Change ChordName temporarily
Dear Friends: The use of the cuatro instrument in Venezuela is traditional for tha last three centuries. One of the ingrained customs here is to name certain chords as another, based on their sonority. For example, a C dominant 7 is never regarded as a true Eb-Dominant Seventh. So... how complicated would be to change the name of the chord, despite the notes included in it? Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Frets without string information
Dear fellows: I've read in several places that it is impossible to transpose frets with string information. How can one create a fret without it? I'd like to make lilypond able to transpose the basic frets I am putting together. Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: No string for pitch #
Got the prick little b... It was as Carl initially suggested. I made a minimal example and found that there was a problem with the model for the string tuning function. Thanks a lot... El 20/11/2009, a las 10:31 p.m., Jesús Guillermo Andrade escribió: Yes... definitely except for the little fact that if I change the chords from their original positions, then the fretboard is incorrect... the finger positions change one fret up. So... what is the logic behind it? If the chord is in the correct pitch the frets are ok, but I get what you called the octavation error. Something is wrong here ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: No string for pitch #
El 20/11/2009, a las 05:30 a.m., -Eluze escribió:
it has has been mentioned before that it could be an octavation
problem - so
defining your chord as harmonies = \chordmode { e':7 } will solve the
problem!
Yes... definitely except for the little fact that if I change the
chords from their original positions, then the fretboard is
incorrect... the finger positions change one fret up. So... what is
the logic behind it? If the chord is in the correct pitch the frets
are ok, but I get what you called the octavation error. Something is
wrong here
Please help me...
Guillermo
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Re: Embedded PS graphics into scores
Thank you very much Patrick. Although the snippet is not functional
yet. I tried compiling it using just one variable but to no avail.
Perhaps something else is missing?
BTW. Since I need to create some glyphs that are fundamental for the
cuatro, and I dont know how to use fontforge, and more to the point,
have no idea how to create font glyphs to add them to emmentaler, the
only feasible option would be to create ps graphics to insert into the
scores
Guillermo
El 19/11/2009, a las 02:40 p.m., Patrick McCarty escribió:
Hi,
On 2009-11-19, Jesús Guillermo Andrade wrote:
Thanks Patrick for your advice: Im sending a working minimal example
for your (and everybody's!) consideration. I cannot figure out this
behaviour. Here it follows:
I removed the "showpage" operator from your Postscript code, and that
solved the problem of extra pages. I changed the strategy for
variable assignments so that everything works correctly. The
alignment of the arrows does not look accurate, but hopefully this new
snippet will help you achieve what you're trying to do:
%%% Begin snippet %%%
\version "2.13.8"
%\include "comunes.ily"
%\include "predefined-cuatro-fretboards.ily"
%\include "predefined-strokes.ily"
% Finger stroke symbols
strokeUp = "
/arrowdict 14 dict def
arrowdict begin
/mtrx matrix def
end
/arrow
{arrowdict begin
/headlength exch def
/halfheadthick exch 2 div def
/halfthick exch 2 div def
/tipy exch def /tipx exch def
/taily exch def /tailx exch def
/dx tipx tailx sub def
/dy tipy taily sub def
/arrowlength dx dx mul dy dy mul add sqrt def
/angle dy dx atan def
/base arrowlength headlength sub def
/savematrix mtrx currentmatrix def
tailx taily translate
angle rotate
0 halfthick neg moveto
base halfthick neg lineto
base halfheadthick neg lineto
arrowlength 0 lineto
base halfheadthick lineto
base halfthick lineto
0 halfthick lineto
closepath
savematrix setmatrix
end
} def
newpath
4 3 4 .9 .9 2 2 .2 sqrt mul 2 div
arrow .65 setgray fill
"
strokeDown = "
0.3 setlinewidth
0.5 0 moveto
0.5 2 lineto
0.2 1.4 lineto
0.5 2 moveto
0.8 1.4 lineto
stroke
"
%%% NOW COMES THE FILE
\paper{
%annotate-spacing = ##t
%after-title-space=20\mm
indent=0\mm
line-width=190\mm
#(set-paper-size "letter")
}
\header {
tagline = ##f
title = "Viajera del Río"
subtitle = "Vals Venezolano"
composer = \markup {
\column \roman \right-align {"Manuel YÁNEZ"
\lower #2 \tiny "Transcrito por Jesús G. Andrade."
\lower #1 \tiny "Conservatorio Vicente E. Sojo."
\vspace #1
}
}
meter = \markup {
\postscript #strokeUp
\postscript #strokeUp
\postscript #strokeDown
\postscript #strokeDown
\postscript #strokeUp
}
}
%%% HEADER END.
%%% MUSIC PART
melody = \relative c' {
% \override Score.RehearsalMark #'break-visibility = #begin-of-line-
invisible
\override Score.RehearsalMark #'font-size = #-2
% \override MultiMeasureRestText #'self-alignment-X = #DOWN
\time 3/4
\clef treble
\key a \major
r4 e8 fis\( \times 2/3 {fis\)gis a} %1
\bar "||"
gis4 r8 e8 fis gis16 a %2
}
\score {
<<
\new Voice = "melodia" { \melody }
%\midi { }
}
%%% End snippet %%%
-Patrick
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Re: No string for pitch #
Carl: This is a minimal example. I've been trying to write a complete
implementation of the instrument in lilypond. In fact, my other post
regarding the inclusion of ps figures inside the pdf output is
directly related to this work. Getting back to our thread, the warning
shows even with one predefined chord. But the output is still correct.
So, what can be the problem causing the warning? Would these frets
transpose easily? Do I have to break down each chord into its
components?
\version "2.13.8"
melody = \relative c' {
\override Score.RehearsalMark #'font-size = #-2
\time 3/4
\clef treble
\key a \major
r4 e8 fis\( \times 2/3 {fis\)gis a} %1
\bar "||"
gis4 r8 e8 fis gis16 a %2
}
%%% CHORDS!
cuatrotuning = #'(11 18 14 9)
%% C chords
\storePredefinedDiagram \chordmode {e:7}
#cuatrotuning
#"2-2;o;2-2;o;"
harmonies = \chordmode {
e2.:7 %a2.:maj7 c2.:dim a2.:maj7 cis2.:min7
}
\score {
<<
\new ChordNames {
\override ChordName #'font-size = #-1
\set chordChanges = ##t
\harmonies
}
\new FretBoards {
\set stringTunings = #cuatrotuning
\override FretBoard
#'(fret-diagram-details string-count) = #'4
\override FretBoard
#'(fret-diagram-details finger-code) = #'in-dot
\harmonies
}
\new Voice = "melodia" { \melody }
>>
}
I really hope this can help to shed some light into the problem.
Thanks!
Guillermo
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Re: No string for pitch #
David:
El 18/11/2009, a las 02:51 a.m., David Kastrup escribió:
Sounds like Lilypond is running out of strings for the given chords.
Just a wild guess.
Yes.. it is kind of shocking right?. But fact is that the notes listed
by lilypond, I have surmised, are part of the chords I have already
specified using this method:
%(define-public cuatro-tuning '(4 -1 -5 -10 -15 -20))
cuatrotuning = #'(11 18 14 9)
%% C chords
\storePredefinedDiagram \chordmode {c}
#cuatrotuning
#"3-3;2-2;1-1-(;1-1-);"
\storePredefinedDiagram \chordmode {c:7}
#cuatrotuning
#"1-1-(;2-2;;1-1-);"
Then, after storing several chords of the same id as before (i.e. c, c:
7 etc) in the harmonies variable, I used this form to make the
conversion into good frets:
\new FretBoards {
\set stringTunings = #cuatrotuning
\override FretBoard
#'(fret-diagram-details string-count) = #'4
\override FretBoard
#'(fret-diagram-details finger-code) = #'in-dot
\harmonies
}
So... the only thing that comes to my mind is that lilypond, somehow,
constructs these chords as it sees fit (in terms of octave placement)
then checks if all notes CAN or COULD be played by the strings. if the
pitch is out of range, then it prints the warning. All that said,
though, it should be possible to force lilypond into not going up, but
down the neck of the instrument.
Now: any ideas?
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Re: Embedded PS graphics into scores
Thanks Patrick for your advice: Im sending a working minimal example
for your (and everybody's!) consideration. I cannot figure out this
behaviour. Here it follows:
\version "2.13.8"
%\include "comunes.ily"
%\include "predefined-cuatro-fretboards.ily"
%\include "predefined-strokes.ily"
% Finger stroke symbols
strokeUp = \markup { \postscript #"
/arrowdict 14 dict def
arrowdict begin
/mtrx matrix def
end
/arrow
{arrowdict begin
/headlength exch def
/halfheadthick exch 2 div def
/halfthick exch 2 div def
/tipy exch def /tipx exch def
/taily exch def /tailx exch def
/dx tipx tailx sub def
/dy tipy taily sub def
/arrowlength dx dx mul dy dy mul add sqrt def
/angle dy dx atan def
/base arrowlength headlength sub def
/savematrix mtrx currentmatrix def
tailx taily translate
angle rotate
0 halfthick neg moveto
base halfthick neg lineto
base halfheadthick neg lineto
arrowlength 0 lineto
base halfheadthick lineto
base halfthick lineto
0 halfthick lineto
closepath
savematrix setmatrix
end
} def
newpath
4 3 4 .9 .9 2 2 .2 sqrt mul 2 div
arrow .65 setgray fill
showpage
"}
strokeDown = \markup { \postscript #"
0.3 setlinewidth
0.5 0 moveto
0.5 2 lineto
0.2 1.4 lineto
0.5 2 moveto
0.8 1.4 lineto
stroke
"}
%%% NOW COMES THE FILE
\paper{
%annotate-spacing = ##t
%after-title-space=20\mm
indent=0\mm
line-width=190\mm
#(set-paper-size "letter")
}
\header {
tagline = ##f
title = "Viajera del Río"
subtitle = "Vals Venezolano"
composer = \markup {
\column \roman \right-align {"Manuel YÁNEZ"
\lower #2 \tiny "Transcrito por Jesús G. Andrade."
\lower #1 \tiny "Conservatorio Vicente E. Sojo."
\vspace #1
}
}
meter = \markup {\strokeUp \strokeUp \strokeDown \strokeDown
\strokeUp}
}
%%% HEADER END.
%%% MUSIC PART
melody = \relative c' {
% \override Score.RehearsalMark #'break-visibility = #begin-of-line-
invisible
\override Score.RehearsalMark #'font-size = #-2
% \override MultiMeasureRestText #'self-alignment-X = #DOWN
\time 3/4
\clef treble
\key a \major
r4 e8 fis\( \times 2/3 {fis\)gis a} %1
\bar "||"
gis4 r8 e8 fis gis16 a %2
}
\score {
<<
\new Voice = "melodia" { \melody }
>>
%\midi { }
}
Thanks for your input.
Guillermo
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No string for pitch #
Currently, I am trying to set up a complete implementation of the venezuelan cuatro into lilypond. So far, I've been able list most chord shapes, but I keep getting errors in the form of: advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) advertencia: No string for pitch # (given frets ()) What does these mean? I have read many of the .scm source files and I still cannot understand. Any ideas? Guillermo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Embedded PS graphics into scores
Marc: Yes... in fact, if you read section number 1 of my first email
you'll surely notice that I expressely mention the "flamenco example",
regarding the snippet found in the repository. But those arrows are no
good... at least to me.
El 17/11/2009, a las 03:53 p.m., Marc Hohl escribió:
Jesús Guillermo Andrade schrieb:
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the
fact that no matter how good, or scaled or proportioned I put a
graphic, it just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow.
To insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I
need better arrows I decided to install a complete function for
creating several kinds of arrows by using PS command exclusively.
Now, the place to use this arrows is probably in the title section,
so I put them in my file like this:
[...]
Any clues as to what can I do to get rid of this erroneous
behaviour? I appreciate your patience.
This isn't a solution to your postscript problem, but have you seen
http://lsr.dsi.unimi.it/LSR/Item?id=409
?
Marc
Guillermo
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Embedded PS graphics into scores
Dear fellows: Inspired by the script created for flamenco music I
began to design some symbols which are specific for a cuatro in
Venezuela and other parts of the world.
At any rate, the main difficulty Im experiencing right now is the fact
that no matter how good, or scaled or proportioned I put a graphic, it
just gets repeated twice in the output.
Let me explain.
1. Originally, the guy that created the flamenco example, used very
simple PS commands to draw, again, a very simple shape of an arrow. To
insert them, you just need this kind of construct:
golpe = \markup { \postscript #"
0.2 setlinewidth
0 0 moveto
1 0 lineto
1 1 lineto
stroke
2. This, however nice, is not sufficient for my purposes. Since I need
better arrows I decided to install a complete function for creating
several kinds of arrows by using PS command exclusively. Now, the
place to use this arrows is probably in the title section, so I put
them in my file like this:
\header {
tagline = ##f
title = "Viajera del Río"
subtitle = "Vals Venezolano"
composer = \markup {
\column \roman \right-align {"Manuel YÁNEZ"
\lower #2 \tiny "Transcrito por Jesús G. Andrade."
\lower #1 \tiny "Conservatorio Vicente E. Sojo."
\vspace #1
}
}
meter = \markup {\strokeUp \strokeUp \strokeDown \strokeDown
\strokeUp}
}
3. As you can see, I redefined the strokeUp and Down just for testing
purposes and used it within the \meter environment for the nice
placement in regard of the page and the score. The said PS function
gets interpreted well with GS, however, they get repeated and lilypond
inserts a full empty page with it. I tried to simplify it to the
extreme, but is seems lilypond gets confused with the context of the
ps function. This is the full example of the function to draw an arrow
as I want:
% Finger stroke symbols
strokeUp = \markup { \postscript #"
/arrowdict 14 dict def
arrowdict begin
/mtrx matrix def
end
/arrow
{arrowdict begin
/headlength exch def
/halfheadthick exch 2 div def
/halfthick exch 2 div def
/tipy exch def /tipx exch def
/taily exch def /tailx exch def
/dx tipx tailx sub def
/dy tipy taily sub def
/arrowlength dx dx mul dy dy mul add sqrt def
/angle dy dx atan def
/base arrowlength headlength sub def
/savematrix mtrx currentmatrix def
tailx taily translate
angle rotate
0 halfthick neg moveto
base halfthick neg lineto
base halfheadthick neg lineto
arrowlength 0 lineto
base halfheadthick lineto
base halfthick lineto
0 halfthick lineto
closepath
savematrix setmatrix
end
} def
newpath
4 3 4 .9 .9 2 2 .2 sqrt mul 2 div
arrow .65 setgray fill
showpage
Any clues as to what can I do to get rid of this erroneous behaviour?
I appreciate your patience.
Guillermo
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Re: Chord symbol placement from \layout
I have recompiled 2.13.8 and the problem is gone Thanks! El 14/11/2009, a las 11:54 p.m., Jesús Guillermo Andrade escribió: Carl: I have recently compiled 2.13.8. And that is what I used to compile the music page I used in this example. Do you recommend me to download the latest git and recompile? What exactly is causing this behaviour...if I may ask? Thanks all for your help... Guillermo El 14/11/2009, a las 06:02 p.m., Carl Sorensen escribió: What version of LilyPond are you using? This looks like a bug that showed up in 2.13.x (I don't remember exactly which version) and has been corrected in 2.13.8 (which has not yet been released. If you use 2.12, I don't think that you will have this problem. Thanks, Carl Sorensen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: developers developers developers
Graham: I've been on the lilypond list for a long time. Tried lilypond many times before but not until recently I began to work with it seriously with my academic work. I earn my living as an attorney, but I also attend classes at the local Conservatory. It has been a while since the last time I did anything on lisp... But I began to oil my old brain with Mr Sandberg thesis and some Lisp manuals I have around. I guess Im getting tired of asking dumb questions in the list just because I didnt want to learn a bit of scheme-lisp. Im sure Id like to help the project go on. Please don't quit just yet. Im sure there are tons of people reading this thread and your dedication and perseverance will not go unnoticed. I hope I can be of service soon. Guillermo El 12/11/2009, a las 05:08 p.m., Graham Percival escribió: On Thu, Nov 12, 2009 at 12:55:08PM -0800, Tim Reeves wrote: Graham wrote: For the record, **I have never recommended that somebody use lilypond**. When meeting a technically-oriented composer, especially one working on algorithmic music, I might suggest that they should check it out. But I think the original poster was entirely justified in switching back to Finale. That's why I cringe a bit whenever I hear people proudly announcing that they advertized lilypond to meeting X or conference Y. I'm surprised. What about the beautiful output and flexibility? If they don't like the learning curve, what's the loss? I'm not concerned about the learning curve; I'm concerned about the mountain of bugs that aren't being addressed. If somebody sees terrible output (say, printing two signatures if there's a \partial right before a tempo change, or a beam colliding with a notehead (!))... the only answers I can give is: - yeah, that sucks. If you add a whole bunch of arcane commands specific to each instance, you can avoid it. - fix it yourself. The situation is better than it was a few months ago, but we're still accumilating more bug reports than we're fixing. I'm concerned that people might try lilypond, encounter a few problems, then get turned off because of the relatively unhelpful (but honest!) answers. Again, the only solution is to get more people involved. Is it easy? No, but the only way to make it easier for new developers is for more people to join, learn stuff, then write about what they learned. Alternately, I could train them to do (some of) my jobs. Then *I* can go through the pain of learning X, Y, and Z, writing about said tasks, so that other people can tackle those jobs while I can pursue even harder stuff. But if nobody (or few people... thanks Kieren and Simon!) steps forward, then the *current* developers will get more and more overworked and stressed out, and start dropping like flies. Frankly, I started considering dropping out a month ago, and that's looking more and more appealing every day. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quit [now definitely O/T]
Dear David: Thank you very much for your reply. If I was not that clear, please accept my apologies. I was not trying to seem pretentious or arrogant (far from it since I went into the thread as a newbie). My first language was COBOL, then Pascal, Perl and C. I barely have some notions of C++ (with emphasis over the + signs) :-) For Lisp I started with Emacs many years ago, but I never put it into practice since I did not need it until recently. El 12/11/2009, a las 02:17 p.m., David Kastrup escribió: And that's the main point: does the job. The one thing Emacs Lisp has going over Common Lisp that it is a reasonably limited language to learn in comparison. Which is a nuisance to seasoned Lisp programmers, and gets quite more people to meddle with it. But surely from a practical point of view: would not that kind of shift change the whole design philosophy of lilypond? How much would have to adapt? Maybe start of scratch? I can actually understand and work with the Lua coroutines. In contrast, I am not sure that trying to solve tasks with Scheme... That is a problem of perspective that is faced with all programmers that have ever read one line of scheme/lisp code. The problem has historical roots and has been documented elsewere. Notwithstanding, there are several ways to overcome this perpective limitation. Oh come on, get down from your high horse. I am maintaining Emacs Lisp packages and have written a few. I am familiar with the proceduralisms of applied Lisp, but it does not mean I can't write something in a functional style like ((lambda (f n) (f f n)) (lambda (f n) (if (> n 1) (* n (f f (- n 1))) 1)) 5) I get the point... Scheme might not be the nicest language for programming, but being able to solve everything important in some application in _one_ language without need of recompiling (or heap management) or language interfacing would be a good step towards recruiting new programmers and solving tasks, partly in form of libraries or packages which can be just used on-demand rather than needing to be compiled in. Where can I vote? In the usual way, with patches on the list. I will. Thanks. Guillermo. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Quit [now definitely O/T]
Hello there!... El 12/11/2009, a las 04:11 a.m., David Kastrup escribió: Continued on developer list. Jan Nieuwenhuizen writes: As a new contributor/developer, by using a different, and a particular unfriendly platform for free software development, you are faced with tackling several difficult problems at once. access to the Elisp data structures. _If_ Emacs has the principal capabilities for some task, you can code the whole task in Elisp. This does not appear to be doable with Lilypond's Scheme. At least not to the degree where it is the preferred way of thinking about new tasks. Lilypond's Scheme is GUILE's Scheme. And the fact you are pointing out is repeatedly found on hundreds of blogs around the internet , whenever some Java/C/C++ programmer is faced with Scheme/Lisp. They all have said the same thing: How come we have to use such and old language, when we have such great new (and modern!) new ones that could handle everything easily? Fashionability is the keyword here. Java, for example, with all the bell and whistles it has, is *barely* (from a distance) catching up with Lisp. Sure, there are more books being sold by thie X language, or it sounds more fashianble to work this Y language in the opensource community but then what?... would lilypond's owners have to change the whole concept behind it in order to bring up more programmers? Is there a need for programming language or interfaces other than the ones already in? I think not. Perhaps the project need more people *organizing* the information regarding the interfaces and polishing the syntax... I would not know what the higher powers would want. For a start from scratch, Lua would be a nice choice: message-passing coroutines (very nice for translators keeping context!), procedural syntax, very portable, fast. And you can learn everything worth knowing about it in few days. Why not Java? or Objective C for that matter?... Or Ada, or COBOL, or ALGOL or Fortran, or ... hmmm... gosh... there are so many. In the beggining (1958) there were only 2. And currently just Lisp stays strong and way ahead of all others in terms of flexibility, scalabilty and freedom to do whatever anybody might want. I can actually understand and work with the Lua coroutines. In contrast, I am not sure that trying to solve tasks with Scheme... That is a problem of perspective that is faced with all programmers that have ever read one line of scheme/lisp code. The problem has historical roots and has been documented elsewere. Notwithstanding, there are several ways to overcome this perpective limitation. Scheme might not be the nicest language for programming, but being able to solve everything important in some application in _one_ language without need of recompiling (or heap management) or language interfacing would be a good step towards recruiting new programmers and solving tasks, partly in form of libraries or packages which can be just used on-demand rather than needing to be compiled in. Where can I vote? Guillermo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\mark vertical alignment with Chord symbols.
Dear Fellows: I'm currently experiencing a problem with aligning a DC al fine mark, as show in the enclosed picture. How can I put it below the chord symbol? This is the setup for the \markmelody = \relative c' { \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible \override Score.RehearsalMark #'font-size = #-2 \override MultiMeasureRestText #'self-alignment-X = #DOWN \time 3/4 \clef treble \key a \major r4 e8 fis\( \times 2/3 {fis\)gis a} %1.. ... gis8 fis e fis gis cis %39 a2. %40 \bar "|." \override Score.RehearsalMark #'self-alignment-X = #RIGHT \override Score.RehearsalMark #'padding = #6.0 \once \override Score.RehearsalMark #'outside-staff-priority = #-1 \mark "D.C. al Fine" I just can't see how to put it between the staff and the chord. Any help will be appreciated.ThanksGuillermo___
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Crop Marks in output and metadata
Thanks all for your help in my previous question. I am trying to set up crop marks into the pdf the comes out from lily. Is that possible? If so, there must be a way to specify its size or apearence as in TeX... right? Also, how can one put metadata into the resulting pdf? So far, not even the title string comes out into the final pdf. (Perhaps Im doing something in the wrong way) Thanks a lot again Guillermo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website draft 5, help wanted
Hmm, Hello everybody: I think this is my fifth post in this list eversince I joined you (a year or so from now). I have been watching the evolution of the thread about the need of contributors and I thought I might have give a hand. I'm not an engineer or a very skilled techie (I used to work with simple databases with some perl programs to reformat text into something else), I use latex since I was a teenager and started with linux using one of the first versions of Slackware (when one had to do everything by hand with X /dev and the usual crashes everytime there was a new kernel module to install and test). Anyways, those days are gone by (I earn my living as an attorney), and I mostly work with Macses. Im learning lilypond as I go as student of the Conservatorio Vicente Emilio Sojo and, well, if there is something I could do to help, please let me know. I can translate to/from spanish and perhaps help with some html. If I have to learn git in order to help, I'll try. Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Insert line breaks in headers
Hello. I'd like to enter a composer's name into the header of a piece. The name is spelled both in english and japanese and since both are large I need to insert a line brake so one name stands just above the other in the usual place in the page. Can you advise me on how to do this? Thanks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compiling on MAC OS X 10.5.7
Dear Simon: I have had no problems in compiling the very latest version of lily (12.3.1) in MacOS 10.5.7. It requieres some little tricks but nothing impossible. Have you used git to download it? The precompiled version 2.12.2 does not seem to have any menu I can access to compile lilypond scripts as instructed in the opening editor script. I.e. the only thing that appears in the menu bar is the LilyPond menu item, no compile menu item. Kinda weird Simon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: A guide to compile lilypond on OSX
Oh no.. not at all. I meant that I wrote my own set of instructions and guidelines. Of course I am acquainted with the excellent site of Mr. Sceaux. This said, I wrote my own conclusions after dwelling painfully with the process and facing many issues. The results of these are all condensed in a guide that I wrote as a way to streamline the process and make it easier for all. El 02/11/2008, a las 10:05 a.m., Bailey James E. escribió: Unless I misunderstand your question, the best place for instructions is probably Nicolas Sceaux' at http://nicolas.sceaux.free.fr/index.php/2008/04/10/26-building-lilypond-from-git-sources-on-mac-os-105-intel Am 02.11.2008 um 15:12 schrieb Jesús Guillermo Andrade: Hi. I wasn't sure if this is an offtopic so, to be on the safe side, I first would like to ask if any of you might help me regarding 'where' should I route all the detailed instrucctions regarding the compilation of lilypond (command line) in Leopard OSX 10.5.5 in order to share them with everybody interested. I will appreciate your advice. Thanks Todo fracaso es condimento que da sabor al éxito. Truman Capote. (1924). ---------- Jesús Guillermo Andrade (Abg.) Gerente de Litigios y Corporativo. EDM. AC. API. Andrade & Moreno S.C. (http://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user El verdadero modo de no saber nada es aprenderlo todo a la vez. Aurore Dupín. (George Sand). (1804-1876). Novelista francesa. ---------- Jesús Guillermo Andrade (Abg.) Gerente de Litigios y Corporativo. EDM. AC. API. Andrade & Moreno S.C. (http://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
OT: A guide to compile lilypond on OSX
Hi. I wasn't sure if this is an offtopic so, to be on the safe side, I first would like to ask if any of you might help me regarding 'where' should I route all the detailed instrucctions regarding the compilation of lilypond (command line) in Leopard OSX 10.5.5 in order to share them with everybody interested. I will appreciate your advice. Thanks Todo fracaso es condimento que da sabor al éxito. Truman Capote. (1924). -- Jesús Guillermo Andrade (Abg.) Gerente de Litigios y Corporativo. EDM. AC. API. Andrade & Moreno S.C. (http://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fretboard consistency
Hello again everybody! THanks to the kind help i have recieved in the
list, I was able to move forward with my study list for the chord of
the venezuelan "cuatro". Nonetheless, I now notice discrepancies
between the fretboards that are completely unexpected.
This is the full code. Please note that the forth, fifth and sixth
frets look different. Is this a normal behaviour? IMHO this should not
happen because of the fact that is evident that I have set up global
modifications to the fingering dots and the style for them.
Why cant they look with the same style and settings? Thanks again for
your kind help.
\version "2.11.62"
#(set-global-staff-size 16)
\header {
title = "Acordes para el Cuatro Venezolano"
opus = "En primera posicion"
composer = "J.G. Andrade"
}
temperamento = { <> }
primeros = {
{ ^\markup \fret-diagram #"d:0.45;4-o;3-o;2-o;
1-o;"}
{^\markup \fret-diagram #"d:0.45;1-3-3;"}
{ ^\markup \fret-diagram #"d:
0.45;3-2-2;2-1-1;1-2-3;"}
{ ^\markup \fret-diagram #"d:0.45;1-1-1;"}
}
\score {
<<
\new ChordNames {
\set chordChanges = ##t
\chordmode {
d:6 d a:maj7 d:maj7 g
}
}
\new Staff \relative c'' {
}
\new TabStaff \relative c'' {
\set TabStaff.stringTunings = #'(11 18 14 9)
\set TabStaff.highStringOne = ##f
\textLengthOn
% Set global properties of fret diagram
\override TextScript #'fret-diagram-details
#'finger-code = #'in-dot
\override TextScript #'fret-diagram-details
#'string-count = #'4
\primeros
{ ^\markup \fret-diagram #"d:0.45;f:
2;4-2-2;2-1-1;"}
}
>>
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
}
\midi { }
}
Si un experimento tiene éxito, algo ha salido mal. Primera Ley de
Finagle.
--
Jesús Guillermo Andrade (Abg.)
Gerente de Litigios y Corporativo. EDM. AC. API.
Andrade & Moreno S.C. (http://amlegal.wordpress.com/)
Las excepciones confirman la regla... Y torpedean el presupuesto. Ley
de Miller.
--
Jesús Guillermo Andrade (Abg.)
Gerente de Litigios y Corporativo. EDM. AC. API.
Andrade & Moreno S.C. (http://amlegal.wordpress.com/)
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Re: TabStaff stringTuning problem?
Dear Jonathan and Carl: Thanks a lot for your kind help. I actually managed to solve the issue. There are some subtleties involved with the relative notes :) but, thanks to both of you, I was finally able to overcome this problem. Thanks again. Lo que quiere el sabio lo busca en sí mismo; el vulgo, lo busca en los demás. Confucio. (551-479 a.C.). Filósofo y estadista chino. -- Jesús Guillermo Andrade (Abg.) Gerente de Litigios y Corporativo. EDM. AC. API. Andrade & Moreno S.C. (http://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
TabStaff stringTuning problem?
Dear fellows: I've been trying to set up a tab for the venezuelan
"Cuatro". For this, I have set up the stringTuning property but,
somehow, the fret numbers don't match at all except for the
temperament notes: . If I try any other higher notes, the
numbers get too high and obviously incorrect, using this form:
\new TabStaff \relative c'' {
\set TabStaff.stringTunings = #'(11 18 14 9)
\set TabStaff.highStringOne = ##f
\textLengthOn
% Set global properties of fret diagram
\override TextScript #'fret-diagram-details
#'finger-code = #'in-dot
\override TextScript #'fret-diagram-details
#'string-count = #'4
{ ^\markup \fret-diagram #"w:4;d:0.35;4-o;3-
o;2-o;1-o;"}
{ ^\markup \fret-diagram #"w:4;d:
0.35;1-3-3;"}
{^\markup \fret-diagram #"w:4;d:0.35;4-o;
3-2-2;2-1-1;1-2-3;"}
Can you help me to clarify this? Is this a bug or am I doing something
wrong? The fret numbers for the third chord should be 0212 from bottom
to top.
Thanks a lot!
Nunca repita un experimento que ha tenido éxito. Ley de Fett.
--
Jesús Guillermo Andrade (Abg.)
Gerente de Litigios y Corporativo. EDM. AC. API.
Andrade & Moreno S.C. (http://amlegal.wordpress.com/)
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Re: Notes are going octaves down [solved]
Thanks Anthony. I have solved the problem by separating the voices and using two "relative" commands based on different octaves. Thus the notes are all right now. Having said that, your recommendation seems very interesting and I'll save it for another document Im working on. -- Jesús Guillermo Andrade (Att.) Litigation Attorney - Arbitrator Andrade & Moreno S.C. (https://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notes are going octaves down
Thank you Andrew! It seems your suggestion works Ok. You're quite right in ascertain how difficult can be at first to understand relative mode correctly. I *believe* I do now, but as they say, one never knows until one does! Anyway, I'm going to separate the voices in each staff so i can be simpler. Although I still don't know how to combine fragments before getting into the score section. Thanks again! -- Jesús Guillermo Andrade (Att.) Litigation Attorney - Arbitrator Andrade & Moreno S.C. (https://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spanish-speaking users
I'm here! :-) -- Jesús Guillermo Andrade (Att.) Litigation Attorney - Arbitrator Andrade & Moreno S.C. (https://amlegal.wordpress.com/) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to group musical expressions - Midi note duration precision
Hi. I have a composition made of one fragment per each measure. However,
it becomes very complex to read when one has so many in the \score
section.
To avoid this, I'd like to group several small fragments into bigger
ones, thus like this:
fragA = <<
\relative fa
{ } \\
{la,,}
>>
fragB = <<
\relative fa
{ } \\
{la,,}
>>
Bigfrag = fragA + fragB
QUESTION: Is there any way to do this in lilypond? I don't want to
change the fragments, only to group them as I want.
Also, since I have listening to some midi files, I've found some
discrepancies in regard of the note durations in the lilypond mid output.
QUESTION: How precise is the midi output of lilypond in terms of note
duration?
Thanks a lot!
--
Jesús Guillermo Andrade (Att.)
Litigation Attorney - Arbitrator
Andrade & Moreno S.C. (https://amlegal.wordpress.com/)
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Re: Notes are going octaves down [solved]
Thanks Joseph for your prompt reply! I tried your suggestion but,
instead of fixing the notes, they went way off even further down.
After many tries, i found a solution: each sequence must be preceded by
a \relative fa, so the position restarts.
Is there any other way to do this?
>> fragA = <<
\relative fa
>> { } \\
>> {la,,}
>> >>
--
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Litigation Attorney - Arbitrator
Andrade & Moreno S.C. (https://amlegal.wordpress.com/)
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Notes are going octaves down
Hello all! This is my first post and I really can't understand what is
it I am doing wrong. This file shows that I what to repeat a cord and a
separate note in the same staff several times. However, the notes seem
to be interpreted as relative in the sense that they are always going
one octave lower each duration.
Can you help me to fix it?... I haven't found a clear answer on the manual.
Thanks
THIS IS THE FILE
\version "2.11.15"
\include "espanol.ly"
fragA = <<
{ } \\
{la,,}
>>
upper = \relative do''
{
\tempo 4=67
\clef treble
\key do \major
\time 4/4
r1 r1 r1 r1
}
lower = \relative do' {
\clef bass
\key do \major
\time 4/4
\fragA \fragB \fragA \fragB
}
\score {
\new PianoStaff <<
\set PianoStaff.instrumentName = "Piano "
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout { }
END OF FILE
--
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Litigation Attorney - Arbitrator
Andrade & Moreno S.C. (https://amlegal.wordpress.com/)
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