Re: update all files with convert.ly

[David Bobroff]

On 9/5/2012 9:47 PM, Reinhold Kainhofer wrote:
> On 2012-09-04 11:37, David Kastrup wrote:> Stefan Thomas
>  writes:
> >
> >> Dear community,
> >> how can I update all my ly files (including subfolders) with one
> >> command?
> >
> > Depending on operating system, something like
> >
> > find -name '*.ly' -exec convert-ly -ed {} \;
> >
> > might do the trick.  Needless to say, create a backup first.
>
> Plus, if convert-ly is not able to convert a particular feature
> automatically, it only prints out a warning that you need to fix
> something manually, but you'll have no indication in which file and
> where exactly you have to do some manual work
>
>
> Cheers,
> Reinhold
>

I seem to remember that convert-ly used to, or used to have an option,
to descend into sub-directories.  Am I mistaken?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: beam across larger rest

[David Bobroff]

On 9/5/2012 9:50 AM, Tiresia GIUNO wrote:
> On Wed, 5 Sep 2012 10:43:49 +0200
> Federico Bruni  wrote:
>
>> Then it may depend on the context: you may need to use Staff instead
>> of Timing. I've not looked at your example...
> Nope.. If you find an answer, please let me know. This issue interests
> me a lot.
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>

I ended up using Nick Payne's solution with a slight modification.  I
use pitch specific rests.  Without them the rests look a bit unnatural
as they all end up at the same height on the staff but adjusting their
height with pitch fixes that and keeps them adjusted if being transposed.

\version "2.16.0"

mus = \relative {
  <<
{
  d16[ s8. e16]
}
\\
{
  s16 e\rest e8\rest s16 }
  >>
  r r8
}


\relative {
  \mus
  \transpose c e \mus
}


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: beam across larger rest

[David Bobroff]

On 9/5/2012 2:30 AM, Nick Payne wrote:
> On 04/09/12 17:54, David Bobroff wrote:
>> In this example I have a beam going across a rest larger than the beam
>> value.
>>
>> \version "2.16.0"
>>
>> \relative {
>>{ d16-[ r r8 e16-] r r8 }
>> }
>>
>> The 16th beam breaks over the 8th rest.  Is it possible to extend the
>> 16th beam across the 8th rest like this?:
>>
>> http://notendur.centrum.is/~bobroff/double-beam.png
>
> \version "2.16.0"
>
> \relative {
> <<
> { d16[ s8. e16] }
> \\
> { s16 r r8 s16 }
> >>
> r r8
> }
>
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

Nick,

Wow (so simple!), thank you!

-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

beam across larger rest

[David Bobroff]

In this example I have a beam going across a rest larger than the beam
value.

\version "2.16.0"

\relative {
  { d16-[ r r8 e16-] r r8 }
}

The 16th beam breaks over the 8th rest.  Is it possible to extend the
16th beam across the 8th rest like this?:

http://notendur.centrum.is/~bobroff/double-beam.png

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: notation in \tempo mark

[David Bobroff]

On 8/31/2012 8:42 AM, eluze wrote:
> bobr...@centrum.is wrote
>> I want to include a bit of notation in a \tempo mark.  The default
>> syntax allows for something like:
>>
>> \tempo "Allegro" 4 = 120
>>
>> Do I need to create two scores with everything removed except the 16th
>> notes and then plug them into a \markup with a "=" between them?
>>
> maybe you can find sth here:  http://lsr.dsi.unimi.it/LSR/Item?id=204
> http://lsr.dsi.unimi.it/LSR/Item?id=204 
>
> Eluze
>
>
>
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/notation-in-tempo-mark-tp131781p131784.html
> Sent from the User mailing list archive at Nabble.com.
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>

Thank you!  That should provide a solution.

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

notation in \tempo mark

[David Bobroff]

I want to include a bit of notation in a \tempo mark.  The default
syntax allows for something like:

\tempo "Allegro" 4 = 120

I need to do something a bit different.  I want:

\tempo "Veloce" [ two beamed 16ths ] = [ three beamed 16ths ]

Image here:

http://notendur.centrum.is/~bobroff/tempo-mark.png

Do I need to create two scores with everything removed except the 16th
notes and then plug them into a \markup with a "=" between them?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

convert-ly anomaly

[David Bobroff]

I just upgraded to 2.16 (not sure that's actually relevant).  I went to
work on some files that I hadn't touched since v2.5.x.  Before doing
anything else I decided to run convert-ly on them.  When I work in
Windows I prefer to do my LilyPond stuff in cygwin.  When I tried to run
convert-ly the response was that there was no such known command. 
Eventually I opened a Windows command line box and convert-ly ran just
fine there.  What's that all about?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

parenthesize compound time sig

[David Bobroff]

I thought I had the solution already in a file but I can't find it.   I
have a compound time signature defined and I would like to enclose the
whole thing in ().   I found the snippet for enclosing a standard time
signature but I couldn't work out how to adapt it.


#(define ((compound-time one two three four) grob)
   (grob-interpret-markup grob
  (markup #:override '(baseline-skip . 0) #:number
  (#:line ((#:column (one two))
   #:vcenter ""
   (#:column (three four)))

\score{
\override Staff.TimeSignature  #'stencil = #(compound-time "9" "8"
"3" "4")
}

Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: pas encore parvenue à ouvrir le programme

[David Bobroff]

On 7/30/2012 8:25 AM, Hohmann Scarlett wrote:
> Bonjour
>
> J'ai bien effectué le test : j'ai le PDF et le document en texte
> sauf que je ne parviens pas encore à ouvrir un programme 
>
> et comme le document est en anglais, je ne sais pas ce que j'ai manqué
>
> Merci d'avance pour l'aide
> parce que la notation musicale, c'est déjà assez compliqué, une grosse demande
> en temps, mais quand il n'y a même pas de programmes, c'est alors une perte de
> temps !
>
> Bien cordialement
>
> Scarlett Hohmann 
> PS : je n'ai que le mois d'Août pour transcrire une partition de Charpentier 
> en
> clés modernes...
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

http://www.lilypond.org/index.fr.html

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: separating design from pure score

[David Bobroff]

On 3/14/2012 6:16 PM, Stjepan Horvat wrote:

Hello,

I'm working on a project and i want to separate the design from score
because i want to have a clear score so that in the future when i
maybe want to change the design i dont have to change the score
(something like html and CSS :) ). So when i include my score into my
design file variables are included but score block also. Now when i
what to change, for example, \mark \default to have a preety box i
dont know where to put it. Is there a way not to include a score block
but all variables, or insert stuff into a score block that is
invisible to me?





I don't know if this is helpful or not, but when I'm coding something 
from an old part, or manuscript, I'll define:


mBreak = \break

...and then use \mBreak to make the line breaks the same as the 
original, while I'm working on it, for easier error checking.  Then when 
I'm done with the input I change the definition to:


mBreak = {}

...and LilyPond decides where the line breaks should be.  Could you do 
something like that to achieve what you're after?


It's also possible to make "layers" and then put them together like this:

something = { time and key signature info }

somethingElse = { the music itself }

somethingMore = { line breaks, rehearsal marks etc. }

\score {
 \relative c {
\set Score.skipBars = ##t
<<
\something % time sigs, key sigs
\somethingElse % notes etc.
\somethingMore % line breaks etc.
>>
}
}

Or am I not really understanding the question?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Sibelius user looking for the easiest way to learn LilyPond

[David Bobroff]

On 3/13/2012 10:01 AM, David Kastrup wrote:

Stjepan Horvat  writes:


Did you try to press number 3 in sibelius..i think it would create a
third interval..and so on..i'm not sure..

Now this is actually a great example about what makes LilyPond so much
better to work in the long run with than Sibelius or other GUI/WYSIWYG
programs.

It supports culture, the transfer of knowledge.  If you get a score from
a great LilyPond master, you don't have to ask "how do you do that?".
It's all in there.


Yes, it's all in there!  A significant part of my experience with 
becoming better at coding LilyPond input files has been a series of 
small epiphanies.  I was converting some Finale ETF files (there used to 
be an etf2ly converter) and I was puzzled by the LilyPond code that was 
produced.  Upon closer examination I learned something valuable about 
the power and flexibility of LilyPond.  I think it was then that I 
really never went back to commercial music printing software.



   Of course, the question "why did you do that?" is
not answered, but as long as you have the same task to solve, you can
use the same solution.  You can type it off, or copy&paste and it works.
And if the master cared about the question "why did you do that?", he
can add _comments_ to the source.


Sometimes the "why" is actually evident in the how/what.

-David



No "did you try to press numner 3..i think it would create a third
interval".  If you want to do small changes, you do them.  No magically
disappearing chords refusing to accept additional notes.

There is a community of people exchanging and creating _knowledge_
instead of fellow sufferers.




___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Sibelius user looking for the easiest way to learn LilyPond

[David Bobroff]

On 3/12/2012 2:15 PM, John Link wrote:


On Mar 12, 2012, at 10:01 AM, David Bobroff wrote:

On 3/12/2012 1:52 PM, John Link wrote: 


1) What is the easiest way to extract parts from a score?


A Zen master would reply "mu" (= un-ask the question).  "Extracting" 
parts is a meaningless idea in LilyPond.


I thought that might be the case. However, I need to supply my 
musicians with parts so the task is meaningful even if extracting 
parts is not.


You can certainly *create* separate parts, but you don't really extract 
them from anything.  What I meant was, you don't extract the part from 
the score.  You make a 'full-score.ly' file and a 'flute1.ly' file etc.  
My usual practice is to write all the definitions (musical information) 
in one file.  Then I write other files for the score and parts.  You can 
"include" a file in another file.  This has the advantage that when you 
make edits in your "definitions" file they propagate to all the scores 
(parts) the next time you process them.  No need to "re-extract" a part 
as used to be the case with Finale/Sibelius (I think that has changed, 
though).  This business of 'include' is rather like the 'include' thing 
in programming where you call a library.  In essence, you build a 
library of musical information and then call it to build your scores/parts.




  What you actually do is build scores.  A score may consist of a 
full orchestral score, or a two-measure example of a melody.  Have 
you gone through the tutorial yet?


http://lilypond.org/doc/v2.14/Documentation/learning/tutorial

That's really the place to start.  Oh, another thing; Getting your 
work flow set up makes a lot of difference.  While there are 
graphical front-ends available for LilyPond


Where might I find them?


Go here:

http://lilypond.org/website/text-input.html

Check out that page and at the bottom it has a link called "Easier 
editing" (below "Where now?")



I prefer straight text editing.


Why is that?


I find it much faster than clicking/dragging/etc.  C major scale in 8th 
notes in thirds:


{ c8 e d f e g f a g b a c b d c }




  My preference is Emacs (on Windows or Linux).  There is a file for 
setting up Emacs to recognize LilyPond input files which makes 
editing a lot easier.  Things get color-coded and indents are set up, 
etc.


2) Are there any features in Finale (or Sibelius or any other 
scorewriter with a GUI) that you wish you had in LilyPond?


I can't think of one.  Then again, I haven't used anything but 
LilyPond for at least ten years.


Impressive! Can you now create scores as quickly as you used to in Finale?


At least as quickly.  Probably faster, actually.

I was trying to persuade a friend to try LilyPond but it turned out he 
was pretty math-phobic and found the input too much like writing math 
equations.  Then he was grousing because another cheap commercial 
program couldn't do 5/4.  Just to razz him a bit I did this:


http://notendur.centrum.is/~bobroff/lilypond/lilyShowOff.png

There are way more arbitrary/pointless things one can do with LilyPond 
than this.  Just think what you can do with *real* music!


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Sibelius user looking for the easiest way to learn LilyPond

[David Bobroff]

On 3/12/2012 1:52 PM, John Link wrote:


On Mar 12, 2012, at 9:42 AM, David Bobroff wrote:


On 3/11/2012 6:39 PM, John Link wrote:
A few years ago I was encouraged to try LilyPond as an alternative 
to Sibelius because LilyPond produced more beautiful scores. I was 
also told that it would allow me to do things like specify that bars 
25 through 32 are to be identical to bars 9 through 16 and avoid 
cutting and pasting from bars 9-16 into 25-32. I liked what I heard, 
but I was quite shocked by LilyPond's interface. I would be 
interested in hearing from any Sibelius users who have successfully 
learned LilyPond. How can I get going in LilyPond as quickly as 
possible?


In case it's relevant, I should add that I used to program in 
FORTRAN and a little bit of UNIX but never in any other languages.


Thanks in advance,
John Link


Hi John,

I can't really speak to LilyPond vs Sibelius use.On the other hand, I 
used to be a Finale user and I have had *very* limited contact with 
Sibelius.Having said that, while I'm aware of differences between 
Sibelius and Finale they share a major feature; namely, an 
interactive graphical user interface which displays your music while 
you work.LilyPond, as you have likely discerned, does not work that 
way at all.I have found that, for me at least, the learning curve for 
LilyPond is not terribly steep, but it's long-ish.I know just about 
nothing about FORTRAN aside from the fact that it's an old 
programming language, but I would imagine that having programming 
experience would be helpful.


I think the main hurdle is getting used to focusing on the 
informational content as you input your scores and worry about output 
later if you need to tweak it.The idea is that LilyPond should do the 
actual 'engraving' for you without much intervention on your part.


Hope this was useful,

-David


Thank you, David. What you wrote is very helpful. Here are a few more 
questions:


1) What is the easiest way to extract parts from a score?


A Zen master would reply "mu" (= un-ask the question).  "Extracting" 
parts is a meaningless idea in LilyPond.  What you actually do is build 
scores.  A score may consist of a full orchestral score, or a 
two-measure example of a melody.  Have you gone through the tutorial yet?


http://lilypond.org/doc/v2.14/Documentation/learning/tutorial

That's really the place to start.  Oh, another thing; Getting your work 
flow set up makes a lot of difference.  While there are graphical 
front-ends available for LilyPond I prefer straight text editing.  My 
preference is Emacs (on Windows or Linux).  There is a file for setting 
up Emacs to recognize LilyPond input files which makes editing a lot 
easier.  Things get color-coded and indents are set up, etc.




2) Are there any features in Finale (or Sibelius or any other 
scorewriter with a GUI) that you wish you had in LilyPond?


I can't think of one.  Then again, I haven't used anything but LilyPond 
for at least ten years.


-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Sibelius user looking for the easiest way to learn LilyPond

[David Bobroff]

On 3/11/2012 6:39 PM, John Link wrote:
A few years ago I was encouraged to try LilyPond as an alternative to 
Sibelius because LilyPond produced more beautiful scores. I was also 
told that it would allow me to do things like specify that bars 25 
through 32 are to be identical to bars 9 through 16 and avoid cutting 
and pasting from bars 9-16 into 25-32. I liked what I heard, but I was 
quite shocked by LilyPond's interface. I would be interested in 
hearing from any Sibelius users who have successfully learned 
LilyPond. How can I get going in LilyPond as quickly as possible?


In case it's relevant, I should add that I used to program in FORTRAN 
and a little bit of UNIX but never in any other languages.


Thanks in advance,
John Link


Hi John,

I can't really speak to LilyPond vs Sibelius use.  On the other hand, I 
used to be a Finale user and I have had *very* limited contact with 
Sibelius.  Having said that, while I'm aware of differences between 
Sibelius and Finale they share a major feature; namely, an interactive 
graphical user interface which displays your music while you work.  
LilyPond, as you have likely discerned, does not work that way at all.  
I have found that, for me at least, the learning curve for LilyPond is 
not terribly steep, but it's long-ish.  I know just about nothing about 
FORTRAN aside from the fact that it's an old programming language, but I 
would imagine that having programming experience would be helpful.


I think the main hurdle is getting used to focusing on the informational 
content as you input your scores and worry about output later if you 
need to tweak it.  The idea is that LilyPond should do the actual 
'engraving' for you without much intervention on your part.


Hope this was useful,

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

\cadenzaOff and accidentals

[David Bobroff]

I'm re-framing my query regarding accidental behavior following 
\cadenzaOff.  After some discussion about this on bug- it is quite clear 
that '\cadenzaOff' *only* affects counting/timing and '\bar' *only* 
paints a graphic of a bar line.  Currently, if an accidental appears in 
the cadenza it will be visibly canceled if the key signature value of 
the note is used in the next "measure" even if '\cadenzaOff \bar "|."' 
is present.  Musically this should not happen.  Since a bar line has 
gone by the key signature is back in force.


This post in on -user to see if anyone has a solution; how do I suppress 
the accidental cancellation in the following example?


I've posted this to bug- to suggest that LilyPond should probably 
understand this.


Example:

%%%
\version "2.14.2"

\relative c'
{
  \key c \major
  \time 2/4
  c2 ~
  \cadenzaOn
  c4 \teeny d8-[ es f g-] \normalsize a4-\fermata
  \cadenzaOff
  \bar "|"
  e2 % how to suppress accidental cancellation here?
}
%%%

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: printed stems in OS X vs Windows 7

[David Bobroff]

On 2/28/2012 7:42 PM, Bryn Hughes wrote:

Hello, all.

I'm a musician and music theorist who has been back and forth to 
lilypond over the past few years, and I've recently decided to make 
the effort to learn lilypond thoroughly enough that it can become my 
main notation software. I have a question that I hope is not too 
ignorant. I've searched through the manuals and other online resources 
and can't seem to figure out the answer. Here's hoping one of you 
experts has a solution.


I use both a Mac (at work) and a Windows machine (at home), and I've 
noticed some subtle but important discrepancies when rendering PDFs 
with lilypond on each of my machines. Specifically, I notice that when 
I render the PDF on my iMac, the stems are misaligned with their 
respective noteheads. I also notice that in some places the noteheads 
seem slightly detached from the stems.  Conversely, on when I render 
the PDF in Windows, the problem disappears. Instead, I find that my 
margins have been ignored, and everything looks slightly larger. 
 Overall, I'd say that the rendering on Windows looks much better, 
though it'd be nice to have full control of formatting as well.


Again, my apologies if this is something obvious. I greatly appreciate 
your help and advice!


Bryn Hughes


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user



Bryn,

I've used LilyPond on Windows and Linux but not on a Mac.  I've never 
noticed a difference.  Have you actually compared *printed* output on 
paper or just *displayed* output on the monitors?


-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: complex-beam

[David Bobroff]

On 2/27/2012 7:36 AM, Janek Warchoł wrote:

On Mon, Feb 27, 2012 at 1:02 AM, Carl Sorensen  wrote:

On 2/26/12 2:10 AM, "David Bobroff"  wrote:


I'm looking for a way to achieve this beaming pattern:

http://notendur.centrum.is/~bobroff/lily/complex-beam.png

Can LilyPond do this?  I suspect I'll have to use a combination of
subdivideBeams and stemRightBeamCount/stemLeftBeamCount.  Is there a
known solution?

Lilypond does not currently do "second-level" beam subdivisions.

Please add this as a feature request.  I have been looking for a good
example of what it means to have multiple subdivision.

Meanwhile you can take inspiration from this snippet - maybe it'll help you:

\relative c'' {
   c32[ c

%% WARNING: #'beaming is written, so this
%% property can not be shared between objects. Always use
%%  \once.
%%

\once \override Stem
#'beaming = #(cons (list   1 2) (list 0 2 4))
c
\once \override Stem
#'beaming = #(cons (list 0 2 4) (list 0 1 4))
c c c]
}

HTH,
Janek


Wow,

That's interesting, Janek.  Maybe I can use that in the future.  I ended 
up using subdivideBeams and stemRightBeamCount/stemLeftBeamCount.  I did 
that before seeing this.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

complex-beam

[David Bobroff]

I'm looking for a way to achieve this beaming pattern:

http://notendur.centrum.is/~bobroff/lily/complex-beam.png

Can LilyPond do this?  I suspect I'll have to use a combination of 
subdivideBeams and stemRightBeamCount/stemLeftBeamCount.  Is there a 
known solution?


Thanks,

David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Incorrect bar placement

[David Bobroff]

On 12/11/2011 2:38 PM, Naomi Gage wrote:

Hello,

I am a relatively new lilypond user.  I am working on a score and 62 
measures into the score, the bar placement is incorrect when I include 
a run of 16th notes, as follows:


staffFlute = \new Staff {
\time 2/4
\set Staff.instrumentName = "Flute"
\set Staff.midiInstrument = "flute"
\key d \major
\clef treble
\relative c' {

%. (61 measures of other music)
c4-^ \acciaccatura d8 c4-^\trill \grace {b16 [cis]}
 b16 \< (a g fis)  e \> (d c b) %this is the measure that does not 
print correctly - only 7 16th notes print in this measure

}

When I input this particular sequence, only 7 16th notes print in the 
measure and the last 16th is printed in the following measure, 
screwing up the placement of the subsequent measures.  Previous to 
this, the placement of similar runs was correct.


I would appreciate any guidance with how to fix this issue.  Thanks 
very much.


Naomi


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


Naomi,

You didn't say which version you're using.  I ran it in v2.14 and could 
not reproduce the output you describe.  What happens if you try just 
this snippet?  Does it come out wrong?  If not, I would suggest looking 
earlier in the input to see if there is something nudging everything 
over a 1/16th note's worth.


-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: tacet trouble

[David Bobroff]

On 12/8/2011 9:54 PM, me wrote:



\markup {

  \fill-line {

\fontsize #3 \bold \concat { "I. MOVEMENT - " \italic "TACE" }

  }

}



Ah yes, beautiful!  Thank you!

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

tacet trouble

[David Bobroff]

I'm replacing a damaged page from a part.  I want to follow the style of 
the rest of the pages.  I want to indicate a tacet movement like this:



\markup {
  \fill-line {
\fontsize #3 \bold "I. MOVEMENT - TACE"
  }
}

The above works just fine.  What I want, though, is to have the word 
"TACE" it italics.  If I do this:


\markup {
  \fill-line {
\fontsize #3 \bold "I. MOVEMENT - " \fontsize #3 \bold \italic "TACE"

  }
}

...the rest of the line the spacing becomes problematic.  How can I 
change fonts while still keeping it all centered?  By changing fonts I 
see that I have another separate 'element' which is being spaced out 
across the line.  I tried taking hints from the custom headers section.  
I tried adding \null(s) but the output was unpredictable.


Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

restNumberThreshold

[David Bobroff]

I want to adjust the restNumberThreshold value so that single full 
measure rests get a "1" above them.  Obviously, I found a reference to 
the thing that needs an \override, but I haven't figured out the 
complete syntax.


\override MultiMeasureRest #'restNumberThreshold = #0

...doesn't work.  Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How to shift music up/down a semi tone without changing key signature

[David Bobroff]

On 11/27/2011 11:38 AM, James wrote:

David,

On 27 November 2011 11:17, David Bobroff <mailto:bobr...@centrum.is>> wrote:


On 11/27/2011 12:40 AM, James wrote:

Hello,

This seems to be a very basic question but I can't work out how
to do it.

Take a piece of music; for example:

{ a b c d | a b c d  }

Then shift it down half a tone without altering the key signature.

-- 
-- 


James



___
lilypond-user mailing list
lilypond-user@gnu.org  <mailto:lilypond-user@gnu.org>
https://lists.gnu.org/mailman/listinfo/lilypond-user



http://lilypond.org/doc/v2.14/Documentation/notation/changing-multiple-pitches#transpose


Ah yes, but the key signature changes see?

I don't want that.

:)

Anyway, I think I have some ideas from the helpful suggestions so far.

James

--
--

James



OK, but you can also do something like this:


\score {
  \relative c' {
\key bes \major
bes c d \transpose c cis' { es f } g a bes
  }
}

-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How to shift music up/down a semi tone without changing key signature

[David Bobroff]

On 11/27/2011 12:40 AM, James wrote:

Hello,

This seems to be a very basic question but I can't work out how to do it.

Take a piece of music; for example:

{ a b c d | a b c d  }

Then shift it down half a tone without altering the key signature.

--
--

James



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


http://lilypond.org/doc/v2.14/Documentation/notation/changing-multiple-pitches#transpose
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: New User Questions

[David Bobroff]

On 11/22/2011 11:18 PM, Brandon Pisani wrote:

Howdy, y'all,

I just started trying to use this recently. My eventual use is to 
compile a personal (non-distributed, non-sold, etc.) tunebook for tin 
whistle. I am trying, or thought I was trying, to start of small, and 
I don't understand some of the structure quite yet. Please, help me 
out with a couple of questions.


First, as I'm an American and tend to use letter-sized paper (8.5" x 
11"), where should I put the \paper { } command?


Second, and here's the rub, I'm trying to put this piece of music 
(http://www.wtv-zone.com/phyrst/audio/nfld/06/ble.htm) into the 
program using the code after the signature on this message.  What I'm 
running into: without the \bar "|" there's no bar between the new time 
signature and the rest of the music. If I put in bar checks, I get 
errors. There's no ending bar.  Maybe I'm missing some theory and the 
original piece is written strangely. Maybe I'm missing something 
regarding this language.


Any help, suggestions, thrown fruit, send them my way.

Cheers,

Brandon Pisani

\version "2.14.0"

\header {
  title = \markup { "Trois Navires de" \concat { "Bl" \char ##x00E9  } }
}

melody = \relative c' {
  \clef treble
  \key c \major
  \time 6/4
  \autoBeamOff
  \partial 2
  \repeat volta 2{
  c'4 b8 a g4 c c c c b8 c d4 e d c d e d2~ d
  }
  c4. d8 e4 d c d
  \bar "|"
  \numericTimeSignature
  \time 4/4
  e4 d c8([ b)] a b c4 d d2 a8 b a g g4 g8 g
  \time 6/4
  a4 e' e d d( e) c2~ c
}

\score {
  \new Staff \melody
  \layout { }
  \midi { }
}


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user




Brandon,

Just a couple things to get you started here.  First, for the paper size 
see:


http://lilypond.org/doc/v2.14/Documentation/notation/paper-size-and-automatic-scaling

For the piece you've selected as "small" you've actually picked one with 
some interesting issues.  The partial measure at the beginning you 
handled correctly, but when you get to the repeat sign you're only 2/3 
of the way through the measure so two beats later you get another bar 
line.  The music is correct as it is repeating back to the partial bar 
at the beginning but LilyPond doesn't know that.  You'll have to shorten 
the measure and hide the time signature (I think).


You are having to add \bar "|" at the time change to see the barline 
because you're actually changing time sigs in the middle of a measure.  
This has to do with where the repeat sign is.  See previous paragraph.


At the end there is no barline because you have not yet reached the end 
of the measure.  Again, you can either shorten the measure/hide the time 
signature or simply add a final barline ( \bar "|." ) manually at the 
end of the music.


Hope this helps,

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Whole Measure Rests

[David Bobroff]

On 11/10/2011 6:19 PM, Tim Roberts wrote:
I am a little confused by capital R rests.  There are two aspects that 
confuse me.  First, I don't understand why whole-measure small-r rests 
are not centered in the measure.  Compare:

{ \time 4/4  r1 r1 r1 }
{ \time 4/4 R1 R1 R1 }
As a life-long pianist, I'm used to whole measure rests being 
centered.  Is there a reference that suggests they should be left-aligned?


Second, in instrumental music, I have the need to attach some notation 
to a whole rest (for example, a fermata), or a note like "Cadenza".  I 
can't attach a fermata to an R1, and it looks bad to have a fermata on 
an uncentered rest.

--
Tim Roberts,t...@probo.com
Providenza&  Boekelheide, Inc.


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


The syntax 'r1' is *not* a "whole measure rest."  It is as whole *note* 
rest.  The 'Rn' syntax (where n = a note value, possibly with a 
multiplier like 'R1*3') produces centered *whole measure rests*.  In 3/8 
if you enter R4. you'll get a whole measure rest which looks exactly 
like a whole note rest.


For markup on R rests search the docs for multiMeasureRestMarkup (I think).

-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: clashing note columns

[David Bobroff]

On 10/20/2011 8:46 AM, David Bobroff wrote:
In a piece I'm doing in LilyPond I have a lot more single-staff 
polyphony than I've dealt with before.  I'm getting loads of:


warning: ignoring too many clashing note columns

The *output* looks fine.

Example: http://notendur.centrum.is/~bobroff/lily/measure.png

The 'd' in the half-note chord is tied over from the eighth note and 
is in the upper voice.  If I don't flip the stem direction the stem is 
up and the note head offset.  If I flip the stem it lines up as in the 
original (shown in the link) but I get the warning.  Should I just 
ignore this and put up with the warnings?  It is, of course, more 
important that the output look good, but I'd also like a 'clean' 
LilyPond run, too.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user



Ah, it seems I found my answer here:

http://lilypond.org/doc/v2.14/Documentation/snippets/simultaneous-notes#suppressing-warnings-for-clashing-note-columns

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

clashing note columns

[David Bobroff]

In a piece I'm doing in LilyPond I have a lot more single-staff 
polyphony than I've dealt with before.  I'm getting loads of:


warning: ignoring too many clashing note columns

The *output* looks fine.

Example: http://notendur.centrum.is/~bobroff/lily/measure.png

The 'd' in the half-note chord is tied over from the eighth note and is 
in the upper voice.  If I don't flip the stem direction the stem is up 
and the note head offset.  If I flip the stem it lines up as in the 
original (shown in the link) but I get the warning.  Should I just 
ignore this and put up with the warnings?  It is, of course, more 
important that the output look good, but I'd also like a 'clean' 
LilyPond run, too.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: doubled accidental

[David Bobroff]

On 9/5/2011 7:55 PM, Maxim Gawrilow wrote:

I'm not top posting.

If the initial key sets a note flat (b-flat minor) and I later change this note
to sharp (ges to gis), in the score I get two accidentals in a row: first a
natural and right to it the sharp. There is no need of the natural, it only
disturbs.


___
bug-lilypond mailing list
bug-lilyp...@gnu.org
https://lists.gnu.org/mailman/listinfo/bug-lilypond



This is the default behavior of LilyPond and is, in fact, a standard 
practice.  This is not a bug so I'm also posting to lilypond-user.  You 
can change this.  See:


http://lilypond.org/doc/v2.14/Documentation/notation/writing-pitches#accidentals

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Simple variable definition

[David Bobroff]

On 8/21/2011 7:21 AM, Vaughan McAlley wrote:

I’ve spent way to long trying to work this out... the simple test file:

%test1.ly
\version "2.14.2"

myTranspose =\transpose c' c
staffOneName = "Soprano"

% Version for men’s choir
%{
myTranspose =  \transpose c' g
staffOneName = "Alto"
%}

...produces

test1.ly:4:0: error: syntax error, unexpected STRING

What’s going on here? There are no misplaced curly braces or the like...

Thanks,
Vaughan

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


I tried something of the sort a while back.  This simply doesn't work.  
It looks like it should work, but it doesn't.  The answer I got was that 
something isn't 'exported'.  The short answer is; You can't do it this 
way.  You have to work around it.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: beaming problem in 2.14

[David Bobroff]

On 6/23/2011 11:31 AM, Stefan Thomas wrote:

Dear community,
the following code works fine in 2.12.3. but doesn't in 2.14.1.
Is there a possibility to get it working in 2.14.1?

\version "2.14.1"

music = {
  \clef bass r2 r4 r8 f,
  r2 r4 g,8 r
  r4 f, 8 r8 r2
}

beams = {
  \repeat "unfold" 24 { s8[ s ] s[ s]} % this line causes the error!
}

\new Staff {
  \context Voice << { \beams } { \music}>>
}


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


I don't understand what you're after here.  The 'beams' definition adds 
up to 12 measures of beaming, much of which takes place in the middle of 
rests, while the music itself is only three measures.


-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: LilyPond to Finale :-(

[David Bobroff]

On 6/3/2011 11:09 AM, Vuott wrote:

...but how can I  produce (export) a midi file by LilyPond ?




Graham Percival-3 wrote:

On Tue, Jun 22, 2010 at 11:54 AM, Urs Liska  wrote:

I will have to somehow convert a LilyPond score to Finale :-(

You _might_ be able to save some time by producing a midi file from
lilypond, importing the midi into finale, and then correcting pitches,
rhythms, dynamics, and adding slurs, articulations, etc... but
honestly, I'd just start from scratch.

Look at the pdf from lilypond, and start clicking away.


But are there solutions that could transfer more information more
reliably
to a finale file.

No.

... oh wait, I think I've heard of some kind of sheet music scanning
ability in finale or sibelius or the like?  If you have that, you
could try printing the music, then scanning it in.

Cheers,
- Graham

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




Try here:

http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-MIDI-files#Creating-MIDI-files

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: warning: crescendo too small

[David Bobroff]

On 6/3/2011 10:05 AM, David Santamauro wrote:

Hi,

When magnified 500%, the crescendo looks like a '|' ... the snippet:

\version "2.12.3"

\include "english.ly"
\score {
   <<
 \relative g' {
   \clef "treble"
   \key c \major
   \time 4/4
   r2 r4 d'^\markup { \tiny "Solo" }_\mp\<(
   g2\! fs4 e4)
 }
   >>
   \layout {}
}

I've attached what I'm trying to achieve.

Thanks

David


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


A couple possibilities:

\version "2.12.3"

\include "english.ly"
\score {
<<
\relative g' {
  \clef "treble"
  \key c \major
  \time 4/4
  %% move \mp and \< to r4
  r2 r4_\mp\< d'^\markup { \tiny "Solo" }(
  g2\! fs4 e4)
  %% \scaleDurations to "stretch" the quarter note
  r2 r4 \scaleDurations #'(1 . 4) { d'^\markup { \tiny "Solo" 
}_\mp\<( s4. s4. s4-\! }

  g2\! fs4 e4)
}
>>
  \layout {}
}

Hope this helps.

-David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: transpose

[David Bobroff]

On 6/2/2011 3:00 PM, Peter O'Doherty wrote:

Hi,
Can someone please help me adjust this example so it's transposed 
correctly for Bb clarinet? Where should I put the

 \transpose c' d' \clarinet ?
Thanks,
Peter

\version "2.12.3"
\include "english.ly"

\paper {
  #(set-paper-size "a4" 'landscape)
}

clarinet =  {

  c'4 d' e' f' |

}

\score {
  \new Staff \with {
midiInstrument = "clarinet"
  }
  \clarinet
  \layout {
\context {
  \Score
   \override TupletBracket #'bracket-visibility = ##t
   \override TupletNumber #'text = #tuplet-number::calc-fraction-text
   \override Stem #'stemlet-length = #0.7
   \override DynamicText #'font-size = #-2

}
  }
}



Edit the line with:

\clarinet

to:

\transpose c d { \clarinet }

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Compound time signature

[David Bobroff]

On 6/1/2011 6:30 AM, Janek Warchoł wrote:
2011/6/1 Paul Scott >


No.  I need for example:

3/4 6/8 <3/4 bar>  <6/8 bar>  <3/4 bar>
 <6/8 bar>  etc.


I remember that i saw something like that done in Lily, but i cannot 
find it :(

I found this in archives:
http://lists.gnu.org/archive/html/lilypond-user/2005-08/msg00260.html
maybe what they mention is the example i saw - unfortunately manuals 
are now rearranged.

If you find it, please tell us where it was hidden.

HTH,
Janek


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


I used the following hack to do a mixed meter in "Don Quixote" (I'm not 
the one associated with the above referenced message, though).  Be aware 
that this was done for v2.11.27.  Also, from your description I don't 
think this will do quite what you want.  If I understand correctly, you 
want to alternate between 3/4 and 6/8 but you don't want to redisplay 
the time signature at every bar.  Since 3/4 and 6/8 have the same number 
of beats but are organized differently maybe what you need to do is to 
use something like what I've done below to display the 3/4 \\ 6/8 
alternation but then alternate the beaming rules from bar to bar.


-David


mySig = {
#(define (compound-time one two three four)
  (markup #:override '(baseline-skip . 0) #:number
   (#:line ((#:column (one three)) #:vcenter "" (#:column (two four))

  %% compound time signature hack
  \time 5/4
  \override Staff.TimeSignature #'stencil = #ly:text-interface::print
  \override Staff.TimeSignature #'text = #(compound-time "2" "3" "4" "4" )
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: \key Moves \chords Below Staff

[David Bobroff]

On 4/18/2011 9:03 AM, Christian Eitner wrote:

Dear Xavier,

On 18 April 2011 10:40, Xavier Scheuer  wrote:

It is due to implicit context creation.
If you explicit your contexts (Staff, ChordNames) then such problem
would not appear.

As explained in the doc,  \chords { ... }  is a shortcut notation for
  \new ChordNames { \chordmode { ... } } .


\score {
  <<
\new ChordNames {
  \chordmode {
a1 c
  }
}
\new Staff {
  \relative c'' {
\key a \major
a1 c
  }
}
  >>
}

I see. So \key implicitly creates the Staff context before the
ChordNames context, which is why they appear below the staff.

My problem is that a lot of things are going on before I need a few
bars with added chord names. What would be the recommended way to add
these 'in the middle of things'?

Cheers,

Christian

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user



I would simply use skips:

\version "2.12.3"

{
<<
\chords
{
  s1*2
  a1 c
}
\relative c''
{
  a1 c a c
}
>>
}

Isn't this what you mean?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

ossia again

[David Bobroff]

My ossias are working but I've got a troubling artifact.  In the 
following snippet I get some space at the end of the first line 
following the barline.  At the end of the second line I get a 
disembodied bar line which I had not seen in the actual score I'm 
making.  I'm missing some important detail here.


-David

% START LILYPOND %

\version "2.12.3"

ossia = \relative c'' {
  \override Staff.VerticalAxisGroup #'remove-first = ##t
  \stopStaff
  s1*4
  \startStaff
  \key es \major
  \clef G
  \repeat unfold 2 {
c'1
  }
  \stopStaff
  s1*2
  \startStaff
  c1
  c1
  \stopStaff
}



mainLine = \relative c' {
  \repeat unfold 4 {c1 }
  \break
  \repeat unfold 4 {c1 }
  \break
  \repeat unfold 4 {c1 }

}

\score {
  \relative c {
\transpose c c {
<<
\new Staff = ossia \with {
  \remove "Time_signature_engraver"
  fontSize = #-3
  \override StaffSymbol #'staff-space = #(magstep -3)
  \override StaffSymbol #'thickness = #(magstep -3)
}
\set Staff.shortInstrumentName = "Ossia"
{
<<
\ossia
>>
}
\new Staff \with {
  fontSize = #-2
  \override StaffSymbol #'staff-space = #(magstep -2)
}
<<
  \set Staff.instrumentName = "Voice"
  \set Staff.shortInstrumentName = "Voc."
  \new Voice = "1" {
\mainLine
  }
>>
>>
}
  }
  \layout {
\context {
  \RemoveEmptyStaffContext
}
  }
}

% END LILYPOND %

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

more ossia

[David Bobroff]

Thanks, Trevor for tweaking my code so the lyrics line up.  I'm still at 
a loss to understand why that is, but that can wait.


In looking at the result of my struggles with ossias I have concluded 
that I want something a bit different from what I'm getting now.  The 
ossia sections in this score are long enough that, without clefs and key 
signatures, they look odd.  I've been studying the section on ossias in 
1.6.2 (v2.12.3) of the Notation Manual.  There is an example which uses 
\RemoveEmptyStaffContext.  This looks promising but I'm wondering if 
this can be used with a "layering" approach.  That is, is it possible to 
contain all the ossia passages in a single ossia = {...} and combine it 
with the main line inside << >>.  For display I want the clefs/key sigs 
to appear at the start of the ossia line.  I see that using 
\RemoveEmptyStaffContext is "most convenient" when the ossia line begins 
at a line break.  I suppose I could simply force a line break where 
these passages begin which would/should give me the clefs and keys at 
the start of the ossia passage (although it would be nice if I could let 
Lily decide the line breaks and have the clef/key show up at the 
beginning of the ossia without a floating clef at the left end of the 
line).  On the other hand, by using \RemoveEmptyStaffContext am I 
constrained to adding the ossia passages within the main line as it is 
done in the example in the docs?


Thanks,

David



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: ossia and lyrics

[David Bobroff]

On 4/13/2011 8:20 PM, David Bobroff wrote:

On 4/13/2011 5:12 PM, Phil Holmes wrote:
Please reply-all when answering a question on the user-list - that 
way everyone can see your answers and contribute.


Also - if you're lucky enough to have a mail program that always 
properly quotes with a > mark, please add contributions at the 
bottom.  Mine doesn't, so I'm doing it wrong.


If you look at the development documentation here:

http://lilypond.org/doc/v2.13/Documentation/notation/modifying-single-staves#ossia-staves 



You'll see further down that there is some use of \set 
alignBelowContext with lyrics.  This may give you what you want, even 
with 2.12.3


Phil Holmes


- Original Message ----- From: "David Bobroff" 
To: "Phil Holmes" 
Sent: Wednesday, April 13, 2011 5:58 PM
Subject: Re: ossia and lyrics


Oops!  v2.12.3

On 4/13/2011 4:41 PM, Phil Holmes wrote:
Could you let us know what version of LilyPond you're using? - 
aspects of this have changed recently


Phil Holmes


- Original Message - From: "David Bobroff" 
To: "lilypond-user" 
Sent: Wednesday, April 13, 2011 5:28 PM
Subject: ossia and lyrics


I've been tasked with altering a score I've prepared.  The score
currently consists of a piano part with a vocal line and a contrabass
obligato line.  As it stands, all is well.  Now I need to put in ossia
passages for the voice.  I have managed to create ossia passages by
using examples in the manual but I'm running into a problem with 
getting
the lyrics to appear.  I want the ossia musical passages to appear 
above
the original but I don't want lyrics under the ossia passage, only 
under

the original.  I currently have the separate elements of the vocal
material defined like this:

% Lyrics
soprano = \lyricmode { "soprano lyrics" }

% music
sop =  \relative c'' { the soprano's music }

% assembled lyrics and music
vocal = {
<<
\new Voice = sop \relative {
<<
\clef G
\global
\sop
>>
}
\addlyrics { \soprano }
>>
}

I'd like to define my ossia sections and put them together with the
definitions I already have without doing too much violence to the work
I've already done.  I was experimenting with the ossias (ossiæ?) from
section 1.6.2 of the Notation Manual but ran into trouble with the
lyrics not showing up and getting an error about; cannot find Voice
'uniqueContext0' or something to that effect.  I suspect there is some
detail involving nesting, contexts or something which is proving beyond
my ability to locate and/or decipher in the docs.

Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user








I'm almost there:

% BEGIN LILYPOND %

\version "2.12.3"

sopranoMusic = \relative c' { c4 d e f g a b c b a g f e d c }

sopranoLyrics = \lyricmode { do re mi fa sol la ti do }

ossia = \relative c''' { \stopStaff s1 \startStaff g4 a b c \stopStaff }

soprano = \context Staff <<
  \context Voice = "1" { \sopranoMusic }
  {
<<
  \lyrics {
\set alignBelowContext = #"1"
\new Lyrics \lyricsto "1" { \sopranoLyrics }
  }
  \new Staff \with {
alignAboveContext = #"1"
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\remove "Time_signature_engraver"
\override Clef #'transparent = ##t
  } {
\ossia
  }
>>
  }
>>

\score{
  \soprano
}

% END LILYPOND %

This does everything except that the ossia line is below the main 
staff.  Do I need to "stack" them in the opposite order, i.e. list 
them from top to bottom?  I thought the 'alignAboveContext' should 
have taken care of that.  Can I move some of the '\new Staff \with { 
blah blah blah }' to the ossia definition to neaten up my \score block?


Thanks,

David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user



This does the trick.  I had to assign some contexts.  Why are the lyrics 
not aligned properly?


-David

% BEGIN LILYPOND %

\version "2.12.3"

sopranoMusic = \relative c' {
  c4 d e f g a b c b a g f e d c
}

sopranoLyrics = \lyricmode {
  do re mi fa sol la ti do
}

ossia = \relative c''' { \stopStaff s1 \startStaff g4 a b c \stopStaff }

soprano = <<
  \context Staff = "top" { \new Voice = "1"  \sopranoMusic }
  {
<<
  \lyrics {
\set alignBelowContext = #"1"
\new Lyrics \lyricsto "1" \sopranoLyrics
  }

\new Staff \with {
  alignAboveContext = #"top"
  fontSize = #-2
  \override StaffSymbol #'staff-space = #(magstep -2)
  \remove "Time_signature_engraver"
  \override Clef #'transparent = ##t
} {
  \ossia
}
>>
  }
>>

\score{
  \soprano
}

% END LILYPOND %

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: ossia and lyrics

[David Bobroff]

On 4/13/2011 5:12 PM, Phil Holmes wrote:
Please reply-all when answering a question on the user-list - that way 
everyone can see your answers and contribute.


Also - if you're lucky enough to have a mail program that always 
properly quotes with a > mark, please add contributions at the 
bottom.  Mine doesn't, so I'm doing it wrong.


If you look at the development documentation here:

http://lilypond.org/doc/v2.13/Documentation/notation/modifying-single-staves#ossia-staves 



You'll see further down that there is some use of \set 
alignBelowContext with lyrics.  This may give you what you want, even 
with 2.12.3


Phil Holmes


- Original Message ----- From: "David Bobroff" 
To: "Phil Holmes" 
Sent: Wednesday, April 13, 2011 5:58 PM
Subject: Re: ossia and lyrics


Oops!  v2.12.3

On 4/13/2011 4:41 PM, Phil Holmes wrote:
Could you let us know what version of LilyPond you're using? - 
aspects of this have changed recently


Phil Holmes


- Original Message - From: "David Bobroff" 
To: "lilypond-user" 
Sent: Wednesday, April 13, 2011 5:28 PM
Subject: ossia and lyrics


I've been tasked with altering a score I've prepared.  The score
currently consists of a piano part with a vocal line and a contrabass
obligato line.  As it stands, all is well.  Now I need to put in ossia
passages for the voice.  I have managed to create ossia passages by
using examples in the manual but I'm running into a problem with getting
the lyrics to appear.  I want the ossia musical passages to appear above
the original but I don't want lyrics under the ossia passage, only under
the original.  I currently have the separate elements of the vocal
material defined like this:

% Lyrics
soprano = \lyricmode { "soprano lyrics" }

% music
sop =  \relative c'' { the soprano's music }

% assembled lyrics and music
vocal = {
<<
\new Voice = sop \relative {
<<
\clef G
\global
\sop
>>
}
\addlyrics { \soprano }
>>
}

I'd like to define my ossia sections and put them together with the
definitions I already have without doing too much violence to the work
I've already done.  I was experimenting with the ossias (ossiæ?) from
section 1.6.2 of the Notation Manual but ran into trouble with the
lyrics not showing up and getting an error about; cannot find Voice
'uniqueContext0' or something to that effect.  I suspect there is some
detail involving nesting, contexts or something which is proving beyond
my ability to locate and/or decipher in the docs.

Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user








I'm almost there:

% BEGIN LILYPOND %

\version "2.12.3"

sopranoMusic = \relative c' { c4 d e f g a b c b a g f e d c }

sopranoLyrics = \lyricmode { do re mi fa sol la ti do }

ossia = \relative c''' { \stopStaff s1 \startStaff g4 a b c \stopStaff }

soprano = \context Staff <<
  \context Voice = "1" { \sopranoMusic }
  {
<<
  \lyrics {
\set alignBelowContext = #"1"
\new Lyrics \lyricsto "1" { \sopranoLyrics }
  }
  \new Staff \with {
alignAboveContext = #"1"
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\remove "Time_signature_engraver"
\override Clef #'transparent = ##t
  } {
\ossia
  }
>>
  }
>>

\score{
  \soprano
}

% END LILYPOND %

This does everything except that the ossia line is below the main 
staff.  Do I need to "stack" them in the opposite order, i.e. list them 
from top to bottom?  I thought the 'alignAboveContext' should have taken 
care of that.  Can I move some of the '\new Staff \with { blah blah blah 
}' to the ossia definition to neaten up my \score block?


Thanks,

David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

ossia and lyrics

[David Bobroff]

I've been tasked with altering a score I've prepared.  The score 
currently consists of a piano part with a vocal line and a contrabass 
obligato line.  As it stands, all is well.  Now I need to put in ossia 
passages for the voice.  I have managed to create ossia passages by 
using examples in the manual but I'm running into a problem with getting 
the lyrics to appear.  I want the ossia musical passages to appear above 
the original but I don't want lyrics under the ossia passage, only under 
the original.  I currently have the separate elements of the vocal 
material defined like this:


% Lyrics
soprano = \lyricmode { "soprano lyrics" }

% music
sop =  \relative c'' { the soprano's music }

% assembled lyrics and music
vocal = {
<<
\new Voice = sop \relative {
<<
\clef G
\global
\sop
>>
}
\addlyrics { \soprano }
>>
}

I'd like to define my ossia sections and put them together with the 
definitions I already have without doing too much violence to the work 
I've already done.  I was experimenting with the ossias (ossiæ?) from 
section 1.6.2 of the Notation Manual but ran into trouble with the 
lyrics not showing up and getting an error about; cannot find Voice 
'uniqueContext0' or something to that effect.  I suspect there is some 
detail involving nesting, contexts or something which is proving beyond 
my ability to locate and/or decipher in the docs.


Help?

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: emacs mode in XP? [solved]

[David Bobroff]

David Bobroff wrote:
I've got emacs on a Windows XP machine and would like to get the 
LilyPond emacs mode working with it.  Is anyone out there doing this?


Here's what I did/do:

1. Copy the *.el files from LilyPond/usr/share/emacs/site-lisp to 
[emacs]/lisp.


2. Add this line to .emacs
(load "lilypond-init.el" nil t t)

There are (as always with emacs) other ways of doing it.

--
Hilary Snaden


This was almost the fix for me and I had actually tried this before.  I 
had to put lilypond-init.el one directory level higher (it's in the same 
directory as .emacs) and now it works fine.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

emacs mode in XP?

[David Bobroff]

I've got emacs on a Windows XP machine and would like to get the 
LilyPond emacs mode working with it.  Is anyone out there doing this?


Thanks,

David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How to do jazz-style bar repeats

[David Bobroff]

On 3/3/2011 6:23 AM, Tim McNamara wrote:

I have not been able to locate a way to do jazz style multiple bar repeats like 
these for writing out chord progressions for solos.  Can anyone point me to the 
place in the documentation (assuming there is such a place)?

Thanks!





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user


Tim,

I suspect you're looking for "percent repeats" found in section 1.4.2 of 
the notation manual of the current stable release.


-David
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: layout questions

[David Bobroff]

On 11/15/2010 6:32 PM, Mike Solomon wrote:

David,
 Do the rehearsal marks get pushed up for every setting of
self-alignment-X?  If you can find an alignment that obviates the problem,
that seems like it might work.


Don't know about self-alignment-X.  At least I didn't try anything with 
"self-alignment-X".

 Alternatively, the \textLengthOn command defined as:

textLengthOn = {
   \override TextScript #'extra-spacing-width = #'(0 . 0)
   \override TextScript #'extra-spacing-height = #'(-inf.0 . +inf.0)
}

with \textLengthOff as:

textLengthOff = {
   \override TextScript #'extra-spacing-width = #'(+inf.0 . -inf.0)
   \override TextScript #'extra-spacing-height = #'(0 . 0)
}

Perhaps playing with these two properties individually would do the trick?


Yeah, I plugged in some values and got pretty much what I was after, in 
combination with outside-staff-priority for rehearsal marks set to 1.


Thanks!

-David

Cheers,
Mike

On 11/15/10 5:36 AM, "David Bobroff"  wrote:


I'm typesetting from an ugly hand-written part.  It's a trombone part to
an orchestral piece and, therefor, consists largely of multi-measure
rests.  I'm using the contruct:

\textLengthOn
s1*0^\markup{ whatever }
R1*X

...to stretch the multi-measure rests to fit the length of the markup.
So far, so good.  In some cases, however, rehearsal marks are being
"pushed" up out of the way of some of these markups.  I've tried
sneaking the global font size down and increasing the number of
systems.  This seems to have fixed some/much of the problem.  I would
like a way to have them all at the default distance from the staff ( =
one staff space?).  I'm not sure where to find my answer.  Should I be
tweaking the length of individual multi-rests?  Should I be adding
side-padding to the markups?  Is this a job for outside-staff-priority?

Thanks,

David




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user







___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

layout questions

[David Bobroff]

I'm typesetting from an ugly hand-written part.  It's a trombone part to 
an orchestral piece and, therefor, consists largely of multi-measure 
rests.  I'm using the contruct:


\textLengthOn
s1*0^\markup{ whatever }
R1*X

...to stretch the multi-measure rests to fit the length of the markup.  
So far, so good.  In some cases, however, rehearsal marks are being 
"pushed" up out of the way of some of these markups.  I've tried 
sneaking the global font size down and increasing the number of 
systems.  This seems to have fixed some/much of the problem.  I would 
like a way to have them all at the default distance from the staff ( = 
one staff space?).  I'm not sure where to find my answer.  Should I be 
tweaking the length of individual multi-rests?  Should I be adding 
side-padding to the markups?  Is this a job for outside-staff-priority?


Thanks,

David




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: probematic transposition

[David Bobroff]

 On 9/13/2010 8:56 PM, waterho...@ultrasw.com wrote:

On Mon, 13 Sep 2010 19:58:03 +, David Bobroff
wrote:

I've got a piece in Eb major with a section in E major.  For the
instrumentation involved it will almost certainly be necessary to
transpose it all down a minor 3rd due to the range in some of the
parts.  The Eb section comes out in C which is just fine but the E major
ends up in C# major which is not so convevient.  Db would be much easier
to read.  Is there a straightforward way to accomplish having the Eb
section in C and the E section in Db?

Not as easy but I break music like that (just the one part) into pieces.
It's easy enough
to put the pieces back together with { \piece1 piece2 } and { \transpose x
y \piece1 \transpose a b \piece2 }

Paul Scott






I had decided to go with the above idea of breaking the music into 
sections and doing separate transpositions on each section to produce 
the desired results.  All was well until I ran into a long slur that 
crossed the key change boundary.


To get around that I thought I would just pre-transpose the middle 
section.  I recall that there is (or was) a way to have LilyPond send 
output to stdout (or directed to a file) which would allow me to take 
the section in question, apply a transposition to it, send it to a file 
and then use that segment instead of the original one in the fully 
transposed version.  I can't find a reference to this in the manual.  
Has this functionality been removed?  I thought it was called 
"output-music" or something of the sort.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: probematic transposition

[David Bobroff]

 On 9/13/2010 8:56 PM, waterho...@ultrasw.com wrote:

On Mon, 13 Sep 2010 19:58:03 +, David Bobroff
wrote:

I've got a piece in Eb major with a section in E major.  For the
instrumentation involved it will almost certainly be necessary to
transpose it all down a minor 3rd due to the range in some of the
parts.  The Eb section comes out in C which is just fine but the E major
ends up in C# major which is not so convevient.  Db would be much easier
to read.  Is there a straightforward way to accomplish having the Eb
section in C and the E section in Db?

Not as easy but I break music like that (just the one part) into pieces.
It's easy enough
to put the pieces back together with { \piece1 piece2 } and { \transpose x
y \piece1 \transpose a b \piece2 }

Paul Scott






Yeah, that's about what I figured.  Thanks.

-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

probematic transposition

[David Bobroff]

 I've got a piece in Eb major with a section in E major.  For the 
instrumentation involved it will almost certainly be necessary to 
transpose it all down a minor 3rd due to the range in some of the 
parts.  The Eb section comes out in C which is just fine but the E major 
ends up in C# major which is not so convevient.  Db would be much easier 
to read.  Is there a straightforward way to accomplish having the Eb 
section in C and the E section in Db?


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Mixed Time Signatures: Non regular alternantion between 5/8 and 8/8

[David Bobroff]

 On 8/22/2010 9:32 AM, fauban wrote:

Dear Lilypond community:
I am typesetting a piece in two sections:
The first one consists of 5/8 and 8/8 bars. Their alternaton does not follow
any pattern.
Then, the next section is always in 9/8.

How can I engrave one of those mixed time signatures (that is, 5/8 8/8)?
(Here is an example from Wikipedia:
http://en.wikipedia.org/wiki/Time_signature#Mixed_meters , you must scroll
down a bit, until you see the 3/4 6/8 signature).

Thank you very much!


Are you sure that you want to display a 5/8 8/8 time signature?  In the 
example you linked to the mix is 6/8 3/4 which are simply two different 
ways of organizing the same time value in each measure.  You're talking 
about 5/8 and 8/8 which are not interchangeable time values.  Assuming 
that in your mixed 5/8 8/8 section the 8th note pulse remains constant 
it would be misleading, confusing and annoying to read.  I would 
recommend changing the time signature when it is appropriate to do so.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

absolute rest positioning

[David Bobroff]

 Is there a straightforward way to position rests by using an absolute 
offset from the center of the staff?  I have a measure with cue notes 
and main instrument rests beneath.  The problem arises when I transpose 
the instrument.  The cues need to stay where they are, which is working, 
but if I position the rests with \rest the rests will be 
positioned correctly for one transposition but not the other.  Should I 
just use \tag for this?


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: line breaks in long parallel cadenzas

[David Bobroff]

On 5/30/2010 11:14 PM, zbigniew brzezinski wrote:

Hello,

I'm trying to produce a piano score with two independent staves
with long sections of unmetered music
filled with notes of different rhythmical values.
using two cadenzas with \bar "" fails to produce a line
break (I guess since the rhythms always sum up to something different).
Is there a way to generate a line
break and use e.g. proportional spacing in two staves of long unmetered
music running parallel?

thanks in advance for any advice,
zb


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

   


At the very least you'll probably need to add a \break to the \bar "" 
where you would like the break to occur.  I'm not sure what you would 
need proportional spacing for.


-David

___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Flag left or right of stem

[David Bobroff]

On 5/25/2010 9:32 AM, craigbakalian wrote:

Hi All,

I know this may be in the docs, but I don't even know what to call this,
but I can describe it.  I have a piece in 7/8 with a lilypond measure
sited below -

r8 d'8 ees'8[ f'16 ges'8 f'16] ges'8.[ f'16]
   


This is in the docs.  Check section "1.2.4 Beams" and go to "Manual 
beams" to find some really big hints.


-David

the flag of the first 16th note is on the right of the stem.  I want it
on the left of the stem.  How do I get the flag to point to left.  If I
search for stem direction, I get up and down information.  The stem on
the left would visually help the performer feel the rhythm the way I
want him or her to feel it (I hope?).  It is a rhythmic grouping thing.


Craig Bakalian
560 Keswick Drive
Yardley, PA 19067
215-428-0856


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

   



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

oops

[David Bobroff]

Sorry folks,

I wasn't paying attention when my auto-complete auto-completed.  Please 
delete my previous


Thanks,

David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

David_Bobroff_2009-extras

[David Bobroff]

Lisa,

I'm going to NYC on Sunday and will be away from this machine for two 
weeks so I'm sending you some extra expense numbers in the event that 
you need them.


Music/supplies $861.20
That's anything from CDs, sheet music, valve oil, etc.

Maintenance/repairs $290.61

Instrument insurance $205.21

Office supplies $412.09
Paper, paper clips, CD blanks, computer parts/repairs, toner for 
printer, these sorts of things


Audition trip to Sweden:
Airfare$757.32
hotels  $420.28
ground transport.$116.77
Per diem 3 days   ???

Study trip to NYC:
Airfare  $592.27
Lesson fee*   $125.00
Per diem 7 days???

*I played for three different people but only one charged me

Performance trip to Finland:
Airfare$592.27
ground transport.  $24.26
per diem 4 days

Rent for 2009 $6,792.82
heat/elect. for 2009$665.50
phone/internet$1,667.87

By contract I'm obligated to perform "heimavinna" (literally "homework" 
i.e. practice) 15.5hrs a week out of a total of 37.5hrs (these numbers 
are all directly from, or derived from our master agreement).  That 
means 41% of my salaried work is to be done at home at my expense; I 
have to find facilities for that.  (What's the opposite of  a benefit?  
Would that be a malefit?  Or is it a benefit I'm obligated to provide my 
employer?)  On top of that, my non-wage income amounted to 13.53% of my 
total gross income for which I bear the costs in terms of preparation 
space etc.  I included the rent, heat/elec. and phone/internet amounts 
as I believe that some of this can be deducted as business related since 
I'm doing a fair amount of my work at home.


I hope this is enough info for you to work with if you need to.  These 
are the numbers.  I can certainly answer any other questions without 
sitting in front of this particular computer.


Thanks,

David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: wah-wah-effect

[David Bobroff]

Stefan,

For this particular snippet I would normally expect to see simply;  +? 
with no dash or dashed line between the + and ?.  For such a sort note 
this would be perfectly clear.  For a longer note that gradually 
opens/closes such a dashed line would be fine, but I would also probably 
expect to see it done using at least two notes tied together; one note 
with + and the other with ? with the dashed line between. In the case of 
repeated open/close across several notes a dashed line would also be 
clear.  For single notes, however, it would normally be sufficient to 
use simply +? or ?+ as the "wah" effect is usually spread out across the 
duration of the note.


-David

On 3/1/2010 8:44 AM, Stefan Thomas wrote:

Dear community,
I made a second attempt to create a symbol for the so called 
wah-wah-effect.

My first question:
Would You think, this is the common way to notate it?
My second question:
I would like to make the textspanner longer, but this, unfortunately, 
doesn't work.

Here is my snippet:

%% BEGIN 
\version "2.12.2"

wah = {
  \override Voice.TextSpanner #'shorten-pair = #'(0 . -8) %this 
doesn't do anything, why?

  \override Voice.TextSpanner #'style = #'dashed-line
   \override Voice.TextSpanner #'(bound-details left text) = \markup { 
\musicglyph #"scripts.stopped" }
  \override Voice.TextSpanner #'(bound-details right text) 
= \markup { \musicglyph #"scripts.open" }

} %
harmonmute = ^\markup { \whiteout "harmon mute" }
music = {
   \time 2/4  \wah
\clef "treble"   f''16  \harmonmute ( -> \mf [ es''16 ) r16 b'16 
-. ] r16 des''16 -. [ r16 as'16
( ~ -> ] as'16 [ ges'16 ) -. \context Voice << {c''16 -> -. \sfz 
]} {s16 \startTextSpan   }>> r16\stopTextSpan  r4

}
\new Staff \music
% END 

2009/12/27 bobr...@centrum.is  
mailto:bobr...@centrum.is>>


Ah, you want a dashed hairpin.  Is this to notate a gradual
opening/closing?  I would not normally expect to see a dashed
hairpin but rather simply a dashed line between the '+' and 'o'.
 This means gradual open/close.  It seems that you want something
like 'o > +' or '+ < o', correct?  I suppose you could mark one
note with '+' and another with 'o' and place your hairpin between.
 Again, however, as a trombonist I would find this notation
non-standard and potentially confusing.  I don't know enough about
your notation requirements to understand why you would want or
need to notate it this way.

-David


- Original Message -
From: "Stefan Thomas" mailto:kontrapunktste...@googlemail.com>>
To: bobr...@centrum.is 
Cc: "lilypond-user" mailto:lilypond-user@gnu.org>>
Sent: Sunday, December 27, 2009 12:13:19 PM GMT -05:00 US/Canada
Eastern
Subject: Re: wah-wah-effect

Dear David,
thanks for Your help.
I found out, that I can get a dashed hairpin with \once \override
Hairpin #'style = #'dashed-line
What I would like to do is getting a + and an "o" at the beginning
and the end of the hairpin.
The "o" is easy to get with
\override Hairpin #'circled-tip = ##t

But how I can do it with the "+"-sign?
2009/12/27 bobr...@centrum.is  <
bobr...@centrum.is  >



I'm not sure exactly how you want your wah-wah effect to appear,
but for starters you can go here:


http://lilypond.org/doc/v2.13/Documentation/notation/the-feta-font#index-Feta-font

...to find the glyphs you need. The ones you need are listed under
"Script glyphs." One is "stopped" (looks like '+') and the other
is "flageolet" (looks like a small circle). There is also "open"
which looks like a small letter 'o'. I've normally seen the little
circle (I'm a trombonist). I don't know how to do this without
experimenting with it but if you want '+O' I suppose you could
create a script called 'wah' or something and combine them
together side-by-side. This would mean 'wah' on a single note. If
you wanted the effect to span two or more notes I think you should
be able to put the '+' over one note, the 'o' over the other and
put some sort of dotted/dashed spanner between them.

Sorry I can't be more specific at the moment but I hope this is
helpful,

David


- Original Message -
From: "Stefan Thomas" < kontrapunktste...@googlemail.com
 >
To: "lilypond-user" < lilypond-user@gnu.org
 >
Sent: Sunday, December 27, 2009 5:51:19 AM GMT -05:00 US/Canada
Eastern
Subject: Re: wah-wah-effect





Dear community,
I've created a little image (with another program) to illustrate
what I'm thinking of.


2009/12/27 Stefan Thomas < kontrapunktste...@googlemail.com

Re: Blotch in d

[David Bobroff]

On 2/21/2010 1:08 PM, Graham Okely wrote:

Mark
I am using;
  Windows XP
  JEdit 4.3pre15
  Lilypond 2.12.3
  I use LilyPondToolJPedal version2.80b12STD to view it and print it.
  So printing does produce the blotch.

! Found it!!:jumping:
If I open the pdf in Adobe Reader it is fine!
So it must be the JPedal viewer I use with JEdit.
Thanks for your help
Graham

   


When I used LilyPondTool and JPedal I had strange things show up in 
output that also showed on printouts.  These same things would not 
appear when viewed on other PDF viewers and, likewise, did not show up 
in printouts.


-David

Mark Polesky wrote:
   

Graham,

Your file produces *no* blotches for me with this setup:

Ubuntu 9.10
LilyPond 2.12.3
evince (GNOME Document Viewer) 2.28.1

What is your setup?  Does the blotch appear on paper when
you print it out?  Are you using any included files or have
you altered the default command line options?  It looks like
a problem with the postscript renderer, possibly being a
confusion between the Nonzero-rule and Even-odd rule.

I've CC'd this to some of our font guys (Werner, Patrick,
and Marc) since they might have a better understanding of
this stuff.

Hopefully we'll be able to sort it out soon...  It certainly
doesn't look good!

- Mark





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user


 


-
Graham
   




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Feature

[David Bobroff]

On 2/14/2010 10:25 AM, Robert Clausecker wrote:

Dear Lilypond Team

I was copying some notes with lilypond and wondered myself, if lilypond
supports something like shown in the attachment. This is a part of an
orchestral score. Is such a thing supported by lilypond?

Yours, Robert Clausecker
   



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
   



I needed exactly this same thing some time ago.  Some clever person 
(Mats?) sent me this:


tuningOne = \markup{\score{
{
 \clef bass
 g,2*1/2 f bes,
}
\layout{
 ragged-right=##t
 \context{
   \Staff
   fontSize = #-3
   \override StaffSymbol #'staff-space = #(magstep -3)
   firstClef = ##f
   \remove Time_signature_engraver
 }
}
}}

Hope this helps!

-David
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

space-between-pieces

[David Bobroff]

I'm trying to put extra space between consecutive pieces in a 
\bookpart{} block and have been unsuccessful.  I have looked carefully 
through "4.1.2 Page formatting: Vertical dimensions" and tried a number 
of things, but none of them seems to apply to this situation.  The only 
thing that has done anything to increase the space between pieces is 
inserting:


\markup{ " " }

...between their \score{} blocks.  This helps some, but I'd like a bit 
more space and I'd like to be able to control the amount of space as 
well.  Help?


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond vs Score

[David Bobroff]

On 2/1/2010 9:57 PM, Bobber wrote:
I have been having a discussion with a small publisher who uses the 
music manuscript program called Score.  He says that neither Lilypond 
or Finale can produce engraving that is comparable to Score.  And that 
most of the major music publishers in the world use Score.


Is anyone familiar with Score and what makes it superior?



I have never used Score myself.  I recall that, quite a few years ago, 
when I was first looking for a music printing program I was advised by 
the guy behind the counter that Score was The One. I suspect that this 
was true at the time.  I recall reading somewhere that Score was the 
first software to meet the music publishing industry's standard.  Up to 
that time, published music was either engraved, or manuscript.  I have 
some music in my personal library that was published using Score.  I 
know this because I know the publisher and he told me that he uses 
Score.  When I compare Score output to LilyPond output I would agree 
that it is not comparable.  I think LilyPond looks better.  Perhaps I'm 
a bit biased, but I don't think a strong argument can be put forward 
that Score is obviously superior.  This publisher you've been talking to 
is likely somewhat biased in favor of Score since he uses/understands 
it.  He's probably right when he says that Finale can't compare (I used 
to use Finale, but haven't in several years) and he is also probably 
correct when he says that most major publishing houses use Score.  Then 
again, most large businesses use Windows, too.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Decrescendo on a single note

[David Bobroff]

Tom,

You may find some clues here:

http://www.mail-archive.com/lilypond-user@gnu.org/msg03101.html

Note that this message refers to a rather outdated version (1.7.3) but 
it may help you.  Generally, the trick is to attach the termination of 
the (de)crescendo to a skip value.  You may also need to multiply the 
main note by a fraction to make your measure come out even.


HTH

David

Tom Dickson wrote:

I have a piece that has a decrescendo over the last note -  what's the best way 
to set this?

I tried "c\> \!" but it doesn't work. Is the only option to use a s1?

-tom




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Installing question

[David Bobroff]

cd to the directory where your installer is

chmod 755 

run the installer

-David

Howard wrote:

I have downloaded the Installer to my Limux Suse 10.2 Desktop. I see is is a
Shell Script.

Where do I go from here please ??



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Beginner's questions

[David Bobroff]

I think that the likely problem is that you should change:



to:

2

You have specified a chord and the time values for chords takes place 
after the chord.


-David


Pierre RUEL wrote:

Hello,
I'm just beginning with Lilypond (after some years of practice with 
other notation softwares). In fact I've produced some PC programmed 
music and wan't to use Lilypond as an interface between VBA produced 
.txt code and music.
I have a huge .ly file of more than 400 A4 pages and the .log window 
lists a relatively small number of various errors but indefinitely 
repeated. And I have some difficulty to understand the .log 
observations. For instance, the .log stops at (sorry I'm of french 
mother thongue and use "italiano.ly"):


and the analysis of the soft says:
"syntax error, unexpected STRING, expecting > or DRUM_PITCH or 
MUSIC_FUNCTION or NOTENAME_PITCH"

<
 do''2 reb''2>
Could anybody explain  what is that "guilty" STRING ?

I don't understand either why a > is expected here.

Additional precision: I've a "relative c''" at the beginning and I 
shouldn't write '' after the notes (I believe). In fact I get the same 
errors with or without the '' after the notes themselves.

Thant you for any explanation.
Friendly regards
Pierre


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Very very slow Lilypond uninstall on Windows

[David Bobroff]

I've noticed a similar difference between Linux and Windows uninstall 
times.  My Windows machine is a few years old; 3GHz Pentium with 2Gb RAM 
and the Linux box is a much older machine; 733MHz with maybe 768Mb RAM. 
 The uninstall on the much slower Linux hardware is a few seconds, 
while on the much faster Windows hardware the uninstall takes much 
longer...but not anything like 32 minutes to reach 80%.  Uninstall on my 
Windows (XP) takes maybe a few minutes.


I remember once starting an uninstall on Windows and while that was 
going on I went to my Linux box, uninstalled LilyPond, downloaded a 
newer LP and installed it before the Windows had completed the uninstall.


-David

Nick Payne wrote:
When I install a new version I uninstall the previous one. I have 
noticed, for quite a few versions now, that the uninstall takes a long 
time. I just downloaded 2.13.7 and am waiting for the uninstall of 
2.13.4 to complete. It has been running for about 32 minutes so far and 
the uninstall progress bar is at about 80%.


This machine is dual boot. If I boot into Ubuntu and run the uninstall 
of the same version, it takes only a few seconds to complete. I've tried 
on two different Windows machines, one running Windows 7 and one running 
XP, and the extremely slow uninstall happens on both. Installation on 
both runs quite satisfactorily.


Nick


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: slashSeparator - usage

[David Bobroff]

I don't think I can offer a way to do what you're asking.  I mainly want 
to point out that the slash separator is working as advertised for you. 
 It is used in scores to make it easy to find line breaks in a large 
score particularly when the number of staves changes as instruments are 
removed from the score due to lengthy rests.  One thing you can do is to 
simply number each exercise using the instrument name.  Along with the 
indenting this should make the beginnings, and the endings, of the 
exercises clear enough.


Hope this helps,

David

David Sumbler wrote:

I'm very new to LilyPond - using 2.12.1

I'm doing some pretty simple stuff at the moment, just for my own use.  I am
trying to create a file with some very short single-instrument exercises.  Each
one is only a few staves in length, so I don't want them to have a whole page
each.

Titles would be overkill for what I'm doing (in any case, there are no titles),
so at the moment the start of each new item is only shown by the fact that there
is a time signature at the start of the line.  Because there are lots of repeat
marks in the exercises themselves, the closing double bar doesn't stand out.

I thought that using the slashSeparator between items would make things clearer,
but I only want it after each complete item, not after every line.  I've just
spent about 2 hours trying to figure out how I can do this, without any success
at all!

I've got round the problem by commenting out the "indent = #0" lines that I have
in the layout sections, but I would like to restore them if I can use
slashSeparator.

Can someone help on this one, please?

David



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Using IPA lyrics

[David Bobroff]

I just tried your *.ly code on my machine and it came out fine.  I don't 
see characters on top of each other.  I'm using version 2.13.5.  I can't 
say for sure if there is an issue with IPA and v2.12.2 but it's possible.


-David

Glendan Lawler wrote:
Hello, I need some help:  I'm trying to put some IPA lyrics to a song, 
and it's not coming out right.  Some of the characters are all the way 
on top of eachother How can I fix this?  It wouldn't let me post my 
code in the body, so I attached both my code in .txt format, and the 
output I got from it.  Can anyone help?  Thanks!


Glendan




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Can't get started-no matter how hard I try

[David Bobroff]

I'm not sure exactly what you mean by "open the software." I'm going to 
conclude that you missed a detail about how LilyPond works.  It does 
*not* have an interactive interface like Finale/Sibelius.  To use 
LilyPond you must create/edit a text file which contains the definitions 
of your music.  Then LilyPond processes that file and produces a PDF of 
your music.  You view that PDF and then make additional entries to your 
input (text) file.


Have you read the tutorial or crash course?  Those are good places to start.

-David

Ami Magori Cohen wrote:

Hi,
Thank you very much for this software,and for your help.
After having read about this wonderful software,I have downloaded it and tried 
to get started,but i'm stuck!When I open the software,I see a blank page with 
the title 'Lily Pad'-typing the basic commands didn't produced any notation
[though the test went fine .for houers I read the tutorials etc..but I can't 
find where did I go wrong.I dont see any of the screensots that i'm supposed 
to see[as in the 'Crash Course'].
When things will be clear to me ,I think I will be one of the enthusistic 
members of Lily Pond[think that this will be the first step of moving to 
Linux].
Up til now i'm a windows user,I use a registerd Finale's Print Music.The fact 
that I can work only on one licenced computer[especially when it's not working 
right],besides of Finale's lacks-drives me mad!
Details;I use a R61 Lenovo,Windows xp pro,IE8[browser],I downloaded Lily Pond 
2.10.33-1 for Windows.Thanks,thanks and thanks!!!

 Ami



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Transposing a whole book (pieces in different keys) by a given interval

[David Bobroff]

I've put together some projects that I knew I wanted to be able to 
transpose easily.  What I did was to include a \transpose block for each 
score:


\transpose c c { stuff }

Then I would do a search/replace.  For going up a fourth I would replace 
"transpose c c" with "transpose c f".


That should take everything up a fourth and properly alter your key 
signatures.


-David

Thomas Green wrote:

Yet another transposition question, for which I'd appreciate help.

I have a 'book' containing several scores. The scores are in different keys
- something like Air in C, March in F, and so on. Also, each piece (score)
is set for several instruments. And I have a Lilypond script that compiles
all the music files and generates score and parts. OK so far.

Now, for various reasons, I want to transpose the whole shebang by an
interval - for example, I might want a version for 3 recorders instead of 3
flutes. (That's a familiar baroque transposition.)

What I need, therefore, is an instruction that says "transpose this entire
music book by (say) a fourth". The key signatures all need to be transposed
and the note pitches changed.  (Please note that this is not the same as the
more common problem of scores in which individual parts have to be
transposed.)

I don't see how I can use the \transpose command to transpose the whole
book. First, it only works on a single score, as far as I can figure out.
That's bad enough, since it means adding a lot of \transpose commands to my
script; but I could do that with a smart text editor. The worse problem is
that each \transpose command has to take individual account of the key of
the current score, so for my example of a piece in C followed by a piece in
F, all to be transposed a fourth, I'd need the first command to be
\transpose c f and the second command to be \transpose f bes. 


Is there a Scheme function that will help? Or has somebody maybe written a
preprocessor that will do it? Or anything else? 


Or did I just miss the answer in the manuals and in the archives, in which
would please point me the right way and accept my apologies?

Many thanks

Thomas






___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Drawing lines across staves

[David Bobroff]

Mark Engelberg wrote:

How do I connect a note on one staff to a note on another
staff with a dashed line?

I imagine I want to use a glissando, tweaked to be a dashed line, 
but my searches for "glissando cross staves" have turned up nothing.


Thanks.



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user



You may be looking for "follow voice" tweaked to be a dashed line:

http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Common-notation-for-keyboards#index-follow-voice

-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Accidentals: Unwanted naturals

[David Bobroff]

Graham Percival wrote:

On Sat, Aug 29, 2009 at 04:13:56PM -0400, David Raleigh Arnold wrote:

But in this instance, the majority of coders line up in opposition.
You have shouted down the users, but convinced none.  Why?  Because
you are wrong.


We don't care.
We don't have to.
We're the telephone company.

Cheers,
- Graham "if you don't recognize it, look it up.  It's funny!" Percival


I've seen this discussion come up before.  The coders are not wrong (and 
no, I'm not a coder).  This is the way LilyPond works.  LilyPond is 
designed to take the musical content and render it according to 
established engraving practice.  Musical content includes pitches.  If 
you enter a 'b' in the key of b-flat LilyPond will produce a 'b' as 
LilyPond has no way of knowing what pitch you actually want.  That's the 
pitch you entered.


Likewise if you use TeX, or a high-dollar word processor, and you type 
"there" the program isn't going to know if you should have typed "their" 
or "they're".  It will print it very nicely on the page for you but 
that's all.  YOU supply the information.  The program provides the 
printed output.  It is the user's job to know what information to 
supply.  This includes the actual pitch names.


You can either choose to learn that rule or you can write an extension 
to make LilyPond do it another way.  I rather suspect that the cerebral 
overhead required for the latter is rather higher than simply 
remembering that you must enter complete information for all pitches.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Accidentals: Unwanted naturals

[David Bobroff]

As a follow-up, have the people with "unwanted accidentals" seen this:

http://lilypond.org/doc/v2.13/Documentation/user/lilypond-learning/Accidentals-and-key-signatures#Key-signatures

...and is it not clear?  The last example on that page shouldn't be any 
less clear than the example I gave.


-David

David Bobroff wrote:
Correct.  *ALL* pitches in the input *must* be explicitly given.  The 
key signature assignment tells LilyPond how to display the pitches.  For 
exmaple; 'e' *always* means e-natural no matter what the key signature is.


-David

Simon Mackenzie wrote:

Hi guys correct me if I am wrong.

The g minor chord has two flats Eb & Bb which need to be marked as es 
and bes in Lilypond other wise the Accidental_engraver sees them as 
naturals in the g minor chord, hence the natural symbol for any 
unmarked E or B note in your music.


Just trying to see if I understand this all correctly?
How did I do?
Simon

On 25/08/2009, at 01:39, Sona wrote:

I'm new to Lilypond and the list. So far the code is pretty 
intuitive, but I am stumped by the way accidentals work. Several 
posts deal with this subject, but probably are beyond a novice's 
ability to undertand.


I'm transcribing a modern piece with 2 flats in the key signature 
(I've set \key g \minor). It's rather atonal, though, so it seems 
Lilypond tries to correct pitch by turning every e-flat and b-flat 
into a natural.


What code do I use to override this? The printed result should have 
only 4 accidentals. Right now there are 37, and of course the pitches 
are all off.


What do I put where in what part of the code? I can send my page 
code, if it would be helpful.


Thanks in advance!
cleo





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Accidentals: Unwanted naturals

[David Bobroff]

Correct.  *ALL* pitches in the input *must* be explicitly given.  The 
key signature assignment tells LilyPond how to display the pitches.  For 
exmaple; 'e' *always* means e-natural no matter what the key signature is.


-David

Simon Mackenzie wrote:

Hi guys correct me if I am wrong.

The g minor chord has two flats Eb & Bb which need to be marked as es 
and bes in Lilypond other wise the Accidental_engraver sees them as 
naturals in the g minor chord, hence the natural symbol for any unmarked 
E or B note in your music.


Just trying to see if I understand this all correctly?
How did I do?
Simon

On 25/08/2009, at 01:39, Sona wrote:

I'm new to Lilypond and the list. So far the code is pretty intuitive, 
but I am stumped by the way accidentals work. Several posts deal with 
this subject, but probably are beyond a novice's ability to undertand.


I'm transcribing a modern piece with 2 flats in the key signature 
(I've set \key g \minor). It's rather atonal, though, so it seems 
Lilypond tries to correct pitch by turning every e-flat and b-flat 
into a natural.


What code do I use to override this? The printed result should have 
only 4 accidentals. Right now there are 37, and of course the pitches 
are all off.


What do I put where in what part of the code? I can send my page code, 
if it would be helpful.


Thanks in advance!
cleo





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Accidentals: Unwanted naturals

[David Bobroff]

Without seeing your code we can only speculate about your problem. 
Having said that, however, new users often miss the point that LilyPond 
needs to be told the actual pitch of every note regardless of the key 
signature.  If you're getting, for example, e-naturals when you want 
e-flats, be sure that you are coding for an e-flat.



\key g \minor

e

...will output an e-natural

-David

Sona wrote:
I'm new to Lilypond and the list. So far the code is pretty intuitive, but I am stumped by the way accidentals work. Several posts deal with this subject, but probably are beyond a novice's ability to undertand. 

I'm transcribing a modern piece with 2 flats in the key signature (I've set \key g \minor). It's rather atonal, though, so it seems Lilypond tries to correct pitch by turning every e-flat and b-flat into a natural. 

What code do I use to override this? The printed result should have only 4 accidentals. Right now there are 37, and of course the pitches are all off. 


What do I put where in what part of the code? I can send my page code, if it 
would be helpful.

Thanks in advance!
cleo


  



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: whiteout barlines?

[David Bobroff]

Maybe this will help:

http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Other#index-_005cwhiteout

-David

Stefan Thomas wrote:

Dear community,
I would like to whiteout a bit of the first barline, in the below quoted
example.
Is it possible? Or are there other possible solutions?
Thanks,
Stefan

\version "2.13.0"
right = \relative c {
  \time 6/4
  r4 b2. _\markup { \italic "sempre molto cantabile" } g,2 ~ |
  g4 b'8 d,4. ~ d bes

}
left = \relative c {
  \repeat "unfold" 2 {2.   }
}
\score { \new PianoStaff
  << \new Staff \right
\new Staff \left >> }





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Right block to contain setting of print-first-page-number

[David Bobroff]

I've been using \bookpart myself with very satisfactory results.  I put
print-first-page-number = ##t in the \paper{} block for each \bookpart
block.  I don't, however, necessarily put one piece in a \bookpart
block.  What I often do is put a whole number of pages in a \bookpart
block.  For example, I may have two pieces which occupy three full
pages.  In that case I put the two pieces in a \bookpart block and then
in the \paper block for that \bookpart I'll specify 3 pages.

Here's a stripped example:

\bookpart {
  \score {
\aPiece
  }
  \score {
\anotherPiece
  }
  \paper {
ragged-last-bottom = #f
page-count = #3
print-first-page-number = ##t
  }
}

Note: the above is excerpted from a working *.ly file minus some extra 
stuff specific to my file.  It exists inside a \book block.


-David

Richard Sabey wrote:

I am trying to lay out a book containing 5 songs. There is a
\bookpart block for the title page, then a \bookpart block for each
song. There is no explicit \book block. How do I get page numbers on
all pages, including the first page for each song, except the title
page? I have tried setting

print-first-page-number= ##t

successively in two places, but to no avail. The two places I tried
were: * in the \layout block in the \score block in each song's
\bookpart block. * in a \paper block in each song's \bookpart block.

What is the right place to put it?

I am using Lilypond version 2.12.2 on Windows XP. 
_ 
Windows Live Messenger: Happy 10-Year Anniversary—get free winks and

emoticons. http://clk.atdmt.com/UKM/go/157562755/direct/01/





___ lilypond-user mailing
list lilypond-user@gnu.org 
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

manual volta help

[David Bobroff]

The following is giving me almost what I'm after.  A couple things are 
evading my attempts to solve them.


1) I want to print the volta texts as \italic (for some reason the "rs" 
of "GFirst" is coming out italicized as is.


2) I would like to close the volta box on the right side of the "Fine" 
volta.


-David



\version "2.13.0"

\relative c' {
  c1
  \set Score.repeatCommands = #'((volta "Fine"))
  c1 \bar "||"
   \set Score.repeatCommands = #'((volta "First"))
  c1
   \set Score.repeatCommands = #'((volta #f))
  c1
}


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

text with \musicglyph

[David Bobroff]

I'm trying to create a \mark which contains:

\markup {\bold \large "D.S. al" \musicglyph #"scripts.varcoda" }

...and I'm not getting entirely what I need.  The varcoda sign is too 
low and too close to the preceding text.  I've been searching through 
the docs to find a solution and have not yet come across what I need.


Ideas?

-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

varSign?

[David Bobroff]

I ran across a variant of "Segno" which can be viewed here:

http://notendur.centrum.is/~bobroff/varSign/varSign.html

It's pretty obvious; it's just to the right of the time signature.  I 
don't think I can produce a cleaner one but I was wondering if this 
glyph could be added.  LilyPond already has a varCoda but I did not find 
a varSign.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Parallel music coming out in series

[David Bobroff]

I don't have the inventions available to look at but my memory says that 
the ornament should occur on beat 4 on the 'b8'.  You've put in too much 
skip time in the UpperOrnamentVoice.  It starts:


s2 s1

...which is equal to six beats.  Typo?  Change it to:

s2 s4

..or..

s2.


...and your problem should disappear, I think.

-David

Tim Rowe wrote:

Ok, I leave Lilypond alone for a while, and I forget it all -- it's
not for the occasional user, is it? At least not an absent-minded one.

I'm simply trying to set a piece of music in two parts. I could
cut-and paste something that works, and if nobody can spare the time
then that's what I'll do. But then I won't understand why what I've
tried *doesn't* work, so if anybody could explain why what I'm doing
is wrong I'd be really glad!

What I have is:
\score {
  \new PianoStaff <<
\set PianoStaff.instrumentName = #"Piano  "
\new Staff << \UpperMelodyVoice \\ \UpperOrnamentVoice >>
\new Staff \lower
  >>
  \layout { }
  \midi { }
}

I was hoping for the contents of \UpperMelodyVoice to be printed in
the same clef as \UpperOrnamentVoice, to be played at the same time.
Instead \UpperOrnamentVoice is typeset *after* \UpperOrnamentVoice.

In case it makes a difference:

UpperMelodyVoice = \relative c'
{
  \tempo 4 = 80
  \clef treble
  \key c \major
  \time 4/4
  r16 c( d e f d e c g'8-.) c( b c-. |
 }

 UpperOrnamentVoice = \relative c''
 {
   s2 s1 b64( a b32) s16 s8
 }

lower = \relative c {
  \clef bass
  \key c \major
  \time 4/4

  r2 r16 c( d e f d e c |
}

(Yes, it's one bar of Bach's 2-part invention in C, and I've separated
the ornamentation because the beams and phrase marks got tricky later
on if I try to include them within the same line).

I bet it's simple, but what *am* I doing wrong?





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: how to add a utf-8 character to the title

[David Bobroff]

If you're using a UTF-8 aware editor it should be a simple matter to 
simply enter your accented 'e' in your input file and have it appear in 
the output.  Is your editor UTF-8 aware/capable and are you saving the 
file as UTF-8?


-David

Brian Kidd wrote:

hello,

this seems like a simple thing, but i've been unable to find anything in 
the archives and the documentation.


basically, i'd like to add a title that contains an accented character 
(unicode = 00e9). outside of lilypond the title would be:

Sinte' Intro

i can create the variable
accentE = #(ly:export (ly:wide-char->utf-8 #x00e9))

and then i've tried

i've tried:
\header{
  title = "Sint" \accentE " Intro"
}

however, this doesn't work. how can i concatenate these strings and 
utf-8 character to have the correct title?


thanks,
-brian


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Looking for Time signature tweak

[David Bobroff]

It would be easier for someone here to find the problem if you posted 
your input code.


-David

Villum Sejersen wrote:
I am presently typesetting (version 2.13.2) a small SATB motet from the 
composer's 23-years old original hand-written manuscript. As usual in 
such cases finding out what was actually written or meant is by itself 
quite a challenge ;-)


The music goes: \time 6/4 (4 bars), \time 7/4,  \time 3/4, \time 6/4 (4 
bars), \time 7/4, \time 6/4. No problems so far.


Trying to mimic the layout of the manuscript as far as possible in the 
pdf I have come across a small problem:


Only the very first time signature shows the ordinary 6/4. All 
subsequent time signatures are shown with a large number only, spanning 
the whole system (no /4).


The solution I am sure is shown or at at least hinted at somewhere in 
the new (2.13.2 at Kainhofer) documentation, the Snippets List or for 
that matter the old documentation or the old LSR, but I have not yet 
been able to dig deep enough to find out where.


Anyone to direct or exemplify? thanks.


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: getting rid of ' and , in older scores

[David Bobroff]

jEdit, or any decent editor for that matter, has a 'search/replace' 
function.  Can't you simply search for ' and , and replace with 
?  This would cost you a few seconds per file.  I imagine that 
you could also use sed to do this even faster.


-David

Father Gordon Gilbert wrote:

Hi all,

I've quite a number of older scores I've worked on over the years, starting
with version 2.2.0 (and some from Mutopia even older than that.  I have
successfully used convert-ly on them to bring syntax up-to-date.  But I did
many of them before \relative was as easy-to-use as it is now -- even just
using ' and '' and , and ,, to indicate octave ranges.

I'd like to put \relative at the top of all my part sections, and delete all
the octave markers.  Is there any *elegant* way to go through these scores
and eliminate all of the ' and , without deleting each and every one?

I'm using LilyPond 2.12.1 on either Windows XP Home or Ubuntu Jaunty, with
jEdit 4.3pre16 and LilyPondTool.

I always appreciate the valuable advice see on this list.

Blessings,

Gordon+





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Specialist staff for Hungarian bagipe

[David Bobroff]

I'm sure you can get LilyPond to do what you need.  Start here:

http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Modifying-single-staves#Modifying-single-staves

-David

Arle Lommel wrote:
I have made a specialist notation for notating the Hungarian bagpipe and 
am hoping to figure out a way to emulate this notation in Lilypond. 
Since I'm relatively new to Lilypond, I may have missed something 
obvious, but I have searched the documentation to try to figure it out 
and not found anything obvious. Some of the percussion type staffs come 
close to my needs, but aren't quite there (and aren't notated 
appropriately).


I've made an example of the staff I need here:

http://dl.getdropbox.com/u/223919/specialStaves.png

The lower part (labeled kontra) is a staff for a chanter pipe (one of 
two in this case) that has only two pitches. While I've made a special 
cleff (the AE bit), I could live without it (I would prefer it though 
since it makes the notation simpler to follow).


The upper part is a standard staff with treble clef and needs no special 
attention. So my goal is to place this two-line staff (with extra 
spacing between the two lines) below the main staff and assign a voice 
to it. Since there are only two possible pitches, I need to assign the 
pitches of A and E (both the ones above middle C) to those lines. Their 
behavior would be like a regular staff aside from the strange spacing 
and clef.


Again, I've tried to figure out how to assign custom staff types and 
clefs, etc., but I think my request is unusual enough that I've just not 
found anything directly relevant.


(And yes, I could use a two-staff system or two voices in one staff, but 
this notation has the advantage of being clearer for the purposes of 
illustrating what I need to.)


Any help, pointers in the right direction, etc. would be much 
appreciated (even of the "you missed the obvious in section x.x.xx of 
the documentation" sort of thing).


Best regards,

Arle Lommel


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

indentation question

[David Bobroff]

I noticed something which seemed peculiar to me.  When editing a *.ly 
file I found I got an error when using \appoggiatura inside a slur.  I 
realized that this was probably due to \appoggiatura using a normal slur 
construct.  When I used a phrasing slurs around the \appoggiatura the 
error went away.  Fair enough.  What was odd, though, was that when 
using phrasing slurs the indentation rules (in emacs, at least) would 
cause everything between the \( and \) to be indented a level.  Is this 
intentional?  The same applies for forced beams.  Is this the way 
indentation should work for things like phrasing slurs and forced beams?


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Confused about asterisk notation

[David Bobroff]

Brandon Olivares wrote:

Hi,

I converted a midi to lilypond format, and am trying to make my way through
the notation.

One of the tracks starts with this:

s16*259 16 16 16 s16 16 16

I get that s16, I think, is pretty much equivalent to a 16th rest for that
voice? But what's s16*259? Is that a ridiculously short rest, or 259 16th
rests?

I'm thinking the former, but it's not making much sense.

Thanks,
Brandon




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user



The "*" is a multiplication sign.  "s16*259" means "skip (i.e. invisible 
rest) a 16th note 259 times.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Stroked quarter note

[David Bobroff]

Alberto Simões wrote:

Hello

I am transcribing a music that uses a lot of quarter notes that have
their beam stroked. Acccordingly with my few music knowledge, this means
that the note can be splited in two notes.

Any body knows how to mimic this in Lylipond?
I just found it for grace notes.

Thank you
Alberto


Is this what you're looking for?

http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Short-repeats#Tremolo-repeats

David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: memory problem?

[David Bobroff]

Valentin Villenave wrote:

2009/4/29 David Bobroff :

Cannot allocate memory


How much RAM and swapfile amount do you have?


2Gb physical RAM.  On the coLinux side there is a swap file that claims 
to be 524,288kb (512Mb?) and on the Windows side the paging file for 
virtual memory is 2,046Mb.


I infer from your question that there may be a memory issue to deal with.

-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

memory problem?

[David Bobroff]

I'm having a problem that I don't understand.  I have a file which makes 
a book of etudes.  I'm using a series of \bookpart{} blocks inside a 
\book{} block.  When I try to run the whole thing I get this at the end 
of the terminal output:


Layout output to `ten.ps'...
Converting to 
`./ten.pdf'.../usr/local/lilypond/usr/share/lilypond/current/scm/backend-library.scm:24:15: 
In procedure system in expression (system silenced):
/usr/local/lilypond/usr/share/lilypond/current/scm/backend-library.scm:24:15: 
Cannot allocate memory

bash-3.2# emacs&
[8] 7951
bash-3.2#

I tried to learn if the problem was a particular section of either the 
file I'm using to generate the book or with the definitions file which 
is separate.  I tried commenting out the second half and then the first 
half.  Both halves worked independently without trouble.  When I try to 
run the whole thing I get the above.  The definitions file is 5,000+ lines.


I'm running LilyPond mostly inside coLinux on an XP machine.  I thought 
maybe that could have something to do with this. I tried running the 
same files natively in Windows.  Same result, except that the Windows 
command prompt was not so generous with the mode of failure.  All I got was:


Layout output to `ten.ps'...
Converting to `./ten.pdf'...
error: failed files: "ten"

Ideas?

-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Transpose

[David Bobroff]

Maybe if you posted your *.ly file we could give you a more informative 
answer.  Without seeing that it is difficult to diagnose your problem.


-David

Ossie Wilson Snr wrote:

I am using LP 2.8.6 on a Windows 98 300MHz machine.

 


My current problem is in transposing a song (for a grand daughter) and a
whole bunch of double accidentals and natural/accidental combinations have
turned up in the resultant printout - not too good for fast recognition by
the accompanist (according to my wife). I have found a snippet quoted in NR
1.1.2 for LP 2.12.2 which looks like it could do a simplifying job on the
music, but is designed for another notation language other than English. As
I wouldn't know an 'es' or an 'is' if I fell over them and know nothing
about scheme, I am asking has someone already translated this for an English
notation and whether this snippet could be applied to LP 2.8.6.

 


Thanks in advance to all who read and and can help.

 


Ossie Wilson






___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: very big pdf ps

[David Bobroff]

Point and click is on by default.  I saw no switching off of point and 
click.  This would greatly reduce the size of the PDF.


-David

Francois Planiol wrote:

Hi dear lilyponders,

I set a piece for organ (see source here); the admin of the webpage where the 
piece is published asked if its possible to reduce the size of the output. I 
dont understand why this one is so big.


I still use 2.11.41 on Suse Linux 10.1

Thanks in advance and best greetings

Francois

Here the source:

\version "2.11.41"



 [snip]


% the score
%{ \header {
title = ""
}
%}
\score {
   <<
  \new PianoStaff 
  \with {

%  \override VerticalAlignment #'forced-distance = #9
\override BarLine #'X-extent = #'(0 . 0.3)
  }

  {
 \set PianoStaff.instrumentName = \markup { \large "Gd Choeur" }
 <<
\context Staff = right {
   \context Voice = right \right
}
\context Staff = left {
   \context Voice = left \left
}
 >>
  }
  \context Staff = pedal {
 \set Staff.instrumentName = \markup { \large "Pédale" \hspace #1.8 }
 \context Voice = pedal \pedal
  }

   >>

   \layout{
%   line-width = #175
   }
}

\markup {Das Entfernen von Werbeblöcke oder dieser Hinweis ist nicht zulässig 
und gleicht einer Verletzung des Urheberrechts! -- Maintainer: François 
Planiol}



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

auto-beaming

[David Bobroff]

I'm trying to work out some auto-beaming modifications.

In 2/4 time I want:

4 8th notes beamed
4 16th notes beamed
8 32nd notes beamed with a subdivision at the 8th note level

Is this possible?  I understand that I'll need to revert some beaming 
rules in auto-beam.scm.  Frankly, I get a bit lost when working out 
which rules need to be reverted.  First, I just need to know if my 
auto-beaming wish can be made to happen.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: "Orphaned pages"

[David Bobroff]

Håvar Skaugen wrote:

Hello

Thanks for developing lilypond. I have begun to typeset all my music 
with lilypond and I'm very content with the results. However, there's 
one feature I'm missing:


Is it possible to make lilypond avoid orphaned pages; pages that have 
only one staff or system. These orphaned pages often appear when I make 
individual parts from my scores. Would it be possible for lilypond to 
automatically detect orphaned pages and make the staff size slightly 
smaller until the page disappears?




Check section:

4.1.2 Page formatting

...in the docs.  I think system-count and/or page-count will do what you 
want.


David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Multi measure rest for non 4/4 measures

[David Bobroff]

Check the section on whole measure rests.  You should have a capital 'R' 
instead of a lower case 'r' after your time signature.


-David

lucifree wrote:

Hi

I wanted to have something like that :

\set Score.skipBars = ##t
\time 12/8  r1*12/8*4
ie the multi measure rest with a big 4 on top of it, meaning 4 12/8 
measures.


This works well for basic 4/4 time, but I don't succeed in not 4/4. Is 
there a trick to have this ?


Thanks,
L.



___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Drum writing...is there a way to save and recall custom commands?

[David Bobroff]

RandomLilyPondUser wrote:

I'm writing drum scores, and it takes a lot of copy and pasting for flams,
ruffs, and gracenotes.
For example, every time I need a flam, I have to paste this entire code:

\override Stem #'length = #4
\acciaccatura {sn8}
\revert Stem #'length
sn4

is there a way I can make a pointer to the code so I can type in something
like snflam that will call those lines
of code, so I don't have to paste all that stuff for every flam? 


I think you can simply define 'snflam' like so:

snflam =
{
\override Stem #'length = #4
\acciaccatura {sn8}
\revert Stem #'length
sn4
}

..and then use it like this:

\snflam

when you would formerly type all that stuff you were doing before.

-David



___
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

[David Bobroff]

I've noticed that myself.  For me the answer was to *print* the PDF with 
Acrobat Reader.


-David

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.

Thanks,
Chip
==
\version "2.12.1"
\layout {  indent = #0
 line-width = #195
 ragged-last = ##t
}
\include "english.ly"
#(set-default-paper-size "letter")

global = {
 #(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff)
 #(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff)
 #(override-auto-beam-setting '(end 1 8 * *) 3 4 'Staff)
 \override MultiMeasureRest #'expand-limit = 1
 \set Score.skipBars = ##t
 \numericTimeSignature
 #(set-global-staff-size 18)
}
\paper {
#(define page-breaking ly:minimal-breaking)
 between-system-padding = #0.1
}
\book {
 \header {
   title = "Ras Jammie - Thin Line"
   instrument = "Tenor Sax" }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxHooked.ly"
   }
   \header {piece = "Hooked (EMaj - F#m)"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxDaddy.ly"
   }
   \header {piece = "Daddy Won't Mind (FMaj - Gm)"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxSometimey.ly"
   }
   \header {piece = "Sometimey People (Cm - Fm)"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxBlack.ly"
   }
   \header {piece = "Black Day (Em - GMaj)"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxJah.ly"
   }
   \header {piece = "Jah Son (Em - F#m)"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxRunaway.ly"
   }
   \header {piece = "Runaway Slave"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxAnxiety.ly"
   }
   \header {piece = "Anxiety Attack"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxFroggy.ly"
   }
   \header {piece = "Froggy"}
 }
\score {
\relative c'' { \time 4/4 \global
\include "RasJammie\SaxMore.ly"
   }
   \header {piece = "More"}
 }
}


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Fermata on bar line

[David Bobroff]

Tim Yang wrote:

Hi:

How do I put a fermata  on the bar line instead on top of a note?



I think what's generally done is to put a fermata inside a \mark which 
will place it directly over the barline.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: line missing from portato and tenuto

[David Bobroff]

abqconlon wrote:

I am using the \portato and \tenuto to add articulations to my music. In both
cases the horizontal line does not appear in the PDF. In the case of the
portato, the dot does appear so it looks like a staccato. my \staccato and
\accent and others that I have tried work fine.


One possibility that immediately comes to mind is to wonder if it's an 
issue with the PDF viewer you're using.  I've had things look wrong and 
print wrong when using jPedal. When these same PDFs were viewed with 
Acroread they looked and printed just fine.  You didn't say what PDF 
reader you use so this is only a guess.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: another newbie download problem

[David Bobroff]

Pierre Russell Straddler wrote:

preface:  I just got a "top posting" error message, which I've never seen
before.  I apologise for this breech of protocol and etiquette




Hi there


I tried to download Lilypond from the lilypond site.  When I "do what I am told"
(i.e. "open with text editor) I get this message:

could not open the file /tmp/lilypond-2.10.33-1.linux-x86.sh.
gedit has not been able to detect the character coding.  Please check that you
are nopt trying to open a binary file.  Select a character coding from the menu
and try again

(my choices are Current Locale (UTF-8) and Western (ISO-8859-15)

neither of which work.

That said,

lilypond-2.10.33-1.linux-x86.sh 


is sitting on my desktop.

I open a terminal window and type

sh lilypond-2.10.33-1.linux-x86.sh 


and I get the error

sh: can't open lilypond-2.10.33-1.linux-x86.sh


?

so I looked around a little bit and found this:





I downloaded the file from website, but when tried to open it got a message:

Could not open the file /home/anne/Desktop/lilypond-2.10.33-1.linux-ppc.sh.

Yes; apparently gedit is trying to open the .sh files as shell
scripts; however the LilyPond distribution is actually a "shar"
self-extracting archive (same extension, but completely different size
and data in it).

You just have to _execute_ this file:

just open a terminal, and type

cd ~/Desktop
sudo lilypond-2.10.33-1.linux-ppc.sh




+ + +


I am not a power PC user, but instead an x86 user with the latest version of
Ubuntu and so I typed:

the cd ~/Desktop
sudo lilypond-2.10.33.-1.linux-x86.sh

still didn't work.  I get the error

"Can't open lilypond-2.10.33.-1.linux-x86.sh"


Anyone?  Please?


Well one thing I see is that the filename is wrong.  You have:

lilypond-2.10.33.-1.linux-x86.sh

and it should be:

lilypond-2.10.33-1.linux-x86.sh

That is, no dot following the '33' in the filename.  You may also need 
to do a chmod to make the file executable.


Hope this helps,

David



Thanking you!

Pierre Russell Straddler




___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: two-pass line breaking

[David Bobroff]

Basil,

I've massaged your input file a bit.  I think this produces what you want.

Notice I commented out the Score.timing line.

%
melody = \relative c'
{
%\set Score.timing = ##f
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
}

tweaks = {
\break
\skip 1*4/1 % why the /1 ?  It's not necessary
\break
\skip 1*4/1
\break
\skip 1*4/1
\break
}

\score {
\context Staff
<<
\melody
\tweaks
>>
}

%

Basil Crow wrote:

Dear list,

Suppose I have a .ly file with Score.timing set to false and no line 
breaks (that is, everything is typeset on one line):


\relative c'
{
\set Score.timing = ##f
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
f4 g a b
}

Now suppose I have the following preprocessed line breaks:

tweaks = {
\break
\skip 1*4/1
\break
\skip 1*4/1
\break
\skip 1*4/1
\break
}

How can I integrated these breaks into the score?

Basil


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user





___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Why do so many newcomers post to bug-lilypond?

[David Bobroff]

Mats Bengtsson wrote:
Can anybody explain why 90% of all the newcomers who send a "how do I 
run the program" or "how do I install the program" or similar, send it 
to bug-lilypond instead of lilypond-user? Where on the web is the bug 
mailing list so much more visible than the usage list? Or, perhaps we 
have some misleading instruction somewhere?


  /Mats



I've noticed that, too.  I just took a look at the LilyPond home page. 
I clicked on the "About" link and saw references to the different lists. 
 Maybe the first item listed there shouldn't be "Questions or 
comments?" Maybe an entry called "Need help?" would be more likely to 
send folks to the -user list.  Maybe a "Need help?" link on the main 
page directing newcomers to -user would help.


-David


___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user