diamond, and possible small sponsorship?)
Hi everyone, a couple of days ago Trevor asked for help with regard to a certain special note head (a black diamond of 'harmonic' style, where a white one already existed). Since Trevor sent his initial request on the lilypond-user list but I feel that -devel is the right place to get the information I need, I'm sending this to both lists (just in case other users who don't read -devel are interested, too). I just saw that there has been another reply which tries to achieve the wanted output with syntax tweaks. This was my first approach, too -- an unsuccessful one, though. Since for some time I have been looking for an opportunity to dive into lilypond's internals and get acquainted a bit with the source code, I decided to check out a git version and start experimenting, trying to make sophisticated guesses. Contrary to my expectations :), I finally succeeded to create the glyph as requested, but there are still some open questions and since I only started to scratch the surface of some of the topics involved, I would be grateful for some advice. Be warned that I am a complete beginner with regard to font issues, so all of my insights are gained from reading the source and trying to make sense of it. However, if everything is OK (or if I am told what I did wrong) and there is interest I can easily provide a patch to include the black diamond in future releases. On to my questions: 1) Is it correct that all I need to do in order to create a new glyph is to modify the metafont source file of the corresponding font? That is, are all the other files (*.otf, *.svg, etc.) created during the compilation process of lilypond? (My experiments seem to indicate this). 2) The definition of the existing white diamond-shaped head is contained in the file 'mf/parmesan-heads.mf'. What I basically did was copy the existing definition and change the description of the glyph, its name (I chose s2harmonic -- see question 3+4 below) and the function which draws it. Correct so far? Inspecting the other font formats I saw that the svg files sometimes contain unicode numbers of the glyphs (although not for the parmesan font, as it seems). Do I have to take care of that and other related issues or can I ignore these aspects and rely on the compilation process to sort it all out? 3) After compiling the source it is possible to use the new glyph by explicitly setting \once \override NoteHead #'style = #'harmonic \once \override NoteHead #'glyph-name = #'2harmonic . (BTW, the definition in mf/parmesan-heads.mf is 's2harmonic' -- what causes the leading 's' to be inserted in the name?). Now with neomensural instead of harmonic style, lilypond prints the black notehead automatically when the note has quarter duration. This automatic recognition of the correct head does not work yet with the new harmonic glyph. Which further changes in the source are required to implement this? I hoped that the digit 2 in the name would be enough to tell lilypond to use the black head (similar to the neomensural case), but I was wrong. Any hints? If this behaviour is not related to the glyph name, would it be better to rename it to s1harmonic instead (because s0harmonic already exists) or even to something completey different? 4) In the *.mf file there already exists a function called draw_neomensural_black_head which draws a black diamond of the required shape. It is called when drawing the open diamond (the black head is overwritten with a smaller white one to create the open notehead). Since the functionality is already there -- is there a good reason why the black diamond is not yet included as a separate glyph in the font? I have no experience whatsoever with ancient or other special noteheads so maybe it doesn't make sense to have a black diamond in the 'harmonic' style. Should a new style containing this single glyph be created? If so, what would be a good name? 5) IIRC, some time ago there were other questions related to fonts which mentioned the inadequacy of certain formats and suggested a conversion of the fonts. Since font issues are still a rather closed book to me -- is the *.mf file the right place at all to make changes? Does it maybe make more sense to modify other formats? If so, how? (I first tried to use fontforge but did not really manage to correctly export the file into the various formats, that's why I decided to dive into the metafont source directly). 6) Possibly this is related to question 5: After compiling my modified git version of lilypond and processing a sample *.ly file, all the glyphs (including, e.g., clefs) seem to have rather rough outlines when viewing the *.pdf output with xpdf (on Debian Linux). Increasing the zoom level smoothens them out a bit, which indicates that it is probably only a viewing problem (in addition, they appear perfectly smooth in Acrobat Reader). But since the font files shipped with the official binary do not show this behaviour -- am I missing something? Is there another
problems with german umlauts
Dear list, I've got problems with german umlauts in Lilypond 2.11.13-1. Wherever there is one, I just get blanks. What can I do against that? Yours sincerely David Gippner P.S.: If this is useful, I can provide a PDF of what I mean. Requests to [EMAIL PROTECTED] please. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:お願いします。
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Re: problems with german umlauts
Is your .ly file UTF-8 encoded? Uwe Nagel David Gippner wrote: Dear list, I've got problems with german umlauts in Lilypond 2.11.13-1. Wherever there is one, I just get blanks. What can I do against that? Yours sincerely David Gippner P.S.: If this is useful, I can provide a PDF of what I mean. Requests to [EMAIL PROTECTED] please. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- View this message in context: http://www.nabble.com/problems-with-german-umlauts-tf3065236.html#a8526497 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata on final double bar
Mats Bengtsson mats.bengtsson at ee.kth.se writes: One possible trick is to move the mark engraver from the score level to each stave and then include the ordinary rehearsal marks as well as the fermata above the system only in the top stave of the score and the downwards fermata only in the bottom stave of the score. Example: Terrific! Thanks so much, and thanks for the very clear example. It took me a while, but once I noticed the second \override was on Staff.RehearsalMark things went along much faster. For anyone else reading this I also used: \once \override Staff.RehearsalMark #'padding = #-5 to get the fermata the right distance on the bottom (there are some leger lines on that staff and I think that must be what is pushing the fermata down). Thanks to everyone for your help... I like the final solution - I think it's pretty elegant... J ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Combining multiple \tags?
I've got three sets of tags ( letter/a4/bigprint, part/score, and
original/edit ). What I want to do is something like \keepWithTag #'letter
#'part #'edit, but \keepWithTag doesn't take multiple values, and
\keepWithTag #'value1{ \keepWithTag #'value2 } doesn't work, because the
inner \keep strips out all the other tags.
Has anyone else ever attempted to do something like this? Is there a better
way of doing what I'm after?
Thanks!
--Steven
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Re: Still don´t understand how to call LPbook
Valentin Villenave [EMAIL PROTECTED] wrote: I assume you know how to use command line on Mac OSX ? It´s not something I use on a daily basis - but I have tried. -- My new CD Know Greed: http://cdbaby.com/cd/rogge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still don´t understand how to call LPbook
Graham Percival [EMAIL PROTECTED] wrote: http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Running-LilyPond Thank you - this is one page I haven´t seen before... -- My new CD Know Greed: http://cdbaby.com/cd/rogge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still don´t understand how to call LPbook
Mats Bengtsson [EMAIL PROTECTED] wrote: lilypond-book is a separate program that you have to run from the command line. Thank you, and everybody else. This is a bit strange for me since I do not use Terminal all that much ... but you got me started. I´m trying not to be a nuisance but I´ll probably be back in a while with some new problem. -- My new CD Know Greed: http://cdbaby.com/cd/rogge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
compounded dynamics
Surfing around I found two ways to do almost the same thing : display a
complex dynamics mark, like a Piano Subito.
In each I found something satisfying and another annoying
psubito = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
#:line( #:dynamic p #:text #:italic subito )))
+ the result IS a dynamic mark and can be used as one
- the subito is written bold... and in every sheets I have, it is never bold
psubito = \markup {\dynamic p \italic subito }
+ the subito, and the P looks nice together
- this is not a dynamics but a \markup... and so, requires a ^ or _ sign
before
Does anybody know a trick to un-bold the subito in the first solution,
since I find much more elegant the solution where we have a dynamic instead
of a markup ?
Yota
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Re: Combining multiple \tags?
I've got three sets of tags ( letter/a4/bigprint, part/score, and
original/edit ). What I want to do is something like \keepWithTag #'letter
#'part #'edit, but \keepWithTag doesn't take multiple values, and
\keepWithTag #'value1{ \keepWithTag #'value2 } doesn't work, because the
inner \keep strips out all the other tags.
Try \tag #'(cs ca ct cb voice) { \break } or similar.
BTW, is there some way to have an \alternate part?
Regards
/Karl
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Re: Questions regarding creation of a new glyph (was: White diamond, black diamond, and possible small sponsorship?)
Maximilian Albert escreveu: On to my questions: 1) Is it correct that all I need to do in order to create a new glyph is to modify the metafont source file of the corresponding font? That is, are all the other files (*.otf, *.svg, etc.) created during the compilation process of lilypond? (My experiments seem to indicate this). correct Inspecting the other font formats I saw that the svg files sometimes contain unicode numbers of the glyphs (although not for the parmesan font, as it seems). Do I have to take care of that and other related issues or can I ignore these aspects and rely on the compilation process to sort it all out? Ignore, just copy the pattern of the other glyphs. \once \override NoteHead #'style = #'harmonic \once \override NoteHead #'glyph-name = #'2harmonic if you set glyph-name, style is no longer necessary. (BTW, the definition in mf/parmesan-heads.mf is 's2harmonic' -- what causes the leading 's' to be inserted in the name?). s is for symmetric. Some heads have u and d forms (upstem, downstem). Now with neomensural instead of harmonic style, lilypond prints the black notehead automatically when the note has quarter duration. This automatic recognition of the correct head does not work yet with the new harmonic glyph. Which further changes in the source are required to implement this? I hoped that the digit 2 in the name would be enough to tell lilypond to use the black head (similar to the neomensural case), but I was wrong. Any hints? If this behaviour is not related to see scm/output-lib.scm, function note-head::calc-glyph-name. Also, see define-grobs.scm , grob NoteHead to see how all these functions work together. 4) In the *.mf file there already exists a function called draw_neomensural_black_head which draws a black diamond of the required shape. It is called when drawing the open diamond (the black head is overwritten with a smaller white one to create the open notehead). Since the functionality is already there -- is there a good reason why the black diamond is not yet included as a separate glyph in A harmonic head is slightly bigger so it protudes through the staff lines, if printed in a space. AFAIK, they only exist in the open form, and Trevor's use of the black form is not canonical. 5) IIRC, some time ago there were other questions related to fonts which mentioned the inadequacy of certain formats and suggested a conversion of the fonts. Since font issues are still a rather closed book to me -- is the *.mf file the right place at all to make changes? yes, but do take the hints in mf/README at heart. 6) Possibly this is related to question 5: After compiling my modified git version of lilypond and processing a sample *.ly file, all the glyphs (including, e.g., clefs) seem to have rather rough outlines when viewing the *.pdf output with xpdf (on Debian Linux). Increasing the zoom level smoothens them out a bit, which indicates that it is probably only a viewing problem (in addition, they appear perfectly smooth in Acrobat Reader). But since the font files shipped with the official binary do not show this behaviour -- am I missing something? Is there another way to compile the fonts which makes them behave more nicely? It might be related to the version of fontforge that you use. -- 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: compounded dynamics
Hi, Yota: Does anybody know a trick to un-bold the subito in the first solution I use: pocoF = #(make-dynamic-script (markup #:line(#:normal-text #:italic poco #:hspace -0.3 #:dynamic f ))) Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ties between voices
LilyPond 2.11.13, Linux This message pertains to ties between single and multiple voice sections of notation of polyphonic instruments, using a technique suggested by Joe Neeman of moving the Tie_engraver from the default Voice context to the Staff context instead. A Goal -- Piano (and presumably other polyphonic instrument) notation often includes sections where a single polyphonic voice splits into two or more voices for the sake of convenience and clarity of notation. These temporary changes in number of voices per staff, often as brief as a mere fraction of a measure, are common and there are frequently ties between these sections of one-, two-, or three- or more voice sections. It would be very nice if there were an easy way to allow ties to extend from one voice to another voice, from a single voice to multiple voices, or from multiple voices to fewer voices or a single voice, without resorting to code that is complex, verbose or which uses tricks to accomplish the task. A Proposed Solution --- One possible solution, proposed by Joe Neeman, is to cause the Tie_engraver to act at the Staff level instead of the Voice level, by removing it in the \layout section from the Voice context and inserting the Tie_engraver into the Staff context. This seems like a great solution, but because the Tie_engraver was originally intended for a Voice context, some unexpected issues may occur when trying to use the Tie_engraver at the Staff level instead of the Voice level. Issues So Far - In trying the technique of moving the Tie_engraver from the Voice level to the Staff level while notating a piano piece with many instances of single-to-multiple voices and vice versa, with many ties between the sections of fewer and more numerous voices, I have encountered a few issues so far. Issue 1: As illustrated in Figure 1 (attached PNG), LilyPond's default placement of the tie between the top notes of chords 2 and 3 of the illustration is so short (to avoid the flat symbol on the 3rd chord) that it is invisible, unless the chords (and measures that contain the chords) are spaced farther apart horizontally (which I did with the \break command at the end of the second measure), as illustrated in Figure 2. Issue 2: I tried to manually add horizontal space between the second and third chord with the following-- \once \override Score.SeparationItem #'padding = #2 --between the 2nd and 3rd chord. However, that had no effect. Does this tweak still work, or has it been deprecated? Issue 3: I tried to manually configure the ties between the second and third chords using-- ees g c8~ \once \override Score.TieColumn #'tie-configuration = #'( (4 . 1) #t ) ees aes c4 --However, as is illustrated in Figure 3 (attached PNG image), although the top tie was correctly formatted, the lower tie, which is supposed to be beween the lowest notes of the 3-note chords, was misplaced for some reason by LilyPond. Notice that instead of TieColumn I had to use Score.TieColumn because the Tie_engraver is now in the Staff rather than Voice context, and a simple TieColumn had no effect whatsoever. Also note that I had to raise the top tie to staff position 4 (3 was insufficient to cause the tie to clear the top of the flat symbol on the 3rd chord). *** *** *** *** *** *** *** I would be _happy_to_sponsor_ whatever work these issues might require, if Han-Wen and the developers consider the features worthy enough. :-) I'm sure more issues will come to light as I stress-test this idea of moving the Tie_engraver from the Voice to the Staff context, but I think it's a great idea and a great solution if the kinks can be worked out. Notators of polyphonic instruments such as the piano will be very grateful for this functionality. Best wishes everyone, Steve D New Mexico, US -- Seen at a bicycle enthusiasts' web forum-- Question: How many people with Attention Deficit Disorder does it take to change a light bulb? Answer: Want to go on a bike ride?! figure-1.png Description: PNG image figure-2.png Description: PNG image figure-3.png Description: PNG image ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ties between voices
On Tue, Jan 23, 2007 at 06:21:53PM -0700, Steve D wrote: Issue 3: I tried to manually configure the ties between the second and third chords using-- ees g c8~ \once \override Score.TieColumn #'tie-configuration = #'( (4 . 1) #t ) ees aes c4 --However, as is illustrated in Figure 3 (attached PNG image), although the top tie was correctly formatted, the lower tie, which is supposed to be beween the lowest notes of the 3-note chords, was misplaced for some reason by LilyPond. Notice that instead of TieColumn I had to use Score.TieColumn because the Tie_engraver is now in the Staff rather than Voice context, and a simple TieColumn had no effect whatsoever. I should have tried Staff.TieColumn instead of Score.TieColumn -- So I did try both, but the effect (as in Figure 3 of my previous message) was the same regardless of which (Staff... or Score...) was used. :-) Steve D -- A patriot must always be ready to defend his country against his government. -Edward Abbey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ties between voices
Steve D escreveu: As illustrated in Figure 1 (attached PNG), LilyPond's default placement of the tie between the top notes of chords 2 and 3 of the illustration is so short (to avoid the flat symbol on the 3rd chord) that it is invisible, unless the chords (and measures that contain the chords) are spaced farther apart horizontally (which I did with the \break command at the end of the second measure), as illustrated in Figure 2. hi, please submit bugreport of this. thanks. I would be _happy_to_sponsor_ whatever work these issues might require, if Han-Wen and the developers consider the features worthy enough. :-) -- 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
landscape orientation not working.
I put orientation = landscape in my \paper { } section, but lilypond
is ignoring it when it makes the Postscript and PDF files. What am I
doing wrong?
Here is the minimal example as requested:
%%% start of example
\version 2.10.11
\paper { orientation = landscape }
soprano = \relative g' {
r2 cis | fis4. e8 cis4 cis | fis,4. gis8 a4 a | e'4. fis8 dis4
cis | cis1 | r2 cis | a4. gis8 fis4 a | cis2 cis4 cis | b4. a8
gis4 a8[ b] | cis2. fis8[ e] | fis4. e8 cis4 cis | fis,4. gis8
a4 a | e'4. fis8 dis4 cis | cis1 \bar |.
}
\score {
\new Staff \key fis \minor \soprano
\layout { }
}
%%% end of example
Ted
--
There's a party in your skull. And you're invited!
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: landscape orientation not working.
On 1/23/07 9:42 PM, Ted Walther [EMAIL PROTECTED] wrote:
I put orientation = landscape in my \paper { } section, but lilypond
is ignoring it when it makes the Postscript and PDF files. What am I
doing wrong?
Here is the minimal example as requested:
%%% start of example
\version 2.10.11
\paper { orientation = landscape }
soprano = \relative g' {
r2 cis | fis4. e8 cis4 cis | fis,4. gis8 a4 a | e'4. fis8 dis4
cis | cis1 | r2 cis | a4. gis8 fis4 a | cis2 cis4 cis | b4. a8
gis4 a8[ b] | cis2. fis8[ e] | fis4. e8 cis4 cis | fis,4. gis8
a4 a | e'4. fis8 dis4 cis | cis1 \bar |.
}
\score {
\new Staff \key fis \minor \soprano
\layout { }
}
%%% end of example
Ted
Hi Ted,
I just checked the docs and it suggests that you set this in statement
that selects the paper size:
#(set-default-paper-size letter 'landscape)
I checked this and it worked here in 2.11.8
Walter Hofmeister
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Re: landscape orientation not working.
Thank you, that worked very nicely. Results here:
http://hymns.reactor-core.org/SacredHarp/Pilgrim.pdf
Ted
On Tue, Jan 23, 2007 at 10:08:03PM -0600, Walter Hofmeister wrote:
On 1/23/07 9:42 PM, Ted Walther [EMAIL PROTECTED] wrote:
I put orientation = landscape in my \paper { } section, but lilypond
is ignoring it when it makes the Postscript and PDF files. What am I
doing wrong?
Here is the minimal example as requested:
%%% start of example
\version 2.10.11
\paper { orientation = landscape }
soprano = \relative g' {
r2 cis | fis4. e8 cis4 cis | fis,4. gis8 a4 a | e'4. fis8 dis4
cis | cis1 | r2 cis | a4. gis8 fis4 a | cis2 cis4 cis | b4. a8
gis4 a8[ b] | cis2. fis8[ e] | fis4. e8 cis4 cis | fis,4. gis8
a4 a | e'4. fis8 dis4 cis | cis1 \bar |.
}
\score {
\new Staff \key fis \minor \soprano
\layout { }
}
%%% end of example
Ted
Hi Ted,
I just checked the docs and it suggests that you set this in statement
that selects the paper size:
#(set-default-paper-size letter 'landscape)
I checked this and it worked here in 2.11.8
Walter Hofmeister
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--
There's a party in your skull. And you're invited!
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: Manually decrease space between notes
Mats Bengtsson wrote: How about g g\breve Nice one :) However, in the output the two notes seem to overlap (not only the vertical bars around them but also the noteheads). This also happens with normal whole notes but not with half notes or shorter durations. Is this intended or is it a bug? Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: landscape orientation not working.
On Tue, Jan 23, 2007 at 10:48:28PM -0800, Ted Walther wrote: Thank you, that worked very nicely. Results here: http://hymns.reactor-core.org/SacredHarp/Pilgrim.pdf And of course, you can hear the music by changing the pdf extension to mp3: http://hymns.reactor-core.org/SacredHarp/Pilgrim.mp3 And you'll find more in the same vein at http://hymns.reactor-core.org/all/mp3/SacredHarp/ Ted -- There's a party in your skull. And you're invited! Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
