Re: Leopard?
Thanks to all, Ah, so no problem for me. Trevor, you know, I never write a line of lily code directly...:) Best -a- On 13 Feb 2008, at 06:39, Trevor Bača wrote: Hey Andrea, Note that you may have to download the PPC (ie, G3 / G4 / G5) rather than the Intel binary. This proves to be the case on my MacBook (though I haven't tested on any other 10.5 boxes)! Trevor. On Feb 12, 2008 10:31 PM, Benedict Singer [EMAIL PROTECTED] wrote: Yes. If you have Lilypond in /Applications then you can run / Applications/Lilypond.app/Contents/Resources/bin/lilypond music.ly and then open the result in Preview. Preview in Leopard will also pick up file changes without having to close and reopen the file, so you can just leave it open. Ben On Feb 12, 2008, at 14:49, Andrea Valle [EMAIL PROTECTED] wrote: Sorry for the late reply. This means that lily program from terminal works fine and it's the Lily GUI App that does not work? Thanks -a- On 11 Feb 2008, at 19:32, James E. Bailey wrote: you can use an external editor (Textmate, TeXShop) to edit and compile lilypond files in osx 10.5 Am 11.02.2008 um 14:52 schrieb Roberto: Dear Geniuses, There isn't a OSX 10.5 version available yet, right? Any idea when is there going to be on? All the best, Roberto. ___ 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 -- Andrea Valle -- CIRMA - DAMS Università degli Studi di Torino -- http://www.cirma.unito.it/andrea/ -- http://www.myspace.com/andreavalle -- [EMAIL PROTECTED] -- Think of it as seasoning . noise [salt] is boring . F(blah) [food without salt] can be boring . F(noise, blah) can be really tasty (Ken Perlin on noise) ___ 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 -- Trevor Bača [EMAIL PROTECTED] -- Andrea Valle -- CIRMA - DAMS Università degli Studi di Torino -- http://www.cirma.unito.it/andrea/ -- http://www.myspace.com/andreavalle -- [EMAIL PROTECTED] -- Think of it as seasoning . noise [salt] is boring . F(blah) [food without salt] can be boring . F(noise, blah) can be really tasty (Ken Perlin on noise) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: suggestion for LM 5.1.3
Andrew Hawryluk wrote:
*** start draft text ***
In large projects, you can combine several reusable variables to make
a single staff of music. For example, if three trumpet lines have the
same dynamics we could create a single variable that holds only the
dynamic indications separated by skips. Likewise, if rehearsal marks
are needed, they will be the same for all instruments.
trumpetdynamics = { s1\f s1*10 s1\mp }
rehearsalmarks = {s8 \mark \default }
...
\score {
\new Staff { \firsttrumpetnotes \trumpetdynamics \rehearsalmarks }
\new Staff { \secondtrumpetnotes \trumpetdynamics \rehearsalmarks }
}
A couple of comments:
- The rehearsal marks are only printed on top of each score line and not
above each separate stave, so there's no reason to include it in more
than
one of the Staff contexts. However, keeping them in a separate variable is
still an excellent idea, when you typeset instrumental parts corresponding
to the score.
- One fine detail: You might want to make sure that at least the dynamics
indications end up not only in the same Staff but also in the same Voice
context. Otherwise, I seem to recall that the alignment isn't perfect.
In other words, you should use \new Staff \new Voice
- There's no need for the curly braces around the ... (of course it
doesn't hurt either).
/Mats
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Re: file structure (hierarchy)
Andrew Black wrote: What is the status of the GDP manual - does it contain the whole documentation, some of which has been rewritten? Yes, as far as I know. The following sentence from this section is helpful : Some people put some of those commands outside the \score block – for example, \header is often placed above the \score command. That's just another shorthand that LilyPond accepts. Unfortunately, this sentence isn't completely true. Try for example to specify the title of the piece in a \header block within the \score block. The reason that this doesn't work is that the title/composer/... is printed once for the full file (or rather for the full \book, to be precise) before each score is processed, so settings specific to one the scores are ignored. But I have questions - - does the same apply to \layouts (can come before/after/inside score) Yes! - is there any difference in putting the \header \layout etc inside or outside \score Yes! If it's inside the \score block then it only applies to that particular score, whereas if it's outside the \score block, then it applies to all \score blocks in the file. Also, if you have several header/layout blocks at the top level, then the settings is accumulated from all of these blocks (the last one in the file is used if the same variable is set several times) and the resulting set of settings is applied to all the score blocks. I hope I have brought you to a new level of confusion. ;-) /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: suggestion for LM 5.1.3
OK, thanks, Andrew. I've noted this for the next revision
of that section (and Mats' later amendment).
Trevor D
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Andrew Hawryluk
Sent: 13 February 2008 05:40
To: lilypond-user Mailinglist
Subject: suggestion for LM 5.1.3
Under LM 5.1.3 Large projects could we include
something like this?
It might also fit under 5.1.4 Saving typing with
variables and
functions. Either way, I didn't discover this
simple idea until I was
browsing through the mailing list, and it would
have saved me some
trouble. (I was adding rehearsal marks to each
instrument's music
variable. How embarrassing!)
-Andrew
*** start draft text ***
In large projects, you can combine several
reusable variables to make
a single staff of music. For example, if three
trumpet lines have the
same dynamics we could create a single variable
that holds only the
dynamic indications separated by skips. Likewise,
if rehearsal marks
are needed, they will be the same for all instruments.
trumpetdynamics = { s1\f s1*10 s1\mp }
rehearsalmarks = {s8 \mark \default }
...
\score {
\new Staff { \firsttrumpetnotes
\trumpetdynamics \rehearsalmarks }
\new Staff { \secondtrumpetnotes
\trumpetdynamics \rehearsalmarks }
}
*** end draft text ***
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Re: file structure (hierarchy)
We've had this discussion before. I'm not entire opposed to the idea of
always
specifying
\score{
\new Staff {
\new Voice \relative c'{ c d e f }
}
}
in the examples in the manual. Making LilyPond too forgiving and helpful in
terms of input syntax is sometimes a pedagogical problem, as soon as you get
past the initial simple examples. On the other hand, keeping the initial
threshold
as low as possible for new users, is also a good goal.
/Mats
Bertalan Fodor (LilyPondTool) wrote:
I think certain conventions could ease learning and using the syntax,
understanding snippets and so on. Do we have such conventions defined?
Because while it seems to be a good thing that you can write { c d e f
} and it will compile and generate score, but if you want to create
some polyphonic piano music you would never use constructs like this.
And with more complicated scores users of LilyPond usually end up with
completely different styles, which makes learning LilyPond harder. If
we had recommended conventions, perhaps it helped people, for example
always use the context when overriding Grob properties. That may not
be true but may be clearer.
Bert
--
=
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: Divisi lyrics
Thank you very much for your reply, Mats.
I'm using 2.10.25 and, as you say, the fragment I sent before compiles
fine on its own. The troubles arise when I put (single voice) notes
either side of it, such as :
R1 r4 fis2 eis4 dis2 cis4. cis8 b'4 b2 ais4 gis2. cis,4
{ \voiceOne dis2( eis8 fis gis4) fis2 fis4. fis8 fis4 fis2 ~ fis4
gis2 ais4 r4} \\
\new Voice = vII { \voiceTwo dis,2 (eis8 dis cis b) ais2 b4.
dis8 cisis4 dis2( ais4) cis2 fis4 r4}
\lyricsto vII \new Lyrics {
mun -- di, mi -- se -- re -- re no -- bis.
}
cis8. cis16 cis2 cis4 b2 cis4 r8 cis8 cis4 cis cis8 cis4 cis8 b2 cis4 r4
You see, this is part of a much larger score, and the lyrics to most of
the music is held in a separate \lyricmode { } block. But there are one
or two occasions when a single line splits into two parts; at these
points, the main lyrics seem to disappear, and so I tried coding them in
alongside the music as in the example above...
Your continued assistance is most gratefully appreciated!
Peter
--
Peter Siepmann BSc (Hons), LRSM, ARCO
Director of Music, St Peter's All Saints', Nottingham
Chief Conductor, University of Nottingham Sinfonia
http://www.petersiepmann.net
* See also this term's parish music list at
* http://nottinghamchurches.org/worship-and-music/music-lists
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Re: Leopard?
On 13 Feb 2008, at 05:31, Benedict Singer wrote:
Yes. If you have Lilypond in /Applications then you can run /
Applications/Lilypond.app/Contents/Resources/bin/lilypond music.ly
and then open the result in Preview. Preview in Leopard will also
pick up file changes without having to close and reopen the file,
so you can just leave it open.
Here is a crash course (not OS X 10.5 specific) on how to run
LilyPond from the Terminal:
* Might get the System Preferences http://www.rubicode.com/Software/
RCDefaultApp/.
Then set .ly files to open with your favorite editor (also Xcode is
fine) -perhs possible by the Finder Get Info window. This makes it
possible to open .ly files from Terminal using
open foo.ly
One can also open files using -a
open -a 'QuickTime Player' foo.midi
The -t option opens to the preferred editor:
open -t foo.bar
Type
man open
for more information (quit with q - see 'man less').
* One might create a file named .profile for search paths (for X11,
which does not create a login shell, it should be in .bashrc). For
example, if you do not already have one, it might be made by (don't
include the Fink, MacPorts, and MacTeX parts if you do not use them,
don't include the lines , and finish the 'cat' part using
control-D):
cd
cat .profile
# Add to end of searchpath:
append_path()
{
if ! eval test -z \\${$1##*:$2:*}\ -o -z \\${$1%%*:$2}\ -o
-z \\${$1##$2:*}\ -o -z \\${$1##$2}\ ; then
eval $1=\$$1:$2
fi
}
# Add to beginning of searchpath:
prepend_path()
{
if ! eval test -z \\${$1##*:$2:*}\ -o -z \\${$1%%*:$2}\ -o
-z \\${$1##$2:*}\ -o -z \\${$1##$2}\ ; then
eval $1=$2:\$$1
fi
}
# Set system searchpaths:
# In the case a directory may exist (depending on the program) both
with and without
# parent directory 'share/' (like in the cae of MANPATH and
INFOPATH), the 'share/'
# version is put first, as it is what is used in /usr on Mac OS X
FreeSD UNIX.
# The idea is that if a program is somehow adapted to this platform,
the the stuff will
# be moved to the 'share/' variation, and should thus be ovverride
the unadapted versions.
PATH=/bin:/sbin:/usr/bin:/usr/sbin:/usr/X11R6/bin
MANPATH=/usr/share/man:/usr/X11R6/man
INFOPATH=/usr/share/info
LIBPATH=/usr/lib:/usr/X11R6/lib
# Prepend Fink searchpaths:
test -r /sw/bin/init.sh . /sw/bin/init.sh
# Prepend MacPorts (former DarwinPorts) searchpaths:
prepend_path PATH /opt/local/bin:/opt/local/sbin
prepend_path MANPATH /opt/local/share/man:/opt/local/man
prepend_path INFOPATH /opt/local/share/info:/opt/local/info
prepend_path LIBPATH /opt/local/lib
# Prepend MacTeX paths
prepend_path PATH /usr/texbin
prepend_path MANPATH /usr/local/texlive/2007/texmf/doc/man
prepend_path INFOPATH /usr/local/texlive/2007/texmf/doc/info
# Prepend /usr/local/ searchpaths:
prepend_path PATH /usr/local/bin:/usr/local/X11R6/bin
prepend_path MANPATH /usr/local/share/man:/usr/local/man
prepend_path INFOPATH /usr/local/share/info:/usr/local/info
prepend_path LIBPATH /usr/local/lib
Then create a new Terminal window, to make sure this file is read.
* Create a script for running lilypond by
cd
mkdir -p local/bin
cd local/bin
cat lilypond
exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond $@
(Finish by the 'cat' part with control-D, then do)
chmod u+x lilypond
After this, you may run lilypond on a file named say foo.ly from any
directory by typing
lilypond foo.ly
Open the PDF by
open foo.pdf
* Use the tab key frequently, to get the file completions. To get
the file path, one can also drop the file from Finder onto Terminal.
Hans Åberg
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Re: file structure (hierarchy)
I think certain conventions could ease learning and using the syntax,
understanding snippets and so on. Do we have such conventions defined?
Because while it seems to be a good thing that you can write { c d e f }
and it will compile and generate score, but if you want to create some
polyphonic piano music you would never use constructs like this. And
with more complicated scores users of LilyPond usually end up with
completely different styles, which makes learning LilyPond harder. If we
had recommended conventions, perhaps it helped people, for example
always use the context when overriding Grob properties. That may not
be true but may be clearer.
Bert
--
LilyPondTool is the editor for LilyPond files.
See http://lilypondtool.organum.hu
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RE: file structure (hierarchy)
Section 3.1 in the LM recognises this problem and attempts
to tackle it. Like everything else in the manuals I'm sure
this could be improved. Suggestions welcome.
Maybe this would be a good place to introduce the idea of
conventions or, better, best practice in laying out a score.
I would also recommend using a simultaneous contruct after
\new Staff as another useful habit to cultivate.
Trevor D
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Mats Bengtsson
Sent: 13 February 2008 10:21
To: Bertalan Fodor (LilyPondTool)
Cc: lilypond-user@gnu.org
Subject: Re: file structure (hierarchy)
We've had this discussion before. I'm not entire
opposed to the idea of
always
specifying
\score{
\new Staff {
\new Voice \relative c'{ c d e f }
}
}
in the examples in the manual. Making LilyPond
too forgiving and helpful in
terms of input syntax is sometimes a pedagogical
problem, as soon as you get
past the initial simple examples. On the other
hand, keeping the initial
threshold
as low as possible for new users, is also a good goal.
/Mats
Bertalan Fodor (LilyPondTool) wrote:
I think certain conventions could ease learning
and using the syntax,
understanding snippets and so on. Do we have
such conventions defined?
Because while it seems to be a good thing that
you can write { c d e f
} and it will compile and generate score, but
if you want to create
some polyphonic piano music you would never use
constructs like this.
And with more complicated scores users of
LilyPond usually end up with
completely different styles, which makes
learning LilyPond harder. If
we had recommended conventions, perhaps it
helped people, for example
always use the context when overriding Grob
properties. That may not
be true but may be clearer.
Bert
--
=
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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pitched skips
Hi list,
I'm working on a lilytracker, which is basically a tracker like it's
described here: http://en.wikipedia.org/wiki/Tracker but then without
playback, samples etc. It's for me the best of 2 worlds: drag/drop until
eternity in visual tools and low-level programming in lilypond, and it's
really fast! This tracker is actually nearly done already. To make sure I
can put articulations, dynamics etc. on each step without having to do an
extreme load o' intelli-code and other scary stuff, I'll be needing the
skip command so that stuff can be placed everywhere. The dynamics command
in the user tutorial was my starting point regarding that method. The code
below works:
{
\relative c
{f4 a8 bes c d e f}
\\
{ s16 s s s s\ s s s\! s\ s\pp s s\! s\ s s\! s\ff }
}
However, the skips aren't pitched and so whatever's alligned to that pitch
will be on the same heights everywhere, and in this case it'll pinch just
through all the notes on that channel. Is it somehow possible to have
pitched skips (I would be doubling the notes in my skips section, kinda
lika having f16 f f f a a bes bes c d e f) so that any alligned stuff would
be at the correct height?
gr. Maarten van Strien
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Re: pitched skips
M.v.Strien wrote:
Hi list,
I'm working on a lilytracker, which is basically a tracker like it's
described here: http://en.wikipedia.org/wiki/Tracker but then without
playback, samples etc. It's for me the best of 2 worlds: drag/drop
until eternity in visual tools and low-level programming in lilypond,
and it's really fast! This tracker is actually nearly done already. To
make sure I can put articulations, dynamics etc. on each step without
having to do an extreme load o' intelli-code and other scary stuff,
I'll be needing the skip command so that stuff can be placed
everywhere. The dynamics command in the user tutorial was my starting
point regarding that method. The code below works:
{
\relative c
{f4 a8 bes c d e f}
\\
{ s16 s s s s\ s s s\! s\ s\pp s s\! s\ s s\! s\ff }
}
However, the skips aren't pitched and so whatever's alligned to that
pitch will be on the same heights everywhere, and in this case it'll
pinch just through all the notes on that channel. Is it somehow
possible to have pitched skips (I would be doubling the notes in my
skips section, kinda lika having f16 f f f a a bes bes c d e f) so
that any alligned stuff would be at the correct height?
Even better, there's no need for pitched skips, just make sure that the
notes and
the dynamics end up in the same Voice context, like
\new Voice {
\relative c
{f4 a8 bes c d e f}
{ s16 s s s s\ s s s\! s\ s\pp s s\! s\ s s\! s\ff }
}
or
{
\relative c
\new Voice {f4 a8 bes c d e f}
{ s16 s s s s\ s s s\! s\ s\pp s s\! s\ s s\! s\ff }
}
Please also make sure that you understand the difference between {...}
\\ {...}
and {...} {...}.
/Mats
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Re: Divisi lyrics
As you might know, the documentation is going through a major revision
for the
moment. Could you please try to read Section Voices contain music in
http://web.uvic.ca/~gperciva/ - GDP Docs - Learning Manual
and comment on if you can figure out the answer to your question there.
(Since I know the answer, I know that it's explained there, even though
your
particular question isn't explicitly covered).
/Mats
Peter Siepmann wrote:
Thank you very much for your reply, Mats.
I'm using 2.10.25 and, as you say, the fragment I sent before compiles
fine on its own. The troubles arise when I put (single voice) notes
either side of it, such as :
R1 r4 fis2 eis4 dis2 cis4. cis8 b'4 b2 ais4 gis2. cis,4
{ \voiceOne dis2( eis8 fis gis4) fis2 fis4. fis8 fis4 fis2 ~ fis4
gis2 ais4 r4} \\
\new Voice = vII { \voiceTwo dis,2 (eis8 dis cis b) ais2 b4.
dis8 cisis4 dis2( ais4) cis2 fis4 r4}
\lyricsto vII \new Lyrics {
mun -- di, mi -- se -- re -- re no -- bis.
}
cis8. cis16 cis2 cis4 b2 cis4 r8 cis8 cis4 cis cis8 cis4 cis8 b2 cis4 r4
You see, this is part of a much larger score, and the lyrics to most
of the music is held in a separate \lyricmode { } block. But there
are one or two occasions when a single line splits into two parts; at
these points, the main lyrics seem to disappear, and so I tried coding
them in alongside the music as in the example above...
Your continued assistance is most gratefully appreciated!
Peter
--
=
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: file structure (hierarchy)
Trevor Daniels t.daniels at treda.co.uk writes:
Section 3.1 in the LM recognises this problem and attempts
to tackle it. Like everything else in the manuals I'm sure
this could be improved. Suggestions welcome.
There could/should be mentioned, beside that a score must start with a
music expression and that it cannot contain more than one music expression
(which can be complex compound ({...} ...)), what a music expression
is, at least that \set is one (and has to be put inside a complex mus.
expr.) and that \layout (which can follow that musical expression) is not.
There is a link to „Music expressions explained“, where there isn't
explained at all a \set (or ovverride) command!
It's also there (LM 3.1.2) where you find the following example:
\relative c'' {
c2 c e
{ e f } { c b d }
}
Shouldn't this be
\relative c'' {
c2 c e
{ e f } { c b d }
}
???
Just add one sentence and one \set command to one example.
Maybe something like:
% lilypond-version
\version 2.10.33
% A4-paper, smaller top marge
\paper {
#(set-paper-size a4)
top-margin = -0.5\cm
}
% nice height of staves
#(set-global-staff-size 21)
\score
% starts with and includes just one musical expression
{
\context Staff = bla
% at same time ...
\context Voice = blu {
\relative g' {
\time 2/2
f2 a | g1 | R1*4 | a4 g f2 |
}
}
% condensing longer parts of tacet
\set Score.skipBars = ##t
% output settings
\layout {
% no indent of first line (stave(s))
indent = #0
% no bar numbering
\context { \Score \remove Bar_number_engraver }
}
% end of the score
}
In the LM is an example for this setting in 5.3 which unfortunately doesn't
show the whole code.
(The differences between \layout and especially \header in- or outside the
score-block already mentioned here, should be explained in the LM too, of
course.)
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Re: font errors but still output both on XP and Leonard (Macosx 10.5.1)
Lilypond is a fantastic program! When it works... I have identical problems on my Mac (10.5.1,PPC G4) as previously reported on XP. (process:272): Pango-CRITICAL **: pango_coverage_get: assertion `index = 0' failed programming error: FT_Get_Glyph_Name returns error continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+, file /Users/marcuskappi/Desktop/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf//CenturySchL-Bold.otf continuing, cross fingers The original remaining problem is that the menu-system on lilypond does no longer work for me, so I tried to use the terminal interface. ~/Desktop/LilyPondPPC.app/Contents/Resources/bin/lilypond --pdf --output=dede dede.ly which produces a pdf file with the characters å,ä,ö etc. removed just displaying blanks. However other characters a-z is printed. The problem remains after reboot and reinstall of previous lilypond versions such as 2.10.33 So for now, the lyrics has to be constrained to english only I hope and pray someone will solve this problem soon, since we can't all be linux users... /Marcus Käppi -- View this message in context: http://www.nabble.com/font-errors-but-still-output-tp14100354p15456822.html 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: file structure (hierarchy)
Trevor Daniels wrote:
Maybe this would be a good place to introduce the idea of
conventions or, better, best practice in laying out a score.
I would also recommend using a simultaneous contruct after
\new Staff as another useful habit to cultivate.
Why specifically for Staff? For StaffGroup/GrandStaff/PianoStaff,
certainly,
but at least for most orchestral instruments it's not very common to
have more
than a single voice per stave. On the other hand, it might be a good habit
for the top-level music expression of the \score block, i.e.
\score{
{ ... }
}
/Mats
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Re: font errors but still output both on XP and Leonard (Macosx 10.5.1)
I hope you have managed to convince your text editor to save the file using UTF8 encoding, otherwise you will see exactly the problems you describe. /Mats Marcus Käppi wrote: Lilypond is a fantastic program! When it works... I have identical problems on my Mac (10.5.1,PPC G4) as previously reported on XP. (process:272): Pango-CRITICAL **: pango_coverage_get: assertion `index = 0' failed programming error: FT_Get_Glyph_Name returns error continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+, file /Users/marcuskappi/Desktop/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf//CenturySchL-Bold.otf continuing, cross fingers The original remaining problem is that the menu-system on lilypond does no longer work for me, so I tried to use the terminal interface. ~/Desktop/LilyPondPPC.app/Contents/Resources/bin/lilypond --pdf --output=dede dede.ly which produces a pdf file with the characters å,ä,ö etc. removed just displaying blanks. However other characters a-z is printed. The problem remains after reboot and reinstall of previous lilypond versions such as 2.10.33 So for now, the lyrics has to be constrained to english only I hope and pray someone will solve this problem soon, since we can't all be linux users... /Marcus Käppi -- = 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
Doing \score { ...... } and \context Staff .... in scheme?
Hi all,
In the large vocal and orchestral piece that I'm currently typesetting, I have
lots of score and staff definitions, which look exactly the same, except for
the variable names. Thus it would make tremendous sense to not hard-code
them, but generate them on the fly by some scheme function. Unfortunately,
all my attempts so far have failed...
In particular, what is the scheme equivalent, producing the same as the
following lilypond code?
IChorObIScore = \score {
\IChorObIStaff
\header { piece = \IChorPieceName }
}
I simply want a scheme function generate-intrument-score piece instr, which
I would then call as
\generate-instrument-score #IChor #ObI
Tha scheme function would then use
(string-symbol (string-concat piece instr #Staff))
to generate \IChorObIStaff and (eval (string-symbol)) to insert the
definition of \IChorObIStaff. So, basically, all I need is how to generate
the \score { ... } in scheme.
I tried
generate-score = #(define-music-function (parser location piece instr)
(string string)
#{
\score {
#(eval (string-symbol (string-append piece instr #Staff)))
\header { piece = #(eval (string-symbol (string-append piece
#PieceName))) }
}
#}
)
But that does not work and results in an error message, which is not helpful
at all:
lisp_score.ly:34:62: Unknown # object: #\
lisp_score.ly:31:14: Fehler: syntax error, unexpected '-', expecting '='
scr = #(define-music-function (parser location piece instr) (string string) )
Attached is my current attempt.
The other lilypond code that I want to auto-generate by scheme is
IChorFlIIStaff = \context Staff = IChorFlIISt
\clefFlII
\context Voice = IChorFlIIVoice { \IChorSettings\IChorKey\IChorFlII }
\set Staff.instrumentName = \instrumentFlII
\set Staff.shortInstrumentName = \shortInstrumentFlII
Again, the \IChorFlII will be generated from the passed strings, and the same
for the instrument names.
Thanks a lot,
Reinhold
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
\version 2.11.39
IChorSettings = \notemode { \time 3/4 }
IChorPieceName = Nr. 1 TEST
IChorPieceNameTacet = Nr. 1 tacet
IChorFlI = \relative c' { c e g4 r2 g' a8 r8 r4\bar|. }
clefFl = \clef tenor
IChorKey = \notemode { \key g \major }
IChorFlIStaff = \context Staff = IChorFlISt
\clefFl
\context Voice = IChorFlIVoice { \IChorSettings\IChorKey\IChorFlI }
\set Staff.instrumentName = Flauto I
\set Staff.shortInstrumentName = Fl. I
IChorFlIScore = \score {
\IChorFlIStaff
\header { piece = \IChorPieceName }
}
% This is the lilypond code, which I want to generate in scheme:
\score {
\IChorFlIStaff
\header { piece = \IChorPieceName }
}
% My attempts of a scheme function to generate the score:
scr = #(define-music-function (parser location piece instr) (string string)
#{
\score {
#(eval (string-symbol (string-append piece instr #Staff)))
\header { piece = #(eval (string-symbol (string-append piece #PieceName))) }
}
#}
)
% Call to that function:
\scr #IChor #FlI
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Re: file structure (hierarchy)
On Wed, 13 Feb 2008 05:36:19 + Andrew Black [EMAIL PROTECTED] wrote: What is the status of the GDP manual - does it contain the whole documentation, some of which has been rewritten? Basically, yes. We took the current docs, and began working on it. My preferred method is to focus on one section and move everything else out of the way -- you can see this clearly in NR 3. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\applyOutput and conditional expression
hi all
i'm trying to modify the example from LM 7.5.2
quote: \applyOutput context proc
where proc is a Scheme function, taking three arguments
using the example given in LM, the following is apparently not the
correct format as it throws an error wherever i stick it, whether or
not i include Staff or \Staff:
\applyOutput \Staff (define (blanker grob grob-origin context)
(if (and (memq (ly:grob-property grob 'interfaces)
note-head-interface)
(eq? (ly:grob-property grob 'staff-position) 0))
(set! (ly:grob-property grob 'transparent) #t)))
what am i doing wrong?
also, the modification i'm after is
for(pitches = {aes, b, d})
transparent = true
anyone throw me a bone?
cheers
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Re: file structure (hierarchy)
I, however, *am* entirely opposed to that idea. :)
LM 3.1.1 - 3.1.3 address the issue of overall file structure.
Best practices are introduced in LM 2.1.3 and LM 5. We have a
whole (as-yet unworked) chapter devoted to best practices!
I certainly don't think we need to complicate every single example
in the manual just so that people don't need to read LM 3.1.3.
Of course, it may be that these sections aren't perfect; you
already found one problem, which Trevor will address. I'd
forgotten about the \header issues, and I'm sure that Trevor never
knew about them.
Cheers,
- Graham
On Wed, 13 Feb 2008 11:20:54 +0100
Mats Bengtsson [EMAIL PROTECTED] wrote:
We've had this discussion before. I'm not entire opposed to the idea
of always
specifying
\score{
\new Staff {
\new Voice \relative c'{ c d e f }
}
}
in the examples in the manual. Making LilyPond too forgiving and
helpful in terms of input syntax is sometimes a pedagogical problem,
as soon as you get past the initial simple examples. On the other
hand, keeping the initial threshold
as low as possible for new users, is also a good goal.
/Mats
Bertalan Fodor (LilyPondTool) wrote:
I think certain conventions could ease learning and using the
syntax, understanding snippets and so on. Do we have such
conventions defined? Because while it seems to be a good thing that
you can write { c d e f } and it will compile and generate score,
but if you want to create some polyphonic piano music you would
never use constructs like this. And with more complicated scores
users of LilyPond usually end up with completely different styles,
which makes learning LilyPond harder. If we had recommended
conventions, perhaps it helped people, for example always use the
context when overriding Grob properties. That may not be true but
may be clearer.
Bert
--
=
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: Divisi lyrics
If I'm not mistaken, the simple solution is to remove the \\
in your code.
/Mats
Peter Siepmann wrote:
Thanks, Mats. Though I'm afraid - due probably to my relative
inexperience (I'm quite a recent convert to Lilypond!) - the solution
to my problem doesn't jump out at me...
Peter
Mats Bengtsson wrote:
As you might know, the documentation is going through a major
revision for the
moment. Could you please try to read Section Voices contain music in
http://web.uvic.ca/~gperciva/ - GDP Docs - Learning Manual
and comment on if you can figure out the answer to your question there.
(Since I know the answer, I know that it's explained there, even
though your
particular question isn't explicitly covered).
/Mats
Peter Siepmann wrote:
Thank you very much for your reply, Mats.
I'm using 2.10.25 and, as you say, the fragment I sent before
compiles fine on its own. The troubles arise when I put (single
voice) notes either side of it, such as :
R1 r4 fis2 eis4 dis2 cis4. cis8 b'4 b2 ais4 gis2. cis,4
{ \voiceOne dis2( eis8 fis gis4) fis2 fis4. fis8 fis4 fis2 ~ fis4
gis2 ais4 r4} \\
\new Voice = vII { \voiceTwo dis,2 (eis8 dis cis b) ais2 b4.
dis8 cisis4 dis2( ais4) cis2 fis4 r4}
\lyricsto vII \new Lyrics {
mun -- di, mi -- se -- re -- re no -- bis.
}
cis8. cis16 cis2 cis4 b2 cis4 r8 cis8 cis4 cis cis8 cis4 cis8 b2
cis4 r4
You see, this is part of a much larger score, and the lyrics to most
of the music is held in a separate \lyricmode { } block. But there
are one or two occasions when a single line splits into two parts;
at these points, the main lyrics seem to disappear, and so I tried
coding them in alongside the music as in the example above...
Your continued assistance is most gratefully appreciated!
Peter
--
=
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: Divisi lyrics
Thanks, Mats. Though I'm afraid - due probably to my relative
inexperience (I'm quite a recent convert to Lilypond!) - the solution to
my problem doesn't jump out at me...
Peter
Mats Bengtsson wrote:
As you might know, the documentation is going through a major revision
for the
moment. Could you please try to read Section Voices contain music in
http://web.uvic.ca/~gperciva/ - GDP Docs - Learning Manual
and comment on if you can figure out the answer to your question there.
(Since I know the answer, I know that it's explained there, even though
your
particular question isn't explicitly covered).
/Mats
Peter Siepmann wrote:
Thank you very much for your reply, Mats.
I'm using 2.10.25 and, as you say, the fragment I sent before compiles
fine on its own. The troubles arise when I put (single voice) notes
either side of it, such as :
R1 r4 fis2 eis4 dis2 cis4. cis8 b'4 b2 ais4 gis2. cis,4
{ \voiceOne dis2( eis8 fis gis4) fis2 fis4. fis8 fis4 fis2 ~ fis4
gis2 ais4 r4} \\
\new Voice = vII { \voiceTwo dis,2 (eis8 dis cis b) ais2 b4.
dis8 cisis4 dis2( ais4) cis2 fis4 r4}
\lyricsto vII \new Lyrics {
mun -- di, mi -- se -- re -- re no -- bis.
}
cis8. cis16 cis2 cis4 b2 cis4 r8 cis8 cis4 cis cis8 cis4 cis8 b2 cis4 r4
You see, this is part of a much larger score, and the lyrics to most
of the music is held in a separate \lyricmode { } block. But there
are one or two occasions when a single line splits into two parts; at
these points, the main lyrics seem to disappear, and so I tried coding
them in alongside the music as in the example above...
Your continued assistance is most gratefully appreciated!
Peter
--
Peter Siepmann BSc (Hons), LRSM, ARCO
Director of Music, St Peter's All Saints', Nottingham
Chief Conductor, University of Nottingham Sinfonia
http://www.petersiepmann.net
* See also this term's parish music list at
* http://nottinghamchurches.org/worship-and-music/music-lists
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Re: Trills too far left?
On Feb 9, 2008 2:34 PM, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Trevor, You ever have the tr. parts of your trill spanners start showing up too far to the left? [...] Ever seen this one before? Yes! Unfortunately, like your case, mine were in the middle of a large score -- the chamber opera I wrote last year -- and so I never got around to isolating a minimal bug-snippet-example. I've found it: strick trill spanners on to some notes in staff 1; then add a second staff within a grand staff or piano staff or staff group or some other containing structure so that staves 1 2 are now contained together; trill spanners will be fine at this point; BUT THEN add some fat dynamics to notes *in staff 2* (yes, this is utterly bizarre); and guess what? The trill spanners in the staff will move to the left to align with the dynamics sitting on notes in staff 2! I'll post a minimal snippet and request an ID from Valentin after lunch. (This is truly bizarre -- first one I've seen with what might be called context-interference.) Kieren, if you have a copy of the chamber opera handy, could you check and see if your too-far-left trill spanners are, in fact, sitting inside a staff group and adjusting relative to dynamics in remote staves within that group? Just a quick visual check? -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trills too far left?
On Feb 13, 2008 12:09 PM, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Trevor, Kieren, if you have a copy of the chamber opera handy, could you check and see [...] Confirmed! Nice catch.. OK, much appreciated. This one's quite general, alas: *any* type of spanner (text, trill, whatever) will erroneously displace according to *any* type of bound markup (dynamic, text) in another context-bound staff. Writing to Valentin now in a separate mail ... -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: LilyKDE, tool to work with LilyPond in KDE
I just released version 0.3 of my shiny new lil' pet project: LilyKDE. It combines the power of KDE, Kate and KPDF to make editing LilyPond files in KDE easier. If you use KDE you might like it: http://lilykde.googlecode.com/ Looks very promising! Thanks. Stefaan. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: file structure (hierarchy)
On Wed, 13 Feb 2008 14:06:26 - Trevor Daniels [EMAIL PROTECTED] wrote: I guess my comment arises from my background, which is piano and vocal rather than orchestral, where multiple voices are the norm. Perhaps we need to made any suggestions for 'best practice' dependent on the nature of the music being considered. Best practice is always best practice and should be determined by lilypond, rather than the style of the music. Sometimes the syntax might be more precise than is necessary for a given piece, but it will Always Work. As a newcomer to lilypond, I would have preferred to see 'worst case' sample code in the Learning Manual, right from the beginning. It wouldn't make it any more difficult to understand and it would introduce the new reader to the correct (if not always necessary) syntax. It's much easier to skip that extra pair of curly brackets (or whatever) when experience says that you can, rather than trying to work out why apparently good code just throws up errors. I should add, that the current iteration of the Learning Manual is much better than just a couple of months ago, when I first ploughed through it. ;-) -- Nicholas WASTELL France ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Beaming question
4/4 time. Lilypond 2.11.33.
I'm trying to get the autobeaming behavior to match an existing style
where:
* Up to four eighth notes can be beamed together (subject to the usual
limitations on ending beat)
* But, when sixteen notes share the beam with eighth notes, beams may
not cross beats. Another way of saying this is that a beam can only
have one eighth note and two sixteenth notes.
Perhaps an example will make it clear. I want the autobeamer to make
this:
{ a8 a a a a a a a16 a }
to look like this:
{ a8 [a a a] a [a] a a16 a }
Can someone help me out?
Thanks
Steve
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Re: NN: LilyKDE, tool to work with LilyPond in KDE
Am Mittwoch, 13. Februar 2008 schrieb Stefan Thomas: Dear Wilbert, sounds interesting. Is Your software available for Linux too? It's a plugin for Kate, which is KDE's text editor. So, yes, it is available for Linux (remember, KDE is one of the two big Linux desktop environment). Cheers, Reinhold -- -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment (KDE), http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Polyphony
I have a problem with polyphonic notation.
I tried to enter multiple voices using
\new Voice {
% top voice
}
\new Voice {
% bottom voice
}
but the bottom voice was notated as though it were an extension of the
staff instead of under the top voice. How can this be fixed?
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RE: ANN: LilyKDE, tool to work with LilyPond in KDE
KDE easier. If you use KDE you might like it: http://lilykde.googlecode.com/ The site says if you want to preview pdf files, you need KPDF, but there's no button (that I can see) for downloading that. What am I missing? -LK Larry Kent Tampa FL [EMAIL PROTECTED] _ Shed those extra pounds with MSN and The Biggest Loser! http://biggestloser.msn.com/___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Polyphony
I think your problem would be resolved by enclosing the entire
expression in double angle brackets: ...
The new Learning Manual covers this very well, and is a noticeable
improvement over the existing documentation. For example, here's the
section on polyphony:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Multiple-notes-at-once#Multiple-notes-at-once
Be aware that some parts of the new docs may be specific to version
2.11. Also, let us know if you come across anything in the Learning
Manual that is unclear to a newcomer. The documentation folks are
looking for feedback before they declare the current rewrite
finished.
Andrew
On Feb 13, 2008 5:10 PM, Philip [EMAIL PROTECTED] wrote:
I have a problem with polyphonic notation.
I tried to enter multiple voices using
\new Voice {
% top voice
}
\new Voice {
% bottom voice
}
but the bottom voice was notated as though it were an extension of the
staff instead of under the top voice. How can this be fixed?
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Re: Polyphony Problem Hopefully Solved
Hi Philip, But then what is \new Voice used for? See http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/ Explicitly-instantiating-voices.html#Explicitly-instantiating-voices Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: LilyKDE, tool to work with LilyPond in KDE
Op donderdag 14 februari 2008, schreef Larry Kent: The site says if you want to preview pdf files, you need KPDF, but there's no button (that I can see) for downloading that. What am I missing? -LK KPDF is part of KDE (kdegraphics). When you have KDE you almost sure also have KPDF ;-) best regards, Wilbert Berendsen -- http://www.wilbertberendsen.nl/ You must be the change you wish to see in the world. -- Mahatma Gandi ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond include scripts
Hello: I have some music in which the number of repeated commands dramatically dwarfs the number of notes. For exacple, this is one bar: \override Beam #'auto-knee-gap = #6 r2 r4 \mf d''16[ d' \change Staff = lh \override Beam #'auto-knee-gap = #6 \override Stem #'direction = #UP c' bf ] | % bar 11 fs16[ \change Staff = rh \override Stem #'direction = #DOWN ef' \change Staff = lh \override Stem #'direction = #UP c' a ] fs16[ \change Staff = rh \override Stem #'direction = #DOWN c' \change Staff = lh \override Stem #'direction = #UP bf g ] g16[ bf g ef] \change Staff = rh \override Stem #'direction = #DOWN a'[ ef' \change Staff = lh \override Stem #'direction = #UP d' c' ] | % bar 12 I don't think I can put the ovrrides and change Staff commands into a variable. However it must be possible to build a function for some of these commands which would reduce the amount of typing and make the code clearer. I can guess at how to do this but I don't yet know where to look for all the ingrediants. each of the commands which changes staff to upper or in this case rh also has a stem direction change. So it should be possilbe to combine both of those commands into something like set! chRHDn to ( \change Staff = rh \override Stem #'direction = #DOWN) and set! chLHUp to ( \change Sraff = lh \override Stem #'direction = #UP) and save it to UpDown.ly and add \include UpDown.ly in my main code. I just don't know how to construct such a script. Am I on the right or the wrong track here? Cheers David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond include scripts
Op donderdag 14 februari 2008, schreef David Fedoruk: I don't think I can put the ovrrides and change Staff commands into a variable. You can! I often use: bakg = \override Beam #'auto-knee-gap = #6 rh = \change Staff = rh lh = \change Staff = lh etc. Fot stem direction LilyPond already knows \stemUp and \stemDown (and \stemNeutral to let LilyPond decide). So your example would become: \bakg r2 r4\mf d''16[ d' \lh \bakg \stemUp c' bf] | %bar 11 fs16[ \rh \stemDown ef' \lh \stemUp c' a] fs16[ \rh \stemDown c' \lh \stemUp bf g] etc. Met vriendelijke groet, Wilbert Berendsen -- http://www.wilbertberendsen.nl/ You must be the change you wish to see in the world. -- Mahatma Gandi ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
