Re: wrong relative positions in snippet 632 when calling it nrepeatedly
In message 27135776.p...@talk.nabble.com, -Eluze elu...@gmail.com
writes
hi
Replying to a week old post ... but I can't see any other replies ...
when i run the code below with snippet 632, the c' of the 2nd line - and the
following notes - are an octave to high - i would expect it to behave like
when you use the same code without *\bbarre #…*
\version 2.13.10
\relative c'{
\clef G_8 \stemUp
\bbarre #III { f a'16[ c' d c d 8] }
\bbarre #III { f, a'16[ c' d c d 8] }
}
did i misunderstand something?
btw, this happens also with version 2.12.3
I note you're using \relative - make sure you know relative to what.
And I don't know what bbare is doing ...
thanks!
If you need some way of fixing things getting too high (and it doesn't
look particularly appropriate here, unless you put \bbarre #III { f
a'16[ c' d c d 8] } into a snippet variable) you might find the
resetOctave function handy. It might have made its way into the docs,
or you might have to search the list archive (it'll be in an ancient
post by me or Han-Wen).
Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk
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Re: simple editor for windows
In message 8c1eed9b0912160008v6b676a9fida41a99a8f72f...@mail.gmail.com, Stefan Thomas kontrapunktste...@googlemail.com writes Responding very late ... Dear community, I'm searching for a simple text-editor for windows. It is for the computer in my music-school. It is an old machine and lilypondtool, because it requires java, doesn't work on it. Vim and emacs would be too complicated for my dear colleagues. And with the very simple editor that comes with the lilypondversion of windows, I have the problem, that it shows the whole file (that I've written with Frescobaldi) in one line. Does someone of You have an recommandation? My favourite editor is PFE (programmers file editor). Unfortunately, last I know, it was abandonware, but it's still a simple nice editor. Written by somebody at Lancaster Uni iirc. You should still be able to find it, and it's a small self-contained installable. Only thing is, if you want fancy features I don't know if it can do them - I don't use them. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: simple editor for windows
In message gg0vj5huatb821fles7lijktsbl8adv...@4ax.com, Tim Slattery slatter...@bls.gov writes Anthony W. Youngman lilyp...@thewolery.demon.co.uk wrote: My favourite editor is PFE (programmers file editor). Unfortunately, last I know, it was abandonware, but it's still a simple nice editor. Written by somebody at Lancaster Uni iirc. Yes, good stuff, and I used it for a long time. Unfortunately, it doesn't know anything about UTF-8, and therefore is unsuitable for Lilypond files. But I use it for them all the time ... Still, I don't know very much about UTF-8 and pretty much only use the standard ASCII character set. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \set vs \override
In message 4b0bc390.1080...@internode.on.net, Nick Payne nick.pa...@internode.on.net writes Carl Sorensen wrote: On 11/24/09 2:57 AM, Nick Payne nick.pa...@internode.on.net wrote: James Worlton wrote: Hi! In 2.13.6 I did a project and used: \set Score.markFormatter = #format-mark-box-alphabet and I got the boxes and the letter I (all in one command!) Thanks for that. That particular value for set (format-mark-box-alphabet) doesn't seem to appear anywhere in the documentation - or at least, I can't find it in the PDF documentation, which is what I use. This must be a bug in the documentation. Nick, could you figure out where it should go, and write a bit of text and a simple example, so we can add it to the docs? Well I only have/use the PDF documentation, and the section on Rehearsal marks is on p.74 of the 2.13.7 Notation reference. After the initial example, it presently says: == The letter ‘I’ is skipped in accordance with engraving traditions. If you wish to include the letter ‘I’, then use \set Score.markFormatter = #format-mark-alphabet == Following up a bit late, I know ... If you look back at when format-mark-alphabet first appeared, you'll find I featured prominently (and ineptly :-) I wanted the functionality, tried to write it and got into a mess. Somebody else kindly added it for me, along with various other features such as using bar numbers as rehearsal marks. And as part of that, I understand that ALL combinations of mark on its own, mark in a circle and mark in box crossed with bar-number, number, letter and alphabet were created. I can't remember the scheme file name, but iirc they are all in the same file, if anyone wants to check, but the documentation should say that ANY and ALL combinations of mark and mark-formatting should work, and if they don't it's a bug. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas / Trios
In message 200910251431550...@1682723281, David Pounder pound...@lineone.net writes --- Original Message --- From: Kieren MacMillan kieren_macmil...@sympatico.ca To: David Pounder pound...@lineone.net Sent: 25.10.09, 13:28:05 Subject: Re: Codas / Trios Hi David, The ideal solution would be for da capo, dal segno and codas to be handled (somehow) by the \repeat and \unfoldRepeats constructs Agreed. wishful thinking? Not really... this is open source software! ;) 1. Anything that can be done manually can be automated with Scheme. 2. Anyone could provide a patch to the base code that would do what is necessary without a macro. The only question is, who will write the macro(s) and/or patch(es)? Cheers, Kieren. I suppose I asked for that :) I'll go and read the contributor's guide, but I think I may be out of my depth as I haven't touched functional programming for decades... But from my (the OP) point of view, that's quite likely not much use ... because the piece I'm setting it isn't a coda. It's just that the coda example does pretty much what I want. To summarise my current problem, I want to stop the staff, put text where the staff would be, then resume the staff. I've got it working roughly as I want, but because the staff takes priority I need to put spacer rests in to make room for the text. And if lily compresses the music to make it fit, suddenly there's no room for my text and it gets bumped out of the way :-( Actually, I think it's the clef that's the problem, when I put a clef in, it collides with the text and bumps the text out of the way. Actually, that's probably why \longTextOn didn't work - it's probably not meant to work with clefs! Is there any setting that will make text take priority over a clef and push the clef out the way? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas / Trios
In message 87k4ylfdzl@lola.goethe.zz, David Kastrup d...@gnu.org writes Anthony W. Youngman lilyp...@thewolery.demon.co.uk writes: I'm sure I've seen it somewhere, but I can't find it in the manuals, snippets, or searching the lists :-( I'm trying to do what is very typical for my sort of music (band parts). Namely, end the line with a double bar (often with a segno or coda sign). Then the next line starts with the word CODA or TRIO before the music starts again. Has anybody got an example I can crib? I've found one of my examples using stop/start staff and cadenza, but it's a mess :-( URL:http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Repeats#Repeats Scroll down to positioning segno and coda. Personally, I find it appalling that you have to plaster together markup like that without any predefined makros. In particular since this will not be reflected in the MIDI output. Thanks. I'd seen that, but didn't see how it applied (not least because part of the example is hidden to the left of the left margin!). I'll have to play with it. I need the line break BEFORE the blank space, not after. I need the text LEVEL with the staff, not above. It would be nice if the double bar was clean, not with lines sticking out of it. And from my previous attempt, I ended up with the clef and key signature not moving, so my line had them hanging in empty space before the start of the staff :-( Thanks anyway. I'll play with that and see where it gets me (not that far, I expect :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas / Trios
In message hfqrfwaoys4kf...@thewolery.demon.co.uk, Anthony W. Youngman
lilyp...@thewolery.demon.co.uk writes
In message 87k4ylfdzl@lola.goethe.zz, David Kastrup d...@gnu.org
writes
Anthony W. Youngman lilyp...@thewolery.demon.co.uk writes:
I'm sure I've seen it somewhere, but I can't find it in the manuals,
snippets, or searching the lists :-(
I'm trying to do what is very typical for my sort of music (band
parts). Namely, end the line with a double bar (often with a segno or
coda sign). Then the next line starts with the word CODA or TRIO
before the music starts again. Has anybody got an example I can crib?
I've found one of my examples using stop/start staff and cadenza, but
it's a mess :-(
URL:http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Repeats#
Repeats
Scroll down to positioning segno and coda. Personally, I find it
appalling that you have to plaster together markup like that without any
predefined makros. In particular since this will not be reflected in
the MIDI output.
Thanks. I'd seen that, but didn't see how it applied (not least because
part of the example is hidden to the left of the left margin!). I'll
have to play with it.
I need the line break BEFORE the blank space, not after. I need the
text LEVEL with the staff, not above. It would be nice if the double
bar was clean, not with lines sticking out of it. And from my previous
attempt, I ended up with the clef and key signature not moving, so my
line had them hanging in empty space before the start of the staff :-(
Thanks anyway. I'll play with that and see where it gets me (not that
far, I expect :-(
I'm surprised ... after a bit of work it got me where I needed to be!
Thanks very much.
I'm still not totally happy, in that because I separate layout and
notes, I now need to insert dummy bars all over the place, but at least
it looks like I want.
Next job - move text inside a volta alternative rather than above it ...
I think I've seen how to do it, all I need to do is find it again ...
Anyways, I attach the modded snippet so anybody who wants it can see
what I've done - it's a pretty typical layout on a march card ...
Cheers,
Wol
{
\clef treble
\key g \major
\time 4/4
\relative c'' {
\repeat unfold 2 {
| c4 c c c
}
% Set segno sign as rehearsal mark and adjust size if needed
% \once \override Score.RehearsalMark #'font-size = #3
\mark \markup { \musicglyph #scripts.segno }
\repeat unfold 2 {
| c4 c c c
}
% Set coda sign as rehearsal mark and adjust size if needed
\once \override Score.RehearsalMark #'font-size = #4
\mark \markup { \musicglyph #scripts.coda }
\repeat unfold 2 {
| c4 c c c
}
% Should Coda be on anew line?
% Coda NOT on new line: use \nobreak
% Coda on new line: DON'T use \nobreak
% \noBreak
\bar ||
% Set segno sign as rehearsal mark and adjust size if needed
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
% \once \override Score.RehearsalMark #'font-size = #3
\mark \markup { \musicglyph #scripts.segno }
% Here begins the trickery!
% \cadenzaOn will suppress the bar count and \stopStaff removes the staff
lines.
\cadenzaOn
\stopStaff
\once \override Staff.KeySignature #'stencil = ##f
\once \override Staff.Clef #'stencil = ##f
\break
% Some examples of possible text-displays
% text line-aligned
% ==
% Move text to the desired position
% \once \override TextScript #'extra-offset = #'( 2 . -3.5 )
% | s1*0^\markup { D.S. al Coda } }
% text center-aligned
%
% Move text to the desired position
% \once \override TextScript #'extra-offset = #'( 6 . -5.0 )
% | s1*0^\markup { \center-column { D.S. al Coda } }
% text and symbols center-aligned
% ===
% Move text to the desired position and tweak spacing for optimum text
alignment
%\once \override TextScript #'extra-offset = #'( 8 . -5.5 )
\once \override TextScript #'word-space = #1.5
%\once \override TextScript #'X-offset = #8
%\once \override TextScript #'Y-offset = #1.5
\once \override TextScript #'Y-offset = #-0.5
| s1*0^\markup { \center-column { CODA } }
% Increasing the unfold counter will expand the staff-free space
%\repeat unfold 1 {
% s4 s4 s4 s4
\bar
%}
% Resume bar count and show staff lines again
\startStaff
\cadenzaOff
% Should Coda be on new line?
% Coda NOT on new line: DON'T use \break
% Coda on new line: use \break
% \break
% Show up, you clef and key!
\once \override Staff.KeySignature #'break-visibility =
#end-of-line-invisible
\once \override Staff.Clef #'break-visibility
\fatText - 2.13.6
I've just tried to use this, and it's failed with unrecognised escaped string (or whatever the error is). Is this defined in some file I've got to include, or what's wrong? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \fatText - 2.13.6
In message 11cc7c4f0910241809o5470e174g979b503fc2415...@mail.gmail.com, Andrew Hawryluk ahawry...@gmail.com writes The command was renamed for version 2.12: \fatText - \textLengthOn \emptyText - \textLengthOff The on/off naming is more consistent with other commands. You may also want to checkout http://lilypond.org/doc/v2.12/Documentation/topdocs/NEWS.html for other commands that were changed at the same time. Thanks. I thought I was using the 2.12 documentation, so I checked ... 2.10. Oops. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Codas / Trios
In message ygulqbbsrz4kf...@thewolery.demon.co.uk, Anthony W. Youngman lilyp...@thewolery.demon.co.uk writes I'm surprised ... after a bit of work it got me where I needed to be! Thanks very much. I'm still not totally happy, in that because I separate layout and notes, I now need to insert dummy bars all over the place, but at least it looks like I want. Mmmm - I'm not at all happy now I've played with it ... is there any way I can get the text to take the space it needs? (rather than using spacer notes?) I've tried \textLengthOn - that doesn't seem to work. The trouble with using spacers to create the space is (a) it doesn't always work, and (b) if you separate notes and layout then the space required will vary from part to part - on a march card you can't afford to waste space! Next job - move text inside a volta alternative rather than above it ... I think I've seen how to do it, all I need to do is find it again ... Anyways, I attach the modded snippet so anybody who wants it can see what I've done - it's a pretty typical layout on a march card ... Cheers, Wol [ A MIME text / plain part was included here. ] -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Codas / Trios
I'm sure I've seen it somewhere, but I can't find it in the manuals, snippets, or searching the lists :-( I'm trying to do what is very typical for my sort of music (band parts). Namely, end the line with a double bar (often with a segno or coda sign). Then the next line starts with the word CODA or TRIO before the music starts again. Has anybody got an example I can crib? I've found one of my examples using stop/start staff and cadenza, but it's a mess :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs and bars in vocal music
In message blu0-smtp35d912a8614bd537946e5194...@phx.gbl, Kieren MacMillan kieren_macmil...@sympatico.ca writes Hi, Sorry, no chance - this is common practice since Bach, and I as a seasoned choir leader yadda yadda... Wow... a closed-minded, backwards-thinking choral director. There's a first time for everything, I guess! ;) He's very much convinced that his standard is much easier to read All evidence — written and anectodal — that I have encountered, as well as my own experience (as composer, conductor, singer, and performer), strongly disputes that old wives' tale. Don't forget the familiarity principle. If he's only ever sung, in old-fashioned choirs that used that standard, then he'll have no trouble with it. Me - I play the trombone as you know. I switch between treble, tenor and bass clef as required. But nowadays I mostly read bass clef ONLY (in a concert/military band the trombone can read either). The only time I ever read treble from choice, is when I'm playing in a brass band where it's all treble. The point is, which standard it is is irrelevant, It's when you chop and change that makes life difficult (if I get a treble part at concert band I'll often try and play it in bass clef :-). For the record, does he also want you to use the old Novello backwards eighth-note rest for quarter rests? I mean, that was also the common practice since Bach — but people [wisely] decided that a *real* quarter rest is less confusing to read. Is that a Novello thing? I still meet it quite a lot in old parts, especially marches. It's probably a BH thing as well. It's not THAT hard, once the shock of hitting the things has worn off :-) Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mugshots for web page? [WAS: The LilyPond Report, again!]
In message 1252345554.16636.3.ca...@heerbeest, Jan Nieuwenhuizen janneke-l...@xs4all.nl writes Or what about stealing a creative idea from http://www.fotosearch.com/photos-images/anonymous.html such as the profile. Greetings, Jan. I'd just use the picture of me by E. H. Shepard, except I haven't done anything to get me a place on that list. I can't think of anything for you, though, unless you can find a picture of your place on the Round Table? That might be a good one. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: volta repeats with alternatives
In message 4a68a0ff.7040...@ultrasw.com, Paul Scott psl...@ultrasw.com writes Is there a setting or something to do this automatically? Why isn't it done by default anyway? (btw: the override command is just used to demonstrate the problem, I only need the measure numbers at the beginning of each line.) This has been discussed here before. This is the way LilyPond works. Lily's way is consistent with many printed scores even though your way is sometimes done. There's a third way too ... I sometimes come across pieces where - let's say - an eight bar repeated phrase is counted as sixteen bars. Usually because some other part has the repeat written out in full. But yes - the lilypond way is the way I normally see music - I almost never see it where two bars have the same number. Why would you do that? The main reason for bar numbers is, surely, for the conductor to be able to accurately identify a bar during a rehearsal. How is an ambiguous bar number going to help? What use are bar numbers if they are ambiguous? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website: draft 3
In message 4a4e048f.6030...@thenotesetter.com, David Stocker dstoc...@thenotesetter.com writes Another native English improvement ... Q: This [text interface] seems to be rather limited, why should I consider using this program without a GUI? A: Take a look to our nice examples [link to the nice examples page] and judge by yourself. The strength of LilyPond lays in the power and judge FOR yourself. flexibility of its language. Some environments will help you [link to the helper programs page] but still, /(addd comma)/ the language is the key to successful high-quality engraving, as we see it. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transpose Command
In message 7958d8c70907061548m4a1d58adocc98552164aa2...@mail.gmail.com, Francisco Vila paconet@gmail.com writes I don't know how it works, but can imagine that the transpose function should be *much* more clever than it currently is, to realize itself it is inside a relative block. So it leaves the user with the task of doing it manually whenever needed. Actually, as I understand it (I may be wrong) it CAN'T be cleverer. The problem is the confusion between note NAMES and note PITCHES. When a text file is parsed by lilypond, it dumps a stream of note NAMES into lilypond. relative reads that list of NAMES and converts it into PITCHES. transpose on the other hand needs to work on PITCHES so if it is fed a stream of NAMES, it converts them to pitches (thinking in absolute mode) itself. That's why sticking a transpose inside a relative messes up - by the time the note gets to relative it's already been converted to a pitch by transpose, so relative doesn't have a name to work with. So relative just feeds the pitch straight through - unaltered. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: theory question
In message 894826.55836...@web83408.mail.sp1.yahoo.com, Mark Polesky markpole...@yahoo.com writes Grammostola Rosea wrote: I've learned when major scale: step: I: maj7 II: min7 III: min7 IV: maj7 V: dominant 7 VI: min7 VII: -7 But what when it is a minor scale? For example E minor? Which type of chords belongs to the 7 steps? If it's natural minor than it's the same series, but starting on the equivalent of degree 6 in the major: i: min7 ii: -7 III: maj7 iv: min7 v: min7 VI: maj7 VII: dom7 Harmonic minor has a raised 7 which changes all odd degrees: i: min/maj7 ii: -7 III: maj7+5 iv: min7 V: dom7 VI: maj7 vii: dim7 I can't remember what it's called, but there's a third minor scale where the 7th can be raised or not. If it's going up to the tonic it's sharpened, and if it's going down, it's not. So in the scale of A (your classic minor) it goes: a b c d e f g# a g f e d c b a Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website: draft 3
In message 4a480622.1080...@yahoo.com, Patrick Horgan phorg...@yahoo.com writes On this page http://percival-music.ca/blogfiles/out/lilypond-general_6.html#Crash-course it mentions that help is wanted because an example is too wide for narrow media. What's the criteria? It fits in 800x600 just fine and these day web-developers say that 1024x768 is the new 800x600. Much of the site certainly doesn't work for hand held devices. DON'T assume web browsers are full screen! I curse blue murder when someone else borrows my pc, immediately full screens all my windows (amongst other nasty little changes ...), and then leaves me to sort out the resulting mess. :-( My screen is that 1024x768, then I lose stuff for menu bars, then I size my screens to use maybe 2/3rds of the available screen estate. If the page is optimised for 1024... I'm stuffed! Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website: draft 3
In message blu0-smtp68d1bbf1e31839ae96b29994...@phx.gbl, Kieren MacMillan kieren_macmil...@sympatico.ca writes Hi Anthony (et al.), DON'T assume web browsers are full screen! +1 I curse blue murder when someone else borrows my pc, immediately full screens all my windows (amongst other nasty little changes ...), and then leaves me to sort out the resulting mess. :-( Do what I do: define a guest user, and only give them access to that... I could care less what mess they leave the guest user in! =) Doesn't work :-( At home, everybody has their own login, but quite often I leave the computer for 10 seconds, and when I come back they're using my session... And when I had a job, they would often come over to show me something (or I would ask them) so they needed to use my login but would trash my settings... It's the old saw of theory and practice - in theory the guest idea is great, in practice it doesn't work (Oh - I don't have XP, and I run Pro or Server anyways, so I don't have fast user switching...) Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
In message c65907ef.9d32%c_soren...@byu.edu, Carl D. Sorensen c_soren...@byu.edu writes But there is a (to me) surprisingly large contingent of users who claim that there is no well-defined connection between chord names and chord notes, and that they want total control over the symbols to be displayed. And the lyricChordNames functionality is a way to get transposable chord names for people who are in that camp. Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root? You can easily go from the name to the notes, but not the other way round. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OFF TOPIC: on porting Platform Builder 6.0 [WAS: Re: Notation Editor with MIDI]
In message 1244715010.25811.674.ca...@heerbeest, Jan Nieuwenhuizen janneke-l...@xs4all.nl writes Ah, that's a relief. Now listen-up fellow LilyPond developers and users: I'm not going to help you as I just got relieved from this task, but will *you* please port Platform Builder 6.0 to Linux, so that Helge may switch to Ubuntu? I'm saying please, but you may take this as an order! ;-) Platform Builder 6.0 is a beautiful piece of software which, when ported to Linux may greatly help Microsoft advance their dieing mobile and embedded OS solutions -- and may almost enable Helge to switch to Ubuntu. So, what are you waiting for!? Helge, to avoid burdening our community with an unnecessary load of work, could you please check if Platform Builder 6.0 runs in wine, on Ubuntu Jaunty? Thanks! Or in vmWare, or one of the other virtual machines ... (I'm thinking of trying one, but with 3/4Gb ram and an Athlon 1050 - no I don't think they made one but it's a 1400 running at a 100MHz FSB instead of 133 - I think it'll make pretty heavy weather of running it. And at the moment a PC upgrade isn't on the cards :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs lilypond-mode
In message 7958d8c70905290126i234bee3dl2e67c23165703...@mail.gmail.com, Francisco Vila paconet@gmail.com writes 2009/5/28 Thomas weissnicht...@hotmail.de: PS Another not so smart question: how can I reply to a posting on this list?? my outlook-express-newsreader doesn't recognize the list, and the web-interface only allows to answer directly to an email ... not to the list (??) Don't you have a reply-to-all function? You can always cc to lilypond-user@gnu.org Why is he reading a *mailing* list using a *newsreader*? That said, I do the same, but my client has an explicit this is a mailing list, treat it as a newsgroup setting, so it knows how to reply. If he's getting it from a mail2news gateway, then he should subscribe to the list itself, and use OE's filter rules. Not using OE myself (I avoid lookout entirely if I can), I don't know for sure how to configure it. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Secondary beaming with a tuplet
In message 4a1c580a.3020...@webdrake.net, Joseph Wakeling
joseph.wakel...@webdrake.net writes
Hello all,
I have a 7:8 tuplet rhythm which repeats quite regularly in a piece,
\times 8/7 { gs8\pp gs16 gs8 gs }
... but displays with one problem: the secondary beam for the 16th note
points to the right, not to the left; the 16th note grouping should be
3+2+2.
I can get what I want by using,
\times 8/7 { gs8\pp \set \stemLeftBeamCount = #2 \set
\stemRightBeamCount = #1 gs16 gs8 gs }
Does
\times 8/7 { gs8[\pp gs16] gs8[ gs] }
work for you?
... but that works only the once and is a pain to have to repeat many
times.
That also will only work the once, but at least it's a lot easier to
type
Cheers,
Wol
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Re: Users versus developers (was: Tempo mark alignment)
In message 894cbbba-43cf-47cf-9e73-a3a7a2504...@bitstream.net, Tim McNamara tim...@bitstream.net writes On May 23, 2009, at 5:05 PM, Anthony W. Youngman wrote: In message 1243107160.13852.64.ca...@mung-papu, Ari Torhamo ari.torh...@gmail.com writes The first option is achieved by handling everything a non-programmer can do: managing bugs, helping new users, writing the newsletter, etc. The second option is achieved in two ways: helping expand our community (and hoping this way more programmers will join on a long-term perspective), or hiring someone (with decent money) to let him learn the code and implement the feature/fix the bug you want. You don't quite seem to get Tim's point: everybody can't and doesn't need to participate every project they find useful - especially when they don't consume the resources of the project in question (more than marginally). Most people don't contribute equally to things in their life - people specialize, which is good, because they have different lives, situations, skills and talents. It's good to encourage people and make them aware of the ways to contribute - and then leave it to them. Unfortunately, Tim's point is at odds with the philosophy of free software - which can be pretty succinctly stated as he who writes the software makes the rules. Ummm. That's not the philosophy of free software. http://www.gnu.org/philosophy/philosophy.html Indeed, projects governed by Anthony's description of the philosophy tend to die quickly or get forked and the original developer loses control over it. Well, if somebody's writing code, they're not dead, so if they follow my philosophy then by definition they CAN'T be dead ... And, having been involved in a project (actually one I started), then a new developer took over from me and took the project in a direction I didn't like, but it wasn't a fork. He took over the coding. The only way I could have stopped him was to do more code myself (and I didn't have time). And while I think that Graham is often more bad cop than necessary (I've fallen foul of him too :-) he does have somewhat of a valid point - if you're not prepared to put in any work then why should other people put in work on your behalf? Because if those things adversely affect my use of the application, the odds are very good it adversely affects someone else's and maybe lots of someone else's use of the software. Graham's idea (I am interpolating here, he can correct me if I'm wrong) that people should be willing to put into the project is very valid. My point was that the form of those contributions is going to vary with people's abilities. Agreed. My main contribution in the past was proof-reading, and Graham expected me to contribute patches. Bit difficult if I'm proof-reading a hard copy and don't have a system that can make patches. For reasons already mentioned, I'm not going to learn Scheme and I'm not going to contribute code. It is very myopic to define helping as writing code (this is a widespread problem in the FOSS community). On the other hand, I am a psychologist with some knowledge of how people interact with information and those skills might offer a way to contribute and I have tried to do that. Also, my use (and others') of the software, feedback on its usability, etc. is of utility. But at the end of the day, if you don't code, you don't have direct influence on the project. And as I know from experience, usability and all the other soft stuff is very subjective. What's usable to one person is a pain in the neck to someone else. My example of this is reveal codes in WordPerfect (oh - and I hate OpenOffice because it's a copy of MS Office and I find their usability decisions make the whole thing unusable - the more WordPerfect tries to become Word-like the less usable it is). My brother had a similar experience with unusable emacs - he now thinks its wonderful - it hasn't changed, he has. But at the end of the day, as I say, he who writes the code makes the rules. If you're not prepared to get your hands dirty, you are reliant on other people doing what you want, and they are free to (indeed, quite likely to) ignore you unless you're prepared to make it worth their while. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Users versus developers (was: Tempo mark alignment)
In message 1243107160.13852.64.ca...@mung-papu, Ari Torhamo ari.torh...@gmail.com writes The first option is achieved by handling everything a non-programmer can do: managing bugs, helping new users, writing the newsletter, etc. The second option is achieved in two ways: helping expand our community (and hoping this way more programmers will join on a long-term perspective), or hiring someone (with decent money) to let him learn the code and implement the feature/fix the bug you want. You don't quite seem to get Tim's point: everybody can't and doesn't need to participate every project they find useful - especially when they don't consume the resources of the project in question (more than marginally). Most people don't contribute equally to things in their life - people specialize, which is good, because they have different lives, situations, skills and talents. It's good to encourage people and make them aware of the ways to contribute - and then leave it to them. Unfortunately, Tim's point is at odds with the philosophy of free software - which can be pretty succinctly stated as he who writes the software makes the rules. And while I think that Graham is often more bad cop than necessary (I've fallen foul of him too :-) he does have somewhat of a valid point - if you're not prepared to put in any work then why should other people put in work on your behalf? I think it would have been considerate of you to let it go after reading what Tim hinted about his life situation. Mebbe. But there's a time and place for saying tough mate, that's just how things ARE!. It's all very well saying stop the world, I want to get off, but the world keeps going regardless, and if you're not prepared to do anything about it, then that's your lookout. I'm not far short of 50, I've got a mortgage (and rather too much time on my hands at the moment - I got credit crunched a couple of months ago), etc etc. I want to contribute (okay, only my itches, but at least if I do it it'll help other people as well as me). Ask not what lilypond can do for you, but what you can do for lilypond. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \partial at start, but want whole bar at end
In message a9927dee74f64e0186f0b...@clph-d133.clinpharm.ox.ac.uk, Paul
Hodges p...@cassland.org writes
--On 22 May 2009 18:02 +0200 James E. Bailey
derhindem...@googlemail.com wrote:
I've never seen this, in fact the opposite! How is lilypond
insisting? Can you make a two or three measure example that shows
what you mean?
Sorry, I missed out what turned out to be the key bit of information -
that the last bar was also the second part of an \alternative at the
end of a repeat which started with a \partial. I have been shown a
solution off list. What I had written was:
\alternative {
{ c2. }
{ c1 \bar |. }
}
I think it's the short first alternative that's throwing it off. Another
trick to try is to pad it out - { c2. s4 }. That might be a lot simpler
than various tweaks to get it to behave (although it might introduce
other problems instead ...).
Cheers,
Wol
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Re: relative mode occasionally gets forgotten?
In message c6334c1b.93d6%c_soren...@byu.edu, Carl D. Sorensen
c_soren...@byu.edu writes
On 5/15/09 3:06 PM, Anthony W. Youngman lilyp...@thewolery.demon.co.uk
wrote:
In message 200905151909580...@1654122929, David Pounder
pound...@lineone.net writes
I don't know if it's worth mentioning, but you can also run into
problems using \repeat inside a \relative block if an \unfoldRepeats is
used outside the block. For example in
Tune = \relative c' { \partial 4 d4 |
\repeat volta 2 { c4 d e g | }
}
the first c will be relative to the last g on the second play through
using \unfoldRepeats. Rewriting as
Tune = { \partial 4 d'4 |
\repeat volta 2 \relative c' { c4 d e g | }
}
resolves the problem. I try to make sure I keep \relatives at the
innermost block for this reason. Is this a case of programming style,
and should the docs cover it?
Han-Wen gave me a resetOctave function that deals with this. I don't
know if it's made its way into the docs, though.
I just use the octave check construct and ignore the warning.
Example of resetOctave and its use attached ...
\version 2.8.2
resetOctave =
#(define-music-function
(parser location reference-note)
(ly:music?)
(let*
((notes (ly:music-property reference-note 'elements))
(pitch (ly:music-property (car notes) 'pitch))
)
(set! (ly:music-property reference-note 'elements) '())
(set! (ly:music-property reference-note
'to-relative-callback)
(lambda (music last-pitch)
pitch))
reference-note
))
pennsylvania = \context Voice = pennsylvania {
\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4
}
pennsylvaniaLyrics = \lyricmode { \small { Penn syl van ia six five thou sand }
}
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16- ~ |
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
bf8-. cf4- bf8- ~ bf4 bf8.-- af16-. r8 af4.---. r2 bf8-. cf4-- bf8-
~ bf4 bf8.-- af16- ~ |
af2~ af8 r8 r8. b16( ~ c4-.) cs8-- c8- ~ c8 b4.-- bf4 af8. bf16 ~ bf4
r c2( d4.) df8- ~ |
df8 d4-- df8- ~ df4 r4 R1*6 \resetOctave f \pennsylvania |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2 c df4.--- d8--- ~ d ef4.--- |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2-- c-- df4 ef8.-( af,16) ~ af4 r |
r8 c'4.--- ~ c2 r8 b4.--- ~ b2 r8. c16- b8.- b16- c8.- c16-
b8.- b16- c4- r r2
\repeat volta 2 { \repeat percent 3 { df8^+ df4.^o ~ df4 r R1 }
df4.^\markup{ +o } df8^\markup{ +o } ~ df4. df8^\markup{ +o } ~ }
\alternative { { df4. df8^\markup{ +o } ~ df4. r8 } { df4 df8. d16 r8 df4.---
} }
R1*7 r2 r8 b4.^-^+( \glissando c1^o) ~
c4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 c4.^-^+( \glissando df1^o) ~
df4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 e4.^-^+( \glissando
\repeat volta 2 { f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 e4.^-^+( \glissando f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ } \alternative { { f2 r8 e4.^-^+(
\glissando } { f2) r8 e4.^-^+( \glissando } }
f1) ~ f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 ef4.^-^+( \glissando
f1) ~ f4. f8 r4 d8.- df16- r8 d4.--- ef8.- e16- f8.- gf16- ~ gf1
}
Cheers,
Wol
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Re: relative mode occasionally gets forgotten?
In message 20090515145035.ga3...@nagi, Graham Percival
gra...@percival-music.ca writes
On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:
First, I think that the information above should be put into 1.1.1 Writing
Pitches as examples under Relative octave entry. There should be three
separate items/examples:
When relative blocks are nested, the innermost relative block applies.
\relative c' { d e f \relative c'' { d e f}}
Woah, that's froody! I would have never expected that!
Note: I haven't tested any of these examples.
I tested the above, because I just couldn't believe it. Anyway, I
agree with these proposals.
When I first saw Chip's example, my reaction was why on earth would you
want to do that?
As I understand it, \relative converts from note names to absolute
pitches. Pretty much everything else in lily works on pitches. In a .ly
file you don't know, on seeing a c, which c it is - middle, top, low,
whatever. If it's wrapped in a \relative{}, that assigns a pitch to it.
Anything else on seeing it assumes it's c in the bass clef as that's
the pitch assigned to the note c.
So, I don't know how to word it, but when you're talking about \relative
in the manual it should say that you should only use \relative
immediately around your note names because it converts note names to
absolute pitches. If there's another operator inside your \relative (ie
in Chip's case, a \transpose, in the example above an inner \relative)
that forces absolute pitches, then the \relative will do nothing because
it doesn't know what to do with a pitch.
Cheers,
Wol
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Re: relative mode occasionally gets forgotten?
In message 200905151909580...@1654122929, David Pounder
pound...@lineone.net writes
--- Original Message ---
From: Anthony W. Youngman lilyp...@thewolery.demon.co.uk
To: lilypond-user@gnu.org
Sent: 15.5.09, 18:03:43
Subject: Re: relative mode occasionally gets forgotten?
In message 20090515145035.ga3...@nagi, Graham Percival
gra...@percival-music.ca writes
On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:
First, I think that the information above should be put into 1.1.1 Writing
Pitches as examples under Relative octave entry. There should be three
separate items/examples:
When relative blocks are nested, the innermost relative block applies.
\relative c' { d e f \relative c'' { d e f}}
Woah, that's froody! I would have never expected that!
Note: I haven't tested any of these examples.
I tested the above, because I just couldn't believe it. Anyway, I
agree with these proposals.
When I first saw Chip's example, my reaction was why on earth would you
want to do that?
As I understand it, \relative converts from note names to absolute
pitches. Pretty much everything else in lily works on pitches. In a .ly
file you don't know, on seeing a c, which c it is - middle, top, low,
whatever. If it's wrapped in a \relative{}, that assigns a pitch to it.
Anything else on seeing it assumes it's c in the bass clef as that's
the pitch assigned to the note c.
So, I don't know how to word it, but when you're talking about \relative
in the manual it should say that you should only use \relative
immediately around your note names because it converts note names to
absolute pitches. If there's another operator inside your \relative (ie
in Chip's case, a \transpose, in the example above an inner \relative)
that forces absolute pitches, then the \relative will do nothing because
it doesn't know what to do with a pitch.
Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk
I don't know if it's worth mentioning, but you can also run into
problems using \repeat inside a \relative block if an \unfoldRepeats is
used outside the block. For example in
Tune = \relative c' { \partial 4 d4 |
\repeat volta 2 { c4 d e g | }
}
the first c will be relative to the last g on the second play through
using \unfoldRepeats. Rewriting as
Tune = { \partial 4 d'4 |
\repeat volta 2 \relative c' { c4 d e g | }
}
resolves the problem. I try to make sure I keep \relatives at the
innermost block for this reason. Is this a case of programming style,
and should the docs cover it?
Han-Wen gave me a resetOctave function that deals with this. I don't
know if it's made its way into the docs, though.
Cheers,
Wol
--
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Re: Absolute premiere of a LilyPond typesetted work
In message eefe316d0905110537s44f4a356v5bccffb55eb8d...@mail.gmail.com, Valentin Villenave v.villen...@gmail.com writes 2009/5/9 Francisco Vila paconet@gmail.com: It was typeset by the pianist and composer Pascual Marchante. As for the license of the score: well thougth, if it is not published at all, how can it be licensed anyway? It is a copyrighted work, period. IIRC it was commissioned by the Madrid autonomous community and maybe it holds the whole rights. As you may remember, free-licensed works are copyrighted (since free licenses precisely rely on copyright, for example to guarantee the author's paternity right). Actually, I understand that isn't true ... What you say sounds American - under European law I understand that that isn't a right, but a requirement (reasonably enough). Under European law, an author may not sign away the right to be identified as the author. If it is not published, that is a very good reason to release it under an alternate license, since the author is not bound to a publisher (and the commissionner, AFAIK, should not hold any copyright on the work). Did the commissioner ask for it as a work for hire? Certainly an employee's work belongs to the employer. By default, I think you're right that copyright for a commissioned work remains with the author, but that is often altered by the commission contract. Oh - and under English law, afaik, an unpublished work can only be published by the owner. There are a lot of cases of old diaries, of immense historical interest, not being published because they never have been in the past and the current owner refuses to. Despite the author, in many cases, being dead for a century or two - not just 50 or 70 or however many years copyright lasts nowadays ... Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Newbie Question -- verse and chorus
In message aee48b3c0905110359h62344d13j414f03be325c1...@mail.gmail.com, Tim Rowe digi...@gmail.com writes 2009/5/11 Graham Percival gra...@percival-music.ca: RTF Learning Manual. It's written specifically for this purpose. - Graham Really I find this attitude very aggressive, hostile and unwelcoming, and quite unlike all of the other email groups for software that I use. Graham's quite cuddly when you get to know him - like a hedgehog you just have to be very careful how you cuddle him :-) In the case of every question I have asked, I have not only scoured the manuals -- not just the learning manual -- but also searched the snippets repository and the web in general for anything that might give me a clue. Each question has only been asked after *hours* of searching. In the case of every question I have asked, somebody has just told me to read the manuals as if I were some sort of idiot. I have to say that I find the manuals very poor -- they assume a lot of prior knowledge, and they are poorly indexed, but this is usual for free software -- documentation almost always lags behind, but usually it's compensated by a friendly user community. Actually, the manuals are pretty good. And we have Graham to thank for that. The problem is that lilypond is NOT a user-friendly program. It's a highly sophisticated typesetting program and, as you say, assumes a LOT of background knowledge in order to be able to use it well. It's easy to use in a basic sense. As soon as you try and do anything complicated (as I'm trying to do) you hit a *steep* learning curve. But that's the nature of the beast. Any tool that sets out to do a specialist job well *will*, by the very *nature* of the thing, be a tool that requires a specialist user. I'm very disappointed in the attitude of some members of this group, who seem to want Lilypond to be a private club and don't want the inconvenience of new members. Your hostility and unhelpfulness makes me strongly tempted to go back to Finale, but fortunately /some/ members of the mailing list have a much more welcoming and helpful attitude. If this is not an appropriate place to ask elementary questions that I can't find addressed in the manuals or on the web (even if the answers are buried in there somewhere) then please tell me where I /can/ ask those questions. Otherwise your attitude is simply going to drive people away. Maybe that's what you want. This is the place to ask :-( Just give Graham as good as you get :-) The difficulty is that steep learning curve. Any decent lilypond piece of music is a *program*, written in a *schizophrenic* *mix* of lilypond and Scheme (which is a dialect of Guile, which is a dialect of Lisp, which is something many people, including programmers nowadays, have never met). Some people seem to find that transition from simple to decent easy - I've seen it happen to people on the list. Others find it hard. I'm finding it hard. I really need someone to hold my hand while I get started, and that doesn't happen on this list. People are helpful though - on several occasions people have offered to write stuff I want (sometimes for a fee :-). But I don't want it written for me, I want to write it myself in order to learn, and that's where this list does fall apart a bit :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Optimal page breaking
In message 1241914773.13703.7.ca...@mercury, Joe Neeman joenee...@gmail.com writes On Sun, 2009-05-10 at 00:18 +0100, Anthony W. Youngman wrote: Isn't working quite right and I can't see how to fix it (12.2). From the content of your email, I suppose you mean page-turn-breaking rather than optimal-breaking? Same thing? I used the title of the manual section, rather than the engraver. I've got a piece that I would like to fit on 3 pages (it insists on going to 4 :-( but it also insists on breaking at rests after page 1 and 3. There's a rest on the last line of page 2 that it should break after, which would then give me one turn instead of 2 (and far more time to turn in :-) If you know exactly where you want the page turn to happen, you can leave the Page_turn_engraver out and specify the turn with \allowPageTurn. In general, if you prefer page turns only after longer rests, you can set the context property minimumPageTurnLength to something larger than the default. I was hoping to let lily do it all by default - this particular piece uses several bits that I'd like to turn into my personal templates and I'd rather not put specific hacks in :-) Oddly enough, I couldn't get it all to fit on three pages - lily insisted on spilling onto the fourth even with page-count = 3 - UNTIL I did as you suggest and set minimumPageTurnLength. At which point it decided to fit everything on three pages and break where I want at page1. Perfect :-) One easy turn. From the documentation it seems like it's supposed to break after every second page (ie what I want). But it's breaking on the first and every subsequent 2 which I don't want. I thought there was an option to tell it whether to break after odd or even pages but this isn't mentioned along with everything else. Does this option exist, and what is it? The page turn algorithm isn't very flexible in this regard: it only does page turns after odd-numbered pages. If you don't want a page turn after the first page, you need to set first-page-number to 2. Oh well. I thought I remembered some way it could be changed, when it was being discussed on devel. Thanks, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Optimal page breaking
Isn't working quite right and I can't see how to fix it (12.2). I've got a piece that I would like to fit on 3 pages (it insists on going to 4 :-( but it also insists on breaking at rests after page 1 and 3. There's a rest on the last line of page 2 that it should break after, which would then give me one turn instead of 2 (and far more time to turn in :-) From the documentation it seems like it's supposed to break after every second page (ie what I want). But it's breaking on the first and every subsequent 2 which I don't want. I thought there was an option to tell it whether to break after odd or even pages but this isn't mentioned along with everything else. Does this option exist, and what is it? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default beat groupings
In message e63f953e-546a-4485-9e8d-3876f89d6...@googlemail.com, James E. Bailey derhindem...@googlemail.com writes Did the default beat groupings change? I thought I remembered that in 3/4, three eighth-note triplets followed by an eighth note and an eighth rest would not beam the eighth note to the triplets. In 2.12.2 it does. Is this new? Am I remembering poorly? beat groupings is a bit buggy in 2.12 ... it is grouping 3/4 as if it were 6/8 :-( Upgrade to 13.whatever when you're ready. Or put the following #(revert-auto-beam-setting '(end * * 3 4) 3 4 'Score) after your 3/4 time signature to fix it in 2.12. If you search the mailing list you'll probably find all this last month (search for me - I was in the thread). James E. Bailey Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Margins
In message op.usea9bs0cej...@schuplu, Henning Plumeyer h.plume...@web.de writes Am 14.04.2009, 18:32 Uhr, schrieb Mark Polesky markpole...@yahoo.com: Francisco Vila wrote: 2009/4/11 Mark Austin : Is there any way of setting a binding margin... need to increase the left margin of odd-numbered pages, and the right margin of even numbered pages... Could we say inner margin? Please no. AIUI, the proper technical term IS binding margin. Let's not change it just to be different. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Margins
In message op.usf0kdm8cej...@schuplu, Henning Plumeyer h.plume...@web.de writes Am 15.04.2009, 19:56 Uhr, schrieb Anthony W. Youngman lilyp...@thewolery.demon.co.uk: In message op.usea9bs0cej...@schuplu, Henning Plumeyer h.plume...@web.de writes Am 14.04.2009, 18:32 Uhr, schrieb Mark Polesky markpole...@yahoo.com: Francisco Vila wrote: 2009/4/11 Mark Austin : Is there any way of setting a binding margin... need to increase the left margin of odd-numbered pages, and the right margin of even numbered pages... Could we say inner margin? Please no. AIUI, the proper technical term IS binding margin. Let's not change it just to be different. Ok, the introduced technical term should be used. Didn't know it is one. Btw: What the word for the opposite margin? I don't know there is one. Why should there be? Just like a page has a top and bottom margin, and your usable area is usually what's left (but may lose some to a header and/or footer space), so from left to right you normally have left and right margin with usable area being what's left, you sometimes lose some of that to the binding margin. I'll use American sizes for easy maths, but lets say you have a 1/2 binding margin, that leaves you with an 8 wide page. If you now have 1/2 left and right margins that leaves you with 7 of usable space. And you'd spec that as '1/2 left and right, and 1/2 binding margins'. That says everything that needs to be said. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (de)cresendi syntax
In message bay104-w21929b6c307f2affd1ac08b5...@phx.gbl, Piero Faustini
pierofaust...@hotmail.com writes
.ExternalClass .EC_hmmessage P {padding:0px;} .ExternalClass
body.EC_hmmessage {font-size:10pt;font-family:Verdana;}
recognising the original Italian from is adjectival.
thus sorry for them, but it is WRONG at all. This is plain english syntax
rules roughly applied to a foreign language: in english you can say both
the sun keeps raising and the raising sun.
Actually, you can't. raising (if I've got my grammar right) is a
transitive verb, ie the subject and object are not the same thing. You
mean rising, which is intransitive, and so can be applied to an
object.
Cheers,
Wol
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Re: I don't remember how to do this ...
In message c604d912.882c%c_soren...@byu.edu, Carl D. Sorensen
c_soren...@byu.edu writes
On 4/10/09 10:54 AM, Chip c...@wiegand.org wrote:
Thanks Carl,
You're welcome.
That's what I needed. Has this been simplified in the last year or two? Seems
I recall there was a need to use two /transposes in the past.
I don't think so. I think that what you are remembering is the use of
\transpose and \transposition, which I don't really understand because I've
never used it.
Or it was me. If I'm going from treble clef to treble clef I use two
transpositions.
One wrapped round the notes as entered to transpose them from Bb to
concert, and the second wrapped round that to convert them back to Bb
for printing.
Piece in treble clef Bb -
tbonea = transpose c bf, { all the notes of the piece }
That will then need a transpose bf, c { \tbonea } if I want to output
music in treble clef.
Cheers,
Wol
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Re: Real-world usage of Lilypond
In message 49dd97f8.20...@gmail.com, Wei-Wei Guo wwgu...@gmail.com writes I don't know there are many different systems. I'm working on a songbook for our family church, but I have little knowledge of music. So I started learning music script about a month ago. Since it's difficult for me to remember and understand those music symbols, I want to record those symbols and make learning notes in my reading notices system. That's why I keep on asking about methods of inputing music symbols in several mailing list threads. Sorry for making those noises. gmail.com is a very anonymous country for email, but in the UK we have the ABRSM Theory Of Music booklets. Basically a series of questions about music, from grade 1 (simple) to grade 8 (university entrance). If you want to learn and can get hold of these, they'd be a very good primer. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Concert Pitch (a second try)
In message 49d996bb.9090...@ultrasw.com, Paul Scott psl...@ultrasw.com writes Ian Hulin wrote: Hi all, O.K here goes, I've pruned some bits out where we were getting into acoustics, and tweaked a few bits. Cheer Ian Hulin (snip) Transposing instruments are named according to the fundamental (known on some brass instruments as the pedal) note. On a woodwind instrument this is normally the note obtained with all holes covered without over-blowing or use of speaker keys. On a brass instrument it the note obtained with most relaxed embouchure and the slide extended fully That should be not extended at all for trombone (1st position). or all valves open. True. ??? What do you mean by an open valve? To me it means the valve is depressed and the associated tubing is brought into play, which it shouldn't be. It's probably best said as something like with the instrument in its shortest configuration, eg the slide in 1st position or the valves not depressed. The other point that should be made is that the octave above the pedal note is notated as middle C in the treble clef. I was unaware, however, that the bass clarinet transposed in bass clef! And I seem to remember some American parts that appeared to have the trombone part transposed in bass clef too - that piece rapidly got ditched so I know precious little about it. That might be an American convention ... I'll try again later :-) Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Concert Pitch (a second try)
In message 7ba1cb89-6dd8-4258-aa23-32ba97b5f...@gmail.com, Simon Bailey bina...@gmail.com writes this happens in dutch symphonic wind music a lot as well. the trombone parts are supplied in Bb treble-clef (transposed), Bb bass-clef (transposed) and C bass-clef (concert pitch). i've only ever seen it in dutch published music, i'm not sure exactly where it comes from, but it's horribly confusing when the librarian doesn't know the difference... ;) That's good to know - I'll mention it in passing ... a useful fact for Bb transposing instruments usually notated in bass clef (trombones, euphonia, etc.) is that the treble-clef transposed part can be read almost exactly as if it were notated in concert-pitch tenor-clef (add 2 flats and pay careful attention to the accidentals). fairly random piece of information, but it helps me whenever i run across treble-clef b-flat parts. Yes - I use that trick a bit ... I prefer to try and read tenor clef as tenor because it makes the accidentals easier, but I see it pretty rarely so I usually start thinking treble and then switch as I get into it. You can pull the same trick with Eb parts too - if the music is written in Eb, add three flats to the key signature and read it as if it were bass clef. Cheers, Wol (who reads four clefs, treble in Bb, bass, tenor and treble in concert :-) -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: significance of whitespace [WAS: LilyPond, Finale and Sibelius]
In message 49da120a.7090...@hohlart.de, Marc Hohl m...@hohlart.de writes 1) personally, I would use the %, but this is the comment sign and can't be used. (perhaps this would be even possible, but ... NO!) Oh my gosh, please, NOOO As Han-Wen has said, parsing is important. In another life I work with a language called DataBasic. What do you thing of the following line of code: REM: REM = REM(6, 4) ; REM This is an example of a horrendous line. Here we have REM used consecutively as (1) a label, (2) a variable, (3) a function, and (4) a language command. Now imagine how easy that is to lex/parse... because it IS legal syntax ! :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music Glossary - 1.64 Concert Pitch (2.12.2)
In message f37cce1d-f6c6-4225-a602-8738e787e...@ultrasw.com, Paul Scott psl...@ultrasw.com writes On Apr 3, 2009, at 3:49 PM, Anthony W. Youngman wrote: In message 7ca3d5a30904031519ya3b89hb87cf8f81a544...@mail.gmail.com, Neil Puttock n.putt...@gmail.com writes 2009/4/3 Anthony W. Youngman lilyp...@thewolery.demon.co.uk: In message mj9t1jgcvk1jf...@thewolery.demon.co.uk, Anthony W. Youngman lilyp...@thewolery.demon.co.uk writes Ow! Sorry, reading this was painful (I play the trombone, as many of you know :-) Replying to myself ... Just in case anyone didn't realise (and I certainly didn't make myself clear :-) these are my revised versions that I think should replace the existing entries. Feel free to edit and improve. For example Concert A is 440Hz, the speed of sound in air is 343m/s, therefore an A clarinet (or any other A wind instrument) will have a length of 343/440 = 78cm. (Or be a power of 2 longer or shorter.) Concert A is definitely not the fundamental for an A clarinet: it's a cylindrical tube stopped at one end, so the wavelength of the fundamental is four times the length. Since the lowest note on a clarinet is usually the E below middle C unless it has an extension, the fundamental would be C sharp (D on a B flat). Ummm ... I think I might be getting physics fundamentals confused with musical fundamentals. But I'm COMPLETELY puzzled at your statement that the wavelength of the fundamental is FOUR times the length. I would guess the trombone is also a cylindrical tube stopped at one end, and the wavelength of any note played must be an integral number of half-wavelengths. So we have 1/2-wavelength giving me a pedal Bb, 2/2 giving me the fundamental Bb, and 3/2 giving me an F. I don't see how the physics would work to give you a quarter- wavelength as you claim. I just did some quick online research and he is right. A tube closed on one end like a clarinet or trumpet has a wavelength that is four times the length of the tube. A flute is open on both ends so it has a wavelength of double the length of the tube. Okay, I've just looked up standing wave on Wikipedia, and it seems you're right about the four times. I can't reconcile that with brass instruments though. The first four open notes on a Bb instrument are Bb, Bb, F, Bb. To me that's saying the wavelength is 1/2, 2/2, 3/2, and 4/2 the instrument length, and NOT 1/4, 3/4, 5/4 and 7/4 (Wikipedia says that for a quarter-wavelength, only the odd numerators are available). Can anybody explain? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music Glossary - 1.64 Concert Pitch (2.12.2)
In message f37cce1d-f6c6-4225-a602-8738e787e...@ultrasw.com, Paul Scott psl...@ultrasw.com writes I don't see how the physics would work to give you a quarter- wavelength as you claim. I just did some quick online research and he is right. A tube closed on one end like a clarinet or trumpet has a wavelength that is four times the length of the tube. A flute is open on both ends so it has a wavelength of double the length of the tube. I think I have it! All blown musical instruments are, as far as physics is concerned, open at both ends. Don't think of it as the mouthpiece closes the tube, think of it in physics terms as nodes and antinodes. The bell end, being open, has to be an antinode. The mouthpiece end, being the source of the vibrations, ALSO has to be an antinode (a node, by definition, does not vibrate). Therefore, by definition, all blown musical instruments will have a fundamental frequency of 2L. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple scores with common layout setup
In message 49d32d78.8070...@gmx.net, Helge Kruse
helge.kruse-nos...@gmx.net writes
Hello,
I have a Theme and Variations questions. I started notating a piece
what could be handled with (3.1.2 Multiple scores in a book, see also
http://lsr.dsi.unimi.it/LSR/Item?id=310). But I need a lot of layout setup in
the PianoStaff, that is bound to the \score. Further I would like to write
the Upper, Lower and Dynamics of the three variations in a similar way as
I did for the theme.
What is a convinient way to continue this notation work? I would like to
avoid duplicating text group by copy and paste.
Any other suggestions are welcome.
If it's all the same code, just bung it in a \include!
If it's similar code, look at using tags.
I create parts as separate files and an awful lot of my stuff is in
includes. For example, all the piece information for the header is in an
include and the part file contains
\header {
instrument = ...
\include header.ly
}
Cheers,
Wol
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Re: Using midi2ly
In message 191e48a7-f2c8-41cf-8b6e-b6ebec40d...@math.su.se, Hans Aberg hab...@math.su.se writes On 28 Mar 2009, at 13:08, Laura Conrad wrote: I might support that if we were setting the example by having an ly2musicXML, but we aren't. Normally one only provide converters to ones own source code format, so people get stuck with it: a form of competition limiting. And who do we have to blame for that ... Curiously, one of the major factors in WordPerfect's rise was the quality of its document converters - both in AND out. People bought a copy so they convert between other formats, and then because everybody had a copy everybody started using it as their main word processor instead of the competition. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cannot find property type-check for `no-spacing-rods'
Not sure if this belongs here or on -devel ... But I've just looked in the log file and found this in there. V 2.12.2 on Windows (same on V 2.11.59 - I've just upgraded to make sure it isn't a known/fixed thingy). Bearing in mind I don't know what no-spacing-rods is, it's an error internal to lily (which may or may not be something I've done :-) Relevant log contents follow: Interpreting music... warning: cannot find property type-check for `no-spacing-rods' (backend-type?). perhaps a typing error? warning: doing assignment anyway [8] warning: cannot find property type-check for `no-spacing-rods' (backend-type?). perhaps a typing error? warning: doing assignment anyway warning: cannot find property type-check for `no-spacing-rods' (backend-type?). perhaps a typing error? warning: doing assignment anyway [16] warning: cannot find property type-check for `no-spacing-rods' (backend-type?). perhaps a typing error? warning: doing assignment anyway [24][32][40][48][56][64][72][80][88][96][104][112][120][128][136][144][15 2][152] Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Looking for proper beam grouping
In message 73a00026c6f3454c9cf5c090b12d0...@trevorlaptop, Trevor
Daniels t.dani...@treda.co.uk writes
Carl, you wrote Tuesday, February 24, 2009 1:43 AM
On 2/23/09 12:52 PM, Maarten Deen md...@xs4all.nl wrote:
I have a piece of music in 3/4 which has bars like { d4. c8 b8. a16 }
Lilypond groups the last three notes together, making it look like a
6/8
measure, but I want the c8 to be separate and only the b8. a16 to be
grouped
(like a proper 3/4 would look like).
I've tried some settings, like #(override-auto-beam-setting '(end * * * *)
1
4)
or \set beatGrouping = #'(4 4 4) but to no avail.
The proper way to set beatGrouping is #'(1 1 1), which means group 1
beat, 1
beat 1 beat, where a beat is defined by the time signature as a 1/4
note.
But this doesn't work properly, and it should.
I think this is a bug in the autobeaming code. Could you please send
a bug
report to bug-lilypond?
This is not a bug. There is still a general auto-beam
setting for 3/4 time which inhibits beatGrouping.
beatBrouping should work with the override
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
I was waiting for 2.13 before I completed this work, as
changing the default beaming did not seem right during
a stable release.
Just tried to do this (2.12.2) and I'm getting 6/8 beaming in a 3/4
passage :-( Am I doing anything stupid?
voiceTimeSig = {
\override Staff.TimeSignature #'style = #'()
\key f \major
\time 3/4
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
\set beatGrouping = #'(1 1 1)
s2.*8 % mark 1
s2.*6 % mark 2
\time 2/4 s2 \time 4/4 s1
Cheers,
Wol
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Re: cannot find property type-check for `no-spacing-rods'
In message 9nk9hhd$hkzjf...@thewolery.demon.co.uk, Anthony W. Youngman
lilyp...@thewolery.demon.co.uk writes
Not sure if this belongs here or on -devel ...
Oops - just found my code that's doing it - but I copied it from
somewhere and don't understand what it's doing or why ...
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score . RehearsalMark #'self-alignment-X = #left
\once \override Score . RehearsalMark #'no-spacing-rods = ##t
\mark \markup { \small \bold $markp }
#})
And the error makes it look like it might be a bug in lily anyway, but I
don't want to say that because I've been wrong too often - is the code
looking for something called type-check that should be there and
isn't?
But I've just looked in the log file and found this in there. V 2.12.2 on
Windows (same on V 2.11.59 - I've just upgraded to make sure it isn't a
known/fixed thingy).
Bearing in mind I don't know what no-spacing-rods is, it's an error
internal to lily (which may or may not be something I've done :-)
Relevant log contents follow:
Interpreting music...
warning: cannot find property type-check for `no-spacing-rods' (backend-
type?). perhaps a typing error?
warning: doing assignment anyway
[8]
warning: cannot find property type-check for `no-spacing-rods' (backend-
type?). perhaps a typing error?
warning: doing assignment anyway
warning: cannot find property type-check for `no-spacing-rods' (backend-
type?). perhaps a typing error?
warning: doing assignment anyway
[16]
warning: cannot find property type-check for `no-spacing-rods' (backend-
type?). perhaps a typing error?
warning: doing assignment anyway
[24][32][40][48][56][64][72][80][88][96][104][112][120][128][136][144][15
2][152]
Cheers,
Wol
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Re: Looking for proper beam grouping
In message 3cbf99092d5f4e77a0cae01edf7be...@trevorlaptop, Trevor
Daniels t.dani...@treda.co.uk writes
Anthony W. Youngman Saturday, March 28, 2009 3:50 PM
In message 73a00026c6f3454c9cf5c090b12d0...@trevorlaptop, Trevor
Daniels t.dani...@treda.co.uk writes
Just tried to do this (2.12.2) and I'm getting 6/8 beaming in a 3/4
passage :-( Am I doing anything stupid?
voiceTimeSig = {
\override Staff.TimeSignature #'style = #'()
\key f \major
\time 3/4
#(revert-auto-beam-setting '(end * * 3 4) 3 4)
\set beatGrouping = #'(1 1 1)
s2.*8 % mark 1
s2.*6 % mark 2
\time 2/4 s2 \time 4/4 s1
Not really stupid, as the same error catches everyone
quite often. It's that Context thing again. From the
way you are doing it I guess you are not placing the
revert command in every Voice. But in this form it
applies only to the Voice context in which it appears.
To make the revert apply to every voice in a Staff you
need to add 'Staff, and to make it apply to every
Voice in every Staff you need to add 'Score, like this:
#(revert-auto-beam-setting '(end * * 3 4) 3 4 'Score)
Thanks.
Also the \set beatGrouping is unnecessary - that is the
default grouping in 3/4 time.
You'll be pleased to know the revert will not be required
at all in 2.13.1 to obtain this beaming.
It works fine now. But (as others have mentioned) why not in 2.12.3?
imho it's a bug, and as such ought to be fixed.
Cheers,
Wol
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Re: cannot find property type-check for `no-spacing-rods'
In message blu0-smtp263ca4a0baec066965c6ca94...@phx.gbl, Kieren MacMillan kieren_macmil...@sympatico.ca writes That looks like my old (pre-recent-MetronomeMark improvements) function/macro for making tempo indications... And the error makes it look like it might be a bug in lily anyway, but I don't want to say that because I've been wrong too often - is the code looking for something called type-check that should be there and isn't? No... it's just indicating that this old code needs updating. Actually, it should be replaced entirely by a MetronomeMark-based function -- I've got a couple that I will be submitting to LSR soon. Actually, it's fairly new code :-) How metronome are your metronome functions? I'm just using it for text like moderately fast. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mixing notehead styles in chords
In message 20090325102043.20...@gmx.net, Tao Cumplido tao_lilypondu...@gmx.net writes Hi, just a minor suggestion. 'h' is already a taken name in deutsch.ly, so everyone who uses German note names couldn't use your function. I also learned this just recently. Actually, isn't this the normal case for pretty much every European language except English? Being English it feels weird to me, but presumably it's second nature to the continentals :-) Regards, Tao Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: auto-beaming
In message a1ba45db869b4f8fb3b8b98f9e3f3...@trevorlaptop, Trevor Daniels t.dani...@treda.co.uk writes BTW, did we ever file a feature request for a function to revert all the beam-ending rules in a particular time signature? This would also be very useful. It would be ... especially when the rules are buggy :-) I think it's been fixed (so I need to upgrade) but I've got a piece of music I'm working on at the moment where I've got a simple time signature and the quavers are grouped as in a complex signature (or the other way round, can't remember). Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default margins
In message 20090319135340.ga2...@nagi, Graham Percival gra...@percival-music.ca writes On Wed, Mar 18, 2009 at 10:03:42PM -0700, Mark Polesky wrote: I have! At one point I was frustrated by this very issue and went through my score library with a ruler. Valentin mentioned precise measurements, but to my surprise, measured values from any one publisher deviated quite a lot from score to score, sometimes from page to page. I think that's part of how page turns work out much nicer in printed manuscripts than by default in LilyPond. I was complaining to my brother about how difficult it was to work out page turns in one particular piece of mine, and he pointed out that I was probably using the same margins for every page. A priori, I would say that changing margins are **not** a good idea... but since professional typesetters do it, and I never noticed myself in 25 years of music-playing, I have to admit that maybe it's a good idea. I would add to that, as someone who uses lilypond mostly for *parts*, not *scores*, that for me page turns are VERY expensive and if tampering with the margins makes it easy to reduce/eliminate turns, I'd be very happy ... Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default margins
In message c5e7d3e0.7fe6%c_soren...@byu.edu, Carl D. Sorensen c_soren...@byu.edu writes It would seem to me that it would be better to set maximum-line-width and minimum-line-width properties. This would then allow the LilyPond spacing engine to try adjusting line-width between those limits to see if it could get better spacing. And by setting maximum-line-width and minimum-line-width to the same values, you would have exactly the current behavior. Just one thing ... isn't the right margin just what's left after you add left margin and line width? So altering the line width will alter the right margin but leave the left untouched :-( Maybe we should keep line-width and add line-width-tolerance - + which will grab HALF the adjustment from the left margin. Otherwise will we need to rewrite all the margin code? Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs lilypond-mode and the midi command
In message 1f7f572f-c5ec-46e7-a70d-075395915...@googlemail.com, James E. Bailey derhindem...@googlemail.com writes On 07.03.2009, at 17:20, Tim McNamara wrote: On Mar 7, 2009, at 4:05 AM, James E. Bailey wrote: On OSX, the lilypond mode for emacs doesn't properly escape filenames. open -a 'Mighty MIDI' /Users/jamesebailey/Documents/James Music/ Choral Music/Windhauch/Windhauch.midi 2009-03-07 10:59:31.767 open[465] No such file: /Users/ jamesebailey/Documents/James I'm having trouble making sense of what you are trying to do with this command and from where you are trying to do it. Sorry, I'm trying to use the midi command in lilypond mode from within emacs. Since I'm on a macintosh, I change the timidity -ia and timidity in the lilypond.mode.el file to be open -a 'Mighty MIDI'. It works for opening the pdfs from within emacs. I use the emacs shortcut to view the pdf and it opens. I've changed the default xpdf to open -a 'Skim' and everything works perfectly. That open command looks incorrectly stated for Emacs on two fronts. Are you typing this command in somewhere (Emacs or the shell) or is this command being generated inside Emacs from one of the lilypond-mode menus? As previously stated, I'm typing this in the lilypond-mode.el file. First, Emacs doesn't use an open command to open files, it uses the sequence Control-x Control-f (C-x C-f [and note the case]). If lilypond-mode is generating that command, it seems guaranteed to fail. it works for the pdfs Are you *sure* it's exactly the same syntax? Note that your pathname is *un*quoted and *contains* *a* *space*. This is GUARANTEED to fail if typed at the command line. Not knowing MacOS, I can't tell you what's the correct way to quote it, but I'd try putting a backslash before the space. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: emacs lilypond-mode and the midi command
In message 18ad5523-64b1-4582-af15-897fc137b...@bitstream.net, Tim McNamara tim...@bitstream.net writes On Mar 7, 2009, at 4:05 AM, James E. Bailey wrote: On OSX, the lilypond mode for emacs doesn't properly escape filenames. open -a 'Mighty MIDI' /Users/jamesebailey/Documents/James Music/ Choral Music/Windhauch/Windhauch.midi 2009-03-07 10:59:31.767 open[465] No such file: /Users/ jamesebailey/Documents/James I'm having trouble making sense of what you are trying to do with this command and from where you are trying to do it. snip Addendum: I was able to replicate this bheavior in Bash under Terminal. The problem appears to be how Bash handles spaces in filenames. Weird, in this day and age you'd think that shells would be intelligent enough to cope with this. There is a new revision of Bash out in the past few weeks, which perhaps gets around this. I wonder if lilypond-mode is for some reason calling to the shell and running into a problem there; IMO it shouldn't, it should use the standard Emacs commands. Errr Actually, I'd be rather horrified if bash was modified to handle spaces in filenames. space has been an illegal character in most filenames in most OSs since the dawn of computing - it's only MicroSoft who thought it was a great idea - and the grief it's caused ever since is immense. Making shells intelligent is only likely to add to the grief. It's bad enough that you can't predict the behaviour of things like cp in nix just by looking at the command - I don't want bash behaving randomly too! (Hint - the behaviour in cp is dependent upon, not least, whether the target already exists and whether it's a file or directory. Every other copy command I've ever used behaves consistently ... :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Combining marks
I'm wanting to combine a rehearsal mark and an instruction, like say
(15) A little slower. The only snag is, you can't put multiple marks
on a barline, and attaching the text to notes doesn't seem to be working
for me.
I've found the LSR snippet that combines rehearsal and eg coda marks,
but my knowledge of scheme isn't good enough to work out how to modify
it. The snippet is below ...
#(define (format-mark-box-letters-dsegno mark context)
(markup #:line
(#:center-align
(#:line (#:musicglyph scripts.segno #:hspace 0.5 #:musicglyph
scripts.segno)
#:bold #:box (#:markletter (- (ly:context-property context
'rehearsalMark) 2))
markDefaultDSegno = {
\set Score.markFormatter = #format-mark-box-letters-dsegno
\once \override Score.RehearsalMark #'baseline-skip = #5
\mark \default
}
Does the mark context match up to \mark \default? If I want to add
random text after the mark, do I change it to mark context text and
\mark \default A little slower (along, of course, with altering the
contents of the #define a bit?) I think I can see how to alter the
(markup bit, but I'd like to know I'm on the right lines before I start
messing about with something I don't understand :-)
Cheers,
Wol
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Re: printed page does not match the .pdf file
In message cc3c7963-fb6c-4aa5-a7e2-5f6f63c86...@googlemail.com, James E. Bailey derhindem...@googlemail.com writes So how do you get it to print properly if you DON'T want it to shrink to fit? (ime, it then prints the page, full size, but offset down and left by the printer margin!) I've found it IMPOSSIBLE to get the pdf to print cleanly on a sheet of paper, full size, properly centred. Cheers, Wol In Adobe Acrobat, I use no printer scaling, and automatically center. That gets it how it's supposed to be. At least for me. I'll have to try. But iirc this is exactly where I get the behaviour this page is to big to fit in the printable area. Place the top left corner of the pdf in the top left corner of the printable area and don't scale. So everything is off by the printer margin. It's probably not helped by the fact that I have an A4 document, printing on an A4 printer, and Acrobat (the ONLY application to do it) insists the printer has American Letter paper. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printed page does not match the .pdf file
In message 50b55f67-a1ed-4f05-96bd-82b00b260...@googlemail.com, James E. Bailey derhindem...@googlemail.com writes Am 07.02.2009 um 18:53 schrieb Anthony W. Youngman: It's probably not helped by the fact that I have an A4 document, printing on an A4 printer, and Acrobat (the ONLY application to do it) insists the printer has American Letter paper. Ah, that's the problem. You need to make sure that acrobat understands that you're printing on A4 paper. There should be a print options, or perhaps in the printer settings from the print dialogue. But that bit of information is vital to getting proper output. And there's the problem. The only place I know of to tell Acrobat what size paper is in the printer, is in the printer settings. And the printer is set to A4. As I said, so is the document. But Acrobat says American Letter. I just don't know where or why Acrobat is finding this American Letter stuff (oh - I've got a Hickey Pouse WinPrinter - a laserjet 1000 series. Maybe that's why :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printed page does not match the .pdf file
In message 20090207193803.ga2...@istic.org, Daniel Hulme s...@istic.org writes On Sat, Feb 07, 2009 at 06:34:35PM +, Anthony W. Youngman wrote: I just don't know where or why Acrobat is finding this American Letter stuff (oh - I've got a Hickey Pouse WinPrinter - a laserjet 1000 series. Maybe that's why :-( Maybe, but I've heard of other people having the same problem with Acrobat 8. If you're still on 8, perhaps upgrading to 9 will fix it. I don't know of any workarounds. Actually, I'm on Acrobat 5 (and no, upgrading to 9 is not an option). I could try 9 Reader, but I find its incessant desire to talk to the internet a real pain (and at work its habit of trying to upgrade itself regularly breaks other programs that use pdf controls :-( Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printed page does not match the .pdf file
In message 5c547d22-490a-4ec7-a6d5-e5d8e8ec4...@gmail.com, Simon Bailey bina...@gmail.com writes chip, On Feb 6, 2009, at 12:08 AM, Chip wrote: When I view my file as .pdf it shows the very small margins all the way around the page. When I print the .pdf using jpedal I get what appears to be 1 margins left and right and bottom, and about 2 from the top of the page to the top of the title. What do I have to do to get the page to print just like the .pdf? I am using jedit/ jpedal on XP. Below is my code for this particular page. most pdf viewers or printer dialogues have an option scale page to fit printer margins or something similar. i've run into this issue before when i've forgotten to ensure that the printer doesn't scale the printout. technical reasoning behind this option is that a lot of pdfs have content all the way to the edge of the page and this content would otherwise be cut off in the printout, so by default, the printer driver will scale a pdf down to fit the printer margins. So how do you get it to print properly if you DON'T want it to shrink to fit? (ime, it then prints the page, full size, but offset down and left by the printer margin!) I've found it IMPOSSIBLE to get the pdf to print cleanly on a sheet of paper, full size, properly centred. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing Lilly pad
In message 4984fcb5.6010...@gmail.com, William Yeater nascarbo...@gmail.com writes We have an EEE pc with xantros linux on. I've got an Acer Aspire ... with Linpus (Fedora 7 derivative) We figured out how to go into advanced mode.we were able to get a command shell by typing ctrl-alt-T/ The Aspire has a way to get at the install software interface. There's an Aspire website with loads of tips - surely there's something similar for the Eee ... we then typed in: sh lilypond-X.Y.Z.linux-x86.sh Is this really exactly what you did? Strange that you got no such command to sh, but the -X.Y.Z looks strange - surely that should have the relevant numbers in there. How does the Xandros installer install software? You should just be able to get into that and install lily from there. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fitting as many lines as possible on a page
In message 200901310053.32352.reinh...@kainhofer.com, Reinhold Kainhofer reinh...@kainhofer.com writes On Freitag, 30. Januar 2009 23:37:28 Tim Yang wrote: It doesn't work. I set the page-count as 2 and Lilypond still uses 3 pages. I think it is because somehow Lilypond thinks these lines don't fit in 2 pages but in fact there is a lot of space left. Yes, currently the vertical page layouting algorithm of lilypond is sub- optimal. Lilypond reserves 10% of the total space to make sure it does not overprint staves. This means that 10% of the page will always be wasted... Unfortunately, there is no easy way around this for now, until someone starts working on the vertical staff layouting seriously... ARRGGG This is a TERRIBLE feature!!! Is there any way to disable this? To me, a page turn can easily be the difference between a piece of music that's playable, and one that isn't. To discover that lily is wasting 10% of the page is a nasty surprise. A page turn can easily take 30 seconds when you're sitting on a bandstand, and if your music is in a lyre then turning pages just isn't on (especially when you stick out like a sore thumb because you're in the front rank!) (Actually, this is probably my biggest complaint about lily. I know beautiful and playable tend to go together, but sometimes beautiful and practical don't play nicely together and lily overemphasises the beauty. I *need* music to fit either on A5, or one or two sides of A4. I'll accept a hefty hit in other areas to avoid that third page, and often do have to accept it in nasty tweaks to force the music to fit.) Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Whole note tremolo repeats - bug ?
In message 4971e100.4020...@liverpool.ac.uk, Lasse Rempe l.re...@liverpool.ac.uk writes As I've mentioned, I have played orchestral music for quite some time; violin parts often involve tremolo repeats on high notes, and I have never come across something of this kind - which would suggest that, at the very least, it is not common practice. Be VERY CAREFUL about saying what is common practice. It varies wildly with tradition. I've moaned about lilypond's defaults on occasion, because it typically follows orchestral tradition and as a band player, mine can be very different. I play the trombone. I *NEVER* see bass clef parts when I play with one band. When I played in an orchestra I never saw treble clef parts. And yet I play with another band where I see both clefs. The point is, there are three *different* traditions - Orchestra = bass clef, brass band = treble clef, concert/military band = whatever suits the player. But as a perfect example of lilypond following a different tradition to me - 90% of the parts I play have the instrument name LEFT justified on the part. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: template
In message 4962c587.20...@wiegand.org, chip c...@wiegand.org writes
% -- Trombone Bass Clef--
tbonea = {
% Notes here -
a b c d
}
trombonea = \relative c {
\global
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\tbonea
}
% -- Trombone Treble Clef--
tboneb= {
% Notes here -
a b c d
}
tromboneb = \transpose c d \relative c' {
\global
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef treble
\tboneb
}
It's true for all the other instruments as well ... but as a trombonist
I've picked that part ...
Firstly it's normal when transposing to put the instrument's pitch in
the name - so it should be 2nd Bb Trombone and 1st Trombone. There's
a very good reason for that - my fellow first trombone might pick up the
music, think good, there's a treble part and play it - a fourth too
high! (He's got an alto - Eb - trombone).
And the same thing holds true - even more so - for the trumpet group.
While I'm only aware of a flugel being in Bb, cornets come in at least
Bb and Eb, and trumpets come in Bb, C, D, Eb and maybe more!
Secondly (and this is a matter of lilypond style, nothing else) I would
not say \transpose c d but \transpose bf c. Brass instrument
transposition is always described as read C, play X where X is the
instrument's natural, or open, harmonic. In other words, \transpose
bf c says take an instrument that naturally plays Bf (think bugle) and
write it in the scale of C (same thing with the natural horn - plays F,
written as C).
Oh - by the way - NEVER call the trombone in bass clef a C trombone.
IT ISN'T. It's a Bb trombone in C, but you don't bother with either
note. The note in front of the name specifies the natural pitch of the
instrument. The note after specifies the transposition which should
either be the same (in which case you don't bother with it), or C in
which case you don't bother with either note because you can't guarantee
what the natural pitch is of the instrument that will play it (in the
case of the trombone it would normally be Bf, but might be G or Ef too).
Cheers,
Wol
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Re: using Ramdisk
In message 4960746d.2040...@floetenbau.ch, Thomas Fehr thomas.f...@floetenbau.ch writes Hi I'd like to use Lilypond in an interactive music learning program where short response times are needed. I think running Lilypond on a ramdisk could help. Does anyone know how to do that? Which OS. If you're running linux, read up on tmpfs (and/or unionfs). Basically, you'll need to set all your lilypond stuff up in one directory. Then (if you're using tmpfs) copy that stuff into your tmpfs mount and run it from there. If you use unionfs (which I don't actually know anything about) you may be able to declare that as ram and just mount it over your lily directory. The difference between the two is that tmpfs simply creates a file-system in ram (masking the directory it's mounted over, hence you having to copy the lily stuff into that directory), while unionfs will create a see through filesystem over the mountpoint - any writes will go to the unionfs, while any reads, if they can't be found in the unionfs will look in the directory under the mount. So if you can mount the unionfs in ram, that's probably your best bet. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using Ramdisk
In message 49613875.9020...@gmail.com, M Watts zwy648...@gmail.com writes Whether you use ramdisks or not, you can increase harddisk performance by enabling the 'noatime' option in /etc/fstab. Whenever you read a file, you system also performs a writing operation, to store the time of last access. Disable this by opening /etc/fstab, look for you root filesystem, and change where it says 'defaults' to 'defaults,noatime', then reboot and enjoy faster computing. WARNING! I think some things (notably source control) depend on atime so be careful. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Linux question
In message 3e1ebd910812190815o64f11562o90745fae355ad...@mail.gmail.com, Ralph Palmer palmer.r.vio...@gmail.com writes Hi - I realize this is marginally on topic, and I apologize if it causes anyone distress. I'm currently a Windows XP user. I would like to mount Linux on an old (circa 2002) Dell laptop my daughter is going to pass along to me. I've narrowed my choices to Ubuntu, Kubuntu, or Debian (a distant third). If anyone can give me advice or tell me their preference (and hopefully their reasoning), I would be grateful. Please reply off the mailing list. If anyone wants to see the responses, let me know and I'll forward them. Which is your favourite window manager? KDE or Gnome? That will basically make the difference between Kubuntu and Ubuntu. However, coming from Windows, I guess you don't know. Personally, I don't like Gnome but that's closest to Windows. And on an old pc, you might be better with something like Enlightenment. I'd guess that, for you, Ubuntu with Enlightenment (or BlackBox) is best. The default Gnome will be familiar to you from Windows, and you can play with the other two if Gnome is a bit heavy on the system. Cheers, Wol -- Anthony W. Youngman - anth...@thewolery.demon.co.uk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat volta: how many times to repeat?
In message [EMAIL PROTECTED], Trevor Daniels [EMAIL PROTECTED] writes Helge No, you're not alone: I can't see it either. But it is there. I can see it (on Vista Windows Mail) by opening Properties, selecting Details, then Message Source. I don't know why this happens. Daniel's using Mutt 1.5.18 on GNU/Linux. It seems this is incompatible with Vista Windows Mail for some reason. The usual cause of this is a broken mailer using alternative. I sometimes suffer from that, but haven't seen an empty message ... To be technical, alternative is *supposed* to mean here are two sections, identical in content but different in mime-type - typically text and html. Usually I'll get an html mail with an *empty* text alternative. I'm guessing that message may be text with an empty html alternative, seeing as I seemed to read it okay ... Trevor Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mBreak function
In message [EMAIL PROTECTED], Danny Sosa [EMAIL PROTECTED] writes Hello everyone! Thank you all for your help so far. There is something that I cannot figure out! I need help... I'm trying to typeset an existing piece of music with lilypond I thought that using mBreak was a very good idea as explained in the manual http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Typesetting-existing-music#Typesetting-existing-music I have tried every different way that I can imagine, and I always get the same: 2.ly:21:27: error: unknown escaped string: `\mBreak' gis [_(a) c_(b) ais b] \mBreak 2.ly:21:27: error: syntax error, unexpected STRING gis [_(a) c_(b) ais b] \mBreak 2.ly:10:0: error: errors found, ignoring music expression and I am doing it pretty much the same as in the has anybody gone through this who could give me a hand on how to fix this? Thanks! p.s. let me know if you need me to post the whole .ly file I think the other responses will have helped you on your way ... Just one gotcha to watch out for, that bit me ... DON'T use it between two alternative voltae :-) It gave me a very confusing error until I twigged - the ?parser? thought it was a volta, so it complained I'd told it there were two voltae but I'd given it three. Left me well puzzled for a short while ... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unusual Alto Clef
In message [EMAIL PROTECTED], David Bobroff [EMAIL PROTECTED] writes I wondered the same thing. There is yet another style of C clef. I've seen this other style in French music. It is a more boxy style that is somewhere in-between the modern 'B' type C clef and the French style 'K' type. There is also another type of bass clef that I think of as English because it shows up in British works (Elgar for example). It spirals in the opposite direction of the normal bass clef that is used by LilyPond and it has more turns. As for the hand-written look; this has been discussed in the past and, if I recall correctly, it was deemed inconsistent with the goals of LilyPond (to look like engraved music). Much as I hate it, a lot of forties music I come across has that hand-written look, though I strongly suspect it was engraved ... So looking both hand-written and engraved at the same time probably isn't incompatible :-) At the end of the day, it's just another font, isn't it? Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unusual Alto Clef
In message [EMAIL PROTECTED], Werner LEMBERG [EMAIL PROTECTED] writes When I was working on the ill-fated Ravel String Quartet passage as an unfretted strings headword, I noticed that the original score had a very cool-looking alto clef. I know Lilypond has tons of odd-looking objects for early music, but I couldn't find a replica of this clef. Does a clef like the one in the attached png image exist in Lilypond? No. Please make a report to bug-lilypond so that it gets added to the wishlist. I think it's quite a common clef, actually. I come across a moderate amount of alto clef stuff (naturally, seeing as I'm a trombonist :-) and I've met exactly this clef (up a third, of course) on many occasions. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Does lilypond takes advantage of multi-cores on windows?
In message [EMAIL PROTECTED], Graham Percival [EMAIL PROTECTED] writes On Fri, 3 Oct 2008 08:46:06 -0700 (PDT) sdfgsdhdshd [EMAIL PROTECTED] wrote: I'm about to buy a new PC with Windows Vista (shame on me), which will mainly be used to compile lilypond files, all day long. Will a duo-core or better quad-core accelerate the compilations, all others characteristics being the same, including processor speed? No, lilypond will only use one core. That said, you would be able to compile multiple scores at once. No, it WILL accelerate compilations (but probably not by much). Just as lily will only use one core, so will Windows. It's a pain in the proverbial when Windows decides to do something and leaves the user whistling waiting for their job - with a dual-core the system will be a lot more responsive (ie it'll feel faster) and, with Windows unable to hog the entire system, it WILL be a bit faster. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a script / tool for transposing a lilypond staff / source file by a given interval and output result as a new file
In message
[EMAIL PROTECTED], Daryna
Baikadamova [EMAIL PROTECTED] writes
Thanks for your help! However I have three questions:
when we enter new scores, should we enter in concert pitch?
You suggested that it is not a good idea to use \displayLilyMusic
because it only outputs absolute pitches, not relative, thus making the
resultant score hard to maintain by humans. However my situation is:
- the parts were not entered in concert pitch
- the parts are in pitches that are not common nowadays. (e.g. in my
score, trumpet in D, horn in E and clarinet in A, which I am afraid not
many members in an (youth) orchestra will have. Therefore I would also
like to produce current transpositions in parts such as trumpet in Bb,
horn in F and clarinet in Bb, or better, to produce pdf parts scores
with different transpositions from one lilypond file. What is the best way?
My way (not necessarily the best but it works for me) is ...
All parts are entered as a ?variable (whatever it's called) eg
voiceTrombone = \transpose c' c' \relative { a b c d }
I always enter the notes as they are on the part, so (as a trombonist)
if it's in treble clef, it's entered in Bb. If it's in bass clef it's
entered in C.
Then, to avoid confusion, it's always wrapped (as you can see) in a
transpose so that the variable itself is *always* in concert.
Then when I output the parts I wrap them in another transpose if
required to print them in the required pitch (eg Eb for a fellow
trombonist :-)
Cheers,
Wol
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Re: tempo for both conductor's score and parts
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes Anthony W. Youngman wrote: Obviously, I can't (easily) tweak the placing of things like Allegro if it's going to be inserted into lots of parts (nor do I want the hassle). But, to give a current example, my trombone part has a top f (in lily terms, an f' in bass clef) right where I want to put an Andante. The end effect is that the Andante has trampled all over the notes with the result that neither is really legible. What do I do here? Most of these collisions are automatically avoided in the development version 2.11.x. So if I upgrade I'll fix it :-) Great, thanks, I'll do that in the next few days. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tempo for both conductor's score and parts
In message [EMAIL PROTECTED], David Bobroff [EMAIL PROTECTED] writes Daryna Baikadamova wrote: Now I have another problem. Suppose I want to insert tempo to the conductors score at specific places (not only at the beginning of the score), and I want these tempo marks (e.g. Allegretto crotchet = 76) printed only *once* on top of the system on the conductor's score, but these tempo marks must be reproduced in each parts score. How can this be done? If I enter the tempo marks in each part, then they will also be printed on top of each part in the conductor's score, which is undesirable. However if I only enter the tempo marks on the top instrument (flute, which is what have been done in the project I received), then all the other parts will have no tempo indications! What should I do? What I do for this sort of thing is to make a separate block for global things. In the global block I put rehearsal marks, time signatures, repeats, special barlines...and tempo markings. When I create the full score I put the global block with the top staff in the score. For each part I simply include the global block. This should do exactly what you're after. That's sort of what I do. Only I have a problem (lily 2.10.33). Collisions. Obviously, I can't (easily) tweak the placing of things like Allegro if it's going to be inserted into lots of parts (nor do I want the hassle). But, to give a current example, my trombone part has a top f (in lily terms, an f' in bass clef) right where I want to put an Andante. The end effect is that the Andante has trampled all over the notes with the result that neither is really legible. What do I do here? Regards, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overlaying as a tool for annotating entry points in orchestral parts (was Re: tempo for both conductor's score and parts)
In message [EMAIL PROTECTED], Daryna Baikadamova [EMAIL PROTECTED] writes Now I dream up another application: For orchestral parts with long multi-bar rests, it is often difficult for the player to count exactly when the rests end. So would it be possible to include a small section of the main melody immediate before the instrument resumes as small notes in an overlay part to hint the player? This is often done in commercial scores and in this way, these small notes will not get into the way of the conductor's score. IME, this is *not* what is done in commercial scores ... As a trombonist, my parts normally have Horn or Baritone cues, and the intent is that if those parts are missing, I can play them instead. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Time signatures (Common, Cut Common)
In message [EMAIL PROTECTED], Patrick McCarty [EMAIL PROTECTED] writes On Mon, Aug 25, 2008 at 12:56:11AM +0100, Anthony W. Youngman wrote: It's not in the manual, and I can't search the LSR because it's down ... I want time signatures of Common and Cut Common in my music. I know they're the default settings, but I've already put \override Staff.TimeSignature #'style = #'() at the start of my piece to give me an opening time sig of 4/4 What do I need to reset it to to give me common time later in the piece? Hi Anthony, All you have to do is put \revert Staff.TimeSignature #'style at the appropriate spot, and this will revert to the default style. Just done that ... The default style for the TimeSignature grob is 'C, so the following line would work too: \override Staff.TimeSignature #'style = #'C Works a treat. Thanks, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Putting 'instrument' on the left side of the page
In message [EMAIL PROTECTED], Maarten Deen [EMAIL PROTECTED] writes Lilypond has as standard setting that the instrument is put centered below the title, subtitle, etc. But I'm used to the first page having the intrument set at the left side of the page (where Poet is placed) and only for subsequent pages the instrument is set top center. In fact, I've been looking at my scores and all have this setup. So does pretty much all the music I use ... indeed I think about the only music I use that has the instrument centred is that produced by lilypond... Can this be done in lilypond? Having the instrument on the left side of the page on the first page only? You need to rewrite the code that produces the header. I keep on intending to do it, but alas the problem is always finding time ... The problem is that most of the people who actually do the work with lilypond, while they want it to be the best tool for producing printed music, they're European orchestral musicians steeped in the European orchestral tradition, and their traditions are at odds with yours and mine. Until we step up and do some coding (or pay for others to do it for us), lilypond won't address our needs that well. Note I'm not complaining - that's just the way Free Software works ... Regards, Maarten Regards, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Time signatures (Common, Cut Common)
It's not in the manual, and I can't search the LSR because it's down ... I want time signatures of Common and Cut Common in my music. I know they're the default settings, but I've already put \override Staff.TimeSignature #'style = #'() at the start of my piece to give me an opening time sig of 4/4 What do I need to reset it to to give me common time later in the piece? Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: gracenote producing wrong clef
In message [EMAIL PROTECTED], madhg [EMAIL PROTECTED] writes Michael Lauer wrote: See the end of the section on grace notes in the manual. Thank you very much. I learn that I should always look for the bugs section at the end of a manual page. That's normal practice on Unix. Pretty much all man pages should list known problems. For amusement, however, if you have access to a Unix/linux system, try man mutt (or search the web for it). It has an amusing twist to standard practice :-) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: producing archival scores
In message [EMAIL PROTECTED], Bart Kummel [EMAIL PROTECTED] writes Hi List, I just read this very interesting discussion. I don't think this is a problem that will easily be solved. In fact, this is not a Lilypond- or even music notation-specific problem. Similar cases exist for all other file formats. (For example: how future proof is Microsoft's .doc format?) However, I just want to add another possible direction for a solution. I recently came across a project called XSugar (www.brics.dk/xsugar/ ). It's a tool that gives the possibility to transform between XML and non-XML formats in two directions. (Unlike XSLT, which can do a transformation from XML to non-XML, but not the other way around.) I think it should be possible to write a XSugar grammar for converting Lilypond format to MusicXML and back. Unfortunately I don't have the time to investigate this, but perhaps someone else has... There's lots of options like this ... Is it Erik? who has done an Antlr grammar for lilypond? Antlr's great at transforming stuff, and it's my personal opinion convert-ly should be rewritten to use Antlr to convert between pretty much any form of input. That could then convert to and from XML, .ly, Sibelius, Finale, whatever, just by adding extra grammars. I'm not volunteering, though!!! There's also the possibility the Music Streams work will make a lot of this conversion stuff easier - I think that is in part the aim of doing the music stream stuff. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: producing archival scores
In message [EMAIL PROTECTED], Kieren MacMillan [EMAIL PROTECTED] writes musicXML - lilypond is currently done as a python script; python is a very nice language and is quite easy to learn. Why is it not in XSLT? Even if the performance is worse, it would seem to make more sense from an industry perspective... As I understand XSLT it is designed to convert from one valid XML representation to another valid XML representation. As such, XSLT is probably useless. Can you write a DTD for lilypond? Without it, I don't think you can use XSLT. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notes are going octaves down [solved]
In message [EMAIL PROTECTED], Jesús Guillermo Andrade
[EMAIL PROTECTED] writes
Thanks Joseph for your prompt reply! I tried your suggestion but,
instead of fixing the notes, they went way off even further down.
After many tries, i found a solution: each sequence must be preceded by
a \relative fa, so the position restarts.
Is there any other way to do this?
fragA =
\relative fa
{si do mi si do mi la do mi la do mi} \\
{la,,}
I don't know if I've understood you correctly, but I think I have
exactly the same problem in one of my pieces. I want to insert a
fragment in a '\relative' bit of music, and the octave keeps going
wrong. Han Wen gave me a solution, which I attach below.
He gave me the resetOctave function. Note that every time, in the main
music, I preface my references to \pennsylvania with \resetOctave.
That forces the first note in \pennsylvania to be relative to the
absolute pitch note mentioned in \resetOctave, and not to the last note
of music that preceded it.
I think this should have been added to the documentation somewhere, but
don't ask me where - I've never seen it, because I've never really
looked for it. Once Han Wen gave me the function, I grabbed and ran with
it.
\version 2.8.2
resetOctave =
#(define-music-function
(parser location reference-note)
(ly:music?)
(let*
((notes (ly:music-property reference-note 'elements))
(pitch (ly:music-property (car notes) 'pitch))
)
(set! (ly:music-property reference-note 'elements) '())
(set! (ly:music-property reference-note
'to-relative-callback)
(lambda (music last-pitch)
pitch))
reference-note
))
pennsylvania = \context Voice = pennsylvania {
\override NoteHead #'style = #'cross
r2_\markup{ shout } f8. f16 f8. f16 f4 f f8. f16 r4
}
pennsylvaniaLyrics = \lyricmode { \small { Penn syl van ia six five thou
sand } }
voiceTromboneI = \relative c' {
r2 ef4.-- ef8- ~ ef1 r2 r4 bf8.-( ef16-.) r2 r4 ef,8. af,16-
~ |
af2 c-- df-- d-- ef-- df-- c-- bf-- |
\repeat volta 2 { R1*6 } \alternative { { \resetOctave f
\pennsylvania } { \pennsylvania } }
bf8-. cf4- bf8- ~ bf4 bf8.-- af16-. r8 af4.---. r2 bf8-. cf4--
bf8- ~ bf4 bf8.-- af16- ~ |
af2~ af8 r8 r8. b16( ~ c4-.) cs8-- c8- ~ c8 b4.-- bf4 af8. bf16
~ bf4 r c2( d4.) df8- ~ |
df8 d4-- df8- ~ df4 r4 R1*6 \resetOctave f \pennsylvania |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2 c df4.--- d8--- ~ d ef4.--- |
af,2-- cf-- af2.-- r4 af2-- cf-- af-- a-- |
bf2.-- r4 ef2.-- ef4-- af,2-- c-- df4 ef8.-( af,16) ~ af4 r |
r8 c'4.--- ~ c2 r8 b4.--- ~ b2 r8. c16- b8.- b16- c8.-
c16- b8.- b16- c4- r r2
\repeat volta 2 { \repeat percent 3 { df8^+ df4.^o ~ df4 r
R1 }
df4.^\markup{ +o } df8^\markup{ +o } ~ df4. df8^\markup{ +o } ~
} \alternative { { df4. df8^\markup{ +o } ~ df4. r8 } { df4 df8. d16 r8
df4.--- } }
R1*7 r2 r8 b4.^-^+( \glissando c1^o) ~
c4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 c4.^-^+( \glissando
df1^o) ~
df4 r r8 b4.^-^+( \glissando c1^o) ~ c4 r r8 e4.^-^+( \glissando
\repeat volta 2 { f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 e4.^-^+( \glissando
f1) ~
f4 r r8 e4.^-^+( \glissando f1) ~ } \alternative { { f2 r8
e4.^-^+( \glissando } { f2) r8 e4.^-^+( \glissando } }
f1) ~ f4 r r8 e4.^-^+( \glissando f1) ~ f4 r r8 ef4.^-^+(
\glissando
f1) ~ f4. f8 r4 d8.- df16- r8 d4.--- ef8.- e16- f8.-
gf16- ~ gf1
}
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Re: Bends and falls
In message [EMAIL PROTECTED], Akakie [EMAIL PROTECTED] writes OK, I found doits and falls, but not bends. Is this still waiting for a sponsor or ...? I don't quite understand the sponsor stuff. The sponsor stuff is where you offer to pay Han Wen to do something that you want ... like I did for bendAfter :-) How didn't you get it to work? I know when I first tried to use it, the docu was crap (sorry, Graham :-) but there ARE examples there, you just need to search the lilypond website - probably under the regression tests or examples - and you'll find it documented there. That's where I found out how it actually worked ... Cheers, Wol Akakie wrote: In editing jazz, what symbols can I use for bends (on a single note) and falls (after a note). delI've looked at bendAfter, but not made it work/del. I'm new to Lilypond. -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rehearsal mark formatter
In message [EMAIL PROTECTED], Akakie [EMAIL PROTECTED]
writes
Is it possible to get boxes around rehearsal marks and also use the letter
I? My code uses whichever Score.markFormatter comes last, either
boxes or alphabet.
\version 2.10.20
\include english.ly
\score {
...
RTFM !!!
I think it does tell you, it's something like mark-box-alphabet. The
manual will tell you whether letter or alphabet is the one that
contains the letter I, and if you combine that with box in the same
manner as all the other formatters, it should work.
I think all combinations are implemented, even if they're not all
documented (and I think they are documented).
Cheers,
Wol
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Re: How to start Lilypond
In message [EMAIL PROTECTED], Bonnie Rogers [EMAIL PROTECTED] writes Francisco Vila wrote: El lun, 19 de mar de 2007, a las 01:33:45 +0100, Francisco Vila dijo: Really you can simply open notepad and save the document as whatever.ly and it will keep its given filename extension, so it should work as a lilypond file. Not true unless you have experience managing Notepad. When you save the Lilypond test file in Notepad, you must not only type the filename test.ly but also change the Save as type to All Files. Otherwise the result will indeed be test.ly.txt. An alternative (I haven't tried it as far as I can remember) is to save the file as ' test.ly '. Apologies for my strange typing, but that means include the double quotes as part of the file name in the save dialog box. Apparently wrapping the name in double quotes overrides the automatic add .txt extension in notepad (or indeed, any other app eg .doc in Word). Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new to lily pond... freezing during compiling
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes Please always tell what LilyPond version you are using (and on what operating system) when sending questions to the mailing list. The best way to troubleshoot such a problem is to run LilyPond from a command line and look at the log printouts: lilypond myfile.ly or even lilypond --verbose myfile.ly Also, I hope you have copied the example from the version of the documentation corresponding to your version of the program. The templates in the manual should really work out of the box. Don't forget :-) cut-n-paste has problems with apostrophes and quotes. If the example has these in it, make sure they are plain ones, and haven't been fancified by TeX or whatever. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [fr: barres de notes dans un triolet] Rhythmic slashes, are just too [EMAIL PROTECTED] hard to do
In message [EMAIL PROTECTED], Rick Hansen (aka RickH) [EMAIL PROTECTED] writes Paul, I would hope/think that it would not cost much... Maybe just a cloning of the code that currently does rests, except with a different notehead and optional stems (so that durations other than quarter notes can be produced) as a slash with no stem is generally accepted to mean quarter note, but sometimes you want to depict a specific rhythm on a part staff thats not a drummer. Maybe a price will be proposed by a developer. Rick If you're going to have a variety according to the notelength, a notelength of 1 should presumably produce the percent mark ... dunno what we should do for 2. This sounds a good idea - I've got a piece I need to set the drum and piano parts for, and pretty much EVERY note is either a slash or percent (some with chords), so that's going to be a learning experience !!! :-) When it's done, I might post a cut-down version on -devel for use as a manual example. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: remove time signature
In message [EMAIL PROTECTED], Bertalan Fodor
[EMAIL PROTECTED] writes
\override TimeSignature #'stencil = ##f
This is a method that works for other objects as well.
Can't you also remove the time signature engraver instead? This method
would also work for other objects.
You'll need to read the manual to find out how to do it, though. I think
this particular engraver is likely to live in the staff context, you'll
need to find out its name, and I think you want the \with { \remove }
syntax - don't quote me on this !!!
Cheers,
Wol
Dr. Johannes Zellner írta:
Hello,
How can I remove the time signature? -- I googled and found
\override TimeSignature #'transparent = ##t
which works but leaves some space for the 'transparent' time signature.
So: how can I completely remove the time signature?
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Re: Reorganizing the contents of the \paper block
In message [EMAIL PROTECTED], =?UTF-8?Q?Trevor_Ba=C4=8Da?= [EMAIL PROTECTED] writes \layout has another function, although it may be a special case of one of its other uses. If a \score block contains a \midi block the \layout block is needed if PDF output is also desired. Ah right. I remember that coming up a while back. OK, duly noted. If there's support for the layout + paper - settings proposal, then we'll have to find a way to tell lily to produce a PDF even when there's no \settings block. Sounds like a good candidate for a commandline switch. Replace it with an empty \paper block :-) Just as we have a \mid block to trigger midi output, we could have a \paper block to trigger paper output. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems with german umlauts
In message [EMAIL PROTECTED], Jonathan Henkelman [EMAIL PROTECTED] writes Mats Bengtsson mats.bengtsson at ee.kth.se writes: You are mistaken. ASCII only defines character codes up to 127, see for example http://www.asciitable.com/. What your table shows is probably Latin1 (ISO 8859-1). /Mats Mats: FYI I am using an ascii table in my little black pocket ref. which does not differentiate between standard and extended table. Also I use the one provided in MS Word. It allows you to pick between Unicode (various subsets) ASCII hex and decimal, but it also does not differentiate between extended and basic. What I am hearing hear in the larger context is that the basic ASCII set is only 127 characters while what I am used to using is actually one of a number of extended character sets... Exactly. What you call basic ASCII is the character set that everybody agrees about - for example 32=space, 65=A. The problem with extended ASCII, ie between 128 and 255, is that *nobody* *agrees* what those characters mean. In other words, it's NOT A STANDARD. UTF-8 is the only way to write both in danish AND french on the same text... On my machine I can write a single ascii text document (using the full table) that is in german, spanish, danish, norwegian, french, english. What character set are you using? It's all very well saying you can *write* a document in those languages, but there is NO GUARANTEE that anybody else will be able to READ that document! (Not unless you use something like UTF-8, that is ...) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems with german umlauts
In message [EMAIL PROTECTED], Bertalan Fodor [EMAIL PROTECTED] writes Because most accented European characters can not be accessed within ascii My ascii table shows all French, Norwegian, Danish characters as well as most spanish, and german (can't profess to be an expert there) see characters 191- 255 (xBF - xff). Are these accessable in a non-unicode document? AFAIK you must use UTF-8. (It is not the same as 'unicode' in general.) The documentation should be clearer. Bert ps: Anyway, my note was because of Central and Eastern European Languages - Polish, Slovakian, Czech, Slovenian, Croatian, Romanian etc, even users of cyrillic alphabets: Serbian, Russian, Bulgarian, and more. I must also mention Greece. There are even 27 countries in the EU now, and only 10 or such of them are handled fully by ASCII. Now it's time for editor softwares to handle this new situation ;-) Even English isn't handled properly by ASCII - after all, the A stands for American, don'cher'no :-) Although rarely used (and invariably got wrong), English has a 27th letter that is often seen, namely the (I think) thorn. Pronounced th, it's a Y with a bar through it (think Japanese Yen symbol here), and is usually seen in signs saying things like Ye olde coffee shoppe. (Which is why ye is NOT an archaic *pronounciation* of the, it's a corruption of an old *spelling* of the.) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ps and pdf question
In message [EMAIL PROTECTED], Karl Hammar [EMAIL PROTECTED] writes [EMAIL PROTECTED]: Anybody who wants to play tricks with ps files (and I am occasionally one of them) is free to invoke lilypond --ps, so this is a red herring. I agree with Laura: we should treat the .ps files are temporary and delete them. I have a script that does this automatically, but I think that deleting the .ps files is a good default option. Most users don't want ps, and many users who investigate the ps files won't know how to deal with them properly. Anybody who really wants a ps file can invoke with --ps. What is the big deal with pdf? From what I understand is that they are portable, but most pdf's I get from others does not show up good or at all in gv, xpdf or evince. It seems that they are portable in the sens that work with ths latest Adobe acrobat. For me, pdf means trouble. Why should I ever want to produce pdf's? And btw, the pdf's produces by current lilypond does not print either on my (postscript) printer. And IME (and I stress IME) pdf doesn't do what it says on the tin, anyway! In other words, it does NOT print accurately. I would LIKE to be able to print an A4 pdf on a sheet of A4 paper. It seems to me, however, that whatever I do, Acrobat always sticks the top left corner of the pdf in the top left corner of the printable area of the paper. Okay, that could well be down to crappy Windows drivers, and it could well work properly in *nix, but on Windows I either get a slightly smaller image than I should, or my top and left margins are slightly too big. (I don't normally give a monkeys about this, but other people might...) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ps and pdf question
In message [EMAIL PROTECTED], Mats Bengtsson [EMAIL PROTECTED] writes Anthony W. Youngman wrote: And IME (and I stress IME) pdf doesn't do what it says on the tin, anyway! In other words, it does NOT print accurately. I would LIKE to be able to print an A4 pdf on a sheet of A4 paper. It seems to me, however, that whatever I do, Acrobat always sticks the top left corner of the pdf in the top left corner of the printable area of the paper. Okay, that could well be down to crappy Windows drivers, and it could well work properly in *nix, but on Windows I either get a slightly smaller image than I should, or my top and left margins are slightly too big. I hope you have tried all possible settings of Page scaling in the Print window. Below the preview, it also specifies exactly what scaling is used for the printout (at least on my version of Acroread). Yes I have! The problem is simple - if I select scale to fit then I'm not getting an exact image, and if I select don't scale, the image is offset down and right by the non-printable margin. If I've gone to the trouble of telling the pdf what size paper I've got, I'd like to be able to print accurately on that size paper :-) I do not seem to be able to tell Acrobat to lay an A4 image exactly over a sheet of A4. Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Syntax-colored lilypond email
In message [EMAIL PROTECTED], Karl Hammar [EMAIL PROTECTED] writes [EMAIL PROTECTED]: ... Did you know that you can use the Code2HTML plugin in JEdit to create syntax colored HTML emails? If you look at this mail with a capable client (like Mozilla Thunderbird) and enable HTML, you will see what I'm talking about. Nice, isn't it? br prefont color=#00font color=#9966ffcadenza =/font font color=#006699strong\relative/strong/font cfont ... It is nice, but people who have colour vision defects will have problem. And if you've got a defective mail program (like a lot of people have) you will cause havoc to other people! My mailer, for example, defaults to plain text. I regularly get blank emails because somebody else's mailer has screwed up their mime types. And I gather it's quite common for anti-spam filters to be hostile to html... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Spanish Beginners
In message [EMAIL PROTECTED], Manuel [EMAIL PROTECTED] writes Anthony, Daniel Tonda has just began translating the first chapter into Spanish, but he needs some help with Linux, which I can't provide. He says things about OpenOffice and ooLilyPond that I don't understand. Coud you perhaps give him some hints? Unfortunately, I don't use (or like!!!) OOo, so that's over my head. Could anybody else help? Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
In message [EMAIL PROTECTED], Bonnie Rogers [EMAIL PROTECTED] writes For consistency, you probably should decide which version of English you will use, American or British, and whether you will give both versions every time or just the first time you use a term that is different in British and American usage. Stops is British English, periods is American (note capital A) English, but elsewhere you are using the American term quarter note. In British English a quarter note is a crotchet. For what it's worth, most of us ignorant Americans need a translation of the British terms. I don't know if the reverse is true. Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. (I've simplified some 1500 years of history here, but it's a complicated mess :-) Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
In message [EMAIL PROTECTED], Pierre Abbat [EMAIL PROTECTED] writes On Sunday 24 December 2006 14:34, Manuel wrote: I'm sure you are right. My English needs you. fourth, not quarter, it should be. The duration of a note, however, is a quarter. Not in English it isn't! :-) In American, yes ... Cheers, Wol -- Anthony W. Youngman - [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
