Looking for documentation for constants
Hello, This is a very basic question. I have see some examples that use constants like "$SELECTION" or ""$CURSOR'$ANCHOR". but despite doing all the obvious things (searching the documentation, etc.) I've not found any relevant information. I would sincerely appreciate being pointed in the right direction. Many thanks. Ken Ledeen Mobile: 617-817-3183 www.nevo.com www.bitsbook.com tiny.cc/KenLedeen <https://kledeen.wixsite.com/kenledeen/>
Re: Conditional Complilation
THanks to all who have offered ideas. I think the "bookpart" approach will
be quite effective for me.
I sincerely appreciate both the competence and the willingness to share of
this fantastic community.
Ken Ledeen
Mobile: 617-817-3183
www.nevo.com
www.bitsbook.com
tiny.cc/KenLedeen <https://kledeen.wixsite.com/kenledeen/>
On Wed, Nov 15, 2023 at 10:50 AM Knute Snortum wrote:
> On Tue, Nov 14, 2023 at 9:21 PM Vaughan McAlley
> wrote:
>
>> On Wed, 15 Nov 2023 at 12:09, Ken Ledeen wrote:
>>
>>> Hi All,
>>>
>>> From time to time I would like to include / exclude portions of the
>>> total score.
>>>
>>> ...
>
>>
>> Hi Ken,
>>
>> For big projects I use something like this. You change a string set at
>> the top of the file, and it compiles the movements you ask for. My Requiem
>> was in 7 movements. It was fiddly to set up, but once that was done, it was
>> easy to just work on one movement.
>>
>
> [code excluded] ...
>
> This is a really nice solution to compiling multiple movements, thanks!
> One thing I noticed is that you get warnings about zero duration scores
> when compiling less than the full piece. To avoid this, you could add a
> spacer rest to your EmptyBookpart variable like this:
>
> EmptyBookpart = { s4 }
>
> That gets rid of the warnings, but it also creates little scores with just
> a clef and time signature. It's a trade-off. Personally, I don't want
> spurious warnings in my LilyPond log, so I choose the spacer rest solution.
>
> --
> Knute Snortum
>
>
>
Conditional Complilation
Hi All,
>From time to time I would like to include / exclude portions of the total
score. For now, in the crudest of ways, I just comment out the parts I
don't want (%{ . %}). That works, of course, but I was wondering if
there was a more elegant way.
Ideally I would have some variable that I set to boolean #t or #f to
indicate what I want included. Then, instead of the %{ %} if would
be something like
if includeFlag { ... }
Then I wouldn't have to search around for where I'd included the comment
start and end brackets.
I found the scheme if function but it didn't seem like an option.
Many thanks in advance.
Ken Ledeen
Mobile: 617-817-3183
www.nevo.com
www.bitsbook.com
tiny.cc/KenLedeen <https://kledeen.wixsite.com/kenledeen/>
define-markup-command
Hi All,
Thanks to Jean Abou Samra I can now create \markup that goes to a place in
a youtube video.
These are of the form:
fis4^\markup \with-url#"https://youtu.be...?t=SEC; {ref} where "SEC" is
replaced with the number of seconds in from the start.
I would like to create a function to simplify things so instead of having
the entire URL repeated everywhere, would have something that looks like
fis4^\mymk "215".
So far, I remain entirely confused about creating a new markup command. I
won't bother describing my many failed attempts. I am clearly missing some
basic concepts. I have no problem creating scheme functions to do various
manipulations, but extending the markup function has eluded me.
Any guidance would be most appreciated!
Ken Ledeen
Mobile: 617-817-3183
www.nevo.com
www.bitsbook.com
tiny.cc/KenLedeen <https://kledeen.wixsite.com/kenledeen/>
Creating Text with Hyperlinks
Hello All, I would like to be able to add conventional text to a score, but provide associated hyperlinks in the PDF. FOr example, the title might have a hyperlink to a youtube video of the score being performed. So far, I've not found anything in the documentation that would support this functionality Ken Ledeen Mobile: 617-817-3183 www.nevo.com www.bitsbook.com tiny.cc/KenLedeen <https://kledeen.wixsite.com/kenledeen/>
articulate
Hello, LilyPond friends,
We are new to this game... hope we're doing things righthere? ...but in any
case, we have a problem.
Attached please find these minimal – ! – files:
(1) source / pdf/ mid without using articulate
(2) source / pdf/ mid with using articulate
Note the pdf / mid output in (2): gratuitous / extraneous rests, and no
evidence (that we see or hear!?)of rit. being applied.
Have we set this up right? wrong? what should we expectto see and hear? how to
do it right??? :-)
We believe we have done our homework!...? ...having read/ studied everything we
have been able to find about articulate.
There ‘tis! Hopesomeone can help with this?
Thanks much, and best from us,
- Ken & Thu Huong & Carlton
\version "2.22.0"
% \include "articulate.ly"
\score
{
% \articulate <<
\relative {
e'_\markup { \italic {rit.} } d' c b a g d g fis
}
% >>
% \midi { }
}
(1b) Without articulate.pdf
Description: Adobe PDF document
(1c) Without articulate.mid
Description: audio/mid
\version "2.22.0"
\include "articulate.ly"
\score
{
\articulate <<
\relative {
e'_\markup { \italic {rit.} } d' c b a g d g fis
}
>>
% \midi { }
}
(2b) With articulate.pdf
Description: Adobe PDF document
(2c) With articulate.mid
Description: audio/mid
Re: Lilypond Substitution Function
Jean,
Merci
This is a perfect solution, and, a clear explanation about why my solution
failed.
Thank you very much
Ken Ledeen
Mobile:617-817-3183
www.nevo.com
www.bitsbook.com
tiny.cc/KenLedeen
tiny.cc/KenLedeenAmazon
ᐧ
On Sat, Feb 27, 2021 at 10:43 AM Jean Abou Samra wrote:
> Le 27/02/2021 à 02:16, Ken Ledeen a écrit :
>
> > I am struggling to understand the restrictions on substitution functions.
> >
> > For example:
> >
> > 1) can a function include "\score { ...}" or can it only be invoked
> > INSIDE a \score?
> >
> > 2) is it possible to include \header { ...} inside a substitution
> > function? It fails when I try, but I don't understand why.
> >
> > I assume I am missing some basic concepts regarding their use.
> >
> > Thanks!
>
>
> Hello,
>
> Music functions must return music objects; \score blocks are not music
> but general containers that enclose music as well as other objects such
> as \header and \layout blocks.
>
> However, replacing define-music-function with define-scheme-function,
> you can define more versatile functions that are allowed to return any
> kind of object for interpretation. For example:
>
> \version "2.23.1"
>
> failingFunction =
> #(define-music-function () ()
> #{
> \score {
> \header {
> piece = "Piece A"
> }
> { c' }
> }
> #})
>
> % \failingFunction
>
> succeedingFunction =
> #(define-scheme-function () ()
> #{
> \score {
> \header {
> piece = "Piece B"
> }
> { c' }
> }
> #})
>
> \succeedingFunction
>
>
> Hope that helps,
> Jean
>
>
Lilypond Substitution Function
I am struggling to understand the restrictions on substitution functions.
For example:
1) can a function include "\score { ...}" or can it only be invoked INSIDE
a \score?
2) is it possible to include \header { ...} inside a substitution
function? It fails when I try, but I don't understand why.
I assume I am missing some basic concepts regarding their use.
Thanks!
Ken Ledeen
Mobile:617-817-3183
www.nevo.com
www.bitsbook.com
tiny.cc/KenLedeen
tiny.cc/KenLedeenAmazon
ᐧ
Re: Reducing staff numbers in LilyPond
On Mon, Oct 16, 2017 at 12:11 PM, David Wright <lily...@lionunicorn.co.uk> wrote: > It strikes me that notating this unusual effect on one staff > increases ambiguity and the potential for mistakes, compared with > just duplicating the notes on the normal two staves. When choral > basses look at an E on the bottom line of a treble staff, they > don't prepare their voices for singing at the top of their range. > > It could end up as a neat way of making yourself unpopular with > Sopranos and Basses alike. Hey, why not go the whole hog and use > a C clef! > I honestly did not expect this kind of response, and I'm getting it from multiple people. I asked a technical question and got a whole bunch of "answers" saying I'm stupid to try to achieve that effect. Except for Kieren hinting that it will probably be difficult, there has been *zero* actual discussion about the technical aspects of it. If LilyPond or its community isn't friendly to people who want to experiment with notation, I guess I'm finding that out pretty quickly. -Ken ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reducing staff numbers in LilyPond
On Mon, Oct 16, 2017 at 9:05 AM, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > I am [slowly, but surely] putting together a whitepaper/framework which > focuses on the numerous (!) ways this can be accomplished in Lilypond. They > each have advantages and disadvantages, and each has its limitations and/or > frustrations — unfortunately, there is (to my mind) no single "silver > bullet" best practice. > > Given my extremely busy commission workload, it's hard to estimate when > I'll have the whitepaper/framework ready for public consumption, but I'll > do my best to get it done ASAP. In the meantime, search for "divisi staves" > and similar in the list archives, and you'll find a lot of threads which > should point you in the right direction(s). > Thanks Kieren, I'll search for those. I'd be interested to read (but can't promise to understand!) your whitepaper as it progresses. -Ken ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reducing staff numbers in LilyPond
On Mon, Oct 16, 2017 at 11:53 AM, David Kastrup <d...@gnu.org> wrote: > Simon Albrecht <simon.albre...@mail.de> writes: > > > On 16.10.2017 18:01, David Kastrup wrote: > >> Chris Yate<chrisy...@gmail.com> writes: > >> > >>> Many choral basses can't read treble clef, and tenors might sing the > wrong > >>> pitch, as they're used to reading octave treble... > >> Tenors (and basses) are supposed to be singing one octave lower in > >> "unisono" passages. > > > > That’s why the OP clarified that he meant “true unison, not octaves”. > > Oh. That's going to be a puzzler for all men, I guess. Quite unusual. > That's a question for the composer, not the engraver. And it is legitimate for a composer to request unison. Really hoping that LilyPond will be a suitable platform for experimenting with stuff like this, I'm a well-experienced programmer and musician, but pretty new to LilyPond. -Ken ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Reducing staff numbers in LilyPond
I have a choral piece where some of it is 4-part divisi SATB, and some of it is unison (true unison, not octaves). I would love to notate this in LilyPond with the two (women's & men's) staves combining visually into one staff - when in the middle of a printed line, I'd like it to actually converge to the single staff, something like this (which I just pasted together crudely in an image editor): https://i.stack.imgur.com/FV0Q5.png Is that possible in LilyPond? (BTW - I originally posted this as https://music.stackexchange.com/questions/62569, and did get one response but I still don't quite get how I'd go about this - I get the impression the mailing list is more well-trafficked?) -Ken ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternative repeat - extraneous barline
Well that was easy! Many thanks. Sorry not to have realized it was a known
issue. Thanks also to Jean Brefort for his response about 2.18.2.
Ken
On 7/9/16 11:59 AM, Phil Holmes wrote:
- Original Message - From: "Ken Pierce" <kpie...@mit.edu>
To: <lilypond-user@gnu.org>
Sent: Saturday, July 09, 2016 4:41 PM
Subject: alternative repeat - extraneous barline
An extraneous barline appears in the middle of the second ending. How can I
eliminate it?
Thanks,
Ken
--- example:
\version "2.18.2"
\score {
\new Staff {
\time 6/8 \partial 8
\repeat volta 2 { a'8 | a'8. g'16 f'8 a'8. g'16 f'8 | }
\alternative {
{ d'4.~ d'4 }
{ d'4.~ d'4 } % extraneous barline appears
}
}
\layout { }
}
Simplest answer is to upgrade to 2.19. It looks like this has been fixed in
all 2.19.x versions, so the latest development version should be fine.
--
Phil Holmes
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alternative repeat - extraneous barline
An extraneous barline appears in the middle of the second ending. How can I
eliminate it?
Thanks,
Ken
--- example:
\version "2.18.2"
\score {
\new Staff {
\time 6/8 \partial 8
\repeat volta 2 { a'8 | a'8. g'16 f'8 a'8. g'16 f'8 | }
\alternative {
{ d'4.~ d'4 }
{ d'4.~ d'4 } % extraneous barline appears
}
}
\layout { }
}
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Re: Repeat alternative includes a tempo change
Phil,
Thank you for your suggestion. I'm very reluctant to take up forum message
space with large chunks of my testfile code. I can do it if you'd like. But I
think I might be able to do something similar to what you proposed by using the
standard volta and alternative by (1) including the final phrase in the melody
in the \alternative ending, and (2) using \markup to change the tempo of that
alternative ending. Will give that solution a try. And in any event, the
standard volta/alternative with upbeat note appears to be one of the many
variations of the melody. So, thank you so very much again for your kind help.
Very best regards,
Ken
- Original Message -
From: Phil Holmes
To: Ken Smith ; m...@apollinemike.com
Cc: lilypond-user@gnu.org
Sent: Sunday, May 08, 2011 6:23 AM
Subject: Re: Repeat alternative includes a tempo change
Ken,
It's difficult to be definitive with advice when wee can't use your code
since it doesn't compile as supplied. However, my temptation would be simply
to mark the repeat Repeat 4 times unless it's obvious from the lyrics, and
mark the tempo change 4th repeat only.
--
Phil Holmes
- Original Message -
From: Ken Smith
To: m...@apollinemike.com
Cc: lilypond-user@gnu.org
Sent: Saturday, May 07, 2011 1:31 PM
Subject: Re: Repeat alternative includes a tempo change
Mike:
Thank you very much for your helpful advice. My problem is really how to
code the final verse of my four-verse 'learning' melody. I've diagrammed below
how I think I'll have to code the melody, but I'm wondering if there's a
different, less complicated, way to go about doing it.
\melody
%% ( for verses 1, 2, 3 only )
stanza1, stanza 2
\repeat volta 3
{ stanza 3, stanza 4 }
%% ( then continue notation for final verse 4 )
stanza 1, stanza 2%% (first two stanzas of verse 4 are played at same
tempo as for verses 1, 2, 3 )
\repeat volta
{ \markup tempo = slower, sadly
stanza 3, stanza 4
}
\alternative%% ( use for the octave upbeat on final note of melody )
{ d'2~d2\fermata }
\bar ||
In other words, it seems to me that I'll have to code a volta for three
verses, then another volta for the fourth verse, with an alternate ending for
the last notes of the final stanza.
Thank you again for taking the time to help me.
Very best regards,
Ken
- Original Message -
From: m...@apollinemike.com
To: Ken Smith
Cc: lilypond-user@gnu.org
Sent: Friday, May 06, 2011 1:11 AM
Subject: Re: Repeat alternative includes a tempo change
On May 5, 2011, at 9:08 PM, Ken Smith wrote:
I'm new to LilyPond (v2.12.3) and to music notation in general, so I'm
just a tad beyond the starting point on LilyPond's learning curve. I'm
scratching my head now as to how to write the repeats in my learning testfile,
Podmoskovnye Vechera, (Moscow Nights). The melody has four verses, each
verse has two couplets (i.e., four stanzas per verse), with the second couplet
repeated in each of the four verses. The repeats for the first three verses
are identical, but the repeat for the final verse includes a tempo change
(slower, sadly) with an octave upbeat at the end. I'm only coding the melody
line for now; here's the code I've been using (time = 2/4):
\bar |:
\repeat volta 4%% notation shows repeat for verses
1, 2, 3, only
{
b4 cis4
e8 d8 a4~a8
e4 d8 \mbreak%% \mbreak defined in my '%%
Definitions' block
a'8. g16 bes4~bes4
c8 bes8
a4 g8 f8
}
\alternative%% notation shows repeat for verse 4
{
{a4 g8 f8 d2 }
{ d'2~d2\fermata }
}
\bar ||
To get it right (volta showing verses 1 - 4, alternative showing verse
4 only) will I need to code the final couplet of verse 4 into \alternative? Or
is there a better, more professional way to do it?
Generally, alternative endings start on the first full measure during
which a repeated section diverges. It sounds like the solution would be to
back the beginning of the alternative up one measure so that the changed upbeat
can be part of the alternative.
Cheers,
MS
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Re: Repeat alternative includes a tempo change
Mike:
Thank you very much for your helpful advice. My problem is really how to code
the final verse of my four-verse 'learning' melody. I've diagrammed below how
I think I'll have to code the melody, but I'm wondering if there's a different,
less complicated, way to go about doing it.
\melody
%% ( for verses 1, 2, 3 only )
stanza1, stanza 2
\repeat volta 3
{ stanza 3, stanza 4 }
%% ( then continue notation for final verse 4 )
stanza 1, stanza 2%% (first two stanzas of verse 4 are played at same
tempo as for verses 1, 2, 3 )
\repeat volta
{ \markup tempo = slower, sadly
stanza 3, stanza 4
}
\alternative%% ( use for the octave upbeat on final note of melody )
{ d'2~d2\fermata }
\bar ||
In other words, it seems to me that I'll have to code a volta for three verses,
then another volta for the fourth verse, with an alternate ending for the last
notes of the final stanza.
Thank you again for taking the time to help me.
Very best regards,
Ken
- Original Message -
From: m...@apollinemike.com
To: Ken Smith
Cc: lilypond-user@gnu.org
Sent: Friday, May 06, 2011 1:11 AM
Subject: Re: Repeat alternative includes a tempo change
On May 5, 2011, at 9:08 PM, Ken Smith wrote:
I'm new to LilyPond (v2.12.3) and to music notation in general, so I'm just
a tad beyond the starting point on LilyPond's learning curve. I'm scratching
my head now as to how to write the repeats in my learning testfile,
Podmoskovnye Vechera, (Moscow Nights). The melody has four verses, each
verse has two couplets (i.e., four stanzas per verse), with the second couplet
repeated in each of the four verses. The repeats for the first three verses
are identical, but the repeat for the final verse includes a tempo change
(slower, sadly) with an octave upbeat at the end. I'm only coding the melody
line for now; here's the code I've been using (time = 2/4):
\bar |:
\repeat volta 4%% notation shows repeat for verses 1,
2, 3, only
{
b4 cis4
e8 d8 a4~a8
e4 d8 \mbreak%% \mbreak defined in my '%% Definitions'
block
a'8. g16 bes4~bes4
c8 bes8
a4 g8 f8
}
\alternative%% notation shows repeat for verse 4
{
{a4 g8 f8 d2 }
{ d'2~d2\fermata }
}
\bar ||
To get it right (volta showing verses 1 - 4, alternative showing verse 4
only) will I need to code the final couplet of verse 4 into \alternative? Or
is there a better, more professional way to do it?
Generally, alternative endings start on the first full measure during which a
repeated section diverges. It sounds like the solution would be to back the
beginning of the alternative up one measure so that the changed upbeat can be
part of the alternative.
Cheers,
MS___
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Repeat alternative includes a tempo change
I'm new to LilyPond (v2.12.3) and to music notation in general, so I'm just a
tad beyond the starting point on LilyPond's learning curve. I'm scratching my
head now as to how to write the repeats in my learning testfile, Podmoskovnye
Vechera, (Moscow Nights). The melody has four verses, each verse has two
couplets (i.e., four stanzas per verse), with the second couplet repeated in
each of the four verses. The repeats for the first three verses are identical,
but the repeat for the final verse includes a tempo change (slower, sadly) with
an octave upbeat at the end. I'm only coding the melody line for now; here's
the code I've been using (time = 2/4):
\bar |:
\repeat volta 4%% notation shows repeat for verses 1, 2, 3,
only
{
b4 cis4
e8 d8 a4~a8
e4 d8 \mbreak%% \mbreak defined in my '%% Definitions'
block
a'8. g16 bes4~bes4
c8 bes8
a4 g8 f8
}
\alternative%% notation shows repeat for verse 4
{
{a4 g8 f8 d2 }
{ d'2~d2\fermata }
}
\bar ||
To get it right (volta showing verses 1 - 4, alternative showing verse 4 only)
will I need to code the final couplet of verse 4 into \alternative? Or is
there a better, more professional way to do it?
Thanks, very best regards,
Ken Kellogg-Smith
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Re: voice sharing the same note on different staves
Thanks! I had given up since my permutations did not work the first time, but since you so succintly repeated it, I thought I might have missed something so I went back and tried it again. Yes, \mergeDifferentlyHeadedOn works as you've described. The trick is you do need the \change Staff and a \stemUp or Down depending. The note heads don't merge on different staves. Obviously... On Wed, Nov 3, 2010 at 3:33 PM, Nick Payne nick.pa...@internode.on.netwrote: On 04/11/10 05:01, Ken wrote: Hi, I tried looking in archives for a solution to my problem but I'm not sure quite how to put in a search description. I'm writing a 3-part piece for the piano. 3 voices. In one measure, I have the second and third (voiceFour in lliypond because the stems are down) share the same note. The second voice is a 16th note while the third voice is a dotted quarter. I'd like to have the note in the bass stave and have 2 stems, one up and one down. The up one is beamed with the rest of the notes of the second voice. How do I do this? Use \mergeDifferentlyHeadedOn and \mergeDifferentlyDottedOn. Look up collision resolution in s.1.5.2 of the notation reference. Nick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
voice sharing the same note on different staves
Hi, I tried looking in archives for a solution to my problem but I'm not sure quite how to put in a search description. I'm writing a 3-part piece for the piano. 3 voices. In one measure, I have the second and third (voiceFour in lliypond because the stems are down) share the same note. The second voice is a 16th note while the third voice is a dotted quarter. I'd like to have the note in the bass stave and have 2 stems, one up and one down. The up one is beamed with the rest of the notes of the second voice. How do I do this? Thanks! Ken ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Bass note under the Chord Name Symbol
I have a requirement to print the name of the bass note under the chord symbol separated by a line rather than beside it separated by a slash. F/G is what Lilypond prints. What I need is F -- G I've searched the docs, the user groups, and sample code, but can't find a way to do this. Any suggestions? Ken ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Output format
I would like to transpose a score and dump it back out in the text format for fine tuning before I send it back for engraving. Is there a way to get an output in the text format of an input file? Thanks. Ken ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Profile missing
I am running Suse 9.0 and I installed a binary version of lilypond using Yast. The automatic install didn't produce a bash profile or the buildscripts/out/lilypond-profile. Where should I look for either of these files or work around the problem? Thanks. Ken Kupisz ___ lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
windows lilypond
I wrote you yesterday about missing dll files. I have solved most of that, but I still have many problems. I think that lilypond may well be the best music writing program to date, at any price. I just wish we could get it working. I have downloaded from your site and installed/reinstalled about 7 times now, so I know that's not the problem. All files are on your site except the doc file right? I checked them against the list in the website. And the doc file is not needed to make the program run? On completion of cygwin installation I got a missing cygintl-1.dll error message. I have no idea if, once this file is supplied, other missing dll errors will then be discovered. When I run lilypond-bin.exe, I get a quickly closing window that just gives a quick intro. But it includes options like the ones listed on the gatting-started page in the website. When I run a cygwin bash shell, it fails to recognize either lilypond, or help as a valid command. When I double click the test.ly file, or the file I made through the denemo front end, I get a little window that says python not found. Since python is in there, and running, I wonder if they mean something contained in the python folder within the lilypond folder. This folder is empty. Could the problem be as simple as a packaging error? If it is a packaging error, I'd appreciate it if I could just get the missing file, or if you'd let me know when the package is fixed. I'm saving all the files downloaded so far. I really hope this this thing can be gotten to work. As I said in my previous message, there can be no test.log file in the floder that holds the test.ly file, since that is not a folder, but a document. If you mean that the file should be generated as the program is run, it never has been. Thanks for whatever you can do. Ken Behrens ___ lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
missing files
Lily pond looks so wonderful, I wish it would all be there. I have installed it following the instructions precisely three times, and when I run the test.ly I get 5 copies of a missing cygwin1 dll file. I downloaded and installed this file to windows, and then I got 5 copies of a missing cygguile-12 dll file. I cannot find this file to download it, but at this point I suspect there will be others. In the instructions, it says to send the test log file from the test ly folder. The test ly download is a text document, not a folder. This may help: I cannot download the documentation. Is it not yet in the mirror? thanks. Ken Behrens ___ lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Installing Lilypond
On Tue, 16 Mar 2004 17:12:12 -0800 (PST), monk Innocent Lewis wrote: Starting from the beginning: I went to the Download page for LilyPond 2.0 for Windows. (I am using XP and am logged on as the administrator.) I did a shift-click on the set-up file and then was able to install Cygwin. But I never came across a select page that resembles the one on your page which listed LilyPond. What did I do wrong? The Select Packages dialog is just after the Choose A Download Site dialog. Make sure you select Publishing:lilypond as well as XFree86:XFree86-prog. I couldn't get lilypond to execute until I reran setup and manually selected the XFree86-prog package. This package contains some libraries and headers that are required to get lilypond working. Actually, they may only be needed for the downstream tools (dvips or something). Does the Lilypond development team maintain the Cygwin package? If so, please consider adding the XFree86-prog as a dependency of Lilypond. Ken Smith ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Chord names - solution to size and bass note offset
After much thrashing about using version 1.6.6, I was finally able to figure
out how to get chord names the way I like them.
There were two things that bugged me -- 1) the chord name size, 2) offset which
raises the location of the base note in the chord name (when present).
The solution to the chord name size is to set the font-magnification property
for chord names (as mentioned in other posts, font-size-relative doesn't work).
\context ChordNames = c {
% Scale down the size of the chord names by .75
\property ChordNames.ChordName \set #'font-magnification = #0.75
\property ChordNames.ChordName \override #'word-space = #2
% Try to make chord names bold
\property ChordNames.ChordName \set #'font-series = #'bold
% employ
\property ChordNames.ChordName \override #'style = #'american
\property ChordNames.minimumVerticalExtent = #'(0 . 5)
\chords {
e2 e4/+cis b4/+dis
e2 e4/+cis b4/+dis
}
}
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Chord names - size and bass note offset (again, full post)
My first post with the same subject was accidental, having only typed about
half of what I had to say. Anyway, here's all of it...
After much thrashing about using version 1.6.6, I was finally able to figure
out how to get chord names the way I like them.
There were two things that bugged me -- 1) the chord name size, 2) offset which
raises the location of the bass note in the chord name (when present).
The solution to the chord name size is to set the font-magnification property
for chord names (as mentioned in other posts, font-size-relative doesn't work).
\context ChordNames = c {
% Scale down the size of the chord names by .75
\property ChordNames.ChordName \set #'font-magnification = #0.75
% Prevent chord names from getting too close together,
% even when reduced in size.
\property ChordNames.ChordName \override #'word-space = #2
\property ChordNames.ChordName \override #'style = #'american
\chords {
e2 e4/+cis b4/+dis
e2 e4/+cis b4/+dis
}
}
My solution to the bass note offset problem was to modify chord-names.scm in
the /usr/share/lilypond/1.6.6/scm. Here's the patch...
--- chord-name.scm 2003/03/17 22:07:32 1.1
+++ chord-name.scm 2003/03/19 01:25:12
@@ -325,7 +325,7 @@
(text-append
tonic-text except-text sep-text
;;(list (list simple-super) adds-text subs-text)
- (list (list '((raise . 1) (font-relative-size . -1))) adds-text
subs-text)
+ (list (list '((raise . 0) (font-relative-size . -1))) adds-text
subs-text)
b+i-text)))
(define (c++-pitch-scm p)
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