Re: Page breaks and bookpart
Well, to answer my own query, what I have below gives what I want - back
of the title page is blank, and I get a blank page between the two
scores without the title page being repeated. I had to turn off page
numbering initially to prevent a page number of 0 showing up on the back
of the title page, and a paper block which turns on page numbering has
to be included in each bookpart.
%
\version "2.13.50"
date = #(strftime "%d/%m/%Y" (localtime (current-time)))
\paper {
first-page-number = -1
print-page-number = ##f
}
\header {
title = \markup {
\lower #40 \left-align \center-column {
\fontsize #6 \bold "Collection Title"
\lower #3 \fontsize #2 \bold \line { "Composer" }
\lower #10 \normalsize " "
}
}
tagline = \markup {
\fontsize #-3.5
{
Engraved on \date using \with-url #"http://lilypond.org/";
{ LilyPond \simple #(lilypond-version) (http://lilypond.org/) }
}
}
}
\markuplines \table-of-contents
\pageBreak
\markup \null
%
\bookpart {
\header {
title = ##f
subtitle = \markup \huge \bold { 1. Piece 1 }
composer = \markup { Composer }
parttagline = \markup \fontsize #-3.5
{
Engraved on \date using \with-url #"http://lilypond.org/";
{ LilyPond \simple #(lilypond-version) (http://lilypond.org/) }
}
}
\paper {
print-page-number = ##t
}
\tocItem \markup { Piece 1 }
\relative c' { \repeat unfold 400 { c4 } }
\pageBreak
\markuplines { \justified-lines { This page intentionally left
blank } }
}
%
\bookpart {
\header {
title = ##f
subtitle = \markup \huge \bold { 2. Piece 2 }
composer = \markup { Composer }
parttagline = \markup \fontsize #-3.5
{
Engraved on \date using \with-url #"http://lilypond.org/";
{ LilyPond \simple #(lilypond-version) (http://lilypond.org/) }
}
}
\paper {
print-page-number = ##t
}
\tocItem \markup { Piece 2 }
\relative c' { \repeat unfold 400 { c4 } }
}
%
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: args in Scheme
On Wed, Feb 16, 2011 at 10:49:03AM +0800, 胡海鹏 - Hu Haipeng wrote: > I don't know whether this >limitation is eliminated now, so could you tell me whether the following >prints correctly? I believe it is correct. With 2.13.47, I see: Allegro ( [half note symbol] = [quarter note symbol] = 60 ) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
args in Scheme
Hello,
Three years ago, when I defined a function, someone told me that in Lily
Scheme can only take up to 3 arguments. I don't know whether this limitation is
eliminated now, so could you tell me whether the following prints correctly?
Haipeng
\version "2.13.50"
triTempo =
#(define-music-function (parser location prependText notevaluei notevalueii
appendText) (string? string? string? string?)
#{ \tempo \markup { \line { $prependText " (" \fontsize #-2 \general-align #Y
#DOWN \note #$notevaluei #1 "=" \general-align #Y #DOWN \note #$notevalueii #1
$appendText ) } }
#})
\score {
\new Staff {
\time 4/4
\triTempo "Allegro" "2" "4" "= 60"
c'4 c' c' c'
}
\layout { }
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question - changing stem direction to avoid levitating slur
2011/2/15 Neil Puttock : > 2011/2/15 Janek Warchoł : > >> Do you mean simply using \slurDown? I'd say that the result (attached) >> is indeed a little better, but flipping bes quarter note makes it yet >> more good-looking. > > You might try adding the Melody_engraver for this: it changes the > neutral-direction based on the stem directions of surrounding notes > (but only in the current bar, I think) Good idea! It would be great to create a similar engraver that would change the neutral-direction based on the stem directions of surrounding notes, but only when doing so will improve the shape of the slur. Maybe i'll try to do this when i'm finished with the stem&flags issue which i started some time ago. Speaking of it, would you care to look at "transition between full-length and shortened stems - please discuss" thread on -devel and state your opinion? The discussion got somewhat quiet :( It requires only spending 5 minutes comparing Lily current behaviour and two possible fixes. All necessary examples are included. Thanks! Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question - changing stem direction to avoid levitating slur
2011/2/15 Janek Warchoł :
> Do you mean simply using \slurDown? I'd say that the result (attached)
> is indeed a little better, but flipping bes quarter note makes it yet
> more good-looking.
You might try adding the Melody_engraver for this: it changes the
neutral-direction based on the stem directions of surrounding notes
(but only in the current bar, I think):
\relative c' {
\clef "treble_8"
\time 3/4
\autoBeamOff
r8 a g f g bes |
a2( bes |
a4 bes8) r bes4 ~ |
bes2 bes4 |
bes2.
c2.
}
\layout {
\context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
}
}
Cheers,
Neil
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scheme artificial harmonic (transposition within chord)
Neil Puttock wrote:
On 15 February 2011 14:25, Rob Canning wrote:
where lies the error or is there a better way to do this - am slightly
suprised there is not a build in function for this... maybe there is?
There are several parser limitations you're encountering here. The
only way around them is to stay in scheme when creating the new chord:
artHarm =
#(define-music-function (parser location note) (ly:music?)
(let ((harm (ly:music-transpose (ly:music-deep-copy (car
(ly:music-property note 'elements)))
(ly:make-pitch 0 3 0
(set! (ly:music-property harm 'articulations)
(list (make-music 'HarmonicEvent)))
(set! (ly:music-property note 'elements)
(append (ly:music-property note 'elements)
(list harm)))
note))
{ \artHarm ais }
BTW, this only works properly in absolute note mode due to the way
transposing interacts with \relative { } blocks (there's a note in the
docs warning about this under \transpose).
this is great thank you!
these chunks of scheme really help me get my head around things.
thank you too to patrick for your link - looks like some very useful
stuff there
rob
Cheers,
Neil
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scheme artificial harmonic (transposition within chord)
On 15 February 2011 14:25, Rob Canning wrote:
> where lies the error or is there a better way to do this - am slightly
> suprised there is not a build in function for this... maybe there is?
There are several parser limitations you're encountering here. The
only way around them is to stay in scheme when creating the new chord:
artHarm =
#(define-music-function (parser location note) (ly:music?)
(let ((harm (ly:music-transpose (ly:music-deep-copy (car
(ly:music-property note 'elements)))
(ly:make-pitch 0 3 0
(set! (ly:music-property harm 'articulations)
(list (make-music 'HarmonicEvent)))
(set! (ly:music-property note 'elements)
(append (ly:music-property note 'elements)
(list harm)))
note))
{ \artHarm ais }
BTW, this only works properly in absolute note mode due to the way
transposing interacts with \relative { } blocks (there's a note in the
docs warning about this under \transpose).
Cheers,
Neil
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question - changing stem direction to avoid levitating slur
W dniu 14 lutego 2011 21:17:57 UTC+1 użytkownik Shane Brandes
napisał:
>
> Hi Janek,
>
> I looked through some scores and it does not seem to be out of
> place as is, which was also my initial reaction.
Really?
Well, for me it looks odd.
> I did notice a few
> instance were the slur lines were engraved crossing through the stems
> when they would have otherwise been too high.
Yes, it seems reasonable to do so in some cases. However, i suppose
doing so would require tweaking slur control points, and that sounds
pretty messy. I'd like to avoid this if possible - after all, i'm
using LilyPond because i want to do as few (and as simple) tweaks as
possible :)
> It is always also possible to have the slur under the staff also.
Do you mean simply using \slurDown? I'd say that the result (attached)
is indeed a little better, but flipping bes quarter note makes it yet
more good-looking.
> Anyway I would not
> change it. unless you find a more excellent reason than that it looks
> a little odd.
Well, for me not :)
Apart from the way to handle that slur, if i do in in my way, what
would you advise me about those stems of bes notes? ('terrae' part)
cheers,
Janek
<>___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond
Hi Tim, I'm redirecting your help request to lilypond user list, as I know nothing of the pango thing. You should provide a example of your use of make-pango-font-tree so that we could see what's wrong. Cheers Nicolas Le 15 févr. 2011 à 14:38, Tim Sheasby a écrit : > Hello > I am using LilyPond 2.13.46 to produce an African Langauge hymn book on a > Macintosh with Snow Leopard. Have just tried version 2.13.50 and get an > error. When I remove the make-pango-font-tree command the file compiles > again. Have to use pango because of special accents in some of the African > langauges. Is it worth updating pango on my machine or attempting to compile > lilypond for myself? Have you seen any similar problems? > Many thanks. > Tim Sheasby > t...@sheafpublishing.co.za > > > > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can't compile
On 15 February 2011 01:56, Graham Percival wrote: > That sounds like a lot. After 2.13.50, we added some optimizations. I don't think they have much influence on memory usage (only compilation speed, due to caching property lookups). > If anybody sees the same behaviour from current git or 2.13.51, it > might be good to try constructing a Tiny example of the problem so > that programmers can investigate if it's a bug. I get roughly the same memory usage on master (but only with an optimized build; I had to kill the unoptimized run since it used too much memory). 6m58.748s (midi + pdf) Cheers, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando without starting note
Oops, never mind the above -- I see now that what is missing is the scaling of
the landing note of the glissando so that the total ends up being 4 beats all
together:
{
%\set Score.skipBars = ##t
\override Glissando #'style = #'zigzag
\relative c' {
\clef bass
\key c \major
\time 4/4
f4 f4 f4 f4
% glissando thingy
{
\hideNotes
a,8*1/2
\noBeam
\glissando
\unHideNotes
f''8*1/2-^\fz r8 r4 r2
}
f4 f4 f4 f4
r4 b4 r4 b4
r4 b4 r4 b4
\bar "||"
}
}
works fine!
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando without starting note
Reinhold Kainhofer kainhofer.com> writes:
> You would use the exact same code as above. the 1/2 does not come from the
time sig. Rather, it allows you to use
> half of the time of that not for another, hidden note before it. The 1/2 for
this and the hidden note simply
> ensures that they take exactly the same time as the visible eighth note
sggests.
>
> Cheers,
> Reinhold
>
Thanks for the response -- I see that the problem actually exists in both the
2/4 and 4/4 time. When I run:
{
%\set Score.skipBars = ##t
\override Glissando #'style = #'zigzag
\relative c' {
\clef bass
\key c \major
\time 4/4
f4 f4 f4 f4
% glissando thingy
{
\hideNotes
a,8*1/2
\noBeam
\glissando
\unHideNotes
f''8-^\fz r8 r4 r2
}
f4 f4 f4 f4
r4 b4 r4 b4
r4 b4 r4 b4
\bar "||"
}
}
I get the same problem -- an extra bar line at the end before the double bar.
Also, If I uncomment the set Score.skipBars = ##t, I get no barlines from then
on. So something is going on that I don't quite understand.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changelog
On Tue, Feb 15, 2011 at 10:55:59AM +0100, David Kastrup wrote: > 胡海鹏 - Hu Haipeng writes: > > > I'm wondering whether there's a complete changelog for every devel > > version. ... > > I don't like to download the > > complete git site, since it's too big ! > > The whole history of Lilypond takes up about 90MB in my .git directory. > That's tolerable. Agreed. You can see the log via the cgit or webgit interface, but I really think that the command-line version would be easier for you to use. You can look at the entire log: $ git log or isolate a directory: $ git log lily/ or isolate a specific range: $ git log release/2.13.49-1 release/2.13.50-1 Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Use custom font's flat (b) and sharp (#) symbols for chords
Hello )-Original Message- )From: lilypond-user-bounces+james.lowe=datacore@gnu.org )[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On )Behalf Of Matthias Hüsken )Sent: 15 February 2011 17:25 )To: lilypond-user@gnu.org )Subject: Re: Use custom font's flat (b) and sharp (#) symbols for chords ) )I already found this solution, but to me, it looks like overkill to simply )replace two symbols. Especially as I need the changed symbols only in )chordmode - for notes, LiliPond's are perfect. It may be possible to refer using a markup option to refer to a specific character within a font - what I mean by that is that we can print UTF characters by using a specific markup command along with the UTF number (so you can show accents and diacritics etc.). I am not really knowledgeable if you can refer to a non-standard character in a font by using this method, someone else may know - for example I know that the 'hash' character on a mac is 'alt-3' if you use the keyboard but there maybe a mapping reference we can use to tell LilyPond to print that character instead. That way you could then use that custom font character 'as if' you were typing it on the keyboard. I hope that makes sense to someone? ) )> Alternatively you could use the LilyPond glyph within the chordname by )> using the \flat and \sharp markup. ) )I'm not sure I understand - I do not want to use LilyPond's glyphs in chord )names, but custom ones... ) Well you said the chord font didn't match the lilypond ones, so I suggested replacing the chord font accidentals with Lilyponds' so the accidentals all look the same. :) regards James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use custom font's flat (b) and sharp (#) symbols for chords
Thx for the answer! > )For writing lead sheets, I changed Lilypond's standard font for printing > )chord names to a custom font. While this works perfectly, the style > )difference between the chord symbols and Lilypond's flat and sharp > )symbols is very obvious. Is there a way to make Lilypond use the custom > )font's "b" and "#" > )symbols instead of the internal ones? > ) > --- > > Not easily. The flat and sharp glyphs are 'hard coded' as it were. > > http://lilypond.org/doc/v2.13/Documentation/notation/the-feta-font#accident >al-glyphs > > While LilyPond can use other specially design fonts, for instance see: > > http://www.chiark.greenend.org.uk/~sgtatham/gonville/ (we do mention this > in our Documentation but all the installation instructions are here) > > This still has a hard coded glyph. It may be nearer to what you need > though? > > You would need to replace the specific glyph for the sharp and flat > manually within the 'fonts' directory that is installed with LilyPond - > which is what the above link does for its own font. I don't know how easy > that would be for you to do - it's certainly beyond my knowledge. I already found this solution, but to me, it looks like overkill to simply replace two symbols. Especially as I need the changed symbols only in chordmode - for notes, LiliPond's are perfect. > Alternatively you could use the LilyPond glyph within the chordname by > using the \flat and \sharp markup. I'm not sure I understand - I do not want to use LilyPond's glyphs in chord names, but custom ones... For my purposes, it would just like to be able to redefine the sharp and flat symbols only for the chord mode, but I did not find any easy solution... and I do not know if this is even possible. Matthias -- Matthias Hüsken Phone: +49 202 439-3362 Fachbereich Mathematik Fax: +49 202 439-2912 Bergische Universität Gaußstraße 20 D - 42097 Wuppertal e-mail: matthias.hues...@math.uni-wuppertal.de ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Use custom font's flat (b) and sharp (#) symbols for chords
Matthias, )-Original Message- )From: lilypond-user-bounces+james.lowe=datacore@gnu.org )[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On )Behalf Of Matthias Hüsken )Sent: 15 February 2011 15:53 )To: lilypond-user@gnu.org )Subject: Use custom font's flat (b) and sharp (#) symbols for chords ) )Hi everyone, ) )I'm new to Lilypond and impressed with the ease of writing music and the )quality of the output. ) )For writing lead sheets, I changed Lilypond's standard font for printing )chord names to a custom font. While this works perfectly, the style )difference between the chord symbols and Lilypond's flat and sharp )symbols is very obvious. Is there a way to make Lilypond use the custom )font's "b" and "#" )symbols instead of the internal ones? ) --- Not easily. The flat and sharp glyphs are 'hard coded' as it were. http://lilypond.org/doc/v2.13/Documentation/notation/the-feta-font#accidental-glyphs While LilyPond can use other specially design fonts, for instance see: http://www.chiark.greenend.org.uk/~sgtatham/gonville/ (we do mention this in our Documentation but all the installation instructions are here) This still has a hard coded glyph. It may be nearer to what you need though? You would need to replace the specific glyph for the sharp and flat manually within the 'fonts' directory that is installed with LilyPond - which is what the above link does for its own font. I don't know how easy that would be for you to do - it's certainly beyond my knowledge. Alternatively you could use the LilyPond glyph within the chordname by using the \flat and \sharp markup. James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Use custom font's flat (b) and sharp (#) symbols for chords
Hi everyone, I'm new to Lilypond and impressed with the ease of writing music and the quality of the output. For writing lead sheets, I changed Lilypond's standard font for printing chord names to a custom font. While this works perfectly, the style difference between the chord symbols and Lilypond's flat and sharp symbols is very obvious. Is there a way to make Lilypond use the custom font's "b" and "#" symbols instead of the internal ones? Thanks in advance, Matthias ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scheme artificial harmonic (transposition within chord)
http://codereview.appspot.com/4186049/
HTH
patrick
Am 15.02.2011 um 15:25 schrieb Rob Canning:
> hello,
> i am trying to get scheme to automate artificial harmonics so i dont need to
> specify the pitch of the note written up the perfect fourth
> i am running in to the problem of scheme not evaluating the variable once put
> inside the
> (i get errors regarding /lilyvartmpc /)
>
> where lies the error or is there a better way to do this - am slightly
> suprised there is not a build in function for this... maybe there is?
>
> artHarm = #(define-music-function (parser location note)
>(ly:music?)
> #{
> < $note \transpose c f $note \harmonic >
> #})
>
> { \artHarm b }
>
> thanks
> rob
>
> ___
> 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
page xy coordinates for musical events
Hello I'd like to know if there is a way to get the resulting coordinates (i.e. x/y position in cm on the page) of a musical event in the compiled ps/pdf file; what I want to do is to typeset a lilypond source, and LATER post-process the resulting image. The typical case would be for example highlighting a specific bar. Note that I do not want to do that directly in lilypond, but as a completely separate step. I tried looking at the documentation, but could not find anything. Any hint? Thanks in advance Nicola Montecchio -- Ing. Nicola Montecchio Ph.D. Student Information Management Systems Research Group Department of Information Engineering University of Padova, Italy Phone: 0039 049 8277929 http://www.dei.unipd.it/~montecc2 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
scheme artificial harmonic (transposition within chord)
hello,
i am trying to get scheme to automate artificial harmonics so i dont
need to specify the pitch of the note written up the perfect fourth
i am running in to the problem of scheme not evaluating the variable
once put inside the
(i get errors regarding /lilyvartmpc /)
where lies the error or is there a better way to do this - am slightly
suprised there is not a build in function for this... maybe there is?
artHarm = #(define-music-function (parser location note)
(ly:music?)
#{
< $note \transpose c f $note \harmonic >
#})
{ \artHarm b }
thanks
rob
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
page xy coordinates for musical events
Hello I'd like to know if there is a way to get the resulting coordinates (i.e. x/y position in cm on the page) of a musical event in the compiled ps/pdf file; what I want to do is to typeset a lilypond source, and LATER post-process the resulting image. The typical case would be for example highlighting a specific bar. Note that I do not want to do that directly in lilypond, but as a completely separate step. I tried looking at the documentation, but could not find anything. Any hint? Thanks in advance Nicola Montecchio -- Ing. Nicola Montecchio Ph.D. Student Information Management Systems Research Group Department of Information Engineering University of Padova, Italy Phone: 0039 049 8277929 http://www.dei.unipd.it/~montecc2 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Get the pitch as number
I see now what the problem was. however, I'm not quite sure yet how to avoid doing similar mistakes in the future, but maybe I'll get used to it (For example, how do I know that I should start looking for EventChord rather than NoteEvents?) You can start looking for NoteEvent but remenber you cannot add a markup to a NoteEvent. c-"hello" %% allowed ( equivalent to -"hello" ) %% not allowed What I want to do is to map a 43-tone scale (octave divided in 43-tones) to the first 43 tones of the chromatic scale so it is important that I can tell middle C from C in the first octave. ly:pitch-semitones seemed to be an appropriate method. +1 (didn't understantood that. Sorry) Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange output
See "Known issues and warnings" in the Notation Reference, section 1.2.6, Grace
notes.
--
Phil Holmes
- Original Message -
From: Mario Moles
To: lilypond-user@gnu.org
Sent: Tuesday, February 15, 2011 12:14 PM
Subject: strange output
Double time and time indications:
\version "2.13.50"
\header {
dedication = "A monsieur Constantin Mahrburg"
title = "IMPROMPTU"
composer = "Pietro Pettoletti"
opus = "Op. 29"
}
\paper {
#(set-paper-size "a4")
}
tempoMark = {
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature
key-signature)
\once \override Staff.TimeSignature #'break-align-anchor-alignment = #LEFT
\mark \markup \bold "Allegro con energia"
}
global = {
\tempoMark
\key c \major
\time 4/4
}
classicalGuitarOne = \relative c' {
\global
% Qui segue la musica.
a4 b,16 b' c, c' d, d' e, e' f, f' gis, gis'|
}
classicalGuitarTwo = \relative c' {
\global
% Qui segue la musica.
}
classicalGuitarThree = \relative c' {
\global
% Qui segue la musica.
}
classicalGuitarFour = \relative c {
\global
% Qui segue la musica.
\acciaccatura {a8} \stemDown a4 b8 c d e f gis|
}
\book {
\score {
\new Staff \with {
midiInstrument = "acoustic guitar (nylon)"
} { \clef "treble_8" << \classicalGuitarOne \\ \classicalGuitarTwo \\
\classicalGuitarThree \\ \classicalGuitarFour >> }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 100 4)
}
}
}
}
--
oiram/bin/selom
--
___
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
Re: strange output
Same thing hit the French list a couple days ago.
Oddly, my heavily-krunked-out version of the source doesn't reproduce this
result, but I would recommend (by way of Xavier Scheuer) adding \grace { s8 }
to the beginning of all your parts.
Cheers,
MS
On Feb 15, 2011, at 7:14 AM, Mario Moles wrote:
> Double time and time indications:
> \version "2.13.50"
>
> \header {
> dedication = "A monsieur Constantin Mahrburg"
> title = "IMPROMPTU"
> composer = "Pietro Pettoletti"
> opus = "Op. 29"
> }
>
> \paper {
> #(set-paper-size "a4")
> }
>
> tempoMark = {
> \once \override Score.RehearsalMark #'self-alignment-X = #LEFT
> \once \override Score.RehearsalMark #'break-align-symbols =
> #'(time-signature key-signature)
> \once \override Staff.TimeSignature #'break-align-anchor-alignment = #LEFT
> \mark \markup \bold "Allegro con energia"
> }
>
> global = {
> \tempoMark
> \key c \major
> \time 4/4
> }
>
> classicalGuitarOne = \relative c' {
> \global
> % Qui segue la musica.
> a4 b,16 b' c, c' d, d' e, e' f, f' gis, gis'|
> }
>
> classicalGuitarTwo = \relative c' {
> \global
> % Qui segue la musica.
>
> }
>
> classicalGuitarThree = \relative c' {
> \global
> % Qui segue la musica.
>
> }
>
> classicalGuitarFour = \relative c {
> \global
> % Qui segue la musica.
> \acciaccatura {a8} \stemDown a4 b8 c d e f gis|
> }
>
> \book {
> \score {
> \new Staff \with {
> midiInstrument = "acoustic guitar (nylon)"
> } { \clef "treble_8" << \classicalGuitarOne \\ \classicalGuitarTwo \\
> \classicalGuitarThree \\ \classicalGuitarFour >> }
> \layout { }
> \midi {
> \context {
> \Score
> tempoWholesPerMinute = #(ly:make-moment 100 4)
> }
> }
> }
> }
>
> --
> oiram/bin/selom
> ___
> 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
Re: lilypond speed
- Original Message - From: "Martin Tarenskeen" To: "lilypond-user mailinglist" Sent: Tuesday, February 15, 2011 10:42 AM Subject: lilypond speed Some day soon my still reliable but not very fast 10 year old laptop will have to be replaced by a more modern machine. Will Lilypond benifit much if my next computer will have one of those modern multi-core processors like the Intel i3/5/7 ? I'm just curious. -- Martin If you're using Windows, you definitely won't see an improvement with a multi-core machine. LilyPond is single-threaded, and so can only use a single core at a given time. It may be that your new machine will have more memory, and this is definitely beneficial for large scores, where Lily can take a lot of memory. Whether the processor will be faster depends solely on the processing power of _one_ of the cores of your new CPU versus the power of your old one. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond speed
I was thinkig about that too. Parallelization in Lilypond can be possible. Imagine rendering one page in each core in parallel, or one system for each core. Also other kinds of optimizations for 'preview' modes, where you need more speed then optimal quality? Maybe improved performance can be a feature request for Lilypond 2.16 ? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond speed
On a Mac, speed increase from a Core2Duo to a Corei5 is really noticeable, about 40% faster. I guess this is about the same on Windows or Linux. I think you'll see a huge difference. :) Philippe -- View this message in context: http://old.nabble.com/lilypond-speed-tp30929720p30929766.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
lilypond speed
Some day soon my still reliable but not very fast 10 year old laptop will have to be replaced by a more modern machine. Will Lilypond benifit much if my next computer will have one of those modern multi-core processors like the Intel i3/5/7 ? I'm just curious. -- Martin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can't compile
- Original Message -
From: "Graham Percival"
To: "Nick Payne"
Cc: "胡海鹏 - Hu Haipeng" ;
Sent: Tuesday, February 15, 2011 1:56 AM
Subject: Re: can't compile
On 2/15/11, Nick Payne wrote:
> On 15/02/11 09:28, ??? - Hu Haipeng wrote:
>> I'm almost near the end of my second work (still about 80-100 bars not
>> written). The day before yesterday, when I was at bar 362, Lily could
>> still compile it within 2 hours.
...
> I commented out the \midi { } in the score block and ran another
> compilation. When I checked after a few minutes, System Monitor showed
> that Lilypond was using 1.1Gb of RAM
That sounds like a lot. After 2.13.50, we added some optimizations.
If anybody sees the same behaviour from current git or 2.13.51, it
might be good to try constructing a Tiny example of the problem so
that programmers can investigate if it's a bug.
Cheers,
- Graham
Once the Windows version of 13.51 is available, I can benchmark memory usage
in comparison with 13.35 - I did a memory monitoring exercise on that using
my Mikado score.
http://lists.gnu.org/archive/html/lilypond-devel/2010-11/msg00257.html
--
Phil Holmes
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changelog
胡海鹏 - Hu Haipeng writes: > Hello, > I'm wondering whether there's a complete changelog for every devel > version. The reason is, when I compile my score with the very recent > two versions (I have not compiled it for a little long time), I found > there are two instrument names in GrandStaff. At that time, > engraver-init.ly didn't contain the instrument name engraver, so I > added it in my def file. Now there are two, so two are printed. But > without saving the pdf as text can't I discover this problem. I don't > know what has happened on other fields, so perhaps there are more > non-text things changed and then duplicate and/or conflict with my > defs. Also, \RemoveEmptyStaves was added without an announcement in > the Changes. Can git give me any hints? I don't like to download the > complete git site, since it's too big ! The whole history of Lilypond takes up about 90MB in my .git directory. That's tolerable. Once you have downloaded the project with "git clone" or similar, you have the whole thing available, using gitk or git log or a number of other tools. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Changelog
Hello, I'm wondering whether there's a complete changelog for every devel version. The reason is, when I compile my score with the very recent two versions (I have not compiled it for a little long time), I found there are two instrument names in GrandStaff. At that time, engraver-init.ly didn't contain the instrument name engraver, so I added it in my def file. Now there are two, so two are printed. But without saving the pdf as text can't I discover this problem. I don't know what has happened on other fields, so perhaps there are more non-text things changed and then duplicate and/or conflict with my defs. Also, \RemoveEmptyStaves was added without an announcement in the Changes. Can git give me any hints? I don't like to download the complete git site, since it's too big! Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando without starting note
> James Bailey googlemail.com> writes:
> > {
> > g''1\breathe
> > \hideNotes
> > a'8*1/2
> > \noBeam
> > \glissando
> > \unHideNotes
> > a'' a''4 a''8 a''4 \bar "|."
> > }
>
> I found this example searching on the net -- it almost does what I want
> -- I am having trouble adapting it to 2/4. I can't quite figure out
> what the line:
>
> a'8*1/2
>
> is doing -- I see that it is an 8th note and its duration is being
> scaled,
Please note that the 8*1/2 duration (i.e. looks like an eighth, but takes time
like a 16th) also applies to the next note, since it is not explicitly changed!
Basically, this example is giving half of the a'' at the end of the glissando
to the hidden note.
In your example you are explicitly setting the duration of the following note
to an eight, without scaling it to a 16th... That's the problem.
> % 2/4 glissando thingy
> {
> \hideNotes
> a,8*1/4 % what do I put here and why?
You would use the exact same code as above. the 1/2 does not come from the time
sig. Rather, it allows you to use half of the time of that not for another,
hidden note before it. The 1/2 for this and the hidden note simply ensures that
they take exactly the same time as the visible eighth note sggests.
Cheers,
Reinhold
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
