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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Re: font switching help
Did you read
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Fonts#Fonts-explained
In particular, it explains how to obtain a list over all fonts on your
system that are available
to LilyPond.
/Mats
james wrote:
Am 04.12.2008 um 06:41 schrieb Jan van Dijk:
Op Thursday 04 December 2008 00:47:52 schreef james:
I'm not understanding how font switching in a \markup block works. I
thought that I could just do \markup \override #'(fontname .
#'Courier) {test} and it would work, but it doesn't. Is there some
other command that I've missed?
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You can try this one:
\override #'(font-name . "Courier")
Ah, I see now that courier was a poor choice, because Lilypond has its
own courier. I'm trying to get to a font that's just installed on the
computer, Palatino, to be precise. So far, I've been unsuccessful in
my attempt. I found a thread from kieren a while ago that mentions,
"Pango on OSX can only use Truetype fonts (including dfonts) that
contain only one font variant".
Unfortunately, the answer is apparently in a regression test document,
font-family-override.ly and I don't know where to find
input/regression (which is where I assume from the documentation this
file would live). I'm on MacOSX 10.4.
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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: 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
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: 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
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: 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.
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: 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
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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: 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)
--
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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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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: 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: 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
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Re: LilyPond is excessively slow on Windows Vista
Perhaps it's worth investigating if it's a problem that has come back in the most recent development versions or if the solution in version 2.11.43-2 only helped for some users. Could any of you seeing this problem try to install version 2.11.43-2 from http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.11.43-2.mingw.exe and see if it has the same problems. It's probably a good idea to remove all files related to the font cache first, so they don't interfere with the result. Also, could you confirm if you run with full administrator privileges or as an ordinary user? /Mats Jonathan Kulp wrote: Han-Wen Nienhuys wrote: On Thu, Nov 13, 2008 at 9:19 AM, Trevor Daniels <[EMAIL PROTECTED]> wrote: Trevor is correct. Every instance of lilypond slowness was caused by fontconfig caches. The problem is that there are a bazillion of windows versions; I'm not talking about XP vs. Vista but rather distinctions in minor version numbers, and perhaps changes that vendor do on top of that. For some versions, the fontconfig cache ends up not getting written (permission problems?) or getting recreated all the time. Once LilyPond has the font caches computed correctly, running times should differ little between windows, linux and mac. The problem is that the problem is often hard to diagnose and reproduce without having the afflicted machine at hand. In general, my takeaway from it is that shipping software on top of Windows is a religious experience. You can never be sure that it works, so you have to pray a lot. Ok I just booted back into Vista and checked the fontconfig cache's time and date stamp, then ran my test lilypond file. The fontconfig cache was rebuilt. The date/time stamp changed to today's date and time. I ran the file again, the cache was rebuilt again. First time took about 90 seconds, second time 70 seconds. On my son's laptop (a Dell that's about 4 years old) there's a partition with XP and it ran the test file in about 10 seconds, which is still slower than the 2-3 seconds it takes under Ubuntu Linux on the same laptop. So, is there a way to tell the machine where the fontconfig cache file is so that it doesn't create a new one every time? I'll be glad to keep testing this but only about once a day. It's too painful to be in Vista for more than a couple of minutes at a time. In three minutes I got five warnings about my system and it wasn't even connected to the internet... Jon -- = 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: dotted brevis
Popular question this week! See http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00245.html /Mats Stefan Thomas wrote: Dear Lilypond users, how can I get a dotted brevis with lilypond? ___ 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: 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: 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: 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: 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
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
Could any of you Vista users, try to run LilyPond from the command line with the --verbose flag, to see what step of the compilation process takes most time? /Mats Quoting Jonathan Kulp <[EMAIL PROTECTED]>: 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
Re: point and click brings up two emacs instances
lilypond-invoke-editor first tries to run emacs-client, which will
open the file in an existing emacs if
1. emacs was already started (otherwise lilypond-invoke-editor will
start it using the "emacs" command).
2. The corresponding server is running in Emacs, i.e. you have a line like
(server-start)
in your .emacs file or you have used the customization features in
Emacs to set server-mode true.
Note also that if you have the any of the environment variables $EDITOR,
$LYEDITOR or $XEDITOR set, then other things might happen.
/Mats
Rob Canning wrote:
hi,
i have this problem using point and click:
when i click on the pdf two instances of emacs start - this is nice
but one is plenty :)
any clues?
i am running GNU/Linux pure:dyne (distro based on Debian lenny)
GNU LilyPond 2.11.63
xpdf version 3.02
GNU Emacs 22.2.1
i have this in .xpdfrc
urlCommand "lilypond-invoke-editor %s"
this in my .emacs
;#lilypond emacs mode#
(autoload 'LilyPond-mode "lilypond-mode")
(setq auto-mode-alist
(cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
(add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
(setq locale-coding-system 'utf-8)
(set-terminal-coding-system 'utf-8)
(set-keyboard-coding-system 'utf-8)
(set-selection-coding-system 'utf-8)
(prefer-coding-system 'utf-8)
.emacs stuff is not relevant i guess...not sure what else i should
tell you...
thanks
rob
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: horizontal shift of notes not working
Trevor Daniels wrote:
...
For bar 15, simply replacing \stemDown with \voiceFour, giving
<<
\voiceFour
{< e-1 >2 < a-1 >4 g |} \\
{< c,-2 a-4\6 >2 < d g,-2 >} |
>>
The syntax is perhaps clearer if you write this as
<<
{\voiceFour < e-1 >2 < a-1 >4 g |} \\
{< c,-2 a-4\6 >2 < d g,-2 >} |
>>
It's not obvious to me without trying it out, to what Voice context
the \voiceFour macro would be applied in Trevor's proposal, without
trying it out.
/Mats
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Re: double stem
How about the following?
doublestem = #(define-music-function (parser location m) (ly:music?)
#{ << \voiceOne $m \new Voice { \voiceTwo $m } >> \oneVoice #})
\relative c'{ c2 d \doublestem e f \doublestem { g a b c } }
This function applies to the note (or music expression) following it, so
in this example
you get a double stem in the e and on the sequence g a b c.
/Mats
?? Hu Haipeng wrote:
Hello,
I'm orchestrating the accomp. of a song by me in 2004. The horn 1-2
part sometimes requires a2 note, thus a double stem note. I don't want
to write << c4 \\ c >>, since there are dynamics spanner such as \<,
and I don't want to add an extra voice to increase the complexity. But
could someone help me to create a function to generate double stem on
the note and use \stemNeutral to revert?
Haipeng
10, <http://www.yeah.net>
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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: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Three newbie questions
If you use
\set chordRootNamer = #(lambda (x) "-")
you will not get any syntax errors, you don't get any syntax errors but
you get a somewhat
unexpected output. If you, in addition, set
\set chordNoteNamer = #note-name->markup
the result is somewhat more similar to what you want (by default it
seems that chordNoteNamer uses
the value of chordRootNamer unless it's explicitly set). However, since
the modifier is still printed,
you don't really get the result you want, at least not if the chord is
f:m/es (however, if you
don't care about MIDI output, you could then use the corresponding chord
without the modifier,
f:/es in the input to get the desired output.
/Mats
Atte André Jensen wrote:
Bertalan Fodor (LilyPondTool) wrote:
So I suppose using
\set chordRootNamer = #(lambda (x) ("-")) or something like that (I'm
not sure about the syntax), then \unset chordRootNamer would do the
trick.
Ok, I wasn't able to make some valid lilypond syntax with this. I
asked google and didn't get much help there.
Anyone knows how this could be done?
Ideally I think it should be a boolean property, something like
\set repeatedRootsDash = ##t
If I should try to implement this in lilypond (and submit a patch if I
succed), which file should I look at? Would I need a compiled-by-hand
version of lilypond in order to try to implement this, or is it
possible to work with my 2.10.33 from ubuntu repositories?
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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: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: The behavior of a \score block
There's no need for the \new Score in this situation. You can just as
well do the setting
in the \layout block:
\score {
<<
\new Staff { c''1 \mark "molto" c'' }
\new Staff { c'1 \mark "molto" c' }
>>
\layout{
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
\context {
\Staff
\consists "Mark_engraver"
\consists "Staff_collecting_engraver"
}
}
\header {
piece = "a Score within a \score!"
}
}
Here, I also moved the redefinition of the Staff contexts into the
\layout block, which is not necessary
but saves some typing in this particular example, since all the Staff
contexts should have the same
definition.
In general, I cannot think of any situation where \new Score is really
needed. I searched a bit
in the mailing list archives, and found one early mention of this
feature in
http://lists.gnu.org/archive/html/lilypond-devel/2004-02/msg00098.html
From there, it seems that the main reason to allow for \new Score was
for symmetry with
all other contexts, like Staff and Voice, where you can tweak the
context using \new Xxxx \with ...
/Mats
Mark Polesky wrote:
Valentin Villenave wrote:
A \score block may include its own \header or a \layout block, whereas
\new Score won't allow you to do so.
\score does not automatically create contexts (whereas \new Score
does) ; therefore you have to create one inside it.
Let me get this straight. If I wanted a score-specific header, AND if I wanted
"text marks" on every staff (as in the snippet "Printing marks on every staff":
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Writing-text#Selected-Snippets-35
), I would have to nest a "\new Score { ... }" block (needed to reassign the
engravers) within a "\score" block (needed to get the score-specific header)?
This is not only confusing, but seems needlessly tedious. I agree with Helge;
either we need something in the docs like "When to use \score and when to use
\new Score", or we need some new syntactic sugar. Can "\score" be re-coded to
incorporate the auto-context-creation of "\new Score", or can "\new Score" be
re-coded to allow \header and \layout blocks? Or am I missing something...
Okay, if there's a way to code the example below without
\score { \new Score { ... } }
please let me know.
- Mark
_
\score {
\new Score \with {
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
<<
\new Staff \with {
\consists "Mark_engraver"
\consists "Staff_collecting_engraver"
}
{ c''1 \mark "molto" c'' }
\new Staff \with {
\consists "Mark_engraver"
\consists "Staff_collecting_engraver"
}
{ c'1 \mark "molto" c' }
>>
\header {
piece = "a Score within a \score!"
}
}
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Re: I'm losing my umlauts
Paul Hodges wrote: --On 04 November 2008 21:30 -0800 abqconlon <[EMAIL PROTECTED]> wrote: when I generate the PDF file all of my special characters are spaces and I lose the rest of the syllable. You need to save your .ly file in UDF-8 format - the characters will then be recognised and handled correctly. If you make that UTF-8 it will work! ;-) /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three newbie questions
Quoting Dominic Neumann <[EMAIL PROTECTED]>:
3) I don´t think, it´s possible to let LilyPond decide how to print
stanzas at the end.
It should certainly no be impossible, but would require you to
implement this "intelligence" using Scheme functions.
/Mats
Dominic
2008/11/6 Atte André Jensen <[EMAIL PROTECTED]>:
Hi
I have a couple of questions, that I couldn't figure out in the
documentation.
1) If I have a set of chords that I'd like to be printed like this:
Fm -/Eb Bb/D
how do I then get the dash ("-") symbol (meaning "repeat the previous chord,
now with Eb in the bass"?
2) I'm danish, and we write "H" instead of "B". How do I get lilypond to
write "H" in a chord instead of "B".
3) When writing a song with lyrics, for instance a Christmas carol, there a
alot of additional verses. I read "7.3.9.4 Printing stanzas at the end" on
http://lilypond.org/doc/v2.10/Documentation/user/lilypond-big-page#Vocal-music,
but that a) seems cumbersome b) doesn't seem to allow spacing between verses
and c) is in one column. Ideally I'd like to simply enter the additional
verses in raw text, and have lilypond figure out how to place them, for
instance by looking at blank lines (separating verses) which in case of 5
additional verses should be like this (centered):
2. this is 4. this is
verse two verse four
3. this is 5. this is
verse three verse five
6. this is
verse six
If the lines are too long it should be printed like this (centered):
2. this is verse two
with a looong line
3. this is verse three
with a looong line
4. this is verse four
with a looong line
5. this is verse five
with a looong line
6. this is verse six
with a looong line
I hope my questions are clear, and sorry if I overlooked it in the manual.
--
Atte
http://atte.dkhttp://modlys.dk
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Re: contribute some context defs
Thanks for sharing your definitions. However, don't forget to tell
what LilyPond version you are using, since these definitions are
likely to be version dependent.
/Mats
??Hu Haipeng wrote:
Hello,
During some months' work, and getting your kind help, I have made up
many defs in a large file which I always include. It contains many
defs grm mailinglist and LSR. Now, I'd like to share some context defs
with you. I don't know whether they are correct, but I hope these will
be of use, and ease your further work. It is better to even make them
as patches and come with the next version (of course, the duplicated
code must be reduced):
%% Layout to produce piano dynamics context
\layout {
\context {
\type "Engraver_group"
\name Dynamics
\alias Voice
\consists "Output_property_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override DynamicLineSpanner #'Y-offset = #0
pedalSustainStrings = #'("Ped." "*Ped." "*")
pedalUnaCordaStrings = #'("una corda" "" "tre corde")
\consists "Piano_pedal_engraver"
\consists "Script_engraver"
\consists "New_dynamic_engraver"
\consists "Dynamic_align_engraver"
\consists "Text_engraver"
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\PianoStaff
\accepts "Dynamics"
\override Glissando #'breakable = ##t
\override TextSpanner #'breakable = ##t
\override DynamicSpanner #'breakable = ##t
}
}
%% layout to create orchestra staff group
%% with non-spanned barlines amoung sub instrument groups
(InnerStaffGroup)
\layout {
\context {
\StaffGroup
\name Orchestra
\remove "Span_bar_engraver"
}
\context {
\Score
\accepts Orchestra
}
}
%% Layout to produce ChordMarks context
%% for doing harmony exercises using different harmony indications
%% Chord marks are entered as text markups,
%% and you must turn text length on
\layout {
\context {
\type "Engraver_group"
\name ChordMarks
\alias Voice
\consists "Output_property_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists "Script_engraver"
\consists "Text_engraver"
\override TextScript #'font-size = #2
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\Orchestra
\accepts ChordMarks
}
\context {
\StaffGroup
\accepts ChordMarks
}
\context {
\PianoStaff
\accepts "ChordMarks"
}
}
%% Layout to produce MarkLine context
%% to place rehearsal marks and texts above full score
\layout {
\context {
\type "Engraver_group"
\name "MarkLine"
\consists "Output_property_engraver"
\consists "Axis_group_engraver"
\consists "Mark_engraver"
\consists "Metronome_mark_engraver"
\consists "Script_engraver"
\consists "Text_engraver"
\consists "Text_spanner_engraver"
\consists "Font_size_engraver"
\override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2 )
}
\context {
\Orchestra
\accepts "MarkLine"
}
\context {
\StaffGroup
\accepts "MarkLine"
}
\context {
\InnerStaffGroup
\accepts "MarkLine"
}
}
%% layout to produce a markline occupying fewer vertical space.
%% usage: put before 1st violin part
\layout {
\context {
\MarkLine
\name "SmallMarkLine"
\override MetronomeMark #'outside-staff-priority = #800
\override RehearsalMark #'outside-staff-priority = #1200
}
\context {
\Orchestra
\accepts SmallMarkLine
}
\context {
\StaffGroup
\accepts SmallMarkLine
}
\context {
\InnerStaffGroup
\accepts SmallMarkLine
}
}
%% Layout to produce SquareStaff context
%% to group similar instruments in a staff group with thin square bracket
\layout {
\context {
\InnerStaffGroup
\name SquareStaff
systemStartDelimiter = #'SystemStartSquare
}
\context {
\Orchestra
\accepts SquareStaff
}
\context {
\StaffGroup
\accepts SquareStaff
}
\context {
\InnerStaffGroup
\accepts SquareStaff
}
}
Sincerely
Haipeng
[] ??-
<http://popme.163.com/link/003985_1010_7027.html>
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Re: Why do so many newcomers post to bug-lilypond?
The only problem is that the screenshot will look very different depending on what your favorite text editor looks like. For Windows, we could certainly show a screenshot using the Lilypad editor, but it's far from the best editor. If you want selling screenshots, see http://lilypondtool.organum.hu/demo.html /Mats fiëé visuëlle wrote: Regarding those newbies who are looking for a GUI: Why don't we publish a screenshot or two? Users are looking for screenshots if they evaluate a new application (at least I do), and if we show a shot of a terminal window of a LilyPond session and another of some text editor with a piece of score, and add a comment like "yes, that's how LilyPond looks", perhaps we could reduce those noob questions a bit. Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ 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: The behavior of a \score block
I hope you have read the documentation for version 2.11, since
it has been heavily revised and improved compared to the
documentation for version 2.10 (and it applies almost completely
also to version 2.10 if you happen to use that).
In particular, you should find answers to most of your questions
in section 3.1 "How LilyPond input files work" of the Learning
manual.
/Mats
Dany wrote:
Hello,
I've read Lilypond's documentation, and something has been bothering me: what is
a \score block? I mean what does it actually do? For instance, what is the
difference between entering a \score block and writing \new Score? I haven't
found anything about it in the documentation except concerning its use within a
markup expression.
Besides, it seems that this \score block is delimited with braces, but when you
want to enter music inside, you have to put a music expression inside the block,
with braces once again. Is this correct?
And one more question: are commands such as \new Staff { c d e f } considered as
single music expressions, just like \relative c' {c d e f}?
Thanks for your help.
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
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Re: Why do so many newcomers post to bug-lilypond?
Thanks for all suggestions and ideas. However, I think that the main answer to my initial question was given by Valentin in http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00048.html For us who follow the bug mailing list, it's not a problem to answer these questions, but it's a bit annoying for the poor newcomer that she/he has to receive a "next time you have a usage question, please use the lilypond-user mailing list instead". I don't really see the point of linking to the bug mailing list on the installation web page. Also, I'm not sure that title "Packager" of the right-most column is the most relevant. For people who have found the information about all the different mailing lists, I think it's not any major problem to figure out which one to use. /Mats Quoting Laura Conrad <[EMAIL PROTECTED]>: "David" == David Rogers <[EMAIL PROTECTED]> writes: David> Perhaps every time the bugs list is mentioned anywhere, it should come David> with a notice "The bugs list is for the Lilypond programmers only. For David> any kind of help with the software, please write to [link to user David> list]". David> I know, that part about programmers is perhaps not strictly 100% true, David> but it's what newbies should hear. I disagree. Reporting bugs has nothing to do with programming. How about: The bugs list is for experienced lilypond users to report malfunctions in the software. If you're having trouble learning to use the software, you can get help on the lilypond-user list. -- Laura (mailto:[EMAIL PROTECTED] http://www.laymusic.org/ ) (617) 661-8097 233 Broadway, Cambridge, MA 02139 G.P. 7: Never despise a drink because it is easy to make and/or uses commercial mixes. Unquestioning devotion to authenticity is, in any department of life, a mark of the naïve -- or worse. Kingsley Amis, _On Drink_ ___ 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
Why do so many newcomers post to bug-lilypond?
Can anybody explain why 90% of all the newcomers who send a "how do I
run the program" or "how do I install the program" or similar, send it
to bug-lilypond instead of lilypond-user? Where on the web is the bug
mailing list so much more visible than the usage list? Or, perhaps we
have some misleading instruction somewhere?
/Mats
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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: five sixteenth note
As has already been pointed out, you haven't included your
file rhythm.ly so we do not have any possibility to test your
code, but if you want a note with a duration of 5 sixteenth,
what's wrong with
c16*5 or c4*5/4
/Mats
Stefan Thomas wrote:
Dear Lilypond users,
I hope, I am not boring. But I found out a possibilitie to get very
easily a five-sixteenth note.
with the use of the "make-rhythm"-function. If You like it, please
feel free to use it!
\version "2.11.60"
\include "rhythm.ly <http://rhythm.ly>"
viertelsechzehntel = #(define-music-function (parser location music)
(ly:music?) #{ \makeRhythm $music "4 16" #})
vs = #(define-music-function (parser location x) (ly:music?)
#{
\context Voice << { \viertelsechzehntel { $x $x } } { s4 ~ s16
} >>
#})
\relative { \time 5/16 \vs c \vs d \vs e \vs \vs 4 }
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Signal Processing
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Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Hairpin length at repeat bar lines
Thies Albrecht wrote: Hi Kieren, hi list, the crescendo hairpin at repeat bar lines is a bit too long. Any workaround? \once \override Hairpin #'bound-padding = #2.5 @Kieren: Yes, it helps... and no, it doesn't help... Using the proposed override the hairpin is shortened, but only in case there is no line break occuring at the repeat bar line. This is strange! Bug? Unfortunately in the piece I'm currently transcribing there is such a situation. It only becomes visible in the staff groups in the full score, not in the single parts, so it's okay, I can live with it. @Mats: I guess you're talking about setting to-hairline to true. This doesn't help neither and IIRC from the internal reference it should be set to true by default. But as I already said: I can live with it. You're right, sorry about the noise. I tried to see if there was a way to specify that it should stop at the left end of the bar line instead of the right end, but couldn't see any such option. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpin length at repeat bar lines
If you read the section on Dynamics in the Notation reference for
version 2.11, you will find a
"selected snippet" with the answer to your question.
/Mats
Thies Albrecht wrote:
Hi everybody,
in the code snippet below the crescendo hairpin at repeat bar lines is a bit
too long. Any workaround?
\version "2.11.63"
\paper{ ragged-right=##t }
\relative c '' {
c1 \<
\repeat volta 2 {c1 \!}
}
Kind regards,
Thies
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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]
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Re: Glissando from note A to note B, traversing multiple stems with hidden noteheads
The easiest is to use separate voices for the glissando notes and the
headless notes inbetween:
\version "2.10.0"
headless = {
\once \override Staff . NoteHead #'transparent = ##t
}
\new Staff \relative c'' <<
{c4\glissando s2 f,4 }
\new Voice { s4 \headless b \headless a }
>>
Note also that it was overkill to use a music function to define
\headless, see my solution above.
/Mats
Mike Solomon wrote:
Hey lilypond users,
I am trying to write a glissando from note A to note B while traversing
several headless stems and, so far, have only come up with the following
solution:
headless = #(define-music-function (parser location) ()
#{
\once \override Staff . NoteHead #'transparent = ##t
#})
\relative c'' {
c4\glissando \headless b\glissando \headless a\glissando f
}
In this example, the glissandos are disconnected where the transparent
noteheads begin and end. This is in addition to the larger problem that the
glissando from the headless a to the f has a different slope than the
others, and ideally, I'd like one smooth line from c to f. I've
experimented with a variety of kludges including raising/lowering noteheads
to interpolate linearly between note A and note B, but this still does not
solve the problem of disjoint glissando lines at the transparent noteheads.
It seems like a simple solution would be allowing for a glissando to connect
to a non-subsequent note, so in the above example, having the glissando
connect from the c to the f and budging the stems of b and a accordingly to
connect with the gliss. However, I don't know how to do this. Your help
would be greatly appreciated!
~Mike
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Signal Processing
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Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Measure markup
Reading the full question and not only the first lines, you should
perhaps look at using
either what's called ligatures in ancient notation:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Ancient-notation_002d_002dcommon-features#Ligatures
or analysis brackets:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Outside-the-staff#Analysis-brackets
If you want the analysis bracket above the stave, see
http://lsr.dsi.unimi.it/LSR/Item?id=489
and if you in addition don't want the slanted edges, you can set the
bracket-flare property:
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
\relative c'' {
\once \override HorizontalBracket #'direction = #UP
\once \override HorizontalBracket #'bracket-flare = #'(0 . 0)
c2\startGroup
d2\stopGroup
}
(The difference between ligatures and analysis brackets is that the
latter always are horizontal, whereas
the former may be slanted.)
If you really want what you ask for, namely just the corners of the
bracket, I couldn't find any
pre-cooked solution in LilyPond, but you can get it using a combination
of a text spanner and
some text markup commands:
\relative c'' {
% Set some properties once and for all, so that the text spanners give
the desired layout:
\override TextSpanner #'dash-period = #-1
\override TextSpanner #'bound-details #'left #'text = \markup{ \concat
{\draw-line #'(0 . -1.0) \draw-line #'(1.0 . 0) }}
\override TextSpanner #'bound-details #'right #'text = \markup{ \concat
{ \draw-line #'(1.0 . 0) \draw-line #'(0 . -1.0) }}
% Use them in the actual music:
c4 \startTextSpan d e f \stopTextSpan
c1
c4 \startTextSpan d e f \stopTextSpan
}
/Mats
Cordilow wrote:
I'm wondering if it's possible to do text markup relative to a measure bar
instead of to a note.
I'm wondering this because this is approximately* where the hymn-style piano
introduction brackets (i.e. kind of like these characters, ⌜ and ⌝, only
thinner and larger) are supposed to go, and it's quite difficult to get them
in the right place if my markup is relative to a note (plus if I change the
notes I have to redo the bracket positioning). These look very odd and
unlike how they're supposed to if I put them directly above the notes
(especially when the note stem goes above the clef at all, and at times when
there's a fermata above the note). It just doesn't look elegant at all, and
is better left out.
Also, the brackets are supposed to be at the same vertical height as each
other, and it would be very helpful if note padding were ignored
entirely—are these things possible?
If these features aren't supported, I'd love (really) to pay for the new
feature of hymn-style piano introduction brackets (opening and closing
tags), appearing how I desire them (at least, if it's not beyond my budget—I
have no idea how much is generally charged for such; if it is beyond my
budget, I can always save for it, but this isn't a 'particularly'
extravagant feature, in my opinion). More than one set should be allowed in
the same score, as this is often the case. They're not always on measures,
though, but they're not on the notes, even then, and they're not raised if
the following/preceding note's stem goes above the clef (since they don't
collide).
This should be fairly easy to implement (one reason I don't think it should
cost 'too' much). I'm not requesting it to affect the midis. I'm sure it
would be more worth my time and money to pay for it (if the LilyPond
developers want to accept the request) than it would be to spend eons
artistically configuring bracket positions on thousands of scores (which I
wouldn't, anyway, if there's not a less time consuming way that doesn't
involve using artistic, spatial judgment; I don't want to have to think
about where it is every time). I do want to use these in almost all of the
songs I notate.
Thanks for all the help you can offer!
* = (Exactly, if the bar line is visible on the opening intro bracket; just
a tad to the left of the last measure, for the closing bracket; just a tad
to the right of the time signature for opening brackets there; etc.)
--
=
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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: [EMAIL PROTECTED]
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Re: What to do when \> and \< produce text
Valentin Villenave wrote:
2008/10/29 Reinhold Kainhofer <[EMAIL PROTECTED]>:
\cresc ... Starts a text crescendo
\dim ... Starts a text diminuendo
Already done, as I mentioned in an earlier email.
\decresc ... Starts a text decrescendo
This one wasn't available earlier, but can of course easily be added if
there's consensus
about it. For the macros that change the layout of all future dynamic
indications, we have
\crescTextCresc, \dimTextDecresc, \dimTextDecr and \dimTextDim, so for
symmetry
we should then have \cresc, \decresc, \decr and \dim for the one-time
versions. The problem
is that the command name \decr already is occupied and is a synonym to \>.
Before we make these macros "official" by including them in the docs, we
should discuss if
they should just print the "cresc." / "dim." or if they also should give
a dashed line. I cannot
say, without looking at my music collection, how common it is to have a
cresc./dim. indication
without the following dashed line which tells how long it should last.
All of these would simply be ended by \!.
I agree, but in this case we'd have to first have a convert rule that turns
\version "2.6"
{ a \cresc b c d }
into
\version "2.12"
{ a \cresc \! b c d }
because otherwise the "old" \cresc would be left unfinished and
therefore would risk to break some old ly scores.
This conclusion isn't fully correct. Even in old LilyPond versions, we
had \endcresc and \enddim
that were equivalent to \!, and the intention was that they should be
used like
{a \cresc b c d \endcresc }
However, if you forgot to add an \endcresc or \enddim, the only thing
that happened was that you
had an invisible dynamic spanner that went on until the next dynamic
indication. Since the \cresc and
\dim commands don't start any dashed line, this isn't a problem. So, if
you didn't use \endcresc in version
2.6 (or 2.10 or whatever) and didn't suffer from it at that time, then
you won't suffer from it now either.
On the other hand, if we decide to add the dashed line, then it
certainly matters.
Besides, we should also have a rule to delete \endcresc since this is
no longer needed in any way.
Well, it's a synonym to \! and \endcr.
/Mats
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Re: no more merged noteheads after harmonics
Read about "Text marks" in section "1.8.1 Writing text" in the Notation Reference for version 2.11. /Mats David Stocker wrote: Hello. I'm typesetting a guitar piece for which I'm using the black harmonic noteheads for harmonics. Also, I'm merging differentlyDotted and differentlyHeaded notes across the bass and treble voices. The problem is, after I use harmonic notes, my differentlyHeaded and differentlyDotted noteheads are no longer merged. Does anyone have a guess as to why? Two truncated versions of the input file are attached. Thanks, 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: [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: What to do when \> and \< produce text
George_ wrote: ... As I said before (and I am even more certain about this now) I think the \cresc and \dim should be changed in future versions of Lilypond (especially with the stable release coming up) to make them into one-time text dynamics. This is exactly what happens if you use the command in version 2.10 or earlier, so the current behaviour in 2.11 is a regression bug. I have modified the definitions in the GIT source code repository so that \cresc and \dim only give one-time text dynamics again from version 2.11.64. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trouble getting my page layout just right
I'm sure you have already tried
\paper { annotate-spacing = ##t }
to get some hints on what's going on. See "4.6.1 Displaying spacing" in
the Notation reference.
Once difference I could notice between pages 3 and 4 is that you have a
dynamic indication \mf
for some staves on page 4, that you don't have on page 3. This will
clearly influence the vertical
spacing. However, when comparing the pages, I also get the impression
that the staves with only
full measure rests get more vertical spacing than those with notes,
which seems weird.
/Mats
Cameron Horsburgh wrote:
Hi folks,
If you open
http://web.netcall.com.au/horsburgh/Downloads/entertainer.pdf you'll
find a score I did a few years back. I've never been happy with the
way the systems are spaced on each page.
If you look at the pages 4 and 8 you'll notice that the staves are far
more spread out vertically when compared to the other pages. I've
tried playing around with all the ragged-bottom settings as well as
the Staff VerticalAxisGroup #'minimum-Y-extent, all to no avail. I can
get individual pages right, but always at the expense of others. I
can't figure out why it is so---it doesn't seem to have anything to do
with the skylining. For example, compare pages 3 and 4. They're fairly
similar in character and the amount of material outside the five lines
of each staff, yet they take up noticeably different amounts of
personal space.
Unfortunately, it all looks rather odd. Ideally, I would like each
system to comfortably fill a page and be approximately the same
vertical size as each other.
I won't include the whole project for now, but here are the layout and
paper blocks in effect. Does anything look wrong? Have I missed
something I shouldn't have? If anyone wants the full shebang, let me
know and I'll send it off list.
\paper{
#(set-paper-size "a4" 'landscape)
between-system-padding = #0
after-title-space = #0
ragged-bottom=##f
ragged-last-bottom=##f
line-width=10.0 \in
}
\layout {
indent=0.0 \cm
\context {
\Score \override VerticalAlignment #'max-stretch =
#ly:align-interface::calc-max-stretch
}
\context {
\Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
}
\context {
\DrumStaff \override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
}
}
Thanks,
--
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Sweden
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Fax: (+46) 8 790 7260
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Re: documentation request (or feature request) w.r.t. polyphony
Kieren MacMillan wrote:
Better yet, why can't the shorthand automatically "do the right
thing"? i.e.,
<< {} \\ {} >>
should be translated automagically into
<< {} \new Voice {} >>
That way, the *only* time anyone has to do any tweaking is when they
*want* two brand new voices — which is (AFAIK) the rarest situation of all
There's also the situation where you want the main voice to be the
second/third/... voice in the multi-voice section.
Also, to be precise, it should be translated into
<< {\voiceOne ... } \new Voice {\voiceTwo ...} >> \oneVoice
Anyway, I agree that this would be a better solution for most cases and
I don't think it would cause
any particular compatibility problems. Either you have not been hit by
the problem previously (or
haven't noticed it) and then nothing will change for the worse, or you
have already abandoned
the construct.
/Mats
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Re: What to do when \> and \< produce text
Valentin Villenave wrote: 2008/10/29 Brett Duncan <[EMAIL PROTECTED]>: as clearly shown in Notation Reference 1.3.1, it there really a need to keep it? I can't say that I've seen many instances of the text "cresc." without the dashed line, but perhaps others have. AFAICS it is used quite a bit in one of our example scores (the Mozart Rondo). We could do as Mats said, i.e. add \once in the cresc definitions, and remove completely endCresc. Isn't it better to replace the use of this undocumented feature in the example score? As long as the feature is used within the official documentation, we will keep getting confused questions about it. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Arpeggio collision
Helge Kruse wrote: The \hideNotes is not accepted inside a chord. As a workaround you could write the one note of the chord in the other voice. I rather recommend you to read about the \tweak command, to learn how to make one note invisible in a chord. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics provoke "Moment is not increasing" complaint
Roman Stawski wrote:
The other solution consists of 'adapting' an existing system by adding
or hiding new staves, rather than 'replacing' one system by another one
that's quite different. Your example works in my cut down snippet. In
the full piece, I'd need to add staves above the common one. However,
I can see how to do that by predefining all the staves and using
#(ly:export (skip-of-length ...)) to hide them when they're not needed.
(I see what Mats was getting at now with french staves).
See also how to use alignAboveContext at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Nesting-music-expressions
and more explanations of the different alternatives at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Modifying-single-staves#Ossia-staves
By the way, the 4th example of "Ossia staves" may be confusing. There's
no need for any
\startStaff or \stopStaff in this particular example if it instead had
been coded like
<<
\new Staff = ossia \with {
\remove "Time_signature_engraver"
\override Clef #'transparent = ##t
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'thickness = #(magstep -3)
} \relative c''{R1*3 c4 e8 d c2 }
\new Staff \relative c' {
c4 b c2
e4 f e2
g4 a g2 \break
c4 b c2
g4 a g2
e4 d c2
}
>>
\layout {
\context {
\RemoveEmptyStaffContext
\override VerticalAxisGroup #'remove-first = ##t
}
}
Explaining in detail why the current example in the manual works, is
quite involved.
Anyway, you(ve both given me a practical way forward, and I'll let the
powers that be decide whether the original example constitutes a bug
or an abuse of Lilypond.
Well, we now have a bug report about the problem!
/Mats
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Re: What to do when \> and \< produce text
Brett Duncan wrote:
The problem was that George had used the \cresc command in his file,
but had \crescHairpin command _before_ the \cresc command. Moving
\crescHairpin appears to have solved his problem.
I couldn't find \cresc in the Notation Reference, but it does appear
in the Internals Reference, where it is listed simply as an
alternative notation for \<. From George's file, it appears to not
only generate a text crescendo but also switch the display of
crescendos to text mode until explicitly changed back to hairpin - is
this the intended behaviour?
The \cresc macro is defined in ly/spanners-init.ly and is preceded by a
comment:
% STOP: junkme!
so it's clearly not well-supported It's certainly intended to generate a
text style crescendo "cresc.".
However, at the time the macro was implemented, any setting of
crescendoText was automatically
reverted after the next crescendo event (i.e. it worked like a \once
\set ...) so now that the crescendoText
property works just as all other properties, it would make more sense to
let the macro be implemented as
cresc = {
#(ly:export (make-event-chord (list cr)))
\once \set crescendoText = \markup { \italic "cresc." }
\once \set crescendoSpanner = #'text
}
if we want it to remain. In contrast to using the supported and
documented macro \crescTextCresc,
you don't get any dashed line when using \cresc. Note also that there is
a macro \endcresc that reverts
the settings done by \cresc (which wouldn't be needed if we used the
above definition).
/Mats
by \cresc. Finally
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Re: fingering orientation
This issue was mentioned on the mailing list as late as a few days ago.
As is described in the documentation (at least the 2.11 version),
specifying fingeringOrientations only works for fingerings that are
attached to chords. If you want it for a single note, you have to make
it a single note chord, i.e. use -4
instead of c-4
/Mats
Quoting Trevor Daniels <[EMAIL PROTECTED]>:
Helge
I've only tested the following in 2.11. I hope it also
applies to 2.10.
You can either move the fingeringOrientations command
inside the << { } \\ { place-it-here notes } >> construct
so it is immediately before the notes in question, or set
it in the Staff context where it is with
\set Staff.fingeringOrientations = #'(left)
.
Either will place the fingering to the left, outside the
arpeggio, but you may find they are too far to the left.
You can adjust the separation by modifying the Arpeggio
padding. This value seems about right:
\set Staff.fingeringOrientations = #'(left)
\once \override Staff.Arpeggio #'padding = #-0.2
Trevor
- Original Message - From: "Helge Kruse" <[EMAIL PROTECTED]>
To: "Lilypond-User"
Sent: Tuesday, October 28, 2008 8:52 AM
Subject: fingering orientation
Hello,
I write a piece for harp. I need sometimes fingering information for
the player.
While sometimes fingering above the staff is ok, I need it at the
left side under some circumstances. In the example I want to write
the fingering number for the notes "ces" and "es" at the left side
of the arpeggio, but I did not succeed.
How can I achieve this request?
Best regards,
Helge
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Re: Lyrics provoke "Moment is not increasing" complaint
This is weird and looks like a bug to me, so I forward it to bug-lilypond.
However, you may want to reorganize your score along the lines of
the email "Re: Adding a staff in the middle of a piece" I sent on
lilypond-user some minutes ago, which shows how to switch a stave back
and forth between behaving like a french stave and a normal stave, but
setting the remove-empty property.
/Mats
Roman Stawski wrote:
I want to have one group of parallel staves following another
sequentially. The constitution of the two groups is quite different.
(In the real piece I'm using \removeEmptyStaffContext to hide the
first group when I finish with it.) A cut-down example is:
- - - -[START]
\version "2.11.60"
\layout { ragged-right = ##t }
example = {
<<
\new Staff { \new Voice = "a" \relative c'' { a1 } }
%\new Lyrics { \lyricsto "a" \lyricmode { Doo } }
>>
<<
\new Staff { \new Voice = "c" \relative c' { c1 } }
\new Lyrics { \lyricsto "c" \lyricmode { dah } }
>>
}
\score { \example }
- - - -[END]
This snippet works, but when I uncomment the Lyrics line, I get
- - - -
...
Interpreting music...
programming error: Moment is not increasing. Aborting interpretation.
continuing, cross fingers
test.ly:11:18: warning: cannot find Voice 'c'
\new Lyrics {
\lyricsto "c" \lyricmode { dah } }
...
- - - -
and the second group is corrupted in the display.
The only reference to this problem that I could find was a posting
from Morten Lemvigh last year:
http://thread.gmane.org/gmane.comp.gnu.lilypond.general/32409/focus=32412
He solves the problem by changing the lyrics, which isn't an option in
my case.
So what am I dong wrong? Does anyone have any ideas how to solve/get
around it?
Thanks
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: Adding a staff in the middle of a piece
Martin Frankland wrote:
I have the same problem. I have an SATB choir with female and male soloists
on top. I'd like to start the soloists' staffs after the choral intro.
Everything I've tried so far hasn't worked:
2. The Frenched score using \RemoveEmptyStaffContext doesn't work for me
since the male and female soloists alternate, so it displays only the one
singing and hides the other one. I want BOTH solo staffs displayed, the one
with the notes AND the one with rests, otherwise it's hard to read. Can we
tell Lilypond to hide whole *groups* of staffs that contain only rests?
This is probably the easiest approach. Just do
\set Staff.VerticalAxisGroup #'remove-empty = ##f
in the staves for the solo parts, after the introduction.
Then, they will stay even if they only contain rests.
3. I've tried writing the choral intro and the rest of the song as two
consecutive parts of the score, like this:
\score {
{
\ChoirIntro
<< \Soli \Choir >>
}
\layout{}
\midi{}
}
but it doesn't work. The pdf displays the intro correctly followed by some
kind of empty system.
This solution should also work well, at least if you make sure
to use named contexts so that the choir parts appear in the same
Staff contexts both in the intro and in the main part of the score.
The following small example illustrates the idea:
\score{
{ \new Staff = soprano \relative c' { c d e f | g1 | }
<< \context Staff = soprano \relative c'' { g4 f e d | c1 | }
\new Staff = solo \relative c'' {g8 c g f e g e d | c1 | }
>>
}
}
Yet another alternative is to just introduce the additional staves
at the point in the score where they should first appear:
\score{
{ \new Staff = soprano \relative c' {
c4 d e f | g1 |
<< { g4 f e d | c1 | }
\new Staff = solo \relative c'' {g8 c g f e g e d | c1 | }
>>}
}
}
Note that it probably is a good idea to include a \break after the
intro, regardless of which of the above strategies you use.
/Mats
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Re: global time signature style in 2.11.62
plutek-infinity wrote:
sorry my mistake. i had this later in my layout block:
\context {
\RemoveEmptyStaffContext
}
that command, of course, defines a staff context, so i guess the two staff
contexts were conflicting.
The last definition in your file is the one that's used.
/Mats
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Re: global time signature style in 2.11.62
It certainly works over here in version 2.11.63.
/Mats
plutek-infinity wrote:
greetings!
in 2.11.61, this changed time signature style to numeric:
\layout {
\context {
\Staff
\override TimeSignature #'style = #'()
}
}
in 2.11.62, it no longer does so, but the definition for numericTimeSignature
in property-init.ly is:
\override Staff.TimeSignature #'style = #'()
i don't understand why it's not working. would someone be kind enough to help
me understand?
thanks in advance!
--
=====
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]
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Re: Character change on Vista
I hope you have verified that the specific font is included in the list
of available fonts, which you obtain from lilypond -dshow-available-fonts x
on both platforms. Can you repeat the same problem with other fonts?
/Mats
Quoting sdfgsdhdshd <[EMAIL PROTECTED]>:
With 2.11.62 on a PC with XP and another PC with Vista, i tested the code
below.
The result is fine on both.
Then i uncomment the line. The result is still fine on XP, but on Vista the
uppercase N (and only this one) is changed to another character.
Any ideas?
\include "italiano.ly"
#(ly:set-option 'point-and-click #f)
Un = \lyricmode
{
"ABCDEFGHIJKLMNOPQRSTUVWXYZ"
"abcdefghijklmnopqrstuvwxyz"
}
\score
{
<<
% \override Score.LyricText #'font-name = #"Times New Roman"
\new ChoirStaff
<<
\new Staff
<<
\new Voice = Sopranos { \voiceOne { sol'4 re''
} }
>>
\new Lyrics = UnLyrics { s1 }
>>
\context Lyrics = UnLyrics \lyricsto Sopranos \Un
>>
}
--
View this message in context:
http://www.nabble.com/Character-change-on-Vista-tp20146841p20146841.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: Problem running LP on win32.
You are the second person to bring up this problem, see http://lists.gnu.org/archive/html/lilypond-user/2008-10/msg00718.html Unfortunately, I haven't had the time to verify it myself, but I guess the problematic line in the error message is: programming error: cannot find absolute argv0 which tells that LilyPond isn't able to figure out where it's installed and where all necessary files are. /Mats David Picón Álvarez wrote: Hi, When I run LP on win32 I get an error. This is what I get when I invoke it with no arguments: C:\Program Files\LilyPond\usr\bin>lilypond GNU LilyPond 2.11.62 programming error: cannot find absolute argv0 continuing, cross fingers ERROR: In procedure primitive-load-path: ERROR: Unable to find file "ice-9/boot-9.scm" in load path Any clues? --David. Omnis enim res quae dando non deficit, dum habetur et non datur, nondum habetur quomodo habenda est. ___ 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: How to put whole measure rest in unmetered music?
The following version of your example seems to work
(note that \cadenzaOff is equivalent to \set Score.timing = ##f
whereas \cadenzaOn does a bit more than just setting it
to true again, see the file property-init.ly).
\score {
\new Staff <<
\cadenzaOff
\new Voice {
c''1
\bar "|"\cadenzaOff
R1
\bar "|"\cadenzaOn
c''1
}
>>
\layout {
\context {
\Staff
\remove "Time_signature_engraver"
}
}
}
/Mats
Dmytro O. Redchuk wrote:
2008/10/22 Gilles Sadowski <[EMAIL PROTECTED]>:
Hi.
Maybe that
\cadenzaOn
is what you should use.
No, in my minimal example i can not put whole measure rest
inside cadenza even in Score.timing switched on
(and manual barlines commented out).
Best,
Gilles
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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: Braces for notes
In the on-line manual for version 2.11, look in the "LilyPond index" of the Notation Reference and search for "Parenthesis". /Mats Quoting Stefan Waler <[EMAIL PROTECTED]>: Hi, is it possible easily to print a note inside two braces like this: ( . ) This is sometimes used for an "alternative" note, if the main voice cannot be played or sung by the performed. Thanks, Stefan ___ 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: should voiceOneStyle override all possible attributes of a note or voice?
Quoting Eluze <[EMAIL PROTECTED]>: i just saw that voiceXXXStyle only defines colors of NoteHead/Beam/Stem - deliberatly? Please note that these styles primarily have been defined in order to make some examples in the documentation more pedagogical. However, if you find them useful for other purposes that's fine. You can easily define your own version of these macros, by copying the predefined ones from the file property-init.ly in the installation, see http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Other-sources-of-information these styles can be a great help when you are splitting notes into voices or if you add dynamics and other articulations to the score - and you don't remember to which voice you had added it... Read about point-and-click in the manual for another solution to the same problem. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Combine staves
Andrew Hawryluk wrote: This could be nice occasion to use the \change Staff = "..." command, which is explained in the section of keyboard music (where it is indidpensible), but it can be used on any named staves in your score. You can also change the instrument name manually at this point. Note that you will need to make sure that the change happens at a line break so the score makes sense. I guess you could wait to the end when you know where the line breaks are. Does anyone know of a more elegant solution? Well, you can always manually insert a \break where you want the line break ;-) Andrew On Sun, Oct 19, 2008 at 2:32 PM, Jonathan Kulp <[EMAIL PROTECTED]> wrote: If you leave the second staff empty in spots where the first staff has both voices (by empty I mean having skips or full-measure rests), then I *think* it is hidden by default. No it's not! Read about \RemoveEmptyStaffContext in http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Modifying-single-staves#Hiding-staves (Why "*think*", when you easily can test it in one minute if you have LilyPond available?) /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: warning: programming error: must have Item for spanner bound of PercentRepeat
Quoting Daniel Hulme <[EMAIL PROTECTED]>:
That's very interesting. My original file had that in a different place:
\new DrumVoice = "1" {\set countPercentRepeats = ##t \skips }
If you do it like that, then the setting is only done within the current
context, i.e. within the current DrumVoice context. If you had said
\set Score.countPercentRepeats = ...
then the setting would apply to all contexts of the full score.
/Mats
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Re: Lilypond - 2 voices in 1 score - cannot add lyrics
No, you may get very surprising results if you create Lyrics contexts
within a Staff context
(there's actually a comment in vocal.itely saying
@c TODO: document \new Staff << Voice \lyricsto >> bug
even though I don't think it's a bug if it refers to what have in mind).
/Mats
Trevor Daniels wrote:
Frank
I don't think this is the problem, as it persists
even when I know the quotes are straight. It is
usually best to avoid the << \\ >> construct when
trying to attach lyrics. You will find this
construct works better:
\score {
\new Staff <<
\time 4/4
\key c \major
\clef "G_8"
\new Voice = "StimmeI" \StimmeI
\new Voice = "StimmeII" \StimmeII
r4 s4
\bar "|."
\context Lyrics = "StropheI" \lyricsto "StimmeI" \lyricmode {
\verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI"
\verseIII }
Trevor
- Original Message - From: "Mats Bengtsson"
<[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Cc:
Sent: Friday, October 17, 2008 4:45 PM
Subject: Re: Lilypond - 2 voices in 1 score - cannot add lyrics
Sorry, my fingers slipped. Here comes the full answer.
Make sure that you don't use any curled double quotes in your file. If
you copied the solution by hand, it may help to use copy/paste from the
email into your text editor to avoid that it inserts some fancy version
of the double quotes instead of the plain ones.
/Mats
[EMAIL PROTECTED] wrote:
Thanks,
but the problem still exists
StimmeI = \new Voice = "StimmeI"
\relative c {
StimmeII = \new Voice = "StimmeII"
\relative c {
%lilypond %args "D:\Noten\Stimme\Stimme.ly"
»D:/Noten/Stimme/Stimme.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden
werden: »StimmeI«
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI" \verseI }
Interpretation der Musik...[8]
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden
werden: »StimmeI«
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI" \verseI }
[9]
Vorverarbeitung der grafischen Elemente...
D:/Noten/Stimme/Stimme.ly:47:14: Warnung: zu viele kollidierende
Notenspalten werden
ignoriert
a2 g4 g4 |
D:/Noten/Stimme/Stimme.ly:47:11: Warnung: zu viele kollidierende
Notenspalten werden
ignoriert
a2 g4 g4 |
D:/Noten/Stimme/Stimme.ly:47:8: Warnung: zu viele kollidierende
Notenspalten werden
ignoriert
a2 g4 g4 |
D:/Noten/Stimme/Stimme.ly:46:26: Warnung: zu viele kollidierende
Notenspalten werden
ignoriert
f4. f8 e8. e16 f8 g8 |
Regards, Frank
You have to name the voice StimmeI and StimmeII. Try StimmeI = \new
Voice = "StimmeI" \relative c { music } and StimmeII = \new Voice =
"StimmeII" \relative c' { music }
Am 17.10.2008 um 16:52 schrieb [EMAIL PROTECTED]:
Hi,
when I put 2 voices into 1 staff I cannot add lyrics.
Console-Error-Message is (backtranslatet from german):
\context Lyrics = "StropheI" \lyricmode {
-> \lyricsto "StimmeI" \verseI } StimmeI not found
What I'm doing wrong?
This is complete example:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1." Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
\new St
Re: Lilypond - 2 voices in 1 score - cannot add lyrics
If you read
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Score-is-a-_0028single_0029-compound-musical-expression#Score-is-a-_0028single_0029-compound-musical-expression
and realize that the lyrics is not part of the Staff in LilyPond (in
contrast to what you intuition
might tell you), you should fairly soon be able to come up with the
following version:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1."
Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
\voiceOne
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
\voiceTwo
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
<<
\new Staff {
\time 4/4
\key c \major
\clef "G_8"
<<
\context Voice = "StimmeI" { \StimmeI }
\context Voice = "StimmeII" { \StimmeII }
>>
r4 s4
\bar "|."
}
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI" \verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI"
\verseIII }
>>
\midi {
}
\layout {
}
}
\paper {
}
/Mats
Jonathan Kulp wrote:
I got some of the lyrics to appear but not all. I've never done more
than one verse before. Hope this helps somewhat. I don't have time
to fiddle with it more although my curiousity begs me to :)
Code:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1."
Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
\voiceOne
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
\voiceTwo
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
\new Staff {
\time 4/4
\key c \major
\clef "G_8"
<<
\context Voice = "StimmeI" { \StimmeI }
\context Voice = "StimmeII" { \StimmeII }
\addlyrics { \verseI \verseII \verseIII }
>>
r4 s4
\bar "|."
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI"
\verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII"
Re: Lilypond - 2 voices in 1 score - cannot add lyrics
In addition to the answers you have already seen, I strongly recommend
you to read the
Learning Manual included in the documentation for LilyPond version 2.11,
especially
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Voices-and-vocals#Voices-and-vocals
which explains these things.
/Mats
[EMAIL PROTECTED] wrote:
Hi,
when I put 2 voices into 1 staff I cannot add lyrics.
Console-Error-Message is (backtranslatet from german):
\context Lyrics = "StropheI" \lyricmode {
-> \lyricsto "StimmeI" \verseI } StimmeI not found
What I'm doing wrong?
This is complete example:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1."
Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
\new Staff {
\time 4/4
\key c \major
\clef "G_8"
<< \StimmeI \\ \StimmeII >>
r4 s4
\bar "|."
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI" \verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI" \verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI" \verseIII
}
}
\midi {
}
\layout {
}
}
\paper {
}
--
Regards, Frank
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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: Lilypond - 2 voices in 1 score - cannot add lyrics
Sorry, my fingers slipped. Here comes the full answer.
Make sure that you don't use any curled double quotes in your file. If
you copied the solution by hand, it may help to use copy/paste from the
email into your text editor to avoid that it inserts some fancy version
of the double quotes instead of the plain ones.
/Mats
[EMAIL PROTECTED] wrote:
Thanks,
but the problem still exists
StimmeI = \new Voice = "StimmeI"
\relative c {
StimmeII = \new Voice = "StimmeII"
\relative c {
%lilypond %args "D:\Noten\Stimme\Stimme.ly"
»D:/Noten/Stimme/Stimme.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden werden:
»StimmeI«
\context Lyrics = "StropheI" \lyricmode {
\lyricsto "StimmeI" \verseI }
Interpretation der Musik...[8]
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden werden:
»StimmeI«
\context Lyrics = "StropheI" \lyricmode {
\lyricsto "StimmeI" \verseI }
[9]
Vorverarbeitung der grafischen Elemente...
D:/Noten/Stimme/Stimme.ly:47:14: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2 g4
g4 |
D:/Noten/Stimme/Stimme.ly:47:11: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2
g4 g4 |
D:/Noten/Stimme/Stimme.ly:47:8: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2 g4 g4 |
D:/Noten/Stimme/Stimme.ly:46:26: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
f4. f8 e8. e16 f8
g8 |
Regards, Frank
You have to name the voice StimmeI and StimmeII. Try StimmeI = \new
Voice = "StimmeI" \relative c { music } and StimmeII = \new Voice =
"StimmeII" \relative c' { music }
Am 17.10.2008 um 16:52 schrieb [EMAIL PROTECTED]:
Hi,
when I put 2 voices into 1 staff I cannot add lyrics.
Console-Error-Message is (backtranslatet from german):
\context Lyrics = "StropheI" \lyricmode {
-> \lyricsto "StimmeI" \verseI } StimmeI not found
What I'm doing wrong?
This is complete example:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1."
Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
\new Staff {
\time 4/4
\key c \major
\clef "G_8"
<< \StimmeI \\ \StimmeII >>
r4 s4
\bar "|."
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI"
\verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI"
\verseIII }
}
\midi {
}
\layout {
}
}
\paper {
}
--
Regards, Frank
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Re: Lilypond - 2 voices in 1 score - cannot add lyrics
Make sure that you don't use any curled double quotes in your file. If
you copied the solution
It seems that your
text editor is playing you some tricks.
/Mats
[EMAIL PROTECTED] wrote:
Thanks,
but the problem still exists
StimmeI = \new Voice = "StimmeI"
\relative c {
StimmeII = \new Voice = "StimmeII"
\relative c {
%lilypond %args "D:\Noten\Stimme\Stimme.ly"
»D:/Noten/Stimme/Stimme.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden werden:
»StimmeI«
\context Lyrics = "StropheI" \lyricmode {
\lyricsto "StimmeI" \verseI }
Interpretation der Musik...[8]
D:/Noten/Stimme/Stimme.ly:73:58: Warnung: Stimme kann nicht gefunden werden:
»StimmeI«
\context Lyrics = "StropheI" \lyricmode {
\lyricsto "StimmeI" \verseI }
[9]
Vorverarbeitung der grafischen Elemente...
D:/Noten/Stimme/Stimme.ly:47:14: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2 g4
g4 |
D:/Noten/Stimme/Stimme.ly:47:11: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2
g4 g4 |
D:/Noten/Stimme/Stimme.ly:47:8: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
a2 g4 g4 |
D:/Noten/Stimme/Stimme.ly:46:26: Warnung: zu viele kollidierende Notenspalten
werden
ignoriert
f4. f8 e8. e16 f8
g8 |
Regards, Frank
You have to name the voice StimmeI and StimmeII. Try StimmeI = \new
Voice = "StimmeI" \relative c { music } and StimmeII = \new Voice =
"StimmeII" \relative c' { music }
Am 17.10.2008 um 16:52 schrieb [EMAIL PROTECTED]:
Hi,
when I put 2 voices into 1 staff I cannot add lyrics.
Console-Error-Message is (backtranslatet from german):
\context Lyrics = "StropheI" \lyricmode {
-> \lyricsto "StimmeI" \verseI } StimmeI not found
What I'm doing wrong?
This is complete example:
\version "2.10.33"
\header {
title = "Wem Gott will rechte Gunst erweisen"
subtitle = "(J.von Eichendorff,1788-1857)"
composer = "Th.Fröhlich (1803-1834)"
tagline = "F.W. SAV Eningen 20081016"
}
\include "deutsch.ly"
verseI= \lyricmode {
\set stanza = "1."
Wem Gott will rech -- te Gunst er -- wei -- sen,
den schickt er in die wei -- te Welt;
dem will er sei -- ne Wun -- der wei -- sen
in Berg und Wald und Strom und Feld.
}
verseII= \lyricmode {
\set stanza = "2."
Die Bäch -- lein von den Ber -- gen sprin -- gen,
die Ler -- chen schwir -- ren hoch vor Lust,
was sollt' ich nicht mit ih -- nen sin -- gen
aus vol -- ler Kehl und fri -- scher Brust?
}
verseIII= \lyricmode {
\set stanza = "3."
Den lie -- ben Gott laß ich nur wal -- ten,
der Bäch -- lein, Ler -- chen, Wald und Feld
und Erd' und Him -- mel will er -- hal -- ten,
hat auch mein' Sach' aufs best' be -- stellt.
}
StimmeI =
\relative c {
s2. c4 |
e g c8. h16 c8 a8 |
g2 e4 g4 |
f8. e16 f8 d8 e4 c |
d2 r4 d8 ~ e8 |
f4. f8 e8. e16 f8 g8 |
a2 g4 g4 |
c8. h16 c8 d8 e4 d4 |
c2
}
StimmeII =
\relative c' {
s2. c,4 |
c e a8. gis16 a8 f8 |
e2 c4 e4 |
d8. cis16 d8 h8 c4 c|
h2 r4 h8 ~ c8 |
d4. d8 c8. c16 d8 e8 |
f2 e4 g4 |
e8. d16 e8 f8 g4 f4 |
e2
}
\score {
\new Staff {
\time 4/4
\key c \major
\clef "G_8"
<< \StimmeI \\ \StimmeII >>
r4 s4
\bar "|."
\context Lyrics = "StropheI" \lyricmode { \lyricsto "StimmeI"
\verseI }
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI"
\verseIII }
}
\midi {
}
\layout {
}
}
\paper {
}
--
Regards, Frank
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Re: LilyPond examples
Checking a bit more carefully, I can confirm that it's \tiny (i.e.
font-size -2) that gives the
correct size.
/Mats
Mats Bengtsson wrote:
You are right, the markup should probably be
\markup {\tiny \number 6 \super (1) }
instead of
\markup {\number 6 \super (1) }
I didn't manage to decipher exactly how the font size setting is done
for the normal bass figures,
but using \tiny or \small for the markup seems to give a size that
better matches the rest of the
figures.
Valentine, can you change the snippet?
/Mats
Risto Vääräniemi wrote:
2008/10/16 Kieren MacMillan <[EMAIL PROTECTED]>:
Difficult modern concepts are much easier in Lilypond than the
others, e.g.
figured bass:
<http://lsr.dsi.unimi.it/LSR/Item?id=291>
Just out of curiosity (I don't know anything about figures bass)... :-)
Is the number 6 on the second beat of the 4th (second last) measure
really meant to be larger than the rest of the numbers? Or is it just
the \markup that makes it bigger by default if the size isn't
specified?
-Risto
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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: LilyPond examples
You are right, the markup should probably be
\markup {\tiny \number 6 \super (1) }
instead of
\markup {\number 6 \super (1) }
I didn't manage to decipher exactly how the font size setting is done
for the normal bass figures,
but using \tiny or \small for the markup seems to give a size that
better matches the rest of the
figures.
Valentine, can you change the snippet?
/Mats
Risto Vääräniemi wrote:
2008/10/16 Kieren MacMillan <[EMAIL PROTECTED]>:
Difficult modern concepts are much easier in Lilypond than the others, e.g.
figured bass:
<http://lsr.dsi.unimi.it/LSR/Item?id=291>
Just out of curiosity (I don't know anything about figures bass)... :-)
Is the number 6 on the second beat of the 4th (second last) measure
really meant to be larger than the rest of the numbers? Or is it just
the \markup that makes it bigger by default if the size isn't
specified?
-Risto
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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: Is it possible to export a score to programs like Rosegarden
Gyp wrote: Hi! I have 2 questions Question1 Is there any option to export a score made with Lilypond to programs like Rosegarden? Not really. Probably, the best option in that case is to generate a MIDI file from LilyPond and import into the other program. There has also been some discussions on MusicXML output from LilyPond. Question2 I work with Ubuntu Hardy, is there a preference between the Any linux-x86 fill and the linux-64? If you have a 64bit processor, then you should use the linux-64, otherwise the linux-x86. /Mats Thanks ___ 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 examples
For the examples, you may want to use some of the "Inspirational headwords" from the latest version of the manual, i.e. the examples at the top of each (well, at least most) section of chapters 1 and 2 in http://kainhofer.com/~lilypond/Documentation/user/lilypond/ /Mats Cameron Horsburgh wrote: Hi folks, Next weekend I'll be attending a composing workshop organised by my church. One of the sessions will cover the relevant software. It seems the facilitator is going to be showing off Finale and Sibelius, but he seems willing for me to do a very brief presentation on LilyPond. I'm not familiar with either of those programs, and I don't want to be drawing direct comparisons with them---I'd prefer to simply let it speak for itself. So I'm looking for several things. 1) What does LilyPond do well? (I already have that the default output is far better than the equivalent in most software I've seen, and it is very quick once the basics are mastered. I'll also mention the integration with OpenOffice, HTML and LaTeX.) 2) What doesn't it do as well? (Lily is very difficult to use at first). Any other suggestions? I'd also appreciate it if anyone had files I could use that show off some of the more interesting features of LilyPond. I'll produce some printed examples, and if people start scratching their heads trying to work out how I did something, I'll have done my job ;-). Thanks folks, -- ===== 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: Lyrics of a Voice above the Staff of the Voice
Trevor Daniels wrote: The contexts are normally printed in the order in which they are defined, so simply moving the \new Lyrics command for the sopranos so it comes before the \new Staff command for the joint soprano/alto staff should do it. See the SATB vocal score template in the Notation Reference section A.4.1. Trevor, your answer doesn't mention the fact that you cannot use \lyricsto before the corresponding Voice has been defined. However, your're right that the SATB templates show different solutions to work around this problem. I searched the rest of the manual and the only place I can find this issue mentioned is in 2.1.1 Entering Lyrics, subsection "Lyrics and variables", which describes one solution, but not the one using alignAboveContext, which has been mentioned by the other answers in this thread. I know that the Vocal music chapter is being revised right now, so perhaps it will appear soon. /Mats Trevor - Original Message - From: "Robert Waniek" <[EMAIL PROTECTED]> To: Sent: Sunday, October 12, 2008 1:47 AM Subject: Lyrics of a Voice above the Staff of the Voice Hello together, I'm working on a sheet where the lyrics of the Soprano are set above its staff because the staff is shared with the Alto which has lyrics differing from those of the Soprano at some positions (which I read by using \skip). As far as I have 4 stanzas, using markups is not a usable workaround. Recently I got to: \override LyricText #'extra-offset = #'(0 . 20) But this leaves the hyphens below the Staff and only moves the text into other page items. So the question is: How do I get the lyrics above the staff of the voice they are assigned to by \lyricsto? Thanks in advance for any help. Greetings Robert Waniek ___ 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: unfoldRepeats
Your mistake is that you believe that the repeats can be separated from
the notes. Please always keep in mind that the input should
describe the musical meaning, not only the resulting layout.
In this case, the music that should be played is c g c a, right.
In notation, you can use repeats as a shorthand and similarly
LilyPond input syntax allows to use \repeat. However, this should
be done together with the music and not separated, as you have done.
I would rather call it a bug that your first example produces the
result it does.
Just replace
c'4 g a in your examples by
\repeat volta 2 {c'4} \alternative{{ g}{ a}}
/Mats
Quoting "James E. Bailey" <[EMAIL PROTECTED]>:
Okay, so I think I understand now. I think this may be a bug. Or at
least, not documented. I don't know how to say this in proper
lilypond terms, but the repeats don't unfold.
\score {
\new Staff <<
{
\time 1/4
\repeat volta 2 {s4}
\alternative { {s4} {s4} }
}
{
c'4 g a
\bar "|."
}
>>
}
\score {
\unfoldRepeats {
\new Staff <<
{
\time 1/4
\repeat volta 2 {s4}
\alternative { {s4} {s4} }
}
{
c'4 g a
\bar "|."
}
>>
}
}
Does work. Is this correct? Can this be changed?
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Re: Stemming and lyrics on combined parts
Quoting Carl Peterson <[EMAIL PROTECTED]>:
I'm trying to take advantage of automatic part combining to make it easier
to set the songs for a hymnal. There are a couple of technical things I need
assistance on.
1) Whenever two parts on the same staff are on the same note, the part
combiner only prints one stem. Is there any way to get the part combiner to
output two stems for a due notes?
It seems that you don't want to combine the parts, but rather to keep
them as two separate voices, typeset in the same staff.
Something like
soprano = \relative c'{ c d e f }
alto = \relative c' { c b e d }
\score{
\new Staff << \soprano \\ \alto >>
}
2) Is there a way to bind the lyrics to the original (uncombined) parts
without outputting the parts themselves?
Not if you use \partcombine, but indeed if you use the technique
described above (or even easier if you read section "Explicitly
intantiating
voice" in the manual).
/Mats
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Re: Headword for unfretted-strings
Quoting Graham Percival <[EMAIL PROTECTED]>: Strings are so expressive they can never be properly synthesized. I grant you that. To be fair, I'd assume that this applies even more to vocal music -- quite apart from the expressivity of voice, midi doesn't even attempt to add lyrics. Yes and no! The MIDI files from LilyPond indeed contain the lyrics in a form that can be used by some MIDI sequencers to show the lyrics in a Karaoke-like fashion. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notating recitative
Eyolf Østrem wrote:
On 10.10.2008 (16:32), Ari Torhamo wrote:
I don't know how to get the two vertical lines before and after the
note/chord that defines the pitches on the recitative section. Is there
some command/marking I can attach to a note in the chord so that all
lines would be automatically drawn from the lowest note to the highest.
Or do I need to draw four vertical lines (bar lines perhaps?) and define
their length and horizontal position on the staff?
If you have to get it EXACTLY as in the pictures, I guess some kind of
line-drawing/markup command is what you're facing (and I don't know how to
draw them). However, the customary thing in this kind of notation is to use
breve notes (the modern kind, which has single vertical lines, close to
what you have in your example).
Exactly! Here's an example:
\version "2.10.0"
\relative c' \new Voice {
\cadenzaOn
4 \breve 4 2 4 \breve 4
}
\relative c' \new Voice {
\cadenzaOn
4 \breve
}
We don't have the note head version with double vertical lines, but you
can use some tricks to obtain them.
To get make the lines extend between the note heads, some more tricks
are needed.
/Mats
Eyolf
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Re: dynamics and midi
The dynamics should work automatically in the MIDI output!
Doesn't it for you? What LilyPond version?
/Mats
Grammostola Rosea wrote:
Hi,
I made some score for my mama for practicing vocals How do I get
those dynamics in the midi output?
staffSoprano = \new Staff {
\time 4/4
\set Staff.instrumentName="Soprano"
\set Staff.midiInstrument="choir aahs"
\key d \major
\clef treble
\relative c' {\context Voice = "melodySop" {
\dynamicUp% Type notes here
\autoBeamOff
g''1 | fis2 r2 | g4.\ff g8 g4 g4 | g2. g4 | e4.\p e8 fis2 |
cis4. cis8 d4 fis | fis1 | e2 r4 a,4\f | fis'2. fis4 | e2. e8 e | g2
g4 g | fis2. fis8 fis |
g2. g4 | fis8. a16 a8 a fis4 d | a2 r4 e'8\p e | e2. e4 |
}
\bar "|."
}
}
\score {
<<
\staffSoprano
>>
\midi {
}
\layout {
}
}
\paper {
}
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Re: Piano staff, single staff polyphony and lyrics
Note that the requested feature rather was to have a property setting that lets you specify explicitly if you want the slur close to the note head or close to the end of the stem, as we used to have in old LilyPond versions, where you could do something like \override Slur #'attachment = #'(stem . stem) see http://lilypond.org/doc/v2.0/Documentation/user/out-www/lilypond-internals/Slur.html#Slur for the full documentation. The reply Han-Wen gave at that time, when the same feature request appeared, was that the new algorithm was intended to automatically do "the right thing" much more often than it used to do earlier and therefore the feature wasn't added immediately in the new implementation. I think we now have reason to reintroduce the feature. /Mats Werner LEMBERG wrote: To make sure that I don't misunderstand, does "#'(2 . 2.5)" mean that the hight of the start and end points of the slur should be set manually (in some units) for every slur? Afraid so. Han-Wen? Any chance to improve the slur algorithm to fix this? Werner ___ 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: Amendment to the documentation 2.10.33
Please note that the solutions provided in the referenced email could
also have been obtained using
\score { {
\set Score.skipBars = ##t
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
}
}
(The interpretation of this alternative solution is that the setting
is done "before" the Staff begins, instead of being done "at the same
time". The result is exactly the same, though).
You could also use
\layout{
\context{
\Score
skipBars = ##t
}
}
\score { {
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
}
where the setting is done by redefining the way all scores are typeset,
once for the whole file.
Note that the setting you tried to do is just one example out of hundreds
or thousands of possible property settings to do in LilyPond. Therefore,
it isn't possible to explain all details of how to do property settings
at every single place in the manual. Rather, the intention is to
describe
it well at one place, namely the Learning Manual (included in the
documentation
for version 2.11). I hope you have read it.
/Mats
Quoting David Hatherly <[EMAIL PROTECTED]>:
Section 3.4 of the lilypond manual describes how to produce a
multi-part score,
and it also talks about condensing multibar rests.
It would be useful if it was made clear here that the << and >> commands are
needed in this context - see the message in the user archives at
http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00275.html.
It took me quite a while to find this solution.
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Re: Measurement units for Stem Length (and in general)
Unrelated to your question, why don't you use
\override NoteHead #'style = #'cross
instead of the complicated setting of stencil + text to get
the cross? See
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Note-heads#Special-note-heads
/Mats
Jonathan Wilkes wrote:
I've started doing some simple exercises to acquaint myself with the Lilypond syntax. In the following snippet I try to change the second notehead to an x and make the stem connect properly:
\version "2.11.61"
\relative c' {
\time 4/4
c
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override Stem #'Y-offset = #0.15
\once \override Stem #'length = #6.85
\once \override NoteHead #'text = #(markup #:musicglyph
"noteheads.s2cross")
d e f |
}
I'm confused why the stem length shouldn't normally be 3 for a stem that spans three spaces.
In the Internals Reference for stem, the unit for the setting "length" is given as
"dimension, in staff space." How is that different than a number?
Is there a reference table somewhere that lists the units of measurement
used by Lilypond?
Thanks in advance,
Jonathan
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Re: keep-inside-line ignores rehearsal marks, v2.11.60
I think your conclusion is wrong. As far as I can understand,
rehearsal marks always ignore the keep-inside-line setting,
no matter what the alignment is. Example:
\relative c'' {
\override Score.PaperColumn #'keep-inside-line = ##t
% \override Score.RehearsalMark #'self-alignment-X = #-1
\repeat unfold 4 {c4 c c c}
\mark \markup {"long Mrk"}
\repeat unfold 6 {c4 c c c}
}
/Mats
Thies Albrecht wrote:
Hi everybody!
When self-alignment-X is set to #-1 for a rehearsal mark its extent seems to be
ignored by the keep-inside-line setting. Is this behaviour intendend? And if
so, how do I keep marks inside the page column limits?
Example:
\relative c'' {
\override Score.PaperColumn #'keep-inside-line = ##t
\override Score.RehearsalMark #'self-alignment-X = #-1
\repeat unfold 4 {c4 c c c}
\mark \markup {"long Mark"}
\repeat unfold 6 {c4 c c c}
}
Kind regards,
Thies Albrecht
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Re: embedded-ps stencil confusion
I was just about to propose the following alternative solution,
which only uses features that are actually described in the
manual (more or less well hidden, though). However, then I
noticed that it didn't give exactly the same output. First of all,
it gives squares that are centered below the stem, secondly
no ledger lines are shown. Your solution handles both these
aspects better. Can anyone explain why there's a difference?
squareNoteHeads = {
\override NoteHead #'stencil = #ly:text-interface::print
\override NoteHead #'text = \markup{ \postscript #"gsave
currentpoint translate
newpath
-0.5 -0.5 moveto
-0.5 0.5 lineto
0.5 0.5 lineto
0.5 -0.5 lineto
closepath
fill
stroke
grestore" }
}
Note that you can skip some lines in the postscript code, just
as I did above.
/Mats
Mark Polesky wrote:
Ha! I figured it out...
- Mark
---
\version "2.11.61-1"
squareNoteHeads = {
\override Voice.NoteHead #'stencil =
#(ly:make-stencil
(list 'embedded-ps
"gsave
currentpoint translate
BeginEPSF
%%BeginDocument:
newpath
-0.5 -0.5 moveto
-0.5 0.5 lineto
0.5 0.5 lineto
0.5 -0.5 lineto
closepath
fill
stroke
%%EndDocument
EndEPSF
grestore")
(cons -0.5 0.5)
(cons -0.5 0.5))
}
{ \squareNoteHeads c'' }
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Re: stem direction \longa
Strange, it works find over here, both with versions 2.10 and 2.11
\version "2.10.33"
\relative c'{
\time 4/1
c\longa c''
\stemUp c,, c''
\stemDown c,, c''
}
However, if you use
\override NoteHead #'style = #'baroque
then the neo-mensural note head style is used for
brevis, longa and maxima note heads and in that style,
there are only downward pointing versions (the same
happens if you use the mensural note head style).
/Mats
Alan Fabian wrote:
Hi,
the \stemUp command does not work for \longa in my score.
Any solutions?
Thank you,
Alan
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Re: Lyric tie glyph not found (directory separator problem?)
Quoting the manual: "The lyric tie is implemented with the Unicode character U+203F, so be sure to have a font (Like DejaVuLGC) installed that includes this glyph." Note that Pango (the font handling library used in LilyPond) may pick different symbols from different fonts, so even if the rest of the text is typeset using the standard Century Schoolbook font, the lyric tie is typically taken from a separate font since it's not found in Century Schoolbook. You can easily check what font files are used on your machine where it works, if you process a file with and without lyric ties and compare the top lines of the resulting .ps file. I get: - Without a lyric tie: ... %%DocumentSuppliedResources: font CenturySchL-Roma %%EndComments ... - with a lyric tie: %%DocumentMedia: a4 595.28 841.89 80 () () %%DocumentSuppliedResources: font CenturySchL-Roma %%DocumentSuppliedResources: font DejaVuSans %%EndComments /Mats Risto Vääräniemi wrote: Hi Mats, 2008/10/2 Mats Bengtsson <[EMAIL PROTECTED]>: Have you read the warning about the font you need, in http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Entering-lyrics#Entering-lyrics Yes, I have seen it. I'm using the standard Century Schoolbook font from LP distribution and because it works on my other computers I guess it does have the glyph. I've even copied the font to Windows\Fonts folder but that didn't help. -Risto ___ 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: Lyric tie glyph not found (directory separator problem?)
Have you read the warning about the font you need, in http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Entering-lyrics#Entering-lyrics /Mats Risto Vääräniemi wrote: Hi, Something strange just happened. I tried to use the lyric tie (~) in one song and LP complained that it couldn't find the glyph. These kind on messages usually appeared when the file wasn't saved as UTF but this time the same file works on my work computer (don't tell my boss). The directory separators seem to be / instead of \. That could be the reason why LP / Pango / whatever cannot find the file. If that's the next question is why have the separators changed in the first place. I'm using XP Pro SP3 on a MacBook. Does anyone else run LP on Boot Camped Mac? Any problems? -Risto GNU LilyPond 2.11.61 Processing `lyric_tilde.ly' Parsing... Interpreting music... Preprocessing graphical objects... programming error: FT_Get_Glyph_Name () error: invalid argument continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/ lilypond/current/fonts/otf/CenturySchL-Roma.otf continuing, cross fingers programming error: FT_Get_Glyph_Name () error: invalid argument continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/ lilypond/current/fonts/otf/CenturySchL-Roma.otf continuing, cross fingers programming error: FT_Get_Glyph_Name () error: invalid argument continuing, cross fingers programming error: Glyph has no name, but font supports glyph naming. Skipping glyph U+1000203F, file C:/Program Files/LilyPond_2.11.61/usr/share/ lilypond/current/fonts/otf/CenturySchL-Roma.otf continuing, cross fingers Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `lyric_tilde.ps'... Converting to `./lyric_tilde.pdf'... ___ 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: questions about horizontal spacing (correct msg)
A good starting point is to read about "scaling durations"
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Scaling-durations#Scaling-durations
in the manual. For the first request, you could then use something along
the lines of
{c c c c |
s4. c4*1/4 c c c s4. |
c c c c |}
which spaces the notes in the second measure as if they were 16th notes.
This will not result in exactly the mathematical spacing you describe,
but may be close enough. If you really want such exact
spacing, you also have to combine this technique with the support for
proportional note spacing.
/Mats
Luca Rossi wrote:
Hi .
(I'm sorry if I send again this message but some errors occurred while
sending the previous one)
Given these three bars:
{c c c c | c c c c | c c c c}
with the following output:
oooo| oooo|oooo
--measureLength---
1) I would like to change the notes' spacing inside the second bar in
this way:
oooo| o o o o |oooo
--pad-- --pad--
--measureLength---
where pad = measureLength/3 and measureLength remains the same.
2) I would like to change the notes' spacing inside the second bar in
this other way:
oooo|o o oo|oooo
A B C D
--measureLength---
where A and D (=notes) have their normal position, while B C form a
group with A which is proportionally "compressed" with a given scale
factor. And measure length remains the same.
Which is the easiest solution for both problems?
Thanks,
Luca
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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: chords above piano staff
Quoting Sebastian Menge <[EMAIL PROTECTED]>:
Hi all
I have a piece with a written out piano intro directly followed by a
leadsheet with lyrics. The lower staff is only needed for the intro.
Now the chords appear below both staffs in the intro, but stay there,
when the leadsheet/with lyrics starts. Then the chords are between
melody and lyrics instead of above as it is the case when i have only
one staff. How can I force it to put the chords always above the piano
staff?
The layout is as follows:
\new PianoStaff <<
\chords { ... } % 24 bars
If you move the \chords outside the PianoStaff context, I guess
it will work as expected, i.e. something like
\score{
<<
\chords {...}
\new PianoStaff <<
\new Staff = upper ...
...
>>
}
/Mats
\new Staff = "upper" {
\upperIntro% 8 bars
\melody% 16 bars
}
\addlyrics { }
}
\new Staff = "lower" {
\lowerIntro% 8 bars
}
Thanks, Sebastian.
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Re: Regarding the new Table of Contents in the GUB docs
Quoting Reinhold Kainhofer <[EMAIL PROTECTED]>: Ahm, sorry if I sound destructive, but: How hard is it to click on "[Contents]", which is located in EVERY gray navigation bar on EVERY page? Sorry! It's the eyes that get blind first, right? /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Regarding the new Table of Contents in the GUB docs
Hi, I haven't had the time to read all the discussions related to the new web layout of the 2.11 documentation, but wonder if I'm the only one who miss the possibility to view the full table of contents with all subsections expanded. I'm very used to search for some word in the table of contents, when I want to find the appropriate section in the manual, but this is no longer possible if I want to find the title of a level 3 section. For example, an email the other day mentioned the subsection "Distances and measurements" and I actually had to run grep in the Documentation source code to find out that it was located in section 5.4.3. Similarly, I myself referred to the "Piano centered dynamics" template in a recent email and you cannot locate it easily if you search for "centered" in the table of contents. Even if everybody made it a habit to always include the section number when referring to a section on the mailing list, you can be certain that these section numbers will change more often than the titles themselves so if somebody looks into the mailing list archives 3 years later I'm sure that the section numbers will have changed so it will be hard to find the section. I certainly realize that it might take too much space to have this fully expanded table of contents in the left margin all the time, but it should at least be possible to select to view the full version in the main window. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Input big score in Latex
Have you, by chance, included a \book{...} block in your score.ly file?
If that's the case, then I can understand
that you get this problem. If you don't have any explicit
\book{...} block, then you can get a page break between
any score line (system), so you shouldn't get the problem
you describe (well, unless you have an orchestral full score
where each system fills the whole page).
/Mats
Quoting Marcos di Silva <[EMAIL PROTECTED]>:
Hi,
I'm trying to input a large score (more than 20 pages) in a Latex
document. I have a code like:
...
\chapter{Score}
\begin{lilypond}
\input{score.ly}
\end{lilypond}
...
The first page is cut because the chapter name position pushes the
score down. I think I can solve the problem changing first page size
or bottom margin.
Is it possible?
--
Marcos di Silva
http://www.marcosdisilva.net/
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Re: Lyrics, Staff and dynamics
Quoting Risto Vääräniemi <[EMAIL PROTECTED]>: 2008/9/29 Dmytro O. Redchuk <[EMAIL PROTECTED]>: i guess: since dynamics are "parts" of Voice context, and Lyrics is a separate context (of "the same level") -- it is impossible to place dynamics far from staff than lyrics (to place lyrics between staff and dynamics). I've been wondering that too and I've found no easy solution so far. However, I must admit that I've been naughty and used extra-offset to do the trick. :-) Why not use the "Dynamics" context, defined in the template for Piano with centered dynamics? /Mats -Risto ___ 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: vim, point and click
Quoting Stefan Thomas <[EMAIL PROTECTED]>: Dear Mats, I have read the Application Usage, but I didn't unterstand: shall I add emacsclient ?no-wait +line:column file in the .emacs file, or in lilypond-invoke-editor, or somewhere else? No! When I read this section more carefully (which I hadn't done when I wrote the previous reply) I see that this is what lilypond-invoke-editor does by itself. In other words, if you don't have the LYEDITOR environment variable set (which you typically shouldn't), point and click should result in that emacsclient is invoked, which does not start a new Emacs session but rather opens a new buffer in an existing Emacs session. However, you have to make sure that the corresponding server is started in Emacs, which you can do by adding (server-start) in your .emacs file. /Mats 2008/9/26 Mats Bengtsson <[EMAIL PROTECTED]> Please read the section on Point and Click in the Application Usage manual for LilyPond, i.e. make sure to use emacsclient. /Mats Stefan Thomas wrote: I got now point and click working with emacs. But I have another problem now: every time when I click on a note in xpdf, a new emacs window will be opened. How can I avoid this? 2008/9/26 Stefan Thomas <[EMAIL PROTECTED] > Dear Mark, I use Kpdf and acrobat reader on a linux machine. But I don't understand how to use the files You added. 2008/9/26 Mark Knoop <[EMAIL PROTECTED] <mailto:[EMAIL PROTECTED]>> At 10:21 on 26 Sep 2008, Stefan Thomas wrote: > Dear lilypond-.users, > I tried to get the point and click working with gvim. I've read the > (german) documentation about it, but it es not quite clear for me. > I added > > gvim ?remote +:line:normchar file > > > in .xdfrc, but after a click, emacs will be opened. Or do I have it > to add in the lilypond-invoke.editor program? It depends what you are using to view the pdf. If you are using evince in gnome, you need to add the textedit schema to gconf. See the attached files for details. -- Mark Knoop ___ lilypond-user mailing list lilypond-user@gnu.org <mailto: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 <http://www.s3.kth.se/%7Emabe> = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adding cue notes to a brass quintet score
For the cue notes, there's built-in support, see http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Writing-parts#Formatting-cue-notes For the time signature changes, you would have to enter them into the trumpet part even if you didn't have any cue notes, right? I guess the part looks something like ... R1*5 \time 3/4 R2.*10 \time 2/4 R2*8 ... /Mats Quoting Jim Milks <[EMAIL PROTECTED]>: I need to add 31 measures of percussion (wood stick) cues to a trumpet part for a brass quintet. Unfortunately, there are also four time signature changes in those 31 measures. Is there a relatively easy way to add those cues? Thanks. Jim Milks ___ 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: vim, point and click
Please read the section on Point and Click in the Application Usage manual for LilyPond, i.e. make sure to use emacsclient. /Mats Stefan Thomas wrote: I got now point and click working with emacs. But I have another problem now: every time when I click on a note in xpdf, a new emacs window will be opened. How can I avoid this? 2008/9/26 Stefan Thomas <[EMAIL PROTECTED] <mailto:[EMAIL PROTECTED]>> Dear Mark, I use Kpdf and acrobat reader on a linux machine. But I don't understand how to use the files You added. 2008/9/26 Mark Knoop <[EMAIL PROTECTED] <mailto:[EMAIL PROTECTED]>> At 10:21 on 26 Sep 2008, Stefan Thomas wrote: > Dear lilypond-.users, > I tried to get the point and click working with gvim. I've read the > (german) documentation about it, but it es not quite clear for me. > I added > > gvim –remote +:line:normchar file > > > in .xdfrc, but after a click, emacs will be opened. Or do I have it > to add in the lilypond-invoke.editor program? It depends what you are using to view the pdf. If you are using evince in gnome, you need to add the textedit schema to gconf. See the attached files for details. -- Mark Knoop ___ lilypond-user mailing list lilypond-user@gnu.org <mailto: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: Overlapping notes in MIDI output
If you put the two voices in separate Staff contexts, in the \score
block for the MIDI
output, all the notes should be heard. It is also possible to tell
LilyPond to use one MIDI
Track for each Voice instead of one Track per Staff, see
http://lsr.dsi.unimi.it/LSR/Item?id=438
/Mats
Itay Perl wrote:
Hello,
I'm having some trouble with MIDI output. Using this:
\relative c'' {
<< { c4 d e c } \\ { c1 } >>
}
The last c4 is not played because the c1 is still playing.
Is there a way to work around this behavior?
Thanks,
Itay
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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: Ubuntu install of Lilypond
The command "sudo sh lilypond-2.11.59-1.linux-x86.sh" should of course be run in the working directory where you have downloaded the file lilypond-2.11.59-1.linux-x86.sh. /Mats George_ wrote: Hi guys (again...) I tried to fix the augmentation-dots-on-lines problem by upgrading lilypond, a la http://www.archivum.info/lilypond-user@gnu.org/2008-08/msg00725.html. I uninstalled Lilypond ok, but when I go to execute the .sh script and type in "sudo sh lilypond-2.11.59-1.linux-x86.sh", the terminal comes up with "sh: Can't open lilypond-2.11.59-1.linux-x86.sh"... What do I do now? Seeing as I uninstalled my older version before trying to install this one, until I get this fixed I don't actually have a working version of Lilypond on my system. Thanks George -- ===== 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: Documentation Review
Trevor Daniels wrote: Sebastian Menge wrote Monday, September 22, 2008 9:54 PM I would suggest: * a search engine field at the top of the main template (cf wikipedia) It would be nice, and others are pressing for this, but it poses some problems. We have one on the main page of lilypond.org, but unfortunately it often finds hits in old versions of the documentation first. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
