Re: Using a variable with \relative
Basso Ridiculoso basso.ridicul...@gmail.com writes:
Is there a way to do something similar to this:
\include english.ly
x = { c }
y = { g }
\score {
\new Staff {
\clef bass
\relative \x { d e f g a }
\relative \y { bf a c d }
}
}
No (and please don't use unbreakable space in examples, since it makes
copy and paste impossible).
Pitches can't be placed into identifiers.
Perhaps I need to write a function that sends in a variable?
Music functions return music expressions. The newfangled scheme
functions (did I commit them already?) don't support ly:export (that
would have been real hard to do), and anyway, ly:export only works for
things that can be put into an identifier.
You can't expect \relative \x to work, but you could make \x { ... }
work in itself for making things relative to something. And
\relative is a noop for unrelativable music.
How does one dereference a variable inside of a function?
For instance if I sent in \x how do I say use the value of x? Or is
that necessary?
I have no idea what you are talking about.
This doesn't seem to work either
MyTestFunction =
#(define-music-function
(parser location firstnote secondnote thirdnote fourthnote
fifthnote sixthnote )
( ly:music? ly:music? ly:music? ly:music? ly:music? ly:music? )
#{
\relative $firstnote { $firstnote $secondnote
$thirdnote }
\relative $sixthnote { $fourthnote $fifthnote
$sixthnote }
#})
\relative takes a _pitch_ argument, not a music argument. What problem
are you actually trying to solve?
I don't see that this makes much sense.
--
David Kastrup
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Re: ghoste notes
Le samedi 10 septembre 2011 à 12:00 -0400, lilypond-user-requ...@gnu.org
a écrit :
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When replying, please edit your Subject line so it is more specific
than Re: Contents of lilypond-user digest...
Today's Topics:
1. Re:Lowering AccidentalSuggestion objects (Brent Annable)
2. Re:barline in gregorian (Marek Klein)
3. Re:ghoste notes (Jakub Pavl?k)
4. Re:Lowering AccidentalSuggestion objects (Xavier Scheuer)
5. Re:Graphics in markup (Peekay Ex)
--
Message: 1
Date: Sat, 10 Sep 2011 10:18:48 +0200
From: Brent Annable brentanna...@gmail.com
To: lilypond-user@gnu.org
Subject: Re: Lowering AccidentalSuggestion objects
Message-ID:
cajk+zrm+nbu79hee9geikugxpl_jdpyvtpqr+si5mkl7uhy...@mail.gmail.com
Content-Type: text/plain; charset=iso-8859-1
Hello everyone,
Here's a little example of the situation I'm talking about:
\score {
\new Staff = Discantus
\new Voice = Discantus \relative c'' {
\set suggestAccidentals = ##t
\override AccidentalSuggestion #'Y-offset = 1
g1 g g g g g g g \break
g g g g gis \fermata
}
}
Here, with a Y-offset value of 1, the accidental is in the same place as it
would be if the \override command weren't there. Only when the number is
above 5 does the accidental start to move upwards.
Brent.
On 10 September 2011 03:28, Brent Annable brentanna...@gmail.com wrote:
Hi everyone,
Does anyone know how I can tell the AccidentalSuggestion engraver to push
the accidentals closer to the noteheads (i.e. downwards)? I don't mind if
they're in the middle of the staff. The purpose of this is to avoid the
combination of a suggested accidental above the staff and a fermata taking
up too much space between staves.
I've tried using \override AccidentalSuggestion #'Y-extent = (number), but
this only seems to push the accidentals upwards, starting from about 5. If
the number specified is any less than 5, the accidental stays where it is,
it won't go any closer to the notehead. Negative numbers seem to have no
effect.
Brent.
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Message: 2
Date: Sat, 10 Sep 2011 10:27:55 +0200
From: Marek Klein ma...@gregoriana.sk
To: lilypond-user@gnu.org
Subject: Re: barline in gregorian
Message-ID:
cabjd-mxu4vmhip_p_ynmz5sk2xkh+7ch+hgpre_psgxkcet...@mail.gmail.com
Content-Type: text/plain; charset=iso-8859-1
Thank you all very much!
Marek
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hi ,everybody
Jakub , your technique has worked for me on lilypond 2.12
thank you very muche
Valerian
Message: 3
Date: Sat, 10 Sep 2011 11:00:43 +0200 (CEST)
From: Jakub Pavl?k seve...@post.cz
To: lilypond-user@gnu.org
Subject: Re: ghoste notes
Message-ID: 109971.4294.5891-22802-1544609401-1315645...@post.cz
Content-Type: text/plain; charset=utf-8
It seems that 2.12 didn't have commands \xNotesOn, \xNotesOff and \xNote -
see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Note-heads#Special-note-heads
-
but you can make them easily yourself - try to compile the attached file, it
should work.
Jakub
P?vodn? zpr?va
Od: valerian.neisse valerian.nei...@gmail.com
P?edm?t: Re: ghoste notes
Datum: 10.9.2011 10:10:31
hi Marc ,
i'm on lilypond 2.12., do you another technique to do that on 2.12. ?
Le samedi 10 septembre 2011 ? 09:19 +0200, Marc Hohl a ?crit :
Am 09.09.2011 18:55, schrieb valerian.neisse:
i have tryed that and it doesn't works
Which version of lilypond do you use?
\xNote works with 2.14 and not with 2.12.
Marc
Le vendredi 09 septembre 2011 ? 14:26 +0200, Marc Hohl a ?crit :
Am 09.09.2011 14:19, schrieb valerian.neisse:
hi
i don't know how i can whrite ghoste notes for other instruments than
drums . the double bass for exemple.
i saw this exemple in this liste
c4 \cr c \cnr d \cr d \cnr |
to put ghoste on 2 and 4 ( i m not shure if i remember right)
and the guy said it's works , but not for me .
my measure is :
c8 b c c \times 4/6 { e16[f g a g8] } \times 4/6 {a16 aes g f g g }
and i
Re: ghoste notes
Le samedi 10 septembre 2011 à 12:00 -0400, lilypond-user-requ...@gnu.org
a écrit :
Send lilypond-user mailing list submissions to
lilypond-user@gnu.org
To subscribe or unsubscribe via the World Wide Web, visit
https://lists.gnu.org/mailman/listinfo/lilypond-user
or, via email, send a message with subject or body 'help' to
lilypond-user-requ...@gnu.org
You can reach the person managing the list at
lilypond-user-ow...@gnu.org
When replying, please edit your Subject line so it is more specific
than Re: Contents of lilypond-user digest...
Today's Topics:
1. Re:Lowering AccidentalSuggestion objects (Brent Annable)
2. Re:barline in gregorian (Marek Klein)
3. Re:ghoste notes (Jakub Pavl?k)
4. Re:Lowering AccidentalSuggestion objects (Xavier Scheuer)
5. Re:Graphics in markup (Peekay Ex)
--
Message: 1
Date: Sat, 10 Sep 2011 10:18:48 +0200
From: Brent Annable brentanna...@gmail.com
To: lilypond-user@gnu.org
Subject: Re: Lowering AccidentalSuggestion objects
Message-ID:
cajk+zrm+nbu79hee9geikugxpl_jdpyvtpqr+si5mkl7uhy...@mail.gmail.com
Content-Type: text/plain; charset=iso-8859-1
Hello everyone,
Here's a little example of the situation I'm talking about:
\score {
\new Staff = Discantus
\new Voice = Discantus \relative c'' {
\set suggestAccidentals = ##t
\override AccidentalSuggestion #'Y-offset = 1
g1 g g g g g g g \break
g g g g gis \fermata
}
}
Here, with a Y-offset value of 1, the accidental is in the same place as it
would be if the \override command weren't there. Only when the number is
above 5 does the accidental start to move upwards.
Brent.
On 10 September 2011 03:28, Brent Annable brentanna...@gmail.com wrote:
Hi everyone,
Does anyone know how I can tell the AccidentalSuggestion engraver to push
the accidentals closer to the noteheads (i.e. downwards)? I don't mind if
they're in the middle of the staff. The purpose of this is to avoid the
combination of a suggested accidental above the staff and a fermata taking
up too much space between staves.
I've tried using \override AccidentalSuggestion #'Y-extent = (number), but
this only seems to push the accidentals upwards, starting from about 5. If
the number specified is any less than 5, the accidental stays where it is,
it won't go any closer to the notehead. Negative numbers seem to have no
effect.
Brent.
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Message: 2
Date: Sat, 10 Sep 2011 10:27:55 +0200
From: Marek Klein ma...@gregoriana.sk
To: lilypond-user@gnu.org
Subject: Re: barline in gregorian
Message-ID:
cabjd-mxu4vmhip_p_ynmz5sk2xkh+7ch+hgpre_psgxkcet...@mail.gmail.com
Content-Type: text/plain; charset=iso-8859-1
Thank you all very much!
Marek
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hi ,everybody
Jakub , your technique has worked for me on lilypond 2.12
thank you very muche
Valerian
Message: 3
Date: Sat, 10 Sep 2011 11:00:43 +0200 (CEST)
From: Jakub Pavl?k seve...@post.cz
To: lilypond-user@gnu.org
Subject: Re: ghoste notes
Message-ID: 109971.4294.5891-22802-1544609401-1315645...@post.cz
Content-Type: text/plain; charset=utf-8
It seems that 2.12 didn't have commands \xNotesOn, \xNotesOff and \xNote -
see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Note-heads#Special-note-heads
-
but you can make them easily yourself - try to compile the attached file, it
should work.
Jakub
P?vodn? zpr?va
Od: valerian.neisse valerian.nei...@gmail.com
P?edm?t: Re: ghoste notes
Datum: 10.9.2011 10:10:31
hi Marc ,
i'm on lilypond 2.12., do you another technique to do that on 2.12. ?
Le samedi 10 septembre 2011 ? 09:19 +0200, Marc Hohl a ?crit :
Am 09.09.2011 18:55, schrieb valerian.neisse:
i have tryed that and it doesn't works
Which version of lilypond do you use?
\xNote works with 2.14 and not with 2.12.
Marc
Le vendredi 09 septembre 2011 ? 14:26 +0200, Marc Hohl a ?crit :
Am 09.09.2011 14:19, schrieb valerian.neisse:
hi
i don't know how i can whrite ghoste notes for other instruments than
drums . the double bass for exemple.
i saw this exemple in this liste
c4 \cr c \cnr d \cr d \cnr |
to put ghoste on 2 and 4 ( i m not shure if i remember right)
and the guy said it's works , but not for me .
my measure is :
c8 b c c \times 4/6 { e16[f g a g8] } \times 4/6 {a16 aes g f g g }
and i
Re: Using a variable with \relative
Apoligies about the nbsp's, not sure if it was Safari or gmail that
put those in there.
Is there a way to access the pitch variable and put that where I have
the \x so something like (and sorry about the javascript-y syntax) but
something like
x.pitch (but in scheme syntax of course)
so
\relative #( x.pitch #) {.} or however it would look.
I am tying to generate a bunch of exercise files of which there will
be hundreds (and potentially thousands) of groups of notes and I want
them arranged a certain way. And the note that I want the groups to be
relative to changes based on the note that starts the group, and there
are far too many to put the specific relative note in by hand. So I
was hoping for a way to pass the entire group of notes into a function
and use whatever note starts that group as the \relative note by way
of a variable.
There are probably other ways to skin this cat, and I may just have to
change the way I generate the notes, but if I can access the pitch
value and make \relative see it somehow, that might work.
Thanks for the help!
Daniel
Is there a way to do something similar to this:
\include english.ly
x = { c }
y = { g }
\score {
\new Staff {
\clef bass
\relative \x { d e f g a }
\relative \y { bf a c d }
}
}
No (and please don't use unbreakable space in examples, since it makes
copy and paste impossible).
Pitches can't be placed into identifiers.
Perhaps I need to write a function that sends in a variable?
Music functions return music expressions. The newfangled scheme
functions (did I commit them already?) don't support ly:export (that
would have been real hard to do), and anyway, ly:export only works for
things that can be put into an identifier.
You can't expect \relative \x to work, but you could make \x { ... }
work in itself for making things relative to something. And
\relative is a noop for unrelativable music.
How does one dereference a variable inside of a function?
For instance if I sent in \x how do I say use the value of x? Or is
that necessary?
I have no idea what you are talking about.
This doesn't seem to work either
MyTestFunction =
#(define-music-function
?? ? (parser location firstnote secondnote thirdnote fourthnote
fifthnote sixthnote )
?? ? ( ly:music? ly:music? ly:music? ly:music? ly:music? ?ly:music? )
?? #{ ? ?
?? ? ? ? ? ? ? ?\relative $firstnote { $firstnote ? ?$secondnote ? ?
$thirdnote ?}
?? ? ? ? ? ? ? ?\relative $sixthnote { $fourthnote ?$fifthnote
$sixthnote }
?? #})
\relative takes a _pitch_ argument, not a music argument. What problem
are you actually trying to solve?
I don't see that this makes much sense.
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Re: Using a variable with \relative
Basso Ridiculoso basso.ridicul...@gmail.com writes:
Apoligies about the nbsp's, not sure if it was Safari or gmail that
put those in there.
Is there a way to access the pitch variable and put that where I have
the \x so something like (and sorry about the javascript-y syntax) but
something like
x.pitch (but in scheme syntax of course)
so
\relative #( x.pitch #) {.} or however it would look.
I am tying to generate a bunch of exercise files of which there will
be hundreds (and potentially thousands) of groups of notes and I want
them arranged a certain way. And the note that I want the groups to be
relative to changes based on the note that starts the group, and there
are far too many to put the specific relative note in by hand. So I
was hoping for a way to pass the entire group of notes into a function
and use whatever note starts that group as the \relative note by way
of a variable.
\relative f
will use whatever note starts that group as the \relative note (think
about it!).
If you want to turn this into a music function, you can to this like
myrelative =
#(define-music-function (parser location music) (ly:music?)
#{ \relative f $music #})
Does that do what you want?
--
David Kastrup
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MIDI output: min/max MIDI volume levels, dynamics of polyphonic passages within a single Voice
Hi,
First of all, thanks to all the developers and the community for
making and maintaining this absolutely wonderful tool! I have never
used any music typesetting program with which I could convert
vocal scores into MIDIs (which I use for practicing) with such ease
and speed, thanks to LilyPond's text-based input language.
Having also tried the MIDI conversion on parts of some orchestral scores
(and for learning how to express various things in layout), I have,
however, observed strange behavior related to controlling MIDI volume
levels for instrument equalization (as documented in the Notation
Reference). More precisely, it feels as if the Dynamic_performer
sometimes fails to respect custom volume ranges defined using
Staff.midiMinimumVolume and Staff.midiMaximumVolume (or by using a
custom
Score.instrumentEqualizer). That is, the Dynamic_performer appears to
let instrument volume levels exceed (or drop below) the defined ranges --
at least in connection with (de)crescendi that are not terminated with
an absolute dynamic mark (but \! instead).
Since existing scores often contain e.g. hairpins that do neither begin
nor end in an absolute dynamic mark, trying to replicate such notation
faithfully in LilyPond may lead to surprising end results in MIDI as,
for example, a sequence of (de)crescendi without any absolute dynamic
marks can cause the relative volumes of different instruments to easily
drift off balance (and often remain in such a state until the volume
of an instrument then suddenly changes back to a properly equalized
level at the next absolute dynamic mark).
An example:
--
\version 2.12.3
% define a custom equalizer as instructed in the Notation Manual
#(define my-instrument-equalizer-alist '())
#(set! my-instrument-equalizer-alist
(append '(
(flute . (0.5 . 0.6))
(harpsichord . (0.2 . 0.6)))
my-instrument-equalizer-alist))
#(define (my-instrument-equalizer s)
(let ((entry (assoc s my-instrument-equalizer-alist)))
(if entry
(cdr entry
\book {
\score {
\new Staff {
\set Score.instrumentEqualizer = #my-instrument-equalizer
\set Staff.midiInstrument = #harpsichord
\new Voice {
% (1)
c' e' g'4_\p
% the alternation between chord notation and temporary
% polyphony within a voice will be explained below
{ c' } \\ { e' } \\ { g' }
c' e' g'
{ c' } \\ { e' } \\ { g' }
s2
% (2)
% both instruments at : it would seem reasonable to expect
% that the volume of this staff's instrument cannot rise (much)
% above this level
c' e' g'4_\
{ c' } \\ { e' } \\ { g' }
c' e' g'
{ c' } \\ { e' } \\ { g' }
s2
% (3)
% however:
c' e' g'4_\
{ c' } \\ { e' } \\ { g' }
c' e' g'4\!_\
{ c' } \\ { e' } \\ { g' }
s2\!
% (4)
% further crescendo...
c' e' g'4_\
{ c' } \\ { e' } \\ { g' }
c' e' g'\!_\
{ c' } \\ { e' } \\ { g' }
s2\!
% (5)
% return to (just to demonstrate the difference between
% the start and end volume)
c' e' g'4_\
{ c' } \\ { e' } \\ { g' }
c' e' g'
{ c' } \\ { e' } \\ { g' }
}
}
\new Staff {
\set Staff.midiInstrument = #flute
\new Voice {
c''1_\
s2
c''1
s2
c''1
s2
c''1
s2
c''1
}
}
\midi { }
}
}
--
The example consists of five stages to demonstrate the changes in
volume:
- Stage (1) is just to demonstrate the difference between the volume
levels of the solo instrument (the flute) and the accompanying
instrument (the harpsichord).
- At stage (2), the volume of both instruments is set to \.
- At stages (3) and (4), the volume of the accompanying instrument is
increased using multiple consecutive crescendi terminated using \!.
Here, I would expect that the equalization of instruments would help
to prevent the volume of the accompanying instrument from being
increased too much...
- At stage (5) we simply return to the volume levels set at stage (2).
The MIDI produced from this example with LilyPond 2.12.3:
http://koti.welho.com/htauriai/test-2.12.3.midi
At stage (2), the solo instrument is reasonably audible (at least on
my MIDI configuration) even though both instruments are played at
\. However, in stages (3) and (4), the volume level of the
accompanying instrument only seems to continue to increase in spite
of the attempt to apply equalization to the instruments.
I had a look at the source code to see whether I could understand what
could be happening here (I must confess that I had absolutely no
previous knowledge on the
Stem #'flag-style no longer valid
Just tried to rebuild one of my scores using 2.15.10, and got a number
of warnings in the log like so:
warning: cannot find property type-check for `flag-style'
(backend-type?). perhaps a typing error?
warning: doing assignment anyway
it looks like the override I am using is no longer valid - the following
short test case gives the same error:
\version 2.15.10
\relative c' {
\once \override Stem #'flag-style = #'no-flag c8
}
What should I replace it with?
Nick
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Re: Stem #'flag-style no longer valid
On 11 September 2011 22:28, Nick Payne nick.pa...@internode.on.net wrote: What should I replace it with? \once \override Flag #'style = #'no-flag I'm not sure why we don't have a convert rule though. Cheers, Neil ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem #'flag-style no longer valid
On 11 September 2011 23:28, Nick Payne nick.pa...@internode.on.net wrote:
Just tried to rebuild one of my scores using 2.15.10, and got a number of
warnings in the log like so:
warning: cannot find property type-check for `flag-style' (backend-type?).
perhaps a typing error?
warning: doing assignment anyway
it looks like the override I am using is no longer valid - the following
short test case gives the same error:
\version 2.15.10
\relative c' {
\once \override Stem #'flag-style = #'no-flag c8
}
What should I replace it with?
Hi,
Mike Solomon created a Flag grob.
http://code.google.com/p/lilypond/issues/detail?id=1843
The new syntax should be
\override Flag #'style = #'no-flag
Normally the syntax has been replaced everywhere in the documentation
http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commit;h=f0978ed121192fee9bdf2453a325d98693148acf
http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commit;h=7ee4165c3403cdd121621f75ed408a241621d37b
Maybe there is no convert-ly rule for this (yet).
I cannot check right now. I'll ask.
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
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2.14 will not wrap past 2nd staff - bug or bad input?
Hi,
Lilypond 2.14 PDF puts all of the music on 2 staves, even through it
should be 3-4 pages. It wraps the first staff (like word wrap is
on, as an analogy). But the second staff, word wrap is off and all
of the music just runs off the end of the page.
This is output from an automated program. I can change the code if
you spot a problem, but it works on most files.
I attached a whole file, and also a smaller example which duplicates
the problem. Sorry it is so big, I shrunk it as far as I could. No
matter how many notes you put at the end, they are not visible.
van_halen_eruption-part.ly shows the problem. I have changed
between TAB staff and normal treble clef, and it has the same problem.
This is not high-quality input, just a file I downloaded from
somewhere as an example, and converted to Lilypond. Every other file
I have tried looks very nice!
I hope it is bad output, but I cannot figure out what I did wrong. If
you have a moment to take a look, I would be grateful.
Thank you for reading this far,
lilyn00b
#(define (tie::tab-clear-tied-fret-numbers grob)
(let* ((tied-fret-nr (ly:spanner-bound grob RIGHT)))
(ly:grob-set-property! tied-fret-nr 'transparent #t)))
\version 2.14.0
\paper {
indent = #0
print-all-headers = ##t
ragged-right = ##f
ragged-bottom = ##t
}
\layout {
\context { \Score
\override MetronomeMark #'padding = #'5
}
\context { \Staff
\override TimeSignature #'style = #'numbered
\override StringNumber #'transparent = ##t
}
\context { \TabStaff
\override TimeSignature #'style = #'numbered
\override Stem #'transparent = ##t
\override Beam #'transparent = ##t
\override Tie #'after-line-breaking = #tie::tab-clear-tied-fret-numbers
}
\context { \TabVoice
\override Tie #'stencil = ##f
}
\context { \StaffGroup
\consists Instrument_name_engraver
}
}
TrackAVoiceAMusic = #(define-music-function (parser location inTab) (boolean?)
#{
\tempo 4=92
\clef #(if $inTab tab treble_8)
\key c \major
\time 4/4
\oneVoice
r4 r8 \deadNote dis\5 \deadNote gis\4 16 f\616 r2
gis,\5 dis\4 gis\3 2 dis~\516 dis~\516 dis~\516 dis\516 \times 2/3 {\palmMute fis\48 \palmMute gis\48 \palmMute b\38 }
\times 4/5 {cis'~\316 cis'\316 cis'\316 b\316 cis'~\316 } cis'\38\prall dis'\216 dis'\2 gis'\1 16 \times 4/6 {fis'\232 dis'\232 ais\232 d'\332 dis'\116 fis'\232 dis'\232 ais\232 d'\332 dis'\116 fis'\232 dis'\232 ais\232 d'\332 dis'\116 fis'\232 dis'\232 ais\232 d'\332 dis'\116 }
\times 4/6 {fis'\232 dis'\232 ais\232 cis'\332 dis'\232 gis'\132 fis'\216 dis'\232 cis'\316 dis'\232 } cis'~\332 cis'\332 b\332 g\432 \times 2/3 {ais\316 b\316 cis'\316 } \times 4/5 {b\332 cis'\332 b\332 ais\332 gis\432 ais\332 cis'\332 b\332 ais\332 gis\432 ais\332 cis'\332 b\332 ais\332 cis'\332 ais\332 cis'\332 b\332 ais\332 gis\432 }
ais\316 gis\416 g\416 fis\416 f\416 dis\516 d\516 cis\516 b,\516. b\532 dis,~\68 dis,\68.. b\532.. gis,~\532
gis,~\54 \times 2/3 {gis,~\58 gis,~\516 gis,~\58 gis,~\516 gis,~\58 gis,~\516 gis,~\58 gis,~\516 } gis,\58. gis,\5 dis\4 gis\3 16
gis,\5 dis\4 gis\3 4 fis,\6 cis\4 fis\3 cis'\2 4 cis'\2 gis\3 cis\4 4 cis'\28. \ottava #1 f''\216 \ottava #0
\times 2/3 { \ottava #1 fis''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\28 \ottava #0 fis\316 \deadNote cis\416 \ottava #1 fis''\216 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 b''\18 \ottava #0 \ottava #1 c'''\116 \ottava #0 \ottava #1 f''\28 \ottava #0 } \ottava #1 ais''\132 \ottava #0 \times 2/3 { \ottava #1 b''\116 \ottava #0 }
\times 2/3 { \ottava #1 gis''\18 \ottava #0 \ottava #1 f''\216 \ottava #0 \ottava #1 f''~\28 \ottava #0 \ottava #1 f''~\216 \ottava #0 \ottava #1 f''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\28 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 b''\18 \ottava #0 \ottava #1 b''\116 \ottava #0 \ottava #1 gis''\116 \ottava #0 \ottava #1 fis''\216 \ottava #0 \ottava #1 gis''\116 \ottava #0 } \times 4/6 { \ottava #1 fis''\216 \ottava #0 \ottava #1 fis''\216 \ottava #0 \ottava #1 dis''\216 \ottava #0 \ottava #1 cis''\316 \ottava #0 \ottava #1 fis''~\216 \ottava #0 \ottava #1 fis''~\216 \ottava #0 }
\times 2/3 { \ottava #1 fis''\216 \ottava #0 \ottava #1 dis''\28 \ottava #0 \ottava #1 fis''~\216 \ottava #0 \ottava #1 fis''\216 \ottava #0 \ottava #1 dis''\232 \ottava #0 \ottava #1 cis''\332 \ottava #0 } \ottava #1 fis''~\216 \ottava #0 \ottava #1 fis''~\216 \ottava #0 \ottava #1 fis''~\216 \ottava #0 \ottava #1 fis''\216 \ottava #0 \times 2/3 {r32 fis'\332 c''\316 \ottava #1 d''\216 \ottava #0 } \times 4/5 { \ottava #1 e''\232 \ottava #0 \ottava #1 fis''\232 \ottava #0 \ottava #1 g''\132 \ottava #0
Re: 2.14 will not wrap past 2nd staff - bug or bad input?
On Sun, Sep 11, 2011 at 07:52:26PM -0400, Albert Finney wrote: Lilypond 2.14 PDF puts all of the music on 2 staves, even through it should be 3-4 pages. It wraps the first staff (like word wrap is on, as an analogy). But the second staff, word wrap is off and all of the music just runs off the end of the page. You have a rhythm problem. Use bar-line checks | and you will find the problem. Alternately, use the note-splitter thing to automatically put in ties. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.14 will not wrap past 2nd staff - bug or bad input?
Hello, On Mon, Sep 12, 2011 at 12:52 AM, Albert Finney b4dc0...@gmail.com wrote: Hi, Lilypond 2.14 PDF puts all of the music on 2 staves, even through it should be 3-4 pages. It wraps the first staff (like word wrap is on, as an analogy). But the second staff, word wrap is off and all of the music just runs off the end of the page. This issue is usually because there is an incorrect number of notes in a/some/all measure (too many or too few), as you don't have 'bar checks' in this ly file it is very difficult to troubleshoot. http://lilypond.org/doc/v2.14/Documentation/notation/bars#index-bar-check Regards -- -- James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.14 will not wrap past 2nd staff - bug or bad input?
Thanks both of you for the very fast reply! I will add bar checks and find the problem. You have saved me a lot of time. -lilyn00b On 9/11/11, Peekay Ex pkx1...@gmail.com wrote: Hello, On Mon, Sep 12, 2011 at 12:52 AM, Albert Finney b4dc0...@gmail.com wrote: Hi, Lilypond 2.14 PDF puts all of the music on 2 staves, even through it should be 3-4 pages. It wraps the first staff (like word wrap is on, as an analogy). But the second staff, word wrap is off and all of the music just runs off the end of the page. This issue is usually because there is an incorrect number of notes in a/some/all measure (too many or too few), as you don't have 'bar checks' in this ly file it is very difficult to troubleshoot. http://lilypond.org/doc/v2.14/Documentation/notation/bars#index-bar-check Regards -- -- James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Looking for a Lilypond tutorial I once saw
Dear list, A year or two back, I stumbled across a very good introduction to Lilypond that I now can't find. It was in the form of webpages, not a PDF. I believe it was on somebody's weblog, but it may have been on a site that was formatted like a weblog. I am sure it was published in several parts. Its structure largely mirrored that of the Learning Manual's (http://lilypond.org/learning.html) first three chapters, but without taking up 85 pages. I believe it had syntax highlighting in the code examples. I believe the weblog's design had a navigation column on the right. I am certain that as an introductory text, it was Very Good Indeed. This is not much to go on, I'm aware; I wish I could be more certain, but memory is an unreliable friend once a year has passed. I tried a lot of Googling, but I mostly turned up other tutorials that weren't as good. Does anybody have any candidates to offer? Many thanks, Sietse Sietse Brouwer ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
