Re: Copyrights (was Re: No time/no bars)
Copyright question: I can find folk (or traditional) songs (or dances) from many countries in Eastern & Western Europe a) in printed publications (from Kammen, Mel Bay, & others); b) in midi files available on the Internet. In many cases, actually verifying the composition date is not easy. I extract only the melody (often, multiple versions with different melodies exist). The specified chords are often wrong (IMHO), so I change them. I write a new 2nd line (harmony or counterpoint). Can you point me to any source of information on copyright that might help in clarifying the copyright status of a melody I have lifted from some (supposed) folk/traditional song or dance? And for 3rds-or-6ths harmonies, which are (to a certain extent) obvious, are published harmonies to folk songs effectively copyrighted? (I don't expect an answer to that question, but maybe you know somewhere I could find information on that issue.) The situation with Renaissance/Baroque/Classical/Romantic music is bad enough, but it is possible that the issues with (nominal) folk music are even messier. Thank you for your advice. -- Tom * Kevin Dalley wrote: You probably know about Mutopia's page on copyright. Their rule of thumb is: 1. The composer, lyricist, arranger and editor all must have been dead for more than seventy years. 2. The work must have been published prior to 1923. http://www.mutopiaproject.org/contribute.html Individual countries have different limits. I would wonder whether your score has enough contact by recent people to still be under copyright. If you contact Mutopia or Gutenberg, they can advise you further. http://www.gutenberg.org/wiki/Gutenberg:The_Sheet_Music_Project ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Where the dot belongs to...
Thanks, entered as
http://code.google.com/p/lilypond/issues/detail?id=339
Cheers,
- Graham
Mats Bengtsson wrote:
In the source code that handles collisions of note heads
(lily/note-collision.cc)
I found the following comment:
/* For full collisions, the right hand head may obscure dots, so
make sure the dotted heads go to the right. */
However, it seems that this doesn't happen in your example (which can be
simplified into
\version "2.10.20"
\new Staff \relative c' <<
fis4. \\ {e8 e e }
>>
so I would classify this as a bug. However, I seem to remember some related
discussions on the mailing list over the years and I don't remember the
conclusion, so it might be that it was decided to use the current layout
and
that the comment is left over from before that decision.
/Mats
José Luis Cruz wrote:
Well, although in this case it's pretty clear that the dot belongs to
the F (can't be any other way), it's true that the disposition is
somehow odd. I entered the same sequence of music in sibelius to see
how that software dealed with that problem. I like it better its
solution than lilypond's one. I provide both pngs.
I added ragged-right prior to compile it (in 2.11.20). And I noticed
also that the sharp in A sharp (third measure) is too much separated
from the notehead.
Maybe the experts in music engraving are able to tell us more.
cheers,
2007/3/19, Martin Brodbeck <[EMAIL PROTECTED]>:
Hello,
I just wanted to start with a new music sheet. I must admit that I
haven't
worked with lilypond for a long time and I'm not an expert in music
notation.
But I noticed an ugly output in the third measure. At first view, it
is not
clear where the dot belongs to (it belongs to the fis). Now I'm not
sure if
lilypond is responsible for this or if it's me. :-)
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Re: defintion for metrelessness (help?)
What I do in similar situations is something like this: pb = \break "" and then insert a \pb at every spot in the music where I'm willing to tolerate a break. Needless to say, that results in a really messy input file, but it does get the job done. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical edges on TextSpanners?
Please always tell what LilyPond version you use to be sure to get a relevant answer. If you use version 2.11.14 or earlier, you can do \override TextSpanner #'edge-height = #'(0 . 1.2) if you have a more recent 2.11 version, the solution is a bit more complicate. The easiest way to figure out is to specify a lower version number and use convert-ly to update the syntax. /Mats Daniel Johnson wrote: I was recently typesetting a Gershwin song with a very short (2-note) ottava bracket, which needed the octavation text "8va bassa ad lib." This text is too long for the bracket, so I considered reducing text size and using column markup; but the Staff.octavation property takes text, not markup, and it doesn't support font-size. Then I tried using a TextSpanner, but was unsuccessful in getting the vertical edge at the end of the spanner. It seems that these vertical edges are only supported for grobs that support the horizontal-bracket-interface. This is probably a stupid question, but is there any way of forcing the TextSpanner to implement the horizontal-bracket-interface? I'm sure this would involve overriding the stencil, which would be a daunting (if even possible) task. Anyone have any ideas? --Daniel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup for cadenza rest
You should definitely use R1^\markup{...}
One method to get the horizontal size the way you want it
is to manually specify the width, such as
\override MultiMeasureRest #'minimum-length = #10
I couldn't find any method to let LilyPond figure out the width
automatically.
/Mats
Benjamin Esham wrote:
Hello all,
I am typesetting a horn part from a piano concerto, and I'm having
difficulty with the "Cadenza" rests in the piece. What I would like
is a rest in the staff—it can be a 4-beat rest, like r1, a full-
measure rest, like R1, or a long multi-measure rest, with the
horizontal bar; I don't really care which kind. Above that, center-
aligned, should be a fermata, and aligned above that, the word
"Cadenza".
I haven't found any way to get an acceptable result. I'm using
LilyPond 2.10.15. If I use r1^\markup{...}, I get the text fine, but
the rest is not center-aligned in the measure. If I use R1^\markup
{...}, the measure is condensed to just the horizontal size of the
rest, and the text sticks out of the measure. (Using \fatText had no
effect on this.) Can anyone tell me how to get the output I
described above? Thanks!
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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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Markup for cadenza rest
Hello all,
I am typesetting a horn part from a piano concerto, and I'm having
difficulty with the "Cadenza" rests in the piece. What I would like
is a rest in the staff—it can be a 4-beat rest, like r1, a full-
measure rest, like R1, or a long multi-measure rest, with the
horizontal bar; I don't really care which kind. Above that, center-
aligned, should be a fermata, and aligned above that, the word
"Cadenza".
I haven't found any way to get an acceptable result. I'm using
LilyPond 2.10.15. If I use r1^\markup{...}, I get the text fine, but
the rest is not center-aligned in the measure. If I use R1^\markup
{...}, the measure is condensed to just the horizontal size of the
rest, and the text sticks out of the measure. (Using \fatText had no
effect on this.) Can anyone tell me how to get the output I
described above? Thanks!
--
Benjamin D. Esham
[EMAIL PROTECTED] | AIM: bdesham128 | Jabber: same as e-mail
Wikipedia, the free encyclopedia•http://en.wikipedia.org
PGP.sig
Description: This is a digitally signed message part
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Re: rest merging (willing to sponsor)
2007/3/21, Arvid Grøtting <[EMAIL PROTECTED]>: Hi, in the category for "Coding better typography automation", my choir is willing to sponsor (within reason) the coding of automatic rest merging within a staff. The code that controls this is in rest-collision.cc , and it shouldn't be hard to (optionally) delete all but one rest when a special option is set. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Copyrights (was Re: No time/no bars)
Mike Blackstock wrote: In Canada, it's 50 years after the death of the relevant people. In many (all?) jurisdictions, a published music manuscript - the layout, fonts, etc. - is considered artwork, and hence falls under copyright law, regardless of whether or not the music itself is in the public domain. My understanding is that you can work from a copyrighted score to prepare a new edition as long as you restrict yourself to using the non-copyrighted part of the score: the composer's notes, phrasing slurs, and so on. Evidently, if you're making a new edition with lilypond, you won't be using anyone else's layout etc so that shouldn't be a concern I would think. The problem is to know what originates from the composer and what from the editor. Even in the case of "Urtext editions" where all added slurs are dotted, it's often the case that the editor has worked from several sources, such as handwritten manuscripts (often more than one), the first print, ... and the decisions on which of these to trust for each note/slur/whatever will also belong to the editors copyright. Search the mailing list archives for the mutopia mailing list and the information related to copyright at the Mutopia web page to learn more about all these troubles. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: defintion for metrelessness (help?)
Monk Panteleimon wrote:
I have a little definition (here called "chant") which, together
with my standard \layout
block let's me write unmetred music ad infinitum without having to
(explicitly) add
invisible barlines whenever I want the line to break. This
potentially really useful, since otherwise I have to recompile my .ly's
often, decide where the break is best and put it there.
There are a couple of problems which keep me adding the explicit \breaks
amyway, however, and if anyone could help work them out I would be so
happy that I would submit my definition to the LSR without delay.
(ahem..) The definition:
%
chant = {
\set Score.defaultBarType = ""
\override Score.SpacingSpanner #'strict-note-spacing = ##t
\set Score.barAlways = ##t
}
% and in the layout block (but this part's not at issue) :
\layout { ragged-last = ##t
\context { \Staff
\remove "Time_signature_engraver"
\remove "Bar_number_engraver" }
}
%
The problems with the "chant" definition are 2, so here's the probably
harder one first:
I want the linebreaks to be just slightly more picky, something like
what happens with Forbid_linebreak_engraver (sic?) only referring to
what the adjacent note values around the break, so that:
1. Lines don't break between notes of duration shorter than a
quarter-note,
e.g. between a dotted-quarter and an eighth and
One solution is to skip the barAlways setting, keep the
time signature engraver but remove the printing of the time
signatures and specify a time signature corresponding to
where you can accept to have line breaks. For example,
if you can accept to have a line break after each full quarter
note, but not shorter, then you specify the time signature
\time 1/4. What I just described in words corresponds to
%
chant = {
\set Score.defaultBarType = ""
\override Score.SpacingSpanner #'strict-note-spacing = ##t
}
% and in the layout block (but this part's not at issue) :
\layout { ragged-last = ##t
\context { \Staff
\override TimeSignature #'stencil = ##f
\remove "Bar_number_engraver" }
}
%
2. Lines don't break in the middle of a melisma whose whole duration is
less than one whole-note.
Possible?
Harder, except if these melismas always start on a time
instant corresponding to a full number of whole-notes.
In that case, just take my previous answer and use
\time 4/4
N.B. I am aware that I could just set the t.signature for some
denominator higher than 8 (rather than doing BarAlways)
The problem with this is that Znamenny Chant is so metrically
irregular and syncopated that I would be getting bar-overflow all the
time. It wouldn't fit even into a 1/4 t.signature.
Oops, I didn't see this remark until now.
/Mats
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Re: rest merging (willing to sponsor)
i'm looking forward to seeing this feature implemented ^^
Yota
On 3/21/07, Arvid Grøtting <[EMAIL PROTECTED]> wrote:
2007/3/21, Mats Bengtsson <[EMAIL PROTECTED]>:
> I hope you have tried the workaround described in
> http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html
While certainly usable, this workaround requires that I know which
voices I want to go to which staff, at least in the multiple-voice
staffs. And it clutters the input. Most importantly, it requires me
to manually specify something that Lilypond already knows.
That aside, I haven't tried it before now. Now that I have, the
following sort-of works:
normalRests = {
\revert Rest #'direction
\revert MultiMeasureRest #'staff-position
}
<< { \normalRests c4 d r c | R1 | r2 \voiceOne r8 f f4 } \\
{ \normalRests c4 c r b | R1 | r2 \voiceTwo r4 c4 } >>
...but requires me to know what voice I'm in. I can probably work
around that and implement a \splitRests that sets these properties to
something dependent on e.g. stem directions, but it still clutters the
input.
Anyway, I'm not looking for a workaround; I'm looking for automation
of common typesetting practice, and I probably have money to throw at
it too.
--
Arvid
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Vertical edges on TextSpanners?
I was recently typesetting a Gershwin song with a very short (2-note) ottava bracket, which needed the octavation text "8va bassa ad lib." This text is too long for the bracket, so I considered reducing text size and using column markup; but the Staff.octavation property takes text, not markup, and it doesn't support font-size. Then I tried using a TextSpanner, but was unsuccessful in getting the vertical edge at the end of the spanner. It seems that these vertical edges are only supported for grobs that support the horizontal-bracket-interface. This is probably a stupid question, but is there any way of forcing the TextSpanner to implement the horizontal-bracket-interface? I'm sure this would involve overriding the stencil, which would be a daunting (if even possible) task. Anyone have any ideas? --Daniel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
defintion for metrelessness (help?)
I have a little definition (here called "chant") which, together with my
standard \layout
block let's me write unmetred music ad infinitum without having to
(explicitly) add
invisible barlines whenever I want the line to break. This
potentially really useful, since otherwise I have to recompile my .ly's
often, decide where the break is best and put it there.
There are a couple of problems which keep me adding the explicit \breaks
amyway, however, and if anyone could help work them out I would be so
happy that I would submit my definition to the LSR without delay.
(ahem..) The definition:
%
chant = {
\set Score.defaultBarType = ""
\override Score.SpacingSpanner #'strict-note-spacing = ##t
\set Score.barAlways = ##t
}
% and in the layout block (but this part's not at issue) :
\layout { ragged-last = ##t
\context { \Staff
\remove "Time_signature_engraver"
\remove "Bar_number_engraver" }
}
%
The problems with the "chant" definition are 2, so here's the probably
harder one first:
I want the linebreaks to be just slightly more picky, something like
what happens with Forbid_linebreak_engraver (sic?) only referring to
what the adjacent note values around the break, so that:
1. Lines don't break between notes of duration shorter than a quarter-note,
e.g. between a dotted-quarter and an eighth and
2. Lines don't break in the middle of a melisma whose whole duration is
less than one whole-note.
Possible?
N.B. I am aware that I could just set the t.signature for some
denominator higher than 8 (rather than doing BarAlways)
The problem with this is that Znamenny Chant is so metrically
irregular and syncopated that I would be getting bar-overflow all the
time. It wouldn't fit even into a 1/4 t.signature.
I'll leave the second problem for another message.
Many many thanks.
--
Monk Panteleimon
Hermitage of the Holy Cross
Wayne, WV, USA
http://www.holycross-hermitage.com
http://www.holycrosskliros.org
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Re: Copyrights (was Re: No time/no bars)
In Canada, it's 50 years after the death of the relevant people. In many (all?) jurisdictions, a published music manuscript - the layout, fonts, etc. - is considered artwork, and hence falls under copyright law, regardless of whether or not the music itself is in the public domain. My understanding is that you can work from a copyrighted score to prepare a new edition as long as you restrict yourself to using the non-copyrighted part of the score: the composer's notes, phrasing slurs, and so on. Evidently, if you're making a new edition with lilypond, you won't be using anyone else's layout etc so that shouldn't be a concern I would think. Editorial fingerings, phrasing slurs and so on are a grey area: can one really 'copyright' a fingering solution to a technical problem? That would seem to me to be an area outside of copyright law but who knows; I myself don't include fingerings in the stuff I publish so I haven't looked into that issue. (I generally use out-of-copyright editions, or work from a copyrighted edition until I can find a non- copyrighted one to check). Anyway, that's just my two cents on what it means to claim a copyright on an edition of music that is itself in the public domain. -Mike Good Luck Yeah. I'm now half through Part three of Danses de travers. But I'm not sure about the copyright, Satie is dead long enough, but my score is marked with (c) 1978. ___ 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
Copyrights (was Re: No time/no bars)
You probably know about Mutopia's page on copyright. Their rule of thumb is: 1. The composer, lyricist, arranger and editor all must have been dead for more than seventy years. 2. The work must have been published prior to 1923. http://www.mutopiaproject.org/contribute.html Individual countries have different limits. I would wonder whether your score has enough contact by recent people to still be under copyright. If you contact Mutopia or Gutenberg, they can advise you further. http://www.gutenberg.org/wiki/Gutenberg:The_Sheet_Music_Project Klaus Muth <[EMAIL PROTECTED]> writes: >> Good Luck > Yeah. I'm now half through Part three of Danses de travers. But I'm not > sure about the copyright, Satie is dead long enough, but my score is > marked with (c) 1978. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing fret-diagram muted string symbol
José Luis Cruz gmail.com> writes: > > Hello, > > I've searched in manual and in the list archive, but i've been able to > find a way for substituting the 'x' symbol that denotes a muted string > in a fret-diagram. > > I want to be able to use another symbol, like a blank space, or > ideally a markup (for changing font's size and attributes). > > If someone is so smart for figuring a way, maybe we're lucky and it > can be applied also to substitute any dot inside the fret-diagram for > another symbol? > > cheers. > As the code currently stands, the "X" for muted string and "O" for open string are hardcoded, but are easy to change (see line 218 of LilyPond/usr/share/lilypond/scm/fretdiagrams.scm). It would be trivial to add a property containing the character for mute and the character for open strings to the fret-diagram. There is already a property governing the font size (xo-font-mag), but Han-Wen didn't want to have it because it polluted the namespace. If you want to change font size, you can uncomment line 212 of fretdiagrams.scm, and comment line 213. Then you will have a property (xo-font-mag) that can be used to change the size of the mute and open indicators. I will look into changing those indicators into markups. That should probably be doable, but I've been away from markups long enough that I'm not sure what it will take. As far as changing dots into markups, that's also doable if I can get the previous step done. The biggest challenge I see is the interface -- at present there is no interface to individual dots, and I don't know how to put it in. Do you want to have individual dots have different symbols, or would you be happy with all the dots having the same symbol, but different from the current circle? Please take this discussion over to the devel list, so that we can have some discussion about implementation features. Carl Sorensen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rest merging (willing to sponsor)
2007/3/21, Mats Bengtsson <[EMAIL PROTECTED]>:
I hope you have tried the workaround described in
http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html
While certainly usable, this workaround requires that I know which
voices I want to go to which staff, at least in the multiple-voice
staffs. And it clutters the input. Most importantly, it requires me
to manually specify something that Lilypond already knows.
That aside, I haven't tried it before now. Now that I have, the
following sort-of works:
normalRests = {
\revert Rest #'direction
\revert MultiMeasureRest #'staff-position
}
<< { \normalRests c4 d r c | R1 | r2 \voiceOne r8 f f4 } \\
{ \normalRests c4 c r b | R1 | r2 \voiceTwo r4 c4 } >>
...but requires me to know what voice I'm in. I can probably work
around that and implement a \splitRests that sets these properties to
something dependent on e.g. stem directions, but it still clutters the
input.
Anyway, I'm not looking for a workaround; I'm looking for automation
of common typesetting practice, and I probably have money to throw at
it too.
--
Arvid
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Re: rest merging (willing to sponsor)
Arvid Grøtting wrote: Hi, in the category for "Coding better typography automation", my choir is willing to sponsor (within reason) the coding of automatic rest merging within a staff. Background: In staffs with multiple voices, common typesetting practice is to merge simultaneous rests of equal duration that are common to all voices. Lilypond doesn't do this automatically, and the workarounds I've seen are impractical (to me), mostly in that they tie me to choosing a particular staff layout when inputting the music. I hope you have tried the workaround described in http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
rest merging (willing to sponsor)
Hi,
in the category for "Coding better typography automation", my choir is willing
to sponsor (within reason) the coding of automatic rest merging within a staff.
Background:
In staffs with multiple voices, common typesetting practice is to merge
simultaneous rests of equal duration that are common to all voices.
Lilypond doesn't do this automatically, and the workarounds I've seen are
impractical (to me), mostly in that they tie me to choosing a particular staff
layout when inputting the music.
Proposal:
Add a Rest_merge_engraver (or something) to the Staff context.
Example:
<< { c4 d r c | R1 | r2 r8 f f4 } \\
{ c4 c r b | R1 | r2 r4 c4 } >>
...should be typeset like this:
<< { c4 d } \\ { c4 c } >> r << c \\ b >> |
R1 |
r2 << { r8 f f4 } \\ { r4 c4 } >>
Is sponsorship of this possible, and at what price?
Cheers,
--
Arvid
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Re: sponsorship option gone?
and this is what I thing you are searching: http://lilypond-design.com/sponsor/ Yes, and I've read that before. Doesn't seem too updated, though. I'll post a request here and see what happens. :) -- Arvid ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sponsorship option gone?
Hi, In the main web, it seems there's no direct link. But I found this googling: http://lilypond.org/web/sponsor/index.html and this is what I thing you are searching: http://lilypond-design.com/sponsor/ cheers, ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
sponsorship option gone?
Hi, I was browsing through the web site today in order to find the instructions for sponsoring a bugfix/feature, but it looks gone. Is sponsoring features no longer an option? Cheers, -- Arvid ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TeX backend doesn't work :/
See http://lists.gnu.org/archive/html/lilypond-user/2007-02/msg00268.html and other related discussions on the mailing list archives. /Mats Matthias Berndt wrote: Hi, I'd like to use Lilypond's TeX backend, but it keeps telling me that it can't find the ecrm6 font, even though it lies in /usr/share/texmf/fonts/tfm/public/ec-fonts-mftraced/ecrm6.tfm I've figured out that i probably have to set some environment variable properly, but i can't figure out which one etc. Regards Matthias ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
TeX backend doesn't work :/
Hi, I'd like to use Lilypond's TeX backend, but it keeps telling me that it can't find the ecrm6 font, even though it lies in /usr/share/texmf/fonts/tfm/public/ec-fonts-mftraced/ecrm6.tfm I've figured out that i probably have to set some environment variable properly, but i can't figure out which one etc. Regards Matthias ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem that needs help
My general suggestion is to read sections "4.1 Suggestions for writing LilyPond files" (including subsections) and "4.5 Troubleshooting (taking it all apart)" in the manual. There's definitely no need to start from scratch. From your description, my guess is that you have made a typo that causes some rhythmical error. In that case, it should be easy to track it down by adding bar checks in your .ly file. Normally such errors shouldn't cause LilyPond to crash, but it may happen if you are unlucky. Note also that lots and lots of bugs have been fixed in the latest stable version, 2.10.20 compared to the one you use, so i may be a good idea to upgrade your installation. If you are lucky, this gets rid of the crash, so you can look at the PDF file and see what's wrong. /Mats Mischa Falkenburg wrote: Running Lilypond 2.10.0 and jEdit 4.3pre8 and Java 1.5.0_10, and "things" have been OK. Background...I had a file which I removed ~84 bars from. Decided to restore those bars by typing them in. Began processing and this is the result...no .pdf file is part of the result (but WHY?), and if I try playing the .midi file, what I'm hearing is some kind of "shifting" of the treble and bass parts...hearing harmonies that are NOT part of the score. Here's the output from Console: This is a console shell for running LilyPond and related commands. Enter %help to see the available special commands. LilyPond ready. %lilypond %args "D:\lilypond\OceanicMusics II\firstmeas.ly" Processing `D:/lilypond/OceanicMusics II/firstmeas.ly' Parsing... Interpreting music... [8][16][24][32][40][48][56][64][72][80][88][96][104][112][120][128][136][144][152][160][168][176][184][192][200][208][216][224][232][240][248][256][264][272][280][288][296][304][312][320][328][336][344][352][360][368][376][384][392][400][408][416][424][432] Preprocessing graphical objects... Interpreting music... MIDI output to `firstmeas.midi'... Track... Layout output to `firstmeas.ps'... - Ignored: While reading gs_patrn.ps: Error: /VMerror in --string-- VM status: 0 332877 348044 Current file position is 10591 Unrecoverable error: undefined in .uninstallpagedevice Operand stack: gs_res.ps .rfnstring 8192 Converting to `firstmeas.pdf'... Processing time: 2620 seconds LilyPond ready. Worst case scenario...do I need to start from scratch and re-enter all of the 432 bars to date? Thanks-in-advance for your help/comments, Mischa ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing fret-diagram muted string symbol
As far as I can see from the implementation, this is hard-coded for the moment. However, since the whole implementation of fret diagrams is done in Scheme, you don't have to recompile LilyPond to change it, it should suffice to include a modified version of the Scheme code into your .ly file. However, I'm not sure how large part of the file scm/fret-diagrams.scm that you would have to copy and modify. Preferably, the current implementation should be modified to make it easy to customize how the symbols are drawn. /Mats José Luis Cruz wrote: Hello, I've searched in manual and in the list archive, but i've been able to find a way for substituting the 'x' symbol that denotes a muted string in a fret-diagram. I want to be able to use another symbol, like a blank space, or ideally a markup (for changing font's size and attributes). If someone is so smart for figuring a way, maybe we're lucky and it can be applied also to substitute any dot inside the fret-diagram for another symbol? :-) cheers. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
