Re: \transpose and \transposition combination error(?)
Anthony W. Youngman wrote
In message 874oyl28nj.wl%pe...@chubb.wattle.id.au, Peter Chubb
pet...@gelato.unsw.edu.au writes
Trevor == Trevor Daniels t.dani...@treda.co.uk writes:
Trevor Hmm. Not sure it's a bug. The \transpose command
transposes
I think it is (and I reported it as one some time ago).
The point of \transposition is to notate a Staff at a different
pitch
from its sounding pitch. When you combine this with other staves,
with different transpositions, the whole thing shoul dthen be
transposable.
iirc (from falling afoul of this myself), \tranposition is to do
with
midi output. Nothing whatever to do with printing music. Seeing as
I
don't do midi, I just dropped using \transposition and forgot
about it.
Mind you, I think the then-current version of lilypond was 2.4 ...
Producing the correct pitch in MIDI for transposing
instruments being notated at pitch is certainly the
principal use of \transposition. It's other use is
to transpose cues into the correct pitch when they
appear in other parts. So if you don't need either
MIDI or cues \transposition can be ignored.
Umm ... I do everything in concert pitch anyway (playing the
trombone,
it's a transposing instrument if it feels like it :-) so I would
do
Clar= just like you do when entering notes so Clar is concert
pitch.
Then, under normal circumstances when printing it I'd transpose it
back
to B flat. Obviously, you'd not do it here.
So, FROM CHOICE, the way I would do it is
Clar = \transpose c' bf { clarinet notes }
Piano = \transpose c' c' { piano notes }
% to output music at pitch
\score {
\staff
\transpose bf c' \Clar
\staff
\Piano
}
% to output music transposed down a tone
\score {
\staff
\transpose c' bf { \transpose bf c' \Clar }
\staff
\transpose c' bf { \Piano }
}
I know you might look at that and think what on earth, but to me
(playing an instrument that may or may not transpose, and working
with
other instruments that are mostly transposing), I just find it so
much
easier to work with everything at concert pitch, and transpose as
required on input and output. (You could probably put that
transpose at
score level, I don't know, but I'm just trying to show the way I
think.)
Holding all music in variables at concert pitch is
a sensible approach.
Trevor
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Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
Op dinsdag 24 februari 2009, schreef Grammostola Rosea:
\new Staff \with {
midiInstrument = acoustic bass
} { *\clef bass_8* \bass }
\new TabStaff \with {
stringTunings = #bass-tuning
} \bass
If this is the most used way, ( \clef bass_8 for Acoustic or Electric Bass),
I could add that to Frescobaldi's default template. Is this the most used
notation for such parts?
best regards,
Wilbert Berendsen
--
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
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Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
Wilbert Berendsen wrote:
Op dinsdag 24 februari 2009, schreef Grammostola Rosea:
\new Staff \with {
midiInstrument = acoustic bass
} { *\clef bass_8* \bass }
\new TabStaff \with {
stringTunings = #bass-tuning
} \bass
If this is the most used way, ( \clef bass_8 for Acoustic or Electric Bass),
I could add that to Frescobaldi's default template. Is this the most used
notation for such parts?
I'm not 100% sure. David do you know this?
\r
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Re: Looking for proper beam grouping
Carl, you wrote Tuesday, February 24, 2009 1:43 AM
On 2/23/09 12:52 PM, Maarten Deen md...@xs4all.nl wrote:
I have a piece of music in 3/4 which has bars like { d4. c8 b8.
a16 }
Lilypond groups the last three notes together, making it look
like a 6/8
measure, but I want the c8 to be separate and only the b8. a16 to
be grouped
(like a proper 3/4 would look like).
I've tried some settings, like #(override-auto-beam-setting '(end
* * * *) 1
4)
or \set beatGrouping = #'(4 4 4) but to no avail.
The proper way to set beatGrouping is #'(1 1 1), which means group
1 beat, 1
beat 1 beat, where a beat is defined by the time signature as a
1/4 note.
But this doesn't work properly, and it should.
I think this is a bug in the autobeaming code. Could you please
send a bug
report to bug-lilypond?
This is not a bug. There is still a general auto-beam
setting for 3/4 time which inhibits beatGrouping.
beatBrouping should work with the override
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
I was waiting for 2.13 before I completed this work, as
changing the default beaming did not seem right during
a stable release.
Trevor
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Re: staffsize
Strangely enough, the solution is to use the following strategy:
#(set-global-staff-size 13)
\book{
% Complete score
...
}
#(set-global-staff-size 20)
\book{
% Part 1
...
}
...
/Mats
Martin Tarenskeen wrote:
Hi Lilyponders,
I'm trying to set up a score with a piece for 4 piano's.
I have made five \book {...} sections - one for the complete score and
four for the individual piano parts - in one lilypond file. I prefer to
have everything in one file. ( I hate getting lost between multiple edit
windows on my computer screen. ) When I print I want a pdf with the
complete score, and four pdf's for the individual scores - all from one
Lilypond run.
Now what I want is to have a smaller staffsize for the complete score,
and a normal staffsize for the individual parts for printing.
I have tried
#(set-global-staff-size 13)
and this gives me the result I want for the complete score.
Then I tried
\layout {
#(layout-set-staff-size 13)
}
within the \book{\score{ }} section of the complete score. I
expected to get the same result, but it looks ugly.
Apparently I have to tweak some additional things to make
#(layout-set-staff-size 13) give exactly the same staffsize, spacings,
and fontsizes as #(set-global-staff-size 13)
Can someone help me ?
I can post an example if my question is not clear.
Martin Tarenskeen
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--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
=
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Re: \transpose and \transposition combination error(?)
Trevor == Trevor Daniels t.dani...@treda.co.uk writes: Trevor Producing the correct pitch in MIDI for transposing Trevor instruments being notated at pitch is certainly the principal Trevor use of \transposition. It's other use is to transpose cues Trevor into the correct pitch when they appear in other parts. So if Trevor you don't need either MIDI or cues \transposition can be Trevor ignored. I also use it when entering music from an already transposed score. I make too many mistakes if I try to transpose in my head (particularly in keys like aes-minor, clarinet notated in bes-minor, lots of accidentals) Peter C -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \transpose and \transposition combination error(?)
Peter Chubb wrote Tuesday, February 24, 2009 10:28 AM Trevor == Trevor Daniels t.dani...@treda.co.uk writes: Trevor Producing the correct pitch in MIDI for transposing Trevor instruments being notated at pitch is certainly the principal Trevor use of \transposition. It's other use is to transpose cues Trevor into the correct pitch when they appear in other parts. So if Trevor you don't need either MIDI or cues \transposition can be Trevor ignored. I also use it when entering music from an already transposed score. I make too many mistakes if I try to transpose in my head (particularly in keys like aes-minor, clarinet notated in bes-minor, lots of accidentals) ?? Wouldn't you use \transpose for this? Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
By convention, double-bass and electric bass are notated using a
standard bass clef with the understanding that the notes sound one
octave lower than they appear on the staff. Guitar is the same way, but
it is becoming more common to to use a modern tenor clef (i.e.
treble_8) now than in the past. I'm not sure whether the same is true
for bass. Perhaps there is a bass meister on the list who knows better
than I?
Generally, either is considered acceptable and which one you use is a
matter of editorial preference. For completeness, it would probably be a
good idea if there were an easy way to do either.
Dave
Grammostola Rosea wrote:
Wilbert Berendsen wrote:
Op dinsdag 24 februari 2009, schreef Grammostola Rosea:
\new Staff \with {
midiInstrument = acoustic bass
} { *\clef bass_8* \bass }
\new TabStaff \with {
stringTunings = #bass-tuning
} \bass
If this is the most used way, ( \clef bass_8 for Acoustic or
Electric Bass), I could add that to Frescobaldi's default template.
Is this the most used notation for such parts?
I'm not 100% sure. David do you know this?
\r
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Re: guitar tab feature request
I'm working on the first group of missing LilyPond Tab features and it pertains to finger bends. I expect this to be a slow process. We have two (or maybe three) individuals who have expressed interest in joining the discussion, so when I have something, I'll send it out to those individuals for discussion. Every once in a while, we can post something to the main -user list, to maintain some visibility and maybe alert new users who may be interested. Cheers, Dave Grammostola Rosea wrote: Grammostola Rosea wrote: David, Already some more reactions? How should the default tablature displayed? I use this: \override TabStaff.Stem #'transparent = ##t %% Makes stems transparent \override TabStaff.Beam #'transparent = ##t %% Makes beams transparent \override TabStaff.Dots #'transparent = ##t To make stems, beams and dots invisible. Should that be the default of tablature in Lilypond? If so then there should be a way to add those stems, beams and dots isn't? Another 'problem' are the slurs in tablature. I think you have to use \tag now to make them invisible, which is pretty time consuming... And polyphony? Should that be changed? And what about an more modern font for tablature? Should it be the default? for example: http://lsr.dsi.unimi.it/LSR/Item?id=323 And dead notes (note with a x) are they possible with lilypond? Regards, \r When I open tuxguitar I see some other features for guitar and/ or bass. I dunno if they are in Lilypond: tremolo bar tremolo picking P.M. Palm Mute T (tapping) S (slapping) P (popping) \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
David Stocker wrote: By convention, double-bass and electric bass are notated using a standard bass clef with the understanding that the notes sound one octave lower than they appear on the staff. Guitar is the same way, but it is becoming more common to to use a modern tenor clef (i.e. treble_8) now than in the past. I'm not sure whether the same is true for bass. Perhaps there is a bass meister on the list who knows better than I? Generally, either is considered acceptable and which one you use is a matter of editorial preference. For completeness, it would probably be a good idea if there were an easy way to do either. For coding guitar music in Lilypond I always use the treble_8 for three reasons: 1) most correct editorially; 2) midi output sounds at correct octave; 3) translates to correct fret/string when using the same note-input variable for a TabStaff. From a guitarist's perspective, looking at the final output, there's really no difference between using treble and treble_8. I would say the same thing for the bass guitar or for string bass except that to my eye the 8 below the bass clef in Lilypond's rendering looks funny. It's completely detached from the clef instead of hanging onto it. Looking in Gardner Read (2nd ed., page 56) I see that his example of the same clef shows an 8 that's detached as well, but it's much closer to the tail of the clef than the 8 in Lilypond's bass_8 clef. In fact his whole bass clef looks bigger than Lilypond's, something that's not so noticeable to me until there's an 8 dangling far from the tail of the clef. :) Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
Editorially, I prefer the treble_8 clef as well, but I think it's safe to say that most readers (to the extent they notice at all) are more accustomed to seeing the regular treble and bass clefs, as opposed to treble_8 or bass_8. Dave Jonathan Kulp wrote: David Stocker wrote: By convention, double-bass and electric bass are notated using a standard bass clef with the understanding that the notes sound one octave lower than they appear on the staff. Guitar is the same way, but it is becoming more common to to use a modern tenor clef (i.e. treble_8) now than in the past. I'm not sure whether the same is true for bass. Perhaps there is a bass meister on the list who knows better than I? Generally, either is considered acceptable and which one you use is a matter of editorial preference. For completeness, it would probably be a good idea if there were an easy way to do either. For coding guitar music in Lilypond I always use the treble_8 for three reasons: 1) most correct editorially; 2) midi output sounds at correct octave; 3) translates to correct fret/string when using the same note-input variable for a TabStaff. From a guitarist's perspective, looking at the final output, there's really no difference between using treble and treble_8. I would say the same thing for the bass guitar or for string bass except that to my eye the 8 below the bass clef in Lilypond's rendering looks funny. It's completely detached from the clef instead of hanging onto it. Looking in Gardner Read (2nd ed., page 56) I see that his example of the same clef shows an 8 that's detached as well, but it's much closer to the tail of the clef than the 8 in Lilypond's bass_8 clef. In fact his whole bass clef looks bigger than Lilypond's, something that's not so noticeable to me until there's an 8 dangling far from the tail of the clef. :) Jon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [LilyKDE] Re: [Frescobaldi] Bass and Electric Bass template, tab tunings support
David Stocker wrote: Editorially, I prefer the treble_8 clef as well, but I think it's safe to say that most readers (to the extent they notice at all) are more accustomed to seeing the regular treble and bass clefs, as opposed to treble_8 or bass_8. Dave Jonathan Kulp wrote: David Stocker wrote: By convention, double-bass and electric bass are notated using a standard bass clef with the understanding that the notes sound one octave lower than they appear on the staff. Guitar is the same way, but it is becoming more common to to use a modern tenor clef (i.e. treble_8) now than in the past. I'm not sure whether the same is true for bass. Perhaps there is a bass meister on the list who knows better than I? Generally, either is considered acceptable and which one you use is a matter of editorial preference. For completeness, it would probably be a good idea if there were an easy way to do either. For coding guitar music in Lilypond I always use the treble_8 for three reasons: 1) most correct editorially; 2) midi output sounds at correct octave; 3) translates to correct fret/string when using the same note-input variable for a TabStaff. From a guitarist's perspective, looking at the final output, there's really no difference between using treble and treble_8. I would say the same thing for the bass guitar or for string bass except that to my eye the 8 below the bass clef in Lilypond's rendering looks funny. It's completely detached from the clef instead of hanging onto it. Looking in Gardner Read (2nd ed., page 56) I see that his example of the same clef shows an 8 that's detached as well, but it's much closer to the tail of the clef than the 8 in Lilypond's bass_8 clef. In fact his whole bass clef looks bigger than Lilypond's, something that's not so noticeable to me until there's an 8 dangling far from the tail of the clef. :) Jon If I'm right, with the normal bass clef, tablature and notation are not as it supposed to be (notation is displayed one octave to low). With the bass_8 clef it is. So for bass the template should have a bass_8 clef right? Because that clef doesn't looks very good, I think David can add it to the tablature things which should be improved. For guitar treble_8 would be a good default, but maybe it is nice to also be able to choose the normal clef in the template/ new score wizard. \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Looking for proper beam grouping
On 2/24/09 2:46 AM, Trevor Daniels t.dani...@treda.co.uk wrote:
Carl, you wrote Tuesday, February 24, 2009 1:43 AM
On 2/23/09 12:52 PM, Maarten Deen md...@xs4all.nl wrote:
I have a piece of music in 3/4 which has bars like { d4. c8 b8.
a16 }
Lilypond groups the last three notes together, making it look
like a 6/8
measure, but I want the c8 to be separate and only the b8. a16 to
be grouped
(like a proper 3/4 would look like).
I've tried some settings, like #(override-auto-beam-setting '(end
* * * *) 1
4)
or \set beatGrouping = #'(4 4 4) but to no avail.
The proper way to set beatGrouping is #'(1 1 1), which means group
1 beat, 1
beat 1 beat, where a beat is defined by the time signature as a
1/4 note.
But this doesn't work properly, and it should.
I think this is a bug in the autobeaming code. Could you please
send a bug
report to bug-lilypond?
This is not a bug. There is still a general auto-beam
setting for 3/4 time which inhibits beatGrouping.
beatBrouping should work with the override
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
I guess I consider it a bug when the default auto-beam setting prevents
proper beaming. It may be a bug that's already fixed, but it's still a bug.
I was waiting for 2.13 before I completed this work, as
changing the default beaming did not seem right during
a stable release.
I think it is right to apply it during a stable release, because it fixes a
bug -- improper beaming. The criterion we identified for disallowed changes
during a stable release is syntax changes that break previously-working
files. And this doesn't fall into that category, so I think it should be
applied to 2.12.
Thanks,
Carl
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problem with installing frescobaldi
Dear lilypond-users, I tried to install Frescobaldi from source. But I get the following error message: The C++ compiler CMAKE_CXX_COMPILER-NOTFOUND is not able to compile a simple test program. I don't undertand the meaning of it- I use Kubuntu, with KDE 4.2 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Partial measures
Since pickups conventionally are subtracted from the last measure of a
section, a future edition might change \partial to partial {} where
the beat/measure count could be correctly adjusted across the section.
M Watts wrote:
jpeters wrote:
One way to do this is with measureLength:
\relative c'' {
\time 4/4
\repeat volta 2 {
\partial 8 gis8 |
fis4 g g c, |
\set Score.measureLength = #(ly:make-moment 7 8)
b2. r8 |
\set Score.measureLength = #(ly:make-moment 4 4)
}
fis4 g g c, |
}
~
A very handy thing to know!
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Re: \score inside define-markup-command
Le 23 févr. 09 à 10:36, Michael Käppler a écrit :
Hi,
I don't know if it will work, but perhaps you can try to type
\displayMusic { \clef #testclef a4 h c } to get the scheme
version of your music,
and to copy/paste the output you got after the #:score markup ...
good idea! But it still doesn't work. Let's look at the following
minimal example:
#(define-markup-command (testmusic layout props a b c) (number?
number? number?)
(interpret-markup layout props (markup #:score
(make-music
'SequentialMusic
'elements
(list (make-music
'EventChord
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 2 0 1 1)
'pitch
(ly:make-pitch a b c))
)))
Try the following:
\version 2.12.2
#(define-markup-command (testmusic layout props music) (ly:music?)
(let ((score (ly:make-score music))
(score-layout (ly:output-def-clone $defaultlayout)))
;; possibly, change some settings in the \layout block
(ly:output-def-set-variable! score-layout 'indent 0)
;; add the \layout block to the score
(ly:score-add-output-def! score score-layout)
(interpret-markup layout props (markup #:vcenter #:score score
\markup { a piece of music \testmusic ##{ a' b' c'' d'' #} inside a
markup }
nicolas
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building lilypond from freebsd ports
Hello Everybody, I sent this question to the freebsd port maintainer, but I also wanted to ask this list. I'm trying to build lilypond from the free port (print/lilypond) and I'm getting a seg fault from Ghostscript. I was wondering if anybody has seen this problem. Here is the error I get from the build: Converting to PNG...[/usr/ports/print/lilypond/work/lilypond-2.11.65/out/lybook-db/a1/lily-21d7120c.eps]Invoking `gs -dEPSCrop -dGraphicsAlphaBits=4 -dTextAlphaBits=4 -dNOPAUSE -sDEVICE=png16m -sOutputFile=/usr/ports/print/lilypond/work/lilypond-2.11.65/out/lybook-db/a1/lily-21d7120c.png -r202 /usr/ports/print/lilypond/work/lilypond-2.11.65/out/lybook-db/a1/lily-21d7120c.eps -c quit'... GPL Ghostscript 8.63 (2008-08-01) Copyright (C) 2008 Artifex Software, Inc. All rights reserved. This software comes with NO WARRANTY: see the file PUBLIC for details. Segmentation fault (core dumped) GS exited with status: 35584command failed: /usr/ports/print/lilypond/work/lilypond-2.11.65/out/bin/lilypond -dbackend=eps --formats=ps,png,pdf -dinclude-eps-fonts -dgs-load-fonts --header=doctitle --header=doctitlefr --header=doctitlede --header=texidoc --header=texidocfr --header=texidocde -dcheck-internal-types -ddump-signatures -danti-alias-factor=2 -I /usr/ports/print/lilypond/work/lilypond-2.11.65/out/lybook-db -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/lsr -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/lsr -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/lsr/out-www -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/lsr -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/regression -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/manual -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/tutorial -I /usr/ports/print/lilypond/work/lilypond-2.11.65/mf/out -I /usr/ports/print/lilypond/work/lilypond-2.11.65/mf/out -I /usr/ports/print/lilypond/work/lilypond-2.11.65/input/manual --formats=eps --verbose -deps-box-padding=3.00 -dread-file-list -dno-strip-output-dir /usr/ports/print/lilypond/work/lilypond-2.11.65/out/lybook-db/ snippet-names--5794316411046772991.ly Child returned 1 gmake[3]: *** [out-www/lilypond-snippets.texi] Error 1 gmake[3]: Leaving directory `/usr/ports/print/lilypond/work/lilypond-2.11.65/input/lsr' gmake[2]: *** [WWW-1] Error 2 gmake[2]: Leaving directory `/usr/ports/print/lilypond/work/lilypond-2.11.65/input' gmake[1]: *** [WWW-1] Error 2 gmake[1]: Leaving directory `/usr/ports/print/lilypond/work/lilypond-2.11.65' gmake: *** [web] Error 2 *** Error code 2 Stop in /usr/ports/print/lilypond. *** Error code 1 Stop in /usr/ports/print/lilypond. Thanks, Glen http://www.arizonacoppersoft.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: guitar tab feature request
I am interested in contributing financially. David Stocker wrote: I'm working on the first group of missing LilyPond Tab features and it pertains to finger bends. I expect this to be a slow process. We have two (or maybe three) individuals who have expressed interest in joining the discussion, so when I have something, I'll send it out to those individuals for discussion. Every once in a while, we can post something to the main -user list, to maintain some visibility and maybe alert new users who may be interested. Cheers, Dave Grammostola Rosea wrote: Grammostola Rosea wrote: David, Already some more reactions? How should the default tablature displayed? I use this: \override TabStaff.Stem #'transparent = ##t %% Makes stems transparent \override TabStaff.Beam #'transparent = ##t %% Makes beams transparent \override TabStaff.Dots #'transparent = ##t To make stems, beams and dots invisible. Should that be the default of tablature in Lilypond? If so then there should be a way to add those stems, beams and dots isn't? Another 'problem' are the slurs in tablature. I think you have to use \tag now to make them invisible, which is pretty time consuming... And polyphony? Should that be changed? And what about an more modern font for tablature? Should it be the default? for example: http://lsr.dsi.unimi.it/LSR/Item?id=323 And dead notes (note with a x) are they possible with lilypond? Regards, \r When I open tuxguitar I see some other features for guitar and/ or bass. I dunno if they are in Lilypond: tremolo bar tremolo picking P.M. Palm Mute T (tapping) S (slapping) P (popping) \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Tony Willoughbyto...@pobox.com We are approaching GA asymptotically -L.C. February 10, 1995 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: building lilypond from freebsd ports
On Tue, Feb 24, 2009 at 2:38 PM, Matthias Kilian k...@outback.escape.dewrote: On Tue, Feb 24, 2009 at 01:03:00PM -0700, Glen Hein wrote: I sent this question to the freebsd port maintainer, but I also wanted to ask this list. I'm trying to build lilypond from the free port (print/lilypond) and I'm getting a seg fault from Ghostscript. I was wondering if anybody has seen this problem. Here is the error I get from the build: [...] - is this reproducable, i.e. does it always crash in ghostscript, and at the same file? - does increasing your datasize limit (see ulimit if you're running something like ksh or bash) fix the problem? I'm asking because I'm doing the OpenBSD port of lilypond and experienced some really ugly bugs when running out of memory (that's a fault in either guile or lilypond, but not relevant here), and during testing, I had at least one or two cases where ghostscript ran out of memory, too. Ciao, Kili -- make: don't know how to make love. Stop in /usr/src. -- make(1) The problem is reproducible. It fails on the same file every time. I had been building using csh, so as a WAG, I tried bash. The bash ulimit values are: core file size (blocks, -c) unlimited data seg size (kbytes, -d) 33554432 file size (blocks, -f) unlimited max locked memory (kbytes, -l) unlimited max memory size (kbytes, -m) unlimited open files (-n) 32768 pipe size(512 bytes, -p) 1 stack size (kbytes, -s) 524288 cpu time (seconds, -t) unlimited max user processes (-u) 5547 virtual memory (kbytes, -v) unlimited Building under bash made no difference. -Glen http://www.arizonacoppersoft.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: building lilypond from freebsd ports
On Tue, Feb 24, 2009 at 03:44:08PM -0700, Glen Hein wrote: - is this reproducable, i.e. does it always crash in ghostscript, and at the same file? The problem is reproducible. It fails on the same file every time. I had been building using csh, so as a WAG, I tried bash. The bash ulimit values are: core file size (blocks, -c) unlimited data seg size (kbytes, -d) 33554432 file size (blocks, -f) unlimited max locked memory (kbytes, -l) unlimited max memory size (kbytes, -m) unlimited open files (-n) 32768 pipe size(512 bytes, -p) 1 stack size (kbytes, -s) 524288 cpu time (seconds, -t) unlimited max user processes (-u) 5547 virtual memory (kbytes, -v) unlimited Building under bash made no difference. Well, then it's probably worth tracking down the exact input file passed to ghostscript and to check wether it's a general bug of ghostscript or of the FreeBSD port of ghostscript. I'll contact you offlist in a few days (since this problem seems to be not related to lilypond). Either tomorrow or next weekend. Ciao, Kili ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
why does this simple notation fail a barcheck?
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
\times 2/3 {d c b} |
g2.\fermata \bar || |
r1*5
}
There errors are this -
Interpreting music... [8]
F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 1/2
\times 2/3 {f4 fs b}
|
F:/Lilypond Files/Score Template.ly:42:19: warning: barcheck failed at: 1/4
\times 2/3 {d c b}
|
Preprocessing graphical objects...
The piece is in 6/8 time.
Thanks,
Chip
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Re: why does this simple notation fail a barcheck?
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
\times 2/3 {d c b} |
g2.\fermata \bar || |
r1*5
}
There errors are this -
Interpreting music... [8]
F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 1/2
\times 2/3 {f4 fs b}
|
Probably because this bar contains the value of a half-note (or 2 quarter
notes) while a complete bar is a dotted half-note (or 3 quarter notes or 2
dotted quarter notes or ...).
Best,
Gilles
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Re: why does this simple notation fail a barcheck?
Chip wrote:
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
\times 2/3 {d c b} |
g2.\fermata \bar || |
r1*5
}
There errors are this -
Interpreting music... [8]
F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at:
1/2
\times 2/3 {f4 fs b}
|
F:/Lilypond Files/Score Template.ly:42:19: warning: barcheck failed at:
1/4
\times 2/3 {d c b}
|
Preprocessing graphical objects...
The piece is in 6/8 time.
Thanks,
Chip
In 6/8 time, there should be six eighth notes or three quarter notes per
bar, but with a quarter-note triplet (your \times 2/3 {} construct) you
have the equivalent of two quarter notes (triplet = three notes in the
space of two), so you're a quarter note short in that bar.
It seems strange to me to even see a triplet in 6/8 time.
Tim Reeves___
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Re: why does this simple notation fail a barcheck?
Gilles Sadowski wrote:
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
\times 2/3 {d c b} |
g2.\fermata \bar || |
r1*5
}
There errors are this -
Interpreting music... [8]
F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 1/2
\times 2/3 {f4 fs b}
|
Probably because this bar contains the value of a half-note (or 2 quarter
notes) while a complete bar is a dotted half-note (or 3 quarter notes or 2
dotted quarter notes or ...).
\times 2/3 {f4 fs b}
looks like 3 quarter notes to me.
--
Chip
Best,
Gilles
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Re: why does this simple notation fail a barcheck?
On 2/24/09 5:09 PM, Chip c...@wiegand.org wrote:
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
The measure above here is a 6/8 measure (f4 fs b), but you've multiplied it
by 2/3, so it's only 2/3 of a measure. Hence the bar check failure.
\times 2/3 {d c b} |
Same thing here.
g2.\fermata \bar || |
Carl
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Re: why does this simple notation fail a barcheck?
Chip wrote:
\times 2/3 {f4 fs b}
looks like 3 quarter notes to me.
You've got TWO THIRDS of three quarter notes (timewise).
What is it you're trying to achieve with the triplet?
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Writing text in a measure
I'm trying to write text in an otherwise empty measure (some special
performance instructions).
not above it or below, but in it.
How can I do that? There is a snippet doing something like that
http://lsr.dsi.unimi.it/LSR/Item?id=258
but when I apply it my text overwrites music after the bar in which the text is
contained.
I need something like
music .. |s-\markup {Play loud random notes, then burn your instrument (30s)
}| more notes...
Thanks in advance for the help,
Kees
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Stanza number before each line of a verse?
I want to put the Stanza number before every line of verse in a longer hymn, but cannot get the hint here to work: http://www.geoffhorton.com/lilypond.html#versenumbers Investigating the Stanza_number_engraver doesn't seem to give any clues, either. Is this possible to do without manual markup? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
