Re: installing lilypond
--moved to user from bug --
On 7/15/09 5:40 AM, Graham Norton graha...@iprimus.com.au wrote:
Hello. I tried installing lilypond tonight on my iMac, OS v. 10.5.7. I am an
experienced TexShop user.
I created the lilypond.engine file for bash in TeXShop (you should say this
text
file needs a .engine extension) and moved it into the TeXShop engine
directory.
Then I did chmod +x on the file from terminal.
Have you been to http://ivo.bouwmans.name/lilypondleopard/?
I ask because the instructions there say to create LilyPond.engine (thus
saying it needs a .engine extension IMO)
A window saying successful installation (which included a scale program) came
onto my desktop.
It said I should copy this window and compile it. I was unable to copy it (by
selecting it and pressing apple key c, which beeped) and so could not compile
it.
Anyway, I went into TexShop and typed in the \header{ } etc. (with a few
initial comments) and changed the file extension to .ly but it failed to
compile
in lilypond (from the typesetting button) and so there is no pdf file.
Should I have surrounded it with latex commands (\documentclass etc.)??
No. LaTeX is *not* involved in the creation of lilypond files (although
LilyPond files can be embedded in LaTeX files with lilypond-book).
Here is the file (which I called scale.ly) that I tried to compile:
%{
Welcome to Lilypond
%}
\header{
title=A scale in Lilypond}
\relative{c d e f g h a b c}
\version 2.12.2
This file should produce output. It's probably not a LilyPond problem, but
rather some challenge in your TexShop setup.
try issuing the following commands from a terminal
which lilypond
(see if lilypond is visible to the shell)
if lilypond is visible to the shell, then do
lilypond scale.ly
If this creates scale.pdf, then lilypond is successfully installed, and the
remaining issues are integration with TexShop.
Hope this helps,
Carl
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\mark vertical alignment with Chord symbols.
Dear Fellows: I'm currently experiencing a problem with aligning a DC al fine mark, as show in the enclosed picture. How can I put it below the chord symbol? This is the setup for the \markmelody = \relative c' {\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible\override Score.RehearsalMark #'font-size = #-2\override MultiMeasureRestText #'self-alignment-X = #DOWN\time 3/4\clef treble\key a \majorr4 e8 fis\( \times 2/3 {fis\)gis a} %1.. ...gis8 fis e fis gis cis %39a2. %40\bar "|."\override Score.RehearsalMark #'self-alignment-X = #RIGHT\override Score.RehearsalMark #'padding = #6.0\once \override Score.RehearsalMark #'outside-staff-priority = #-1\mark "D.C. al Fine"I just can't see how to put it between the staff and the chord. Any help will be appreciated.ThanksGuillermo___
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fret diagrams
Hi all,
I'm desperately trying to typeset a simple C major fret diagram (guitar: first
position). Here's my minimal example:
\version 2.12.2
\include predefined-guitar-fretboards.ly
mychords = \chordmode {
c
}
{
\context ChordNames {
\mychords
}
\context FretBoards {
\mychords
}
}
The resulting diagram shows a c major chord in fifth position instead of first
position (of the guitar). It probably doesn't work because I can't find the
file »predefined-guitar-fretboards.ly« neither on my computer nor on the web.
It's the same result with or without the \include-command. Where do I get this
file from? If I have to create it myself: what is it supposed to look like? I
didn't find any hints in the docs.
Thank you for your help!
Patrick
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cmajor.pdf
Description: Adobe PDF document
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Re: fret diagrams
Hi Marc,
Thanks for your quick reply. I had used Smultron with an older version of
LilyPond (2.11.37). The path was wrong so I didn't realise that I wasn't using
2.12.2. After fixing the path I get the same results as you. But when I compile
the file with the LilyPond-editor I get the following error messages:
(process:4832): Pango-WARNING **: Error loading GDEF table 28333
(process:4832): Pango-WARNING **: Error loading GSUB table 28333
(process:4832): Pango-WARNING **: Error loading GPOS table 28333
(process:4832): Pango-WARNING **: Error loading GDEF table 28333
Maybe I should update to 2.13.3?!
Cheers,
Patrick
Original-Nachricht
Datum: Wed, 15 Jul 2009 21:25:21 +0200
Von: Marc Hohl m...@hohlart.de
An: Patrick Schmidt p.l.schm...@gmx.de
Betreff: Re: fret diagrams
Patrick Schmidt schrieb:
Hi all,
I'm desperately trying to typeset a simple C major fret diagram (guitar:
first position). Here's my minimal example:
\version 2.12.2
\include predefined-guitar-fretboards.ly
mychords = \chordmode {
c
}
{
\context ChordNames {
\mychords
}
\context FretBoards {
\mychords
}
}
Your file works perfectly for me; I use version 2.13.3, but this doesn't
matter, I think.
When I comment out the include command, I get xxx553 for c major,
otherwise it shows
your desired chord.
The resulting diagram shows a c major chord in fifth position instead of
first position (of the guitar). It probably doesn't work because I can't
find the file »predefined-guitar-fretboards.ly« neither on my computer nor
on the web. It's the same result with or without the \include-command.
Where do I get this file from? If I have to create it myself: what is it
supposed to look like? I didn't find any hints in the docs.
This file is part of the lilypond package - do you get an error message
when you invoke lilypond?
Marc
Thank you for your help!
Patrick
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Re: fret diagrams
Problem solved. With 2.13.3 I don't get any error messages. Thanks again for
your help!
Patrick
Original-Nachricht
Datum: Wed, 15 Jul 2009 21:45:12 +0200
Von: Patrick Schmidt p.l.schm...@gmx.de
An: lilypond-user@gnu.org
Betreff: Re: fret diagrams
Hi Marc,
Thanks for your quick reply. I had used Smultron with an older version of
LilyPond (2.11.37). The path was wrong so I didn't realise that I wasn't
using 2.12.2. After fixing the path I get the same results as you. But when I
compile the file with the LilyPond-editor I get the following error
messages:
(process:4832): Pango-WARNING **: Error loading GDEF table 28333
(process:4832): Pango-WARNING **: Error loading GSUB table 28333
(process:4832): Pango-WARNING **: Error loading GPOS table 28333
(process:4832): Pango-WARNING **: Error loading GDEF table 28333
Maybe I should update to 2.13.3?!
Cheers,
Patrick
Original-Nachricht
Datum: Wed, 15 Jul 2009 21:25:21 +0200
Von: Marc Hohl m...@hohlart.de
An: Patrick Schmidt p.l.schm...@gmx.de
Betreff: Re: fret diagrams
Patrick Schmidt schrieb:
Hi all,
I'm desperately trying to typeset a simple C major fret diagram
(guitar:
first position). Here's my minimal example:
\version 2.12.2
\include predefined-guitar-fretboards.ly
mychords = \chordmode {
c
}
{
\context ChordNames {
\mychords
}
\context FretBoards {
\mychords
}
}
Your file works perfectly for me; I use version 2.13.3, but this doesn't
matter, I think.
When I comment out the include command, I get xxx553 for c major,
otherwise it shows
your desired chord.
The resulting diagram shows a c major chord in fifth position instead
of
first position (of the guitar). It probably doesn't work because I can't
find the file »predefined-guitar-fretboards.ly« neither on my computer
nor
on the web. It's the same result with or without the \include-command.
Where do I get this file from? If I have to create it myself: what is it
supposed to look like? I didn't find any hints in the docs.
This file is part of the lilypond package - do you get an error message
when you invoke lilypond?
Marc
Thank you for your help!
Patrick
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guitar guide-mark
When writing the fingering for guitar, there is a notation used to indicate a
guide finger in left-hand shifting. The fingering mark looks like -3, but the
- is rotated up about 30 degrees, which means to silently slide the 3rd
finger from its previous position to this marked note on the same string. (Just
in case someone doesn't know. ;-) So I want to write something like:
c-{-3} or c--3
The first doesn't work and the latter puts the -3 below the note. Is there a
mechanism to accomplish this? Again, I have scanned all the documentation and
not found an example, but I could have missed it.
Cheers
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Avoid indenting the first bar
Hello, I'm using Lilypond to add a hymn to a LaTeX document. I'm very impressed! A couple of questions: - how can I avoid indenting the first line of music? - what does the symbol in quotation marks mean mean (visualise it rotated clockwise by about 30 degrees) :||:? Many thanks, Tom SW ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Avoid indenting the first bar
- what does the symbol in quotation marks mean mean (visualise it rotated clockwise by about 30 degrees) :||:? It could be a kind of simile mark, which would make sense because it marks a repetition of the words and a near repetition of the music. However, the only simile marks I can find live inside the stave, not above it as this one does. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
Hi: I did, as I mentioned earlier, visit my local music store and looked at their selection of fake books. I found what was the first legally published one in its new format. I was dissa pointed. Although it was as nicely typeset as the New Rea Book from Shur Music, there was no explanation of what their chords meant. There was simply an index of tunes along with composition and copyright credits. The notes themselves looked as if they had been typset as any music book wouldl have been. The chord indications, howver, looked as if they had been manually entered. So I could see where any standard way of entering chord names slightly changed from time to timne and from context to context. I am impressed with The New Reall Book series from Sher because of the way it is documented and the way they have gone about making sure each tune is following a real standard way of playin the changes. I own some of the recordings they have consulted so I have checked against their source. They've had to make some decisions of their own on a standard way of notating this since they actually send this to print. LIlypond doesn't have to make those choices, merely enable us to express the notes the way we or the composer/arranger intended. The notation that I was mainly concerned with was how to enter a bass note with the chord indication. I must say, I was shocked. I was both right and wrong in my assertions that the bass note was indicated under the chord name. The bass note was under the chord name, but with a slash not a straight line as I had stated. So, you can see how I was right and wrong. The slash with the chord name under the chord as they indicate in that publication would conform to what I have known to be correct in the past. I think now, that the chord along with the intended bass note belong together as an element or object in themselves. Alterations of the chord are a second element or object beside the chord name. These do not happen frequently, but when they do, they are important. Mostly they indicate an inversion of the chord named. These seem to occur most frequently at cadence points. An example occurs in the last bars of All the Things You Are where there is a progression with a step-wise bass pattern moving from a firIst inversion of the named chord and ending on the root position. In some cases there are going to be chord indications on each beat. Collisions willl be inevitable. It seems the slash with the bass note close under the chord name made this easier to read. I gather the slash would have naturally happend when copyists wrote these charts out by hand. Mostly being right handed the slant would naturally occur. What I saw in that publiation was for the most part clear and readable. I won't argue for or against any one way at this point, just for clarity and compactness. When I get a chance, I will call my Jazz musician friends and see how they expect to see it written. We have a major jazz festival in progress here so everyone is seriously busy. (There was a very good trumpet player int he store trying out instruments and having a long discussion with the sales person about lacquer and how thick it is and what it does to the sound!--- I know, seriously off topic). Lilypond should not seek to make a new method of entering this type of notation, it shoud simply enable copyists to make their music look the way they or the composer intended and to do it in a way that makes it easy for performing musicians to read. Am I makeing sense here? cheers, davidf -- 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: guitar guide-mark
On Wed, Jul 15, 2009 at 7:46 PM, Peter Buhr pab...@sympatico.ca wrote:
When writing the fingering for guitar, there is a notation used to indicate
a
guide finger in left-hand shifting. The fingering mark looks like -3, but
the
- is rotated up about 30 degrees, which means to silently slide the 3rd
finger from its previous position to this marked note on the same string.
(Just
in case someone doesn't know. ;-) So I want to write something like:
c-{-3} or c--3
The first doesn't work and the latter puts the -3 below the note. Is
there a
mechanism to accomplish this? Again, I have scanned all the documentation
and
not found an example, but I could have missed it.
You can rotate objects and markups. I've done a little experiment here that
doesn't look very good yet but may put you on the right track. Search the
Notation Reference manual for rotation, formatting text, positioning
objects, and the like.
\version 2.13.4
\relative c'' {
c-1 d^\markup { \center-align { \rotate #30 - \finger 1 }}
}
HTH,
Jon
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Re: guitar guide-mark
You can rotate objects and markups. I've done a little experiment here that
doesn't look very good yet but may put you on the right track. Search the
Notation Reference manual for rotation, formatting text, positioning
objects, and the like.
\version 2.13.4
\relative c'' {
c-1 d^\markup { \center-align { \rotate #30 - \finger 1 }}
}
The problem with this approach is that it just seems to build a glyph and place
it above the note without any knowledge of what the glyph represents. So when I
put this markup into my score it does not follow any of the rules I have set
for fingering.
\override Staff.Fingering #'font-name = #times
\override Staff.Fingering #'font-size = #-4
\override Fingering #'staff-padding = #'()
Essentially, I want the fingering code to manage the glyph not me. But I have
no way to give the fingering code a general glyph, just digits. You might think
that \finger would identify the glyph but it doesn't seem to. Does this make
sense?
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Re: guitar guide-mark
On Jul 15, 2009, at 7:46 PM, Peter Buhr wrote:
When writing the fingering for guitar, there is a notation used to
indicate a
guide finger in left-hand shifting. The fingering mark looks like
-3, but the
- is rotated up about 30 degrees, which means to silently slide
the 3rd
finger from its previous position to this marked note on the same
string. (Just
in case someone doesn't know. ;-) So I want to write something like:
c-{-3} or c--3
The first doesn't work and the latter puts the -3 below the note.
Is there a
mechanism to accomplish this? Again, I have scanned all the
documentation and
not found an example, but I could have missed it.
In 30 years of playing guitar (jazz and rock), I have never seen this
notation. Is there an example on the Web you can point to? I'd be
interested in seeing how it's used.
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Re: guitar guide-mark
In 30 years of playing guitar (jazz and rock), I have never seen this notation. Is there an example on the Web you can point to? I'd be interested in seeing how it's used. Ummm, I'll look on the web to see if I can fine something. However, what I'm reading from is the Guitar Repertoire and Studies/Etudies books from the RCM http://www.rcmusic.ca. The left-hand shifting notation is used throughout all of the study books from grade 1 to grade 10. Any guitar player in Canada that goes through the RCM has been brought up with this notation. I just assumed it was universal. The study books are not online so I can't show you my primary examples. If you want, I can scan a page and email it directly to you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
website draft 6
Moved to the official server: http://lilypond.org/~graham/ Wanted, in order of preference: 1) git-enabled contributors. http://lists.gnu.org/archive/html/lilypond-devel/2009-06/msg00348.html (this burden to contributors might be relaxed in the future, but that would be at least 1 month away) 2) non-git-enabled contributors. If you can write text files.. or even just emails... then write some text to include. For example, nobody is working on Introductions-Features. The hard part is figuring out what to write, not the actual formatting! 3) proofreading, checking, etc: if you find spelling/grammatical mistakes, or can think of shorter+simpler wordings (remember, we have a lot of ESL readers, so simple text is good!), send such corrections. Also, is there anything on the old website that's not on the draft website? I mean, anything that doesn't have a stub? Don't complain about the lack of the Essay, since we have a spot reserved for it. But other than those reserved spot issues, are we missing anything? 4) suggestions. Yes, these are still valuable, but we could have all the hey, try out this blue-shaded color scheme ideas in the world. But if nobody is working on the .css file, then nothing will happen. Oh, that reminds me -- the css file. This also counts as #2 (writing text files)... if you're willing to edit that file and send us new versions of it, we can take care of the git stuff for you. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: guitar guide-mark
On Wed, Jul 15, 2009 at 9:22 PM, Tim McNamara tim...@bitstream.net wrote:
On Jul 15, 2009, at 7:46 PM, Peter Buhr wrote:
When writing the fingering for guitar, there is a notation used to
indicate a
guide finger in left-hand shifting. The fingering mark looks like -3,
but the
- is rotated up about 30 degrees, which means to silently slide the 3rd
finger from its previous position to this marked note on the same string.
(Just
in case someone doesn't know. ;-) So I want to write something like:
c-{-3} or c--3
The first doesn't work and the latter puts the -3 below the note. Is
there a
mechanism to accomplish this? Again, I have scanned all the documentation
and
not found an example, but I could have missed it.
In 30 years of playing guitar (jazz and rock), I have never seen this
notation. Is there an example on the Web you can point to? I'd be
interested in seeing how it's used.
This fingering indication is very common in classical guitar music. I see it
all the time but haven't tried to do it in Lilypond before tonight. Peter,
your objections to my initial approach make perfect sense, I just don't know
how to work around them. :)
Jon
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Re: guitar guide-mark
On 7/15/09 8:18 PM, Peter Buhr pab...@sympatico.ca wrote:
You can rotate objects and markups. I've done a little experiment here that
doesn't look very good yet but may put you on the right track. Search the
Notation Reference manual for rotation, formatting text, positioning
objects, and the like.
\version 2.13.4
\relative c'' {
c-1 d^\markup { \center-align { \rotate #30 - \finger 1 }}
}
The problem with this approach is that it just seems to build a glyph and
place
it above the note without any knowledge of what the glyph represents. So when
I
put this markup into my score it does not follow any of the rules I have set
for fingering.
\override Staff.Fingering #'font-name = #times
\override Staff.Fingering #'font-size = #-4
\override Fingering #'staff-padding = #'()
Essentially, I want the fingering code to manage the glyph not me. But I have
no way to give the fingering code a general glyph, just digits. You might
think
that \finger would identify the glyph but it doesn't seem to. Does this make
sense?
You can have the fingering produce any markup you want by doing
\once \override Staff.Fingering #'stencil = your markup procedure goes
here
HTH,
Carl
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Re: Lilypond and Jazz chords
On Jul 15, 2009, at 8:42 PM, David Fedoruk wrote: I did, as I mentioned earlier, visit my local music store and looked at their selection of fake books. I found what was the first legally published one in its new format. I was dissa pointed. That's not very specific. By chance were you looking at the Hal Leonard versions of the Real Books (6th Edition, Book II 2nd edition, Book III)? The original Real Books were hand written by an unidentified person allegedly affiliated with the Berklee school of music in Boston; the most commonly suggested person was a well-known professional jazz bassist who wrote the chords out as he and his colleagues preferred. For most jazz musicians, the original Real Books are the de facto standard (although they are not completely internally consistent). The original books contained a number of errors and a number of performance-specific transcriptions of songs. Even very famous songs in the Real Book like Four contain errors (which have become canonized by being played that way for over 30 years). The Hal Leonard Real Books are more accurate- or less performance-specific than the original Real Books. I am impressed with The New Reall Book series from Sher because of the way it is documented and the way they have gone about making sure each tune is following a real standard way of playin the changes. FWIW the original Real Books had a page of common chord voicings in note form for reference. But jazz musicians know what a Ebmin7b5 or Ebø means, for example, and there is no need to provide documentation of this. Students may need this, but they should get it elsewhere than from a book of tunes. Mark Levine's textbook on jazz harmony is a great resource and one every jazz student should work through. Fake books are not textbooks, they are intended for bandstand use by professionals. FWIW the Sher books are IMHO the best and most accurate of the various fake books. They should be the standard and not the Real Books. Sher made a point of checking the chords for accuracy far above and beyond the original Real Books (for example, compare Here's That Rainy Day, in which the original Real Book chords bear little resemblance to the proper chords of the song). However, the original Real Book (vol. 1) is simply The Book as in is that tune in the book? Bandleaders will frequently call songs by page number rather than title (because the Real Book is rather, umm, flexible as to its interpretation of alphabetization). The notation that I was mainly concerned with was how to enter a bass note with the chord indication. I must say, I was shocked. I was both right and wrong in my assertions that the bass note was indicated under the chord name. The bass note was under the chord name, but with a slash not a straight line as I had stated. So, you can see how I was right and wrong. The slash with the chord name under the chord as they indicate in that publication would conform to what I have known to be correct in the past. Normally the form for displaying a chord with a specific bass note is a diagonal slash: Gmaj7/A for example. Polychords (two triads stacked) are sometimes written as two chordnames arranged vertically with a short horizontal line separating them, but you'll find none of those in the Real Books IIRC: Ebmin __ Fmin I think now, that the chord along with the intended bass note belong together as an element or object in themselves. Alterations of the chord are a second element or object beside the chord name. These do not happen frequently, but when they do, they are important. Mostly they indicate an inversion of the chord named. These seem to occur most frequently at cadence points. An example occurs in the last bars of All the Things You Are where there is a progression with a step-wise bass pattern moving from a first inversion of the named chord and ending on the root position. In some cases there are going to be chord indications on each beat. Collisions willl be inevitable. It seems the slash with the bass note close under the chord name made this easier to read. Slash chords are usually written to specify a voicing to a keyboardist or guitarist, often to maintain a specific movement in the bass under the harmony: | Dmin7 Dmin7/C | Bb7 A7 | Dmaj7| for example. It's a simple way to write out the motion and is instantly readable. I gather the slash would have naturally happend when copyists wrote these charts out by hand. Mostly being right handed the slant would naturally occur. What I saw in that publiation was for the most part clear and readable. Right, it's intended to be instantly readable by a musician playing the song for the first time on the bandstand. I won't argue for or against any one way at this point, just for clarity and compactness. Those are the key things.
Re: ANN: LilyPondTool 2.12.858 Release Candidate
Hi Bertalan, I'm having trouble getting the Virtual Piano to work for me: - I can hear notes that are played with mouse clicks or keyboard strokes, but they are not inserted in my .ly file - the Virtual Piano does not seem to recognize MIDI keyboard strokes Any idea what I might be doing wrong? Andrew (Ubuntu 9.04) On Fri, Jul 10, 2009 at 7:59 AM, Bertalan Fodor (LilyPondTool)lilypondt...@organum.hu wrote: Hi, thanks to the bug hunters, I created an improved, fixed, shinier version of LilyPondTool. This is the Release Candidate before I release this to the jEdit plugin repository for the widest public. It contains some enhancements and many fixes, especially for the PDF viewer. Now you can turn the page back and not just forward for example :) (Though I just found a bug about turning the page, then clicking on a note.) Download it from: https://sourceforge.net/projects/lily4jedit/files/lily4jedit/lily4jedit-2.12.858.zip/download And unzip to the jEdit settings folder: $HOME/.jEdit, where $HOME is you home folder In the final release there will be documentation as well :) Cheers, Bert ___ 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
different lyrics with different alternatives
Hello,
I seldom deal with songs, and am hard to search the mailinglist (NR. leaves
this section empty!). So maybe this problem has been discussed before.
I'm writing a song with two verses most of the time. In the melody-only
version (I'll give it to my teacher), the melody is repeated with alternatives,
the second of which is different, then to the end. Here's an example shows what
I'm writing:
\relative c' {
\time 4/4
\repeat volta 2 {
c4 d e f |
g a b c |
d c b a |
}
\alternative { { g1 } { g2. g4 } }
a b c a | g f e d | c1 \bar |.
}
You can imagine what the two verses of lyrics look like:
1. Do re mi fa sol la si do re do si la sol.
2. Do re mi fa sol la si do re do si la sol, sol la si do la sol fa mi re do.
So, how to correctly add these different two verses?
Regards
Haipeng
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Re: website draft 6
On Jul 15, 2009, at 9:42 PM, Graham Percival wrote: For example, nobody is working on Introductions-Features. I'll have a go at this in the next few days. The basics are already there and seem to me to just need a little polishing, maybe a few slightly different headings. But it's midnight right now and I have to go to work in the morning! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
