Re: Cross-hand notation
Hello: The actual indication for notes played by the unexpected hand is M.D. (main droit) for right hand and M.G. (main gauche) for left hand. In this case, French is used instead of Italian. cheers, davidf On 28 April 2010 13:57, bipll de...@mail.ru wrote: Hi, list. I'm stuck with a symbol. On a piano staff there's a symbol, looking like square semibracket, suggesting that the note on a hand's staff should be played with another hand, actually (don't know how it is called in English, for, to begin with, I don't know how it is called in Russian). Here it is, in red: http://old.nabble.com/file/p28393898/bar.png bar.png How should I code it in ly? I was unable to find something alike in the Reference. Draw it with postscript or what? Thanks. -- View this message in context: http://old.nabble.com/Cross-hand-notation-tp28393898p28393898.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Fwd: lilypond on eee pc]
I tried the Xandros distribution but soon realised that many of the applications i needed to run just would not run right on Xandros. My Eee Pc 1000 only startedd performing well for me when I installed Easy Peasy. It is a Netbook version of Ubuntu. However, I really hated the desktop setup which the Ubuntu folks seem so proud of. I eventually settled on EEEbuntu. It is also a Ubuntu type distribution but without the Netbook-type button desktop. I am happy with this distribution and recomend it because of its basically uncluttered look. You *must* visit the Netbook Kernel repository at www.array.org . . There you will find custom kernels for any of the Asus netbooks as well as some others. These kernels enable ease, the wireless networking as well as many of the other functions controlled by special key combinations. The standard version of Lilypond in Ubuntu Jaunty is 2.12.0 which I believe is Lilypond's stable version. However, the unstable 2.13 versions will work just as well using the install script from lilypond. The only problem I am having currently is that jEdit hangs half-way through start-up. This is a new problem so it is not a problem with the hardware or distribution itself. Its some configuration problem which I have yet to find a solution for. All told, I'm quite happy with my eee pc 1000 running linux, just not the Xandros pre-installed version. cheers, davidf 2009/10/5 Jan-Peter Voigt jp.vo...@gmx.de: Hello eeePc-Users, Ubuntu and Kubuntu both come in 'netbook remix' form. I think that has more to do with user interface than with size of the install, but it's worth looking into. That's right, I am using Ubuntu Netbook Remix on an eeepc 900a. I think its worth looking at ubuntu.com to see, if the model is supported well. Ubuntu has the stable (2.12) release of Lilypond in its repositories and I think there is someone who maintains a Launchpad PPA with the latest 2.13 and other related packages. Yes, the UNR is a complete distro, so you have to watch your diskspace, but it means you can install anything incuding lilypond. I used the distro version 2.12.1 and lately installed 2.13.5 from the x86-any-download. Both run fine here :) This is not a good workingmachine because: I get headaches from working on a 7 screen ;) But its really great that I can fix mistakes and typos on the road and print resulting PDFs almost anywhere I find a printer! It should be possible to try a live-image, if there is enough memory. Good luck to you, another lilypond fan ;) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems with learning lilypond
Regarding those questions I didn't know how to word in an understandable way; my reasons for just simply letting them sit unasked is that in my experience, it means I've missed something along the way to the problem. So just hanging tough and letting the problem sit while I go on with soe other portion of my project usually results in either finding the answer to my problem along the way as I proceed, or finding a way to ask the question. There are the times when just going back and making sure that every single render error I get is solved no matter how small, ends up making the original problem go away. At a time like this, I've very glad I didn't rush to the list and try to ask that question. It turns out that no matter how small or insignificant you think the error is, it has repercussions down the road for something else. So rather than speaking or asking in haste, I choose to keep working ahead by going back and making sure that all the little problems I think are of insignificant are taken care of. Regarding jazz chords, I can only speak from what I see on this list. Others have greater insight into the whole Lilypond development process, so I am not surprised that it was far more complex than what I saw here. I knew these were more complex problems than a simple lead sheet since I've talked with guitar players and compared the exact notes they play with the ones I know to be associated with any one chord. I learned a whole lot from that conversation, probably more than the guitar player thought that I learned. Again, it was a matter of perspective; how things look from where you are standing at the moment. As it happened, the right people spoke up at the right time. They said things in a concise way where I would have attempted (and probably failed) to say the same thing in a most awkward and round about way. There is a great deal of expertise in this group, it doesn't all come from progammers, but from everyone who uses Lilypond, it comes from everyone who uses Lillypond. Also, remember that my time zone is GMT -8, so I am one of the last people on this list to see anything posted. That affects how I see things or how I am seen to respond to things. Scheme: I know beyond a doubt that scheme is important. Understanding it can make your work much easier and a lack of understanding can make life with Lilypond a nightmare. I will eventually understand what I need to know about scheme, it just will not be this very moment If I had to say one thing that is wrong with documentation is that the people doing the documentation assume to much about the state of the reader's knowledge. What may seem obvious to you, may not be to the person reading your documentation. Unix/Linux man files are filled with some of the most information recorded anywhere. However, their terse style makes them difficult for many new users to understand. Lilypond's documentation used to be very similar in style. This is no longer the case, it has come a long way from that terse man file style to where it is now. So kudos to those who have contributed, your work is most appreciated. Also, to those who have contributed examples to the unofficial snippets repository, your contributions are high on my list of valuable contributions to Lilypond documentation. Many times I have found answers to my questions in the snippets respository when I had about given up. For me, a picture is worth a several million words. To sum up, thanks to everyone who has contributed even in a small way to Lilypond. Lilypond is as impoirtant to me as Open Office and Firefox combined. This is not hyperboly, I'd be lost without it. cheers, davidf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems with learning lilypond
The documentation for Lilypond has one problem; it is, as the program is itself, under development. It is screamingly frustrating for us non-programmer users. However, that said, it is changing because it is not nearly finished, it is required to print many different kinds of music. The Learning Manual was scarcely present when i started using Lilypond. It has changed and is continuing to change. That is frequently frustrating because things you knew were in a certain spot get changed. Sometimes its like quicksand. The ground changes beneath you as you walk on it. But that is life with a program under development. Even having read the Learning Manual, applying it in different situations is not always easy. Personally I have found that asking the question on the mailing list is not as helpful as spending a little time struggling with the problem. Most of the time I find solutions. Unfortunately, what I need Lilypond for isn't small projects. So even If I've gone through the Learning Manual start to finish, its still like I've been thrown into the deep end of a swimming pool and told to swim. As you can see, I haven't drowned yet. There's lots I don't understand yet but I'll get there. Since I usually am working with piano music, I have found that working with a 4 voiced template to begin with is the best way too go. Most piano music is basically four voiced music despite what you may see on the page. I learned that by working with it over a period of time. No one told me that. Because, the improvements being made to Lilypond are occurring in the development versions I have found that using them has been the best way for me to use Llilypond. That will not be true for everyone. Everyone's experience with Lilypond will be different. I know I learn best when I am working hands on. I don't learn very well from manuals with theoretical examples. So I've adjusted how I work with Llilypond to account for that. I use the snippets library a lot. Lots of the time the things I want to do are out of the ordinary anyway, but that's life with Western European Music. It is extremely complex. Call this a rant if you want, but I do not mean it as such. I'm just stating that the Lilypond documentation is not perfect, it is changing almost as we speak and patience with it is required. From the very little I have encountered with GUI music notation editors, they are not much easier than Lilypond. At least with Lilypond you can get some quick impressive results with just an editor and a command line. Scheme just frustrates me. Everytime I think I've gotten a handle on it there's a curve ball thrown at. Obviously I haven't grasped it quite yet. I'm not letting this stop me from completing projects though --- I just keep going and learning a little more each time. Patience is what is required. Despite my lack of understanding, I have managed to complete some pretty complex scores on my own. I'm just stubborn enough to keep at it. The reason that adult beginners hardly ever do well when learning to play the piano isn't because their fingers cannot do what is required, they fail because they are not patient enough to keep practising simple things until their fingers acquire the technique to do what their minds have already learned. I think Lilypond is something like that. In both cases, patience and some dogged determination are required to learn the skills needed to do what you want. One other thing, much of the time I have questions, but do not know how to ask the question. That is extremely frustrating and I don't know if there is anything you can do about it. Sometimes i just don't know the correct terminology to use. Many things that are assumed when you are playing the music are not assumed when you are typesetting the music. I've tripped over that one many times. Lilypond isn't perfect, recently the way Lilypond works with Jazz chords and lead sheets has undergone drastic change. This was a matter of those who knew something some of the developers did not know or understand taking the time to explain how things worked in real life. It is difficult to tell an expert that he may be wrong about something. Choosing words carefully gets good results, rants almost never get the required results. I don't like the quicksand any more than anyone else, but considering the state of the program, that is the way things are. Enough said. cheers, davidf -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
In my discussion with my jazz professional, we looked at complex chords, in fact we deliberately looked for complex ones to find out how they were expressed. We found, quite amazingly that the more complex the chord got the more ambiguous its name became. The other thing we noted is that frequently, the note which was noted in a complex chord name was part of the melody. Thus, naming it became irrelevant in the context of performing. Begin the Beguine is a good example. The turn is essentially repetitions of the same phrase over and over again varied slightly each time. Around bar 60, part of the melody is embellished so that the d minor 7th chord flattens the 5th (by means of the melody), then goes on to stretch the chord even further until you have (implied by the melody again) a chord that has a diminished triad on the bottom, the middle is a minor chord then a major 7th is added to that. After that, Cole Porter's melody line descends in whats alsmost a complete whole tone scale. However, the Sher Real Standards Book only notes the dm7th chord. Good musicians can find their way without getting overly detailed. As we found out, the more complex chords were almost always made complex by melodic means. Attempting to note all the detailed complexity destroyed the intention of what was mean to be a kind of short hand. It also cluttered the score making it harder to sight read rather than easier. Further from this note about seriously complex chords, an indication of c13th not only means that you add a thirteenth but alerts the player that some of the expected 7th and 9ths will likely be left out. As much as it is an indication of what note to play, it can also imply what not to play. You are right, the bass lead sheet is the origin of the indications for the keyboard player. In looking through much music, they are rare events (ususaly) occuring at cadence points where it was important that the keyboard and bass players knew more precisely what the other was playing. From my observations what they most frequently do is indicate the inversion of the named chord to be used. The only tune I found with used them for extended portions of a tune was Bill Evans Waltz for Debbie where it is a part of a specific modulation. But again it is simply pointing out the correct inversion of the chord from the bass part. One other custom I was told about was that unlike the usual custom of placing the key signature at the beginning of each line, the correct way for jazz musicians to write a score is to note the key signature and time signatures only at the beginning of a piece or where they change. The Sher books follow this custom. However this is not really a problem for lilypond because it can be more or less easily done with methods already in Lilypond. The Sher publications I'm using are based themselves on sources that Lilypond has already noted, So it seems there is at least some general agreement that these sources are authentic and close to what is actually used. I will note one thing i observed when actaully taking a score to the piano is that the notation of em7 b5 told me more quickly which notes to change in the chord. When I came to a half dimished symbol i had to think through more steps to get to the right notes. I don't know if others have this experience, but it could answer the question of why its use began. I think all that is left to be done here is see what the programmers come up with and give it a try. Beyond this is a job for the musicology crowd. cheers, davidf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
Hi: I did, as I mentioned earlier, visit my local music store and looked at their selection of fake books. I found what was the first legally published one in its new format. I was dissa pointed. Although it was as nicely typeset as the New Rea Book from Shur Music, there was no explanation of what their chords meant. There was simply an index of tunes along with composition and copyright credits. The notes themselves looked as if they had been typset as any music book wouldl have been. The chord indications, howver, looked as if they had been manually entered. So I could see where any standard way of entering chord names slightly changed from time to timne and from context to context. I am impressed with The New Reall Book series from Sher because of the way it is documented and the way they have gone about making sure each tune is following a real standard way of playin the changes. I own some of the recordings they have consulted so I have checked against their source. They've had to make some decisions of their own on a standard way of notating this since they actually send this to print. LIlypond doesn't have to make those choices, merely enable us to express the notes the way we or the composer/arranger intended. The notation that I was mainly concerned with was how to enter a bass note with the chord indication. I must say, I was shocked. I was both right and wrong in my assertions that the bass note was indicated under the chord name. The bass note was under the chord name, but with a slash not a straight line as I had stated. So, you can see how I was right and wrong. The slash with the chord name under the chord as they indicate in that publication would conform to what I have known to be correct in the past. I think now, that the chord along with the intended bass note belong together as an element or object in themselves. Alterations of the chord are a second element or object beside the chord name. These do not happen frequently, but when they do, they are important. Mostly they indicate an inversion of the chord named. These seem to occur most frequently at cadence points. An example occurs in the last bars of All the Things You Are where there is a progression with a step-wise bass pattern moving from a firIst inversion of the named chord and ending on the root position. In some cases there are going to be chord indications on each beat. Collisions willl be inevitable. It seems the slash with the bass note close under the chord name made this easier to read. I gather the slash would have naturally happend when copyists wrote these charts out by hand. Mostly being right handed the slant would naturally occur. What I saw in that publiation was for the most part clear and readable. I won't argue for or against any one way at this point, just for clarity and compactness. When I get a chance, I will call my Jazz musician friends and see how they expect to see it written. We have a major jazz festival in progress here so everyone is seriously busy. (There was a very good trumpet player int he store trying out instruments and having a long discussion with the sales person about lacquer and how thick it is and what it does to the sound!--- I know, seriously off topic). Lilypond should not seek to make a new method of entering this type of notation, it shoud simply enable copyists to make their music look the way they or the composer intended and to do it in a way that makes it easy for performing musicians to read. Am I makeing sense here? cheers, davidf -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond and Jazz chords
-- Forwarded message -- From: David Fedoruk david.fedo...@gmail.com Date: Sun, Jul 12, 2009 at 4:25 PM Subject: Re: Lilypond and Jazz chords To: Carl D. Sorensen c_soren...@byu.edu Hello: I've seen a number of people talking about the right way to name chords used in jazz. The problem is that there is no one right way currently. Jazz chords come under the classification of performance practice, passed down from teacher to student and from musican to musician over the decades. It is only an approxamation of what chords are actually played. You can make all the methods and naming schemes you want but in the end, what counts is what jazz musicans themselves are using. My breif encounters with one person currenty working in the business with a piano jazz trio has told me that he has problems with almost all the current schemes. The problems all have to do with cllarity and readability. Chord symbols which stretch out horizontally are aproblem because when there are multiple chord changes per bar or changes per beat, it is all but impossible to read beause of the collisions. The closest to readabilty from the scores or publications I brought with me that day was the ones called The New Real Book. IT is continuing series of fake books with tunes that are well researched as to which chords are actuallyused. Often the arrangements are ones which the best jazz musicans themselves used. The system these books use is based upon Standard chord System Notation by Brandt and Roemer. The Real series are all well documented in the front of the book with charts and explanations. However my jazz musican still had quibbles because he thought that the interval alterations should be in a column right beside the chord name. Also that any bass notes should be written as a staight line under the chord name. That said, it is his opinion, it may carry more weight because he is actually a playing musician. Remember also that these chord symbols were originally not typeset, but were always hand written into scores by the arrangers. They had their own shorthand. Another example is Bill Evans PeriScope which he scribbled on a small menu from the Village Vanguard. Perhaps the most we can hope for is a system which is easy enough to manipulate at our level that we can make them look as we wish them to look. As a pianist who sometimes has to read these lead sheets, my impressions whenI'm at the keyboard are vastly different from when I am simply reading the score. em7flat5 writtin with the flat symbol means more to me when I'nm att the keyboard than a circle with a slash through it. I actually think about only the note I have to alter and not the whole chord. In many cases its just a move of a semitone. So, my opinion on how these chords should be written has changed as I've had to use them at my instrument. My jazzz musician with the piano jazz trio had never seen the triangle symbol used at all. He said he wouldn't have a clue what to play if he saw that. We aren't dealing with something for which we have hundreds of years of written and printed scores from which to figure out the Right way ... we have only what musicians are doing currently. The original BerkLee Real Fake book is no longer available, nor are some of the others. These fake books have to have thousands of clearances to be ablel to put these books together as they are and be able to be legally sold. Since Jazz is actually now taught in some colleges and universities that may be a source of information. I think that today I willl visit my local music store and see how manyh different chord symbol systems I can find. One comment about the bass notes indicated under the chord name.. apparently it has implications for others who would see that as ann indication of polytonal music. I hadn't heard of that. However, after I've spent a few hours looking through the books I have at home the one thing I did ntoivce was that I had trouble figuring out which was the chord and which was the bass note. Perhaps a soloution is to make that bass note indication smaller than the main chord and still bold it, like the main chord is now. That would make it distiguishable from the chord name and also keep it as distinct from all the other alterations. Several tunes I found had three altered base nsotes in a row. After playing the tune,, I understood why those notes were indicated, they were really necessary, but they cluttered the score far to much, They could have been made clearer than they were. If I had to sight read that score it would definitely throw me off. The thing I've come to understand about this problem is that there just isn't a single right answer. There are many systems and Lilypond cannot impliment them all. I think the best solution is to impliment a scheme by which we can tweak the Lilypond system to look and work the way we need it to look. I'll probably think of more things to say but I think I've said enough for now. My
Re: theory question
On Sat, Jul 4, 2009 at 1:30 AM, Mark Polesky markpole...@yahoo.com wrote: Anthony W. Youngman wrote: I can't remember what it's called, but there's a third minor scale where the 7th can be raised or not. If it's going up to the tonic it's sharpened, and if it's going down, it's not. So in the scale of A (your classic minor) it goes: a b c d e f g# a g f e d c b a The melodic minor. Though the 6th is also raised on the ascent. a b c d e f# g# a g f e d c b a I intentionally omitted it since it's so contextually dependent. But I suppose you could specify it anyway: The melodic minor scale smooths out the difficult-to-sing interval of the augmented second found in the harmonic minor scale. where the harmonic minor is full of harmonic possibility absent in the melodic minor form. The harmonic minor has a raised 7th degree in order to make the interval from the leading note (7th degree) to the tonic (the 1st or 8th degree of the scale a semitone. This also enables a minor key to have a regular V - I resolution. without that raised 7th degree, the dominant 7th chord is impossible in the minor key. Try, for arguments sake, having a final cadence in A minor without the raised 7th (it is g#). Without that raise 7th V-I or E7 - a minor doesn't exist, the chord progression would be em7 to a minor. Play ti and see what it sounds like. E7 to a minor makes a far more satisfying close. em7 to a minor sounds almost like ancient modal music. That is bascially why the harmonic minor scale came into use. ascending: i: min/maj7 ii: min7 III: maj7+5 IV: dom7 V: dom7 vi: -7 vii: -7 descending: same as natural minor. The chords that belong with degrees of any scale are triads. 4 note chords are chords with an extra third added on top, however by adding that fourth note a dissonant chord is created. That extra not added to the triad makes it a complex chord instead of a simple one. It is the triad that forms the basis of harmony in both classical and jazz harmony. In jazz harmony as in classical harmony, chords can eitehr be harmonically functional in that they imply some movement from one chord to another, or they can be simply there for colour purposes. The non-funtional chords require no resolution. While all the notes of C maj 7th may be in the C major scale, not all of the intervals within that chord are perfect, major or minor (which contain no dissonances). The addition of the b in c major 7th creates dissonace from a completely consonant C major triad. Another way of talking about this is to say that traids are far more stable than 4 note or complex chords. It is from triads that harmony is derived. 4 note chords are derived from 3 note triads. Basically what I am trying to say is that talking about 4 note chords makes understanding harmony several orders more difficult than first coming to terms with the triads from which they are derrived. cheers, davidf P.S. Nothing you have said is factuallly incorrect, its just you're talking about the basics in the most complex way you can. It really is easier to start by understanding the underlying triads than the complex 4 note chords. Begin with the triads built on each degreee of the scale, then move to understanding the iimplications of adding that fourth note. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly broken on Mac OS X Tiger?
Hello: I recall that one of the pages in the Lilypond documentation specifically for Mac OS X suggested a second way to set environmental variables via Property LIst. I created that suggested Property List but the path for Python began /System/Library (I cut and pasted it from the example. However typing env in a command line window reveals this path for python: PATH=/Library/Frameworks/Python.framework/Versions/Current/bin No System in front of it! I installed the Mac OS X Python package as well, so there was a conflict between those two paths. I logged out of my account and logged back in to see if the change had been made. convert-ly still failed. I've restarted and attempted convert-ly with the same results. My current version of python: Python -V Python 2.5.2 Python shell: Python 2.5.2 (r252:60911, Feb 22 2008, 07:57:53) [GCC 4.0.1 (Apple Computer, Inc. build 5363)] on darwin Type help, copyright, credits or license for more information. which Python: /Library/Frameworks/Python.framework/Versions/Current/bin/Python env PYTHON_DATADIR=/Library/Frameworks/Python.framework/Versions/Current/bin/ PATH=/Library/Frameworks/Python.framework/Versions/Current/bin: (etc.) Mac OS X 10.4.11 PPC 1Ghz iBook G4 The only change I can see to make would be to be more explicit in the Property List and add the line as in the result of which. David On Fri, Sep 12, 2008 at 11:33 AM, Graham Percival [EMAIL PROTECTED] wrote: On Fri, 12 Sep 2008 06:14:30 -0700 Kurt Kroon [EMAIL PROTECTED] wrote: I just upgraded my Python installation to version 2.5.2 (via MacPython), but I'm still getting that error. (I even renamed my dev install, just in case Mac OS X didn't like the space I used to have in the name.) So is this a problem with the MacPython package? Is it time for me to dig into my system's (and Python's) guts? That would be a complete waste of time. See my message on Sep 2 to this list. Search for env python. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: use the \tweak command (was Re: Coloring ornaments)
Yes, I've seen that page and it works for indvidual NoteHeads. I do
not want to colour the note heads, I want to color the ornament
(articulation) over it.
I just do not know how to specify the ornament specifically. I Know
that it is linked to or is a property of the NoteHead, i jut don't
know how to name it.
You can see that I've taken parts of the syntax for individual notes,
but that doesn't get the ornament. Lilypond chokes after
NoteHead.articulation. -type halts the program.
% articulation-type (string)
color = \override NoteHead.articulation-type mordent = #darkred
Lilypond complains about the -type and also complains about
-mordent, so that is not right, but I do not know where to go from
here.
Help on this would be appreciated,
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Objects-connected-to-the-input
try e.g.
{
c4-\tweak #'color #red -\prall
}
I have successfully all the notes of one voice, but this did not catch
the ornaments. It was interesting, but not what I wanted
Cheers,
David
P.S. I just tried the \tweak solution again and got this error:
Bach_bwv814.ly:33:0: error: syntax error, unexpected STRING
rhOne = {
Bach_bwv814.ly:41:32: error: syntax error, unexpected EVENT_IDENTIFIER
b'8.\tweak #'color #red
\mordent[ cs''16 ] d''16[ b' e'' b' ]
fs''8[ b'~ ] b'16[ b' e'' d'' ]| % bar 1
Bach_bwv814.ly:82:8: error: errors found, ignoring music expression
I believe the problem is that I am not naming the object I'm trying to
color correctly. There is another post about coloring a Cautionary
accidental
http://lists.gnu.org/archive/html/lilypond-user/2007-03/msg00275.html
His problem was that he called the object Voice.Accidental. This is
incorrect, it should be AccidentalCautionary. Thats why i think I'm
naming the object incorrectly.
Cheers again
∂œ
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Baroque ornamentation
Hello: Does Lilypond have a way to print a pre-classical period appogiatura as preceding a prall or mordent? It looks like a tie or a slur tipped at an angle just before the note which is ornamented. In checking how this is performed I understand that it is an appogiatura as J.S. Bach would have written it. It was J.C. Bach ( I believe ) who began the practice of writing appogiaturas with a note value rather than just an ornament glyph. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Baroque ornamentation
Some further information on this ornament. Groves Dictionary of Music and Musicians lists it as Double curve rising to note: Lower appogiatura with slur -- Early 18th Century German including J.S.Bach and Double curve falling to note: upper appoggiatura with slur --- Early 18th Century German including J.S.Bach Groves illustrations leave much to be desired. They are hand scrawled! However this page has good illustrations off all these ornaments: http://www.iment.com/maida/familytree/henry/music/bachnotation.htm Section 9-12 Has *good* illustrations of at least one of these ornaments. It is the double curve that I am in need of. cheers, David On Mon, Mar 10, 2008 at 1:41 AM, David Fedoruk [EMAIL PROTECTED] wrote: Hello: Does Lilypond have a way to print a pre-classical period appogiatura as preceding a prall or mordent? It looks like a tie or a slur tipped at an angle just before the note which is ornamented. In checking how this is performed I understand that it is an appogiatura as J.S. Bach would have written it. It was J.C. Bach ( I believe ) who began the practice of writing appogiaturas with a note value rather than just an ornament glyph. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Coloring ornaments
Hello: I am trying to color ornaments based on which of the composer or editors suggested them. Setting a variable for each color and articulation seems like it should be almost the same as for a simple NoteHead. Since the articulation is a property of the note, the override should be a simple extension of the ones in the manual. So far my best guess based on what I've found in the manual and the list archives is this: % articulation-type (string) color = \override NoteHead.articulation-type mordent = #darkred Lilypond complains about the -type and also complains about -mordent, so that is not right, but I do not know where to go from here. Help on this would be appreciated, Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
tuplet-type groups and bar check
Hello:
It seems when ever I use a grouping like this:
\time 2/4 \acciaccatura d8 d d'4 \times 4/5 { d'16[ b af f d] } |
The bar check sees that as 9/20 the score I'm working with has a
quarter note and acciacatura and a 5 gouping which *should* be 5 16th
in the time of 4 making one quarter note. This should be correct, yet
I get this error. I have a feeling this may be the culprit in a repeat
volta I'm trying to trouble shoot.
There are occasions where Lilypond seems not to count acciacaturas and
grace time correctly or it gets confused. This is one where I have no
idea why it acts the way it does. What am I not seeing?
Cheers
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: cross-staff synchronized grace-note figure
Is it possible in a piano (grand-staff) score to create a grace-note figures such that: 1. the figure consists of 4 notes in the bass staff (beamed as small 8th notes) 2. the second note of the figure synchronizes with the same pitch on beat 1 of the treble staff. 3. this second note is cross-staff beamed to the note in the treble staff I'm not sure which notes are grace and which are not. The problem is interesting *think* i'm encountering a similar one, but you haven't given me enough information to tell. Essentially this is a sort of arabesque figure in which a chief melodic note (here, the beat-1 note of the treble staff) is ornamented by a grace-like figure beginning one pitch before the chief (treble-staff) note and finishing 2 pitches later. Sometimes what looks complex turns out to have a simple solution. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use?
I believe the original post asked for how it was *commonly* referred to as. My reply was either transposition or displacement. Neither one of these ways is most or exactly accurate. We should, as I've said before, fall back on the standard reference volumes for music ... those are Harvard Dictionary and the Groves Dictionary or Music and Musicians. Personally I like the way Groves has side stepped the issue and merely recorded the standard terms which are in Italian. We should keep to the accepted standards as much as is possible. One thing is very certain, it is extremely frustrating to find music with instructions in a language I do not understand when it is possible to give the same instructions in terms which are almost universally accepted in that particular type of music. In this case it is Western European Music. Nothing in the history of music has been decreed or set down in stone, in general musicians have agreed upon a standard way of communicating. Lilypond should adopt those as far as is possible. To be sure, much has transpired in the past 150 years that no one could have foreseen. So we have atonal music and the need to have ways of addressing those needs. As far as is possilbe, that should be done in terms which are easily understood by most musicians. I'm sure that the writers of both Harvard and Groves have already had these discussions. Lets learn from them and save ourselves the hassle of repeating those same discussions. We also will have music from non-european traditions to address, so we all have to keep that in mind as well. Cheers, David According to Harvard dict. of music 4th ed.: Transposition. the rewriting or performance of music at a pitch other than the original one. It does not imply change of key in all contexts, keys have meaning only in tonal music anyway. -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 comment
Piano music is not the only place to use a GrandStaff is it? Is not a full orchestral score written on a Grand Staff? And the full score of a String Quartet is it not also a Grand Staff? I am not 100% sure I'm right here either. I thought that GrandStaff meant more than one staves bound together because they made up a greater whole. In Lilypond I thought that PianoStaff was inside the GrandStaff hierarchy as child of the GrandStaff the way GrandStaff is of \score. As i say, I'm not sure that I'm exactly correct here, but if I am then GrandStaff still has uses aside from the far more specific case of PianoStaff. Cheers David I just noticed that the staff contexts of the examples in 1.1.3.5 are PianoStaff. In 1.6 there is only mentioned GrandStaff. Which one is the preferred one to be used? I would mention both in 1.6, but I think we should develop guidelines which context names to use. Maybe the PianoStaff is (at least to others than English native speakers) more understandable? So the context would be called PianoStaff in 1.6.1 but I would also mention that there is a GrandStaff context? So far I have understood that they are both equal. Is this true? In version 2.11, the only difference between the two is that PianoStaff contains the instrument name engraver. In version 2.10 and earlier, there were more differences. The PianoStaff then produced a fixed distance between the staves, since the cross-staff slurs and beams didn't work otherwise. This limitation has been fixed in 2.11. Ok, good to know. So PianoStaff should maybe be the default, so nobody will be wondering why the instrument name won't show up... What for is the GrandStaff then? Till /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Midi problem
MIDI doesn't indicate exactly what the instruments will sound like. The exact sounds depend on the General MIDI instruments the person playing the file back has available on their computer. The way the playback sounds to you will not be the way it sounds when it is played back on other computers. MIDI is not very exact in that respect. Cheers David Hi, I know the Dynamic context created in piano template allows Midi output to play piano pedaling. But when I write piano piece, the Midi can't reflect my pedaling, and the sound is still dry. This is not because of my player, because when I play some Midi files created by other softwares such as Finale, the pedaling is here. Why? How to make my Midi file really have pedaling output? Haipeng 已 经 超 过 100 万 台 电 脑 安 装 了 网 易 有 道 免 费 英 汉 词 典 ， 点 击 此 处 可 以 快 速 下 载 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Full bar rests in multi-voiced piano scores -- question and a suggestion
OK, I think that's partially what I am asking about. I would just
never have found that myself. I would have asked the wrong question.
I think that Zbynek and I might be asking the same question. Language
is the barrier for both of us.
Let me re-phrase my question to see if I understand this:
Normally a half or whole rest sits on the middle line. The exception
is where there are multiple voices on one staff. There is yet another
exception to the exception. In piano music, even though there may be
two voices which are resting, for clarity the two rests which would
sit one above the other, are merged into one rest as if there were
only one voice.
In my case, Lilypond is not acting in this manner. This action will
have to be invoke manually. It isn't an explicit placement, it is an
invocation of a usual case that Lilypond isn't acting on.
This is something akin to the\override Staff.NoteCollision
#'merge-differently-dotted = ##t, but instead of notes being merged in
what would be considered a collsion, I want to override the usual
placement of the rests and instead, place them as if there were only
one voice.
I almost found what I was looking for then lost it. In some way I need
to override the placement of the rests. I think it was about having a
grob sit x number above middle C.
Override rest collision and place rests from both voices in the same
place in the score.
I'm using the word grob for the first time and I hope I've used it
correctly. I think this is what the other post was about. But I have
now clarified what I want lilypond to do.
I want to get this right because I think this is something important
for the documentation. Understanding how to ask a question is primary
in getting an answer. This question seems to have been a hard one to
ask.
cheers,
david
See http://lists.gnu.org/archive/html/lilypond-user/2004-03/msg00198.html
/Mats
David Fedoruk wrote:
Hello:
A question about rests in multi-voiced piano scores: Most of the time
I am now using a four voiced layout for writing classical piano music.
The problem is with full bar rests. The rests can be moved on the
staff by using b'2\rest without problem, but when the rest is a full
bar long the syntax is R2 (in 2/4 time). Lilypond would normally
figure out that these rests should be merged. But since I'm using this
four voiced layout, I think lilypond doesn't figure out that these
rests should be merged into one. How do i get Lilypond to do this
automatically? I'm not sure how its done manually either.
rhOne = {
\clef treble
\time 2/4
\mark Sehr rasch
\key c \minor
\voiceOne
\relative c'
\override Staff.NoteCollision #'merge-differently-dotted =
##t
\times 4/5 { \stemNeutral g'16[ d' \chlh bf d g, ] } \chrh r8
| % bar 40
\repeat volta 2 {
r8
|
% bar 40
R2
|
% bar 41
r2
|
% bar 42
r2
|
% bar 43
b'4\rest b'8\rest
}
}
rhTwo = {
\clef treble
\relative c
\time 2/4
\key c \minor
\voiceTwo
s4*2
| % bar 39
s4*2
| % bar 40
R2
| % bar 41
s4*2
| % bar 42
}
lhTwo = {
\clef bass
\time 2/4
\key c \minor
\relative c
\voiceTwo
\override Staff.NoteCollision #'merge-differently-dotted =
##t
\partial 16 \skip 16
s4*2
| % bar 39
s4*2
| % bar 40
Re: Full bar rests in multi-voiced piano scores -- question and a suggestion
AH! ok the light is begining to shine on this for me! This makes perfect sense. So far, there's no automatic support in LilyPond to avoid collisions between multi-measure rests and other objects. Their vertical position is determined by the staff-position property, which by default is set to zero. The \voiceOne macro sets staff-position to +4 and \voiceTwo sets it to -4. So, to merge the rests from two separate voices, just set the staff-position to the same value so that they will be printed on top of each other. What I proposed in the cited solution was to use \revert MultiMeasureRest #'staff-position after \voiceOne and \voiceTwo, which reverts the value of the property to the default 0. Of course, you probably still want to keep the raised and lowered positions of full bar rests in measures where the other voice has some music and unfortunately, I don't know any nice automatic solution for that, except for using the \partcombine function, which is known to have several other limitations and bugs. Full bar rests are the biggest issue. It looks like this is the answer I need. For ordinary rests and notes, the collision handling in LilyPond is much more advanced meaning that it works much better by default, but that it also might be more difficult to understand how to tweak it in the cases where the default doesn't give a satisfactory result. The individual tweaks always need specific attention. That is just the way music is. Exceptional cases everywhere and then composers invent new ones! That said, it looks like these tweaks will not be that difficult to work through. Arvid's solutions in the next post looks interesting and I'll give it a try and see what happens. Thanks for the help! And since this is scheduled to be made part of the documentation I'm happy :) -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Full bar rests in multi-voiced piano scores -- question and a suggestion
to begin most scores. The only trick is in making sure you account for all the skipped bars, otherwise things like repeat voltas cause problems. This layout has worked very well for me and I'd suggest it as a beginning point for anyone transcribing classical piano music. As well, one of my problems in solving problems with Lilypond is that so much of what I try to do with piano music is not unique to piano music and is covered elsewhere in Lilypond, so I find myself having to first figure out who else or what other kind of music might use this particular feature. I look through almost all of Lilypond to solve problems writing piano music. Perhaps some references could be included pointing to the places where these problems are covered. The rest issue I've asked about is one of the ones that have troubled me currently. The piano section is small, but so much of the complexity of writing it is covered elsewhere in Lilypond under other kinds of music typesetting. I am watching for those kinds of issues and will mention them as I find them. This is the first of those issues. cheers, and thanks David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use?
Hello: The only term I've ever heard in english for this is octave displacement and its notation is 8va .. dotted line over the affected passage. I lieu of any other acceptable english terminology I'd go with Groves as it widely accepted as a standard English language reference work for music. I believe that Groves in right in deferring to the Italian since that is the usually accepted language for musical terminology. Octave transposition seems a confusing, since transposition in music usually implies that the passage is to be played in a different key. Octave displacement does not change the key. Cheers David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use? (redux)
I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. ... Oh, yeah ... I was also wondering: What the Dutch, Danish, Finnish and Swedish words for 128th- and 256th-notes and -rests? In English, this would depend on which side of the Atlantic you live in. Here in North America the standard terminology would be 128th note/rest or 256th note or rest. I'm not sure what the British call it. It will be something like semi-demi-hemi-quaver I believe.. someone will correct me if I'm wrong (quite possible!) Most people in North America simply will not understand the British terms. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond include scripts
Hello: I have some music in which the number of repeated commands dramatically dwarfs the number of notes. For exacple, this is one bar: \override Beam #'auto-knee-gap = #6 r2 r4 \mf d''16[ d' \change Staff = lh \override Beam #'auto-knee-gap = #6 \override Stem #'direction = #UP c' bf ] | % bar 11 fs16[ \change Staff = rh \override Stem #'direction = #DOWN ef' \change Staff = lh \override Stem #'direction = #UP c' a ] fs16[ \change Staff = rh \override Stem #'direction = #DOWN c' \change Staff = lh \override Stem #'direction = #UP bf g ] g16[ bf g ef] \change Staff = rh \override Stem #'direction = #DOWN a'[ ef' \change Staff = lh \override Stem #'direction = #UP d' c' ] | % bar 12 I don't think I can put the ovrrides and change Staff commands into a variable. However it must be possible to build a function for some of these commands which would reduce the amount of typing and make the code clearer. I can guess at how to do this but I don't yet know where to look for all the ingrediants. each of the commands which changes staff to upper or in this case rh also has a stem direction change. So it should be possilbe to combine both of those commands into something like set! chRHDn to ( \change Staff = rh \override Stem #'direction = #DOWN) and set! chLHUp to ( \change Sraff = lh \override Stem #'direction = #UP) and save it to UpDown.ly and add \include UpDown.ly in my main code. I just don't know how to construct such a script. Am I on the right or the wrong track here? Cheers David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Subject: GDP: index entries for snippets
Not knowing the question to ask is often a problem for me to. You are not alone with this experience. Perhaps he is asking how docbook format works. I'm just guessing about his query myself. The html version's indeces. See above for general pointers, there really is just one main thing that/which (aargh! you've made me realise I have no idea how to use that/which now...) give my skin rashes. Namely, how does it work? (You don't have to answer here as I already have figured most of it out, but it really would help if someone explains it in the docs themselves.) Sorry, I don't understand -- you look for the term you want, then click on the link. I know this sounds like a completely stupid and useless answer, but I really don't understand the question how does it work. However, I'll add this; It is truly frustrating to have a question and not know how to ask it. I know that you all cannot help with this, its a personal struggle (chuckle) we all have had at one time or other. It just happens with Lilypond more often. That isn't a comment on the quality of the workmanship on the project as much as it is a comment on the complexity of the objectives of the project. Written music itself is a major challenge, Western European Music is another order more complex than most. Lilypond not only renders WEM, but adds music of other cultures to the mix. Its sort of like trying to be all things to all people. That Lilypond has gotten as far as it has is something of a miracle in itself! -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
change staff to staff in different context
Hello:
I've used the \change Staff = upper command with success in another
score. Now I am using a more complex scheme layout and the staff I
need to change to is in another context. Using \change Staff =
lhupper\lhOne will at least render something. Anything else I've
tried just stops lilypond in its tracks.
this is my layout:
% snip %%
\score{
\context PianoStaff
\set PianoStaff.instrumentName = \markup { \large \bold { { 4 }}}
\context Staff = rh {
\context Voice = rhupper { \rhOne }
\context Voice = rhlower { \rhTwo }
}
\context Staff = lh {
\context Voice = lhupper { \lhOne }
\context Voice = lhlower { \lhTwo }
}
\layout {
\context {
\Score
\override NonMusicalPaperColumn
#'line-break-system-details = #'((alignment-offsets .
(0 -14)))
}
\version 2.11.28
}
\midi { }
}
%%%
I've checked the snippets example, but that doesn't work with my
scheme. I am not just changing staff, the staff I want to change to is
in another context. Lilypond always tells me that cannot change
`Context' to `rhTwo': none of these in my family. I think I haven't
told lilypond how to find the staff I want it to switch to correctly.
I've tried multiple variants but only get more errors.
Cheers,
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Piano Templates
This is exactly the type of thing I had in mind. I'd add it myself if I knew how to do it. I do not yet have that level of skill with Lilypond. Thanks to these posts I will Cheers! David Valentin This looks really good, and I've registered. But I can't see any easy way to just copy it if I want to suggest an improvement. Any suggestions? Trevor -Original Message- From: [EMAIL PROTECTED] [mailto:lilypond-user-bounces+t.daniels=treda.co.u [EMAIL PROTECTED] Behalf Of Valentin Villenave Sent: 02 February 2008 15:09 To: Graham Percival Cc: Lilypond mailing list Subject: Re: GDP: NR 1.1 Piano Templates 2008/2/2, Graham Percival [EMAIL PROTECTED]: Valentin, todo list for Seba: add a web page for how to correct snippets. You mean, like Suggesting modifications or improvements to existing snippets on http://lsr.dsi.unimi.it/LSR/html/contributing.html ? :-) Cheers, Valentin ___ 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 -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
I have never been able to get all the features of LilyPondTool to work in jEdit. The advanced render and open as PDF has rarely if ever worked for me. I render from a bash or zsh shell and open it manually from the Finder. It may be a bit awkward and not how it was designed to work, but even so, jEdit and LilypondTool are by far the best combination I have yet found. I've also never been able to figure out how to get the lilypond plugin from Open Office to work. But, I probably would not change from jEdit and LilypondTool anyway. The OpenOffice solution may make producing a musicology essay a bit easier since I am not that comfortable with Latex -- but I've even managed that. I know I am impatient with some of these other solutions but I need a text editor to work out of the box without a lot of fiddling. I do enough fiddling and tweaking in Lilypond itself as it is. I am quite confused. I've been using JEdit on my Mac, not knowing it doesn't work!;-) It moved from OS 10.3 to 10.4 quite easily. I'm currently running 10.4.11 and intend to stay there at least until all issues with LilyPond and Fink are worked out. Also, Smultron has been my favorite text editor through many versions. For some reason Smultrons's syntax completion doesn't work for me, hence I abandoned it quickly and remained with jEdit and LilypondTool. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: double repeat voltas
This is usually a symptom of an incorrect note duration (one that is too long) or maybe an extra inserted note, which cause all remaining notes to be shifted slightly to the right, and at the end of the section the little bit left over causes a new bar to be started. You are using bar checks, which is good, so make sure you have these inserted frequently, in even every bar if the rhythm is complex, I can't live without those bar checks! and in all voices, including skip voices, and look for errors in the log file. I would hazard a guess that your skip notes don't quite match the music length. Check the upbeats are correct too. I've already checked the visible notes both note by note and with the midi control track which means the problem is in the lower staff I forced to contain the single voice in tandem with the upper staff. I was not at all sure of what I was doing and just pressing on, guessing values. At the end I simply tweaked the last value until there was no empty staff space. So I think I'll have to go through and calculate all those values exactly until I find the one that is causing this. I guess I'm looking for exactly one bar of time. If I can correct the time problem will that solve the problem I'm having getting the B section to become two voices again? That problem haunts here but I think it is linked to the extra bar lines as well. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: double repeat voltas
I've worked ahead on this piece of music and found that perhaps the
problem is not where it thought that it was.
What I saw as a single bar line in the middle of a bar is actually an
extra bar who's ending bar line I could not see (yet). As soon as I
attempted to move into the next section, the end of the bar appeared.
This has been a hair puling problem (thankfully, I still have hair
left -- so I am not yet defeated!). The music is as I have described
in my first post. I am at the point where the B section is ending and
the last A is upon me.
| A |: B1 :|: B2 | B2 1st ending :| B2 2nd ending | A ||
The problem first occurs in the second ending, a bar line in the
middle where it should not be. The other problems in this section come
from having to move from the B section which is one voice to the A
section which has two voices. I've only been partially successful in
solving this problem.
Snip %%% % bar 48
}
\include english.ly
\version 2.11.37
upper = \relative c'' {
\clef treble
\key bf \major
\time 2/4
\mark Allegro
\override TupletNumber #'transparent = ##t
\set Staff.extraNatural = ##f
\set tupletSpannerDuration = #(ly:make-moment 1 8)
\override TupletBracket #'transparent = ##t
% second ending
{ { \times 2/3 { f16[ ) a, ] \change Staff = lower \stemDown f
a[ f
] \change Staff = upper f'( d[ ) a ] \change Staff = lower d, f,[
bf,\! ] \p a' \change Staff = upper }
} \bar ||
% bar 48
}
}
\set Score.currentBarNumber = #49 \bar
| \break
\clef treble
\key d \minor
\times 2/3 { \change staff = lower bf16)-[ e, ] cs'( \change Staff
= upper e)-[ g, ] a ] bf-[ f ] d'( ] f)-[ a, ] bs( } |
\times 2/3 { cs16)-[ g e'( ] } \times 2/3 { g) [ bf,? ] d( } \times
2/3 { ef-) a,[ a'( ] } \times 2/3 { c?-)[ c, ] d( } |
}
lower = \relative c' {
\clef bass
\key bf \major
\time 2/4
\skip 16 \skip 16*8
| \break
\set Score.currentBarNumber = #49 \bar
\clef bass
\key d \minor
r8 a,, a'4-. d d'8-.~
| % bar 49
d d'8 e e'4-. fs fs'8-.~
|
}
\score {
\new PianoStaff
\override PianoStaff.SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
%% END SNIP %%%
I hope this is enough code to see the problem. The change from one
voice to two voices is faulty. It only almost works. and part-way
through the first bar of A (bar 49) the end of the bar i saw begin in
the middle of the second ending appears.
Cheers,
David
not the problem with the added bar line inside the last repeat.
Can you please post a (small) example?
Cheers,
Valentin
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
double repeat voltas
hello:
I have a repeat, then a first and second ending repeat which looks like this:
|: [music a ] :||: [music b] | [ 1st ending ] :| [ 2nd ending :||
Eventually it will be a part of a piece structured this way:
| {music A section } | {music B section consisting of |: [music a ]
:||: [music b] | [ 1st ending ] :| [ 2nd ending :|| {music A section
} ||
Each one of these sections have \partial measures. I thought it would
be exactly like one of the examples in the documentation, however I
have the following problems:
on rendering I get unknown type Volta see documentation (of course
that's where i copied the code from!)
As well there is an extra barline inside the second ending.
Before i post some code which may be problematic (perhaps), I want to
rule out some sort of generic mistake I may have made.
Cheers,
David
P.S. The new documentation which is appearing with each new
development version is VERY helpful! Thanks to everyone who is helping
with this. I'd really be lost or even more lost than I feel now
without its vastly improved state.
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: double repeat voltas
You are right -- it is not capitalized, there are two instances, one is capitalized and one isn't. This takes care of the error message but not the problem with the added bar line inside the last repeat. David IIRC volta is not capitalized. Or maybe it is, and you didn't. In either case, check it. - Graham -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: You can support software freedom in 2008!
= I haven't seen it on -devel; has it been removed somehow? I don't think so. Indeed, I consider sending campaigns to mailing lists without the mailinglist address at least in the to: or cc: headers as offensive spam. Hmm... OTOH, LilyPond *is* a GNU software. They have helped us in some ways (ok, maybe they could have been even more helpful sometimes, but we're still using their savannah resources, and so on), and by being members of the LilyPond community, we are some kind of an extension of the (very large) GNU community. You are right about our being members of this community, however, It would have been common courtesy to ask for permission before posting or perhaps they did. Maybe we should ask someone before jumping to conclusions. I have noticed that various GNU software communities have very different standards concerning this kind of funding requests. Neo Office, for instance, brings you back to the website on first launch after installing the program or a patch to ask for cash donations. Other projects simply would not tolerate such behaviour. This is likely the case with Lilypond, since many members already have supported the Lilypond Developers with paid for feature requests. However, the milk has been spilled and as in our case, we cannot make time move backward (yet). Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Manual Staff switching
Hello;
In the last bar of a section which has been created with many staff
switches, I either have two extra bars in the left hand or one to few,
leaving no double repeat dots. This is part of the B section of a
piece which I will piece together by using include A-section.ly,
include B-Section.ly, include ,A-section.ly.. The A sections are
exactly the same, The code you see below is the first 8 bars of the B
section.
How can I remove the last bit of supporting Keep Staff alive content?
one other problem with this piece is that when I render this code, I
have an extra treble clef above the two lines of staff I need. What is
the problem with the template I'm using?
## Code
\version 2.11.36
\include english.ly
rh = \relative c'' {
\clef treble
\key bf \major
\time 2/4
\mark Allegro
% \set followVoice = ##t
\override TupletNumber #'transparent = ##t
\set Staff.extraNatural = ##f
\set tupletSpannerDuration = #(ly:make-moment 1 8)
\override TupletBracket #'transparent = ##t
\set Score.currentBarNumber = #25 \bar
\partial 16 g'16|
\repeat volta 16 { \times 2/3 { \stemUp f[ bf,
\pp ] \stemDown d
f,[ bf, ] \stemUp ef' d [ f, ] \stemDown bf d,[ bf ] \stemUp d | }
% bar 25
\times 2/3 { c16[ f ] \stemDown gf ef[ bf ] \stemUp d' ef[ f, ]
\stemDown gf ef[ bf ] \stemUp d' } | % bar26
\times 2/3 { c16[ f, ] \stemDown gf ef[ bf ] \stemUp d'( ef)[
f, ]
\stemDown ef c[ bf ] \stemUp a'( } | % bar 27
\times 2/3 { bf)[ f ] \change Staff = lh d bf[ a] \change
Staff =
rh c'( d)[ f, ] \change Staff = lh d bf[ g ] \change Staff = rh c'( }
| % bar 28
\times 2/3 { bf)[ f ] \change Staff = lh d bf[ f ] \change
Staff =
rh c''( d )[ g, ] \change Staff = lh \clef bass c, bf[ e, ] \change
Staff = rh \clef treble bf''( } | % bar 29
\times 2/3 { a)[ f ] \change Staff = lh c a[ f ] \change Staff
= rh
bf'( c)[ f, ] \change Staff = lh c gs[ d ] \change Staff = rh b''( } |
% bar 30
\times 2/3 { c )[f, ] \change Staff = lh c a[ c, ] \change
Staff =
rh cs''( d )[ e, ] \change Staff = lh bf g[ c, ] \change Staff = rh
a''( } | % bar 31
\times 2/3 { bf )[ c, ] \change Staff = lh bf e,[ c ] \change
Staff
= rh e'( f )[ c ] \change Staff = lh a c,[ f, ] \change Staff = rh
g''( } |
}
}
lh = \relative c' {
\clef bass
\key bf \major
\time 2/4
\skip 1 * 5 % idem
}
\score {
\new PianoStaff
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
\set PianoStaff.instrumentName = Piano
\new Staff = rh \rh
\new Staff = lh \lh
\layout { }
\midi { }
}
Cheers,
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff and voice definitions
Hello
You don't say which version of LilyPond you are using, but I'm sure the
answers to your questions are contained in the documentation which came with
it.
I am using 2.11.35
Alternatively, you may find the answers in the documentation being
prepared for release 2.12, which can currently be found under the 2.11
development pages. To be more specific, look at chapters 2 and 3 in
the Learning Manual at
http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/index.html.
These explain the concepts of Staff and Voice. I'd be interested to
hear if they help.
Yes, I had read that documentation and that was what prompted my
questions as well as the project I am currently working on.
2.3.1 Musical Expressions Explained.
The illustration of { { a4 g } fg} as rendered in sequence is
understandable, but the minute you used a mathematical analogy, you
lost me completely. It only complicated things for me.
polyphony:
Am I correct in assuming that it is that tells lilypond that it
is polyphonic? Although I know how they are used, I have never known
exactly what they mean.
In my mind, polyphony and the number of staves are not linked
concepts. One does not depend or imply the other. The number of staves
(to me) is merely for the convenience of the performers. So before
using lilypond, I didn't consider that piano music was mostly 4 part
polyphonic writing. I saw it as two handed -- two part. I then
considered the possibility of single voiced piano writing using two
hands. I hadn't thought that two hands might be playing one part
between them.
2.3.2
These Staff elements are then combined in parallel with and
The last sentence describes what happens *after* the \new staff is
created. So they are created in parallel| f with ... what if there are
no because there is no polyphony happening? Consider this
passage of piano music. I have only given two bars, but it continues
like this for 24 bars with no simultaneous notes. It is not
polyphonic, though it is divided between two hands as originally
written and as it is performed. In the score, right and left hands are
indicated completely by stem direction and not by presence or absence
on either staff (there is treble and bass clefs in the original). So
the clefs and staves are for ease of reading. The right hand has the
first beamed group, the left hand alternates with it after that. For
the sake of this question, I have not put this in a piano staff
context, though that is where it will ultimately reside. The previous
section has two voices, this B section is single voiced.
Schumann Kreisleriana opus 16 number 1 bar 25
\relative c''
\key d \minor
\clef treble
\time 2/4
trip = \times 2/3 % this may not be the correct way to crete this variable
g''16 | trip {f''[ bf' ] d'' } trip { f,[ bf' ] ef'' } trip { d''[ f,
] bf } trip { d'',[ bf, ] d'' } | trip { c''[ f', ] gf' } trip { ef'[
bf, ] d'' } trip { ef''[ f' ] g' } trip { ef'[ bf, ] d'' } |
This is the passage which prompted me to ask the quetsion after
reading the documentation. If this is polyphonic, then there must be
staff changes and rests or hidden rests. If not, then there are no
rests and no need for staff changes even if there are two staves
present. In the score there are no rests indicated where one hand is
silent, so it is really a single voice.
This puzzles me:
In terms of syntax, prepending \new to a music expression creates a
bigger music expression. In this way it resembles the minus sign in
mathematics. The formula (4+5) is an expression, so -(4+5) is a bigger
expression.
Arithmetically 4+5 = 9 AND (4+5) = (9)
-(4+5)= -(9) = -9
Or
Do you mean that the expression -(4+5) has more elements in it (that
is 6 elements) where (4+5) has only 5 elements in it?
Have I missed something here?
2.3.3
Piano music is typeset in two staves connected by a brace. Printing
such a staff is similar to the polyphonic example in Multiple staves.
However, now this entire expression is inserted inside a PianoStaff:
A point of confusion is what creates the polyphonic character, the
brace or the ? Would it be monophonic writing without the ?
Or would Lilypond simply be confused.
I think many of my questions arise from the divide between thinking of
a programmer and that of a non-programmer. I have read music for so
long that I no longer think about how I understand it, I simply read
it like you would read a book. So when I come to working with
Lilypond, I have to re-examine many of these things. I don't think
about English grammar when I read or write and often I may not even
completely understand my own grammatical choices. I may not even why
my sentence construction is correct.
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei
Staff and voice definitions
Hello:
Using Lilypond keeps challenging assumptions I have made about WEM
(Western European Music) notation. In most cases, there is a voice
which goes with each staff, but I don't see that the creation of a
voice is part of the staff engraver or any of the engravers that go
along with it.
Can I assume that the creation of a music which goes between the {} is
separate from the staff?
I have a more specific instance in mind but I want to understand the
process by which lilypond creates the staff, braces, and clefs before
I ask about a particular instance; and maybe work the instance out
myself.
A follow-up question is can a Piano staff which has two staffs which
work together, have only one { music } and still run between both
staves? A single voice played by two hands.
Cheers
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
modifying piano templates
Hello: As I've been working on music further into the 18th and 19th Centuries I've realised that almost all piano music is 4 voiced polyphonic Harmony. I realise statement is somewhat redundant however it serves to point the independent melodic character of many of the parts. I've been looking through Mutopia for a suitable template but found that the solutions are mostly unique to each typesetter and also complex enough that I cannot easily cull out what is essential to a template from what is unique to that piece of music. While I have a basic understanding ( I think) of how things work, it is not sufficient to build a workable template that can server as a durable starting point to work from. Much of what I am doing will need to be excerpted for use in articles or essays or even the web. l can see that as I move further ahead, the writing gets more complex and more complex typesetting solutions are necessary. My skill set simply cannot keep up with it. Can anyone help out with this? Cheers David -- David Fedoruk B.Mus. UBC,1986 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: chattiness in @seealso
Good questions! (another overdue discussion question, sorry) IMHO this isn't a problem. The crucial thing to remember is that program documentation isn't for programmers (they have comments in the working code), its for us non-programmers who struggle with programs like lilypond because it requires us to learn to think differently about notes and music than we are used to. Full sentences in the language of the documentation is preferable. A full sentence engages, or draws the reader into the program in a way that the terseness of choice 1 or 3 cannot do. It can also prevent the reader from ducking into blind alleys. This prevents much head banging (less risk of permanent damage to) and general frustration. Links and see also references are good ways to redirect someone who is not quite sure where to look for what they are looking for. Many times I have a question which I do not know the correct words for. I guess at how the question might be worded. I am right about 50 percent of the time. When I am not right, those see also references usually are the ones that save me from much head banging. I have (on occasion) actually sat in a chair away from the computer and read computer documentation. I don't believe documentation is simply on-the-fly reading. It should be a well thought out description with instruction on how to use the program it accompanies. It is a literary work of its own. The skill and craft of it is to be on point; engaging and readable all at the same time. What I am saying is that presentation matters. It is essentially first contact for newbies using lilypond. The longer you use lilypond, the less you depend on documentation. The speed with which that happens is in large part due to the skill with which the documentation is written. Without a doubt, number 2 is the best option. I had not intended to use so many words, but this sums up my thoughts on documentation and specifically on this question. Take a look at the see also sections in NR 1.1.3 Displaying pitches: Instrument transpositions and NR 1.2.1 Writing rhythms: Durations In 1.1.3, we have a short, compact format: Notation reference: Quoting other voices, Transpose. In 1.2.1, there's much more explanation of why people might want to look at each link: For ways of specifying durations for the syllables of lyrics and ways of aligning lyrics to notes see Vocal music. For a description of how to enter rests see Writing rests. A note with the duration of a quadruple breve may be entered with \maxima, but this is supported only within ancient music notation; see Ancient notation. Optionally, notes can be spaced proportionately to their duration. For details of this and other settings which control proportional notation see Proportional notation. I have often found the footnotes in a book or article as interesting or more interesting than the main piece of writing. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why will this tie not work?
Hello:
When everything fails, put it away, go to bed, sleep, and in the
morning start again. I did. This morning I madde a new duplicate of
my file so I started back where I was when I first posted this
problem. I commented out the problematic code and went to
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Explicitly-instantiating-voices#Explicitly-instantiating-voices
.That is the documentation page for this type of polyphony. I copied
the tags and structure there leaving out the third voice since I only
needed two. This is my code:
Snip
\voiceOne
{ \grace bf16 \stemUp cf2 af'4~ | }
\context Voice=1 { \voiceTwo cf,2. | }
\oneVoice
- End Snip -
This reproduces exactly what I want --- except for the ite.
Neil, I hope this is what you were getting at. It works and I can
duplicate it in other similar passages. The problem is not with the
code or the coder(s), in this case, blame Acrobate Reader. Just on an
off chance that this was an application failure i tried opening it in
Preview. Voila! The tie is where it is supposed to be. Acrobate
Reader is my villan is my PDF reader! AG
Good reason to keep multiple applications on had for cases like this.
This is the first time Ive seen Acrobat fail to read a proper
Lilypond document.
thinking: style=wishful I wonder if I can bill Adobe for the lost
hours ! /thinking
Cheers,
David
.
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Why will this tie not work?
Hello:
First, I'd like to thank the Lilypond programmers for a great job! I
finally finished typesetting two of these Scsarlatti Sonatas, one of
which was from the ubiquitous Longo edition. After sitting at
keyboard and trying to read both, the Longo edition is no longer good
enough. Its almost unreadable and it looks hideous. Lilypond manages
in three pages of easiyl readable score to do what the Longo Edition
makes almost unreadable in 4 pages. Thanks again.
Now my problem, the following lines have one tied note, the a in
the Right Hand upper voice is tied to an a in the next bar. The only
problem I can see for Lilypond is that its at that point which the
bars of two voices merge to become one voice again. I've tried
tweaking it in various ways i.e. coding both bars on the same like,
coding the merged voice immediately following the lower voice, nothing
seems to work.
--- Code Snip -
\version 2.11.27
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\mark Allegro
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
{ \grace bf16 \stemUp cf2 af'4~ | } \\
{ \stemDown cf,2. | }% bar 67,68
\stemUp af'8 \stemDown af[ gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ] | % bar 69
lower = \relative c {
\clef bass
\key e \major
\time 3/4
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ] |% bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
r8 af'8[f d cf af ] | % bar 67
bf,,2. | % bar 68
ef4 r4 r|
% bar 69
r8 af''8[f d cf af ]\bar || % bar 70
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
End Code Snip ---
Thanks for your help.
Cheers,
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
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Re: Why will this tie not work?
Sorry Neil, that last reply got sent before I was finshed writing it.
This is the code I just tried:
\version 2.11.27
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\mark Allegro
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. | }% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ] | % bar 69
lower = \relative c {
\clef bass
\key e \major
\time 3/4
ef4 ef, r4 |
% bar 66
r8 af'8[f d cf af ] |
% bar 67
bf,,2. |
% bar 68
ef4 r4 r|
% bar 69
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
This new code also does not add the tie even though it is much simpler to write.
Cheers,
David
On 7/27/07, David Fedoruk [EMAIL PROTECTED] wrote:
I'd better clarify something which is not apparent in the small
amountof score I've posted here. The top voice is the voice which will
continue as the main voice. The lower one, in this case pops in for
two bars, drops out for a bar completely then re-apears for two bars
at which point the notes are stemmed on one stem. So this is sort of
polyphony where it makes sense at the moment from Scarlattii's point
of view.
I wasn't sure how to deal with the creation fo new voices when they
were created so often and dissapears just as often. Do new voices have
to be removed or ended? That is why I am doing it this way.
--- Code Snip --
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ]| bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. | }% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ]
| % bar 69
You don't need invisible notes for this kind of situation; just use the
proper syntax for polyphony, so that the upper voice remains in the main
voice context:
{
\grace bf16
\voiceOne %make stems point up for this voice after grace note
cf2 af'4~ | %tie will continue outside polyphonic section
}
\new Voice { %second voice context created without using \\, so
that first voice isn't in a new context
\voiceTwo %make stems point down here
cf,2. |
}
af'8 %this note is now tied, with stem still pointing up
\oneVoice %return to default voice behaviour
af[ gf f bf af ] |
Regards,
Neil
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why will this tie not work?
Then it was just fluke or Lilypond's forgiving nature that this
rendered properly *this* time. This is sometimes disconcerting --
Lilypond tries so hard to figure out what you intended that it will
allow a mistake and lead someone new at it astray.
To answer a previous poster who asked If I would be posting this to
Mutopia, No, not until I can do better coding; I don't want other
people to have problems or create messy code for someone else to
correct. Right now these projects of mine are for me to learn and for
me to have a readable score at the keyboard. I'm happy to share with
anyone, but to post it for general distribution would not be fair at
this point. But thanks for the vote of confidence anyway
Cheers,
David
--- Code Snip --
ef[d ef f g af ]|
% bar 65
g[ bf \grace af16 g8 f ef df ]| bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. |
}% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ]
| % bar 69
That won't work - it just tells LilyPond to insert a new voice, so you get
an extra bar. You must have the present for simultaneous music.
Regards,
Neil
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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abreviating note collsion notation
Hi:
Coding one note collision or maybe even two is manageable but when
they arrrive faster than there is available space to type them,
constructing some soft of shorthand notation via a variable seems to
be the smart thing to do.
I've attempted things like :
sncMDD = { \override Staff.NoteCollision #'merge-differently-dotted = ##t
but none of the variations I've tried seem to work, suc a common
occurance must have some shorthand but it has eluded me
What have I missed?
Cheers
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: Rendering two documents as one musical score
OK... then this i s way way to easy! Two files PartA.ly and PartB.ly of the same piece so I just a shell command: cat PartB.ly PartA.ly its done! After that just issue the shell command lilypond PartA.ly and it renerders the compled score! You can put together a Wagner opera with a simple shell script. This is right out of everyone's first lesson in UNIX. I like it a lot when things get this simple! Thank-you :) Cheers, David P.S. it worked perfectly! -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rendering two documents as one musical score
Hello: There is one slight problem, the bar numbers are not continuous. Not surprisingly the bar numbering is accurate for each document. I will have to make some adjustments in the head of the first document or in a wrapper for these two documents. I'll have a look for this in some of the posted tweaks. It must have come up before! Cheers David On 7/8/07, David Fedoruk [EMAIL PROTECTED] wrote: OK... then this i s way way to easy! Two files PartA.ly and PartB.ly of the same piece so I just a shell command: cat PartB.ly PartA.ly its done! After that just issue the shell command lilypond PartA.ly and it renerders the compled score! You can put together a Wagner opera with a simple shell script. This is right out of everyone's first lesson in UNIX. I like it a lot when things get this simple! Thank-you :) Cheers, David P.S. it worked perfectly! -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Rendering two documents as one musical score
HI: I did not intend this to be two documents, but the score got complicated enough that it made sense to stop at the end of the A section and begin a new lilypond file at the beginning of B. There are only 4 pages of piano score. If I cut and paste them together there are now octave displacement problems (the very problems I sought to dispense with by using two files). Is there a way to have lilypond produce one document but still render each one as its own separate entity? There are probably ways to shorten my coding but for now, I want to do things the longer way until I really understand what's going on. The short cuts may just serve to confuse things I just barely understand. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Scarlatti, polyphony within a keyboard score
Hello:
Scarlatti looks simple but of course is not. I'm using a Longo
edition to create a basic score which I will edit (hopefully) from
the Kirkpatrick facsimile into a performing edition.
I have this specific problem for the moment which wil lead to another
question about schemes.
--- Sscoe Snip --
\version 2.11.27
\include english.ly
Sonata_Emajor_K530.ly
\version 2.10.25
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
e b fs r4 r8 \bar || % Bar 20
\key e \minor r8 b''8 \grace a16 g8 fs e d | % Bar 21
\override Staff.NoteCollision # merge-differently-dotted = ##t
{ c,2 \stemUp a'4 | } \\ % bar 22
\grace b16 c2. |
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
r4 r8 e' b fs \bar || % Bar 20
\key e \minor e4 r4 r |% Bar 21
r8 a''8 fs8 ds cs b | % Bar 22
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
-- end Score -
This renders, but not as it is supposed to. The right hand should have
a second voice joining and the dotted half c and half note c should be
the same note with stems going both up and down. Instead it renders as
if it were new bars of consecutive score,
I also get this Guile error: error:
- snip -
GUILE signaled an error for the expression beginning here
\override Staff.NoteCollision #
merge-differently-dotted = ##t
Unbound variable: merge-differently-dotted
- snip
The line breeaks in the error are as they appear when I invoke
lilypond in the shell.
First, I think I do no quite undersand the override and collision and
Second, have I added the new polyphonic voice correctly?
Do I need to put something in the scheme definitions about these new
polyphonic bits? The occur with regularity in this peice but are
transitory in nature. They last a few measures then the voice simply
disappears as is not uncommon in piano scores.
Cheers,
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: Scarlatti, polyphony within a keyboard score
The basic syntax for a polyphonic section is as follows:
{ musicA } \\ { musicB }
So for your problem section, you'd change it to this:
{ c,2 a'4 | } \\ % bar 22
{ \grace b16 c2. }
You don't need the \stemUp switch, since the first polyphonic voice
automatically becomes \voiceOne and has its stems placed up.
I also get this Guile error: error:
- snip -
GUILE signaled an error for the expression beginning here
\override Staff.NoteCollision #
merge-differently-dotted
= ##t
Unbound variable: merge-differently-dotted
- snip
The line breeaks in the error are as they appear when I invoke
lilypond in the shell.
There's an apostrophe missing from the override, i.e.
\override Staff.NoteCollision #'merge-differently-dotted = ##t
Here's my suggested corrected snippet, with some changes to a few note
pitches. Is this what you're after?
Preciesely, except that I had to add an octave displacement upward
to the initial b, then it rederened exactly the way it should. Now, I
need to change the template I'm using because this piece, like many
other piano works, is essentially 3 or more voices (one or two in
each hand). This one has three voices running for the remains three
quarters of it and in places it lapses into four part counterpoint
Since most of this music is not two voices (right and left hand) but
three or four, is there a way to add those possibliities to the scheme
below?\new voice = upper1 \upper1 ? would that work? It would
need \new voice = upper1 \upper1 ?
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new voice = upper1 \upper1
\new Staff = lower \lower
\new voice = lower1 \lower1
\layout { }
\midi { }
}
Another question was alluded to by someone in a recent post. I have
been taught that scripts and programs are parsed line by line.
Obviously, lilyond does not do it exactly this way. The only other
possibility I can think of is that it parses first by section, ie.
Header, version, scheme, then music. Within each part it runs code
line by line. Only fatal errors stop the rendering process. Am I on
the right track here?
Thanks for your help!
Cheers,
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: Mac OS X libguile.17.dylib Trace/BPT Trap error when adding a second voice to piano score
On 6/25/07, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: 2007/6/25, David Fedoruk [EMAIL PROTECTED]: I should also mention that the error happens so fast after the command has been issued that I don't think lilypond actually had time to parse the code I wrote puzzeling since it worked fine up to that point, That's correct; can you doublecheck that it does this with other files too? Also, which version was the first to exhibit this problem? Does it happen with 2.11.x too? -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen I tested some older codidng I had done which was known to work. I got the smae errors usig the 1.10.25 binry. When I downloaded the latest 2.11.27 testing release the code compiled again correctly as expected. The only thing I can think of is that there has been several security updates and an OS System update in the last while so I am running Mac OS X 1.4.10 now. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mac OS X libguile.17.dylib Trace/BPT Trap error when adding a second voice to piano score
this is a very strange error; I'm also missing which symbol isn't found. Can you run the actual binary from a terminal, and send me the output? The binary is in lilypond.app/contents/resource/bin/lilypond Sorry this has taken so long, I've been occupied with some other problems with xorg on another machine ... but I always run lilypond in a terminal. *** snip /Users/nicholas/bin/lilypond Sonata_Emajor_K53 dyld: Symbol not found: Referenced from: /Applications/LilyPond.app/Contents/Resources/bin/../lib//libguile.17.dylib Expected in: /Applications/LilyPond.app/Contents/Resources/bin/../lib//libguile.17.dylib Trace/BPT trap *** end snip ** I'm calling lilypond using a script from the Mac OS X hints suggestion of the lilypond documentation. Its just a simple one liner: ** snip *** #!/bin/bash # exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond $@ I should also mention that the error happens so fast after the command has been issued that I don't think lilypond actually had time to parse the code I wrote puzzeling since it worked fine up to that point, I had assumed it was my coding that was in error. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Mac OS X libguile.17.dylib Trace/BPT Trap error when adding a second voice to piano score
Hello:
I am attempting to transcribe a Scarlatti Sonata which I will cross
check with the facsimile edition -- when I get to see it. However, in
bringing in a second voice to the right hand I get this error:
dyld: Symbol not found:
Referenced from:
/Applications/LilyPond.app/Contents/Resources/bin/../lib//libguile.17.dylib
Expected in:
/Applications/LilyPond.app/Contents/Resources/bin/../lib//libguile.17.dylib
Trace/BPT trap
The suspect code at bar 23 is this:
\version 2.10.25
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\key e \minor r8 b''8 \grace a16 g8 fs e d | % Bar 21
{a'4-| a8 a gs fs b d |
\grace b16 c2. | b2. | % Bar 23
fs b \grace a8 gs8 fs e ds % Bar 24
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
\key e \minor e4 r4 r |% Bar 21
r8 a''8 fs8 ds cs b | % Bar 22
b,2.| % Bar 23
e4 r4 r | % Bar 24
I've successfully coded the first 20 bars, the only thing I've done
different is bring the attempt to bring the second voice in the right
hand. Since the error occurs as soon as I hit enter, I don't think
lilypond has even parsed the file completely.
I'm using Mac OS 10.4.9
Thanks for any help
Cheers
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: Mac OS X libguile.17.dylib Trace/BPT Trap error when adding a second voice to piano score
On 6/15/07, Graham Percival [EMAIL PROTECTED] wrote:
David Fedoruk wrote:
\version 2.10.25
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\key e \minor r8 b''8 \grace a16 g8 fs e d | % Bar 21
{a'4-| a8 a gs fs b d |
Why do you have an extra { in there?
\grace b16 c2. | b2. | % Bar 23
Cheers,
- Graham
The { is in the documentation in the section on Single Staff
Polyphony. At first I had the closing bracket in with it to, but that
had the same result.
That new voice become the main voice in the next bar. In subsequent
bars, this happens frequently -- a new voice is there momentarily and
either disappears or takes over from the original one. Essentially
they merge.
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
http://recordjackethistorian.wordpress.com
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
___
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Re: Web documentation automatic language
Hello: For the web to work correctly, it needs a dialogue between the browser and the server. Obviously this is true for the first request. What you don't see is what is going on behind the scenes, http headers is an example. Each web browser sends enough information to the server so that the server can send a page configured so that browser can display it correctly. A different page is sent if you are requesting the page from a small screen telephone for instance, and a different one for a 24 inch wide screen monitor. Language preferences are among those the server needs to process a page. Something as sophisticated as automatic language processing requires more accurate information from the browser. You can see what your browser is sending to the server by visiting this page: http://gemal.dk/browserspy/accept.php What you configure in your preferenes directly affects what the server will send as well as what your browser will accept. Setting the Prefered language to include English solves the problem, but it's definitely a bug that the French version is the default if you haven't configured your browser. Why would it not be a browser bug? because language negotion happens server-side? It happens from both sides.. as I pointed out above, this is a dialogue between browser and server (client and server) just the way your computer negotiates an IP address from your ISP. isn't there a way to configure apache that .en is the default? Yes, but that defeats the who concept of automatic language configuration. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
accidentals in ornaments
Hi:
In this segment in the third bar there should be natural signs both
above and below the reverse turn. How do I typeset that?
--- code ---
upper = \relative c' {
\clef treble
\key ees \major
\time 2/4
% measure 1
g' ees4 f bes,4 |
% measure 2
ees g4. ees16._([ aes32 ] ) |
% measure 3
g8[ (g16. des'32)] ) c8[ c16. d32\reverseturn] |
ees, ees'8. }
-- end code
thanks for your help
david
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
Music is enough for one's life time, but one life time is not enough
for music Sergei Rachmaninov
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Re: Problem with update syntax in Mac OS X --- converts to 2.7.7 instead of 2.7.6
No, no - I'm sure it's an effect of Guido's time machine - some LilyPond Python script used from __future__ import __version__! ;-D I had a feeling something like that might have been at work but I've always been so bad at temporal mechanics that I was loath to even suggest it. ;) -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Output other than PDF
Hello: I'd like to suggest to all the Mac OS X users here that if they do not already know the basics of a UNIX shell like what you find when you open Terminal, that you take some time to find a tutorial on the web and follow it through. When you have done a few of the tutorials you will find using the Terminal is not quite as scary or unfathomable. Most of the problems that have come up here are because of some basic lack of information about a Unix command line. You won't be able to do learn this on the fly while you are also learning lilypond. It will be totally confusing. Try working through the ones at MacDevCenter: http://www.macdevcenter.com/pub/a/mac/2005/05/20/terminal1.html or here at MacObserver: http://www.macobserver.com/tips/macosxcl101/2002/20021101.shtml A google search for Mac OS X and Terminal tutorial will give you hundreds of links to choose from. Follow the tutorials through even if you don't understand where they are headed. Every one I have encountered showed some aspect of OS X that is relevant to running and operating OS X. Terminal and command line may seem difficult at first, but there are some things that just work better and faster by typing one command then 5 keystrokes in the GUI. As you see here, there are more options available sometimes at the command line level. Also remember that lilypond is a GNU Linux application and a command line one at that. All the GUI portions are add-ons. I will answer a few questions off the list if some of you wish, but knowing some command line basics is essential eventually to use OS X effectively and have access to all the applications from UNIX and Linux that are potentially available. cheers.. david -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Output other than PDF
Sorry.. this should have gone directly to the list -- Forwarded message -- From: David Fedoruk [EMAIL PROTECTED] Date: Aug 20, 2005 11:29 PM Subject: Re: Output other than PDF To: Jan Nieuwenhuizen [EMAIL PROTECTED] Hi: Just drag the file you wanat to reference in the path to the terminal and drop it. Terminal will produce the correect path to the file. David Verwerken van `/home/janneke/tmp/foo bar/baz bla.ly' Ontleden... /home/janneke/tmp/foo bar/baz bla.ly: 0: waarschuwing: geen \version uitdrukking gevonden, voeg \version 2.7.6 toe voor toekomstige compatibiliteit Vertolken van muziek...[1] Voorbewerken van grafische objecten... Berekenen van regelafbreuken... [2] Berekenen van pagina-afbreuken... Opmaakuitvoer naar `baz bla.ps'... Converteren naar `baz bla.pdf'... -- David Fedoruk Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Output other than PDF
I'm currently using jEdit wtithe Mac OS X Panther, and while I regret that the preferences pannel has nto been enabled, this isn't a major problem. Using the llilytool plugin I can write my code and compile it from within jEdit. The output is a pdf file but most mac users have several applications which are capable for transforming pdf files into any formate needed. Command-C in Preview will copy the contents of a pdf file to the clip board and Command-J in GraphicConverter will paaste that into a new document which you can save in any one of hundreds of file formats. Preview will alos simply export the file to a jpeg for you as well. cheeers, david -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Output other than PDF
Rutgers, I see what you're trying to do. (and silly me for not seeing this before to!) You are trying to type the contents of lilypond.sh into the command line. You have failed because its meant to be run as a single command. $INSTALL in that script is a variable which is set to /Applications which is where Lilypond is. The rest of the script burrows into the application bundle and calls lilypond. I tested it like this: First I typed just lilpond.sh -- terminal snip --- LilyPond produces beautiful music notation. For more information, see http://lilypond.org Options: -b, --backend=BACK use backend BACK (gnome, ps [default], scm, svg, tex, texstr) -d, --define-default=SYM=VAL set a Scheme program option. Uses #t if VAL is not specified Try -dhelp for help. -e, --evaluate=EXPR evaluate scheme code -f, --formats=FORMATsdump FORMAT,... Also as separate options: --dvigenerate DVI (tex backend only) --pdfgenerate PDF (default) --pnggenerate PNG --ps generate PostScript --texgenerate TeX (tex backend only) -h, --help print this help -H, --header=FIELD dump a header field to file BASENAME.FIELD -I, --include=DIRadd DIR to search path -i, --init=FILE use FILE as init file -o, --output=FILEwrite output to FILE (suffix will be added) -j, --jail=USER,GROUP,JAIL,DIR chroot to JAIL, become USER:GROUP and cd into DIR --no-print do not generate printed output -p, --previewgenerate a preview of the first system -s, --safe-mode run in safe mode -v, --versionprint version number -V, --verbosebe verbose -w, --warranty show warranty and copyright Report bugs to [EMAIL PROTECTED] --- end teminal snip -- That told me the right flag to use to get lilypond to produce png files instead of pdf. I tested it on a Bach Invention i had just finished typsetting: lilypond.sh -f png invention.ly After rendering I was left with this list of files: invention-page1.png invention-page2.png invention-page3.png invention.ly invention.midi invention.ps If you type this: lilypond.sh -f png yourDocument.ly the output will be similar. There is yoru PNG and its way easier than I thouught The out put will be (assuming there are no errors) your typset music as post script file, a midi file and you will find PNG files for each page of music manuscript you produced. I hope this makes things WAY easier! Let me know if there are any other questions. -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Problem with update syntax in Mac OS X --- converts to 2.7.7 instead of 2.7.6
Hello all: I downloaded the latest development version of lilypond for Mac OS X (2.7.6-1 (vBuild from 19-08-2005 22:05). When I run Update Syntax from the GUI in O S X, it converts to the wrong version. To test this I took the Welcome document which opens the application and contains a short test script renamed it test2.7.6 and ran Update syntax... this is its output: -- SNIP - convert-ly (GNU LilyPond) 2.7.6 Processing `/Users/nicholas/Documents/Lilypond/test2.7.6.ly'... Applying conversion: 2.7.0, 2.7.1, 2.7.2, 2.7.4, 2.7.6, 2.7.7 --- end SNIP -- Notice that it coverts to 2.7.7, one version higher that it really is. As soon as you run the compile for the script it dies because of the wrong version. It is really 2.7.6. david -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
