Re: Letters as Left hand fingering
2012/5/15 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com:
Hi Group,
Sometimes I need to put a letter in front of a number as a fingering.
Is there any possibility to declare m (for ex;) as a number so that I
could codea-m1 as a fingering ?
Do you mean for right hand (stroke) fingering? The following enables you
to use -\A etc for strokefingering. The additional my-stroke-finger
function isn't needed for this but gives better alignment of the
characters when you have a succession of them:
\version 2.15.32
% shortcuts for stroke finger indications
% can't use a or p, so use upper case for all
P = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 1
I = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 2
M = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 3
A = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 4
% better alignment of stroke fingering in a succession of fingering
indications
#(define (my-stroke-finger::calc-text grob)
(let* ((digit (ly:event-property (event-cause grob) 'digit))
(text (ly:event-property (event-cause grob) 'text))
(finger (vector-ref (ly:grob-property grob 'digit-names)
(1- (max (min 5 digit) 1
(direction (ly:grob-property grob 'direction)))
(if (string? text)
text
(if (= direction 0)
finger
(make-combine-markup (cond
((= direction UP) (make-transparent-markup p))
((= direction DOWN) (make-transparent-markup i)))
finger)
\relative c'' {
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(up)
c-1-\A c-\M c-\I c-\P
\override StrokeFinger #'text = #my-stroke-finger::calc-text
c-1-\A c-\M c-\I c-\P
}
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Notating same part in two different mixtures of clefs
Suppose I have a solo part which can be played either on cello or on viola da gamba. Cello solo parts are normally written in a mixture of bass and tenor clefs; gamba parts in a mixture of bass and alto clefs. In either case it's quite possible to encounter a change of clef every few bars. What's the most elegant way in which I can enter the notes just once, but generate two output scores - one with bass and tenor clefs, the other with bass and alto clefs? I can see that I could assign strings containing notation for one pair of clefs to Scheme variables, generate corresponding strings for the other pair of clefs by Scheme string operations, and then invoke the LilyPond parser explicitly on the two sets of strings. It doesn't feel to me like a natural solution. Is there an obviously better one? Thanks in advance. /Christopher/. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating same part in two different mixtures of clefs
On Wed, May 16, 2012 at 8:53 AM, Christopher Webster
christop...@claytonwebster.net wrote:
What's the most elegant way in which I can enter the notes just once, but
generate two output scores - one with bass and tenor clefs, the other with
bass and alto clefs?
what about separate voices for clefs? something like:
{ music }
{ \clef bass s1*3 \clef alto s1*2 }
%{ \clef bass s1*3 \clef tenor s1*2 }
you could also try tags
http://lilypond.org/doc/v2.14/Documentation/notation/different-editions-from-one-source#using-tags
Or simply store the clef in a variable - that's probably the simplest method:
myclef = { \clef alto } % or \clef tenor
{ \clef bass c c \myclef f' f' }
hope this helps,
Janek
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Re: Notating same part in two different mixtures of clefs
Thank you! Of your three proposed solutions, the one with tags looks
like the winner. I didn't know about tags - they look ideally suited.
A feature of your first solution which I would have hoped to avoid is
that you do seem to have duplicated notation - the s1*3 and the s1*2
- in the source. Or did I misunderstand what you were suggesting?
And the feature of the third solution which I would have hoped to avoid
is that I would need to edit and re-process the input to get the output
with the other set of clefs. I was looking for a solution in which one
input, processed once, would produce both outputs.
But the tags - they look just right! I'll try those.
Many thanks again
/Christopher/.
On 2012-05-16 09:04, Janek Warchoł wrote:
On Wed, May 16, 2012 at 8:53 AM, Christopher Webster
christop...@claytonwebster.net wrote:
What's the most elegant way in which I can enter the notes just once, but
generate two output scores - one with bass and tenor clefs, the other with
bass and alto clefs?
what about separate voices for clefs? something like:
{ music }
{ \clef bass s1*3 \clef alto s1*2 }
%{ \clef bass s1*3 \clef tenor s1*2 }
you could also try tags
http://lilypond.org/doc/v2.14/Documentation/notation/different-editions-from-one-source#using-tags
Or simply store the clef in a variable - that's probably the simplest method:
myclef = { \clef alto } % or \clef tenor
{ \clef bass c c \myclef f' f' }
hope this helps,
Janek
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Re: musicxml2ly
On Sun, 8 Apr 2012, Martin Tarenskeen wrote: The good news is that in many cases only a little editing of the .ly file is required to turn a bad conversion into a good one. For example, all lead sheets from Wikifonia that I have tried have the Chords printed below instead of above the staff. I remember this had been fixed in one of the previous lilypond 2.15.x versions, but with musicxml2ly from Lilypond 2.15.37 I am still (again?) having this problem. Same with 2.15.38 Hi, I did not see a reaction to this question, so I try again. What happened with this musicxml2ly bug ? First chords were printed below the staff, then I think it was fixed, and now the chords are below the staff again. Regression? -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Letters as Left hand fingering
Nick Payne nick.pa...@internode.on.net writes: 2012/5/15 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com: Hi Group, Sometimes I need to put a letter in front of a number as a fingering. Is there any possibility to declare m (for ex;) as a number so that I could codea-m1 as a fingering ? Do you mean for right hand (stroke) fingering? The following enables you to use -\A etc for strokefingering. The additional my-stroke-finger function isn't needed for this but gives better alignment of the characters when you have a succession of them: \version 2.15.32 % shortcuts for stroke finger indications % can't use a or p, so use upper case for all P = #(define-music-function (parser location) () (apply make-music (append (list 'StrokeFingerEvent 'origin location) (list 'digit 1 What about P=-\rightHandFinger 1 Seems a bit simpler. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly
On Wed, May 16, 2012 at 09:33:09AM +0200, Martin Tarenskeen wrote: I did not see a reaction to this question, so I try again. What happened with this musicxml2ly bug ? First chords were printed below the staff, then I think it was fixed, and now the chords are below the staff again. Regression? Report bugs to the bugs mailing list, not the user or devel lists. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly
On Wed, May 16, 2012 at 09:33:09AM +0200, Martin Tarenskeen wrote: The good news is that in many cases only a little editing of the .ly file is required to turn a bad conversion into a good one. For example, all lead sheets from Wikifonia that I have tried have the Chords printed below instead of above the staff. I remember this had been fixed in one of the previous lilypond 2.15.x versions, but with musicxml2ly from Lilypond 2.15.37 I am still (again?) having this problem. Same with 2.15.38 I did not see a reaction to this question, so I try again. What happened with this musicxml2ly bug ? First chords were printed below the staff, then I think it was fixed, and now the chords are below the staff again. Regression? That must be very frustrating for you. Sorry that I can't help you, as I'm not familiar with musicxml2ly. It appears to be central to Patrick's project so I would imagine he or his colleagues are working hard on this. http://www.philomelos.net/en/about There are a number of issue trackers relating to musicxml2ly but I see no issue tracker for this bug, Martin. I'd like to at least record the bug. We can create a tracker if you supply these details: 1. A version of lilypond/musicxml2ly and a specific lead sheet from Wikifonia in MusicXML format that together exhibit the bug. 2. A version of lilypond/musicxml2ly from the 2.15.x series which does not exhibit the bug. Cheers, Colin. -- Colin Hall ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating same part in two different mixtures of clefs
Am 16.05.2012 09:30, schrieb Christopher Webster:
Thank you! Of your three proposed solutions, the one with tags looks
like the winner. I didn't know about tags - they look ideally suited.
Yes, that's exactly what they are for.
A feature of your first solution which I would have hoped to avoid is
that you do seem to have duplicated notation - the s1*3 and the
s1*2 - in the source. Or did I misunderstand what you were suggesting?
Yes, you would have to write out the whole piece for both \voices and
apply one or the other.
Whether this makes sense, depends a little bit, whether the clef changes
necessarily occur at the same places, which I assume they don't. In this
case the solution with separate voices provides you with quite fine
control. But you have to manage a separate layer that you don't enter
directly into the music.
And the feature of the third solution which I would have hoped to
avoid is that I would need to edit and re-process the input to get the
output with the other set of clefs. I was looking for a solution in
which one input, processed once, would produce both outputs.
No you don't have to edit the ly-file.
You can write sth like:
music = { ... }
myClefI = { \clef tenor }
myClefII = { \clef bass
\score ... % references \music
% and then redefine the variables
myClefI = { \clef treble }
myClefII = { \clef bass
\score ... % references \music
If your clef layers are independent (as I assume) you could define four
variables trebleClef, altoClef, tenorClef, bassClef and leave two of
them empty.
music = {
% contains all four clefs as references.
% If you have e.g. alto and bass clef at the same time you write
% \altoClef \bassClef
}
% define clefs for first score
trebleClef = {}
altoClef = {}
tenorClef = { \clef tenor }
bassClef = { \clef bass }
\score { \music } % in this score the treble and alto clefs are just ignored
%then define the clefs the other way roung
% ...
\score % now the tenor and bass clefs are ignored.
I find this solution looks nicer than with tags, but the functionality
is nearly identical.
Only if you consider that the cello might also have a treble clef, this
one won't work anymore. But this again is no problem when you work with
clefs.
I have come to find the redefinition of variables a _very_ useful concept.
HTH
Urs
But the tags - they look just right! I'll try those.
Many thanks again
/Christopher/.
On 2012-05-16 09:04, Janek Warcho? wrote:
On Wed, May 16, 2012 at 8:53 AM, Christopher Webster
christop...@claytonwebster.net wrote:
What's the most elegant way in which I can enter the notes just once, but
generate two output scores - one with bass and tenor clefs, the other with
bass and alto clefs?
what about separate voices for clefs? something like:
{ music }
{ \clef bass s1*3 \clef alto s1*2 }
%{ \clef bass s1*3 \clef tenor s1*2 }
you could also try tags
http://lilypond.org/doc/v2.14/Documentation/notation/different-editions-from-one-source#using-tags
Or simply store the clef in a variable - that's probably the simplest method:
myclef = { \clef alto } % or \clef tenor
{ \clef bass c c \myclef f' f' }
hope this helps,
Janek
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Re: Notating same part in two different mixtures of clefs
Yes - just to confirm that the tags were exactly what I needed. Here's
the sort of thing I wanted to do:
highClef =
{
\tag #'cello { \clef tenor }
\tag #'gamba { \clef alto }
}
dots = \relative c
{
\clef bass
g'4 a b r
\highClef
d4 cis d r
\clef bass
g,1
}
\book
{
\score { \keepWithTag #'gamba \dots }
\score { \keepWithTag #'cello \dots }
}
It works like a charm. Big thank-you from me.
/Christopher/.
On 2012-05-16 09:30, Christopher Webster wrote:
Thank you! Of your three proposed solutions, the one with tags looks
like the winner. I didn't know about tags - they look ideally suited.
A feature of your first solution which I would have hoped to avoid is
that you do seem to have duplicated notation - the s1*3 and the
s1*2 - in the source. Or did I misunderstand what you were suggesting?
And the feature of the third solution which I would have hoped to
avoid is that I would need to edit and re-process the input to get the
output with the other set of clefs. I was looking for a solution in
which one input, processed once, would produce both outputs.
But the tags - they look just right! I'll try those.
Many thanks again
/Christopher/.
On 2012-05-16 09:04, Janek Warchoł wrote:
On Wed, May 16, 2012 at 8:53 AM, Christopher Webster
christop...@claytonwebster.net wrote:
What's the most elegant way in which I can enter the notes just once, but
generate two output scores - one with bass and tenor clefs, the other with
bass and alto clefs?
what about separate voices for clefs? something like:
{ music }
{ \clef bass s1*3 \clef alto s1*2 }
%{ \clef bass s1*3 \clef tenor s1*2 }
you could also try tags
http://lilypond.org/doc/v2.14/Documentation/notation/different-editions-from-one-source#using-tags
Or simply store the clef in a variable - that's probably the simplest method:
myclef = { \clef alto } % or \clef tenor
{ \clef bass c c \myclef f' f' }
hope this helps,
Janek
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Re: Notating same part in two different mixtures of clefs
Am 16.05.2012 10:30, schrieb Christopher Webster:
Yes - just to confirm that the tags were exactly what I needed.
Here's the sort of thing I wanted to do:
highClef =
{
\tag #'cello { \clef tenor }
\tag #'gamba { \clef alto }
}
dots = \relative c
{
\clef bass
g'4 a b r
\highClef
d4 cis d r
\clef bass
g,1
}
\book
{
\score { \keepWithTag #'gamba \dots }
\score { \keepWithTag #'cello \dots }
}
It works like a charm. Big thank-you from me.
/Christopher/.
OK.
If you run into trouble because you come across clef changes that have
to be applied only in one of the instruments (or a treble clef in the
cello part), you can still use the tag directly in the music variable
(although this is more typing and it doesn't look as smooth).
Best
Urs
On 2012-05-16 09:30, Christopher Webster wrote:
Thank you! Of your three proposed solutions, the one with tags looks
like the winner. I didn't know about tags - they look ideally suited.
A feature of your first solution which I would have hoped to avoid is
that you do seem to have duplicated notation - the s1*3 and the
s1*2 - in the source. Or did I misunderstand what you were suggesting?
And the feature of the third solution which I would have hoped to
avoid is that I would need to edit and re-process the input to get
the output with the other set of clefs. I was looking for a solution
in which one input, processed once, would produce both outputs.
But the tags - they look just right! I'll try those.
Many thanks again
/Christopher/.
On 2012-05-16 09:04, Janek Warcho? wrote:
On Wed, May 16, 2012 at 8:53 AM, Christopher Webster
christop...@claytonwebster.net wrote:
What's the most elegant way in which I can enter the notes just once, but
generate two output scores - one with bass and tenor clefs, the other with
bass and alto clefs?
what about separate voices for clefs? something like:
{ music }
{ \clef bass s1*3 \clef alto s1*2 }
%{ \clef bass s1*3 \clef tenor s1*2 }
you could also try tags
http://lilypond.org/doc/v2.14/Documentation/notation/different-editions-from-one-source#using-tags
Or simply store the clef in a variable - that's probably the simplest method:
myclef = { \clef alto } % or \clef tenor
{ \clef bass c c \myclef f' f' }
hope this helps,
Janek
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Re: Defining a new markup command (e.g. \lower by a specified amount)
Philip Thomas philip.tho...@bluewin.ch writes:
I am having great difficulty getting the hang of defining new markup commands.
The examples given in the Extending
manual in section 2.2.3 New markup command definition are
comprehensible to me in their own right, but they aren't
exactly simple examples, and I have so far failed to adapt definitions
found in the scm/define-markup-commands.scm file
to make my own new commands.
The particular problem that I'm trying to get to grips with at the
moment is this:
I
want to use the \lower command at about 15 places in text in a \markup
block (i.e. outside the \score block). The
\lower command works just fine to get the spacing I want between
sections of text (whereas both \override #'(baseline-
skip . xx) and \vspace #xx have proved quirky). The problem is that I
don't at this stage know exactly how much I want
to lower the text by (\lower #xx). When the overall layout of the
score is settled, I would like to experiment with
different values of N, without having to change each \lower command
separately. The solution seemed to me to be to
define a new markup command (e.g. \dropNextline) which specifies the
amount to which the line should be lowered. Then
my 15 entries could all read \dropNextLine { text text text }, and the
experiment would only involve changing the value
of xx in the define-markup-command code until the overall spacing is
correct when judged by the eye. But I'm bu**ered
if I can get it to work. Sorry if I'm ignorant of something I should
have found in the documentation.
For what it's worth, define-markup-command is a macro, and in particular
the command name it defines is treated in a macroesque way. That pretty
much implies that a useful command calling define-markup-command with a
non-constant name will need to be a macro as well, or alternatively call
primitive-eval manually (a macro does not evaluate its arguments as
usual, but interprets its body _twice_ instead).
You can write something like
(define-markup-command (drop-next-line layout props m) (markup?)
(interpret-markup layout props #{ \markup \lower #3 #m #}))
This will provide a command \drop-next-line taking a markup. Note that
{ text text text } is not actually a markup, but a markup list (a top
level markup would wrap it into a \line without asking), so maybe you
want to go for
(define-markup-command (drop-next-line layout props m) (markup-list?)
(interpret-markup layout props #{ \markup \lower #3 \line #m #}))
instead.
Note the spelling: markup commands usually don't use CamelCaps by
convention but rather dashed-names.
--
David Kastrup
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Re: musicxml2ly
It's not a regression. It has never been officially fixed. A while ago I posted a bug report and a minimal example: http://old.nabble.com/musicxml2ly%3A-chordnames-placement-bug-td33309393.html. Here is a solution for the chord symbol bug: http://codereview.appspot.com/5697059/. I still haven't found the time to tidy up the patch. But it works! Am 16.05.2012 um 10:18 schrieb Colin Hall: On Wed, May 16, 2012 at 09:33:09AM +0200, Martin Tarenskeen wrote: The good news is that in many cases only a little editing of the .ly file is required to turn a bad conversion into a good one. For example, all lead sheets from Wikifonia that I have tried have the Chords printed below instead of above the staff. I remember this had been fixed in one of the previous lilypond 2.15.x versions, but with musicxml2ly from Lilypond 2.15.37 I am still (again?) having this problem. Same with 2.15.38 I did not see a reaction to this question, so I try again. What happened with this musicxml2ly bug ? First chords were printed below the staff, then I think it was fixed, and now the chords are below the staff again. Regression? That must be very frustrating for you. Sorry that I can't help you, as I'm not familiar with musicxml2ly. It appears to be central to Patrick's project so I would imagine he or his colleagues are working hard on this. http://www.philomelos.net/en/about There are a number of issue trackers relating to musicxml2ly but I see no issue tracker for this bug, Martin. I'd like to at least record the bug. We can create a tracker if you supply these details: 1. A version of lilypond/musicxml2ly and a specific lead sheet from Wikifonia in MusicXML format that together exhibit the bug. 2. A version of lilypond/musicxml2ly from the 2.15.x series which does not exhibit the bug. Cheers, Colin. -- Colin Hall ___ bug-lilypond mailing list bug-lilyp...@gnu.org https://lists.gnu.org/mailman/listinfo/bug-lilypond ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating same part in two different mixtures of clefs
Urs Liska li...@ursliska.de writes:
No you don't have to edit the ly-file.
You can write sth like:
music = { ... }
myClefI = { \clef tenor }
myClefII = { \clef bass
\score ... % references \music
% and then redefine the variables
myClefI = { \clef treble }
myClefII = { \clef bass
\score ... % references \music
If your clef layers are independent (as I assume) you could define
four variables trebleClef, altoClef, tenorClef, bassClef and leave two
of them empty.
music = {
% contains all four clefs as references.
% If you have e.g. alto and bass clef at the same time you write
% \altoClef \bassClef
}
% define clefs for first score
trebleClef = {}
altoClef = {}
tenorClef = { \clef tenor }
bassClef = { \clef bass }
\score { \music } % in this score the treble and alto clefs are just
ignored
%then define the clefs the other way roung
% ...
\score % now the tenor and bass clefs are ignored.
I find this solution looks nicer than with tags, but the functionality
is nearly identical.
Not quite. It does not work, which is an important difference. It will
actually already bomb out when defining music because \xxx references
are expanded when encountered. If you want delayed action, you could
make a music function
music =
#(define-music-function (parser location high low) (string? string?)
#{ ... ... \clef #high ... ... \clef #low ... ... #})
{ \music tenor bass
\music alto tenor
}
However, as compared to the tag solution, the music is here indeed being
parsed twice, once for every call of \music. So the tag solution is
likely to be faster.
I have come to find the redefinition of variables a _very_ useful
concept.
Sure, but redefining them after they have already been used is not all
that helpful.
--
David Kastrup
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Re:Page breaking question
Greetings Jay,
You wrote:-
+++
I'm setting a group of hymns and I'm using the page turn breaker.
Often two hymns are set on facing pages with the second hymn being
broken over the page. If the second would fit on a page by itself I'd
prefer it to not be broken up and just leave some empty space at the
bottom of each page. Is this possible with any of the current breaking
algorithms? Below is an example of what I'd like to accomplish. I'd
like each score to be on a page of its own.
-Jay
\version 2.15.35
\paper
{
page-breaking = #ly:page-turn-breaking
paper-height = 9\in
paper-width = 6\in
ragged-bottom = ##t
ragged-last-bottom = ##t
}
\header
{
tagline = ##f
}
music = { \repeat unfold 38 c'1 \bar |. }
staves = \new StaffGroup
\new Staff \music
\new Staff \music
\score { \staves }
\score { \staves }
\score { \staves }
+++
Taking on board your last statement I'd like each score to be on a page
of its own. Try
\score { \staves }\pageTurn
\score { \staves }\pageTurn
\score { \staves }
and remove page-breaking = #ly:page-turn-breaking from the paper block.
Hope this helps
Regards
Bill
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Re: Letters as Left hand fingering
Thanks very much Thomas, I like your solution.
2012/5/16 Thomas Morley thomasmorle...@googlemail.com
2012/5/15 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com:
Hi Group,
Sometimes I need to put a letter in front of a number as a fingering.
Is there any possibility to declare m (for ex;) as a number so that I
could code a-m1 as a fingering ?
Hi Pierre,
I'm not aware of any method to do it with that easy syntax: a-m1
But you may want to try:
\version 2.15.36
letter =
#(define-music-function (parser location l fingering)(string? ly:music?)
(let* ((music (make-music 'FingeringEvent))
(finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
\tweak #'text #(markup #:concat (;#:fontsize 6
#:normal-text l n))-$music
#}))
\relative c' {
a-\letter x -1
cis-\letter y -2
e-\letter z -3
}
HTH,
Harm
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Re: Letters as Left hand fingering
No Nick, sorry for the missundersanding, that's for left hand fingering.
But I'll keep your ideas in mind.
Thanks anyway
2012/5/16 Nick Payne nick.pa...@internode.on.net
2012/5/15 Pierre Perol-Schneider
pierre.schneider.paris@gmail.**compierre.schneider.pa...@gmail.com
:
Hi Group,
Sometimes I need to put a letter in front of a number as a fingering.
Is there any possibility to declare m (for ex;) as a number so that I
could codea-m1 as a fingering ?
Do you mean for right hand (stroke) fingering? The following enables you
to use -\A etc for strokefingering. The additional my-stroke-finger
function isn't needed for this but gives better alignment of the characters
when you have a succession of them:
\version 2.15.32
% shortcuts for stroke finger indications
% can't use a or p, so use upper case for all
P = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 1
I = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 2
M = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 3
A = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 4
% better alignment of stroke fingering in a succession of fingering
indications
#(define (my-stroke-finger::calc-text grob)
(let* ((digit (ly:event-property (event-cause grob) 'digit))
(text (ly:event-property (event-cause grob) 'text))
(finger (vector-ref (ly:grob-property grob 'digit-names)
(1- (max (min 5 digit) 1
(direction (ly:grob-property grob 'direction)))
(if (string? text)
text
(if (= direction 0)
finger
(make-combine-markup (cond
((= direction UP) (make-transparent-markup p))
((= direction DOWN) (make-transparent-markup i)))
finger)
\relative c'' {
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(up)
c-1-\A c-\M c-\I c-\P
\override StrokeFinger #'text = #my-stroke-finger::calc-text
c-1-\A c-\M c-\I c-\P
}
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Re: Letters as Left hand fingering
Lol ! 2012/5/16 David Kastrup d...@gnu.org Nick Payne nick.pa...@internode.on.net writes: 2012/5/15 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com: Hi Group, Sometimes I need to put a letter in front of a number as a fingering. Is there any possibility to declare m (for ex;) as a number so that I could codea-m1 as a fingering ? Do you mean for right hand (stroke) fingering? The following enables you to use -\A etc for strokefingering. The additional my-stroke-finger function isn't needed for this but gives better alignment of the characters when you have a succession of them: \version 2.15.32 % shortcuts for stroke finger indications % can't use a or p, so use upper case for all P = #(define-music-function (parser location) () (apply make-music (append (list 'StrokeFingerEvent 'origin location) (list 'digit 1 What about P=-\rightHandFinger 1 Seems a bit simpler. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Letters as Left hand fingering
Thomas Morley thomasmorle...@googlemail.com writes:
2012/5/15 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com:
Hi Group,
Sometimes I need to put a letter in front of a number as a fingering.
Is there any possibility to declare m (for ex;) as a number so that I
could code a-m1 as a fingering ?
Hi Pierre,
I'm not aware of any method to do it with that easy syntax: a-m1
But you may want to try:
\version 2.15.36
letter =
#(define-music-function (parser location l fingering)(string? ly:music?)
(let* ((music (make-music 'FingeringEvent))
(finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
\tweak #'text #(markup #:concat (;#:fontsize 6
#:normal-text l n))-$music
#}))
\relative c' {
a-\letter x -1
cis-\letter y -2
e-\letter z -3
}
Now _this_ one has potential to profit from parser improvements:
\version 2.15.36
#(define (fingering-event? m) (and (ly:music? m)
(music-is-of-type? m 'fingering-event)))
letter =
#(define-event-function (parser location l fingering)
(string? fingering-event?)
(let* ((finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
-\tweak #'text
\markup \concat \fontsize #6 \normal-text { #l #n }
#fingering
#}))
\relative c' {
a\letter x-1
cis\letter y-2
e\letter z-3
}
First we define our own predicate for recognizing and accepting _only_
fingering events (this works fine even though -1 does look like an
integer, and indeed our predicate is called with -1, too, to see whether
that would be an acceptable interpretation as well).
Because we are now guaranteed to have the right kind of event, we need
not create a new event. Instead we just tweak the existing one. The
function we define can be an event function, so one does not need to use
- before calling \letter. The value for the #'text property can
_directly_ be specified using \markup, no need to use a Scheme
contraption. The difference between #fingering and $fingering is
subtle: the latter will create a full copy of the event, the first not.
In this case, we don't need a copy.
#{ - ...
creates a post-event rather than a full music event. So here is quite a
bit of potential for creating a smoother experience. Now of course one
can streamline the user interface a bit by making individual commands
for individual letters:
\version 2.15.36
#(define (fingering-event? m) (and (ly:music? m)
(music-is-of-type? m 'fingering-event)))
letter =
#(define-event-function (parser location l fingering)
(string? fingering-event?)
(let* ((finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
-\tweak #'text
\markup \concat \fontsize #6 \normal-text { #l #n }
#fingering
#}))
defineletter =
#(define-scheme-function (parser location l) (string?)
(define-event-function (parser location fingering) (fingering-event?)
#{ -\letter #l #fingering #}))
X = \defineletter x
Y = \defineletter y
Z = \defineletter z
\relative c' {
a\X-1
cis\Y-2
e\Z-3
}
As I said: it is not like things have gotten significantly easier. But
you get a _lot_ more of power and expressivity without programming
complexity spiraling out of control.
User-definable predicates allow ruling out a lot of strange error
conditions right in the parser. #{ #} works for more things than it
did. Function arguments can usually interchangeably be specified in
either LilyPond or Scheme syntax. Argument ambiguities are resolved by
actually running predicates on several interpretations of the argument.
Now _this_ is actually a nice case for supporting future developments
financially.
--
David Kastrup
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Re: Notating same part in two different mixtures of clefs
On Wed, May 16, 2012 at 10:30 AM, Christopher Webster christop...@claytonwebster.net wrote: It works like a charm. Big thank-you from me. Glad i helped :) I see that Urs already answered your questions about paralell voices. cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (Small) error in Notation Reference
Philip, you wrote Wednesday, May 16, 2012 9:01 AM I think you should remove this comment too: % if they are still too close, add more pairs % until the result looks good It doesn't make any sense - I guess it is left over from an earlier version. Blast! I had noticed the above, also, when I was experimenting with the code, but it floated out of my head. There's no point in having a pedant's eye if you forget things. Anyway, I'm glad you picked it up, and the efficiency of you guys' system encourages me to send more stuff to you as I notice it, although it will be simple, small, stuff for at least the foreseeable future, I suspect. I am really feeling the effort in climbing the LilyPond learning slope. Stick with it, it all falls into place eventually! But it is hard initially, that's why it's important to correct misleading or confusing documentation. Any help you can provide is most welcome. Your suggestion has already been incorporated and will appear in the next release. Thanks! Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Letters as Left hand fingering
David Kastrup d...@gnu.org writes:
creates a post-event rather than a full music event. So here is quite a
bit of potential for creating a smoother experience. Now of course one
can streamline the user interface a bit by making individual commands
for individual letters:
\version 2.15.36
#(define (fingering-event? m) (and (ly:music? m)
(music-is-of-type? m 'fingering-event)))
letter =
#(define-event-function (parser location l fingering)
(string? fingering-event?)
(let* ((finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
-\tweak #'text
\markup \concat \fontsize #6 \normal-text { #l #n }
#fingering
#}))
defineletter =
#(define-scheme-function (parser location l) (string?)
(define-event-function (parser location fingering) (fingering-event?)
#{ -\letter #l #fingering #}))
X = \defineletter x
Y = \defineletter y
Z = \defineletter z
\relative c' {
a\X-1
cis\Y-2
e\Z-3
}
As I said: it is not like things have gotten significantly easier. But
you get a _lot_ more of power and expressivity without programming
complexity spiraling out of control.
One should actually replace the two occurences of string? above with
markup?. Everything else can stay identical. But it means that one
can then also write things like
H = \defineletter \markup \raise #0.5 \smaller \natural
at no additional cost:
\version 2.15.36
#(define (fingering-event? m) (and (ly:music? m)
(music-is-of-type? m 'fingering-event)))
letter =
#(define-event-function (parser location l fingering)
(markup? fingering-event?)
(let* ((finger (ly:music-property fingering 'digit))
(n (number-string finger)))
#{
-\tweak #'text
\markup \concat \fontsize #6 \normal-text { #l #n }
#fingering
#}))
defineletter =
#(define-scheme-function (parser location l) (markup?)
(define-event-function (parser location fingering) (fingering-event?)
#{ -\letter #l #fingering #}))
X = \defineletter x
Y = \defineletter y
Z = \defineletter z
H = \defineletter \markup \raise #0.5 \smaller \natural
\relative c' {
a\X-1
cis\Y-2
e\Z-3
g\H-4
}
--
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Re: Page breaking question
On Wed, May 16, 2012 at 2:01 AM, wjm mooney...@aim.com wrote:
Taking on board your last statement I'd like each score to be on a page of
its own. Try
\score { \staves }\pageTurn
\score { \staves }\pageTurn
\score { \staves }
and remove page-breaking = #ly:page-turn-breaking from the paper block.
Right. I'm wondering if there's a way for this to automatically
happen. There are 300+ hymns and if I decide to change things I'd
prefer to not redo the whole page break situation manually.
-Jay
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Re: musicxml2ly
On Wed, May 16, 2012 at 10:42:09AM +0200, pls wrote: It's not a regression. It has never been officially fixed. A while ago I posted a bug report and a minimal example: http://old.nabble.com/musicxml2ly%3A-chordnames-placement-bug-td33309393.html. Here is a solution for the chord symbol bug: http://codereview.appspot.com/5697059/. I still haven't found the time to tidy up the patch. But it works! Thanks, Patrick. I'm going to move this conversation to bug-lilypond cc Martin and respond in full there. Cheers, Colin. -- Colin Hall ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Testimonial
It's interesting how much a few little clues can help simplify things. I'm arranging a number of pieces for clarinet quartet. I had been using relative brute force, using separate blocks for the parts, using external scripts to generate separate PDF files, etc. The code was ugly and, as a professional programmer, I hated it. After watching this list for a while, I learned enough hints about \parallelMusic and tags and \bookpart to redo things, and suddenly my Lilypond files are self-contained, workable, and readable. I can actually find the notes I need to change, instead of wading through a big, complicated block. I did the entire first movement of Brandenburg 3 for clarinet quartet in about two days, and I could not be happier with the results -- both the output and the Lilypond source are pretty. I still lose track of the relative octaves while I'm doing data entry, but that problem is unlikely to be solved through technology... My compliments to the long-timers on this list for your patience. It is only through your repeated explanations that newcomers can pick up the hints and idioms that make this very large package manageable. -- Tim Roberts, t...@probo.com Providenza Boekelheide, Inc. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Testimonial
Tim Roberts t...@probo.com writes: It's interesting how much a few little clues can help simplify things. I'm arranging a number of pieces for clarinet quartet. I had been using relative brute force, using separate blocks for the parts, using external scripts to generate separate PDF files, etc. The code was ugly and, as a professional programmer, I hated it. After watching this list for a while, I learned enough hints about \parallelMusic and tags and \bookpart to redo things, and suddenly my Lilypond files are self-contained, workable, and readable. I can actually find the notes I need to change, instead of wading through a big, complicated block. As long as you are not using external scripts for creating your actual source file, configuring your PDF viewer for point-and-click URL:http://lilypond.org/doc/v2.15/Documentation/usage/point-and-click should do wonders for that. I still lose track of the relative octaves while I'm doing data entry, but that problem is unlikely to be solved through technology... You mean like URL:http://lilypond.org/doc/v2.15/Documentation/notation/changing-multiple-pitches#octave-checks? If you use them routinely every few measures, this limits the compass of followup errors. My compliments to the long-timers on this list for your patience. [Checking] Oh. We are on the general list rather than the developers'. That explains it. All the best, -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Testimonial
On Wed, May 16, 2012 at 9:22 PM, David Kastrup d...@gnu.org wrote: Tim Roberts t...@probo.com writes: I can actually find the notes I need to change, instead of wading through a big, complicated block. As long as you are not using external scripts for creating your actual source file, configuring your PDF viewer for point-and-click URL:http://lilypond.org/doc/v2.15/Documentation/usage/point-and-click should do wonders for that. Indeed - if you haven't already, definitely try Frescobaldi (.org) cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
PDF with no page breaks
Hello, I want a PDF with no pagebreaks and no linebreaks. The result would be one single, big page. Naturally in landscape format. Can this be done automatically, without caculating the page size by hand? Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Testimonial
David Kastrup wrote: As long as you are not using external scripts for creating your actual source file, configuring your PDF viewer for point-and-click URL:http://lilypond.org/doc/v2.15/Documentation/usage/point-and-click should do wonders for that. That's somewhat problematic on Windows. I wrote a handler script to handle the URL from Acrobat, but it requires gvim coding as well, and at that point I lost interest. I still lose track of the relative octaves while I'm doing data entry, but that problem is unlikely to be solved through technology... You mean like URL:http://lilypond.org/doc/v2.15/Documentation/notation/changing-multiple-pitches#octave-checks? Yes, yet another good habit I should learn. Hmm; perhaps I should write up an article on good habits of successful Lilypond coders, and open it up for helpful contributions. -- Tim Roberts, t...@probo.com Providenza Boekelheide, Inc. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond to xml -singing voice festival
fresco wrote:
Hello!
I've just registered and I am a newbie with regard to lilypond.
1. When I export the file with the following text (lily2.ly) to xml
Code
#(define version-seen? #t)
\version 2.12.3-7
#(set! %load-path (cons .. %load-path))
\include festival.ly
#(set! song:*debug* #f)
\festival #lily2.xml { \tempo 4 = 100 }
{
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
\addlyrics { speel het spel }
\addlyrics { joue le jeu }
}
Code end
lilypond creates the file lily2.xml and I can listen to the singing
voice by means of the festival command:
festival (tts /...lily2.xml 'singing)
But when I try to insert:
\include festival.ly
#(set! song:*debug* #f)
\festival #bach-präl.xml { \tempo 4 = 100 }
into another file (see text below), I get error messages like:
/usr/share/lilypond/2.12.3/ly/festival.ly:25:0: Fehler: syntax error,
unexpected SCM_TOKEN
The follwing test-file c-bis-f.ly I created in NtEd and exported it to a
lily-file:
code
\header {
}
#(set-default-paper-size a4)
StaffAVoiceA = \relative c' {
r1 | % 2
c4 d e f | % 3
}
StaffA = \new Staff \relative c' {\clef treble \time 4/4
\new Voice = one { \StaffAVoiceA }
}
\score {
\StaffA
\layout { }
}
code end
May be it's because of the missing \addlyrics???
kind regards,
fresco
OS Linux/Debian/XFCE4
I intend to use the singing voices for my animations with Tux as the main
actor.
http://www.dailymotion.com/user/tuxtrick/1
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Lilypond to xml -singing voice festival
Hello!
I've just registered and I am a newbie with regard to lilypond.
1. When I export the file with the following text (lily2.ly) to xml
Code
#(define version-seen? #t)
\version 2.12.3-7
#(set! %load-path (cons .. %load-path))
\include festival.ly
#(set! song:*debug* #f)
\festival #lily2.xml { \tempo 4 = 100 }
{
\time 3/4
\relative { c2 e4 g2. }
\addlyrics { play the game }
\addlyrics { speel het spel }
\addlyrics { joue le jeu }
}
Code end
lilypond creates the file lily2.xml and I can listen to the singing voice
by means of the festival command:
festival (tts /...lily2.xml 'singing)
But when I try to insert:
\include festival.ly
#(set! song:*debug* #f)
\festival #bach-präl.xml { \tempo 4 = 100 }
into another file (see text below), I get error messages like:
/usr/share/lilypond/2.12.3/ly/festival.ly:25:0: Fehler: syntax error,
unexpected SCM_TOKEN
The follwing test-file c-bis-f.ly I created in NtEd and exported it to a
lily-file:
code
\header {
}
#(set-default-paper-size a4)
StaffAVoiceA = \relative c' {
r1 | % 2
c4 d e f | % 3
}
StaffA = \new Staff \relative c' {\clef treble \time 4/4
\new Voice = one { \StaffAVoiceA }
}
\score {
\StaffA
\layout { }
}
code end
May be it's because of the missing \addlyrics???
kind regards,
fresco
OS Linux/Debian/XFCE4
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Re: Lilypond to xml -singing voice festival
fresco tuxs...@googlemail.com writes:
But when I try to insert:
\include festival.ly
#(set! song:*debug* #f)
\festival #bach-präl.xml { \tempo 4 = 100 }
into another file (see text below), I get error messages like:
/usr/share/lilypond/2.12.3/ly/festival.ly:25:0: Fehler: syntax error,
unexpected SCM_TOKEN
That is an error message when reading festival.ly, so it would appear
that you are reading festival.ly at a nonsensical place or, less likely,
with an incompatible version of LilyPond. Since you don't actually
quote the resulting file after your changes, it is impossible to guess
more than that.
--
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Re: Page breaking question
On 17/05/12 02:42, Jay Anderson wrote:
On Wed, May 16, 2012 at 2:01 AM, wjmmooney...@aim.com wrote:
Taking on board your last statement I'd like each score to be on a page of
its own. Try
\score { \staves }\pageTurn
\score { \staves }\pageTurn
\score { \staves }
and remove page-breaking = #ly:page-turn-breaking from the paper block.
Right. I'm wondering if there's a way for this to automatically
happen. There are 300+ hymns and if I decide to change things I'd
prefer to not redo the whole page break situation manually.
-Jay
Hi Jay,
I had the impression that you were starting out on a project.
You have over 300 hymns in separate Lilypond files already?
If that were so then it might be a time to use a document processor like
scribus, or something similar. Otherwise, there probably / hopefully is
someone on the list who might be able to help with combining existing LP
files.
Sorry I can't help further.
Regards
Bill
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Re: Lilypond to xml -singing voice festival
David Kastrup wrote:
fresco tuxs...@googlemail.com writes:
But when I try to insert:
\include festival.ly
#(set! song:*debug* #f)
\festival #bach-präl.xml { \tempo 4 = 100 }
into another file (see text below), I get error messages like:
/usr/share/lilypond/2.12.3/ly/festival.ly:25:0: Fehler: syntax error,
unexpected SCM_TOKEN
That is an error message when reading festival.ly, so it would appear
that you are reading festival.ly at a nonsensical place or, less likely,
with an incompatible version of LilyPond. Since you don't actually
quote the resulting file after your changes, it is impossible to guess
more than that.
--
David Kastrup
Thank you for replying!
The following text is a midi-file imported into the lilypond-format
(test.ly)
code
\version 2.12.3-7
\header {
}
#(set-default-paper-size a4)
StaffAVoiceA = \relative c' {
e4 a a8 gis fis4 | % 2
e e e cis | % 3
d d fis fis | % 4
e gis a2 | % 5
e4 a a8 gis fis4 | % 6
e e e cis | % 7
d d fis fis | % 8
e gis a2 | % 9
e d' | % 10
cis4 a cis2 | % 11
b4 b8 b gis4 e | % 12
a cis e2 | % 13
e, d' | % 14
cis4 a cis2 | % 15
b4 b8 b gis4 e | % 16
a2 r2 | % 17
}
StaffA = \new Staff \relative c' { \set Staff.instrumentName = Inst 1
\clef treble \time 4/4
\new Voice = one { \StaffAVoiceA }
}
\score {
\StaffA
\layout { }
}
code end
So, the first stanza of the lyrics, I wanted to insert, is:
Es zogen einst fünf wilde Schwäne,
Schwäne leuchtend weiß und schön..etc.
My question is:
Where and how can I place \addlyrics
and the
\include festival.ly
#(set! song:*debug* #f)
\festival #test.xml { \tempo 4 = 100 }
I do not know, if it is possible to create an .xml in this way, i.e. by
importing
a regular midi-file.
By the way, I just want to use the singing voices for my animations with
main actor Tux.
http://www.dailymotion.com/user/tuxtrick/1
Kind regards,
fresco
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Re: Lilypond to xml -singing voice festival
David Kastrup wrote:
fresco tuxs...@googlemail.com writes:
But when I try to insert:
\include festival.ly
#(set! song:*debug* #f)
\festival #bach-präl.xml { \tempo 4 = 100 }
into another file (see text below), I get error messages like:
/usr/share/lilypond/2.12.3/ly/festival.ly:25:0: Fehler: syntax error,
unexpected SCM_TOKEN
That is an error message when reading festival.ly, so it would appear
that you are reading festival.ly at a nonsensical place or, less likely,
with an incompatible version of LilyPond. Since you don't actually
quote the resulting file after your changes, it is impossible to guess
more than that.
--
David Kastrup
Thank you for replying!
The following text is a midi-file imported into the lilypond-format.
code
\version 2.12.3-7
\header {
}
#(set-default-paper-size a4)
StaffAVoiceA = \relative c' {
e4 a a8 gis fis4 | % 2
e e e cis | % 3
d d fis fis | % 4
e gis a2 | % 5
e4 a a8 gis fis4 | % 6
e e e cis | % 7
d d fis fis | % 8
e gis a2 | % 9
e d' | % 10
cis4 a cis2 | % 11
b4 b8 b gis4 e | % 12
a cis e2 | % 13
e, d' | % 14
cis4 a cis2 | % 15
b4 b8 b gis4 e | % 16
a2 r2 | % 17
}
StaffA = \new Staff \relative c' { \set Staff.instrumentName = Inst 1
\clef treble \time 4/4
\new Voice = one { \StaffAVoiceA }
}
\score {
\StaffA
\layout { }
}
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Re: Testimonial
On 5/16/12 12:46 PM, Tim Roberts t...@probo.com wrote: I still lose track of the relative octaves while I'm doing data entry, but that problem is unlikely to be solved through technology... When in doubt, count steps going up. c and g (ascending) are in different relative octaves; c and f are in the same. c . d . e . f =count 4 notes, so it's the same relative octave. c . d . e . f . g = count 5 notes, so it's a different relative octave This is insensitive to accidentals. Whenever I am on the boundary and I can't remember, I just count the notes going up. HTH, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Letters as Left hand fingering
On 16/05/12 17:43, David Kastrup wrote: Nick Paynenick.pa...@internode.on.net writes: 2012/5/15 Pierre Perol-Schneiderpierre.schneider.pa...@gmail.com: Hi Group, Sometimes I need to put a letter in front of a number as a fingering. Is there any possibility to declare m (for ex;) as a number so that I could codea-m1 as a fingering ? Do you mean for right hand (stroke) fingering? The following enables you to use -\A etc for strokefingering. The additional my-stroke-finger function isn't needed for this but gives better alignment of the characters when you have a succession of them: \version 2.15.32 % shortcuts for stroke finger indications % can't use a or p, so use upper case for all P = #(define-music-function (parser location) () (apply make-music (append (list 'StrokeFingerEvent 'origin location) (list 'digit 1 What about P=-\rightHandFinger 1 Seems a bit simpler. Sure is. Probably better to use P=\rightHandFinger #1, and can then use - or ^ or _ as needed. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF with no page breaks
On Wed, May 16, 2012 at 2:31 PM, Nils l...@nilsgey.de wrote: Hello, I want a PDF with no pagebreaks and no linebreaks. The result would be one single, big page. Naturally in landscape format. Can this be done automatically, without caculating the page size by hand? I'd be interested in this. I've always just picked a large width and turned on ragged right. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Testimonial
On 12-05-16 02:18 PM, Tim Roberts wrote: David Kastrup wrote: As long as you are not using external scripts for creating your actual source file, configuring your PDF viewer for point-and-click URL:http://lilypond.org/doc/v2.15/Documentation/usage/point-and-click should do wonders for that. That's somewhat problematic on Windows. I wrote a handler script to handle the URL from Acrobat, but it requires gvim coding as well, and at that point I lost interest. Janek has already recommended Frescobaldi, which is my editor of choice on Windows as well as Linux. IIRC, you need to install cygwin versions of ghostscript, but that was pretty easy. Glad you're enjoying lilypond! Colin -- I've learned that you shouldn't go through life with a catcher's mitt on both hands. You need to be able to throw something back. -Maya Angelou, poet (1928- ) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page breaking question
On Wed, May 16, 2012 at 2:42 PM, wjm mooney...@aim.com wrote: I had the impression that you were starting out on a project. You have over 300 hymns in separate Lilypond files already? If that were so then it might be a time to use a document processor like scribus, or something similar. Otherwise, there probably / hopefully is someone on the list who might be able to help with combining existing LP files. I have them combined into one output pdf so that not an issue. I'm just looking for a way to improve the page breaking situation automatically. I'm thinking I may need to look at writing a custom page break algorithm or modifying the page turn breaking algorithm to do what I need. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Page breaking question
On 17/05/12 16:41, Jay Anderson wrote: On Wed, May 16, 2012 at 2:42 PM, wjmmooney...@aim.com wrote: I had the impression that you were starting out on a project. You have over 300 hymns in separate Lilypond files already? If that were so then it might be a time to use a document processor like scribus, or something similar. Otherwise, there probably / hopefully is someone on the list who might be able to help with combining existing LP files. I have them combined into one output pdf so that not an issue. I'm just looking for a way to improve the page breaking situation automatically. I'm thinking I may need to look at writing a custom page break algorithm or modifying the page turn breaking algorithm to do what I need. -Jay Good hunting - That sort of thing is way outside my knowledge limits. :) Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
