Re: hang --going backwards in time; insane spring
On Nov 27, 2007 8:44 PM, Trevor Bača [EMAIL PROTECTED] wrote: On Nov 27, 2007 1:02 PM, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Libero, wikipedia article call those time sigs as irrational meters: It's unfortunate (IMO) that such a (mathematical) misnomer has become accepted... Agreed. I think Ferneyhough uses the term only with reluctance; Xenakis refused ... Ok, but it is a metaphor, not a mathematical explanation and many music definitions are metaphoric... that's why Xenakis refused, he was less on the rethorical side -:) (I really respect his music and life... just a little irony). irrationals are the bar lenght whose beats are based on irregular groups (and incomplete... 5/5=1). To me the analogy is quite understandable, even if not correct. I wish I knew enough about Medieval music (or Medieval music theory anyway) to know if the Medieval invetors of duplum and triplum and perfectus and imperfectus and the like ever touched on the topic ... they'd make a good source to steal from ... Anyway, complex ars subtilior music was written without the notion of measure, and thus even for the most irrationals passages of the time, there was not this problem (the problem to write a special time signature, I mean, to fit all voices in a measure). (A good example is prolation ... which I *think* Ferneyhough borrows from prolatio ... though not sure ... and which makes a great cover term for tuplets and all forms of duration scaling in general.) Well, I dont have here a copy of Henry Cowell's book, maybe there is a better definition there, when he speaks about complex rhythmical subdivisions. Could someone check it? A question: in english language, do you say Irrational rhythm? I'm not asking if this is correct or not, just if it is the common practice. In italy we call them Irregular groups! Xenakis would have correctly argued that in a quintuplet there's nothing irregular, I mean, that the subdivision is in 5 equal parts... Ciao Libero -- Trevor Bača [EMAIL PROTECTED] -- Libero Mureddu Vanha Viertotie, 21 as 417 00350 Helsinki Finland http://webusers.siba.fi/~limuredd/ http://webusers.siba.fi/%7Elimuredd/ http://www.myspace.com/liberomureddu ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with multiple melody lines
The problem is not the triplet in itself but that fact that you use shorter
note values in the voice you want to change back to. Of course, the root
of the problem is the silly fact that you have to issue the command to
switch
the associated voice one syllable too early. The next matching note that
LilyPond finds after the switch is the g8 and not the d'1.
A simple workaround is to insert an empty syllable in the lyrics to match
the extra note.
\version 2.10.33
\score {
\new Voice = Verse23 {
\relative c' {
\time 2/4 e8 e4 e8 |
{\voiceOne a4. a8 | g4. g8 } \new Voice = Verse3 {\voiceTwo \tiny
a2 | \times 2/3 {g4 g4 g4}} |
\time 4/4 d'1 |\mark \markup { \musicglyph #scripts.ufermata } c4(
b) a4. r16\fermata g | g1~ | g2. r4 \bar ||
}
}
\new Lyrics \lyricsto Verse23 \lyricmode {
emp -- tied him -- | self, be -- | came
a | slave! | Je -- sus the | Lord.
}
\new Lyrics \lyricsto Verse23 \lyricmode {
cep -- ting his |
\set associatedVoice = Verse3
death, | death on
\set associatedVoice = Verse23
a _ | tree! | Je -- sus the | Lord.
}
}
/Mats
Garrett Fitzgerald wrote:
On Nov 27, 2007 5:29 PM, Garrett Fitzgerald [EMAIL PROTECTED] wrote:
This is really a question I should not be asking when I don't have the
actual code in front of me, but is there a problem with
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Switching-the-melody-associated-with-a-lyrics-line
and triplets? I had the darnedest time getting something to match up
last night -- the only way I could finally get it to work was to
extend the duplicated melody for an extra note, but that had made it
print two D1s next to each other, which isn't exactly pretty.
Here's the section of the score that shows the problem. If I move the
associated voice one note forward, nothing after that prints.
\version 2.10.33
\score {
\new Voice = Verse23 {
\relative c' {
\time 2/4 e8 e4 e8 |
{\voiceOne a4. a8 | g4. g8} \new Voice = Verse3 {\voiceTwo \tiny
a2 | \times 2/3 {g4 g4 g4}} |
\time 4/4 d'1 |\mark \markup { \musicglyph #scripts.ufermata } c4(
b) a4. r16\fermata g | g1~ | g2. r4 \bar ||
}
}
\new Lyrics \lyricsto Verse23 \lyricmode {
emp -- tied him -- | self, be -- | came
a | slave! | Je -- sus the | Lord.
}
\new Lyrics \lyricsto Verse23 \lyricmode {
cep -- ting his |
\set associatedVoice = Verse3
death, | death on
\set associatedVoice = Verse23
a | tree! | Je -- sus the | Lord.
}
}
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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: hang --going backwards in time; insane spring distance requested
On 27 Nov 2007, at 22:05, Adam James Wilson wrote: Yes, these time sigtanatures are ridiculous -- but they are needed to produce the visual I'm after. I'm notating an electronic part; I have four performers playing at 4 different tempi, and the electronic part plays groups of four artiuclations, each quantized to a beat in a different tempo -- hence the strange timesigs on the staff containing this part. But I still don't understand Valentin -- you're telling me you can't tap out rhythms in 2667/25276 time? :) The MIDI timing seems to be rather poor, too: according to http://en.wikipedia.org/wiki/MIDI_timecode it is at best 1/30 second, but could be just 1/24 (as it uses the standard film frame rates). Is this right? Suppose the tempo 1/4 = 120, so the 1/4 note takes 0.5 seconds; then the 1/2 note takes one second, and the 1/30 second is a 2*30 or about a 64th note. Perhaps this is why MIDI code sounds so bad :-) - there isn't enough time resolution for doing subtle time bendings. Hans Åberg ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating a nice formatted Chords + Lyrics layout for guitar players
Thank you everyone for replying on this post. I'd like to add the solution I found: ragged-right = ##t aligned it all music content. Thanks -- View this message in context: http://www.nabble.com/Creating-a-nice-formatted-Chords-%2B-Lyrics-layout-for-guitar-players-tf4833989.html#a13989975 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: Your Friendly Neighborhood LSR
On Nov 27, 2007, at 11:29 PM, Graham Percival wrote: I wouldn't be opposed to adding a % added in 2.8.6 comment to snippets, though. As an often confused but avid user of Lilypond, Graham's approach would be welcome. It might explain to a user such as me why the results obtained aren't exactly the same as those shown in the LSR (should that ever happen). Regards, Stan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Graham Percival skrev: I wouldn't be opposed to adding a % added in 2.8.6 comment to snippets, though. Will the original version be available somewhere, or is it lost forever as soon as the convert-ly has been run? If the original is lost I do not see a need for a comment on when the snippet was introduced. No code is meant to be old, but it happens. Trust me, I've been doing the docs for over three years. That doesn't sound like a lot, but in lilypond-years, that's a huge change. That is true, and therefore I still think that the original version of snippets should be kept - so that it as possible to reconstruct how they originally looked. It is correct that in an ideal world snippets will keep looking the same. But experience shows that severe bugs - even bugs that are clearly visible in the manual - can be introduced into lilypond, and stay undiscovered for quite a lot of time. For instance still in latest stable the tabstaff will not use the lowermost string. This bug almost screams that it is present: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Tablatures-basic#Tablatures-basic But still it survived quite a number of stable releases before it was noticed. So it is only in your dreams that you can even hope for all snippets at all times showing the right thing. When seeing a snippet that does something wrong it would be nice to know whether it is a bug in the snippet or a regression in lilypond. The easiest way would be to compare the output of the snippet with the output of snippet as it looked in the lilypond that it was made for. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chord accidental placement when tied
Hello all,
I've looked for this issue but I can't find it anywhere.
As displayed in the following snippet, the E-flat on the chord that ties
over the barline is much too far to the left, as if the B-flat above it is
pushing it over. This does not happen with a B-natural, and it only happens
with a tie over a barline.
Looks like a bug, but I need a fix for now, and I'm hoping for an elegant
one...
Has anyone found a solution to this? Is there a way to change (manually)
the ordering of accidentals on a chord to put the A-flat closer?
%%%
\paper {ragged-right = ##t}
\relative c' {bes' g2~ bes ees, bes g1~ bes ees,}
\version 2.11.35
--
Neil Thornock, D.M.
Visiting Assistant Professor of Music
Theory/Composition
Brigham Young University
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SOLVED: going backwards in time
Hi Trevor, As you suspected, there WAS indeed a math error -- I checked things over yet again and found I'd entered a time signature as 4356/6319 instead of 4365/6319. (I'm doing some things algorithmically and some intuitively, hence the entering of some data by hand). I feel considerably relieved that it was my error and not Lily's! I feel pretty confident now that I can inflict my sickest notation and not have to worry about Lily breaking. Now the only thing going backwards in time (at least it feels this way) is my compositional process! Best, Adam ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hang --going backwards in time; insane spring
On 27.11.2007 (20:10), Trevor Bača wrote: Oh, Eyolf, what a gem. Thanks so much for the beautiful reference. My pleasure. Honestly -- if you knew how rarely it happens that people ask for these things... and then even enjoy the answer..! :) eyolf -- Time does not count itself. You have only to look at a circle and this is apparent. -- Leto II (The Tyrant) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Rune Zedeler wrote: Graham Percival skrev: I wouldn't be opposed to adding a % added in 2.8.6 comment to snippets, though. Will the original version be available somewhere, or is it lost forever as soon as the convert-ly has been run? It's lost. If the original is lost I do not see a need for a comment on when the snippet was introduced. When a snippet breaks, it might give hints as to what it was supposed to show? If we can assume that it worked when the snippet was introduced, at least. That is true, and therefore I still think that the original version of snippets should be kept - so that it as possible to reconstruct how they originally looked. Not possible in LSR. Sorry. It is correct that in an ideal world snippets will keep looking the same. But experience shows that severe bugs - even bugs that are clearly visible in the manual - can be introduced into lilypond, and stay undiscovered for quite a lot of time. That's why we want a user to volunteer to check the regression tests. It takes about 15 minutes a month, but it would drastically improve the stability of lilypond. Volunteers? - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SOLVED: going backwards in time
Hi Adam, I'd entered a time signature as 4356/6319 [...] I feel pretty confident now that I can inflict my sickest notation and not have to worry about Lily breaking. Oh, come on... 4356/6319 is your sickest notation? Wussy. ;-) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Graham Percival skrev: That's why we want a user to volunteer to check the regression tests. It takes about 15 minutes a month, but it would drastically improve the stability of lilypond. Not all regressions are caught by the regression test. For instance we - for obvious reasons - have no it must be possible to use all strings on a tabstaff-regression test. And it so happens that none of the regression tests use the lowermost string. So even if (in your dreams) we had a user to check the regression tests the error would still not have been caught. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Space on the left end of each line
Quoth Mats Bengtsson: Don Blaheta wrote: I'm setting a bunch of plainchant stuff in more or less modern notation, so it uses modern note heads and spacing rules and five lines, but still doesn't have a time signature or key signature and the clef is only printed on the first line. [...] I'd like to allow a fixed-width space at the beginning of the line before the notes start rendering. You didn't tell how you removed the clef and key signatures. If you use \override Staff.KeySignature #'transparent = ##t \override Staff.Clef #'transparent = ##t then they will still take the same space as if they were printed. However, based on your problem description, it seems that you have rather removed the engravers or set ... #'stencil = ##f, which completely removes the clef and time signatures. In fact the issue is that I've removed the Bar engraver, since this is plainchant; without a bar engraver, the clef is never printed at the start of the line. Come to think of it, I'd actually be happy if I just got the clef signs back. In the latter case, a direct answer to your question is \override Score.LeftEdge #'space-alist #'first-note = #'(fixed-space . 10.0) This doesn't seem to do anything at all, whether at the start of the Score, start of the Staff, or anyplace else I can find where it's a syntactically valid statement. Quoth Kieren MacMillan: Have you thought about adding this value to the 'X-extent of the first note? e.g., \once \override NoteColumn #'X-extent = #'(-20 . 1) Even this doesn't seem to work; when I put it before any other note on the line, I get the expected space, but when it is on the first note of the line, nothing happens. (Not quite true: if I put it on the first note of a line that has other stuff on it, e.g. a clef, then it works. So it looks like the X-extent of the leftmost note is allowed to hang off the edge of the staff somehow.) I confess I'm a little relieved; I was not looking forward to adding all these manually! -- -=-Don [EMAIL PROTECTED]http://www.blahedo.org/-=- Actually, it's the dice that play God with the universe. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Rune Zedeler wrote: Not all regressions are caught by the regression test. For instance we - for obvious reasons - have no it must be possible to use all strings on a tabstaff-regression test. And it so happens that none of the regression tests use the lowermost string. So even if (in your dreams) we had a user to check the regression tests the error would still not have been caught. Well, we could modify an existing regression test to test lowermost strings on a tabstaff. LSR is not intended to be a regression checking framework. Trying to make it into one such thing is a silly exercise in reinventing the wheel. More to the point, the amount of resources that we have for modifying LSR are extremely limited, and they certainly shouldn't be spent recreating the extensive regression testing framework that Han-Wen/Jan created. My dream of finding a user who can spend 15 minutes per month looking at a bloody webpage is still quite alive. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Useful to emacs users lilypond-skeleton.el
I have put together a file which might be useful to those on this list
who use emacs to write lilypond files. It uses the inbuilt emacs
skeleton.el which allows you to make skeleton files for a number of
different purposes including, of course, lilypond templates. Please look
through the file. It has instruction on how to use it. It not only
contains interactive skeletons for the templates but also some of the
more common lilypond structures such as \header and \repeat structures.
Cheers,
Shelagh
;-*-Mode:lisp,comment-column:60-*-
;; lp-skeletons.el ---
;; Copyright (C) 2007 Shelagh Manton [EMAIL PROTECTED]
;; Author: Shelagh Manton [EMAIL PROTECTED]
;; This program is free software; you can redistribute it and/or
;; modify it under the terms of the GNU General Public License
;; as published by the Free Software Foundation; either version 2
;; of the License, or (at your option) any later version.
;; This program is distributed in the hope that it will be useful,
;; but WITHOUT ANY WARRANTY; without even the implied warranty of
;; MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
;; GNU General Public License for more details.
;; You should have received a copy of the GNU General Public License
;; along with this program; if not, write to the Free Software
;; Foundation, Inc., 59 Temple Place - Suite 330, Boston, MA
;; 02111-1307, USA.
;; This is intended to be a library of skeletons for use with
;; LilyPond-mode. I have included abbrevs to make it easy to use.
;; Put the following lines in your .emacs (add-hook
;; 'Lilypond-mode-hook (lambda () (abbrevs-mode 1))) if you want to
;; use abbrevs and the following to load the file in lilypond-mode.
;; (add-hook 'Lilypond-mode-hook (lambda () (load-library
;; /path/to/your/lp-skeletons.el)))
;; This works but maybe there is some more elegant way of doing it.
; gtg
(define-skeleton lp-book-skeleton
Insert a skeleton for lilybook.
Only makes sense in an empty buffer.
nil
\\documentclass[(skeleton-read Papersize?: )]{article} \n
\\begin{document} \n
_
\n
\\end{document}\n
)
;;Usefull for easy insertion of snippets in a lilybook.
;gtg
(define-skeleton lp-snippet
Inserts a music snippet in Lilybook
nil
\\begin{lilypond}\n
\n
\\relative c'' {
\n
_
\n
}
\n
\\end{lilypond}
\n
)
;; this works well,.eg Creative commons and Personal
;; copyright. I looked at the (copyright) function and it won't work
;; here as it is itself a skeleton.
;gtg
(define-skeleton lp-header
Interactively inserts header for Lilypond file.
You need to decide where it goes as you can put a header block
the last thing in a \score block, or by itself in the .ly
file. There are some basic defaults if you don't know what to
put, and if you don't want a section just RET. Lilypond markup is
acceptable in these strings. There is an opportuntity to define
your own personalised header. See lp-myheader.
nil
\\header { \n
title = \(skeleton-read Title is: ) \ \n
composer = \(skeleton-read Composer is: )\| (user-full-name) \ \n
copyright = \(skeleton-read Copyright: ) \| Public Domain\ \n
( Optional, Maintainer is: maintainer = \ str \ \n)
resume:
( Optional, Words by: poet = \ str \ \n) ;;subprompt
resume:
( Optional, Subtitle is: subtitle = \ str \ \n);;subprompt
resume:
( Optional, Arranger is: arranger = \ str \ \n) ;;subprompt
resume:
( Optional, Tempo is: meter = \ str \ \n )
resume:
( Optional, Instrument?: instrument = \ str \ \n)
resume:
( Optional, Dedicated to: dedication = \ str \ \n)
resume:
( Optional, And at the bottom of the last page?: tagline = \ str (format-time-string %d %b %Y)\)\n
resume:
} \n
)
;; (define-skeleton lp-myheader
;; Interactively inserts personal header for Lilypond files.
;; You need to change this to make it useful for you. Of course you may delete
;; lines which are not applicable to your case.
;;
;; \\header \n
;; { \n
;; title = \ (skeleton-read Title is: ) \ \n ; leave this line.
;; composer = \ (user-full-name) \ \n
;; copyright = \ YOUR DEFAULT COPYRIGHT CLAUSE \ \n
;; poet = \ YOUR POET'S NAME \ \n ; no words? get rid of this line.
;; ( Subtitle is: subtitle = \ str \ \n); sometimes we might want a subtitle
;; resume:
;; arranger = \ YOUR ARRANGER'S NAME \ \n
;; ( Optional, Tempo is: meter = \ str \ \n )
;; resume:
;; tagline = \WHAT YOU WANT ON THE BOTTOM OF THE LAST PAGE (format-time-string %d %b %Y) \ \n
;; } \n
;; )
;gtg
(define-skeleton lp-block-comment ;maybe this should be a key binding?
Put a section of Lilypond code into a commented block.
Will enclose the region into a block comment. Useful for debugging.
nil
%{ \n
_ \n
%} \n
)
;gtg
(define-skeleton lp-global
A simple global variable
nil
global = {\n
\\key (skeleton-read Key: ) (skeleton-read \\major or \\minor: ) \n
\\time (skeleton-read Time, needs to be of form N/N: ) \n
(Sometimes we want to define clef: \\clef str )\n
resume:
} \n
)
;gtg
(define-skeleton lp-global-min
An even simpler
missing half rest in pdf
The printout for this score in the 'volta' is missing the half rest which is in
the code and I don't see an example in the pdf manual that tells me what I am
doing to cause that.
\version 2.10.25
\header {
title = Desafinado for alto
composer = Antonio Carlos Jobim
copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
\center-align
{ All rights reserved
see http://creativecommons.org/licenses/by-nd/2.5/;
} }
}
melody = \relative c' {
\clef treble
\key d \major
\time 2/2
#(set-global-staff-size 24)
\repeat volta 2 {
r8 a'4 b8 cis4 d cis4. b8 bes4 b d4. bes8 bes2 ~ bes1 r8 b4 cis8 d4 e
d4. cis8 c4 cis a'4. c,8 c2 ~ c1}
\alternative { { r8 b a'g fis e4 g8 ~ g4. fis8 c4 cis dis8 fis dis2 b4
c1 r8 f4 e8 d4 b f'4. e8 d4 b d4. bes8 bes2 ~ bes} {r8 a'4 g8 fis e4 g8 ~ g4.
fis e4 d e8 d e2. ~ e2 r
%I have put the double brackets at the end of the line above which is where it
should be but that didn't work either
cis4 dis cis8 dis4 cis8 ~ cis4 b bes b cis1 ~ cis2 r4 bes} }
des4 es des8 es4 des8 ~ des4 b bes b des4. aes8 des2 ~ des1 r des4 es8 f4 ges
aes4 ges bes, b des8 es des es des2 ~ des r4 des e fis e fis e d cis d e b8 e ~
e b e4 ~
e4 r r8 b e fis g4 fis g fis a g fis g e1 ~ e4 r2. r8 a,4 b8 cis4 d
cis4. b8 bes4 b d4. bes8 bes2 ~ bes1 r8 b4 cis8 d4 e d4. cis8 c4 cis b' bes a
gis
g b r fis a gis g fis g fis e d fis2. cis4 e2. b8 cis d d d d d4 d r8 b4 cis8
d4 d
d8 d d d a'4 g ~ g2. b,8 cis d d d d d4 cis8 d ~ d4 r8 cis c4 cis e4. d8 d2 ~
d2. r4
\bar |.
}
\score {
\new Staff \melody
\layout { }
\midi { }
}
Yours-
Jay
Jay Hamilton
www.soundand.com
206-328-7694
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Re: SOLVED: going backwards in time
On Nov 28, 2007 4:46 PM, Adam James Wilson [EMAIL PROTECTED] wrote: Hi Trevor, As you suspected, there WAS indeed a math error -- I checked things over yet again and found I'd entered a time signature as 4356/6319 instead of 4365/6319. (I'm doing some things algorithmically and some intuitively, hence the entering of some data by hand). I feel considerably relieved that it was my error and not Lily's! I feel pretty confident now that I can inflict my sickest notation and not have to worry about Lily breaking. Now the only thing going backwards in time (at least it feels this way) is my compositional process! Hi Adam, Excellent. I think what clued me in was the error message about going *backwards* in time ... And, yes: I think Han-Wen and the gurus really *really* got it right on the time-keeping: AFAICS, it's all rationals all the time and so completely exact. The formal + intuitive way of working is definitely a great way to go. Maybe a quick script in python just to check things like well-formedness of time signatures and stuff could be a nice addition to your arsenal in future? Good luck with the piece! Looks amazing from the small bits I've seen ... :-) -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Smaller PDF, shrinking away largeness
My initial inquiry [clarified]: PDF files seem larger than [they used to be], is there something I can do to shrink them? Besides setting 'point-and-click false, which I've already done. Laura Conrad added: My users complain about this too. It doesn't bother me so much, but the people who are downloading and using older hardware really would rather have files the size they used to be. For me, the bottleneck is email transmission, where 130K vs 1300K is still significant (approximations for current project). Much obliged, Laura, for filing a direct-comparison bug report much swifter than I'd have been able. And to all Lilypond contributors who attend this issue in great or small capacity. Cheers, - Sean ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: missing half rest in pdf
If you are refering to the rest just before the comment in your
code, it's certainly present inthe printed output, but probably
not on the beat you expect to find it. The problem is that your
first ending ends in the middle of a bar (a typo?) which triggers
the bug http://code.google.com/p/lilypond/issues/detail?id=355.
As you can see in the bug report and in recent versions of the
manual, the workaround is to add an appropriate \partial
directive.
When I tried this in your example, I noted that there seems to
be more rhythmical problems in your file. I strongly encourage
you to use bar checks to easily detect such problems.
/Mats
Jay Hamilton wrote:
The printout for this score in the 'volta' is missing the half rest which is in
the code and I don't see an example in the pdf manual that tells me what I am
doing to cause that.
\version 2.10.25
\header {
title = Desafinado for alto
composer = Antonio Carlos Jobim
copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
\center-align
{ All rights reserved
see http://creativecommons.org/licenses/by-nd/2.5/;
} }
}
melody = \relative c' {
\clef treble
\key d \major
\time 2/2
#(set-global-staff-size 24)
\repeat volta 2 {
r8 a'4 b8 cis4 d cis4. b8 bes4 b d4. bes8 bes2 ~ bes1 r8 b4 cis8 d4 e
d4. cis8 c4 cis a'4. c,8 c2 ~ c1}
\alternative { { r8 b a'g fis e4 g8 ~ g4. fis8 c4 cis dis8 fis dis2 b4
c1 r8 f4 e8 d4 b f'4. e8 d4 b d4. bes8 bes2 ~ bes} {r8 a'4 g8 fis e4 g8 ~ g4. fis e4 d e8 d e2. ~ e2 r
%I have put the double brackets at the end of the line above which is where it should be but that didn't work either
cis4 dis cis8 dis4 cis8 ~ cis4 b bes b cis1 ~ cis2 r4 bes} }
des4 es des8 es4 des8 ~ des4 b bes b des4. aes8 des2 ~ des1 r des4 es8 f4 ges
aes4 ges bes, b des8 es des es des2 ~ des r4 des e fis e fis e d cis d e b8 e ~ e b e4 ~
e4 r r8 b e fis g4 fis g fis a g fis g e1 ~ e4 r2. r8 a,4 b8 cis4 d
cis4. b8 bes4 b d4. bes8 bes2 ~ bes1 r8 b4 cis8 d4 e d4. cis8 c4 cis b' bes a gis
g b r fis a gis g fis g fis e d fis2. cis4 e2. b8 cis d d d d d4 d r8 b4 cis8 d4 d
d8 d d d a'4 g ~ g2. b,8 cis d d d d d4 cis8 d ~ d4 r8 cis c4 cis e4. d8 d2 ~ d2. r4
\bar |.
}
\score {
\new Staff \melody
\layout { }
\midi { }
}
Yours-
Jay
Jay Hamilton
www.soundand.com
206-328-7694
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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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lilycall.py and the LILYPONDPREFIX
The computer I have/had been developing on was running 2.10.0, but I wanted to run LilyPond on a different machine, so I've just installed 2.10.33 (Intel Mac version), along with the lilypond and lilypond-script-wrapper.sh scripts that I got from... somewhere... to let me use it from the command line. And when I try to run it I get the message GNU LilyPond 2.10.33 error: LILYPONDPREFIX is obsolete, use LILYPOND_DATADIR This seems to be a problem with the lilycall.py file that came with 2.10.33, and if I manually edit that file and substitute LILYPONDPREFIX with LILYPOND_DATADIR, everything works perfectly. Is this a recent change? Am I the only one who uses the command line lilypond on MacOS? -- -=-Don [EMAIL PROTECTED]http://www.blahedo.org/-=- Hackers like to work on things that are cool. They will do boring, necessary work every now and then, but only after all the more interesting options have been exhausted---just look at how the Linux GUI environments consider themeable checkboxes to be at least as important as having a usable file selector. --Shawn Hargreaves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
