Staff customization question.
Greetings All, I am currently writing a piece involving the pat hwaing (circle drum). It consists of 21 pitched drums. I have figured out how to create an eleven-line staff; the number of lines and spaces exactly corresponds to my needs. Is there a way to create a specific calibration of pitch to line/space where the lowest and highest notes align with the lowest and highest lines? The intervals are not entirely uniform. The pitches are as follows: g2 b2 c3 e3 f3 g3 b3 c4 e4 f4 g4 a4 b4 c5 d5 e5 f5 g5 a5 b5 c6 Any help would be greatly appreciated! Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Rotation.
Greetings All, I see from the NR that there are ways of rotating individual objects or text markups. Is there a way of rotating an entire score? Thank you for any help. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tieWaitForNote
Greetings Mark,
I believe that ties only work if the notes they are connecting are in
the same voice. In your example, you have called \voiceOne, \voiceTwo,
and \voiceThree. However, your resulting chord is in none of those
voices. Would it be possible to avoid that construct altogether?
Something like
\relative c'' {
\key e \minor
\clef treble
\time 6/8
\set tieWaitForNote = ##t
g,8~ b~ d~ 4. }
And then manipulate ties individually if needed?
Hwaen Ch'uqi
On 11/24/15, Mark Stephen Mrotek <carsonm...@ca.rr.com> wrote:
> Hello,
>
>
>
> Everything is correct except that the ties do not appear. What is my error?
>
>
>
> \version "2.18.2"
>
>
>
> \relative c'' {
>
> \clef treble
>
> \key e \minor
>
> \time 6/8
>
>
>
> << {b8\rest s \set tieWaitForNote = ##t d,~ } \\
>
> {\set tieWaitForNote = ##t g,4.~ } \\
>
> {s8 \set tieWaitForNote = ##t b4~ } >> 4. |
>
>
>
> }
>
>
>
> Thank you for your kind attention.
>
>
>
> Mark Stephen Mrotek
>
>
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Re: Table of Contents: 2 problems
Greetings David,
Please forgive me if I misunderstood your meaning, but here is perhaps
a solution, albeit less elegant, for your second issue? Perhaps your
\paper block can reflect the margins which you would like for the
Table of Contents, but for the preceding paragraphs of text on the
same page, you could use
\override-lines #'(line-width . 100) { . . . }
to affect those particular margins.
Hwaen Ch'uqi
On 11/21/15, David Sumbler <da...@aeolia.co.uk> wrote:
> I have not used a Table of Contents before, and I am having some
> difficulty in getting the result I want. I have 2 problems.
>
> 1) I would like to have a dotted line between the title and the page
> number in each line. But if I use
>
> tocItemMarkup = \tocItemWithDotsMarkup
>
> then there does not seem to be a way of formatting the text the way I
> want to (larger font etc.).
>
> As an alternative I have tried defining tocItemMarkup including
>
> \fill-with-pattern #1 #RIGHT .
>
> This results in a space between the dots
> and the page number; I get a similar result with
> \fill-with-pattern #1 #CENTER .
>
> 2) The table of contents appears at the top of a page which already has
> a couple of paragraphs of text on it. This page is defined as a
> separate \bookpart, and has its own \paper block setting a wider
> 'inner-margin' and 'outer-margin' than I use for the actual scores.
>
> I would like the table of contents to have wider margins still, but a
> second \paper block on the same page does not work, and changing
> 'indent' effectively only increases the right margin. I have tried
> experimenting with a \hspace before and after the contents of the line,
> e.g.
>
> tocItemMarkup = \markup \fontsize #5 \fill-line {
> \hspace #1 { \fill-with-pattern #1 #RIGHT .
> \fromproperty #'toc:text \fromproperty #'toc:page } \hspace #1 }
>
> but this just doesn't work. (Please forgive my feeble attempts at using
> markup, which I still find rather cryptic!)
>
> David
>
>
>
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Re: Font question.
Dear All, Thank you so much for your input. In fact, I, a LilyPond user on Linux, was working on a project with a friend who was supplying text through her M$oft (love the shortcut!) tools. I am using 2.18.2, whose NR's language seems to indicate (but doesn't emphatically state) the use of New Century Schoolbook as the default font, but that font wasn't present on her system. Anyway, all has since been squared away. Thank you again. Hwaen Ch'uqi On 5/3/15, Martin Tarenskeen m.tarensk...@zonnet.nl wrote: On Sun, 3 May 2015, Janek Warchoł wrote: it's New Century Schoolbook. I don't know what M$oft equivalent would be, but i expect you should be able to download it freely and install. If I install LilyPond on Fedora, I automatically also install the fonts it uses, and I can use these fonts both in LilyPond and other programs. I am not a Windows user, but doesn't the Windows LilyPond installer also install these fonts? So there should be no need to download them (again)? -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Font question.
Greetings All, I realize that this may be an obvious question, but could anyone tell me what is the default font used for text in LilyPond? What is the nearest Microsoft equivalent? Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What is the problem with \relative? (Was: Do we really offer the future?)
Greetings,
The reasons for one not using relative mode are clear, but it hardly
justifies calling for its deprecation. As a composer of primarily
piano music, it is an absolute lifesaver. And all to whom I have
introduced LilyPond, primarily pianists or harpists, immediately
gravitated to relative mode. Again, why deprecate it when you have the
option of simply not using it?
Hwaen Ch'uqi
On 4/22/15, Kieren MacMillan kieren_macmil...@sympatico.ca wrote:
Hi Gilles,
deprecate \relative, which I now avoid like the plague.
Why?
1. It doesn’t play well with reuse: both trivial reuse (i.e., cut-and-paste)
and more advanced (i.e., referenced in variables) require extra care at the
very least, and outright extra work (e.g., octave checks, transposition,
etc.) in most cases. This means that sharing bits of music either within a
file/piece or between files/pieces (or even between users) requires extra
work and is error-prone.
2. It makes what should be simple adjustments unnecessarily complicated,
with unnecessarily large impacts. Consider, as just one example, my paired
functions
split =
#(define-music-function (parser location music1 music2)
(ly:music? ly:music?)
#{
{ \voiceOne $music1 }
\context Voice = 2 { \voiceTwo $music2 }
\oneVoice
#})
splitLU =
#(define-music-function (parser location music1 music2)
(ly:music? ly:music?)
#{
{ \voiceTwo $music1 }
\context Voice = 2 { \voiceOne $music2 }
\oneVoice
#})
These (and their 3- and 4-voice counterparts) are workhorses in my code,
saving me endless amounts of typing constructs like
{ \voiceOne foo } \new Voice { \voiceTwo bar } \oneVoice
every time I simply want a short polyphonic section. I could hardly begin to
do efficient engraving work without them. Now consider the effect of
switching, in relative mode, from
b4 \split { a4 } { c,4 }
to
b4 \splitLU { c,4 } { a4 }
Because relative mode “leaves from” whatever pitch comes immediately before
it, the first example would output the b followed by a sixth “chord
immediately below it (i.e., with the a on top, sitting a second below the
b), whereas the second example would output the b followed by a third [!!]
“chord (i.e., with the c, on top, sitting a seventh below the b). In
absolute mode, I am free to choose either function (and each is necessary!)
at will, without worrying that the choice may mess up the outputted pitches.
This same sort of relative shifting happens when you want to switch the
order of notes as given in a chord, e.g. c g’ b outputs a different chord
than c b g’.
3. Many single edits suddenly require two (or more) edits as a result solely
of relative mode. For example, let’s say you have
\relative c’ { c d e a }
and you want to change the e to d. Now you must also add an apostrophe to
the a, to compensate for the relative octave adjustment:
\relative c’ { c d d a’ }
wasting effort and brainpower (if you even remember to do it the first time,
rather than compiling before finding the error).
These are only three of the problems. Worst of all, having it is a false
economy: it’s not actually intuitive for everyone (though it is for me, and
was right away), as a quick search of the archives will turn up many newbies
complaining about “how hard it is to remember when to use , and when to use
‘ and when to use nothing”.
Yes, it’s a little more work during initial entry of some music to add the
correct octavation to the pitches. But the majority of pitches I enter fall
between c, and b’’, so the difference (if any) is minimal. And of course
there are many patterns which require *more* octavation typing in relative
mode than absolute, so in those cases absolute mode saves keystrokes.
Hope this helps explain why I don’t use \relative any more, and tell most
newbies I know to avoid it.
Cheers,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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Re: Survey: Large scores
On 4/16/15, Valentin Villenave valen...@villenave.net wrote: That being said, orchestral music is not what's the most difficult to engrave (even dual-voices staves remain somewhat simple overall, even with unmetered contemporary notation, microtones, feathered beams etc.). To me, complex keyboard music is probably the worst, when it involves cross-staff polyphony, complex pedal and dynamic indications. At any rate, when it comes to written music, no matter how complex or sophisticated huge, I most certainly am not planning to use anything else than LilyPond, ever. And especially not in favor of a non-free program. Regards, Valentin. Greetings Urs and All, Please allow me to somewhat echo Valentin's sentiments. Having produced scores as a composer for a variety of forces, I find that performance scores for piano, four hands are particularly difficult to realize. Typesetting is fairly straightforward, but aligning corresponding parts across facing pages can be a nightmare! I interpret large to include the element of time consumption, and the process of matching corresponding parts by trial and error is a time killer indeed! I am currently preparing for publication the score of my Twenty-Five Preludes for Piano, Four Hands; it is just over 160 pages of music, excluding prefatory material, and the task is surely daunting! Nevertheless, I would never abandon LilyPond, the project which has contributed so much toward my own livelihood. I only regret that I must use extralilypond programs on occasion - such as pdftk - in order to put together scores for piano, four hands. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adjusting the position of tempo indications
Greetings David,
Is the command \markLengthOn possibly what you are looking for?
Hwaen Ch'uqi
On 1/14/15, David Sumbler da...@aeolia.co.uk wrote:
On Mon, 2015-01-12 at 23:17 +0100, Thomas Morley wrote:
2015-01-12 22:37 GMT+01:00 David Sumbler da...@aeolia.co.uk:
The default position of tempo indications is, to my eye, rather too
close to whatever is beneath them, be it a stave, a note or a slur.
I have tried experimenting with
\override TextScript #'padding = #4
and
\override TextScript.padding = #4
(I was unsure of the syntax) just to see if I can get my tempo markings
to move, but neither of these works.
How can I get tempo markings to be placed higher?
Also, occasionally I have two such markings quite close together
horizontally. How can I get them both to be placed at the same level,
even if this means that one of them has more than my default level of
space beneath it?
David
Hi David,
please provide a minimal example, including a version-statement.
Cheers,
Harm
Dominic pointed out that I should have usedMetronomeMark, not
TextScript, so I have corrected this.
\version 2.18.0
topLine = {
\relative c'' {
\tempo Tempo 1 c2 c |
\tempo Tempo 2 c'4( g c,2) |
\tempo Tempo 3 f8 c g c, c'2 |
}
}
bottomLine = {
\relative c'' {
\tempo Tempo 1 c1 |
\tempo Tempo 2 c1 |
\tempo Tempo 3 c1 |
}
}
\score {
\new StaffGroup
\override Score.MetronomeMark.padding = #2
\topLine
\bottomLine
}
In the above, Tempo 1 appears where I want it, but Tempo 2 and
Tempo 3 are respectively too close to the slur and the beam.
Also, sometimes I have 2 successive markings which come close together
but which nevertheless have to be anchored to different points in the
music. It would be useful to have these appearing at the same height as
each other, even though the clearance beneath one of them might be more
than it would need if it appeared on it's own. Is there any way of
achieving this, other than tweaking each individual case in each
individual part?
David
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Re: arpeggioArrowUp
Greetings Alistair,
The solution is actually quite simple. \arpeggioArrowUp is an override
setting of \arpeggio, so it must be entered before the chord you want
arpeggiated. Then, append \arpeggio to your chord, and all should be
fine. But remember then to revert to the arpeggio default with
\arpeggioNormal, otherwise, all future arpeggiated chords will be
altered!
Hwaen Ch'uqi
On 1/14/15, Alistair Millar alistair.mil...@blueyonder.co.uk wrote:
I hope this is enough. Thanks
\version 2.18.2
\language english
\relative c'
{
\clef treble
\time 4/4
\key g \major
g b d g4\arpeggio
g b d g4\arpeggioArrowUp
\bar |.
}
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Re: Postscript question.
On 12/8/14, tisimst tisimst.lilyp...@gmail.com wrote: Hwaen, Unfortunately, the double-flat is not a composite of two single flats, at least not in LilyPond. It is a single character and, thus, there is no spacing to adjust. I suppose you could re-code the accidental engine to use two single flats, but that's probably more than you wanted deal with. What is it you don't like and how far apart do you want them to be? Maybe you could show us a screenshot of what you want. -Abraham Greetings Abraham, Thank you for your quick response, and sorry for my slow reply. Your clarification regarding the doubleflat stencil was as I had suspected. But then this spurred the desire to affect my own doubleflat sign, one that is as clear yet compact as the doublesharp. So I have been exploring the snippets and bits of information in the NR regarding the use of postscript and path. I do have two questions which I am sure are wildly basic. If I will write some postscript commands, where is considered the origin? In the case of an accidental, would it be the notehead which it is altering? Second, is there a way of seeing the postscript which was used to create an existing stencil? Thank you so much. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Spacing question.
Greetings All, Is there a way to influence the spacing between each flat of a double-flat? I would like to increase the distance between the two. Thank you in advance for any help. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs and using the .info lilypond documentation
Greetings Kevin, After much experimentation in the past, this is how I solved the problem. First, as root user, I used dired to enter the /usr/lilypond/usr/share/info directory, where all the LilyPond info files were placed. Then I created symbolic links for all the info files to the directory /usr/share/info, where info files are placed by default. This is accomplished at once by marking all files with `m' and then applying `S'. If your installation is as mine was, the dir file in the LilyPond info folder actually contains no entries, which may explain why nothing appeared in the `C-h i' menu. So I created the following set of entries and placed them in the dir files of both info directories: * LilyPond Changes: (lilypond-changes). New features in 2.18 since 2.16. * LilyPond Contributor's Guide: (lilypond-contributor). * LilyPond Essay: (lilypond-essay). Essay on automated music engraving. * LilyPond Extending: (lilypond-extending). * LilyPond Internals Reference: (lilypond-internals). * LilyPond Learning Manual: (lilypond-learning). * LilyPond Music Glossary: (music-glossary). * LilyPond Notation Reference: (lilypond-notation). * LilyPond Snippets: (lilypond-snippets). * LilyPond Usage: (lilypond-usage). * LilyPond Web: (lilypond-web). Of course, you can tailor the explanatory annotations to suit your needs. These steps will ensure that the entries will appear in the main info menu, that you will be able to follow hyperlinks, and that you will be able to view all the images. I hope this helps. Hwaen Ch'uqi On 12/2/14, Kevin Patrick Barry barr...@tcd.ie wrote: Dear lilypond users, My apologies in advance if the answer to this is already out there and I just didn't find it. I would like to be able to access the lilypond docs in emacs using the .info files. So I downloaded the docs tarball and extracted it, and then made an entry in the init file to add the folder containing the `dir' file to the Info-default-directory-list. If I check the Info-directory-list variable from emacs the folder containing the `dir' file and all the lilypond .info files is in the list, but none of the files appears in the main info list (C-h i) and using the lilypond-mode command to access documentation just brings up the following error: `Info file lilypond does not exist'. Currently I am using a workaround (C-u C-h i, and specifying a .info file as the prefix) but since the documents are split up into different .info files it's a bit messy. I am using emacs 24.3 on linux mint 17 with lilypond 2.18.2. Thanks in advance, Kevin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: HELP: Editor for Blind People
Greetings Antonio, I have seen that link before which you cited and found the first part of it especially useful. Have you seen this thread from the mailing list? http://lists.gnu.org/archive/html/lilypond-user/2014-05/msg00170.html I would say that only the first few entries are relevant to your question. Also, the actual page on the LilyPond website where you can download the version for mac should have clear instructions on how to install it. Unfortunately, I can't seem to access the site at the moment. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: HELP: Editor for Blind People
Greetings Antonio, Please forgive me for beating what is apparently a dead horse, but as I said before, emacs/emacspeak provides ALL the functionality which you need for LilyPond. And since your friend is using a mac, these programs should be easily available for him - though I do not have experience with mac. The beauty of emacs is that it allows you to have access to practically the entire desktop without ever leaving emacs. For example, you can call up a shell buffer and there not only compile a LilyPond file, but you can also read the output, including the error messages. Once you know the line number where an error is located, you can - with a single keystroke - return to the LilyPond code and - again, with a couple of keystrokes - jump to that line. With another command, you can call a buffer which gives you access to any directory tree, but by default you will be placed in your current directory, which is where the generated midi output will be located. Once you have arrowed to the midi file, you can call a command so as to listen to it. With another command, you can have access to all the texinfo manuals registered on your system, including those for LilyPond. There are many other benefits to the emacs/emacspeak solution, but best of all, LilyPond comes with emacs support. What this means for your friend is that he will get immediate feedback, for example, on what his closing brace is actually closing. Emacspeak does have a user group, and there you may get better instruction on how to install on mac. I hope this helps, and do not worry: I will not mention this again on this post. Only it troubled me to see the same problems discussed when a solution, though perhaps challenging in the beginning to set up, is very simple indeed. Hwaen Ch'uqi On 9/20/14, Jacques Menu imj-muz...@bluewin.ch wrote: Hello Antonio, BBEdit and TextWrangler have great power at handling workflows, maybe you could ask them what they can do for the problem you're facing: http://www.barebones.com/products/bbedit/comparison.html JM Am 20 sept. 2014 um 07:47 schrieb Antonio Gervasoni agervas...@gmail.com: What I would also encourage you to do is to send an email to Wilbert or add your suggestions to Frescobaldi's own tracker to maybe say why it isn't a good choice. Great idea! I will do that! I do use Frescobaldi and I agree, it's really nice! The problem with it is that the log cannot be read, i.e. you can't focus on the log as a separate window (or panel) and go line by line with a cursor. As a result, VoiceOver can't read the contents of the log. Clicking on the log (something impossible for him) makes VoiceOver say you are currently on unknown. Is there any particular reason that your student cannot 'keep it simple' and use a text editor or lilypad that comes with a mac (which is very simple but does the job)? Yes, I thought of that too. In fact, just the Lilypond app would be enough. No need for a separate text editor. However, I must say it IS cumbersome. I have tried this approach with him before. He has to go constantly from one window to another and then browse for the MIDI file every time he wants to play it. I was just hoping there would be some editor which could make things easier for him. Also, in order to check if there was any error he has to read the log completely after every compilation (sometimes files can be compiled even with errors). A feature to take him directly to the exact place where the error is located would be also very nice. Otherwise, he would have to look for it manually. (For some strange reason, Frescobaldi doesn't take you to the line where the error is located but to the following line instead... on a Mac, at least). Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/HELP-Editor-for-Blind-People-tp166632p166647.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: HELP: Editor for Blind People
Greetings Antonio, Every necessity which you presented is easily answered with emacspeak, the aural interface to emacs. There is plenty of online documentation for using emacs/emacspeak, but it is true that setting up emacspeak can be tricky. If you are using ubuntu or, I believe, some other linux distributions, the installation of emacspeak and orca are easily automated with a couple of softwares which you may urchase for a very small fee at http://oralux.org/. I hope this helps. Hwaen Ch'uqi On 9/19/14, Antonio Gervasoni agervas...@gmail.com wrote: Hi all! I'm trying to help one of my students who is blind. He will be soon taking courses where he's going to be asked to produce arrangements in the form of printed scores. My problem is that I can't find the right editor for him. I need help to choose the most appropriate one. Here's what I need to sort out: 1. He will need to be able to navigate quickly between the documents, the log and the midi player 2. The log has to be readable (in Frescobaldi you can't place a cursor in the log and navigate through it as in a text document) 3. The editor must have the ability to jump directly to the line where an error is located, and from there to the next error, if there is more than one. I have tried with Frescobaldi and Elysium but none seems a good choice. Emacs and Vim are possible candidates but there's little information about them. Also, I would need soom help on how to install any of them (they seem pretty complicated to set up I would appreciate very much any help! Antonio -- View this message in context: http://lilypond.1069038.n5.nabble.com/HELP-Editor-for-Blind-People-tp166632.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overlapping staves
Greetings Mark,
A quick look at your code reveals that you are still using the \times
command, which I believe has been replaced. In your longer run of
tuplets, you might change the code to
\tuplet 3/2 8 { ... }
Hwaen Ch'uqi
On 9/9/14, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
Mfr. Payne,
Thank you for your response. Yes, the third measure was missing. It has
been
restored to both examples that are attached. Hope this helps finding my
error.
Thank you for your kind attention.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent: Monday, September 08, 2014 9:07 PM
To: lilypond-user@gnu.org
Subject: Re: overlapping staves
On 09/09/14 12:11, Mark Stephen Mrotek wrote:
Hello,
The attached file, overlap.pdf, shows the first 13 measures of a piano
score. The staves overlap.
By experimentation, if the first two measure are eliminated the overlap
does
not occur, NoOverLap.pdf.
Since the snippets would not met the requirement for being small, they
were not included.
Would someone give me a suggestion as to what I should examine
(documentation?) to find the cause?
Can't help you with that - seeing the ly source would help - but as an
aside, you appear to have omitted engraving bar 3 of the sonata.
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Cross-staff voice with modified context.
Greetings All,
What is the best way of achieving a cross-staff voice where one of the
staves must be modified? I fear that I may be missing something very
fundamental. Please see the code below, and thank you for any help.
Hwaen Ch'uqi
\version 2.18.2
\score{
\new PianoStaff
\new Staff = up {
\key des \major \time 2/4 \clef treble \relative c'{
{
f4 es
}
\\
{
s2
}
}
}
\new Staff = down \with{
\consists Span_arpeggio_engraver
}
\key des \major \time 2/4 \clef bass \relative c'{
\set Staff.connectArpeggios = ##t
{
aes,16 des \change Staff = up \voiceTwo f aes \change Staff =
MyCustomStaff \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
}
\\
{
des,,2
}
}
}
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Re: Cross-staff voice with modified context.
Greetings Simon,
Thank you so much for your response. Yes, there was a silly oversight
in my code which I have now corrected. Below is the code again
followed by the compilation messages. I have also attached the rather
strange result as a pdf.
Hwaen Ch'uqi
\version 2.18.2
\score{
\new PianoStaff
\new Staff = up {
\key des \major \time 2/4 \clef treble \relative c'{
{
f4 es
}
\\
{
s2
}
}
}
\new Staff = down \with{
\consists Span_arpeggio_engraver
}
\key des \major \time 2/4 \clef bass \relative c'{
\set Staff.connectArpeggios = ##t
{
aes,16 des \change Staff = up \voiceTwo f aes \change Staff = down
\voiceOne aes, c \change Staff = up \voiceTwo ges' aes
}
\\
{
des,,2
}
}
}
GNU LilyPond 2.18.2
Processing `Cross.ly'
Parsing...
Interpreting music...
Cross.ly:25:11: warning: adding note head to incompatible stem (type = 1/4)
aes,16 des \change Staff = up \voiceTwo f aes \change Staff
= down \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
Cross.ly:25:11: warning: maybe input should specify polyphonic voices
aes,16 des \change Staff = up \voiceTwo f aes \change Staff
= down \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
Cross.ly:25:57: warning: cannot find context to switch to
aes,16 des \change Staff = up \voiceTwo f aes
\change Staff
= down \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
Cross.ly:25:88: warning: adding note head to incompatible stem (type = 1/4)
aes,16 des \change Staff = up \voiceTwo f aes \change Staff = down
\voiceOne
aes, c \change Staff = up \voiceTwo ges' aes
Cross.ly:25:88: warning: maybe input should specify polyphonic voices
aes,16 des \change Staff = up \voiceTwo f aes \change Staff = down
\voiceOne
aes, c \change Staff = up \voiceTwo ges' aes
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Cross.ly:25:18: warning: no viable initial configuration found: may
not find good beam slope
aes,16
des \change Staff = up \voiceTwo f aes \change Staff
= down \voiceOne aes, c \change Staff = up \voiceTwo ges' aes
Cross.ly:25:93: warning: no viable initial configuration found: may
not find good beam slope
aes,16 des \change Staff = up \voiceTwo f aes \change Staff = down
\voiceOne aes,
c \change Staff = up \voiceTwo ges' aes
Layout output to `Cross.ps'...
Converting to `./Cross.pdf'...
Success: compilation successfully completed
Cross.pdf
Description: Adobe PDF document
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Fwd: Cross-staff voice with modified context.
Oops, forgot to send to All! -- Forwarded message -- From: Hwaen Ch'uqi hwaench...@gmail.com Date: Fri, 5 Sep 2014 22:40:01 -0400 Subject: Re: Cross-staff voice with modified context. To: Mark Stephen Mrotek carsonm...@ca.rr.com Greetings Simon and Mark, Thank you both for your input. Both attachments worked perfectly. Thank you Simon especially for the structural clarification in the bottom staff. This allows me to retain the modified context. At times, I am guilty of forgetting to glean hints from manuals other than the LM, NR, and IR! Thank you again for your patience. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: texinfo manual?
Gretings, Have you found a remedy for the problem of broken images in LilyPond's texinfo manuals? If not, I believe I have found the answer, though at a slight cost of self-guilt. The images are broken because, as the manuals are now in a different directory, the file paths of the images given in the source code no longer work. The easiest solution is to return the texinfo files to their original directory (which in my case was /usr/lilypond/usr/share/info) and to modify the LilyPond entries in your /usr/share/info/dir file to reflect the manuals' new location. So, for example, if the entry for the notation manual looks something like this, * LilyPond Notation Reference: (lilypond-notation). then you should edit it to look something like this: * LilyPond Notation Reference: (/usr/lilypond/usr/share/info/lilypond-notation). (Of course, this may vary slightly depending upon where you installed LilyPond.) Finally, make ABSOLUTELY CERTAIN that, in the directory where you have returned the info files, there is still a lilypond link. In my dired buffer, the full line reads like this: lrwxrwxrwx 1 hwaen 1002 35 Mar 17 13:04 lilypond - ../doc/lilypond/html/Documentation/ Without this symbolic link, which is assumed to exist by the given path of each png file in the source code of the manuals, you will still see no images. So, in sum, the original answer to your question should have been a lot smoother, and that was merely to put entries in your /usr/share/info/dir file that acknowledged the existence of the LilyPond texinfo files and indicated where the texinfo reader could find them. I am sorry to have initially misdirected you, and I should have waited until my own emacs was running again before advising you. If your have further questions, you may write to me off-list, as I believe the necessary information for Lily users who use texinfo manuals on emacs has now been covered. Hwaen Ch'uqi On 8/19/14, Steven Arntson ste...@stevenarntson.com wrote: Hwaen Ch'uqi hwaench...@gmail.com writes: Greetings, I have never used `C-u C-h i', and my emacs is currently down, so I canot exactly replicate your situation. However, one thing I have consistently had to do with these installations is to manualy update the dir file in the /usr/share/info directory; this is why some files may not appear to be present upon first glance. Again, this will likely have to be done as root. Before making any changes to the file, study carefully its contents; you will want to emulate the format in your own additions. Basically, each entry consists of four parts. The first is the asterisk (*), which tells the info reader that a new entry has begun. The second is the title which you would like to see given in the main menu. I don't remember offhand, but it may be followed immediately by a colon (:); if so, you MUST include this. The third is the actual file names without the .info extension; make sure that it is placed in parentheses, matches exactly the case of the file name (since case sensitivity rules in linux), and is closed with a period () AFTER the parentheses. Finally, fourth is the short description of the file's contents. I have found that the last part is optional. Your current dir file will most likely not have a LilyPond section heading. You can easily instantiate one, preceding it with two newlines and following it with one. I recall that in ubuntu's installation, there was the possibility of quickly entering subsections of the LilyPond manuals. I don't know how to do this, but I believe that entries in the dir file should reveal this. One final note: I have found that, when adding or updating a program via the automated process, and if it comes with an info file, ubuntu will rewrite the dir file, and your contributions wil be missing. Not to panic! A backup file, dir~, will be made, and you should find your changes there. Copy them and insert them into the new dir file. It is a small inconvenience, but it is worth the ability to use the latest versions of LilyPond! I hope this answer was somewhat useful. Hwaen Ch'uqi Thank you for the description---that all worked perfectly, and I can get to everything with C-h i! My only issue now is that in the manuals, none of the images display. In every case where there would be a music example, it says, [broken image]. Thanks again, this is a much better situation already than what I had before! -steven ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: texinfo manual?
Greetings Steven, The manuals are in Texinfo format, and the good news is that they are merely hidden. Going off the top of my head, I believe the files are located in the folder lilypond/usr/share/info. There, you should find just over 30 files, most with a .info extension. Move them to your folder called /usr/share/info. N.B. -- You may need to be root to do this. Then you should be able to access the files with `c-h i'. I hope this helps. Hwaen Ch'uqi On 8/17/14, Steven Arntson ste...@stevenarntson.com wrote: I've installed the newest stable version of Lilypond on my system, updating from the moldy version in the Ubuntu repo. It works great! One thing I'm missing now is the manual in texinfo format (I think). I use Emacs to enter my lilypond docs, and I used to have a bunch of manuals that I could open with C-h i. I think they were in texinfo format. Now they're gone, and I'm enough of a beginner all around that I'm not sure where they came from in the first place. Is there a spot online somewhere where one can get them all at once, or are they hidden somewhere in my new install? Thank you! steven arntson ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: texinfo manual?
Greetings, Hmmm. Dense? I hardly doubt it! Perhaps you might try this: Reinstall lilypond with the .sh script but also call for documentation, something like this: sudo sh LILYPONDFILENAME.sh --prefix=PATH --documentation From my experience, this will take substantially longer to download, but you wil then have the complete documentation locally - at least in html format. But it may be that this direction also grabs the texinfo files and places them in the aforementioned lilypond/usr/share/info directory? Having always downloaded and installed lilypond this way, I have never noticed whether the --documentation flag was neded to obtain the .info files. I do hope this works. Hwaen Ch'uqi On 8/18/14, Steven Arntson ste...@stevenarntson.com wrote: Hwaen Ch'uqi hwaench...@gmail.com writes: Greetings Steven, The manuals are in Texinfo format, and the good news is that they are merely hidden. Going off the top of my head, I believe the files are located in the folder lilypond/usr/share/info. There, you should find just over 30 files, most with a .info extension. Move them to your folder called /usr/share/info. N.B. -- You may need to be root to do this. Then you should be able to access the files with `c-h i'. I hope this helps. Hwaen Ch'uqi One thing I'm missing now is the manual in texinfo format (I think). I use Emacs to enter my lilypond docs, and I used to have a bunch of manuals that I could open with C-h i. I think they were in texinfo format. Now they're gone... Thank you! steven arntson My lilypond/usr/share contains: emacs fonts ghostscript glib-2.0 guile lilypond locale The lilypond file there contains /current, which contains: compiler ftdetect ftplugin indent syntax I've searched all around ... is it possible I downloaded 2.18.2 without these files? Sorry if I'm being dense! I am often more dense than I wish. -steven ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: texinfo manual?
Greetings, I have never used `C-u C-h i', and my emacs is currently down, so I canot exactly replicate your situation. However, one thing I have consistently had to do with these installations is to manualy update the dir file in the /usr/share/info directory; this is why some files may not appear to be present upon first glance. Again, this will likely have to be done as root. Before making any changes to the file, study carefully its contents; you will want to emulate the format in your own additions. Basically, each entry consists of four parts. The first is the asterisk (*), which tells the info reader that a new entry has begun. The second is the title which you would like to see given in the main menu. I don't remember offhand, but it may be followed immediately by a colon (:); if so, you MUST include this. The third is the actual file names without the .info extension; make sure that it is placed in parentheses, matches exactly the case of the file name (since case sensitivity rules in linux), and is closed with a period () AFTER the parentheses. Finally, fourth is the short description of the file's contents. I have found that the last part is optional. Your current dir file will most likely not have a LilyPond section heading. You can easily instantiate one, preceding it with two newlines and following it with one. I recall that in ubuntu's installation, there was the possibility of quickly entering subsections of the LilyPond manuals. I don't know how to do this, but I believe that entries in the dir file should reveal this. One final note: I have found that, when adding or updating a program via the automated process, and if it comes with an info file, ubuntu will rewrite the dir file, and your contributions wil be missing. Not to panic! A backup file, dir~, will be made, and you should find your changes there. Copy them and insert them into the new dir file. It is a small inconvenience, but it is worth the ability to use the latest versions of LilyPond! I hope this answer was somewhat useful. Hwaen Ch'uqi On 8/18/14, Steven Arntson ste...@stevenarntson.com wrote: Hwaen Ch'uqi hwaench...@gmail.com writes: Greetings, Hmmm. Dense? I hardly doubt it! Perhaps you might try this: Reinstall lilypond with the .sh script but also call for documentation, something like this: sudo sh LILYPONDFILENAME.sh --prefix=PATH --documentation From my experience, this will take substantially longer to download, but you wil then have the complete documentation locally - at least in html format. But it may be that this direction also grabs the texinfo files and places them in the aforementioned lilypond/usr/share/info directory? Having always downloaded and installed lilypond this way, I have never noticed whether the --documentation flag was neded to obtain the .info files. I do hope this works. Hwaen Ch'uqi On 8/18/14, Steven Arntson ste...@stevenarntson.com wrote: Hwaen Ch'uqi hwaench...@gmail.com writes: Greetings Steven, The manuals are in Texinfo format, and the good news is that they are merely hidden. Going off the top of my head, I believe the files are located in the folder lilypond/usr/share/info. There, you should find just over 30 files, most with a .info extension. Move them to your folder called /usr/share/info. N.B. -- You may need to be root to do this. Then you should be able to access the files with `c-h i'. I hope this helps. Hwaen Ch'uqi One thing I'm missing now is the manual in texinfo format (I think). I use Emacs to enter my lilypond docs, and I used to have a bunch of manuals that I could open with C-h i. I think they were in texinfo format. Now they're gone... Thank you! steven arntson My lilypond/usr/share contains: emacs fonts ghostscript glib-2.0 guile lilypond locale -steven That worked, and I got the info files--thank you! Now I'm not sure how to get emacs to recognize them. I copied the files to /usr/share/info/lilypond, and successfully viewed a couple pages with C-u C-h i, but the whole thing isn't showing up by itself when I call C-h i, even after restarting emacs. Perhaps I should pursue this in help.emacs, but thought I'd ask here first, since I started the thread here. Thank you again for your help! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Updating a score from version 1.4
Greetings Larry, Are you familiar with the convert-ly command? From the terminal, you should be able to type convert-ly -e FILENAME, substituting the last portion with the name of your file. Then your code should be updated to the version which you are currently using. I hope this helps. Hwaen Ch'uqi On 7/17/14, Larry Kent kentla...@gmail.com wrote: This issue comes up from time to time for me, and I hope someone can help. Occasionally I need to make minor revisions to a score that was engraved with LilyPond version 1.4.12. That version was long before I started trying to use the program, so I don't have that version. Anyway, every time I try to revise the source so that it will compile in v. 2.16 or 2.18, I screw up something and it makes a mess and pretty soon I'm frustrated and move on to something more productive. So my question is: Is there any way I can get any of the very early versions so that I can make a couple of minor tweaks and compile these scores? Or is there some other solution that doesn't involve recodiing everything? Thanks in advance for any advice. Larry Kent Tampa, FL ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond for blind musicians
Greetings Claudio, I know nothing about NVDA, nor am I a Windows user, but a quick search seems to indicate that NVDA has much progress yet to be made, particularly where specialized applications are concerned. I gather that you are most interested in free and truly actively developed software. Might I suggest the combination of emacs and emacspeak? Emacs is not a word processor, but it is, among other things, an editor which affords wonderful environments for writing programs. (And LilyPond is in effect a sort of programming language.) Emacs comes already bundled with a LilyPond mode. As emacs is incredibly powerful, you can write code, compile it, listen to the generated midi files, read the LilyPond manuals, update your LilyPond version, even write to this community without ever leaving emacs. I doubt that NVDA will be able to communicate to you anything which is going on in emacs. This is where emacspeak comes in. A quick search appears to indicate that emacs can be run on Windows, and I would presume then that emacspeak can as well. I hope this helps. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamics over-lapping with bar-lines
Greetings David, generally I prefer the left edge of dynamics to be related to the note position. But I should like it to be a little further to the left than the value of -1 gives. That is a bit of a problem, because the value required for a dynamic such as 'f' will be different from that needed by a wider marking such as ''. Is there perhaps a way of specifying where the left edge of the dynamic should be in relation to the note? For instance, I might like all dynamics to appear about half a note-head's width before the left edge of the note-head itself. It is going to get very tedious having continually to specify different self-alignment-X values when there are, say, alternating 'p' and 'mf' markings. Have you tried using decimal numbers with self-alignment-X, as in numbers between -1 and 0? I am guessing that this will produce what you want. If I understand things correctly, the self-alignment-X property, at least in this instance, is calculating relative to the note. The DynamicText entry of the Internals Reference (Section 3.1.39) also give X-offset as another changeable property. It will also move the dynamic text horizontally, though I am not clear what is its X-parent. If you have not yet done it, I would highly recommend looking at Chapter 4 (and especially sections 4.6 and 4.7) of the Learning Manual, which will give you an invaluable introduction to tweaking the output. In particular, you might be interested in 4.7.2 and 4.7.3, where it is shown how you can minimize typing of tweaks by using variables and stylesheets. Also, considering that LilyPond is generally so good at avoiding collisions, I have been surprised to find that it seems to have no objection to printing dynamics and bar-lines on top of one another. Is there no way to tell it to avoid these collisions? I would have expected avoidance to be the default, with an override to allow collisions if that is what is wanted in a particular case. But the default appears to be that bar-lines and dynamics pay no regard for each other. Why the default is, I cannot say. But according to the same entry in the IR, the extra-spacing-width property is set to #'(+inf.0 . -inf.0) by default, which I believe means that, in LilyPond's calculations, the object takes no horizontal space. Changing the elements within the parentheses to actual numbers should force LilyPond to give it a horizontal value and thus to place other objects with recognition of that value. This is my understanding; if I am speaking amiss, please, anyone, feel free to correct me. I hope this helps. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamics over-lapping with bar-lines
Greetings David, Following the problem I was having with dynamics in a flute part and a piano part not lining up, on the advice of the list I upgraded my LilyPond from v2.14.2 to 2.18.0. Problem of non-alignment solved. But I still find that dynamics often contact or even cross a bar-line. In the flute part of this piece it does not matter, of course, because the bar-line does not extend beyond the stave. But in the piano part it does matter. The problem is the same whether the dynamic marks are added in a Staff context or in a separate Dynamics context. How do I tell LilyPond not to superimpose dynamics and bar-lines? David Now that you have successfully upgraded to LilyPond 2.18.0, the command which I earlier gave you should work - namely, \override Staff.DynamicText.self-alignment-X = #-1 If your dynamics are in a Dynamics context rather than a Staff context, then change Staff in the above command to Dynamics. The default horizontal position for DynamicText is #0, or centered. #1 right-aligns the dynamics; #-1 left-aligns them. Other numbers, whether between or outside of these bounds, will work as well. I hope this helps. Please take care. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I get Emacs mode?
On 1/27/14, David Kastrup d...@gnu.org wrote: David Sumbler da...@aeolia.co.uk writes: Thanks to all for your responses to my enquiry about misaligned dynamics. Thanks especially to Hwaen Ch'uqi, who tried to answer my question: unfortunately, \override Dynamics.DynamicText.self-alignment-X = #-1 (modified for the different syntax in Lilypond 2.14.2) did not solve the problem. I think this is because -1 is the default value in any case. Actually, the default is #0. The reason the code did not work is because, as I stated earlier, the ways of calling overrides has changed and so will not work unless you have upgraded to the latest stable version. You all suggested, as I was afraid you would, that instead of trying to get 2.14.2 to do what I want, I should change to 2.18.0. Considering that http://www.lilypond.org/unix.html positively encourages us to use the default version with distros such as Ubuntu (v2.14.2 in this case), this is not what a new user might expect! I suspect that you had installed 2.14.2 via ubuntu's apt-get mechanism, which placed all the files in their correct location. Manual installations, via the .sh script, will not place certain files, such as the .el or .info files, where you might wish them. Please have a look at this thread: https://lists.gnu.org/archive/html/lilypond-user/2013-05/msg00827.html The last message of the thread should answer your questions. The directory in view is either lisp or site-lisp. I hope this helps. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I get Emacs mode?
Hmmm. You should have found seven .el files in the original lisp directory, one of them being lilypond-words.el. Be sure to move them all into one of the directories in your loadpath. For example, I am using ubuntu-13.04, and I have moved all of those files to /usr/share/emacs23/site-lisp. All should work well then. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I get Emacs mode?
Yes, I have now found all seven files elsewhere, and checked that the six I had already found are identical to the copies I found in the other directory. So all now seems to be well. Some time when I have some time to spare, I must update all this stuff on my other computer too! Oh, and having converted a load of .ly files using convert-ly, and having now got emacs working OK, I just tried recompiling a file. It wouldn't compile, producing about 20 errors, so now I'm going to have to spend hours (probably) finding out why. But that'll have to be for another day (or week, perhaps). :-( David Just a question or two, based on my own experience. Did you first remove (or purge) LilyPond 2.14.2 before installing 2.18.0? Otherwise, your system may still be using the older installation. Also, where did you install the latest version? If I remember correctly, the automatic installation of 2.14.2 places the bin files in /usr/bin. To keep this consistent, I installed LilyPond 2.18.0 in /usr/, using the --prefix argument. Third, have you established that the .el files are exact copies by using a program like diff? To be utterly safe, I always remove the old .el files (which even purging will not remove) and replace them with the .el files found in the new installation. Lastly, if you use the info files to read the manuals, be sure to move them from their original location to the /usr/share/info directory; otherwise, you will not have access to them by the normal means. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamics not correctly aligned
Greetings David,
On 1/26/14, David Sumbler da...@aeolia.co.uk wrote:
I am a new user of Lilypond, using v. 2.14.2 on Ubuntu 12.04. I have
read the Learning Manual and Notation Reference twice each, and most of
the other documentation at least once.
First of all, welcome to LilyPond! Second, I would advise moving to
the latest stable version of LilyPond, version 2.18.0. This is
especially because certain basic ways of writing overrides, for
example, have changed, and it will likely be easier to communicate
solutions with an updated version. Third, the manuals are tightly
written, and pieces of relevant information may yet be found strewn
the manuals in sometimes unlikely places.
Having set two pieces (one for solo marimba, and one for flute and
piano), I hoped that I had reached the stage of being able to fine tune
the appearance, but stumbled at almost the first hurdle!
My first problem concerns the second piece. If I include the piano
dynamics separately from the notes, as suggested in section A.2.4 (Piano
Centred Dynamics) of the Learning Manual, they do not line up correctly
with the dynamics in the flute part, which I have attached to the notes.
For instance, with:
\version 2.14.2
\new Staff = flute \relative c''' { c1\p c\f }
\new PianoStaff
\new Staff \relative c'' { c1 c }
\new Dynamics { s1\p s\f }
\new Staff \relative c { \clef bass c1 c }
the dynamics in the piano part appear slightly further to the left than
those in the flute part do. I get the same result (disregarding the
change in vertical alignment) with:
\version 2.14.2
dynamics = { s1\p s\f }
\new Staff = flute \relative c''' { c1\p c\f }
\new PianoStaff
\new Staff \relative c'' { c1 c } \dynamics
\new Staff \relative c { \clef bass c1 c }
In the actual piece I have set, the misplaced piano dynamics actually
collide with the preceding bar-lines, although that does not happen in
the above brief examples.
What am I doing wrong here? Thanks in advance for any help you can
offer.
David
Try placing this command at the beginning of your Dynamics context:
\override Dynamics.DynamicText.self-alignment-X = #-1
This will left-align your dynamics. If you wish to move them more to
the right, you may change the number after the hash sign. #0
center-aligns the dynamics, and #1 right-aligns them. You can use
other numbers between those given.
I hope this helps.
Hwaen Ch'uqi
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Re: A follow-up on Roman numeral code.
Greetings Eluze, On 1/19/14, Eluze elu...@gmail.com wrote: Hwaen Ch'uqi wrote David Nalesnik provided some invaluable code which dealt with the switch from Roman to Arabic page numbers and its reflection in the table of contents. It is set up so that the first page number of the score does not show. How can I cause that first page number to appear? please see in NR print-first-page-number=##t Eluze Yes, I had thought of that and so tried it. However, it does not work in this situation. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A follow-up on Roman numeral code.
Greetings David, In the section commented as FIRST SCORE, try replacing \on-the-fly #part-not-first-page \offset-page-number #(1- begin-arabic) with \on-the-fly #create-page-number-stencil \offset-page-number #(1- begin-arabic) That should work for you. --David This works perfectly! Thank you so much. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
A follow-up on Roman numeral code.
Greetings All, At this link, https://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00665.html David Nalesnik provided some invaluable code which dealt with the switch from Roman to Arabic page numbers and its reflection in the table of contents. It is set up so that the first page number of the score does not show. How can I cause that first page number to appear? Attached is the aforementioned code for your reference. I don't doubt that the solution is quite simple; I have not yet been brave enough to enter the world of Scheme. Thank you in advance for any pointers. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A follow-up on Roman numeral code.
On 1/18/14, Hwaen Ch'uqi hwaench...@gmail.com wrote: Greetings All, At this link, https://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00665.html David Nalesnik provided some invaluable code which dealt with the switch from Roman to Arabic page numbers and its reflection in the table of contents. It is set up so that the first page number of the score does not show. How can I cause that first page number to appear? Attached is the aforementioned code for your reference. I don't doubt that the solution is quite simple; I have not yet been brave enough to enter the world of Scheme. Thank you in advance for any pointers. Hwaen Ch'uqi Wow, I seem to be quite a silly goose of late, having forgotten to attach the .ly file. Here it is. Hwaen Ch'uqi roman-numeral-page-numbers.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Emacs and LSR.
Greetings Again, I am writing to correct my earlier statement regarding emacs-w3m and the LSR. In fact, conducting searches works well, but simply browsing, starting from this page: http://lsr.dsi.unimi.it/LSR/Browse seems not possible. The first page of snippets is clearly shown; however, when clicking on the link to the next page, the URL correctly changes, but snippets 11-20 do not appear. Is there no solely text-based solution to this problem? Thank you for any help. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Emacs and LSR.
Greetings All, I am alas discovering that with emacs-w3m, the text browser which I had long been using, I now only have browsing functionality in the LSR: I can no longer conduct searches. Does there yet remain a purely text alternative to that website? Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Change page number during score
Greetings Ed, I realize this is quite the crude solution, and perhaps you have already considered it, but could you not simply include unneeded measures at that particular area, inserting a \pageBreak between each? At the page with the correct page number, you could then resume your actual music, using \set Score.currentBarNumber to adjust the measure number accordingly. Finally, you can remove the unneeded pages and replace them with those containing your graphic notation. This can be easily done with a tool like pdftk. I hope this helps. Hwaen Ch'uqi On 10/26/13, Trevor Daniels t.dani...@treda.co.uk wrote: Ed, you wrote Saturday, October 26, 2013 11:15 AM Hi Trevor, sorry all I can see in those pages is how to change the bar number? I'm after a way to change the page number, much like the \set Score.currentBarNumber but for pages. I'm assuming that because LP paginates things near the end of the engraving process then such a command like this doesn't exist, but I live in hope of being wrong! Sorry - I shouldn't dash off a reply before breakfast, at least not without reading the post carefully. You're right, there's no way to set the page number, AFAIK :( Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs lilypond-mode installation
Many greetings,
Actually, I, an ubuntu user, had the same problems when
installing LilyPond from the shell script. The emacs subdirectory
which you found in the LilyPond directory contains a folder called, I
believe, lisp The files in this folder are what you especially need.
The load-path is the set of directories which emacs initially searches
in order to know which packages to immediately call. You can find
these list of directories by calling `C-h v' and typing load-path.
Choose one, and move the files to that directory. (You may need to do
this as root.) Then, add the following lines to your .emacs file:
(autoload 'LilyPond-mode lilypond-mode)
(setq auto-mode-alist
(cons '(\\.ly$ . LilyPond-mode) auto-mode-alist))
(add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
This code will also ensure that LilyPond-mode will be called
whenever emacs visits a file with a .ly extension. I hope this helps.
Hwaen Ch'uqi
On 5/28/13, Kevin Barry barr...@tcd.ie wrote:
Dear LilyPond users,
A friend recently persuaded me to try emacs for text editing (LaTeX +
LilyPond), however I can't quite understand the instructions for
installing lilypond-mode, as outlined here:
http://lilypond.org/doc/v2.16/Documentation/usage/text-editor-support
'An Emacs mode for entering music and running LilyPond is contained in
the source archive in the ‘elisp’ directory. Do make install to install
it to elispdir.'
What exactly is the source archive? The download seems to be a shell
script. Does it mean the lilypond folder in /usr/local/? I did find a
folder called elisp (actually there seem to be several on my computer
since guile 2.0 comes with Ubuntu) in
/usr/local/lilypond/usr/share/guile/1.8/lang/elisp/ but doing a make
install only gave an error ('make: *** No rule to make target `install'.
Stop.'). Should I be looking somewhere else? There is an emacs folder
in /usr/local/lilypond/usr/share/emacs/ which seems to contain some of
the files mentioned in the instructions in the documentation, but I
don't understand them: there's no folder anywhere on my computer called
elispdir, and I don't know what a load-path is. Do I just need to add a
line to the ~/.emacs file pointing to this folder?
K.
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Question regarding connectArpeggio.
Greetings All, Is it possible, once PianoStaff.connectArpeggios has been set to ##t, to revert this change within an instantiated voice? Any acvice is welcome. Thank you so much. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Proposed new available and recommended behavior of \relative
Greetings All,
In truth, I am quite satisfied with the current state of
\relative, whether with or without an absolute pitch indicated before
the braces. And yes, I do understand that, though users are at present
discouraged from using the latter, both
\relative c' { MUSIC } and \relative { MUSIC }
yield the same result. But why, after all, is the latter meant to be
deprecated? Do not the docs, in explaining the placement of pitch `c',
use middle C as a point of reference - as in, an octave below middle
C? And so, if the proposed change is implemented, my mental process of
assigning or interpreting
\relative fis'' { MUSIC } or \relative { fis'' MORE MUSIC }
invariably remains the same - that is, calculate the placement of said
pitch located two octaves and a raised fourth above the C which is one
octave below middle C. (This is why the deprecated syntax is so
useful; it is more direct, eliminating a step in the calculation.)
I also share and echo reservations about mixing the purpose of
commas and apostrophes within the \relative braces themselves. This
may be a subtle distinction, but I cannot agree that, in the case of
\relative { fis'' MORE MUSIC }
that `fis''' is an absolute pitch. Yes, its placement is firmly
established, but only as it is *relative* to `c'. In which case, why
not leave the \relative situation as currently is, where the one true
absolute pitch of `c' (which, incidentally, is as arbitrary as any
other pitch) is invoked as a function of calling \relative in the
first place and is then used immediately - that is, before the braces
- in establishing a different reference point as desired by the user?
Hwaen Ch'uqi
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Re: divisi parts and another general question
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect, and, though I believe that
was meant to be deprecated, I am pretty sure it still works in the
latest stable version.
Second, there are still plenty of errors, regarding both pitch
and rhythm, in this latest example. In the former case, remember
always to write the pitch which you _want_ to be _heard._ If you want
to hear an E-flat, write an E-flat. If you want to hear an E-natural,
simply write e. This rule of coded notation applies no matter which
key signature you indicate at the beginning of your score. LilyPond,
being mightily well designed, will consider the pitches which you have
written and will interpret and display them visually according to the
rules of the key signature which you have indicated. So, because, I
trust, you will have begun your piece with the indication
\key c \minor
the E-flat which you have written will be placed appropriately on the
staff _without_ any accidentals - that is, without a flat sign -
because it is understood (via the visual indicator at the beginning of
the piece, where the modified pitches of the key signature are
actually shown) to be an E-flat. Continuing with this example in c
minor, an E-natural, having been written simply as e, will be
displayed in the printed score in the correct place on the staff with
a natural sign accompanying it: You do not need to include in your
code an exclamation point, because LilyPond already knows that
E-natural does not belong in that key and will automatically place a
natural sign in the score; this is why LilyPond was telling you that
you were using unexpected exclamation points. In music of the common
practice, these exclamation points - or courtesy accidentals - should
be used very sparingly. Regarding the latter case of rhythm, the
result is that you are notating as if the Prelude is written in 5/4
rather than 4/4.
Third, I very much understand your frustrations, having also made
the transition from Braille to printed music via LilyPond. In
actuality, many of the underlying principles of coded notation are
strikingly similar; this makes the points of difference at times hard
to remember or even to process. In the case of key signatures and
accidentals, for example, what you read on the Braille page is nearly
exactly what one reads on the printed page; both operate under the
same rules of accidentals relative to the key signature. LilyPond,
however, needs the most raw material with which to work - meaning, in
this case, the actual pitches which you want to be heard, not seen or
read. It will then do its magic correctly based upon the key signature
which you have given. To extend this slightly, having supplied
LilyPond with the correct raw material, if you then changed nothing
but the key signature, the visual output would look different,
according to the rules of the new key signature: what you would _hear_
would remain unchanged. So, while the learning curve of LilyPond may
admittedly be steep (in large measure because you will have to become
acquainted with the general rules of visual layout in order to use
LilyPond most effectively), I encourage you never to flag in your
resolve; for, though its inception was centered around a different
need and demand, it has certainly proven to be a godsend to a wider
clientelle.
I hope this has been somewhat helpful to you, and best of luck to you.
Hwaen Ch'uqi
On 3/1/13, Sarah k Alawami marri...@gmail.com wrote:
Ok. one more question for the night then I'll be done with this for tonight
as I want to at least get the 2 violin parts written then work on viola,
cello and bass tomorrow and sunday.
I will be having divici parts for the second violin parts. I know odd but
there you go. I tried the text thing
Here is what I'm trying to accomplish. Realize and I did not say this
before that I read braille music so what I see is different from what the
print people see. We have the text and dynamics before the notes like divisi
and unison and stuff. in parenthesis. but here is what I was going for.
{
c e4 c e b! e4.divisi d8 c4unis |
divisi a c aes c g c4. unis b8 a4 |
}
Am I making this harder then it really is? I want to try and finish the
second violin part tonight if I have the head to do so lol! I read the
manual on voicing but I don't think that was the right section as it did not
seem like what I wanted.
Oh btw another question. I like to try and bass everything around middle c,
so what would be the relative of that would it be
c'' or c'?
I get a bit confused there but I will get this.
Thanks all.
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Re: divisi parts and another general question
Greetings David,
Indeed, your point is well stated, demonstrated, and taken. I
merely include the possibility for the sake of completeness; I myself
find the latter option quite useful, as I then do not have to remind
myself that 'c' actually refers to the pitch an octave below the
fairly common reference point of middle c. Regardless, I would imagine
that someone wishing to use a \relative block has already familiarized
himself with the rules that govern the coding of intervals.
Hwaen Ch'uqi
On 3/2/13, David Kastrup d...@gnu.org wrote:
Hwaen Ch'uqi hwaench...@gmail.com writes:
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect, and, though I believe that
was meant to be deprecated, I am pretty sure it still works in the
latest stable version.
Why would you recommend using a deprecated non-documented way of
entering music which is non-explicit in its behavior?
\relative { f } - f'
\relative { g } - g
That makes only sense in relation to c', so why not write it explicitly?
--
David Kastrup
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Re: Roman page numbers.
On 8/18/12, David Nalesnik david.nales...@gmail.com wrote:
Hello,
On Thu, Aug 16, 2012 at 5:59 AM, Hwaen Ch'uqi hwaench...@gmail.com wrote:
Greetings All,
There must surely be an easy answer to this, though I have yet
to
find it. How does one produce page numbers in Roman numerals? And how
does one then revert to Arabic numerals?
If there's an easy answer to this, I must not have found it :) In the
example below, I've created a markup command which converts page
numbers into Roman numerals, and added it to the default definitions
of oddHeaderMarkup and evenHeaderMarkup. The command takes an
integer: above that value, page numbers will revert to Arabic
numerals. I've made the Roman numerals lowercase.
In a related question, will
the output from a generated Table of Contents display a mix of Roman
and Arabic page numbers?
This won't affect the table of contents, and unfortunately, I don't
have time right now to work on a solution :(
HTH,
David
\version 2.15.42
%%% roman numeral page numbers
#(define-markup-command (roman-numeral-page-number layout props arg)
(integer?)
(let ((page-number (chain-assoc-get 'page:page-number props -1)))
(interpret-markup layout props
(if (and ( page-number 0) ; only positive integers can be
`romanized'
(= page-number arg))
(format #f ~(~@r~) page-number)
(chain-assoc-get 'page:page-number-string props -1)
\paper {
print-first-page-number = ##t
print-page-number = ##t
oddHeaderMarkup = \markup
\fill-line {
\on-the-fly #not-first-page \fromproperty #'header:instrument
\on-the-fly #print-page-number-check-first \roman-numeral-page-number
#4
}
evenHeaderMarkup = \markup
\fill-line {
\on-the-fly #print-page-number-check-first \roman-numeral-page-number
#4
\on-the-fly #not-first-page \fromproperty #'header:instrument
}
}
\score {
\new Staff {
\repeat unfold 10 {
s1
\pageBreak
}
}
}
Greetings David,
I have only now had a chance to try your code: This is wonderful.
Thank you very much.
Hwaen Ch'uqi
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Roman page numbers.
Greetings All, There must surely be an easy answer to this, though I have yet to find it. How does one produce page numbers in Roman numerals? And how does one then revert to Arabic numerals? In a related question, will the output from a generated Table of Contents display a mix of Roman and Arabic page numbers? Many thanks. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Make visible note silent
On 6/4/12, ornello dominik.hoer...@fun.de wrote: Hello *, is there a way to make a visible note silent? It should be displayed when creating PDF, but not played when creating MIDI output. Or do I have to replace these notes by silences in my LY file for generating the MIDI file? I know the \killCues command for cue notes, but how do I remove non-cue notes from the MIDI output? Thank you for suggestions... -- View this message in context: http://old.nabble.com/Make-visible-note-silent-tp33956940p33956940.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Greetings Ornello, Is it possible that you want to use tags? I have not used them myself, so I cannot write from experience, but it appears that this thread might be of some use: https://lists.gnu.org/archive/html/lilypond-user/2011-04/msg00290.html Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Regarding horizontal shifts.
On 5/12/12, Janek Warchoł janek.lilyp...@gmail.com wrote:
Hi Hwaen,
On Fri, May 11, 2012 at 7:01 PM, Hwaen Ch'uqi hwaench...@gmail.com wrote:
Greetings All,
In this snippet, the second arpeggio overlaps with the preceding
cross-staff notation. How may I best solve this? Ideally, I should
like to shift the second half of the measure to the right. Has the
solution something to do with padding? My efforts thus far have not
yielded anything fruitful.
Overriding arpeggio's X-extent (i.e. telling LilyPond that it should
be wider) should do the trick, but unfortunately doesn't. I think
this is a bug; LilyPond doesn't recognize that the last note/chord
before the arpeggio is in the upper staff. A workaround is to insert
something into the bottom voice of the bottom staff and hide it (even
when it's hidden, Lily will consider it when calculating spacing).
I hope this explanation is clear.
Here's an example of such workaround:
\score{
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = up{
\key c \minor \time 2/4 \clef treble \relative{
{
c4\arpeggio d\arpeggio
}
\\
{
r16 g, es \change Staff = down \voiceOne g, c \change Staff =
up \voiceTwo g' es r c g f \change Staff = down \voiceOne g, c d
\change Staff = up \voiceTwo c' g f
}
}
}
\new Staff = down{
\key c \minor \time 2/4 \clef bass \relative{
{
s2
}
\\
{
c,, c'4\arpeggio d d'\arpeggio
}
{
s8. \hideNotes r16 \unHideNotes
}
}
}
}
hope this helps,
Janek
PS you should be using \voiceOne instead of \stemUp. The latter
doesn't result in proper placement of articulations and other things.
Yes, this works beautifully! And thank you for the general tip.
Hwaen Ch'uqi
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Regarding horizontal shifts.
Greetings All,
In this snippet, the second arpeggio overlaps with the preceding
cross-staff notation. How may I best solve this? Ideally, I should
like to shift the second half of the measure to the right. Has the
solution something to do with padding? My efforts thus far have not
yielded anything fruitful.
Many thanks.
Hwaen Ch'uqi
\version 2.15.38
\score{
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = up{
\key c \minor \time 2/4 \clef treble \relative{
{
c4\arpeggio d\arpeggio
}
\\
{
r16 g, es \change Staff = down \stemUp g, c \change Staff =
up \stemDown g' es r c g f \change Staff = down \stemUp g, c d
\change Staff = up \stemDown c' g f
}
}
}
\new Staff = down{
\key c \minor \time 2/4 \clef bass \relative{
{
s2
}
\\
{
c,, c'4\arpeggio d d'\arpeggio
}
}
}
}
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Sustain pedal question.
Greetings All,
When set to bracket style, the spanner seems broken in this passage
which utilizes spacer rests, a cross-staff voice, and a \times
command. In the first two measures, it ends at the fourth beat instead
of continuing to the downbeat of the next measure. The third measure
is correctly engraved. Am I missing something obvious?
Many thanks for any help.
Hwaen Ch'uqi
\version 2.14.2
\score{
\new PianoStaff
\new Staff = up{
\key c \major \time 4/4 \clef treble \relative{
\stemDown \times 2/3 {dis8-4\p cis b} a8*2/3 \change Staff = down
\stemUp g_1 f dis f g \change Staff = up \stemDown a b cis %1
dis cis b a \change Staff = down \stemUp g f dis f g \change
Staff = up \stemDown a b cis %2
dis cis b a \change Staff = down \stemUp g f \change Staff = up
\stemNeutral \clef bass s2 %3
}
}
\new Staff = down{
\set Staff.pedalSustainStyle = #'bracket
\key c \major \time 4/4 \clef bass \relative{
s1\sustainOn %1
s\sustainOff\sustainOn %2
s2\sustainOff\sustainOn \stemUp dis,8*2/3 cis \change Staff = up
\stemDown b-4 a g f %3
}
}
\layout{
}
}
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Re: Invisible page numbers
On 4/18/12, Antonio Soler solem.tempe...@gmail.com wrote:
Hi.
Is there a way to remove page numbers in Lilypond v2.14.2?
Thanks to all.
Greetings,
This can be specified in the \paper block, placed at the head of your
file.
\paper {
print-page-number = ##f
}
Section 4.1 of the Notation Reference gives many details concerning
page layout.
Hwaen Ch'uqi
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Tie question.
Greetings All,
I am attempting to tie two notes of an arpeggiated chord into the
chord proper. However, one of the ties appears more as a tiny dot
rather than a curve. Can anyone explain the reason for this and offer
a solution? Please find the code below.
Many thanks.
Hwaen Ch'uqi
\version 2.14.2
\score{
\new Staff{
\key f \major \time 2/4 \clef treble \relative{
\tieDown
\set tieWaitForNote = ##t
\grace {cis16[ d~ g~]} bes g d2
}
}
\layout{
}
}
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Tie question.
On 4/15/12, Xavier Scheuer x.sche...@gmail.com wrote:
On 16 April 2012 00:36, Hwaen Ch'uqi hwaench...@gmail.com wrote:
Greetings All,
I am attempting to tie two notes of an arpeggiated chord into the
chord proper. However, one of the ties appears more as a tiny dot
rather than a curve. Can anyone explain the reason for this and offer
a solution? Please find the code below.
Many thanks.
Hi,
I don't know the reason but one solution would be to use something like
\override Tie #'minimum-length = #2
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
Greetings Again,
Many thanks, Thomas and Xavier. I have tried the solution but to no
avail. I have noticed that, when the same passage is transposed a
step, the smaller tie is drawn correctly as a curve. There seems to be
a conflict with the presence of the staff line and the tie. Below is
my code again, this time showing the successful transposition first,
followed by the original example without and with the adjustment to
minimum-length. Thank you in advance for any more help.
Hwaen Ch'uqi
\version 2.14.2
\score{
\new Staff{
\key f \major \time 2/4 \clef treble \relative{
\tieDown
\set tieWaitForNote = ##t
\grace {dis16[ e~ a~]} c a e2
\grace {cis,16[ d~ g~]} bes g d2
\once \override Tie #'minimum-length = #3
\grace {cis,16[ d~ g~]} bes g d2
}
}
\layout{
}
}
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Re: Ossia requiring an entire PianoStaff, urgent.
On 3/5/12, Phil Holmes m...@philholmes.net wrote: - Original Message - From: Hwaen Ch'uqi hwaench...@gmail.com To: lilypond-user@gnu.org Sent: Monday, March 05, 2012 12:12 PM Subject: Ossia requiring an entire PianoStaff, urgent. Greetings All, I am entering a composition competition for piano duo, and I have but a few days before I must submit my score. As one will see from the excerpt of the practical score, the Primo part, begining from m.42, includes an ossia for the left hand. Simultaneously, the Secondo part includes an ossia for both hands, thus requiring another PianoStaff context. Though the ossia sections of the 2.14.2 NR do not show instances of ossias requiring another PianoStaff context, the result seems fairly acceptable. However, when all is combined into a full score, one will quickly see that a problem arises -- namely, that the ossia of the Primo appears below the entire system of music. I have a notion that the answer lies somewhere in the explanation of NR 5.1.7, though I cannot exactly find the direct application to my situation. I would be most grateful for any suggestions. I have also included the .ly file for the first 54 measures of the full score. Apart from the indication of pageBreaks, the code for the individual parts is exactly preserved from their respective .ly files. Many thanks. Hwaen Ch'uqi 2 suggestions: 1) when you're trying to sort out complex layout problems like this, it's very much easier to get rid of almost all the notes and do it with an absolute minimum of other stuff, except the staves you're trying to get right. 2) it looks to me like you have 2 staves called up and 2 called down. I'd suggest calling them upone and uptwo and then trying to align the ossias to the desired stave. Not tested. If this doesn't work, see 1). -- Phil Holmes Greetings Phil, Many thanks for both general advice and specific suggestion. This was in fact the problem, the duplicate naming of contexts. Everything is now beautifully aligned. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: spam
On 2/22/12, Xavier Scheuer x.sche...@gmail.com wrote: 2012/2/22 Luca Rossetto Casel luca.rosse...@email.it: Yes, I received two or three spam mails in the latter days... AFAICS all these spam mails passing through the lilypond-user mailing list come from only one e-mail address: Steven Padalino goz...@hotmail.com I suppose this e-mail address is subscribed to lilypond-user mailing list, otherwise the list moderators would not have allowed these messages. David (or are there other lilypond-user administrators?), could you please make sure goz...@hotmail.com will not be able to send spam onto lilypond-user@gnu.org anymore? Thanks in advance. Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Greetings All, I am glad this is being dealt with, for I have been receiving several of these -- all, as has already been pointed out, from the same address. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Tweaking log-duration in triple meter.
Greetings All, I am trying to tweak durations of pitches within a chord in triple meter. If I understand correctly, `\tweak #'duration-log #1' in 3/4 meter would yield a duration of a dotted half note, and `\tweak #'duration-log #3' would yield a quarter note? How does one accomplish a half note? `\tweak #'duration-log #3*2' does not work. Perhaps I am misunderstanding the process? Any help is greatly appreciated. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking log-duration in triple meter.
Greetings Elouze, Many thanks for pointing me in the right direction. It took a while for me to understand it. But if I may ask further, how then does one apply this to, say, realize dotted or tied durations? Hwaen Ch'uqi On 8/18/11, -Eluze elu...@gmail.com wrote: Hwaen Ch'uqi wrote: Greetings All, I am trying to tweak durations of pitches within a chord in triple meter. If I understand correctly, `\tweak #'duration-log #1' in 3/4 meter would yield a duration of a dotted half note, and `\tweak #'duration-log #3' would yield a quarter note? How does one accomplish a half note? `\tweak #'duration-log #3*2' does not work. Perhaps I am misunderstanding the process? Any help is greatly appreciated. Hwaen Ch'uqi the NR explains: duration-log (integer) The 2-log of the note head duration, i.e., 0 = whole note, 1 = half note, etc. Eluze -- View this message in context: http://old.nabble.com/Tweaking-log-duration-in-triple-meter.-tp32285683p32285896.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Regarding the Table of Contents.
Greetings All, I am nearing the completion of a massive project for piano, four hands. Using the wonderful piece of code supplied by Robin Bannister (see link below), I have successfully formatted separate Secondo and Primo parts. Is there a way to influence the toc:page element into returning the new resulting page numbers rather than the literal number of pages which have transpired? Many thanks. Hwaen Ch'uqi http://lists.gnu.org/archive/html/lilypond-user/2011-06/msg9.html ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Texinfo manual.
Greetings All, I have just downloaded and installed the x86 distribution of LilyPond-2.14.1. I may be missing something fantastically obvious, but I am unable to locate a manual which I can read through Emacs' texinfo facility. Any help is appreciated! Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
