Re: staffsize
Strangely enough, the solution is to use the following strategy:
#(set-global-staff-size 13)
\book{
% Complete score
...
}
#(set-global-staff-size 20)
\book{
% Part 1
...
}
...
/Mats
Martin Tarenskeen wrote:
Hi Lilyponders,
I'm trying to set up a score with a piece for 4 piano's.
I have made five \book {...} sections - one for the complete score and
four for the individual piano parts - in one lilypond file. I prefer to
have everything in one file. ( I hate getting lost between multiple edit
windows on my computer screen. ) When I print I want a pdf with the
complete score, and four pdf's for the individual scores - all from one
Lilypond run.
Now what I want is to have a smaller staffsize for the complete score,
and a normal staffsize for the individual parts for printing.
I have tried
#(set-global-staff-size 13)
and this gives me the result I want for the complete score.
Then I tried
\layout {
#(layout-set-staff-size 13)
}
within the \book{\score{ }} section of the complete score. I
expected to get the same result, but it looks ugly.
Apparently I have to tweak some additional things to make
#(layout-set-staff-size 13) give exactly the same staffsize, spacings,
and fontsizes as #(set-global-staff-size 13)
Can someone help me ?
I can post an example if my question is not clear.
Martin Tarenskeen
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: help with: Cannot find voice
Sometimes you get that warning if the music in the corresponding Voice
doesn't start from the first beat, but in those cases you get the
desired result anyway. Have you checked if the warning is just such a
warning or an indication of a real problem?
/Mats
Trevor Daniels wrote:
It should work, unless you have no notes in \upperOne
Trevor
- Original Message - From: Alberto Simões
al...@alfarrabio.di.uminho.pt
To: lilypond lilypond-user@gnu.org
Sent: Sunday, February 22, 2009 3:24 PM
Subject: help with: Cannot find voice
Hello
I am trying to produce a SATB where S and A share the same staff.
This is my definition:
\score{
\context ChoirStaff
\context Staff = upper
\clef treble
\context Voice = sop \upperOne
\context Voice = con \upperTwo
\lyricsto sop \new Lyrics \firstverse
\context Staff = tenor
\clef treble
\context Voice = ten \lowerOne
\lyricsto ten \new Lyrics \secondverse
\context Staff = bass
\clef bass
\context Voice = bas \lowerTwo
\lyricsto bas \new Lyrics \thirdverse
[...]
Now, lilypond complains with:
4vozes.ly:64:16: warning: cannot find Voice `sop'
\lyricsto sop \new Lyrics \firstverse
Any hint?
Thank you
Alberto
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Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
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Re: Custom key signatures
Kees van den Doel wrote:
My source file looks like this:
\include persian.ly
\score {
\relative c' {
\set Staff.keySignature = \shurE
a b c
}
\midi { }
\layout {
\context {
\Score \override KeySignature #'text = #shurEKey
}
}
}
which works fine. I would instead like to put the statement
\Score \override KeySignature #'text = #shurEKey
not in the layout{} but in my music expression, because now I can't change key
signature in a piece.
The syntax for overriding properties within the music expressions is
\override Score.KeySignature #'text = #shurEKey
This should be clear if you have read the section on Tweaking output
in the Learning Manual.
/Mats
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Re: Size A5 with lilypond-book
Hugo Ribeiro wrote:
Dear all,
I am editing a book with lilypond-book. The problem is that I cannot get
a final PDF with exact A5 size paper. As I know, to run lilypond-book I
must first of all run (as there is in the docs):
lilypond-book --psfonts yourfile.lytex
latex yourfile.tex
dvips -o -h yourfile.psfonts -Ppdf yourfile.dvi
ps2pdf yourfile.ps
The procedure recommended in the recent versions of the
docs is:
lilypond-book --pdf yourfile.lytex
pdflatex yourfile.tex
which produces an A5 document with your example. In fact, the
--psfonts flag doesn't even work with the latest LilyPond version,
so you must use some older one, right?
In your makefile below, I notice that you didn't include the
-t a5 flag to dvips. Otherwise, it works well (when I try it
with LilyPond version 2.10).
Finally, I would recommend to replace the lines
\makeatletter
\pdfpagewidth=\paperwidth
\pdfpageheight=\paperheight
by
\usepackage{hyperref}
which will do the same and much more. It even seems that
you don't need the -ta5 flag to dvips, then.
/Mats
The problem beggins in the dvips, because the ps archive comes as a A4
paper with my book in a small A5 size inside the A4 ps. Looking through
the internet I discovered that, in order to produce a A5 size ps file I
must type
'dvips -t a5'
But the problem is that this command doesn't seems to work with
lilypond-book. Here is a minimal example:
My lytex file:
%%55
\documentclass[10pt,twoside]{book}
\usepackage{graphicx}
\usepackage{graphics}
\usepackage[a5paper]{geometry}
\makeatletter
\pdfpagewidth=\paperwidth
\pdfpageheight=\paperheight
\begin{document}
Testing a lilypond-book with texts and music in A5 size paper.
\begin{lilypond}
{ c'2 g'2 }
\end{lilypond}
Thats it.
What Am I Doing Wrong
\end{document}
%%55
My 'make' file
%%55
file=example-A5
mkdir out
lilypond-book --output=out --psfonts $file.lytex
cd out
latex $file.tex
dvips -h $file.psfonts $file.dvi
mv $file.ps ..
cd ..
rm -rf out/
ps2pdf $file.ps
rm $file.ps
%%55
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: Strange output from convert-ly
Francisco Vila wrote: Hello, I have a file starting with \version 1.5.68 and first lines of the convert-ly output are 5 [0, 2, 4, 5, 7, 9] 10 1 5 5 [0, 2, 4, 5, 7, 9] 10 1 5 5 [0, 2, 4, 5, 7, 9] 10 1 5 \version 2.12.0 That's weird. I cannot repeat the problem using an input file with just the \version line, so it must depend on the contents of the rest of the file. Perhaps you can try to copy only parts of your file to some test file that you run through convert-ly, to get some clue on what construct in your input file causes these problems. You could also try to nail down which conversion rule that causes the problem, by running convert-ly --to=... with different target version numbers and check when these lines appear in the output (using bisection, it won't take that long). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange output from convert-ly
Quoting Francisco Vila paconet@gmail.com: 2009/2/18 Robin Bannister r...@dataway.ch: Mats Bengtsson wrote: try to nail down which conversion rule The rule for 2.1.27 (re tuning) prints this. I've found that this minimal file %% \version 1.5.68 \property Staff.transposing = #-2 %% gives this when converted: %% 5 [0, 2, 4, 5, 7, 9] 10 1 5 \version 2.12.0 \transposition ais As far as I can see, it's some kind of debug printout that has been left over and should be removed from convert-ly. ... The worst part is to locate _every_ occurrence of a tie in the music, and delete the no-longer-needed skip in the lyrics accordingly. There should be much simpler solutions to solve that problem. Just remove tieMelismaBusy from the property melismaBusyProperties (see http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Score#Score for the default value and http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Tunable-context-properties#Tunable-context-properties for the documentation of what the property means). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot correctly code this rhythm...
RandomLilyPondUser wrote: http://www.nabble.com/file/p22066496/snip.png One more question - how do I make a staff with only one line with notes above and below like that? Rhythmicstaff only allows notes on the line, on my drumstaff, I tried \override Staff.StaffSymbol #'line-count = #1 but it did nothing. Any help is appreciated, thank you I think you should be able to figure it out yourself, using the knowledge you can obtain in the Learning Manual. Hint: the drum staff is not handled by a Staff context but by something else. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure - Alexander.ly (1/1)
In the file you sent, there was no attempt to have a repeat in the
middle of a measure.
However, in the three upper parts you had inserted the \repeat command
at the beginning
of measure 9, whereas in the bass part you had inserted it at the
beginning of measure 12,
which means that the typeset score will contain a beginning repeat both
in measure 9 and 12.
Also, I didn't see empty measure at the end, that you complained about.
Reading your emails again, I tried to figure out what you want to
obtain. Perhaps it's like the
following (where I moved the \repeat command to 2 8th notes before
measure 9 in all the parts)
and inserted suitable \bar commands to get the special repeat bar layout
(it's enough to do it
in one of the parts, since the setting applies to the full score).
\include english.ly
\version 2.12.1
global = {
\key c \major
%\sacredHarpHeads
}
%#(set-default-paper-size letter 'landscape)
sopMusic = \relative c'' {
\time 6/8 \partial 8 g8 | g4 c8 c4 g8 | a4 a8 g4 f8 | g4 e8 c4 d8 | e2
r8 f8|
g4 c8 c4 e8 | c4 a8 g4 f8 | e4 g8 d4 g8 | c,2 \repeat volta 2 {\bar :
r8 g'8 | c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8 \bar : } {e2.
c2.} }
}
altoMusic = \relative c''{
\time 6/8
\partial 8 g8 | e4 f8 g4 e8 | c4 d8 g4 b,8 | c4 a8 f4 g8 | g2 r8 b8 |
c4 d8 e4 e8 | f4 a,8 b4 d8 | c4 e8 a,4 b8 | g2 \repeat volta 2 {r8 g8 |
e'4 g8 f4 d8 |
e4 f8 e4 g8 | c4 g8 a4 c8 | b2 r8 g8 | f4 f8 e4 c8 | f4 a,8 b4 g8 |
a4 a8 g4 g8 | } \alternative { { g2 r8 g8 } {g2.} }
}
tenorMusic = \relative c''{
\time 6/8
\partial 8 g8 | c4 c8 c4 g8 | a4 a8 g4 f8 | e4 c8 c4 d8 | e2 r8 g8 |
c 4 c8 c4 g8 | a8 c4 g4 f8 | e4 c8 d4 d8 | c2 \repeat volta 2 { r8 g'8 |
c4 c8 d4 d8 |
e4 d8 c4 c8 | f4 f8 e16([c8.]) e8 | d2 r8 e8 | c4 a8 g4 g8 | a8 c4 g4 f8 |
e16 c16( c4) c4 d8 |} \alternative { {c2 r8 g'8 } {c2.} }
}
bassMusic = \relative c' {
\time 6/8
\partial 8 g8 | c,4 d8 e4 c8 | f4 a8 c4 g8 | c4 g,8 a4 a8 | c2 r8 g'8 |
e4 f8 g4 c,8 | f4 f8 e4 f8 | g4 e8 g,4 f'8 | e2 \repeat volta 2 { r8 e8
| e4 e8 g4 g8 |
c4 g8 a4 g8 | a4 b8 c4 a8 | g2 r8 g8 | a4 f8 c4 c8 | f4 f8 d4 g,8 |
a4 a8 f4 g8 | } \alternative { { c2 r8 g8} { c2.} }
}
VerseOne = \lyricmode
{
\set stanza = 1.
\set fontSize = #-0.75
As pear -- ly light be -- fore the dawn has thrust the dark a -- way, While
mourn -- ing doves and mock -- ing birds pro -- claim the ri -- sing
day, We lift our hearts in
joy -- ful song, for night is fin -- 'ly done; and all our fears, our ma
-- ny tears, may
van -- ish in the sun. We sun.
}
VerseTwo = \lyricmode
{
\set stanza = 2.
\set fontSize = #-0.75
Shake off the drow -- sy dreams of night, and rise to tasete the dawn! A
thou -- sand charms may greet our eyes be -- fore the light is gone. We
lift our hearts in
joy -- ful song, for night is fin -- 'ly done; and all our fears, our ma
-- ny tears, may
van -- ish in the sun. We sun.
}
\header
{
title = Alexander
poet = Miriam A. Kilmer, 1997
composer = Miriam A. Kilmer, 1997
}
\score {
\new ChoirStaff
\new Staff = sops
\new Voice =
sopranos { \global \sopMusic }
\new Lyrics \lyricsto sopranos \VerseOne
\new Staff = alts
\clef treble
\new Voice =
altos { \global \altoMusic }
\new Lyrics \lyricsto altos \VerseTwo
\new Staff = tens
\clef treble
\new Voice =
tenors { \global \tenorMusic }
\new Lyrics \lyricsto tenors \VerseOne
\new Staff = bas
\clef bass
\new Voice =
bass { \global \bassMusic }
\new Lyrics \lyricsto bass \VerseTwo
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
}
}
}
/Mats
Tim Slattery wrote:
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Email: mats.bengts...@ee.kth.se
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Re: Repeat in the middle of a measure
Reinhold Kainhofer wrote:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e1. c1.} }
I suppose the last chord should have a duration of 2. rather than 1.? That
explains the empty measure at the end (since you enter a duration that
actually spans two measures!).
In addition: If you want the note head that you get using e1., but not
the extra empty measure,
just use e1.*1/2 (read about Scaling durations in the manual).
/Mats
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Re: Can't get it to look like I want it to
Tim Slattery wrote: I still can't get my output to look the way I want it to.Maybe Lilypond just doesn't do this. Traditional Sacred Harp music uses four dots, one between each line, for a repeat symbol. It looks just like what you get when you specify \bar:. The beginning of a repeat often starts in the middle of a measure, and I've gotten that effect by doing this (in a 6/8 song): | g2 \bar : r8 g8 | The code I sent you should produce the same result. The advantage of using a combination of \repeat and \bar as I proposed, is that you easily can use \unfoldRepeats to get all repeats played in the MIDI version (see section 3.5.4, Repeats in MIDI). Also, it agrees better with the philosophy that the input should describe the musical meaning, not only the desired layout. I don't know why it doesn't complain about the wrong number of beats in a measure, but it doesn't. Why should it, it's very common to have repeats or double bars in the middle of a measure. The other end of the repeat is at the end of a measure, so it should like the \bar: symbol immediately followed by a normal bar line. And that I cannot do. You have already received a very nice answer to this question. Again, I propose to use it in combination with a standard \repeat construct. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure
I guess you have several voices or even several staves involved in your
piece. Note that the \repeat volta command should be inserted
in all voices of music and also have to appear at exactly the same
place in all the voices. If you don't manage to figure out what the
problem is, please send
a complete (but small) example.
/Mats
Quoting Tim Slattery slatter...@bls.gov:
Tim Slattery slatter...@bls.gov wrote:
I've tried putting \repeat \volta 1{ in that spot and } at the end of
the piece. I get a thick bar line with a colon, and the corresponding
end repeat sign at the end of the piece. OK, but then there's another
begin-repeat symbol 4 measures after the one I specified and 4
measures before the end of the piece. Where did that come from?
OK, I've switched to a more normal style (although I'd still like to
get the more traditional style). The input for the section is question
is:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e1. c1.} }
I get the repeat at the beginning, just as it should be, and two
endings at the end, as it should be. But the second ending has a
second, empty measure. Why? And there's still an extra begin-repeat
bar after the 4th measure (b2 r8 e8). I cannot see any reason whatever
for that to appear.
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: Tweaking within markup
To avoid all trial-and-error to figure out the relevant parameters to
\raise, I would propose the following alternative (which also gets rid
of the extra horizontal spacing between the parenthesis and the
accidental):
^\markup { \smaller \concat { \vcenter ( \vcenter \smaller \musicglyph
#accidentals.natural \vcenter ) } }
In fact, you can simplify it even further into the following, which
still gives the same layout:
^\markup { \smaller \concat { \vcenter ( \smaller \natural \vcenter ) } }
/Mats
Quoting M Watts zwy648...@gmail.com:
Nick Payne wrote:
Is it possible? I want to put a parenthesized natural above some notes. If I
do it within a single markup, the natural sign is not aligned with the
parentheses, and I haven't found any simpler way to get them aligned except
by having the left parens, the natural, and the right parens each in their
own markup and tweaking each one individually. Is there a simpler solution
or not? Eg.
How about this? (I only altered the first one)
\version 2.12.2
\relative c'' {
c'-416-\tweak #'extra-offset #'(-1.0 . 0)^\markup { \smaller{ (
\raise #'0.5 \smaller \musicglyph #accidentals.natural ) } }
e,-0
a-1-\tweak #'extra-offset #'(-0.5 . -4.3)^\markup { ( }
-\tweak #'extra-offset #'(0.5 . -1.8)^\markup { \teeny \musicglyph
#accidentals.natural }
-\tweak #'extra-offset #'(1.3 . 0.8)^\markup { ) } fis-2
}
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Re: Installing 2.12
See http://lilypondwiki.tuxfamily.org/index.php?title=Upgrade_howtoprintable=yes /Mats Ralph Palmer wrote: Hi - I'm now a re-newbie, sort of. I just took the plunge into Linux, from WinXP, and I've run into a difficulty. I'm running Ubuntu 8.10 (Intrepid Ibex) on a laptop. Using Synaptic, I was able to install LilyPond 2.10 (I don't remember the release number). I downloaded 2.12.2-1 from the LilyPond website, and it's sitting on my desktop. I uninstalled 2.10, but I can't figure out how to install 2.12 from the desktop file (/lilypond-2.12.2-1,linux-x86.sh/). I've tried using apt from a terminal window (using sudo), and I've tried Synaptic from the System menu, and I've tried Add/Remove programs. I've tried searching the mailing list archives, but I'm not finding anything that helps. As far as I can tell, Synaptic is looking for a .deb file, not a .sh file. I tried running sh lillypond-2.12.2-1,linux-x86.sh as sudo from the command line, but the shell doesn't like it. I tried bash, as well. The file is a shell script, right? I can't figure out how to run it. I would appreciate any help or direction-pointing anyone can give. (As soon as I can get this resolved, I promise to continue with indexing. This has been a trying season.) Peace to all, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ugly .ps output
If you clarify what you mean by ugly, it's easier to comment on your problems. Do you mean fussy-looking or do you mean that certain symbols are missing or replaced by something else? Also, what kind of applications do you use when viewing/printing the PS file. The Postscript output by LilyPond is primarily intended as an intermediate format which then is converted to PDF format (LilyPond does this internally, by calling Ghostscript). Certain constructs in the Postscript output are a bit special and won't work with all Postscript interpreters and printers. /Mats François Labadens wrote: I tried to use the .ps output, but it's not so good as the .pdf one. It's the same thing under Windows XP or Ubuntu 7.10. Do you have any solutions ? François ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Key signature in ossia?
How do you normally specify the key signature for a stave? Certainly not
within a \with{...}, right?
Just insert the \key e \minor before the first note:
...
\new Staff \with { ... }
{ \key e \minor e4 d f e }
...
/Mats
Nick Payne wrote:
How can I add a key signature to an ossia stave? In the example below, I get
an error if I uncomment either of the key signature lines in the ossia
staff.
%===
\version 2.12.2
\new Staff = main \relative c'' {
\key e \minor
c4 b d c
{ c4 b d c }
\new Staff \with {
% \set Staff.keySignature = #`(((1 . 3) . ,SHARP))
% \key e \minor
\remove Time_signature_engraver
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'thickness = #(magstep -3)
}
{ e4 d f e }
c4 b c2
}
%===
Nick Payne
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Sweden
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Re: sample from snippets library doesn't seem to work correctly?
Chip wrote: Thanks Mats, Maybe that section of the LSR should be re-titled to Demonstrating most headers ;) Regards, No, it clearly demonstrates what happens to all headers. In particular, it highlights the fact that not all headers are typeset at the score level. From a pedagogical point of view, I like the current example. /Mats -- Chip Mats Bengtsson wrote: Quoting http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles#Creating-titles: If you define the |\header| inside the |\score| block, then normally only the |piece| and |opus| headers will be printed. If you read on in that section of the manual, you will also learn how to get all header fields printed for every \score block. See also http://lsr.dsi.unimi.it/LSR/Item?id=310 /Mats Chip wrote: In the LSR is Demonstrating all headers (http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets-big-page#Titles). The example code shows more headers than the example graphic. And when I copy/paste the sections from the code into jedit I am missing many of the headers. All of the headers for the second staff in the example, except two headers, are not shown in the .pdf. Is this correct and expected from the snippet? It'd be great if all the headers worked correctly for the second, and subsequent, \score blocks, same as for the first \score block. -- Chip ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sample from snippets library doesn't seem to work correctly?
Chip wrote: One thing I find odd, probably because I don't fully understand, is this: I have a .ly file that has 10 \score blocks. I place print-all-headers = ##t in the \paper block so I can define sub pages headers seperately from the top level \book headers. I first define: title, subtitle and instrument headers at the top level \book, then do a page break, that gives me a cover page. On the subsequent pages of music I define title and subsubtitle. I also define a blank subtitle = which blanks out the subtitle from the \book top level. And I define instrument = but it does not blank out the instrument from the top level \book headers. Seems odd that one will override the top level header and one will not. I am guessing there is probably an override that I can use to have the instrument header not appear on the subsequent pages? thanks, It's not so odd if you realize what is handled at the book level and what is handled at the score level. When you set print-all-headers=##t, you tell LilyPond to typeset the full title at the score level, i.e. for each single score. However, the page heading and foot is still handled at the book level, so it only takes into account the settings that are done at the book level, not the ones that are done within each score block (which I guess is what you do when you set instrument = ). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unable to run
From your log file, it seems that you have installed Cygwin, but not LilyPond. Nowadays, there's no reason to install Cygwin, to use LilyPond. Instead, use the Windows installation package available at www.lilypond.org - Downloads. Once you have done the installation, don't forget to read the Tutorial part of the Learning Manual, included with the LilyPond documentation, otherwise you shouldn't expect to be able to do anything useful with the program. /Mats w...@actiefoto wrote: beste ik heb alle stappen zo goed mogelijk opgevolgd. de de window Package View verschijnt. Selecteer LilyPond, te vinden in de Publishing sectie. krijg ik niet te zien. enige suggestie? vriendelijke groet Wim Leo www.actiefoto.be http://www.actiefoto.be www.willemdeleeuw.com http://www.willemdeleeuw.com www.huwelijksfotografie.org http://www.huwelijksfotografie.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sample from snippets library doesn't seem to work correctly?
Quoting http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles#Creating-titles: If you define the |\header| inside the |\score| block, then normally only the |piece| and |opus| headers will be printed. If you read on in that section of the manual, you will also learn how to get all header fields printed for every \score block. See also http://lsr.dsi.unimi.it/LSR/Item?id=310 /Mats Chip wrote: In the LSR is Demonstrating all headers (http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets-big-page#Titles). The example code shows more headers than the example graphic. And when I copy/paste the sections from the code into jedit I am missing many of the headers. All of the headers for the second staff in the example, except two headers, are not shown in the .pdf. Is this correct and expected from the snippet? It'd be great if all the headers worked correctly for the second, and subsequent, \score blocks, same as for the first \score block. -- Chip ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String number in a \markup
David Stocker wrote:
How can I manipulate the space between lines in a \column? I'd like to
reduce the space between the two lines in the below example by about
25%. I didn't see this referenced anywhere in the section on Text in
the Notation Reference.
Why not look at the documentation of the \column markup command in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Align#Align,
which gives the answer to your question. Well, you also have to figure
out how to specify this parameter, see the documentation of \override in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Other#Other
/Mats
Thanks,
Dave
David Stocker wrote:
Thanks.
To elaborate, and make it a little more elegant looking:
\version 2.12
\relative c' {
c1_\markup {
\column {
\line { \general-align #Y #CENTER { \teeny \bold { \circle 5 }
= G } }
\line { \general-align #Y #CENTER { \teeny \bold { \circle 6 }
= C } }
}
}
}
Jonathan-I think this does what we're looking for. It doesn't call
the characters used for the string numbers, but it looks very
similar. Now we need to move it left so that it's left aligned the
clef, below the first line in the score.
Dave
M Watts wrote:
David Stocker wrote:
Hi folks,
Is there a way to insert a string number into a \markup? What I
need is to indicate a scordatura for a guitar piece like this:
\markup {
\column {
\line { \small 5 = G }
\line { \small 6 = C }
}
}
where the '5' and '6' are identical to their analogous string
numbers (i.e. they are encircled)
In the Feta Font, these don't seem to by music-glyphs. Is there a
reasonably easy way to call these within a \markup? are they glyphs
from another font?
\markup {
\column {
\line { \small \circle 5 = G }
\line { \small \circle 6 = C }
}
}
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Re: stanza numbers repeated
Long time ago, there used to be a stz property that was printed on all systems but the first one, but it seems there were some bugs involved and for some reason it was removed in year 2003 and never reintroduced. However, you may be able to use the shortVocalName property instead, for the same purpose. /Mats James E. Bailey wrote: Is it possible to have lilypond automatically repeat stanza numbers at the start of each line? I know I can manually set line breaks and put the stanza numbers in, but is there an *easy* way to have that automated? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: decreasing spacing between staves
You say that you tried adjusting the minimum-Y-extent, but
did try doing it both for the Staff and the TabStaff context?
The following should get rid of any extra space:
\layout{
\context{
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
}
\context{
\TabStaff
\override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
}
}
/Mats
Eric Flesher wrote:
Greetings,
I've looked high and low for the solution to this (rather basic, IMO) problem,
and seem to be coming up empty-handed:
I have a score that requires a single-line tablature staff above the main staff,
which contains pitches. I need to find a way to decrease the space between the
tablature staff and the main one such that it generally is not more than 2
spaces (i.e. staff spaces) above the main staff, but yet will move higher if
needed to avoid collisions with leger lines, articulations, etc. Noteheads
between these two staves will typically be beamed together (i.e. cross-staff
beaming).
Adjusting the minimum-Y-extent of VerticalAxisGroup does not seem to have the
desired effect (staves are too far apart); adjusting offsets in
NonMusicalPaperColumn is possible, but only doable at the very last stage, i.e.
once all other input is done.
So, is there an easy (and hopefully intuitive) way to decrease space between two
staves (even if the score were to contain more than 2 staves) globally, without
having to set system breaks, such that the layout will default to a narrower
vertical spacing for those staves?
Thanks,
EF
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Re: two rehearsal mark on one barline
James E. Bailey wrote: Also, you can have a separate context for each mark, since only one mark can be in a voice at a time. If you try your suggestion, I'm afraid you'll get disappointed. Since rehearsal marks are created at the score level, it doesn't matter if the \mark commands are on the same Voice or not. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: controlling the alignment of FretBoards
What do you want to do? Since you use FretBoards, your diagrams will be vertically aligned, between themselves. If you want to control the distance to the closest stave or lyric line or whatever, read section Vertical spacing inside a system in the notation reference. /Mats -Eluze wrote: is there a way to control - automatically - the vertical alignment of FretBoards? (i only found an option for horizontal alignment [align-dir]) thanks! -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics - align first wowel of a syllable under the notehead -- SUCCESS
recognize that we're using a proportional font, but it looks pretty good to me. It uses vowels (characters that are always vowels) and secondary vowels (characters that are vowels only if there isn't a regular vowel, like y in english), both of which are easily user=defined. I hope this helps. It seems to me to work pretty well. Carl http://www.nabble.com/file/p21807742/sylAlign.png -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Make eighth looks like quarter note
Nick Payne wrote: You can use \override Stem #'flag-style = #'no-flag c8 c That's a complicated solution to obtain the same as c4*1/2, read about scaling durations in the manual. However, James Bailey has provided a much better solution for this specific application. /Mats and so on to remove the flag on eighth or shorter notes. Nick *From:* lilypond-user-bounces+nick.payne=internode.on@gnu.org [mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] *On Behalf Of *Manolo Padron Martinez *Sent:* Saturday, 31 January 2009 11:34 PM *To:* lilypond-user@gnu.org *Subject:* Make eighth looks like quarter note Hi: I'm really newbie with lilypond. I've been looking in google about how to change the look of the eighth note to appear like a quarter note. I only want to change how the note is draw into the pdf but I don't want to make it a quarter note. In drum partiture looks like better in that way but I need that the note sounds (when I get the midi file) like a eighth note. I attach a screenshot to ilustrate why I want to do that. Thanks in advance Manolo Padrón Martínez No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.0.233 / Virus Database: 270.10.16/1926 - Release Date: 01/30/09 17:31:00 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cross Staff Argeggio Question (v2.6.5)
Ed Ardzinski wrote:
Yes, I'm still using v2.6.5...
I hope you realize what you miss!
I'm trying to get a cross staff arpeggio with a directional head. I'm
wondering if that's possible or not, since it seems no matter what I
do the arpeggio comes out with no direction indicator.
See http://lists.gnu.org/archive/html/lilypond-user/2006-10/msg00193.html
for a solution that should apply also to your ancient version.
You may have to look through all emails in that thread to get the
full story.
/Mats
Here's a condensation of the code. Thanks in advance!
\version 2.6.5
#(ly:set-option 'point-and-click #f)
\header
{
title = Cross Staff Apeggio Test
}
upper =
{
\clef treble
\set PianoStaff.connectArpeggios = ##t
\arpeggioUp
ges' bes' des'' f''1\arpeggio
}
lower =
{
\clef bass
ees, bes, ees1\arpeggio
}
\score
{
\context PianoStaff
\context Staff = upper \upper
\context Staff = lower \lower
\layout{}
}
Windows Live™: E-mail. Chat. Share. Get more ways to connect. Check it
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Re: phrasing slur continued through a repeat?
One solution is \repeatTie, see http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Writing-rhythms#Ties /Mats Ed Ravin wrote: I'm using LilyPond Version 2.10.29-1 on a PPC MacOS 10.4 (Tiger). I'm trying to typeset a piece that has phrasing slurs and repeats. One of the phrasing slurs starts in the repeated section, and it ends in the alternative section. The attached file slurme.ly.txt shows the problem. It compiles without errors, and the phrasing slur is rendered properly in the first alternative, but it is not drawn at all in the 2nd alternative (the final measure). Any ideas? Do I need to draw the phrasing slur in the 2nd alternative by hand? Thanks, -- Ed ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: once and shortcuts
Quoting M Watts zwy648...@gmail.com: Nick Payne wrote: Why is it that I can use, for example: \once \override Slur #'direction = #DOWN or \once \override Slur #'direction = #UP but \once \slurDown or \once \slurUp Generates a syntax error. The same happens with stemUp and stemDown, tieUp and tieDown, etc. I'm using 2.12.2. Nick I've only seen \once used with \override or \set -- some digging in the scm folder would probably reveal why. It's rather a matter of a limitation in the input syntax, which does not allow for a macro to follow after \once. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar || kills start-repeat
Please read
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars#Bar-lines
/Mats
Quoting Simon Bailey bina...@gmail.com:
hi,
the following snippet kills the start-repeat barline in bar 6.
removing the \bar || shows the start-repeat. is there any way to
get the \bar || and the |: to show at the end of the line and at
the beginning of the new line resp.?
this is with 2.11.65, i haven't upgraded my laptop to 2.12.2 yet...
\relative c' {
\repeat volta 2 {
c1 c1 c1
} \alternative { { c1 } { d1} }
\break \bar ||
\repeat volta 2 {
c1 c1 c1
} \alternative { { c1 } { d1} }
}
thanks for any pointers, regards,
sb
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Re: Why a \score inside \markup doesn't allow breaks?
If you take a look at the implementation of the \score markup function,
you'll notice
that it just picks out the first system of the score and ignores the rest.
A skilled Scheme programmer should be able to easily implement a version
of \score
that actually typesets all the systems.
/Mats
M Watts wrote:
Risto Vääräniemi wrote:
Hi again,
Has no-one else encountered this issue?
BR,
Risto
2009/1/21 Risto Vääräniemi risva...@gmail.com:
I was wondering why a \score inside \markup doesn't allow breaks. If I
insert a \break everything after it is ignored. If I want to have a
multi-line piece inside a \markup I have to put multiple \scores in a
column. Is there another way?
-Risto
start
\version 2.12.1
\markup
{
\score
{
{c'1 c' c' c' \break c' c' c' c'}
\layout {}
}
}
END
Hmm, I can see how this could be annoying -- I guess \markup's ability
to include a \score was originally intended for short phrases and
alternative readings etc., although the docs provide an example of
some length.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Music#Music
I've tried:
--
\version 2.12.1
\markup
{
\score
{
\new Voice \with { \remove Forbid_line_break_engraver } %
intended for allowing \breaks at 'wrong' places in the bar
{ c'1 c' c' c' \break c' c' c' c' }
\layout {}
}
}
--
and
--
\version 2.12.1
\markup
{
\score
{
\new Staff {c'1 c' c' c' { s1 \break } c' c' c' c'}
\layout {}
}
}
-
Terminal output insists that Lily's Calculating line breaks... but
everything after \break is ignored in both cases.
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Re: Lyrics spacing problem - overlapping syllables
Bertalan Fodor (LilyPondTool) wrote:
You could also try to put invisible but non breaking spaces as a
syllable, aligned to the left:
That's more or less what I proposed in my earlier reply to this thread.
Take a look at it again.
/Mats
Bert
Jiri Zurek (Prague) wrote:
Yes, I knew that warning and inserting the spacing item padding was
the first
thing which I tried. However, without any success - the insertion of the
line \once \override Score.SeparationItem #'padding = #3
into the music is ignored by the spacing engine. Using still the same
example as above, the code here replaces only the variable notyOKriste:
notyOKriste = \relative c' {\time 12/8 a'4 c8 a4 g8 f4 e8 f4. c'4 d8
f4 e8 d4 bes8 c4 c8 d4 c8 a4 d,8 f16[ \melisma e d8 c] \melismaEnd
\once \override Score.SeparationItem #'padding = #3
d4. \bar || }
I am rather new to Lilypond and therefore I always try to think first
that
the error is on my side - perhaps I am inserting the separationitem code
into wrong place...? However, the syllable alignment which overlaps
the neighboring note problem
is most probably a bug: since the code of the lyric spacing is already
present in Lilypond, and since it does not produce the desired output, I
still think this issue qualifies as a bug in the strict sense of the
word.
I tried also the trick with the null markup on the last note of the
melisma
with the melisma ending just the note before as suggested by Mats,
but this
code does not work on my setup. During the compilation, the Lilypond
stops
at the line Analysing... and produces nothing (but still giving no
error).
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Re: Lyrics spacing problem - overlapping syllables
Bertalan Fodor (LilyPondTool) wrote:
Now taking a second look, I don't think it's a bug, only a limitation
of the lyrics engraving procedure: it doesn't take notes into acount,
only resolves lyrics overlapping (when two syllables would overlap.)
Well, if the limitation leads to undesired output, then why not
call it a bug?
One possible workaround is to insert an invisible syllable at the
last note of the mellisma (or rather to shorten the mellisma by
one note and add the invisible syllable to the end note of the
true mellisma):
\version 2.12.1
\paper {
#(set-paper-size b5)
line-width = 14.6\cm
indent = 0.0
ragged-right = ##t
ragged-last = ##t
}
notyOKriste = \relative c' {\time 12/8 a'4 c8 a4 g8 f4 e8 f4. c'4 d8 f4 e8
d4 bes8 c4 c8 d4 c8 a4 d,8 f16[ \melisma e d8 \melismaEnd c] d4. \bar || }
oKriste = \lyricmode { Ó Kri -- ste do -- bro -- ti -- vý, na nás vel -- mi
na -- las --
ka -- vý, čímť se o -- pla -- tí -- \markup \null mme? }
\score {
\new Voice = cantus {
\notyOKriste
}
\new Lyrics
\lyricsto cantus {
\oKriste
}
\layout {
\context {
\Score
\remove Bar_number_engraver
}
\context {
\Lyrics
\consists Separating_line_group_engraver
%\override LyricSpace #'minimum-distance = #3.0
}
}
}
/Mats
You should change the alignment of the syllable a bit (not to the
left, but like 0.3 or some other fraction)
Bert
Jiri Zurek (Prague) wrote:
Indeed, my problem is completely different than automatic insertion of
extenders. Indeed, I want Lilypond that it adds some padding
automatically
to the notehead whenever there is long syllable under it, so that the
physical extent of the printed letters of that syllable does not
overlap
with neighboring notes. If it overlaps, then it might wrongly suggest
to the
singer, that the syllable belongs to a different notehead than it is
ment to
belong. The left-aligned lyrics is not a solution (it is only a
dirty solution)
since what I am aiming at is vowel-centered alignment in all cases (
http://www.nabble.com/Lyrics---align-first-vowel-of-a-syllable-under-the-notehead-td21600612.html
as I suggest in another thread ). So, I still think it is a bug. If
there is
no disagreement, I will put this into bug announcements forum. But I
will
wait for a couple of days because someone can still come correcting
my view.
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Re: Lyrics spacing problem - overlapping syllables
James E. Bailey wrote: ... padding a notehead is beyond my ability. And it's what I would do if it bothered me. See Known issues and warnings of http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Horizontal-spacing-overview#Horizontal-spacing-overview /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slurs in lyrics
Here's one possibility. Since you can redefine contexts, you can add the
slur engraver to the Lyrics
context. However, it turns out that slurs need to be attached to note
heads, so there are a couple of
other engravers that have to be added as well. Then, you can add the
slurs attached to a line of
dummy notes.
\version 2.12.0
\layout{
\context {
\Lyrics
\consists Note_heads_engraver
\consists Slur_engraver
\consists Rhythmic_column_engraver
\consists Pitch_squash_engraver
\override NoteHead #'transparent = ##t
squashedPosition = #2
% For slurs above the text, use the following line
%\override Slur #'direction = #UP
}
}
\new Lyrics
% The actual lyrics:
\lyricmode{ Here's the ly -- rics }
% The slurs, attached to dummy notes
{ c2 c4 ( c ) }
/Mats
Chris Snyder wrote:
I'm engraving a piece where I'd like to put dotted slurs directly in the
lyrics to instruct the singers to carry the note. I know there are other
ways to indicate this (such as dotted slurs over the notes, which is
what I've settled with currently), but I'd like to put the slurs over
the lyrics if possible.
Does anyone know of a way to do this? My hunch is that there isn't a way
to do it without modifying the code, but I figured I'd check first. Thanks.
-Chris
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: Lyrics - align first wowel of a syllable under the notehead
The following solution avoids the need to manually figure out the
adjustment value and might
be a starting point for a clever Scheme hacker to do a fully automated
solution. What it does is
\layout{
\context{
\Lyrics
% Make sure that the alignment point of the syllable is aligned with
the note head:
\override LyricText #'X-offset =
#ly:self-alignment-interface::centered-on-x-parent
}
}
\relative c'{ c d e f }
\addlyrics {
% Split the syllable into two halves to set the alignment point:
\markup {\combine \right-align Dddda \left-align d }
\markup {\combine \right-align da \left-align dd }
\markup {\combine \right-align Dda \left-align dd }
\markup { \right-align Dddda }
}
Unfortunately, it makes aligns the note head with the right hand end of
the wovel, so it's not
perfect. If we try to split the syllable into three parts (before first
wovel, wovel and the remainder)
and use \center-align on the wovel, you are hit by the same problem as
in http://code.google.com/p/lilypond/issues/detail?id=732q=markup
Note also that the \left-align is redundant and can be removed without
changing the
results.
/Mats
Kieren MacMillan wrote:
Hi Jiri,
I've attached a hint on how to do it manually.
If you need an automated process, perhaps someone on the list will
take you up on your sponsorship offer.
Hope this helps!
Kieren.
\version 2.12
\paper { ragged-right = ##f }
lyricX =
#(define-music-function (parser location saX) (number?)
#{
\once \override LyricText #'self-alignment-X = $saX
#})
theNotes = \relative
{
g a b c | d c b a | g1
}
theLyrics = \lyricmode
{
\lyricX #-0.9 Each syl -- \lyricX #0.2 la -- ble’s \lyricX #-0.5
vowel \lyricX #-1.8 is \lyricX #-1 on \lyricX #1 the \lyricX #-0.4 note.
}
\score
{
\new Voice = melody \theNotes
\new Lyrics \lyricsto melody \theLyrics
}
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Signal Processing
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
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Re: inline transposition
See Known issues and warnings in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Writing-pitches#Relative-octave-entry
/Mats
Helge Kruse wrote:
Hello,
I write Gounod's Ave Maria for vocal and harp. Since the celtic harp
has fewer bass strings it is necessary to play one octave higher from
measure 20 until the end. The playing instruction can be notated with
#(set-octavation 1)
but the play had to transpose it in mind for all measures. Therefore I
want to transpose the score. I surrounded all the measures with
\transpose c c' { ... }
and changed the clef. But this affects the octave of some notes, i.e.
in measure #22. I attached the excerpt where the \transpose is
commented out. To see the problem, please remove both % in front the
lines.
In measure #22 (fourth in the excerpt) you can read
a,16 e'
The e is in the wrong pitch, but only when \transpose is enabled.
Is this a bug or did I miss something?
With the midiHarp statement I want to select a orchestral harp. But
the MIDI generator ignores it. How can I generate a MIDI file with my
favorit instrument?
Best regards,
Helge
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: bar numbers at beginning of bar
I don't understand what you mean, can you provide an example? /Mats Paul Scott wrote: Hi, 12.2.1 When numbering all bars the default bar numbers seem to be at the end of the previous bar which is confusing to the reader. When I use \override Score.BarNumber #'self-alignment-X = #-1 to try to make these less confusing to the reader *sometimes* the music above the bar numbers is moved to the right which looks ugly. Is there another way to move the bar numbers without moving the music? Thanks, Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slurs in lyrics
Chris Snyder wrote:
Hi Mats,
Your solution works exceptionally well. The only issue I've had is
aligning the slurs with the ends and beginning of words (rather than the
center, where the hidden noteheads are). I can tweak this using
\override NoteHead #'X-offset commands.
At least if you attach your lyrics to some typeset line of notes,
it might be easier to set the alignment of the syllables, since
then the hidden note heads that the slurs are attached to,
will align with the corresponding note heads in the music.
Below, you can find an example.
Hmmm, at second thought, you probably don't want that
weird alignment of the syllables to the note heads, so it
wasn't such a bright solution.
\version 2.12.0
\layout{
\context {
\Lyrics
\consists Note_heads_engraver
\consists Slur_engraver
\consists Rhythmic_column_engraver
\consists Pitch_squash_engraver
\override NoteHead #'transparent = ##t
squashedPosition = #2
% For slurs above the text, use the following line
%\override Slur #'direction = #UP
}
}
% Shorthands:
rr = \override LyricText #'self-alignment-X = #RIGHT
ll = \override LyricText #'self-alignment-X = #LEFT
\score{
\new Voice = v \relative c' {c d e f }
\new Lyrics
% The actual lyrics:
\lyricsto v \lyricmode{ Here's the \ll ly -- \rr rics }
% The slurs, attached to dummy notes
{ c2 c4 ( c ) }
}
/Mats
Thanks so much for the tip! I'll put together a snippet for the LSR when
I get a chance.
-Chris
Mats Bengtsson wrote:
Here's one possibility. Since you can redefine contexts, you can add the
slur engraver to the Lyrics
context. However, it turns out that slurs need to be attached to note
heads, so there are a couple of
other engravers that have to be added as well. Then, you can add the
slurs attached to a line of
dummy notes.
\version 2.12.0
\layout{
\context {
\Lyrics
\consists Note_heads_engraver
\consists Slur_engraver
\consists Rhythmic_column_engraver
\consists Pitch_squash_engraver
\override NoteHead #'transparent = ##t
squashedPosition = #2
% For slurs above the text, use the following line
%\override Slur #'direction = #UP
}
}
\new Lyrics
% The actual lyrics:
\lyricmode{ Here's the ly -- rics }
% The slurs, attached to dummy notes
{ c2 c4 ( c ) }
/Mats
Chris Snyder wrote:
I'm engraving a piece where I'd like to put dotted slurs directly in the
lyrics to instruct the singers to carry the note. I know there are other
ways to indicate this (such as dotted slurs over the notes, which is
what I've settled with currently), but I'd like to put the slurs over
the lyrics if possible.
Does anyone know of a way to do this? My hunch is that there isn't a way
to do it without modifying the code, but I figured I'd check first.
Thanks.
-Chris
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Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
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Re: cue notes, snippet does not work
I hope that LSR will soon be upgraded to use version 2.12,
so we don't have to answer more questions of this kind.
Also, reiterate my feature request on LSR to add a
\version statement to all snippets (at least when they
are presented to the user, even if it's not included in the
database). Then, it would have been obvious and trivial
to run convert-ly in this situation. Now you have to browse
through all the information at LSR to finally find at the bottom
of Contributing that the current LilyPond version in LSR
is 2.10.12.
/Mats
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Sonntag, 25. Januar 2009 22:37:39 schrieb Stefan Thomas:
Dear lilypond-users,
I tried the example for cue notes I found in the snippet repository
http://lsr.dsi.unimi.it/LSR/Snippet?id=388
Unfortunately, I can't compile it with my version (2.12.0) of Lilypond.
Can someone help me?
Yes, if you look at the comments in the file, you'll see:
% Lilypond = 2.11 changed the spelling to \addQuote, so use the following
command instead
% \addquote vIQuote { \vI }
There's a typo, of course, but the text clearly indicates that lilypond =
2.11 uses \addQuote instead of \addquote
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Version: GnuPG v1.4.9 (GNU/Linux)
iD8DBQFJfN3gTqjEwhXvPN0RAtghAJ43tTWkncOTf3kXqtWHdQbl2TzTuQCggMlU
iYHAS5d+88PEC/jFHEK8av0=
=dKEw
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Sweden
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Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
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Re: Whole measure rest after changing staff
Stefan Waler wrote: Thanks Mats - this did the job! I really wish there were any tools in lilypond for merging rests over a complete (polyphonic) staff... Search for rests in the LSR, http://lsr.dsi.unimi.it/ /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transparent dotted notes
If you look in the index of the Notation Reference (the index is called Lilypond index for silly technical reasons), and search for hide or hidden, then you will end up at a section on Hidden notes, which provides a very convenient solution to your problem. /Mats northofscotland wrote: Just a quick pointer from someone who knows, please ! I am trying to make dotted notes transparent (to aid combining voices). I can make the stems disapper, I can make the note heads disapper, but I cannot findout how to make the dots disapper. I am sure it is simple, but I can't find the proper syntax Thanks -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Whole measure rest after changing staff
It's much easier to answer your question if you provide a complete (but small) example of what you have tried. However, if you read at http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Fixing-overlapping-notation#index-MultiMeasureRest_002c-example-of-overriding you will learn how to set the vertical position of the whole bar rest (set the staff position to 0 to get the default position). /Mats Stefan Waler wrote: Hi, I would like to write a whole measure rest into a staff which I left just before - is this possible somehow? I tried using two voices with the result that the rest is is not centered vertically anymore (which is, BTW, always very annoying anyway). Thanks for your help! Stefan c1 | \set followVoice = ##t \change Staff=RHStaff % the whole measure rest should remain in the LHStaff AND begin % at the same time as the following note c8 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: air-tone tablature
Eric Flesher wrote: With Sibelius, one can easily start and stop a staff mid-system (or measure) by changing that staff to an invisible one. Thus, the passage was engraved with two staves: a normal one for pitched notes, and a second, single line staff above for non-pitched notes. Instead of placing pitches on that line, I engraved pitches one line higher (this line does not show, of course) and used invisible noteheads; thus the extended stem. Circular noteheads were placed manually as symbols (e.g. articulations). My approach with Lilypond thus far has been similar, but I'm having difficulty suppressing the single-line staff mid-measure or -system: if I change the number of staff lines to zero, I get a whole host of warnings. Also, placing graphical symbols over blank stems to create circular noteheads is problematic, as one then triggers collision avoidance (which, as you say, one should be able to turn off). Have you read about \stopStaff and \startStaff at http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Modifying-single-staves#Staff-symbol If I can find a way to create the notehead _and_ shift its position down and to the left on the stem (assuming down stems), then I'm 80% there. See http://lsr.dsi.unimi.it/LSR/Item?id=475 for some hints. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: end measure with incomplete note vale
Just insert a \bar |. or \bar | or whatever bar type you want, after the last note. /Mats Ezequiel Sierra wrote: hello im transcribing a hym and i see that the first measure is \partial 4 but the last one is a 2. how can i close the measure at the end of the hym it stays open. Eze ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical spacing between two staves for the whole page
Why not specify the minimum vertical extent of either one of the Lyrics
or Staff contexts (depending
on where you want the space), using the techniques described in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Vertical-spacing-inside-a-system
/Mats
Patrick McCarty wrote:
Hi Maarten,
On Wed, Jan 21, 2009 at 1:36 PM, Maarten Deen md...@xs4all.nl wrote:
I'm trying to make a score with two lyrics lines and three instrument lines,
where the two lyrics lines are separated by some margin. The idea is that
the text has to be written here, hence the need for some whitespace.
I tried an example from the manual:
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((Y-offset . 0)
(alignment-offsets . (0 -30 -40)))
but that only displayes whitespace for the first line, and none for the
subsequent lines. See the attached PDF file as an example.
What do I need to do to get the whole page spaced as the first section?
The 'line-break-system-details overrides are per-system settings and
only apply when they are set at line breaks.
If you want the same 'line-break-system-details to apply to the entire
score, it is easiest to put the override in the \layout block:
\layout {
\context {
\Score
\override NonMusicalPaperColumn
#'line-break-system-details =
#'((alignment-offsets . (0 -30 -40)))
}
}
Note that I left out the Y-offset property to avoid system
overprinting. It might be easiest to modify output variables like
top-margin if you want the first system higher up on the page.
Once Chapter 4 of the Notation Reference is rewritten, these things
will be explained in greater detail.
HTH,
Patrick
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Re: Vertical spacing between two staves for the whole page
Dmytro O. Redchuk wrote:
2009/1/22 Mats Bengtsson mats.bengts...@ee.kth.se:
Why not specify the minimum vertical extent of either one of the Lyrics or
Staff contexts (depending
on where you want the space), using the techniques described in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Vertical-spacing-inside-a-system
Mmm... There may be some problem, if the number of lyrics contexts
between staves is different for different systems (ie, fourth system
has two lyrics contexts).
In this case extra Lyrics context takes extra space, doesn't it?
Not if you only do the setting for the specific Lyrics context where you
want the extra space
above or below. Example:
music = \relative c' \repeat unfold 10 {c d e f }
lyr = \lyricmode { \repeat unfold 10 { Here is some text. } }
\score{
\new Staff { \music }
\new Lyrics \lyr
\new Lyrics \with { \override VerticalAxisGroup #'minimum-Y-extent =
#'(-0.75 . 5.0) } \lyr
\new Lyrics \lyr
\new Staff {\music }
}
/Mats
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Re: Duplicated reharsal mark with combined two parts, one part has an acciaccatura, another part does not have an acciaccatura.
A simpler solution is to move the \mark command to after
the appoggiatura:
...
partone = \relative c' {
\clef treble
\time 2/4
\key c \major
\mark \default
c''2 |
\acciaccatura {d8} \mark \default c8[ h16 a] a'8 g |
After all, the source of this problem (as well as all the other
grace note alignment problems) is that the grace note
happens before the moment where the bar line happens
in the other staves.
/Mats
Mark Polesky wrote:
You could add a spacer acciaccatura to every voice
(by the way, \clef treble and \key c \major are
defaults, so I removed them):
parttwo = \relative c' {
\clef treble
\time 2/4
\key c \major
\mark \default
c''2 |
\mark \default
\acciaccatura {s8} c,2 |
\bar |.
}
but if you have a lot of voices, that's burdensome.
A better solution would be to define a global music
block that contains everything that is the same for
both parts:
global = {
\time 2/4
\mark \default
s2 |
\mark \default
%% spacer acciaccatura aligns mark to barline:
\acciaccatura s8 s2*2 |
\bar |.
}
Then you can funnel two music expressions into one
context. For individual parts, you would use:
\global \partone
And for the score, you would use:
{ \global }
{ \partcombine \partone \parttwo }
For an explanation, see:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-contexts#index-_005ccontext
See the attached files. Also, if you're still using
2.11.65, you should upgrade to 2.12.1.
- Mark
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Re: tuplet bracket required, override doesn't work?
Jonathan Kulp wrote:
I suspect it's because the r8 e4 example is too narrow. It is the
narrowest of all these examples, so there is probably not enough room
for the tuplet bracket. I'd suggest that the best solution in this case
would be to widen the tuplet bracket rather than suppressing it.
Joe
I think you're right, Joe. Kieren's suggestion on the other thread
spacer notes question helps here, too. Adding a little X extent
fixes the problem:
\times 2/3{ r8 \once \override Stem #'X-extent = #'(-1 . 2) e4 }
A cleaner solution is to directly specify the minimum length
of the tuplet brackets, which prevents them from getting so
short that they are not printed:
\override TupletBracket #'springs-and-rods = #ly:spanner::set-spacing-rods
\override TupletBracket #'minimum-length = #3
/Mats
Thanks!
Jon
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Re: spacing notes question
Just as for todays tuplet bracket question, you can explicitly specify
the minimum length of the fall/doit:
noteFix = {
\once \override BendAfter #'springs-and-rods =
#ly:spanner::set-spacing-rods
\once \override BendAfter #'minimum-length = #10
}
fixedMusic =
{
r16 a a8 a16 a8 \noteFix g16-\bendAfter #-4 \bar | a
}
\score
{
\fixedMusic
}
However, this solution only works if there's a note
after the next bar line. I haven't investigated if there's
any alternative setting that makes the bar line act as
the right end of the fall. Setting to-barline doesn't help.
/Mats
Kieren MacMillan wrote:
Hi Chip,
How do I resolve this?
When it comes to spacing, I only resort to spacer notes in rare
circumstances — instead, I prefer to manipulate the X-extent of the
objects, to force the space I need. Here's an example in this case:
%
\version 2.12.0
\include english.ly
music =
{
r16 a a8 a16 a8 g16-\bendAfter #-4 \bar |
}
\score
{
\music
}
noteFix = { \once \override Stem #'X-extent = #'(2 . 10) }
fixedMusic =
{
r16 a a8 a16 a8 \noteFix g16-\bendAfter #-4 \bar |
}
\score
{
\fixedMusic
}
%
Hope this helps!
Kieren.
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Re: about Liypond
James E. Bailey wrote: Am 20.01.2009 um 22:42 schrieb Roi Redondo Garcia: Ei: Itś posible to download the program, I not sure about how it works, but needs to send this message Thankyou Yes, please use the download link on the lilypond.org website. Anticipating the follow-up question: Once you have downloaded and installed the program, you will have to read the Learning Manual included in the documentation (at least the Tutorial part), to be able to do anything useful. See also http://lilypondwiki.tuxfamily.org/index.php?title=Where_is_the_app%3F /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suggestion for Notation Reference
Jonathan Kulp wrote: I don't know. This is definitely a strange example. The \mark command is meant to insert something over a barline, so maybe it'd be best to delete this example altogether and reword things a bit so that the example with colla parte is the only one illustrating this feature. Agreed! It's very rare to insert textual indications between the notes within a measure (where, on the other hand, it's not uncommon to attach textual indications to a specific note, i.e. using a text script). You might want to replace colla parte with Coda, but again it's very hard to illustrate the usefulness of using \mark for textual indications if you're not allowed to change the alignment to #LEFT or #RIGHT. I'm not convinced that it's less confusing to avoid the use of \override and instead provide more or less irrelevant examples of useful features. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Thin bars
I hope you refer to what you see on a printed paper copy and not to what
you see on
the screen using Acrobat reader. As has been discussed on the mailing
list, there are
some issues with how the bar lines show up on the screen.
/Mats
Fibonacci Prower wrote:
Hello,
Simply put, I find the default bars in lilypond too thick - whether
they be the bars automatically put between beats, or the ones inserted
by using \bar something.
Is there any way to make them thinner?
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Re: \lyricsto vs. \set associatedVoice
Sorry to not follow-up this thread earlier!
Bertalan Fodor wrote:
According to my understanding:
If you use lyricsto or associatedVoice you needn't (possibly must not)
add duration to syllables. Their purpose is to synchronize the
syllable's position to the notes of a voice.
This is not true, as the following simple example shows:
mylyrics = \lyricmode {AA4 BB4 CC1 D2}
\score{
\new Voice = myvoice \relative c' { c4 d e f g a b c }
\new Lyrics \lyricsto myvoice \mylyrics
\new Lyrics \lyricmode {\set associatedVoice = myvoice \mylyrics }
\new Lyrics \mylyrics
}
As you can see, it's only when using \lyricsto (and \addlyrics) that the
durations are copied from the notes.
If you just set associateVoice, then the durations are still taken from
what's specified within the lyrics.
However, for the cases where a syllable matches a note head, then the
alignment is done in a clever way
(normally centered below the note head, but left aligned if there's a
melisma, for example),
whereas if you only specify the durations and don't set the
associatedVoice, then there's no clever
alignment of the syllables (they are just left aligned).
/Mats
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Re: Assigning lyrics to stanzas without using \lyricsto
Fibonacci Prower wrote:
2009/1/13 Mats Bengtsson mats.bengts...@ee.kth.se
First of all, I would recommend you to upgrade to the new stable version 2.12,
which
is much better than 2.10, not the least when it comes to the documentation.
Thank you for your advice, but 2.10.33 is the latest package on my
distro's repos, and I'd rather not compile by hand.
Please go to www.lilypond.org and click on downloads!
I just tried both of your suggestions, but found another problem -
namely, that the first stanza appears to be written lower below the
staff than the chorus, and the other stanzas even lower than that. I
would expect the first stanza to be written as close to the
corresponding staff as the chorus, so that the text can be read
continuously the first time.
How can I achieve that?
Just put the two sections to be aligned in the same Lyrics context
(which means that you
should again remove the \skip for the corresponding verse). Here's your
full example:
\version 2.10.33
bajoEstribillo = {
e1 e2 b1 b2 e d1 f1.
f1 d2 e d d e b1 e\breve.
}
letraEstribillo = \lyricmode {
Si1 a2 -- brá_en1 es2 -- te bal1 -- drés1.
man1 -- gas2 pa1 -- ra2 to -- das1 tres.1*3
}
bajoEstrofa = {
e1 e2 b1 b2 e d1 e b2 e1 e2 b1 b2 e d1 e b2
e1 e2 b1 b2 e d1 f f2 f1 d2 e d d e b1 e\breve.
}
letraEstrofaUno = \lyricmode {
Tres1 mo2 -- ças1 d'a2 -- ques -- ta1 vi -- lla,2 tres1 mo2 -- ças1
d'a2 -- ques -- ta1 vi -- lla,2
des1 -- o2 -- lla1 -- ban2 u -- na1 res1. pa1 -- ra2 man gas a to --
das1 tres.1*3
}
letraEstrofaDos = \lyricmode {
Des1 -- o2 -- lla1 -- ban2 u -- na1 res,1. des1 -- o2 -- lla1 --
ban2 u -- na1 res,1.
y1 fal2 -- tó1 -- les2 u -- na1 ti -- ra2 pa1 -- ra2 man gas a to --
das1 tres.1*3
}
\score {
\new Staff {
\new Voice = bajo \relative a {
\set Staff.instrumentName = #Bajo
\clef bass
\time 3/2
\bajoEstribillo
\bar ||
\new Voice = estrofa {
\bajoEstrofa
}
}
\new Lyrics {
\set associatedVoice = bajo \letraEstribillo
\set associatedVoice = estrofa \letraEstrofaUno
}
\new Lyrics { \set associatedVoice = estrofa \skip 2*3*9
\letraEstrofaDos }
}
}
/Mats
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Re: stem length plus beam
The stem length of beamed notes is controlled by a
so-called subproperty of the Stem object. See
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/The-override-command#The-override-command
for an example of how to do exactly this setting and
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/stem_002dinterface#stem_002dinterface
for the documentation of what the setting means.
Unfortunately, the default settings for these subproperties
are not shown anywhere in the manual, as far as I can see.
However, reading the corresponding initialization file, I see
that the default setting is
beamed-lengths = #'(3.26 3.5 3.6)
beamed-minimum-free-lengths = #'(1.83 1.5 1.25)
and
beamed-extreme-minimum-free-lengths = #'(2.0 1.25)
/Mats
Nick Payne wrote:
You can explicitly set the positions of the left- and right-hand ends of the
beam. E.g.
\relative c'' {
\once\override Beam #'positions = #'(5.5 . 6.5) c16 b a g
}
There's a snippet in the documentation on manually controlling beam
positions.
Nick
-Original Message-
From: lilypond-user-bounces+nick.payne=internode.on@gnu.org
[mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] On
Behalf Of Herman
Sent: Wednesday, 14 January 2009 05:35
To: lilypond-user@gnu.org
Subject: stem length plus beam
Hi,
I want to change the length of a stem. I know how to do it but not when
multiple
notes are beamed together, e.g. 4 16th notes. SO how can I change the
stem
length for notes that are beamed?
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Re: Assigning lyrics to stanzas without using \lyricsto
First of all, I would recommend you to upgrade to the new stable version
2.12, which
is much better than 2.10, not the least when it comes to the documentation.
There are two issues involved here, when you manually specify the
durations of the syllables:
- If you want the verses to start after 9 measures, then you have to
start those sets of lyrics with
a \skip, just as you would do if you had some notes that should start
after 9 measures:
letraEstrofaUno = \lyricmode {
\skip 2*3*9
Tres1 mo2 -- ças1 d'a2 -- ques -- ta1 vi -- lla,2 tres1 mo2 -- ças1
...
- To get the correct alignment of syllables to the note heads, you
should also set the associatedVoice property, see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Aligning-lyrics-to-a-melody#Manual-syllable-durations
In your example, this would be done with:
\score{
...
\new Lyrics { \set associatedVoice = bajo \letraEstribillo }
\new Lyrics { \set associatedVoice = estrofa \letraEstrofaUno }
...
}
/Mats
Fibonacci Prower wrote:
Hello,
I'm trying to write some lyrics to a chorus and two stanzas,
explicitly specifying the duration of each syllable (see sample file
at the end).
While trying to assign each of the stanza lyrics to the music, I find
myself on this situation:
· If I use \lyricsto, the specified durations are ignored, and the
lyrics are simply aligned to the notes.
· If I don't use \lyricsto, the stanzas' lyrics start at the beginning
instead of their correct starting point.
How can I solve that problem, then?
Thanks in advance,
-Fibo
\version 2.10.33
bajoEstribillo = {
e1 e2 b1 b2 e d1 f1.
f1 d2 e d d e b1 e\breve.
}
letraEstribillo = \lyricmode {
Si1 a2 -- brá_en1 es2 -- te bal1 -- drés1.
man1 -- gas2 pa1 -- ra2 to -- das1 tres.1*3
}
bajoEstrofa = {
e1 e2 b1 b2 e d1 e b2 e1 e2 b1 b2 e d1 e b2
e1 e2 b1 b2 e d1 f f2 f1 d2 e d d e b1 e\breve.
}
letraEstrofaUno = \lyricmode {
Tres1 mo2 -- ças1 d'a2 -- ques -- ta1 vi -- lla,2 tres1 mo2 -- ças1
d'a2 -- ques -- ta1 vi -- lla,2
des1 -- o2 -- lla1 -- ban2 u -- na1 res1. pa1 -- ra2 man gas a to --
das1 tres.1*3
}
letraEstrofaDos = \lyricmode {
Des1 -- o2 -- lla1 -- ban2 u -- na1 res,1. des1 -- o2 -- lla1 --
ban2 u -- na1 res,1.
y1 fal2 -- tó1 -- les2 u -- na1 ti -- ra2 pa1 -- ra2 man gas a to --
das1 tres.1*3
}
\score {
\new Staff {
\new Voice = bajo \relative a {
\set Staff.instrumentName = #Bajo
\clef bass
\time 3/2
\bajoEstribillo
\bar ||
\new Voice = estrofa {
\bajoEstrofa
}
}
\new Lyrics \lyricsto bajo { \letraEstribillo }
\new Lyrics \lyricsto estrofa { \letraEstrofaUno }
\new Lyrics \lyricsto estrofa { \letraEstrofaDos }
}
}
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Re: Hairpins not lining up
Nick Payne wrote:
\relative c' {
\stemDown
\time 3/4
e'8\ d c\! d\ e c\!
}
If you begin the decrescendo at the same note as you end
the crescendo, LilyPond will automatically make sure that
they are vertically aligned. If you really want the decrescendo
to begin on the next note, my best proposal is to increase
the staff-padding.
/Mats
I have the notes and dynamic marks shown above in one bar of my score. For
some reason, in the complete score the crescendo and decrescendo marks are
not aligned horizontally (see png), whereas when I excerpt the phrase to a
small example as above, they do line up.
There are quite a number of places where this same misalignment occurs. I
realize I can explicitly set the staff-padding value for the marks to get
them to align, but this is a fair bit of stuffing around. Has anyone any
suggestion why this misalignment happens?
Nick
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Re: also, lyric help
James E. Bailey wrote:
The problem I have is that when I switch between voices in my melody,
the lyrics don't pick up when the voice comes back. Is that a bug?
You may have to make sure that the same context survives.
If you do, say,
\new Staff { \new Voice = AAA {c d e f } \new Voice = BBB {g a b c }
\context Voice = AAA { c1 }
}
the two AAA Voices will not be the same context, since the
first one dies after the f. Therefore, any lyrics associated with
the first measure will not continue to be associated with the
third measure.
One way to keep the context alive for the full piece is to do
\new Staff \new Voice = AAA {s1*3}
\context Voice = AAA {c d e f } \new Voice = BBB {g a b c }
\context Voice = AAA { c1 }
/Mats
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Re: Newbie question: tie between a and b
Please check in a dictionary (and in the LilyPond documentation) about
the difference between
a tie and a slur. I'm afraid that the Music Glossary included in the
LilyPond documentation
does not yet include Hungarian, perhaps you would be interested in
helping out with that?
/Mats
Gyula P. Szokoly wrote:
Hi,
GNU LilyPond 2.10.33, input is at the end. The tie between the two 'a's
works, but not between a and b. The problem seems to be related to the
orientation of the stem (i.e. tie between opposite stems) but forcing
the stem (\stemUp) does not seem to help. I am probably missing something
trivial...
Any ideas? Same happens with Linux and Win (cygwin, w2000pro) versions.
Thanks,
Gyula
\book {
\paper {
}
\score {
\relative c'' {
\time 4/4
a4 ~ a a ~ b }
}
}
\version 2.10.0 % necessary for upgrading to future LilyPond versions.
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: warning: barcheck failed at: -5/8... but... WHERE?
Arjan Bos wrote: I wouldn't worry about it too much if I were you. The \partial command and the barchecks don't live well together. Could you please provide an example of such problems. The Known issues and warnings about partial is worth a look too: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-rhythms#index-_005cpartial-1 That particular formulation stems from a very old version of LilyPond. It might possibly have been true at that time, but for current LilyPond, I don't agree with what's written there. Also, if you look at the examples of repeats with upbeats at http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Long-repeats#Normal-repeats you can find examples where \partial is used in the middle of a score. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Move slur for acciaccatura
Nick Payne wrote:
The slurs on the acciaccaturas in my score are all defaulting to above the
stems of the grace notes, even when the grace notes are on or above the
middle of the stave and their stems are up. How can I move the slurs to
appear beneath. I tried using
\once \override PhrasingSlur #'direction = #DOWN
\acciaccatura { d16[ e16] } d8 c\ d2\! ~
You have already received useful answers, but nobody has
explained why your attempt didn't work. If you had replaced
PhrasingSlur with Slur, it should work as you had expected.
What made you think that the slur of the acciaccatura was
a phrasing slur?
/Mats
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Re: text missing
James E. Bailey wrote:
Apparently lilypond is a little too smart with delayed ties.
Is this perhaps even worth a bug report?
/Mats
You have a ~ in the first measure which isn't completed until the
third measure. Get rid of it, and you should have what you want.
Am 02.01.2009 um 21:12 schrieb Nikolay Kirov:
Hi!
Can anybody answer me, why there is no text corresponding to the
second bar ?
(text is in Bulgarian; folk music)
Nikolay Kirov
%{
TD_171_1_06
%}
\version 2.11.65
\score {
\relative c'' {
\tempo 4 = 192
\time 7/16
g8~( g16[ f)] f16.~\prall( e) | d4~( d16.[ c)] | f8\noBeam g16([
a)] a8. |
a8\noBeam a16([ g)] g16.\noBeam a |
g8~( g16[ f]) f16.~\prall( e) | d8~( d\noBeam~ d16. c) | f8\noBeam
f16([ e)] d8.\noBeam |
d8~ d d8.
\bar ||
}
\addlyrics { Ян- ка на ма- ма ду- ма- ше, ма- ри: -Я из- лез, ма- мо,
на- вън- ка }
%
\layout {
indent = #0
line-width = 190\mm
ragged-right=##f
}
%
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 192 4)
}
}
}
\header{
opus = ТД-171,1,6
tagline = ##f
}
\paper {
myStaffSize = #20
#(define fonts
(make-pango-font-tree Times New Roman
Nimbus Sans
Luxi Mono
(/ myStaffSize 20)))
}
--
Nikolay Kirov Kirov
http://www.math.bas.bg/~nkirov
Office: (+359) 2 979 2850, 2 811 0611
Home: (+359) 2 856 8627, 0887 198 221
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Re: suppressing bar numbers at rehearsal marks?
Paul Scott wrote: If you have a good reason to do what you ask for, why not simply define a macro which both draws a rehearsal mark and does a \once \override BarNumber #'transparent = ##t I just gave that a quick test and it didn't seem to eliminate the bar numbers. If you replace it by \once \override Score.BarNumber #'transparent = ##t, it should work. Sorry! /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical spacing of text and glyphs in a \mark
David Stocker wrote:
A useful tool indeed. Thanks Mark!
Mark Polesky wrote:
Dave,
Try this:
\markup \line \general-align #Y #CENTER {
\small \bold \italic To Coda
\musicglyph #scripts.coda
}
This can be simplified into
\markup \vcenter {
\small \bold \italic To Coda
\musicglyph #scripts.coda
}
/Mats
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Re: Explicit durations in Lyrics behaving strangely
Quoting Peter Chubb lily.u...@chubb.wattle.id.au: Hi, I'm trying to use the Adeste Fideles tune from Mutopia http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=367 I ran convert-ly on it. It uses explicit durations on the lyrics. I see many warnings: adeste.ly:94:18: warning: Lyric syllable does not have note. Use \lyricsto or associatedVoice. A4 -- des2 -- te,4 fi -- del2 -- es, The output looks OK. Why does Lily care about associated voice, if all lyrics have explicit durations? There have been several related discussions on the mailing list. If you compare the output to what you get if you indeed set associatedVoice or use \lyricsto, is that the horizontal alignment differs. When LilyPond knows what voice the lyrics is associated with, it uses that information to align the lyrics properly. /Mats -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia A university is a non-profit organisation only in the sense that it spends everything it gets ... Luca Turin. ___ 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: line missing from portato and tenuto
abqconlon wrote: I can see the tenutos in measures 14 and 16 of the Satie. I am running Windows XP Service Pack 3 and LilyPond version 2.10.0. Hope you can help. Even though you have solved you immediate problem, I strongly suggest you to upgrade to a more recent version of LilyPond, preferably to the latest 2.11.x version (which is much better than the latest stable version 2.10.33, not the least when it comes to the documentation). /Mats John Mats Bengtsson-4 wrote: This is weird! What LilyPond version do you use? What operating system? Do you see the tenutos in measures 14 and 16 of http://lilypond.org/doc/v2.11/input/mutopia/E.Satie/petite-ouverture-a-danser.pdf ? /Mats abqconlon wrote: Bob, thanks for asking. I am using Adobe Reader 8. It prints the same as it appears on the screen. David Bobroff wrote: abqconlon wrote: I am using the \portato and \tenuto to add articulations to my music. In both cases the horizontal line does not appear in the PDF. In the case of the portato, the dot does appear so it looks like a staccato. my \staccato and \accent and others that I have tried work fine. One possibility that immediately comes to mind is to wonder if it's an issue with the PDF viewer you're using. I've had things look wrong and print wrong when using jPedal. When these same PDFs were viewed with Acroread they looked and printed just fine. You didn't say what PDF reader you use so this is only a guess. -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: error in the manuals
I hope you realize that the examples in the manual have been
produced by exactly the code that you see when clicking on
the corresponding picture, so it's impossible that there's
an error (at least one that you don't also see in the example
in the manual). Are you sure that you use exactly the same
LilyPond version as the manual was written for (and produced
by)?
/Mats
chip wrote:
I came across the example in the LM 4.4.3 Outside-staff objects that
shows placement of some text objects above the staff. In the example
the word Slower is shown but when I copy/paste the section from the
code behind the picture it does not work as pictured, the word Slower
is not appearing in the resulting .pdf. There is a similar example is
used in the NR 5.4.5 Spanners - Using the |line-spanner-interface.
|
\override TextSpanner #'(bound-details left text)
= \markup { \small \bold Slower }
c2\startTextSpan b c a\stopTextSpan
(above copy/pasted straight from the NR 5.4.5)
That code does not display the word Slower. I tried it with the word
in quotes but it still does not display, the dashes do display, just
not the word.
Regards,
--
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Sweden
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Email: mats.bengts...@ee.kth.se
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Re: two simultaneous marks
Just use \bold instead of \box in the example I sent.
/Mats
James E. Bailey wrote:
Thanks, I'm pretty good with markup, but not good enough to come up
with this on my own. Now, to the more important issue, is there
somewhere listed what the font settings for the rehearsal marks are?
I'd like this one to look like all the others.
Am 11.12.2008 um 17:36 schrieb Mats Bengtsson:
Well, one trick is to draw both marks as a single markup command with
a sufficiently large
vertical separation, and then move it downwards so that the upper
mark appears above the
staff and the lower one below. Example:
\version 2.10.0
\relative c'{ c d e f
\once \override Score.RehearsalMark #'extra-offset = #'(0 . -9)
\once \override Score.RehearsalMark #'baseline-skip = #9
\mark \markup \column{\box A
\italic fine }
g f e d | c1 |
}
/Mats
james wrote:
Hello, I'd like to have two simultaneous marks, fine under the
staff and a rehearsal letter above the staff. I've found
http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00492.html
which suggests I split all of the music after the fine into a coda
section with a \stopStaff \startStaff, and I'm not really fond of
that idea. Is there another way of getting two marks to print at the
same time?
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Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
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Re: line missing from portato and tenuto
This is weird! What LilyPond version do you use? What operating system? Do you see the tenutos in measures 14 and 16 of http://lilypond.org/doc/v2.11/input/mutopia/E.Satie/petite-ouverture-a-danser.pdf ? /Mats abqconlon wrote: Bob, thanks for asking. I am using Adobe Reader 8. It prints the same as it appears on the screen. David Bobroff wrote: abqconlon wrote: I am using the \portato and \tenuto to add articulations to my music. In both cases the horizontal line does not appear in the PDF. In the case of the portato, the dot does appear so it looks like a staccato. my \staccato and \accent and others that I have tried work fine. One possibility that immediately comes to mind is to wonder if it's an issue with the PDF viewer you're using. I've had things look wrong and print wrong when using jPedal. When these same PDFs were viewed with Acroread they looked and printed just fine. You didn't say what PDF reader you use so this is only a guess. -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: suppressing bar numbers at rehearsal marks?
Mark Polesky wrote: How do I automatically prevent the printing of bar numbers which coincide with rehearsal marks? I cannot think of any simple way to obtain that. But,... Especially when using format-mark-barnumbers or format-mark-box-barnumbersor format-mark-circle-barnumbers, it is odd to see the bar number printed twice. In such a situation, I don't see the point of printing any bar numbers the normal way, so you could just remove the standard bar numbers completely, see the manual. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing issue with accidental
It seems that the accidentals that are not printed in the new measure
because of the tie,
are not removed completely, but just made invisible still taking space.
/Mats
Valentin Villenave wrote:
2008/12/11 Stefan Waler [EMAIL PROTECTED]:
I attach a sample script, please note the accidentials for 'ces' in the
second and for 'fes' in the forth bar. I tried to simplify the score very
much, but it seems as lilypond continues to calculate wrong spaces for every
further accidental of this voice!
Weird. I'm fwding this to the bug-list to make sure I won't forget it.
\version 2.11.65
\relative c' {
{e'1 e} \\
{bes, des1 ~ |
%% Uncommenting the tie produces the bug
bes des fes aes4 ~ bes des aes' %~
bes ces des fes aes2 }
}
Cheers,
Valentin
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Sweden
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Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: two simultaneous marks
Well, one trick is to draw both marks as a single markup command with a
sufficiently large
vertical separation, and then move it downwards so that the upper mark
appears above the
staff and the lower one below. Example:
\version 2.10.0
\relative c'{ c d e f
\once \override Score.RehearsalMark #'extra-offset = #'(0 . -9)
\once \override Score.RehearsalMark #'baseline-skip = #9
\mark \markup \column{\box A
\italic fine }
g f e d | c1 |
}
/Mats
james wrote:
Hello, I'd like to have two simultaneous marks, fine under the
staff and a rehearsal letter above the staff. I've found
http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00492.html
which suggests I split all of the music after the fine into a coda
section with a \stopStaff \startStaff, and I'm not really fond of that
idea. Is there another way of getting two marks to print at the same
time?
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Re: suppressing bar numbers at rehearsal marks?
Mark Polesky wrote: Mats Bengtsson wrote: In such a situation, I don't see the point of printing any bar numbers the normal way, so you could just remove the standard bar numbers completely, see the manual. The reason for printing the bar numbers makes sense if the rehearsal numbers come every 30 bars or so -- long stretches of music would be without bar numbers, which is unacceptable. Certainly, but I still don't see the point of using boxed/circled bar numbers mixed with ordinary bar numbers. As a musician, I would just find it confusing. If you want rehearsal marks every 30 bars or so, I would expect to see alphabetic rehearsal marks. If you have a good reason to do what you ask for, why not simply define a macro which both draws a rehearsal mark and does a \once \override BarNumber #'transparent = ##t /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Just chords and lyrics.
Jonathan, if you read the follow-up email I sent to Carl's answer, you will realize that this solution still has problems, that unfortunately can be at least as severe as those you get from the DevNull solution. /Mats Quoting Jonathan Kulp jonlancek...@gmail.com: Carl D. Sorensen wrote: On 11/28/08 4:47 AM, Mats Bengtsson mats.bengts...@ee.kth.se wrote: There's major problem with your proposed \hideAll (or whatever you want to call it), namely that the hidden voice will influence the placement of the other voices, since LilyPond will try to avoid collisions with the hidden note heads. Therefore, this solution is not really working if you want to use it to align lyrics to a hidden Voice in a Staff that also contains other voices. When I used it to align lyrics to partcombined music, I simply transposed the voice I used with lyricsto up an octave, and everything seemed to work fine. Carl Carl, I sort of lost track of this but now that the semester is over I can update the docs about this topic and put my examples of just chords lyrics either right in the docs or send to Valentin for the snippet list. When you get a chance would you send me the latest .itely file? BTW I'm not sure whether this topic belongs in fretted strings or in chords or what. Any thoughts? The fretted-strings.itely file used to have the @TODO about it, but it could just as easily go in a different place. Jon -- Jonathan Kulp http://www.jonathankulp.com ___ 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: French Score only when it actually saves paper?
Quoting Kieren MacMillan [EMAIL PROTECTED]: Hi Silas, Or maybe just allow the user to switch empty-staff removal on and off at arbitrary bars. That's easy enough — check the list archives (or LSR) for keep-alive- interfaces, and you'll find the answer. That's unnecessarily complicated, just use the remove-empty property, see http://lists.gnu.org/archive/html/lilypond-user/2007-07/msg00776.html /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-book vertical margins
Which LilyPond version do you use? Several related problems have been fixed in the latest 2.11.x releases. Regards /Mats Marcos di Silva wrote: Dear all, My eps files generated by lilypond-book have wrong superior margin. The metronome marks and some bar numbers are cut. How do I adjust vertical margin in lilypond-book eps files? Cheers, -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Separate page numbering in separate book parts?
Hi, With the new book parts feature, is it possible to restart the page numbering for each book part. In that case, it would be an ideal solution if you want to typeset a number of orchestral parts, where all the resulting parts are output into the same PDF file, but with individual page numbering for each instrument. I have never liked the idea of having a separate .ly file for each instrumental part and my current solution of using separate \book blocks for each instrument is inconvenient because of the anonymous naming of the resulting PDF files and it would often have been more practical to get all the parts in a single PDF file, both if you want to send it by email or if you want to print a set of originals. /Mats -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: font switching help
Johan Vromans wrote:
While at the subject...
To change the default fonts for a document, the advised code is:
\paper {
myStaffSize = #20
#(define fonts
(make-pango-font-tree Times New Roman
Nimbus Sans
Luxi Mono
(/ myStaffSize 20)))
}
This a) requires an explicit variable setting for the staff size, and
You could just as well do (for the case the font size is 14pt, for
pedagogical reasons):
\paper {
#(define fonts
(make-pango-font-tree Times New Roman
Nimbus Sans
Luxi Mono
(/ 14 20)))
}
b) suggests the statements must be executed (or re-executed with a
different value of myStaffSize) after a possible staff size selection.
The latter is not true, changing the staff size also scales the fonts.
Well, yes and no! If you add a #(set-global-staff-size ...) below a
\paper{#(define-fonts (make-pango-font-tree }, then you will get
back the default fonts,
not the ones you specified in the (define-fonts ...) command.
It's unfortunate that nobody (I feel somewhat guilty) has had the time
to document this in a
better way or to follow-up on the ideas discussed in
http://lists.gnu.org/archive/html/lilypond-devel/2008-02/msg00038.html
/Mats
We have #(set-global-staff-size ...) to designate the desired staff
size, so why is another size specification necessary?
-- Johan
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Fax: (+46) 8 790 7260
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Re: \partial problem?
As has been pointed out in previous answers, one solution is to
make a separate \score block for each movement (this is probably
the most common way to typeset several moments). However, if
the movements go attacca and should be typeset like that, you
can use \partial commands to handle all your problems, see the
following example:
\relative c'{
c4^Movement 1 d e f | g f e d | c1 \bar |.
\partial 8 e8^Movement 2 | g2 e | c2 c4. \bar |. \partial 8*0 |
d4^Movement 3 e f g | c,1 \bar |.
}
/Mats
Jay Hamilton wrote:
Hello-
I'm using 2.10 on windoze
And I figured out a solution but not sure that it's the only or best one.
Problem, I'm setting/arranging a sonata for a duet. The first movement begins
on the beat the 2nd movement begins with a \partial 8
The third movement begins on the beat.
I checked the docs for 2.10 under repeats and partials and there's no
information on how to deal with the end of the 2nd movement and the beginning
of the 3rd, for my case.
I ended up using a skip8 at the end before repeat of the 2nd movement. Is this the best way to do this?
I don't want to get into book or such and prefer for my students to just flow from one movement to the next.
If this is 'the' way to deal with such a problem something (and perhaps it is
in the new docs) should be mentioned or explained as it took me a while to
figure out what was wrong.
Yours-
Jay
Jay Hamilton
www.soundand.com
206-328-7694
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Sweden
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Fax: (+46) 8 790 7260
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Re: Not expected noteheads in .svg
You have to tell your SVG program where to find the LilyPond fonts. Search the mailing list archives for information. /Mats Quoting Lucas Bracher [EMAIL PROTECTED]: Hi there! I'm using lilypond 2.10.33 in a Ubuntu 8.04 box, and when I transformed the .ly to .pdf, it was ok, but when I tried to transform to .svg, the noteheads changed to ideograms (japanese or chinese, I don't know), and the fingering and music score disappeared. Could you help me? The lilypond --backend=svg -V popper.ly 2 output.txt command result is at http://rafb.net/p/qM94gX86.html . Thank you so much! Lucas Bracher. ___ 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: Mutopia which version?
If you click at More information in the music listing field for the piece at Mutopia, you will find information on which LilyPond version the piece was written for. For this particular piece, you can see at http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=107 that it's for version 1.4.7. /Mats Herbert Liechti wrote: Hello I'm trying to compile the following piece of music with lilypond 2.11.63: http://www.mutopiaproject.org/ftp/BachJS/O_Haupt_voll_Blut/O_Haupt_voll_Blut.ly Unfortunately there is no version info in the source file for converting with convert-ly. Compiling the source is also not working. Any tips for how to bring that source to newest version of lilypond? Thanks best regards Herbie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Not expected noteheads in .svg
Valentin Villenave wrote: 2008/12/2 Mats Bengtsson [EMAIL PROTECTED]: You have to tell your SVG program where to find the LilyPond fonts. Search the mailing list archives for information. ... Or the LSR: http://lsr.dsi.unimi.it/LSR/Item?id=334 In my eyes, this looks like workarounds for bugs that should be so simple to fix that it's embarrassing if the problem still remains in a release candidate for 2.12! /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can't generate PDF file in Windows
Quoting Johan Vromans [EMAIL PROTECTED]:
If you used a \score { ... }, did you include a \layout { ...} as
well? Otherwise LilyPond just won't produce anything.
Not exactly true! You have to include a \layout block if you have a
\midi block, but not otherwise.
/Mats
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Re: Just chords and lyrics.
There's major problem with your proposed \hideAll (or whatever you want to call it), namely that the hidden voice will influence the placement of the other voices, since LilyPond will try to avoid collisions with the hidden note heads. Therefore, this solution is not really working if you want to use it to align lyrics to a hidden Voice in a Staff that also contains other voices. /Mats Trevor Daniels wrote: Graham Percival wrote Friday, November 28, 2008 10:42 AM On Fri, Nov 28, 2008 at 10:04:50AM -, Trevor Daniels wrote: ok, let's make a \hideNotation or \hideAll or something like that for printing lyrics + chords. \hideNotation is a bit too close to \hideNotes. \hideAll, \unHideAll looks good. The documentation can say it applies to the Voice, not the Staff. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Just chords and lyrics.
Carl D. Sorensen wrote: On 11/28/08 4:47 AM, Mats Bengtsson [EMAIL PROTECTED] wrote: There's major problem with your proposed \hideAll (or whatever you want to call it), namely that the hidden voice will influence the placement of the other voices, since LilyPond will try to avoid collisions with the hidden note heads. Therefore, this solution is not really working if you want to use it to align lyrics to a hidden Voice in a Staff that also contains other voices. When I used it to align lyrics to partcombined music, I simply transposed the voice I used with lyricsto up an octave, and everything seemed to work fine. Yes, that's one possible trick, but as long as you only have set the objects as transparent, they will still influence spacing, for example the spacing to other objects that appear above the staff. Trying to instead to \override NoteHead #'stencil = ##f doesn't help either, since then the lyrics alignment won't work anymore. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dissonant chords
See http://lsr.dsi.unimi.it/LSR/Item?id=505 for a solution.
/Mats
Quoting Martin Tarenskeen [EMAIL PROTECTED]:
Hi,
Did anyone ever try to typeset dissonant chords like { c cis d } ? I
can remember having seen chords like this frequently in Bela Bartok's
Mikrokosmos book V or VI , edition Boosey Hawkes.
I don't have a scan or a scanner, but it would approximately look
something like this:
0
0|#0
|/
|
Watch the / line that is attached to the main stem. I don't know if
there are generally accepted rules on how to notate something like this,
but this is what I have seen more than once.
Lilypond seems to accept c cis d ( unlike Mup ) but does not typeset
it in a readable way automatically. Can it be done with some advanced
tricks ?
(In the meantime I'll look up some real life examples from Bartok if
anyone needs it)
--
Martin Tarenskeen
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Re: Multiple right-aligned lines in composer field
In version 2.10, it should work to do something like
\markup\column{
\right-align { First line }
\right-align { Second line }
}
/Mats
Quoting Marius Andersen [EMAIL PROTECTED]:
I am using LilyPond 2.10.33 to arrange a few Radiohead tunes, so in
the composer field I want to write the following long text which
spans two lines:
Words and Music by Thomas Yorke, Jonathan Greenwood,
Edward O'Brien, Philip Selway and Colin Greenwood
The composer field is right-aligned, and so I want both of these two
lines to be right-aligned, too. However, if using \column, the second
line gets left-aligned with reference to the first:
composer = \markup \column {
Words and Music by Thomas Yorke, Jonathan Greenwood,
Edward O'Brien, Philip Selway and Colin Greenwood }
}
yielding
Words and Music by Thomas Yorke, Jonathan Greenwood,
Edward O'Brien, Philip Selway and Colin Greenwood
And using center-aligned doesn't cut it, either:
composer = \markup \center-align {
Words and Music by Thomas Yorke, Jonathan Greenwood,
Edward O'Brien, Philip Selway and Colin Greenwood }
}
yielding
Words and Music by Thomas Yorke, Jonathan Greenwood,
Edward O'Brien, Philip Selway and Colin Greenwood
I notice in the Notation Reference for LilyPond 2.11 that a new
command, \right-column, is available, which would probably accomplish
what I want. However, I'm stuck with 2.10. How do I get the alignment
I want?
_
Alt i ett. Få Yahoo! Mail med adressekartotek, kalender og
notisblokk. http://no.mail.yahoo.com
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Re: Just chords and lyrics.
In this example, I don't see any point of using the DevNull trick to
align the lyrics. It's just as easy to explicitly insert the durations
directly in the lyrics, something like:
\version 2.11.64
myChords = \chordmode {
c1 g f c
}
myLyrics = \lyricmode {
Hi2 there4 let's |
have fun with this |
Here we have fun |
don't2 we
}
\new ChordNames {
\myChords
}
\new Lyrics {
\myLyrics
}
/Mats
Quoting Carl D. Sorensen [EMAIL PROTECTED]:
On 11/26/08 12:05 AM, Brett Duncan [EMAIL PROTECTED] wrote:
Carl D. Sorensen wrote:
Here's one possible solution:
I'm using version 2.11.63, rather than 2.11.64, and I don't get any
warnings - I don't get any output either! No pdf is generated. Rather
strange.
Brett
Oops -- my copy function didn't include all of the file.
You need to add
at the end to finish off the simultaneous (Chord Names , Devnull, Lyrics)
music.
Here's a new clean copy:
Begin cut and paste
\version 2.11.64
myChords = \chordmode {
c1 g f c
}
myMelody = {
c2 c4 c4 |
c4 c c c |
c4 c c c |
c2 c
}
myLyrics = \lyricmode {
Hi there let's |
have fun with this |
Here we have fun |
don't we
}
\new ChordNames {
\myChords
}
\new Devnull = myVoice \myMelody
\new Lyrics {
\lyricsto myVoice \myLyrics
}
%%% End cut and paste
Sorry for the mistake,
Carl
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Re: left-margin
Quoting Keith Weintraub [EMAIL PROTECTED]:
Folks,
I am using version 2.10.33 on Mac OS X, Leopard.
There are good reasons to upgrade to the latest development version
2.11, which soon should turn into the next stable version 2.12.
I can't seem to get left-margin to work. In addition when I change
the line width the header width doesn't change.
According to
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Page-formatting
left-margin should be set in the \paper{...} block, whereas you have
set it in a \layout{...} block.
/Mats
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Re: Newly defined Voice context and RemoveEmptyStaffContext
See the Known issues and warnings of section 5.1.4 Changing default
context settings in the Notation Reference.
If you really want to understand what happens, it may also help
to look at the definition of \RemoveEmptyStaffContext in the
file ly/engraver-init.ly.
/Mats
Roman Stawski wrote:
Hi everyone
It seems that if I create a new context based on the Voice context, it
won't play with \RemoveEmptyStaffContext at all. Try the snippet below
as is, and then uncomment the commented block. A warning is generated
and lyrics are no longer rendered. Any ideas on how to get this to
work?
- - - - - [START]
\version 2.11.60
\layout { ragged-tight = ##t }
\layout {
\context {
\name MainVoice
\type Engraver_group
\alias Voice
\consists Grob_pq_engraver
\consists Note_heads_engraver
\consists Stem_engraver
}
\context {
\Staff
\accepts MainVoice
}
% If the block below is uncommented, then we get the error warning: cannot
% find Voice `t' and lyrics are not rendered.
%{
\context {
\RemoveEmptyStaffContext
}
%}
}
\score {
\new Staff { \new MainVoice = t \relative c' { c4 d e f }}
\new Lyrics {\lyricsto t \lyricmode { Can you see me? }}
}
- - - - - [END]
A secondary question is how to create a context that 'inherits' all
the engravers/performers in the context it aliases. In the above
example for instance, I'd like to add the \consists of the forty odd
components used by Voice without have to type them by hand, and
without needing to recheck them for every new version of Lilypond I
install.
Thanks for any help forthcoming
Roman
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--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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Re: lyrics in a PianoStaff
Carl D. Sorensen wrote: On 11/20/08 2:24 PM, Martin Tarenskeen [EMAIL PROTECTED] wrote: On Thu, Nov 20, 2008 at 08:14:01AM -0600, Jonathan Kulp wrote: Templates make Lilypond life a lot easier. Is there a place where I can find the templates from the manual as separate files ? Copying and pasting from the text in my webbrowser to my editor or typing it by hand is not the most comfortable way to work with. Just loading a file named piano-centered-lyrics.ly in my editor would be much easier. You will find the lilypond files in input/lsr, a directory that is located in the lilypond directory. Carl forgot to tell that you have to download the source code of LilyPond, to find these directories. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Dashed/dotted barlines
Quoting Nick Payne [EMAIL PROTECTED]: No, those values don't seem to be listed there (internals s.3.2.9) - maybe they should be, but they are shown in s.1.2.5 of the notation reference. I just updated the source code, so that : and dashed will be included also in IR 3.2.9 in the next release. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute newbie: how do I ... ?
It's easy to mix text instructions with staves, see http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Multiple-scores-in-a-book#Multiple-scores-in-a-book For the other questions, I guess you have already received an answer. /Mats guysnape wrote: I've just got Lilypond working, I want to use it to print some music reading practice sheets for my son who is learning piano. Is it possible to produce a page containing the following? A text instruction (e.g. Write the note name underneath each note) A staff with notes on it with an underscore character or two exactly under each note (I guess treating them as lyrics), leaving sufficient space for the letter name to be written. Another text instruction (Put the correct note above each letter) A blank staff with letter names evenly spaced underneath (or between the treble and bass staves). Any guidance gratefully received. Thanks, - guy -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
Jonathan Kulp wrote: I have only upgraded a couple of times, and it was in response to this thread, just to test it out. It's possible that I upgraded one more time before that. I always use the Add/Remove program tool built into Windows, accessed by the Control Panel. On Linux I always run the uninstall script that comes with Lilypond, but I don't know how to do this on Windows. Like I said, I don't use Windows regularly (...poking in the Windows partition now...) Aha! I just noticed the uninstall.exe file in the Lilypond directory! Should I try running that and then doing a fresh reinstall of Lilypond? Does the Windows Add/Remove GUI use this uninstall.exe file or does it use something else? I can try this after lunch if you think it's a good idea. It should be the same! /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: installation on ToutouLinux 03.01.4
Charlie Ledocq wrote: ... I did there: lilypond Welcome_to_lilypond.ly and got the following return: # lilypond Welcome_to_LilyPond.ly lilypond: Symbol `scm_i_freelist' has different size in shared object, consider re-linking GNU LilyPond 2.10.33 Segmentation fault # pwd /usr/share/lilypond/2.10.33/ly # What does it mean? This is the kind of problem that normally are avoided by using the installation package available at http://lilypond.org/web/install/ From your first email, I would actually guess that the file somehow got corrupted or that just part of the file was downloaded, when you tried to download it. Could you please try it again (I hope your web browser saved the package directly as a file). The md5 sum of http://download.linuxaudio.org/lilypond/binaries/linux-x86/lilypond-2.10.33-1.linux-x86.sh is 8633802d5539e6aedf8f7f924ada4057 (check it by running the command md5sum lilypond-2.10.33-1.linux-x86.sh) I hope you have some good tool to remove your current installation of LilyPond, otherwise you have to be very careful to run the correct version of the program. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
Trevor, perhaps it's the other way around, that you don't suffer from the problems, since you already have a working cache file. Have you tried removing all your cache files (of course, keeping a back-up in a safe place) and trying the latest installation? /Mats Trevor Daniels wrote: Jonathan The slowness is certainly not inherently due to Vista as LilyPond has always run fine under Vista here. The slowness issue was discussed at some length back in March 08 on both -user and -bug when it was determined that it was due to font building. This is almost certainly is cause of the recently reported slowness. Incidentally, a similar issue made LilyPond slow under XP too, and this was fixed with the 2.11.43 release. I don't understand the technical issues, but on Vista the fonts are contained in ~\.lilypond-fonts.cache-2. (To see these make sure you have the options set in Windows Explorer to Show hidden file and folders.) This should contain a number of smaller files (=2) and one large file, c. 800Kb on my system. Check the date/time the large file was last modified. It should only be changed infrequently (I don't know what triggers it.) If it changes on every LP run, then this is the cause of the slowness. Two of the smaller files should be rebuilt on the first run after a new install, which causes the this first run to take more time, around 20 secs more, than subsequent runs. So what might cause this incorrect font cache rebuild? In the past, one cause was an incorrect version of libfontconfig-1.dll but this is unlikely now as the appropriate version of this dll is included with every binary. Another possibility is that when this dll searches for the font cache it checks for an old cache first. The fonts used to be cached in ~\.fontconfig. If such a directory is present it might be worth trying deleting it or moving it to another directory. Trevor - Original Message - From: Jonathan Kulp [EMAIL PROTECTED] To: Tim Slattery [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Wednesday, November 12, 2008 5:47 PM Subject: Re: LilyPond is excessively slow on Windows Vista Tim Slattery wrote: Carl Sorensen [EMAIL PROTECTED] wrote: 545 Defect Verified Medium v.villenaveLilyPond is excessively slow on Windows Vista Performance fixed_2_11_43 Rob, Have you checked that it's slow the _second_ time you run a file? It will be slow the first time it runs because it needs to build a font cache, but successive times should not be slow. On my Vista system, when I invoke Lilypond I get the GNU version notice, and then. it sits for almost 50 seconds, apparently doing NOTHING. Then it wakes up and processes the file. It's still usable, but it sure slows things down. For the sake of testing, I booted into my Vista Home Premium partition and installed the latest Lilypond binary from the download page. I ran a lilypond file once and it took about 90 seconds, then ran it a second time and it took more than 60 seconds. The same file on Linux compiles in less than 2 seconds. Honestly I don't know how anyone uses Vista as their main OS. This is a reasonably powerful laptop less than 6 months old with 2GB of RAM and a dual-core processor. I have all the aero eye candy disabled and it still runs 10x slower than the 8-year-old Gateway box in my office running Ubuntu 8.04. Man. Glad to be back on the Linux side :) Jon -- Jonathan Kulp http://www.jonathankulp.com ___ 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 -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
Trevor, perhaps it's the other way around, that you don't suffer from the problems, since you already have a working cache file. Have you tried removing all your cache files (of course, keeping a back-up in a safe place) and trying the latest installation? /Mats Trevor Daniels wrote: Jonathan The slowness is certainly not inherently due to Vista as LilyPond has always run fine under Vista here. The slowness issue was discussed at some length back in March 08 on both -user and -bug when it was determined that it was due to font building. This is almost certainly is cause of the recently reported slowness. Incidentally, a similar issue made LilyPond slow under XP too, and this was fixed with the 2.11.43 release. I don't understand the technical issues, but on Vista the fonts are contained in ~\.lilypond-fonts.cache-2. (To see these make sure you have the options set in Windows Explorer to Show hidden file and folders.) This should contain a number of smaller files (=2) and one large file, c. 800Kb on my system. Check the date/time the large file was last modified. It should only be changed infrequently (I don't know what triggers it.) If it changes on every LP run, then this is the cause of the slowness. Two of the smaller files should be rebuilt on the first run after a new install, which causes the this first run to take more time, around 20 secs more, than subsequent runs. So what might cause this incorrect font cache rebuild? In the past, one cause was an incorrect version of libfontconfig-1.dll but this is unlikely now as the appropriate version of this dll is included with every binary. Another possibility is that when this dll searches for the font cache it checks for an old cache first. The fonts used to be cached in ~\.fontconfig. If such a directory is present it might be worth trying deleting it or moving it to another directory. Trevor - Original Message - From: Jonathan Kulp [EMAIL PROTECTED] To: Tim Slattery [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Wednesday, November 12, 2008 5:47 PM Subject: Re: LilyPond is excessively slow on Windows Vista Tim Slattery wrote: Carl Sorensen [EMAIL PROTECTED] wrote: 545 Defect Verified Medium v.villenaveLilyPond is excessively slow on Windows Vista Performance fixed_2_11_43 Rob, Have you checked that it's slow the _second_ time you run a file? It will be slow the first time it runs because it needs to build a font cache, but successive times should not be slow. On my Vista system, when I invoke Lilypond I get the GNU version notice, and then. it sits for almost 50 seconds, apparently doing NOTHING. Then it wakes up and processes the file. It's still usable, but it sure slows things down. For the sake of testing, I booted into my Vista Home Premium partition and installed the latest Lilypond binary from the download page. I ran a lilypond file once and it took about 90 seconds, then ran it a second time and it took more than 60 seconds. The same file on Linux compiles in less than 2 seconds. Honestly I don't know how anyone uses Vista as their main OS. This is a reasonably powerful laptop less than 6 months old with 2GB of RAM and a dual-core processor. I have all the aero eye candy disabled and it still runs 10x slower than the 8-year-old Gateway box in my office running Ubuntu 8.04. Man. Glad to be back on the Linux side :) Jon -- Jonathan Kulp http://www.jonathankulp.com ___ 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 -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: download page links
Bailey James E. wrote: I just noticed that the first use and User help links take new users to the 2.10 documentation. I think it makes sense to point to the stable version, waiting for 2.12. After all, the 2.11 documentation does not apply 100% to the stable version. Of course, we could update the web page with links to both 2.10 and 2.11, with appropriate comments on the virtues of the two versions, but then we have to remember to update the links again once 2.12 comes out. Currently, the link points to http://lilypond.org/doc/stable/... which automatically stays updated when there's a new stable release. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: installation on ToutouLinux 03.01.4
Charlie Ledocq wrote: 8633802d5539e6aedf8f7f924ada4057 (check it by running the command md5sum lilypond-2.10.33-1.linux-x86.sh) I got the same sum! Doing sh lilypond-2.10.33-1.linux-x86.sh returns the following: ... tail: short write I actually suspect that this line is the best indication of your problems. I tried to search the web for this error message but could find it. Could you please try to run the following commands tail -c+4591 ../lilypond-2.10.33-1.linux-x86.sh lilynd-2.10.33-1.linux-x86.tar.bz2 tar jtvf lily/lilypond-2.10.33-1.linux-x86.tar.bz2 filelist.txt In the resulting filelist.txt file, you should see a list of all the files in the installation. The command wc filelist.txt returns 2221 13473 201444 filelist.txt If you get any error messages from any of these commands, I guess we have come a bit closer to figuring out what the problem is. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
