Re: Markup and music side by side
On Thu, Jul 10, 2008 at 2:24 AM, Risto Vääräniemi [EMAIL PROTECTED] wrote: I already wrote the piece using CorelDraw to place the instructions and the choir parts but it's certainly worth a couple more hours to make the layout work with just LP. I, too, am working on a piece that includes poetry (not necessarily synced with the score), various instructions, improvisation directives and drawings and I found that using OOoLilyPond gives me the necessary flexibility. You may wish to take a look at that (you obviously need OpenOffice as well). -- ./MiS 514-344-0726 http://www.creazone.ca ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi2ly - thac's lilypond 2.3.13
Hi, I've been away from Lily since the version 2.0, I think... Since then I changed a puter, running Mdk10 and using thac's rpm of lilypond 2.3.13 at the moment. Everything is working spledidly but last night I tried midi2ly and it barfed saying that module midi cannot be loaded. I have found at least 2 different midi modules for Python on the net, haven't tried installing any yet but was wondering if someone could point me to the correct package/version. Thanks. Oh, another, unrelated question: is there an easy way of indicating the string number when writing for guitar in standard notation (traditionally strings are arabic numbers inside a circle). thanks again, ./MiS ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scum in my Lilypond
Could it be that your PATH got messed up? locate kpsexpand should find where kpsexpand is. echo $PATH should give you the path(s) to executable directories. See if it includes the path to the directory in which kpsexpand sits. Furthermore, running '/sw/bin/lilypond -P myFile.ly' now gives me this: lilypond (GNU LilyPond) 2.0.1 lilypond: error: `kpsexpand \$TEXMF' failed (127) lilypond: error: The error log is as follows: sh: kpsexpand: command not found -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: cluster building with ties
Kieren, You are correct but this way you (hopefully) assure a homogeneous look. I don't think you actually want to tweak each tie/slur you put down. But perhaps a scheme function might actually be what you need... Then again, if the tie/notehead collisions are considered bugs they will probably go away someday... ./MiS On Wed, 2003-10-29 at 08:15, Kieren Richard MacMillan wrote: Hello, Michael: Don't use the \once tag. This way your property should be set for the entire Voice until changed again. But the exact amount of the tweak might not be the same, right? Therefore (if I understand correctly), I must use the \once tag and call it each time I'm tweaking, yes? -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: cluster building with ties
Kieren Richard MacMillan wrote: 3. Is there an easy way to apply the many tie tweaks that will be necessary without typing \once \property Voice.Tie \set... every time? e.g., can I set up a variable (or Scheme thingee) so that I could say \tieMove (-0.1 . 3)? Don't use the \once tag. This way your property should be set for the entire Voice until changed again. -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Questions about guitar tablature support
Terje Tjervaag wrote: I am currently writing a tablature editor for Mac OS X with lilypond as the back-end. do you know about songwrite? - http://oomadness.tuxfamily.org/en/songwrite/ It could probably be improved upon in many ways. Regarding the other questions you had, I would welcome any improvements to the tab support in lilypond. I'm a guitarist myself and happen to write tabs for myself and sometimes for a viola da gamba. To complicate things a bit, I have modified my guitar a bit and I can play just intonation now, 21 frets to the octave and each string is fretted differently :) -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Tablature puzzled - lily2.0
Nevermind... I found that when I converted everything to it works out
ok. I guess this goes with the fact that that we don't really play chords on
the guitar but it simply is a polyphonic instrument :)
Anyways, Is this the way it is supposed to be done?
Michal Seta wrote:
Hi all,
I just converted a little score I did in 1.7.18 to 2.0 (linux). The score
uses voice staff and guitar staff (standard notation and tab).
I get the following warning (which is fine, in my 1.7.xx version of
Lilypond I was getting the same warning but the output was OK) which, I
assume results from the fact that the tab does not support rests.
/home/mis/music/MangerManger/Manger.ly:41:4: warning: Junking event:
`RestEvent':
r2 r4 d8\4 cis'\3 fis\2 a\1 |
Below are the related bits of the thing. As you may note, all strings are
specified. Yet, in the output I get almost everything (in chords) shifted
by one string and end up with double-sops on the first string...
---
-
GuitSnobOne = \notes\relative c {
% \key d \major
r2 r4 d8\4 cis'\3 fis\2 a\1 |
g\4 b\3 d\1 fis\24 d e ~ e\3 g\4 b\2 |
a, b' ~ a e'\3 cis'\2 d, ~ d\6 d'\4 cis'\3 fis\2 a\1 |
g\6 b'\3 d\1 fis\28. b'\3 d\1 fis\216 g,\6 b'\3 d\1 fis\28.
d'\416 bis\6 ais'\4 d\1 fis\24 e\3 b'\28 e\3 g\4 |
d,\6 b''\24 d'\4 eis\3 e\4 gis\3 b\2 b\5 fis'\4 dis'\2}
\score {
\simultaneous{
\context Staff = Guit \notes {
\property Staff.instrument = Guitar
\clef G_8
\key d \major
\GuitSnobOne
}
\context TabStaff = Tab{
\property TabStaff.stringTunings = #'(2 -1 -8 -10 -15 -22)
\GuitSnobOne
}
}
}
---
---
--
_
__ __ (_)___ Michal Seta
/ \/ \ _/^ _|
/V |_ \ @creazone.32k.org
(___/V\___|_|___/
http://www.[creazone]|[noonereceiving].32k.org
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Re: notation apps
On Mon, 4 Aug 2003 20:19:27 -0500 d wrote: Take a dive into Lilypond and refresh your musical experience. ;) Actually, this applies, at least in my case. to music making on linux in general. I actually welcome the fact that to accomplish certain tasks which are easy to do with some of the all-in-one proprietary music softwares, in linux you have to go through many different smaller programs that are good at doing some small part of what you want to accomplish. And there are so many possibilities. This way you are forced to evaluate your means and the desired goal and experiment a little to find the right solution. Also, this kind of approach allows, and even forces, a change of habit, change of mind and reconsider your approach to music making. I found it not only refreshing but enriching as well. Good line, though :) P.S. sorry I wondered off-topic a bit and in such a testimonial tone. -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Project - Emacs mode extensions for LilyPond
On 31 Jul 2003 21:18:59 -0400 Francois wrote: Would someone have some experience about these two? Does Jack run on top of ALSA, or OSS, or something else? What generality are we seeking here? Is it theoretical? I mean, what would be the practical advantages of using Jack over ALSA? jMax is probably of no interest here (other than it speaks MIDI and one can program some algo processes and send them to rumor, for instance, to generate the score or generate .ly file altogether). Another example of the same paradigm (and a little less fussy) is pure-data: www.pure-data.org Jack is an audio layer, on top of ALSA, for real time audio applications. It offers low latency in real-time audio and allows multiple applications (jack clients) to operate at the same time and even send each other audio. But it is audio only, no MIDI functionnality whatsoever. Think ReWire (if you ever used Windose) but probably better (I never used ReWire). What is interesting (if one tries to bring the discussion on topic) is that fluid synth (formerly known as iiwu synth) which is mainly used to play soundfonts (as timidity does, among other things) is jack-aware. So, one could send the output of fluid synth to a multitrack (ecasound, ardour etc) and record it for further processing or simply send it through various effects (jackrack, freqtweak, ecamegapedal and other jackified apps). It would be nice, however, to have lily generate MIDI intelligently so that the playback would be real nice, following markup, dynamics and such. Anyone familiar with Igor Engraver (www.noteheads.com). Their MIDI playback is really superior to any notation sw I've ever tried (but some other aspects lack substance). I do like the ideas about emacs in this thread. I'm not a developer, but how about considering to use an existing sequencing library, like http://tse3.sourceforge.net/, rather than writing, from scratch, something that will communicate with ALSA sequencer... But I don't know, perhaps I'm just talking nonsense. And I haven't yet tried the existing implementation but it might be nice to allow the user to choose between using an external MIDI device or _any_ soft synth. But I'm sure someone has already thought about it... -- ./MiS _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: frontends
Have you looked at CommonMusic? http://commonmusic.sourceforge.net/doc/ It's built on lisp (it can also run in guile) and it has a large set of classes and functions for algo composition. Perhaps there is a possibility of writing a layer that will output to Lilypond. There is CommonMusicNotation as well, that does notation and you can output directly into the Notation layer and get .ps output. Basing on that it would probably be not too difficult to write a lilypond file. I'd be interested in something like that, too, although right now I have hands (and head) full of other stuff... ./MiS On Mon, 28 Jul 2003 01:49:03 +0200 Andrea wrote: Dear all, I'd like to use Lilypond for algorithmic composition. The task could be to develop a program (maybe in Python) to write the lilypond file. But in instrumental composition there's always the necessity to re-adjust the result of the algorithmic process in order to have it (more) playable. Is there a GUI frontend for lily for post-processing? (Or, which would be the same: does lily export in finale .mus extension?) Is there anyone doing algo-comp in this way on the list? thanks and best -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Rumor 1.0.0 building?
Sorry to flood the list with this but maybe someone has a solution to this. I'm unable to build rumor. It looks, to my unxerperienced eyes, like it's a linking problem or something? I've got guile 1.6.4 installed (and other requirements are met as well, I think...) g++-2.95 -g -O2 -D_REENTRANT -ggdb3 -O0 -Wall -pedantic -o rumor rumor.o guile2cc.o alsaclient.o ossclient.o kbdclient.o metronome.o notator.o note.o options.o -lguile -lguile -lasound -lasound -lpthread -lpthread rumor.o(.text+0x1a0): In function `gh_rumor_rhythms_wrap(scm_unused_struct *, scm_unused_struct *, scm_unused_struct *, scm_unused_struct *)': /usr/lib/gcc-lib/i386-linux/2.95.4/../../../../include/g++-3/stl_alloc.h:505: undefined reference to `scm_unused_struct * to_SCMint(int const )' rumor.o(.text+0x350): In function `gh_rumor_pitches_wrap(scm_unused_struct *)': /home/mis/downloads/rumor-1.0.0/src/rumor.cc:58: undefined reference to `scm_unused_struct * to_SCMint(int const )' rumor.o(.text+0x666): In function `gh_rumor_kbd_wrap(scm_unused_struct *, scm_unused_struct *, scm_unused_struct *)': /home/mis/downloads/rumor-1.0.0/src/rumor.cc:65: undefined reference to `scm_unused_struct * to_SCMint(int const )' kbdclient.o(.text+0x632): In function `KbdMidiClient::gh_rumor_kbd(scm_unused_struct *, scm_unused_struct *, scm_unused_struct *)': /home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:76: undefined reference to `int const SCM_toint(scm_unused_struct *)' kbdclient.o(.text+0x644):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:77: undefined reference to `bool const SCM_tobool(scm_unused_struct *)' kbdclient.o(.text+0x71e):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:82: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' kbdclient.o(.text+0x771):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:83: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' kbdclient.o(.text+0x7d1):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:84: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' kbdclient.o(.text+0x831):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:85: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' kbdclient.o(.text+0x856):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:85: undefined reference to `char const SCM_tochar(scm_unused_struct *)' kbdclient.o(.text+0x871):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:86: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' kbdclient.o(.text+0x896):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:86: undefined reference to `unsigned int const SCM_tounsigned int(scm_unused_struct *)' kbdclient.o(.text+0x9f2):/home/mis/downloads/rumor-1.0.0/src/kbdclient.cc:92: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' notator.o(.text+0x277b): In function `Notator::gh_rumor_pitches(scm_unused_struct *)': /home/mis/downloads/rumor-1.0.0/src/notator.cc:310: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' notator.o(.text+0x2875):/home/mis/downloads/rumor-1.0.0/src/notator.cc:312: undefined reference to `scm_unused_struct * to_SCMint(int const )' notator.o(.text+0x288f):/home/mis/downloads/rumor-1.0.0/src/notator.cc:312: undefined reference to `unsigned int const SCM_tounsigned int(scm_unused_struct *)' notator.o(.text+0x2976):/home/mis/downloads/rumor-1.0.0/src/notator.cc:315: undefined reference to `scm_unused_struct * to_SCMint(int const )' notator.o(.text+0x2994):/home/mis/downloads/rumor-1.0.0/src/notator.cc:315: undefined reference to `basic_stringchar, string_char_traitschar, __default_alloc_templatetrue, 0 const SCM_tobasic_stringchar, string_char_traitschar, __default_alloc_templatetrue, 0 (scm_unused_struct *)' notator.o(.text+0x2a92):/home/mis/downloads/rumor-1.0.0/src/notator.cc:320: undefined reference to `scm_unused_struct * to_SCMint(int const )' notator.o(.text+0x2b6a): In function `Notator::gh_rumor_rhythms(scm_unused_struct *, scm_unused_struct *, scm_unused_struct *, scm_unused_struct *)': /home/mis/downloads/rumor-1.0.0/src/notator.cc:324: undefined reference to `unsigned int const SCM_tounsigned int(scm_unused_struct *)' notator.o(.text+0x2b89):/home/mis/downloads/rumor-1.0.0/src/notator.cc:325: undefined reference to `unsigned int const SCM_tounsigned int(scm_unused_struct *)' notator.o(.text+0x2b9b):/home/mis/downloads/rumor-1.0.0/src/notator.cc:326: undefined reference to `unsigned int const SCM_tounsigned int(scm_unused_struct *)' notator.o(.text+0x32ab):/home/mis/downloads/rumor-1.0.0/src/notator.cc:359: undefined reference to `scm_unused_struct * to_SCMunsigned int(unsigned int const )' notator.o(.text+0x32e1):/home/mis/downloads/rumor-1.0.0/src/notator.cc:360: undefined reference to `scm_unused_struct * to_SCMint(int const )'
Re: ConTeXt
Hi all again, Just to close this discussion about ConTeXt, I wish to say that there is a pretty stright forward way of including .tex documents in ConTeXt (I should have RTFM). So, I just have to process my .ly files and include them in the documents I want. Thanks for listening. ./MiS -- _ __ __ (_)___ Michal Seta / \/ \ _/^ _| /V |_ \ @creazone.32k.org (___/V\___|_|___/ http://www.[creazone]|[noonereceiving].32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Fis or not fis, that is the question.
On Mon, 09 Dec 2002 12:03:09 -0500 [EMAIL PROTECTED] wrote: Can anybody explain why, despite having a fs specified by the current key (for G Major), fs or fis needs to be specified, rather than just assuming that the key fills in the gaps? I think that a main misconception is that a key signature makes certain notes altered. A key signature is only an _aid_ for writing down a piece of music _clearly_ so that the musicians who will end up playing it can understand/follow it without much fuss. When you're a composer,transcriber,musicologist, performer or any other music professional you know that regardless of what's in the key signature a G major scale has an F sharp as the 7th scale tone. It is not an F. It's an F sharp. While ther was a necessity to provide a shortcut via key signatures, it was mainly for clarity related reasons. However the person who is writing the music (and the performer who is reading it), when s/he sees a note on the fifth line in a G Major key, s/he knows it is an F sharp and not an F. So, in a textual mode of describing a score, it will alaways be f sharp. I think it is a good idea to keep it this way because just by looking at the notes (g fis g d) you know exactly what they are wi. HTH ./MiS -- Michal Seta CreaZonehttp://www.creazone.com No One Receivinghttp://www.noonereceiving.32k.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: tremolo implementation
thanks for clarifying, I understand the syntax better but...
Graham wrote:
Try this instead:
\repeat tremolo 4 {c16 e}
this line still show up with the noetheads black (like quarter notes rather than
half... is it just me? If I change the values of the notes (to smaller) I get back
into the situation where the tremolandos don't fit within the measure...
\repeat tremolo 2 {c16 e}
This is fine, I guess.
--
./MiS
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