Re: duration longer than meter?
Bernhard, I'm not sure to what your first statement refers, but regarding the second, the issue here is that Vivyan is reading the measure wrong. There are two parallel voices in the linked image: On Sat, Feb 3, 2018 at 8:14 PM, Vivyan wrote: > > This excerpt is from Gymnopedie which is in 3/4 but still, this notation is > involved. I'm just trying to write it into lilypond. > > One voice is the two dotted half notes; the other is the quarter-rest and two quarters. Vivyan, see NR 1.5.2: http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices for how to encode multiple voices in the same bar (and my previous message for how to do cross-staff notes). Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff notes across both staffs
Hi Vivyan,
your example does not compile, failing with an error. You appear to be
using \crossStaff incorrectly; see NR 2.2.1:
http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-keyboards
for the correct usage.
Cheers,
A
On Sat, Feb 3, 2018 at 8:10 PM, Vivyan
wrote:
> I have been taught to set up piano staffs like so. But I can't work out why
> these two notes aren't crossing both staffs?
>
> [code]
> \version "2.19.80"
>
> \header {
> title = "Composition Study I: Techniques"
> composer = "Joel Ramsbottom"
> tagline = "" % removed
> }
>
> upper = \relative c'' {
> \clef treble
> \time 5/4
> \tempo "Andante" 4 = 76
>r4
> 8
>
> }
>
> lower = \relative c {
> \clef bass
> \time 5/4
>r4
>
> \autoBeamOff
> \crossStaff {*}
>
> }
>
> \score {
> \new PianoStaff <<
>
> \set PianoStaff.instrumentName = #"Piano "
> \new Staff = "upper" \upper
> \new Staff = "lower" \lower
> >>
> \layout {
> \context {
> \PianoStaff
> \consists #Span_stem_engraver
> }
> }
> \midi { }
> }
>
> [\code]
>
>
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: Lilypond download from linux.audio
Hi Dominique, welcome to Lilypond! "linux.audio" doesn't even exist as a web address, so I'm not sure how you got that. Lilypond's home is at http://lilypond.org/; the download links are on the right. Once you get settled, this list is an extremely helpful resource, so feel free to ask with any questions. Cheers, A On Thu, Feb 1, 2018 at 11:22 PM, domini...@cazeaux.org < dominique.caze...@gmail.com> wrote: > I want to download Lilypond, it is impossible, may be a problem ? > > > > -- > Dominique > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie polyphony
Hi all,
might it be the case that your are encountering a similar issue to one I
posted a couple days ago (there, on the question of phrasing slurs in
multi-voice staves that cross over single-voice ones); namely, that are
trying to extend a slur across different contexts, so it fails.
On Wed, Jan 24, 2018 at 10:29 AM, Gianmaria Lari
wrote:
> Of course you are right! I was talking about slur not tie!
>
> Anyway I'm not able to make any slur in that context. This is what I tried:
>
> \version "2.19.80"
> \fixed c' {
> r4 a\( b d'
> << {4\) 4 4 4} \\ c1 >>
> }
>
> g.
>
Try something like this instead:
\version "2.19.80"
\fixed c' {
<< { r4 a\( b d' } \\ {s1} >>
<< {4\) 4 4 4} \\ c1 >>
}
and see if that works.
Cheers,
A
>
>
>
> On 24 January 2018 at 09:40, Marc Hohl wrote:
>
>> Am 24.01.2018 um 09:31 schrieb Gianmaria Lari:
>>
>>> Hello,
>>>
>>> In the following code
>>>
>>> \version "2.19.80"
>>> \fixed c' {
>>>r4 a b d'
>>><< {4 4 4 4} \\ c1 >>
>>> }
>>>
>>> ... I would like to tie the "a" with the very first chord 4. How
>>> I can do it?
>>>
>>
>> That's not a tie then.
>>
>> IIUC, you'll need a phrasing slur for this: \( \)
>>
>> HTH,
>>
>> Marc
>>
>>>
>>> Thank you, Gianmaria
>>>
>>>
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>>>
>>
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>
>
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Re: GhostScript Fail (regression 2.19.17 to 2.19.18)
Well, since we're all here, I might as well join in as well.
I was getting the same ghostscript error, and I fixed it by doing the
following:
Editing the /usr/share/ghostscript/9.20/Resource/Init/Fontmap file to
comment out the line about local fontmaps results in successful compilation
and display.
change the ghostscript directory for the version you have installed. I have
to do this every time I update ghostscript, or I get error 256 on pdf
generation.
Hope this helps,
A
On Tue, Jan 23, 2018 at 10:17 AM, Urs Liska wrote:
> Hi Andrew(s)
>
> Am 22.01.2018 um 23:07 schrieb Andrew Smith:
>
> I'm getting a failure all-around on a new Arch VM I'm running in my
> windows machine. I'm using lyp here to make a/b version testing easier.
> Basically, the gs command is failing when liilypond runs it but it works
> just fine when I copy/paste it and run it manually.
>
> 2.19.17 works, but 2.19.18 fails. Shell info + file is below.
> GhostScript system version is 9.22.
>
> https://gist.github.com/andrewcsmith/eb17a859e62921f3ad50a4c5298628e9
>
> This is urgent for me, as I don't have access to the old machine where
> this worked, and I have some libraries that use the recent font changes --
> thanks a lot.
>
>
> No guarantee it works for you, but I have a strong suspicion.
> When installing LilyPond the normal way from the downloaded archive it
> creates a wrapper command "lilypond" (usually as ~/bin/lilypond).
> This doesn't only call the lilypond executable but also adds
> export LD_LIBRARY_PATH=/path/to/lilypond/usr/lib:$LD_LIBRARY_PATH
>
> to make sure the libraries shipped with LilyPond are used and avoid such
> version mismatches with system libraries.
> I'm not sure how lyp invokes LilyPond but you should look into this (and
> maybe call LilyPond directly/through a custom wrapper script).
>
> We had to learn that with Frescobaldi too. Frescobaldi can manage
> arbitrary LilyPond installations, and by now it injects that library path
> (for the chosen LilyPond) in the invocation command.
>
> HTH
> Urs
>
>
> ```
> [vagrant@bazinga ly_test]$ lyp use 2.19.18
> Using Lilypond version 2.19.18
> [vagrant@bazinga ly_test]$ lyp compile test.ly
> Lyp 1.3.5
> GNU LilyPond 2.19.18
> Processing `/tmp/lyp/wrappers/test.ly'
> Parsing...
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Layout output to `test.ps'...
> Converting to `./test.pdf'...
> warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28
> -dDEVICEHEIGHTPOINTS=841.89
> -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite
> -sOutputFile=./test.pdf -c.setpdfwrite -ftest.ps)' failed (256)
>
> fatal error: failed files: "/tmp/lyp/wrappers/test.ly"
>
> [vagrant@bazinga ly_test]$ lyp use 2.19.17
> Using Lilypond version 2.19.17
> [vagrant@bazinga ly_test]$ lyp compile test.ly
> Lyp 1.3.5
> GNU LilyPond 2.19.17
> Processing `/tmp/lyp/wrappers/test.ly'
> Parsing...
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Layout output to `test.ps'...
> Converting to `./test.pdf'...
> Success: compilation successfully completed
> ```
>
> File:
>
> \score {
> \new Voice {
> c'4 d' e' f'
> }
>
> \layout { }
> }
>
>
>
>
>
> ___
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>
>
>
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Re: Phrasing slurs on two-voice stave
Hi Ben, On Mon, Jan 22, 2018 at 1:59 PM, Ben wrote: > > Hi, > > Personally, I would probably want the slur on the bottom as it's cleaner > and easier to implement, > yes, and also notationally superior. But the client is, alas! a hobbyist-composer who does things for "expressive" reasons and insists they should be that way (I once got nearly into a shouting match because he had directly translated the German "Attacke" [which means something like "strike hard"] to the Italian "attacca" [which, as we know, means "continue without break to the next movement"] and wouldn't believe he couldn't use the latter as an expressive marking until I made him look it up in his music dictionary). I would also point out that he puts a phrasing slur on *every* phrase, throughout the piece, so this is a recurring issue. Sigh. > but I guess you could play around and offset the slur to taste... > [see attached] > > Ah, thank you. And I also see that it's in the NR at 5.5.4. Very helpful! Am I correct in assuming that (phrasing)slurs are bezier curves, and thus the four control points listed for \shape behave the way bezier-curve control points do? Thanks again, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Phrasing slurs on two-voice stave
Hi List,
I have the following:
-
\version "2.19.80"
\relative c {
\clef bass
\time 4/8
<<
{ \stemDown d16\( f a f d a' f d\) }
\\
{ \stemUp d8. f16 d4 }
>>
}
-
What I'm trying to do is ensure that the phrasing slur extends to the last
note of the bar. Problem is, the client wants the 16th notes on the lower
voice, but the slur above. I've been using \stemDown and \stemUp to flip
the stem directions, but this causes problems, as here, where the slur
collides with the other voice's stems. Is there a more elegant/effective
way of doing this? It also has to work for phrasing slurs across several
measures.
Cheers,
A
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Re: spanners in multi-voice
Update:
On Fri, Jan 19, 2018 at 11:32 AM, N. Andrew Walsh
wrote:
> Arrgh. I may not have resolved my issue (or, there's something going on
> here I don't understand).
>
> Here's an example:
> [SNIP]
>
> | %8
> d32\( a'16.~ a4.\)
>
>
The problem is this measure. When a spanner that starts in a multi-voice
measure, and ends in a multi-voice measure, has a single-voice measure in
between, I get the error. When I replace measure 8 with the following:
| %8
<<
{ d32\( a'16.~ a4.\) }
\\
{ s2 }
>>
… then it works fine. This seems like a bit of an ugly hack, but I suppose
there's no better way to do this (and there's probably some good reasons
why it should work like that).
So just to confirm: is this intended behavior?
Cheers,
A
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Re: spanners in multi-voice
Arrgh. I may not have resolved my issue (or, there's something going on
here I don't understand).
Here's an example:
\version "2.19.80"
\relative c'' {
\time 4/8
%1-2
R2*2
| %3
<<
{ a,16\cresc\( d~ d4.\) }
\\
{ a8~ a4. }
>>
| %4
<<
{ a16\( d f4.\) }
\\
{ a,8~ a4. }
>>
| %5
<<
{ \tuplet 3/2 { a16\( d f } a4.\) }
\\
{ a,8~ a4. }
>>
| %6
<<
{ \tuplet 6/4 4 { a16\( d f a d f } a4\!\) }
\\
{ a,,4~ a }
>>
| %7
<<
{ d''8~\decr d4. }
\\
{ d16 g,~ g4. }
>>
| %8
d32\( a'16.~ a4.\)
| %9
<<
{ a8~ a4.\! }
\\
{ \tuplet 3/2 { a16 e cis } a4. }
>>
| %10
<<
{ a,16\<\( d~ d4.\!\) }
\\
{ a8~ a4. }
>>
}
Here, the \cresc command creates a dynamic as text without issue (from bar
3 to 6). However, the \decr command, from bar 7 to 10, does not, and I get
the error about an unterminated decrescendo I posted previously.
So what am I doing wrong here?
Cheers,
A
On Thu, Jan 18, 2018 at 2:54 PM, N. Andrew Walsh
wrote:
> Hi David,
>
> On Thu, Jan 18, 2018 at 2:44 PM, David Kastrup wrote:
>
>>
>> How about giving an example actually showing the problem you are talking
>> about?
>>
>> --
>> David Kastrup
>>
>
> Fair enough. And as it turns out, when I add a \! statement later on in
> that voice, the error disappears and it draws a crescendo and decrescendo
> as desired.
>
> Sorry for the noise.
>
> Cheers,
>
> A
>
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Re: spanners in multi-voice
Hi David, On Thu, Jan 18, 2018 at 2:44 PM, David Kastrup wrote: > > How about giving an example actually showing the problem you are talking > about? > > -- > David Kastrup > Fair enough. And as it turns out, when I add a \! statement later on in that voice, the error disappears and it draws a crescendo and decrescendo as desired. Sorry for the noise. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
spanners in multi-voice
Hi List,
let's say I have the following code:
\relative c'' {
%1
s2
| %2
<<
{ a16\cresc d~ d4. }
\\
{ a8~ a4. }
>>
}
Is there a way to have multiple measures of this kind of two-voice
structure, and each measure contained within its own pair of << >>
brackets, with one of these multi-measure-long \cresc commands? Or do I
have to have all the measures over which the \cresc spanner occurs
contained within one pair of << >> brackets?
When I try the former, I get this:
programming error: Spanner `DynamicTextSpanner' is not fully contained in
parent spanner. Ignoring orphaned part
{ a16
\cresc d~ d4. }
I was hoping to be able to keep each measure within its own line of code,
separated with these barcheck and commented measure-number marks. Is there
a way to do that?
Cheers,
A
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feathered beam calculations
Hi List,
I'm trying to use the \featherDurations command on a brief passage:
\relative c' {
a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
\override Beam.grow-direction = #LEFT
\featherDurations #(ly:make-moment 2/1)
{ a,32[\( b cis dis eis]\)\fermata }
\override Beam.grow-direction = #'()
< a, cis e >16 < a cis e >
}
What I want is for that feathered group on the fourth line to occupy the
duration of exactly one eighth note. As there are five notes, I'm
struggling with the math, and thus what to put after ly:make-moment.
Can you advise as to what the numbers should be?
Cheers,
A
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Aligning \mark
Hi List, I have a piece where I would like to have section titles, like: I. Risoluto II. Libero III. Giocoso etc. I've been using \mark to insert these into the score, but that aligns the text centered on the barline, thus with a significant portion of the text lying over the preceding measure. I'd like them instead to be left-aligned to the barline, so that they rest entirely over the new section. Is there a better way to do this? Should I just use \tempo instead? I wanted these section titles formatted differently than the tempo indications (i.e., all-caps and bold and a bit larger than the tempo markings). Is it better just to have these set manually using \markup with \tempo? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beat divisions and compound meter
On Sat, Nov 25, 2017 at 12:36 PM, Urs Liska wrote: > > Short answer: not yet. I have been working on an analysis of the whole > matter but got interrupted by privare matters. > I'll at least provide a complete assessment of the matter but can't > promise a solution. > > Urs > Fair enough. I guess in the interim (since I don't have too many of these measures anyway) I could just beam them explicitly with [ and ]. Thanks, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
beat divisions and compound meter
Hi List,
I have a file with the following functions defined:
beambreakOn = {
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = #'(2 2 2 2)
}
beambreakOff = {
\set subdivideBeams = ##f
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = #'(2 2 2 2)
}
when invoked inside a music expression, they set all beams greater than the
8th (that is, past the first) to break at the 8th note. This allows, for
example, the following expression (pseudo-code):
{ a32 b c d e f g16 }
to split neatly at the midpoint, clarifying the metric structure. The
problem is, later on in the piece I have the following command:
\compoundMeter #'((3 4 16))
and a measure with the contents (pseudo-code):
{ < f a c >8 < d fis a >16 < f a c > < g b d >8\fermata < d fis a >16 }
theoretically, this should automatically divide thus:
{ < f a c >8[ < d fis a >16] < f a c >[ < g b d >8\fermata < d fis a >16] }
but instead it divides:
{ < f a c >8[ < d fis a >16 < f a c >] < g b d >8\fermata[ < d fis a >16] }
Here's the whole thing in a MWE:
-
\version "2.19.80"
beambreakOn = {
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = #'(2 2 2 2)
}
beambreakOff = {
\set subdivideBeams = ##f
\set baseMoment = #(ly:make-moment 1/8)
\set beatStructure = #'(2 2 2 2)
}
\relative c' {
\time 4/8
%1
\beambreakOn a32\( b cis dis eis8\) a,32\( b cis dis eis16\)\fermata < a,
cis e >32 < a cis e > \beambreakOff
| %2
\compoundMeter #'((4 3 16))
< f' a c >8 < d fis a >16 < f a c > < g b d >8\fermata < d fis a >16
| %3
\time 4/8
\beambreakOn a32\( b cis dis eis8\) a,32\( b cis dis eis16\)\fermata < a,
cis e >32 < a cis e > \beambreakOff
}
-
Is there a command I can insert after the first measure to allow the
\compoundMeter command to reset beam divisions as intended?
Cheers,
A
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Re: [OT] Grammatic gender
On Thu, Nov 16, 2017 at 3:04 AM, David Wright wrote: > > > > German: "Das Mädchen aß seine Mahlzeit.". > > > > >> > It may seem so, because the articles for all three genders are the > > >> > same, but words are referred to by ‘he’, ‘she’, or ‘it’. In > > >> > English the sun is male, the moon female > > Think so, grammatically? > Since this is already well off-topic, I'd like to ask a general question of the German speakers here: the Constitutional Court recently ruled that forcing people born in Germany to identify only as either male or female on official documentation is discriminatory (for a number of reasons, including: some people cannot be biologically categorized as entirely one or the other, some people are mis-assigned, some people don't identify that way, etc.). The court provided two possible remedies: either add a third category (presumably "unspecified"), or strike sex from official documentation entirely. Since German *does* use gendered pronouns, what do you imagine is likely to happen here, as people start entering into adult life with no specified male or female gender? As noted above, referring to biological organisms, much less people, with the neuter pronoun would likely be considered unacceptable. So what do you imagine is likely to happen here? Is the Duden going to start establishing what is effectively a fourth gender category? As a consummate mannerist, I'm in favor of all linguistic expansion. Also, an excellent source for English Usage is Garner's "Modern English Usage," which notes that when deciding on "-ic" vs. "-ical," it is best simply to consult several dictionaries for prevalent usage, using both where they have different meanings (as with "historic" vs. "historical"), and avoiding needless differentiation elsewhere (as with "biologic" or "ecologic"). Garner uses "grammatical," for what that's worth. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics above/below on the fly
Hi Phil,
thank you for your speedy response! Yup, that works, and does what I want
it to (or rather, what the client wants).
Cheers,
A
On Thu, Sep 7, 2017 at 1:02 PM, Phil Holmes wrote:
> No. Again, this is explained in the NR, but here's a small example of how
> this can be done:
>
> \new Staff = "Song"
> <<
> \new Voice = "xLyricsStaff" {
> \voiceOne c''4 c''4 c''4 c''4 | % 1
> s1*4/4 | % 2
> b'4 b'4 b'4 b'4 | % 3
> s1*4/4
> }
> \new Lyrics \with { alignAboveContext = Song } \lyricsto "xLyricsStaff"
> { Voice one sings now And more voice one }
> \new Voice = "xLyricsStaff-1" {
> s1*4/4 | % 1
> f'4 f'4 f'4 f'4 | % 2
> s1*4/4 | % 3
> g'4 g'4 g'4 g'4
> }
> \new Lyrics \lyricsto "xLyricsStaff-1" { Voice two sings now And more
> voice two }
> >>
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* N. Andrew Walsh
> *To:* Phil Holmes
> *Cc:* lilypond-user
> *Sent:* Thursday, September 07, 2017 11:46 AM
> *Subject:* Re: Lyrics above/below on the fly
>
> Hi Phil, Michael, List,
>
> I like Phil's suggestion, as it also separates the voices for later,
> should my client get wise that this is, in all honesty, bad notation that
> he's asking for.
>
> I'll give it a shot and see what I can do. Will that automatically place
> the lyrics on different sides of the staff?
>
> Cheers,
>
> A
>
> On Thu, Sep 7, 2017 at 11:12 AM, Phil Holmes wrote:
>
>> Why not just use two voices on the single staff, with separate lyrics to
>> each voice, and spacer rests where the voice isn't singing?
>>
>> --
>> Phil Holmes
>>
>>
>>
>> - Original Message -
>> *From:* N. Andrew Walsh
>> *To:* lilypond-user
>> *Sent:* Thursday, September 07, 2017 9:58 AM
>> *Subject:* Lyrics above/below on the fly
>>
>> Hi List,
>>
>> I'm working on a project where the composer wants both singing voices on
>> the same staff (it's a call-and-response thing), but such that whenever
>> "voice 1" is singing, stems and lyrics are down, and whenever "voice 2" is
>> singing, they're up.
>>
>> I can switch stem direction with \stemUp and \stemDown, and I can use
>> \set Staff.instrumentName to change the name as well. But is there some
>> command to change the lyrics' vertical placement so-to-speak on the fly?
>> With a single voice? Usince \set Lyrics.alignAboveContext = "staff" doesn't
>> seem to work.
>>
>> Or is there some smarter way to do this, maybe using partcombine or
>> something?
>>
>> Thanks for the help!
>>
>> A
>>
>> --
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>
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Re: Lyrics above/below on the fly
Hi Phil, Michael, List, I like Phil's suggestion, as it also separates the voices for later, should my client get wise that this is, in all honesty, bad notation that he's asking for. I'll give it a shot and see what I can do. Will that automatically place the lyrics on different sides of the staff? Cheers, A On Thu, Sep 7, 2017 at 11:12 AM, Phil Holmes wrote: > Why not just use two voices on the single staff, with separate lyrics to > each voice, and spacer rests where the voice isn't singing? > > -- > Phil Holmes > > > > ----- Original Message - > *From:* N. Andrew Walsh > *To:* lilypond-user > *Sent:* Thursday, September 07, 2017 9:58 AM > *Subject:* Lyrics above/below on the fly > > Hi List, > > I'm working on a project where the composer wants both singing voices on > the same staff (it's a call-and-response thing), but such that whenever > "voice 1" is singing, stems and lyrics are down, and whenever "voice 2" is > singing, they're up. > > I can switch stem direction with \stemUp and \stemDown, and I can use \set > Staff.instrumentName to change the name as well. But is there some command > to change the lyrics' vertical placement so-to-speak on the fly? With a > single voice? Usince \set Lyrics.alignAboveContext = "staff" doesn't seem > to work. > > Or is there some smarter way to do this, maybe using partcombine or > something? > > Thanks for the help! > > A > > -- > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics above/below on the fly
Hi List, I'm working on a project where the composer wants both singing voices on the same staff (it's a call-and-response thing), but such that whenever "voice 1" is singing, stems and lyrics are down, and whenever "voice 2" is singing, they're up. I can switch stem direction with \stemUp and \stemDown, and I can use \set Staff.instrumentName to change the name as well. But is there some command to change the lyrics' vertical placement so-to-speak on the fly? With a single voice? Usince \set Lyrics.alignAboveContext = "staff" doesn't seem to work. Or is there some smarter way to do this, maybe using partcombine or something? Thanks for the help! A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lyrics with alternatives in brackets
Hi List, I'm transcribing a cantata in Latin, and the last section has two verses, each of which includes alternative versions of the text. My Latin is nonexistent, so I don't know why this would be, but here's an example (transcribed as best I can) of what it looks like: 1 [ qua ] te ro go, [a ni - mæ] in coe - li [culmi - ne,] da [queis] [ a ni - mis] [ gaudi - is,] 2 re - cre a bit, san gui nic [e -i-dem] guttu- lam, si [e-is-dem] So, I need to be able to have two separate verses (I can do that per NR2.1.2), but how do I include the alternate words *within* each verse? Is there some voodoo I could do that would make such a thing possible? Thanks for the help, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vertical spacer in figured bass
Hi Richard,
when I tried that implicitBassFigures declaration, it just printed a zero.
But! If I drop the "Staff." part of that declaration, then it works. I'm
not sure if that's going to have consequences later on, but I'll try it and
see how it goes.
Now I have another matter, somewhat more OCD: when dealing with the figures:
< 4 2 7 >4 < _+ 0\! 8 >
the # sign is set slightly lower than the 4, and thus the 8 is set lower
than the 7. That is, they don't appear to have the same baseline, and it
looks like bad typesetting. Is there a way to fix this so they align
perfectly?
Cheers,
A
On Fri, Jun 23, 2017 at 1:17 PM, Richard Shann
wrote:
> On Fri, 2017-06-23 at 13:06 +0200, N. Andrew Walsh wrote:
> > Richard, if I can dissect the Denomo code a bit (there's a lot of it!
> > ), it looks like I need both the
>
> > \context Staff \with {implicitBassFigures = #'(0) }
> > expression in the \score block, and the
> > \set Staff.implicitBassFigures = #'(0)
> > expression in the music content. Is that correct?
>
> I noticed that too, and assumed one of them was most probably redundant
> - I did write this syntax, but I'm afraid I can't say how I arrived at
> it, some sort of trial and error almost certainly.
>
> > doing just the latter didn't work, but now I'm unsure how to proceed.
>
> Is it doing what you wanted? I cooked up the example from the
> documentation that Mark quoted, because I knew about this trick of
> declaring a special figure (I use 0 since that doesn't occur for real in
> a figured bass) that just acts as a place holder. So then I used that
> and the \! notation for stopping the extender and it worked (for what I
> thought was your object).
> I entered this
>
> <3 0\! 7>4
>
> with the idea that the figure 0 would keep that position open as a blank
> figure while not causing an extender from it.
>
> I think the repeated \bassFigureExtendersOff and On would be done in
> some neater way if you were hand-writing the code ...
>
> HTH
>
> Richard
>
>
>
>
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Re: vertical spacer in figured bass
Hi Richard and Mark,
Mark, thank you for the tip but I understand how continuation lines work.
That part's not an issue. My issue is getting an empty line in the second
set of bass figures.
Richard, if I can dissect the Denomo code a bit (there's a lot of it!), it
looks like I need both the
\context Staff \with {implicitBassFigures = #'(0) }
expression in the \score block, and the
\set Staff.implicitBassFigures = #'(0)
expression in the music content. Is that correct?
doing just the latter didn't work, but now I'm unsure how to proceed. Urs,
this is for the Kayser project; is there a good place we can put that code?
Cheers,
A
On Fri, Jun 23, 2017 at 11:40 AM, Richard Shann
wrote:
> On Thu, 2017-06-22 at 16:24 -0700, Mark Stephen Mrotek wrote:
> > N. Andrew
> >
> >
> >
> > Under
> >
> > http://lilypond.org/doc/v2.18/Documentation/notation/figured-bass
> >
> > scroll down to “continuation lines.”
> >
> If that's a bit too cryptic, here is an example that I generated with
> Denemo (so pardon all the excess verbiage). I attach the output pdf ...
>
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><
>
> %% LilyPond file generated by Denemo version 2.1.3
>
> %%http://www.gnu.org/software/denemo/
>
> \version "2.18.0"
>
> CompactChordSymbols = {}
> #(define DenemoTransposeStep 0)
> #(define DenemoTransposeAccidental 0)
> DenemoGlobalTranspose = #(define-music-function (parser location
> arg)(ly:music?) #{\transpose c c#arg #})
> titledPiece = {}
> AutoBarline = {}
> AutoEndMovementBarline = \bar "|."
>
> % The music follows
>
> MvmntIVoiceI = {
> a'4 a' d'' \AutoEndMovementBarline
> }
>
>
> MvmntIVoiceIBassFiguresLine = \figuremode {
> \set figuredBassAlterationDirection = #1
> \set figuredBassPlusDirection = #1
> \override FiguredBass.BassFigure #'font-size = #-1
> %figures follow
> \set Staff.implicitBassFigures = #'(0)
> \bassFigureExtendersOff <4 2 8>4<3 0\! 7>4
> \bassFigureExtendersOn <3 0\! 7>4
> }
>
>
>
>
>
> %Default Score Layout
> \header{DenemoLayoutName = "Default Score Layout"
> instrumentation = \markup { \with-url
> #'"scheme:(d-BookInstrumentation)"
> "Full Score"}
> }
>
> \header {
> tagline = \markup {"" on \simple #(strftime "%x" (localtime
> (current-time)))}
>
> }
> #(set-default-paper-size "a4")
> #(set-global-staff-size 18)
> \paper {
>
>}
>
> \score { %Start of Movement
> <<
>
> %Start of Staff
> \new Staff = "Part 1" <<
>
> \context Staff \with {implicitBassFigures = #'(0) }
> \MvmntIVoiceIBassFiguresLine %End of bass figures
> \new Voice = "MvmntIVoiceI" {
> \clef treble\key c \major\time 4/4 \MvmntIVoiceI
> } %End of voice
>
> >> %End of Staff
>
> >>
>
>} %End of Movement
>
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
> 8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><8><
> 8><8><8><8><8><8><
>
>
> Richard
>
>
>
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vertical spacer in figured bass
Hi List, I can't seem to find how to do what I imagined would be a fairly simple thing to code. I have a figured bass sequence that looks like this in the original: 4 # 2 7 8 It's fairly obvious from the layout that the 4 goes to a major 3rd, the 7 goes to an octave, and the 2 drops out. But doing this requires some sort of vertical spacer that I'm not sure how to code. When I write the following (pseudo-code): < 4 2 7 > < _+ _ 8 > the underscore in the middle of the second figure is ignored. So in the abstract: is there some way to insert an extra line into a figured bass figure, so that the numbers align with those of the previous sign? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: ghostscript fails on pdf generation
Hi David, On Thu, Jun 8, 2017 at 2:37 AM, David Wright wrote: > > Just to clarify, is this > …lilypond-2.19.61/bin/lilypond > That one ↑ or > …lilypond-2.19.61/lilypond/usr/bin/lilypond > > > > Maybe if it is only calling "lilypond" (i.e. without an absolute path > to > > > the executable) there may be something to be done about it. > > > > > > Ah, wait: are you using Frescobaldi's 3.0.0 release or run it from > Git? My > > > patch was only applied after the latest release ... > > > > > > > Well, I've been using the version from git, which I just updated. Now, it > > fails on my laptop with the following errors: > > > > QT_QPA_PLATFORMTHEME=qt5ct frescobaldi was interrupted by an Abort > Signal. > > > > This is because my laptop still has QT_STYLE_OVERRIDE set (side-question: > > how do you find out which config file is setting an environment > variable? I > > have .bashrc, .xsession, etc., and can't find it in any of them). > > grep -r QT_STYLE_OVERRIDE …lilypond-2.19.61/ > > might be a start. > No, I mean that variable is being set by one of my own config files, not something within the lilypond package. I guess grep would still be the command to use, but then I'd be searching through my entire file tree. I was hoping there was some more efficient way to do it. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: ghostscript fails on pdf generation
Whoops. Forgot to send to the whole list. Also, update: PyQt5.QtWebKitWidgets is deprecated in Qt5.5, removed as of Qt5.6. The new hotness is PyQt5.QtWebEngineWidgets. See here: https://stackoverflow.com/questions/37876987/cannot-import-qtwebkitwidgets-in-pyqt5 Should I just rewrite the calling file to point to PyQt5.QtWebEngineWidgets instead? Cheers, A -- Forwarded message -- From: N. Andrew Walsh Date: Wed, Jun 7, 2017 at 4:30 PM Subject: Re: ghostscript fails on pdf generation To: Urs Liska Hi Urs, On Wed, Jun 7, 2017 at 4:02 PM, Urs Liska wrote: > How exactly is LilyPond registered in Frescobaldi for you? > Absolute path to the binary installed with the package. > Maybe if it is only calling "lilypond" (i.e. without an absolute path to > the executable) there may be something to be done about it. > > Ah, wait: are you using Frescobaldi's 3.0.0 release or run it from Git? My > patch was only applied after the latest release ... > Well, I've been using the version from git, which I just updated. Now, it fails on my laptop with the following errors: QT_QPA_PLATFORMTHEME=qt5ct frescobaldi was interrupted by an Abort Signal. This is because my laptop still has QT_STYLE_OVERRIDE set (side-question: how do you find out which config file is setting an environment variable? I have .bashrc, .xsession, etc., and can't find it in any of them). Unsetting that variable now results in an error: PyQt5.QtWebKitWidgets import QWebView ImportError: No module named PyQt5.QtWebKitWidgets Which I'm given to understand is a problem with python, but I might be wrong. Thanks for the help, A > > Best > Urs > > If lilypond is using the system ghostscript, is there a way to get > lilypond to ignore that like about Fontmap.local? > > Thanks for the help, > > A > > > On Sat, Feb 25, 2017 at 7:11 PM, David Wright > wrote: > >> On Sat 25 Feb 2017 at 13:06:02 (+0100), N. Andrew Walsh wrote: >> > Hi List, >> > >> > so, I did some digging regarding this error I've been getting with pdf >> > output (see below). I found this note to lilypond-users from two years >> ago: >> > https://lists.gnu.org/archive/html/lilypond-user/2014-01/msg00932.html >> > >> > The money line is to comment out the last line of >> > /usr/share/ghostscript/[$GS_VERSION]/Resource/Init/Fontmap, >> > which reads: >> > >> > (Fontmap.local) .runlibfileifexists >> > >> > When I replaced that line with: >> > %(Fontmap.local) .runlibfileifexists >> > >> > pdf output worked correctly with lilypond/frescobaldi. >> > >> > Some further information: >> > Before this workaround, console output returned the following when >> running >> > the same command from console that was failing in frescobaldi: >> > >> > $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 >> > -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite >> > -sOutputFile=lamento.pdf -c.setpdfwrite -f/tmp/lilypond-3iqFdT >> > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineO as it >> is >> > too large, embedding a subset. >> > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOI as >> it is >> > too large, embedding a subset. >> > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOB as >> it is >> > too large, embedding a subset. >> > $ >> > >> > If, however, the intended output filename has whitespaces, I get the >> > following error: >> > >> > $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 >> > -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite >> > -sOutputFile=Reinhold Urmetzer - Lamento di Achille.pdf -c.setpdfwrite >> > -f/tmp/lilypond-DDb0P7 >> > Error: /undefinedfilename in (Urmetzer) >> > Operand stack: >> > >> > Execution stack: >> >%interp_exit .runexec2 --nostringval-- --nostringval-- >> > --nostringval-- 2 %stopped_push --nostringval-- --nostringval-- >> > --nostringval-- false 1 %stopped_push >> > Dictionary stack: >> >--dict:1211/1684(ro)(G)-- --dict:0/20(G)-- --dict:78/200(L)-- >> > Current allocation mode is local >> > Last OS error: No such file or directory >> > GPL Ghostscript 9.20: Unrecoverable error, exit code 1 >> > $ >> > >> > So, to review: >> > if the filename has spaces, gs output will fail both in frescobaldi and >> > from console >> >>
Re: ghostscript fails on pdf generation
Hi List, this error has cropped up again for me. I'll summarize briefly: compiling a document within frescobaldi (3.0.0) and lilypond-2.19.61 fails with gs error 256. However, this only fails on my laptop, not my main machine (which is running the same versions). running the failing gs command on the temp file from a console (ie, copying the failed gs command) results in success. Both laptop and desktop are running the same version of ghostscript. On the laptop, SVG display fails with an error about missing PyQt5 Webkit. Editing the /usr/share/ghostscript/9.20/Resource/Init/Fontmap file to comment out the line about local fontmaps results in successful compilation and display. Some questions: shouldn't a locally installed version of package lilypond not be relying on my system ghostscript, instead using its own? If lilypond is using the system ghostscript, is there a way to get lilypond to ignore that like about Fontmap.local? Thanks for the help, A On Sat, Feb 25, 2017 at 7:11 PM, David Wright wrote: > On Sat 25 Feb 2017 at 13:06:02 (+0100), N. Andrew Walsh wrote: > > Hi List, > > > > so, I did some digging regarding this error I've been getting with pdf > > output (see below). I found this note to lilypond-users from two years > ago: > > https://lists.gnu.org/archive/html/lilypond-user/2014-01/msg00932.html > > > > The money line is to comment out the last line of > > /usr/share/ghostscript/[$GS_VERSION]/Resource/Init/Fontmap, > > which reads: > > > > (Fontmap.local) .runlibfileifexists > > > > When I replaced that line with: > > %(Fontmap.local) .runlibfileifexists > > > > pdf output worked correctly with lilypond/frescobaldi. > > > > Some further information: > > Before this workaround, console output returned the following when > running > > the same command from console that was failing in frescobaldi: > > > > $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 > > -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite > > -sOutputFile=lamento.pdf -c.setpdfwrite -f/tmp/lilypond-3iqFdT > > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineO as it > is > > too large, embedding a subset. > > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOI as it > is > > too large, embedding a subset. > > GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOB as it > is > > too large, embedding a subset. > > $ > > > > If, however, the intended output filename has whitespaces, I get the > > following error: > > > > $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 > > -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite > > -sOutputFile=Reinhold Urmetzer - Lamento di Achille.pdf -c.setpdfwrite > > -f/tmp/lilypond-DDb0P7 > > Error: /undefinedfilename in (Urmetzer) > > Operand stack: > > > > Execution stack: > >%interp_exit .runexec2 --nostringval-- --nostringval-- > > --nostringval-- 2 %stopped_push --nostringval-- --nostringval-- > > --nostringval-- false 1 %stopped_push > > Dictionary stack: > >--dict:1211/1684(ro)(G)-- --dict:0/20(G)-- --dict:78/200(L)-- > > Current allocation mode is local > > Last OS error: No such file or directory > > GPL Ghostscript 9.20: Unrecoverable error, exit code 1 > > $ > > > > So, to review: > > if the filename has spaces, gs output will fail both in frescobaldi and > > from console > > …because of your second illustration. gs fails early on because > "Urmetzer" is a non-option and therefore expected to be a Ghostscript > program for interpretation. > > > if the filename does not have spaces, output fails in frescobaldi, and > also > > running lilypond from console, but not running the last 'gs' command from > > console > > …because of your first illustration. gs fails later on because of the > font overcapacity. > > > if that last line about Fontmap.local is commented out > > in /usr/share/ghostscript/[$GS_VERSION]/Resource/Init/Fontmap, pdf > output > > works in both console and frescobaldi. > > > > So, is this a bug/defect somewhere in frescobaldi/lilypond/ghostscript? > If > > so, which? > > The second problem looks as if the caller of gs is not protecting the > spaces in the filename. Some interesting things can happen by chance > with those filenames. If you put > ... -sOutputFile="good output.pdf" -c.setpdfwrite -f/tmp/somefile > everything works as normal. So does > ... -sOutputFile=good\ output.pdf -c.setp
Re: Permission for music
Hi List, doing a quick google search for the title and "sheet music" returns this link on the first page: http://www.kevinhabits.com/wp-content/uploads/2014/08/Amelie-theme-Yann-Tiersen.pdf which was engraved with Lilypond (as noted in the sheet music). I'm guessing this is the sheet music to which the OP is referring. Sarah, if that is the case, I'm afraid neither Lilypond, nor likely anybody on this list, is in a position to grant permission to perform the score in question, as it's not from us (that website just used Lilypond to do the engraving). Furthermore, I'm pretty sure that piece (as the movie is barely a decade old, I think) is still under copyright, so it's entirely possible the website itself doesn't have permission to distribute it, either. That said, as a piano test is not technically a public performance, it's entirely possible that this falls under "fair use for educational purposes", and that no permission is required. But copyright law is very complicated, and different by country (and even by specific circumstance). You'll have to use your own best judgment here. Maybe ask your teacher? Lastly, I hope you like the score! This list is for people who use the software that prints beautiful-looking sheet music, and we're all very proud of the results it produces. If you ever want to start writing your *own* music, the people here are incredibly helpful and friendly, and will gladly (and generously) donate their time to help you. Feel free to drop by and ask questions any time. Good luck on your piano test! On Wed, May 24, 2017 at 11:09 AM, Manuela Gößnitzer < pressephotogra...@gmail.com> wrote: > Which website would that be? AFAIK this here is a mailing list, there is > no website with music sheets. > > Greetings > Manuela > > 2017-05-24 2:40 GMT+02:00 Sarah Fosdick : > >> Hi, I am a piano student, and I have a piano test coming up. I know the >> song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the >> sheet music off your website, and was wondering if I have permission to use >> the music for my coming up piano test? >> Thank you! >> >> ___ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> >> > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weird lyric extender shortening
On Fri, May 5, 2017 at 5:15 PM, N. Andrew Walsh wrote: > > Anyway, is this, then, a bug with <2.19.55? I'll try upgrading and report > back. > > Cheers, > > A > Update: upgrading to 2.19.59 made the problem go away. Thanks David Kastrup! Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Weird lyric extender shortening
On Fri, May 5, 2017 at 5:08 PM, David Wright wrote: > > > > > What might be causing this behavior? > > That's quite a MWE! Anyway, I get good extenders in your posted > source, and when I comment out > \global \KlavierMusicUpper crap, sorry. The material to comment out was the content of the measure itself, replacing it with "s2" so that Bar 17 in the piano reads: | %17 s2 | %18 [more music as normal] Anyway, is this, then, a bug with <2.19.55? I'll try upgrading and report back. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Weird lyric extender shortening
Hi List,
so, I have the following in a larger piece:
\version "2.19.55"
global= {
\set Timing.baseMoment = #(ly:make-moment 1/4)
\set Timing.beatStructure = #'(1 1 1)
\set Timing.beamExceptions = #'()
\set Score.markFormatter = #format-mark-box-numbers
\time 4/8
\key f \minor
\numericTimeSignature
%% NB: Best-practice sequence of glyphs is:
note->articulation->dynamic->slur->beam->tie
}
voceMusic = \relative c'' {
\autoBeamOff \dynamicUp
%1-16
R2*16
| %17
c4\( as8[ g]
| %18
f2\)
| %19
es'4\( bes8[ as]
| %20
g2\)
| %21
g4\( e8[ d]
| %22
c2\)
}
voceLyrics = \lyricmode {
Sa __ _ _ sa __ _ _ sa -- _ ge
}
KlavierMusicUpper = \new Voice \relative c'' {
\clef treble
s2*16
| %17
<<
{ c8\( as32 f f c c'8 as32 f f c }
\\
{ c'32 as c as as8 c32 as c as as8 }
>>
| %18
<<
{ c8 as32 f f c c'8 as32 f as f\) }
\\
{ c'32 as c as as8 c32 as c as as8 }
>>
}
KlavierMusicLower = \new Voice \relative c {
\clef bass
s2*16
| %17
f,4.\laissezVibrer c'8~
| %18
c8\laissezVibrer f4.\laissezVibrer
| %19
}
\score {
<<
\override Score.BarNumber.font-size = #.5
\override Score.BarNumber.padding = #2.2
\override Score.BarNumber.self-alignment-X = #left
\override Score.BarNumber.font-shape = #'italic
<<
\new ChoirStaff = "Staff_voci"
\with {
\override VerticalAxisGroup.default-staff-staff-spacing =
#'((basic-distance . 12)
(minimum-distance . 9)
(padding . 1)
(stretchability . 10))
}
<<
\new Staff = "voce" <<
\override Staff.InstrumentName.self-alignment-X = #LEFT
\set Staff.instrumentName = \markup \left-column \abs-fontsize #10
{ Voce }
\set Staff.midiInstrument = #"synth voice"
\new Voice = "voce" {
\global \voceMusic
}
>>
\new Lyrics \lyricsto "voce" {
{ \voceLyrics }
}
>>
>>
\new PianoStaff = "Staff_klavier" <<
\override PianoStaff.InstrumentName.self-alignment-X = #LEFT
\set PianoStaff.instrumentName = \markup \left-column {
\abs-fontsize #10 \line { Piano } }
\new Staff = "pianoupper" <<
\global \KlavierMusicUpper
>>
\new Staff = "pianolower" {
\global \KlavierMusicLower
}
>>
>>
\layout {
\context {
\Staff \RemoveEmptyStaves
}
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
}
Here's the problem: if I comment out the music for the piano in the upper
staff of bar 17, the lyric extender in the voice part goes all the way to
bar 18 like it should. But with that music there, the extender line from
the lyric ("Sa __ _ _ ") only goes about a 16th-note duration, and then
stops abruptly.
What might be causing this behavior?
Cheers,
A
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Re: LD_LIBRARY_PATH in different installation contexts
Hi Urs, List, On Tue, Apr 11, 2017 at 11:04 AM, Urs Liska wrote: > b) Linux, self-compiled > I've never experienced this issue with self-compiled LilyPonds. I assume > this is *not* because self-compiled versions implicitly use the bundled > libs but because they implicitly compile against what is available in the > system. But if that assumption is correct I'd experience the same issue if > I should run a self-compiled Lilypond that has been compiled some time ago, > e.g. before a major Linux upgrade. > This was my previous method, building from most recent source (which oddly also reported itself as a version more recent [ie, higher version number] than that listed on the website as the latest source). However, I am no longer able to get a working Lilypond via this method, because Gentoo Linux has dropped support for Guile-1.*. Does newer Lily work with Guile-2.*, or would this still be an issue? I'm also unfortunately not able to help in the more generic issue of ghostscript, because I was updating Lily fairly regularly and can't check your alternative case. However, for the brief window when 1) I still had Guile-1.* on my system and 2) had a version of ghostscript that differed from that packaged with Lily, this was the issue I would encounter. I wrote the list a couple times over this issue, I think back in November or so. Hope that helps (though, let's be realistic here: I'm not very helpful, alas!), A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separate Emmentaler/Fonts
Hi Urs, thanks for the link. I only needed the font for specific glyphs (sharp signs and the like), which I presume are individual glyphs that would still work within a body of regular text, yes? On Tue, Apr 11, 2017 at 12:03 PM, Urs Liska wrote: > Of course you have to note that the fonts will not work anywhere outside > LilyPond. > Well, if you're using LaTeX (haha) you can easily make use of it using > that package (which is also part of TeXLive (which also means the fonts are > present in that too)). > Well, *I* certainly use LaTeX, like a civilized person, but my partners in this project are philistines. I tried explaining how you and I proofed your paper over git, and all I got was a blank stare. I think the vast majority of the (text) publishing world still basically operates as if they're using hard copies. I throw up just thinking about it. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Separate Emmentaler/Fonts
Hi List, quick question: is there a place online where I can download the Emmentaler font separately? I'm trying to recommend it for a translation project I'm doing, and I don't want to start my advice with "step 1, install Lilypond" because these people aren't actually music typesetters. On a side note, is fonts.openlilylib.org still down? The main page still says "we're moving!" Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ghostscipt failure 256
I recall being instructed to try the packaged Lily, as it came with a built-in gs binary. Doing that, I no longer had this error. Peter: when you get that error message, can you try going into the containing directory in a console, and running the *exact command that fails* (the one in the parentheses after "warning:") and see if it works? Or if you get different output? Cheers, A On Thu, Apr 6, 2017 at 3:42 PM, David Wright wrote: > On Thu 06 Apr 2017 at 13:07:24 (+0200), N. Andrew Walsh wrote: > > Hi Peter, > > > > I ran into Error 256 a while back. I solved it by using a newer version > of > > Lily (the 2.19 branch) installed from the package from the website. > > > > HTH, > > > > A > > I didn't see a report that you'd fixed this. I thought you were > already running verion 2.19.54 when you had this problem back in > February. > > > On Wed, Apr 5, 2017 at 9:31 PM, Pieter Terpstra < > peter.terpst...@gmail.com> > > wrote: > > > > > > > > Dear people, > > > With one file that i wanted to reedit today gives now a failure, it > worked > > > fine in june, 2016. > > > > > > Will not post it here because it is 1274 lines long. > > > > > > The log says this: > > > Layout output to `120-Arpeggios.ps'... > > > Converting to `./120-Arpeggios.pdf'... > > > warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 > > > -dDEVICEHEIGHTPOINTS=792.00 - > > > dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite > > > -sOutputFile=./120- > > > Arpeggios.pdf -c.setpdfwrite -f120-Arpeggios.ps)' failed (256) > > > > > > fatal error: failed files: "/home/neljor/LLP/Giuliani/ > > > Opus1/120-Arpeggios.ly" > > > Exited with return code 1. > > > > > > Version ghostscript is 9.15, have also tried 9.20 with the same result. > > > Lilypond version is 2.18.2 > > > > > > Any ideas?? > > > > > > Thank you so much in advance! > > > > > > Peter > > Cheers, > David. > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ghostscipt failure 256
Hi Peter, I ran into Error 256 a while back. I solved it by using a newer version of Lily (the 2.19 branch) installed from the package from the website. HTH, A On Wed, Apr 5, 2017 at 9:31 PM, Pieter Terpstra wrote: > > Dear people, > With one file that i wanted to reedit today gives now a failure, it worked > fine in june, 2016. > > Will not post it here because it is 1274 lines long. > > The log says this: > Layout output to `120-Arpeggios.ps'... > Converting to `./120-Arpeggios.pdf'... > warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 > -dDEVICEHEIGHTPOINTS=792.00 - > dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite > -sOutputFile=./120- > Arpeggios.pdf -c.setpdfwrite -f120-Arpeggios.ps)' failed (256) > > fatal error: failed files: "/home/neljor/LLP/Giuliani/ > Opus1/120-Arpeggios.ly" > Exited with return code 1. > > Version ghostscript is 9.15, have also tried 9.20 with the same result. > Lilypond version is 2.18.2 > > Any ideas?? > > Thank you so much in advance! > > Peter > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suggestion for Frescobaldi: engrave parent
Hi Urs (and the other Andrew), > On 4 March 2017 at 21:55, Urs Liska wrote: > >> From your post it sounds like this is what you need. But if you're >> talking about the Kayser project you actually need >> >> b) >> You can pin one of the documents to be compiled. You can either check >> LilyPond->Always Engrave (if the document is the currently active one) or >> you can right-click on a document tab to check the same option. >> > Yup, this is what I was looking for. That's an excellent feature, so I'm glad it's already in place. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Suggestion for Frescobaldi: engrave parent
Hi List, I'm back to doing engraving work (after Urs has very helpfully helped me get my project back in order), and I've realized something again that I've wished Frescobaldi had as part of its functionality. In my other, tex-based text editor (LyX, which is excellent for editing large documents btw), you also have the ability to use something similar to included files as part of your master document. In addition to the usual compile functions, there is however also one for when you are editing the child documents, which causes the *parent* document to compile. This is very useful when your child document does not have any of its own settings specified, and so can't compile on its own (in Tex, settings are inherited from parent documents, so things like font choices, specific packages to use, etc., are applied to the master document and all its included children consistently, much like how \includes work with Lily). Would there be a way to add a similar functionality to Frescobaldi? That is, if a document is open for editing, and also the parent document that is actually the one on which you run Lily to compile the "master" document, that a button or key-combination could invoke Lily on the parent, and output that to the preview window? It's a minor feature, but it would save me having to tab over to the parent document every time I want to update the file I'm editing. On a side note, I'm really happy to be able to work on music again, and to see how much Lily and Frescobaldi have improved since last fall. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi List, so, I did some digging regarding this error I've been getting with pdf output (see below). I found this note to lilypond-users from two years ago: https://lists.gnu.org/archive/html/lilypond-user/2014-01/msg00932.html The money line is to comment out the last line of /usr/share/ghostscript/[$GS_VERSION]/Resource/Init/Fontmap, which reads: (Fontmap.local) .runlibfileifexists When I replaced that line with: %(Fontmap.local) .runlibfileifexists pdf output worked correctly with lilypond/frescobaldi. Some further information: Before this workaround, console output returned the following when running the same command from console that was failing in frescobaldi: $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=lamento.pdf -c.setpdfwrite -f/tmp/lilypond-3iqFdT GPL Ghostscript 9.20: Can't embed the complete font LinLibertineO as it is too large, embedding a subset. GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOI as it is too large, embedding a subset. GPL Ghostscript 9.20: Can't embed the complete font LinLibertineOB as it is too large, embedding a subset. $ If, however, the intended output filename has whitespaces, I get the following error: $ gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=Reinhold Urmetzer - Lamento di Achille.pdf -c.setpdfwrite -f/tmp/lilypond-DDb0P7 Error: /undefinedfilename in (Urmetzer) Operand stack: Execution stack: %interp_exit .runexec2 --nostringval-- --nostringval-- --nostringval-- 2 %stopped_push --nostringval-- --nostringval-- --nostringval-- false 1 %stopped_push Dictionary stack: --dict:1211/1684(ro)(G)-- --dict:0/20(G)-- --dict:78/200(L)-- Current allocation mode is local Last OS error: No such file or directory GPL Ghostscript 9.20: Unrecoverable error, exit code 1 $ So, to review: if the filename has spaces, gs output will fail both in frescobaldi and from console if the filename does not have spaces, output fails in frescobaldi, and also running lilypond from console, but not running the last 'gs' command from console if that last line about Fontmap.local is commented out in /usr/share/ghostscript/[$GS_VERSION]/Resource/Init/Fontmap, pdf output works in both console and frescobaldi. So, is this a bug/defect somewhere in frescobaldi/lilypond/ghostscript? If so, which? Cheers, A On Wed, Feb 15, 2017 at 2:15 PM, Wols Lists wrote: > On 13/02/17 15:23, David Wright wrote: > >> It seems daft to me that you need "w" permissions, and I haven't > >> > experimented deeply with it, but if I have access to a file, why > >> > shouldn't I be able to create a link to it? > > Because it's a security risk. Geriatric unixers might wonder why their > > suid scripts no longer work: similar reasons. > > > > https://lwn.net/Articles/502621/ > > > Thank you very much indeed. I've relaxed hardlink security on my machine > (well, hopefully next time I boot), and starred your email for reference > :-) > > Cheers, > Wol > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
patches for python-poppler-qt5
Hi List, I'm not sure how many people have a similar case to mine, but I have had difficulty with installing frescobaldi on my system. The latest version depends on python-poppler-qt5, which in turn requires that the -c++11 flag is passed to the c compiler (don't know how to do this running 'python3 setup.py build' on the git version), and also had problems with sip-4.19. Sip upstream has issued a number of patches recently, however, which now makes compile of python-poppler-qt5 work on my system. I wrote a package file to pass the needed flags to the compiler to install sip and python-poppler-qt5 using the regular package manager. So: if anybody else is having this issue, the patch for sip (for a gentoo Linux system, but should be transferable to other distros) is here: https://bugs.gentoo.org/show_bug.cgi?id=606704#c8 If anybody here is also running gentoo, I can pass along the ebuild for python-poppler-qt5 (though I'll probably submit it to the bug tracker so that it's publicly accessible regardless). Frescobaldi from latest git no longer gives a warning in its display window that I need to install poppler-qt5 to view PDFs. (Now, if I could just figure out that ghostscript bug, so that I could actually *generate* PDFs, I'd be doing much better). Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi David, > > The import of my post was to raise the question of whether the parts > of your LP system are incompatible and, if so, whether that was > brought about by the source of your LP system (which would probably > affect many people) or just a problem in your own setup. Well, the best I can do is say that I downloaded the most recent tarball into ~/[$lilypond-dir], ran /[$lilypond-dir]/bin/uninstall-lilypond, and then installed the new tarball with 'sh lilypond-2.19.54-1.linux-64.sh --prefix [$lilypond-dir]/'. (there's actually another option I remember having as part of the tarball install, but I can neither remember it nor find it in the console buffer or under --help). That should have installed a self-contained Lily install, yes? And I would repeat here the addendum I made to my first message: I was able to use lilypond-2.19.52 without error mid-January, and was unable to do so after updating some packages (including ghostscript). But if Lily is using her own internal invocation of ghostscript, that shouldn't even matter, right? So I'm not sure wherein the problem lies. Thanks for the help, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi David, > > The first example on: > http://lists.gnu.org/archive/html/lilypond-user/2016-06/msg00123.html > > $ ~/lilypond-2.19.42.1/bin/lilypond e.ly > > runs this (now newer) script: > > #!/bin/sh > me=`basename $0` > export LD_LIBRARY_PATH="/home/david/lilypond-2.19.49-1/lilypond/usr/lib" > exec "/home/david/lilypond-2.19.49-1/lilypond/usr/bin/$me" "$@" > That's the command I used (ie, invoking Lily from its local /bin directory, and not its local /usr/bin), and it still failed with the error described. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi Urs, > > Does this error appear when you run lilypond from the command line or only > when you run it from Frescobaldi? This error occurs from the command line as well. It also failed to find the openlilylib installation, but that's just because I don't know how to add a search path from the command line. Regardless, I should also mention that I was able to compile the same file earlier (back in January), and hadn't done anything with Frescobaldi or Lily between then and now (well, except now I've upgraded Lily in an effort to fix the issue). David: how do you "avoid using the wrapper script"? And how do you work around this issue? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi Joram, > > Does it also happen when the file name does not contain spaces? > yes, it does. I tried with a renamed file, and got the same error. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
Hi Jean, I have 32GB of RAM. I have never seen that tick over 20% use, for anything, so I don't think it's an issue with memory. Cheers, A On Sat, Feb 11, 2017 at 9:08 PM, Jean Brefort wrote: > Le samedi 11 février 2017 à 20:55 +0100, N. Andrew Walsh a écrit : > > PS- ghostscript on my system (gentoo Linux) recently updated: on Jan > > 31st to 9.20-r1. Can anybody else check and see if they encounter the > > same issue with that version of ghostscript? Trawling back through > > old github issues and forum archives shows a number of times over the > > years where a ghostscript update changed some part of the code and > > Lily wasn't yet adapted. For the record, I'm running Lilypond- > > 2.19.54-1, 64-bit. > > > > On Sat, Feb 11, 2017 at 8:36 PM, N. Andrew Walsh > l.com> wrote: > > > Hi List, > > > > > > I realize this isn't strictly an issue with Lily, but pdf output > > > recently started failing. I see the following message in the > > > console output: > > > > > > Layout output to `/tmp/lilypond-CFV9h3'... > > > Converting to `Reinhold Urmetzer - Lamento di Achille.pdf'... > > > warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 > > > -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE > > > -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=Reinhold Urmetzer - > > > Lamento di Achille.pdf -c.setpdfwrite -f/tmp/lilypond-CFV9h3)' > > > failed (256) > > > > > > 'gs' is the ghostscript binary, but I haven't updated that > > > recently, nor any of its dependencies (the closest I could find in > > > recent updates was "podofo", which seems only marginally related to > > > pdf generation). > > > > > > Is there a way to check what the exact error might be here? I > > > suspect a recent package update somewhere changed a shared library > > > and I'll need to recompile something, but I'm not sure what. Any > > > suggestions? > > > > > > Cheers, > > > > > > A > > > > Hi, > > I get that for large score because of not enough RAM. > > Regards, > Jean > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ghostscript fails on pdf generation
PS- ghostscript on my system (gentoo Linux) recently updated: on Jan 31st to 9.20-r1. Can anybody else check and see if they encounter the same issue with that version of ghostscript? Trawling back through old github issues and forum archives shows a number of times over the years where a ghostscript update changed some part of the code and Lily wasn't yet adapted. For the record, I'm running Lilypond-2.19.54-1, 64-bit. On Sat, Feb 11, 2017 at 8:36 PM, N. Andrew Walsh wrote: > Hi List, > > I realize this isn't strictly an issue with Lily, but pdf output recently > started failing. I see the following message in the console output: > > Layout output to `/tmp/lilypond-CFV9h3'... > Converting to `Reinhold Urmetzer - Lamento di Achille.pdf'... > warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 > -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH > -r1200 -sDEVICE=pdfwrite -sOutputFile=Reinhold Urmetzer - Lamento di > Achille.pdf -c.setpdfwrite -f/tmp/lilypond-CFV9h3)' failed (256) > > 'gs' is the ghostscript binary, but I haven't updated that recently, nor > any of its dependencies (the closest I could find in recent updates was > "podofo", which seems only marginally related to pdf generation). > > Is there a way to check what the exact error might be here? I suspect a > recent package update somewhere changed a shared library and I'll need to > recompile something, but I'm not sure what. Any suggestions? > > Cheers, > > A > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
ghostscript fails on pdf generation
Hi List, I realize this isn't strictly an issue with Lily, but pdf output recently started failing. I see the following message in the console output: Layout output to `/tmp/lilypond-CFV9h3'... Converting to `Reinhold Urmetzer - Lamento di Achille.pdf'... warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=Reinhold Urmetzer - Lamento di Achille.pdf -c.setpdfwrite -f/tmp/lilypond-CFV9h3)' failed (256) 'gs' is the ghostscript binary, but I haven't updated that recently, nor any of its dependencies (the closest I could find in recent updates was "podofo", which seems only marginally related to pdf generation). Is there a way to check what the exact error might be here? I suspect a recent package update somewhere changed a shared library and I'll need to recompile something, but I'm not sure what. Any suggestions? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overextended volta alternatives
Well, On Wed, Jan 25, 2017 at 6:38 PM, Simon Albrecht wrote: > On 25.01.2017 18:33, N. Andrew Walsh wrote: > >> the \break statements within an \alternative block are causing the >> counter to register another ending, for some reason. >> >> let me clarify: the \break statements were *in between* the three enclosed music statements that comprised the \alternative block. So it might have been that Lily assumed them to be independent statements. I suppose I could have put them inside the brackets, but as I'm fine with Lily's default layout, I'll leave them out. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overextended volta alternatives
Update: as was pointed out earlier today, fiddling with an MWE often helps
solve the problem. In this case, here's what's going on: the \break
statements within an \alternative block are causing the counter to register
another ending, for some reason. If I delete both \break statements, then I
can have three \alternative blocks with a \repeat volta 3 statement, and
the time/key signatures reappear.
So, uh, thanks for the help?
Cheers,
A
On Wed, Jan 25, 2017 at 6:23 PM, N. Andrew Walsh
wrote:
> Hi List,
>
> I have a somewhat difficult issue with volta and alternative endings.
> First, a verbal description:
>
> I have a score in which a passage is repeated 3 times, each with a
> different ending. At the last ending, I have a section that repeats thrice,
> followed by three separate endings. So, here is a MWE:
>
> \version "2.19.52"
>
>
> \relative c' {
> \time 4/8
> \repeat volta 5 {
> s2*24 |
> }
> \alternative {
>{ % 25-28
>\mark \default
>s2*4
>
>| % 29-30
>\time 2,2,3 7/8
>s1*7/8*2
>\bar "||"
>
>| %31
>s1*7/8
>
>| % 32-35
>\time 4/8
>s2*4
>
>
>| %36-37
>s2 | s4 s8 s16 s16^\markup { \right-align { "D.S. al Coda" } } |
>}
>\break
>{
>% 38-52 (copied from "Abschied")
>\mark \default
>\once \override Score.MetronomeMark.extra-offset = #'(1 . 2.75)
>\tempo 8 = 104
>\time 4/4
>\key b \major
> s1*15 \bar "||"
>
>%53-57
>\mark \default
>s1*5 | }
>\break
>{
>% 58-59
>\mark \default
>\once \override Score.MetronomeMark.extra-offset = #'(1 . 0)
>\tempo "Lento (Tempo I)"
>\time 4/8
>\key b \minor
>s2*2 |
>}
>
>}
> s2*4
> \bar "|."
> }
>
> here's the issue: there are only three alternative endings that I can see
> -- the ones starting at 25, 38, and 58 --, but Lilypond gives me the
> following error if I have any fewer that 5 repeats given to volta:
>
> warning: More alternatives than repeats. Junking excess alternatives
>
> furthermore, in my complete file, the \time and \key statements in the
> last alternative block are ignored, so that I get a bunch of barcheck
> failures.
>
> Can you let me know what I'm doing wrong here?
>
> Cheers,
>
> A
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
overextended volta alternatives
Hi List,
I have a somewhat difficult issue with volta and alternative endings.
First, a verbal description:
I have a score in which a passage is repeated 3 times, each with a
different ending. At the last ending, I have a section that repeats thrice,
followed by three separate endings. So, here is a MWE:
\version "2.19.52"
\relative c' {
\time 4/8
\repeat volta 5 {
s2*24 |
}
\alternative {
{ % 25-28
\mark \default
s2*4
| % 29-30
\time 2,2,3 7/8
s1*7/8*2
\bar "||"
| %31
s1*7/8
| % 32-35
\time 4/8
s2*4
| %36-37
s2 | s4 s8 s16 s16^\markup { \right-align { "D.S. al Coda" } } |
}
\break
{
% 38-52 (copied from "Abschied")
\mark \default
\once \override Score.MetronomeMark.extra-offset = #'(1 . 2.75)
\tempo 8 = 104
\time 4/4
\key b \major
s1*15 \bar "||"
%53-57
\mark \default
s1*5 | }
\break
{
% 58-59
\mark \default
\once \override Score.MetronomeMark.extra-offset = #'(1 . 0)
\tempo "Lento (Tempo I)"
\time 4/8
\key b \minor
s2*2 |
}
}
s2*4
\bar "|."
}
here's the issue: there are only three alternative endings that I can see
-- the ones starting at 25, 38, and 58 --, but Lilypond gives me the
following error if I have any fewer that 5 repeats given to volta:
warning: More alternatives than repeats. Junking excess alternatives
furthermore, in my complete file, the \time and \key statements in the last
alternative block are ignored, so that I get a bunch of barcheck failures.
Can you let me know what I'm doing wrong here?
Cheers,
A
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avoiding collisions between markup, tempo, and \mark
Hi List,
I have the following code:
systembreaks = \new Voice {
\mark \default
\tempo "A tempo" 8 = 104
s2^\markup { \musicglyph #"scripts.segno" } | s2*15 \bar "||"
}
in a voice that contains all the tempo/key changes, and other such
markings. In this case, the \markup segno is colliding with the tempo
indication (and I can't set it as a \mark, because I already have one of
those at this point). Likewise, at other points the tempo indication is
colliding with slurs.
What I would like to do is keep the segno where it is currently aligned,
and move the tempo marking out of the way (a little bit to the right should
do). How can I do this? I assume it's a simple \once \override statement,
but I haven't had any luck finding it. Would anybody mind pointing it out?
On a side note, there doesn't appear to be any part of the NR that talks
about how to set up \segno statements in general, aside from how to place
in-stave ones on barlines (as part of NR 1.4.1). There's a mention in the
snippets, but it's a bit unclear how one would go about it in normal use
cases. Likewise, the NR itself doesn't discuss tempo indications; it's only
part of the introductory manual. It'd be nice to have both of these (and
similar marks like codas) discussed in more detail as part of the NR's
discussion of repeats, as some of them can get a bit … baroque.
Cheers,
A
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Re: Frescobaldi segfault with PyQt4-
Hi Urs, On Tue, Jan 17, 2017 at 1:31 PM, Urs Liska wrote: > > Ah, try to use SVG as a temporary workaround. > > Urs > > SVG output works (though, since I use a dark color scheme, the output appears as black on dark, which makes it hard to read. But I can cope with that for the time being. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi segfault with PyQt4-
Hi Wilbert, python-poppler-qt4 no longer compiles on my system (I suspect due to incompatibility with recent ABI changes in sip, but I'm just speculating), so I'm trying to install frescobaldi and python-poppler-qt5 from your git repository. I'm encountering an error with python-poppler-qt5, in that it doesn't seem able to recognize my compiler's C++11 support: see the comment I just posted at https://github.com/wbsoft/frescobaldi/issues/838. frescobaldi itself starts fine, so at least I can do some basic editing work in the meantime. Cheers, A On Tue, Jan 17, 2017 at 10:01 AM, Wilbert Berendsen wrote: > Op Wed, 11 Jan 2017 22:36:06 +0100 > "N. Andrew Walsh" schreef: > > > Hi List, > > > > I'm wondering if anybody is having recent issues with Frescobaldi. I > > run a rolling-release distro (gentoo), so I install/update packages > > on an ongoing basis. In this case, the only package in frescobaldi's > > dependency tree that's been updated since mid-December is PyQt4, > > which just saw the final release of 4.12 this last week. > > > > Now, Frescobaldi segfaults on startup, with no error message. > > > > Can anybody else on the list report similar or differing experiences? > > Anybody else having issues? > > > > Probably a rebuild of python-poppler-qt4 is needed. Also, be sure to > remove older installations of python-poppler-qt4 which could reside in > a different location. > > -- > Wilbert Berendsen, musician > ‣ mail: i...@wilbertberendsen.nl > ‣ web: www.wilbertberendsen.nl > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Faking a time signature
Hi Jacques, my first instinct (given my very limited experience with mensural notation or as a music historian) is that this is a transcription error. The historical time signatures of mensural music did not include a symbol for 4/2: there were either three or two semibreves to a bar, and these were subdivided into either three or two minims. The C and slashed-C signatures we have today both derive from the sign that indicated two semibreves divided into two minims each. See https://en.wikipedia.org/wiki/Mensural_notation#Mensurations. But on the other hand, mensural notation sometimes got really avant-garde: the Squarcialupi Codex is full of pieces with notation that appears in no other sources, and which is often explained on the verso of the page. My advice would be to find an edition that gives a sample of the original notation, and adjust your modern notation accordingly. In this case, I'd probably reduce all note-values by half and keep the slashed-c in the time signature. But like I said: my own expertise in this area is rather limited. Cheers, A On Fri, Jan 13, 2017 at 2:29 PM, Menu Jacques wrote: > Hello folks, > > In a Canzon by Gabrieli, we have 4/2 time written as slashed C: > > > I tried: > > \once \override Score.TimeSignature.stencil = ##f > \numericTimeSignature\time 2/2 | % 1 > \numericTimeSignature\time 4/2 | % 1 > > but this displays no time signature at all since both \time’s occur at the > same point in time. > > Thanks for your help! > > JM > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi segfault with PyQt4-
Hi Michael, On Thu, Jan 12, 2017 at 11:22 AM, Michael Gerdau wrote: > python-ly-0.9.4 and python-poppler-qt4-0.24.0 > according to this bug: https://bugs.gentoo.org/show_bug.cgi?id=604472, the 0.24.0 version of python-poppler-qt4 does not compile against sip-4.19. I'm not even sure where they found the 0.24.0 version, as it's not in our regular repository. I also don't find a version of python-poppler-qt that uses qt5, so I'm not sure the solution over at the github issue (where frescobaldi-3* is being run against qt5, and apparently works ok when python-poppler-qt[5] is recompiled) would work for me. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi segfault with PyQt4-
Hi Michael, On Thu, Jan 12, 2017 at 10:16 AM, Michael Gerdau wrote: > I'm also on a rolling release distro (ArchLinux) and they recently > rolled out Python 3.6. As a consequence I had to manually reinstall some > python packages (pyly and poppler integration) that are not part of the > official repositories. After having done that all problems were gone. > My version of python-poppler-qt4 no longer compiles against sip (version 4.12 apparently breaks the ABI). So I'm stuck. *sigh* and I just got back to working with Lily again (my system also moved to Guile-2 last summer, so I have *that* problem as well and have to run off the precompiled binaries of Lily that come with Guile-1.8 prepackaged). Or did you mean some other package when you referred to "poppler integration"? Is "pyly" the python-ly package? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Frescobaldi segfault with PyQt4-
Hi List, I'm wondering if anybody is having recent issues with Frescobaldi. I run a rolling-release distro (gentoo), so I install/update packages on an ongoing basis. In this case, the only package in frescobaldi's dependency tree that's been updated since mid-December is PyQt4, which just saw the final release of 4.12 this last week. Now, Frescobaldi segfaults on startup, with no error message. Can anybody else on the list report similar or differing experiences? Anybody else having issues? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Openlilylib snippets announcement
Maybe someone on the list can help me quickly, because I *always* lose the instructions: On Tue, Nov 22, 2016 at 3:00 PM, Urs Liska wrote: > > > 1) > openLilyLib snippets (and packages) are designed to be includable. That > means once you have "installed" openLilyLib (by downloading/cloning and > adding it to LilyPond's include path) you can access the functionality > exposed in openLilyLib. Snippets from the LSR have to be copied and > pasted in your own files. > How do I actually install the oll repository locally? I don't see any instructions at https://github.com/openlilylib for how to do this. I assume it's with the 'git remote add' command, but I don't see this explicitly stated anywhere. Can one of you please help? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Photoscore
On Mon, Nov 28, 2016 at 5:12 PM, Johan Vromans wrote: > > For what reason do they still insist on tools and not on results? > The argument I've heard from my commercial publisher is that they need to be able to edit the files later, such as in the case of scholarly/definitive editions where the state of research regarding the "true" version of a piece might change. I made my contact there the exact same offer: I could serve up a PDF that would meet all of their standards, and they flatly refused on this reason. And to answer your other questions: I would never configure Lily to look like Sibelius, because Sibelius' output, even under the best circumstances, still looks terrible to me. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Photoscore
There's hope for your wife! My elderly mother had a side job pre-retirement setting up computer systems for small businesses (like, server plus maybe a dozen workstations), and through me got into Linux. Now she rolls Linux Mint, and got my dad -- who first thought my installation of OpenOffice on his Windows machine was "Linux" -- onto Ubuntu. Now neither one of them will ever look back. To address the argument at hand: how one negotiates with commercial publishers on submitting jobs is outside the scope of the questions surrounding how Lily might be improved to export to whatever format they insist on, and the resolution of that issue depends more on matters of ethics and philosophy than technical matters of toolchain management. I've done plenty of work, for example, for commercial (text) publishers who have requested submissions in .doc format. I've explained to them that I do not have native Word, but can export from LibreOffice (with the caveat that I can't guarantee the formatting will match what I see locally), and I've never had an issue. I honestly think it's inappropriate for a contract-giver to dictate to me what tools I use locally, so long as my output can match their standards to a reasonable degree (and especially since they do their own formatting in-house regardless). The problem here is that neither Sibelius nor Finale is ever going to have development work done on making sure its MusicXML *import* will work properly: iirc (Urs, correct me if I'm wrong here), Sibelius' publisher fired all its core developers in 2012, so they have no one with the technical expertise with the core code to make such changes. Whether Dorico (which is where those devs went) implements such functionality is an open question (though, I'd be pretty certain that the terms of their departure include a non-compete clause, so interoperability with Sib would *still* be foreclosed). But I think it is much more in *our* interest to focus on getting export from .ly files into any number of other formats (but chiefly MusicXML) to work better, so that these issues don't come up. This benefits not only Lily engravers who have to work with commercial publishers locked into Finale/Sibelius, but also would greatly aid our future work with, for example, the MEI. After my experience this week -- in which we found that producing a PDF with Lily, then using an OCR (SharpEye, with many thanks to Phil Holmes who did the work) to output to Sib worked much faster and better than Frescobaldi's MusicXML export (though this may be my own fault, as the .ly files are rather convoluted) -- I would really love to see that side of Lily's workflow improve. Cheers, A On Mon, Nov 28, 2016 at 10:23 AM, Urs Liska wrote: > > > Am 28.11.2016 um 10:11 schrieb David Kastrup: > > Chris Yate writes: > > > >> Hi Andrew > >> > >> > >> > >> Apologies in advance, I'm going to be *that guy*... ;-) > >> > >> > >> For what it’s worth, I’m a huge fan of Linux, Lilypond and Muse and all > the > >> other wonderful **free** tools that we have available BUT if I was > in > >> any sense interested in working with a commercial publisher – especially > >> for paid work, I wouldn’t mess about. I’d buy a copy of Windows, if I > >> didn’t already own one, > > You mean, if it doesn't already own you. My father is a retired > > professor of theoretical physics who is still publishing. He received a > > final draft of such a paper back from a physics journal along with > > instructions to put any corrections into PDF annotations. So I > > installed Okular for him. > > > > Since the instructions were very detailed but only fit Acrobat Reader, > > he decided to use that after all and started up Windows. Which decided > > to do a few updates. > > > > The only partition on his computer that is now still a Linux partition > > is the swap partition. > > > > Windows decided to update itself to Windows 10 (without asking back, of > > course) and decided to move all of Windows 8 into recovery partitions. > > Instead of partitioning off space from the existing Windows partition, > > it decided to rather junk all the Linux partitions and repurpose them. > > > > This is why this is called the "Windows 10 anniversary edition": it's > > like your wife celebrating your wedding anniversary by murdering your > > mistress and draping her on your bed. > > > > It is quite unclear how much, if anything, will be salvageable from his > > actual work environment. > > > > All of the Linux partitions are now "Windows recovery environment" or > > "Microsoft basic data" partitions and it is not clear how much of the > > original data will still be in there. > > > > Really, if you still have some dual boot environment, remove the Windows > > partition as fast as you can before it destroys your system. > > > > Microsoft is taking the last stand on the desktop and will go down with > > it. Don't let it take out its despair on your property. > > Wow. > One more reason to fight as hard a
Re: Photoscore
Hi Andrew, Sibelius includes the "lite" version, which doesn't read note-values smaller than a 16th (see the features page). I would need someone with the full version. Cheers, A On Tue, Nov 22, 2016 at 11:19 AM, Andrew Bernard wrote: > Hi Andrew, > > > > Not a Sibelius user myself, but isn’t Photoscore included in Sibelius? If > you have to use that program to do the job, then would it not have > Photoscore already? > > > > http://www.sibelius.com/products/photoscore/lite.html > > > > Andrew > > > > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Photoscore
Hi List, I've unfortunately run up against a suddenly very urgent deadline, that involves all the worst things about doing engraving work with Lily while trying to work with entrenched commercial interests. Namely, I've spent the last year engraving a set of scores with Lily that look great, but for a project that was financed by a large commercial publisher that is dead-set on Sibelius. The financing depends on the publisher getting a .sib file, and the project lead just told me yesterday that I need to produce such a file in a week or two "or else." I don't have Sibelius (I roll linux), but my partner does, so Urs and I have a sort of hacky solution that might work: I start with a blank sib file with all the voices and measures and meter changes, and then the individual voices of the score from the .ly file. The .sib file gets exported to a MusicXML file, as do the parts from the .ly file, and we're going to try to copy the latter into the former, hoping that we can re-import into Sibelius into something that only requires a reasonable amount of work to clean up and submit. Problem is, MusicXML is turning out to be somewhat … sub-functional, so we're having difficulties. However, my partner tells me that there's a commercial program called "Photoscore" that can take scanned scores and produce Sibelius files from them. But it's around $400, and (obviously) doesn't have a linux version. My question for the list is: do any of you have this program? Does it work? If so, would you be willing to help me by scanning in the Lilypond scores I have? If we could get to a .sib file that even just *mostly* contains what it needs to, without all this import/export buggery, it would save huge amounts of time. Please let me know asap if any of you do. Like I said, I'm under a deadline to get this done, and the alternative is a lot of time spent commuting to a computer lab off-site to re-enter everything manually. I'm *really* hoping one of you can spare me that fate. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Solution to 7 over sqr(71) time against integer polyrhythms
Hi Andrew, the most efficient way for you would be to set up a filter in gmail. Since every communication seems to involve the OP's email address, you should be able to set gmail to filter out based on that. Go to the top message of this thread. Click the "More" dropdown and select "filter messages like these." Enter maclaren's email address in the "has the words" field. Select the checkbox to apply the filter to all the messages in your inbox that already match, and see if it catches replies as well. Select "move to trash" (or whatever the equivalent is) for the resultant action. That should automatically catch and trash any messages to or from maclaren, and you should thus never have to read them. If (for some reason) it doesn't work, let us know. Cheers. Also, Andrew On Tue, Nov 22, 2016 at 10:34 AM, Andrew Bernard wrote: > Dear listers, > > Would somebody be able to help me with advice and guidance on how to filter > out any correspondence from and about this person? I am unable to achieve > this. Any help would be appreciated. > > Sincerely > Andrew > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Guile-2?
Hi List, I asked a while back about how Lily is coming along adapting to Guile2. At the time, it sounded like patience would be necessary. But I heard a rumor that someone posted to the dev list in the last week or so about doing some work on it, is such a thing possible? If so, as I'm not on the dev list (and I imagine other users out there would be interested to hear), could someone who is be kind enough to let me/us know what the change is? I'm hoping it might get resolved sooner than the "1-2" years that was the answer last time, and I'd be thrilled if that were, indeed, the case. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A tricky example -- polyMETER against polyRHYTHM
Maybe I'm misunderstanding mclaren's example, but the graphic he posted has
a number of notational errors. To wit:
in the third voice, if the meter is 11/8, then an 11:9 tuplet will not fill
the bar, as it will only cover 9 eighth-notes. Perhaps he meant 9:11, in
which case the meter needs to change to 9/8. Or the tuplet marking is
superfluous.
Tempo indications would be needed for each voice to indicate different
tempi, or dotted lines so that it's clear that you're dealing with
poly-tempo/poly-meter rhythmic relationships. Otherwise, it's not clear
where things should align.
Cheers,
A
On Thu, Nov 3, 2016 at 11:43 AM, Klaus Blum wrote:
> Hi mclaren,
>
> aaah, now I see what you wanted to achieve.
> Same problem here: different blocks got messed up. It should look like
> this:
>
> %
>
> -
> #(set-default-paper-size "a4" 'landscape)
>
> \paper {
> indent=0
> }
>
> \layout {
> \context {
> \Score
> \accepts "TimeLine"
> \remove "Timing_translator"
> \remove "Default_bar_line_engraver"
> }
> \context {
> \Staff
> \consists "Timing_translator"
> \consists "Default_bar_line_engraver"
> \consists "Time_signature_engraver"
> }
> }
> %
>
> -
>
> Cheers,
> Klaus
>
>
>
> --
> View this message in context: http://lilypond.1069038.n5.
> nabble.com/A-tricky-example-polyMETER-against-polyRHYTHM-
> tp196030p196039.html
> Sent from the User mailing list archive at Nabble.com.
>
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Re: always set beam outside of staff
For example, the (pseudo-code) sequence:
(treble clef, relative c'')
{ b4 r8.[ d16] r8.[ e16] r8.[ g16] }
when I would notate it would always either shove the 8. rest outside of the
bar, or collide with it, or otherwise involve ugly beaming. I found I had
to re-write the rests as something like { c8.\rest[ } each time, explicitly
setting the position, and then use overrides on each group to set the stem
length. This seems like pretty kludgy code to me (and a pain to have to do
for each beam group). Cf. Gould 165.
Cheers,
A
On Thu, Sep 8, 2016 at 11:10 AM, Thomas Morley
wrote:
> 2016-09-08 8:52 GMT+02:00 Michael Winter :
> > Is it possible to force a beam to always start (vertically) a minimum
> > distance from the staff regardless of the stem direction?
> >
> > Thanks,
> >
> > Michael
>
>
>
> Hi Michael,
>
> well, it's doable. But why should I help you making LilyPond-output ugly?
> Is there any usecase which makes sense?
>
> Convince me/us! ;)
> And I will give it a try in the evening, now I have to run, job's calling.
>
> Cheers,
> Harm
>
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>
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Re: Compiling against guile-2.*
> > In a nutshell, they aren't. Once Guile 2.0.12 becomes available in > Ubuntu _or_ works reasonably well non-installed, there may be some more > attempt to get this to work, until the next Guile flaws not sanely > addressable in LilyPond are discovered and one has to wait for the next > Guile release. Guile takes about 1-2 years for a 2.0.x release these > days, and Ubuntu takes 1/4 to 3/4 years to pick up a new release. > > I guess that there will likely be still 2-3 such iterations, so it's > more likely that the game will get restarted on Guile-2.2 at some point > before it plays out on Guile-2.0. > > -- > David Kastrup > Huh. Well, that's odd. I just tried compiling Lily again, and this time it (lilypond-2.19.47, as it reports itself) worked (against guile-2.0.12). Haven't tried compiling any files yet, but whatever issue I had last week is no longer preventing compilation (or has been resolved). Cheers ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compiling against guile-2.*
On Wed, Aug 17, 2016 at 7:10 AM, David Kastrup wrote: > Jacques Menu Muzhic writes: > > > Hello Andrew, > > > > Guile 2.x features semantic changes (in memory management IIRC) that > > prevent LP from being able to use it, DK will tell you more. > This is unfortunate, as my installed versions of autogen depends on guile-2.*, and the gentoo devs say slotting guile (ie, allowing both versions to coexist on the system) doesn't seem to work. So I may be stuck at this version of Lily until it gets sorted. (or may not have it at all if Lily has to use guile to compile my .ly files). Here's hoping the Lily devs are plugging away! Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Compiling against guile-2.*
Hi List, so I'm compiling a "live" build of Lily that seems to build from git, and I got this error: WARNING: Please consider installing optional programs or files: guile < 1.9.0 (installed: 2.0.12) texi2html dblatex lh CTAN package (texlive-lang-cyrillic or texlive-texmf-fonts) ERROR: Please install required programs: guile-config < 1.9.0 (installed: 2.0.12) (guile-devel, guile-dev or libguile-dev package) GUILE-with-rational-bugfix See INSTALL.txt for more information on how to build LilyPond So, it appears that Lily won't build against guile-2.*, yes? Is this a known issue? Is there a workaround, besides blocking guile from updating past 1.9? Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: high-precision tuner app
On Thu, May 26, 2016 at 9:34 AM, Werner LEMBERG wrote: > > > "Perfect pitch" is a sham. [...] > > It seems that you don't know the facts very well. Absolute pitch is > *not* related to being a `better' musician. In fact, it's not even > related to music. Have a look at the Wikipedia article; it gives a > nice overview. > I think you might have misunderstood what I was saying. I *absolutely* do not think having absolute pitch makes you a better musician, and I specifically criticized those who do (in my case, the committees reviewing composers' scores who think having absolute pitch makes them some kind of musical savant). I specifically said that the undue attention paid to it is detrimental to creative music-making. > > In general, I consider having an absolute pitch a burden. My life > would be *much* easier if I hadn't to do transposition all the time. > I said this as well: it's a direct hindrance to being able to being able to hear musical relationships the moment the heard material deviates from what you've been habituated with. > > > I've sat in on seminars for composition, ear-training, musicology, > > music history, you name it; if one of the composers said he had > > perfect pitch, everybody's eyes lit up, and his scores are > > immediately taken more seriously. > > Pfft. Maybe this is an US thing. Here in Austria and Germany noone > takes care of that. > I've been working and teaching at a music school in Germany for eight years. I beg to disagree. It was usually the first question they asked in the ear-training seminars, and the reaction I describe for composition seminars occurred just as often. But I do agree that they take it even more seriously in the US. > > > What it really means is this: you have internalized the 12-note > > equal tempered scale -- usually through extensive piano lessons from > > an early age -- to such a point that your auditory memory is deeply > > enough ingrained that you can associate heard pitches with their > > usual note names. That's it. > > No, it's not. Please look up the facts. > >From that wikipedia article you suggested I read: Influence by music experience Absolute pitch sense appears to be influenced by cultural exposure to music, especially in the familiarization of the equal-tempered C-major scale. Most of the absolute listeners that were tested in this respect identified the C-major tones more reliably and, except for B, more quickly than the five "black key" tones, which corresponds to the higher prevalence of these tones in ordinary musical experience. One study of Dutch non-musicians also demonstrated a bias toward using C-major tones in ordinary speech, especially on syllables related to emphasis. and later: Nature vs. nurture Absolute pitch might be achievable by any human being during a critical period of auditory development, after which period cognitive strategies favor global and relational processing. Proponents of the critical-period theory agree that the presence of absolute pitch ability is dependent on learning, but there is disagreement about whether training causes absolute skills to occur or lack of training causes absolute perception to be overwhelmed and obliterated by relative perception of musical intervals. I've been working with and writing music in non-standard tunings for … 15 years. I've worked with a lot of musicians in that time, both in Germany and in the US. I can tell you from experience, and from having talked about it with acousticians and musical-cognition specialists (a number of them from the Fraunhofer Institut), that I'm pretty confident that when I say that absolute pitch is largely the result of internalizing an equal-tempered scale (and that usually within a narrow range of the standard concert pitch, be it 440 or 443 or whatever) learned through early musical training, and that a lot of musicians, composers, theorists, etc. nevertheless treat it as if it's some key to musical talent., and that this does more harm to music-making than good, I have a reasonably solid basis for asserting it to be the case. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: high-precision tuner app
> > > > Off topic, I know, but how do those gifted with perfect pitch cope with > all this? > > Michael > You ready for some polemic? "Perfect pitch" is a sham. It's a fraud perpetuated by people who think that some of us are simply born musical geniuses, with an innate ability to sense the inner nature of music directly, and from whom creative and musical expressiveness naturally and effortlessly flows. I've sat in on seminars for composition, ear-training, musicology, music history, you name it; if one of the composers said he had perfect pitch, everybody's eyes lit up, and his scores are immediately taken more seriously. What it really means is this: you have internalized the 12-note equal tempered scale -- usually through extensive piano lessons from an early age -- to such a point that your auditory memory is deeply enough ingrained that you can associate heard pitches with their usual note names. That's it. I've also sat in on ear-training seminars where the played music was to be written down transposed: the kids with perfect pitch floundered, because they couldn't actually hear the intervals, and (for them) the note names were all wrong. Likewise, play them examples in other tuning systems -- just intonation, but also meantone, pythagorean, or similar -- and likewise, they couldn't actually identify any of the notes. To them, it was all just "out of tune." I *despise* the idea of perfect pitch, because to me it's a sort of musical parlor trick that a distressingly high number of musicians have conflated with some sort of in-born propensity for musical talent, and creative music-making suffers greatly for it. But my opinions on the matter are, as the kids are saying these days, "salty." Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: high-precision tuner app
Mi Mats, Take a look at PitchLab, which already has a long list of built-in historical temperaments and lets you specify your own (see also http://polettipiano.com/wordpress/?page_id=1029). that app only seems to allow me to pre-set a temperament with 12 distinct pitches to the octave. I'm using a system of scales with over 180 distinct pitches (and which is theoretically unlimited; I just chose to stop there). > > > > > Hi Phil, > > thanks for the tip. Unfortunately, it's iOS-only (I'm on Android), and > doesn't seem to allow finer tuning than whole cents values. > Also, to answer Phil's reply, I don't have Windows. I run gentoo Linux on my computers, and cyanogenmod Android on the smartphone. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: high-precision tuner app
Hi Phil, thanks for the tip. Unfortunately, it's iOS-only (I'm on Android), and doesn't seem to allow finer tuning than whole cents values. alas! But thanks regardless. A On Mon, May 23, 2016 at 8:29 PM, Phil Burfitt wrote: > AP Tuner ? > http://www.aptuner.com > > > Phil. > > > ----- Original Message - > *From:* N. Andrew Walsh > *To:* lilypond-user > *Sent:* Monday, May 23, 2016 6:38 PM > *Subject:* OT: high-precision tuner app > > Hi List, > > I'm guessing somebody on the list might be able to help me with a somewhat > off-topic issue. > > For whatever reason (or rather: see my previous posts to the list about my > interest in just intonation) I'm trying to find a tuning app capable of > tuning to very precisely-set reference pitches. That is, when dealing with > music in just intonation, it's very common to describe a pitch with > something like "C# -49.52c" where the latter part is a deviation in cents > from a standard reference pitch (which can also be set as "A440" or some > other tuning pitch [which is sometimes necessary when dealing with European > orchestras inexorably tuning themselves higher and higher to seem more > "flashy" or whatever]). I'm trying to find a (preferably free) Android app > that can be set as precisely as possible, and then provide visual feedback > to tune my instruments. > > I normally use a Peterson virtual strobe tuner, but the screen is failing, > and it gets wobbly if the pitch isn't from an organ or similarly stable > instrument. It oftentimes jumps from the tuning pitch to its fifth, and is > hard to read. > > Is there an app out there that has the capability I'm looking for? I'm > having a hard time searching, because a lot of apps don't specify what they > mean when they say they can be fine-tuned, and they usually don't mean > this. I'd *like* it if I could get at least one decimal place; two would be > even better. > > I figure some of you work with tuners a lot, and might have some tips. > > Thanks for the help! > > A > > -- > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: high-precision tuner app
Hi Urs, Intunator does not seem to allow me to *set* the deviation in cents, which is what I need. That is, I need to pre-set the tuner to "B-flat minus 45.62 cents" or whatever, and then be able to use it to tune my instrument to match. Cheers, A On Mon, May 23, 2016 at 7:51 PM, Urs Liska wrote: > Intunator could be good for you. > > Am 23. Mai 2016 19:38:13 MESZ, schrieb "N. Andrew Walsh" < > n.andrew.wa...@gmail.com>: > >> Hi List, >> >> I'm guessing somebody on the list might be able to help me with a >> somewhat off-topic issue. >> >> For whatever reason (or rather: see my previous posts to the list about >> my interest in just intonation) I'm trying to find a tuning app capable of >> tuning to very precisely-set reference pitches. That is, when dealing with >> music in just intonation, it's very common to describe a pitch with >> something like "C# -49.52c" where the latter part is a deviation in cents >> from a standard reference pitch (which can also be set as "A440" or some >> other tuning pitch [which is sometimes necessary when dealing with European >> orchestras inexorably tuning themselves higher and higher to seem more >> "flashy" or whatever]). I'm trying to find a (preferably free) Android app >> that can be set as precisely as possible, and then provide visual feedback >> to tune my instruments. >> >> I normally use a Peterson virtual strobe tuner, but the screen is >> failing, and it gets wobbly if the pitch isn't from an organ or similarly >> stable instrument. It oftentimes jumps from the tuning pitch to its fifth, >> and is hard to read. >> >> Is there an app out there that has the capability I'm looking for? I'm >> having a hard time searching, because a lot of apps don't specify what they >> mean when they say they can be fine-tuned, and they usually don't mean >> this. I'd *like* it if I could get at least one decimal place; two would be >> even better. >> >> I figure some of you work with tuners a lot, and might have some tips. >> >> Thanks for the help! >> >> A >> >> -- >> >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> >> > -- > Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail > gesendet. > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
OT: high-precision tuner app
Hi List, I'm guessing somebody on the list might be able to help me with a somewhat off-topic issue. For whatever reason (or rather: see my previous posts to the list about my interest in just intonation) I'm trying to find a tuning app capable of tuning to very precisely-set reference pitches. That is, when dealing with music in just intonation, it's very common to describe a pitch with something like "C# -49.52c" where the latter part is a deviation in cents from a standard reference pitch (which can also be set as "A440" or some other tuning pitch [which is sometimes necessary when dealing with European orchestras inexorably tuning themselves higher and higher to seem more "flashy" or whatever]). I'm trying to find a (preferably free) Android app that can be set as precisely as possible, and then provide visual feedback to tune my instruments. I normally use a Peterson virtual strobe tuner, but the screen is failing, and it gets wobbly if the pitch isn't from an organ or similarly stable instrument. It oftentimes jumps from the tuning pitch to its fifth, and is hard to read. Is there an app out there that has the capability I'm looking for? I'm having a hard time searching, because a lot of apps don't specify what they mean when they say they can be fine-tuned, and they usually don't mean this. I'd *like* it if I could get at least one decimal place; two would be even better. I figure some of you work with tuners a lot, and might have some tips. Thanks for the help! A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
I *told* you it would be a great nerd-fight. So long as we argue in good faith, and stay friends afterwards, it's all in good spirit. <3 On Wed, Apr 27, 2016 at 8:39 PM, Rafael Ramirez Morales < rafael.ramirezmora...@gmail.com> wrote: > Thanks everybody. > > This has been one of the funniest flames in recent memory. > > Funny because a benign "do not use HTML mail" hits the fan at warp speed. > > Funny, because we are talking about LilyPond users here: > Many non-technical end users, maybe transitioning from > WYSIWYG/point-click to WYSIWYM. > Many if not most users producing complex graphically loaded typeset > documents, often attached to the emails, because they're impossible to > explain "in plain text" (and a major violation to other netiquette > standards). > > Ultimately funny because, as mailing lists go, usually one uses the > tool at hand. Sometimes its Outlook, sometimes a WebMail application, > sometimes ThunderBird, Mutt, Gnus, pine, or a toaster. Many end users > may not even know, or usually can't choose their MUA. > > So, as much as I agree on principle to recommend some "best practices" > for a mailing list, sometimes the best one can do is ask and hope for > the best. > > (And to add to the General Knowledge base, Gmail allows for plain text > emails. Click on the down arrow at the bottom right of your message > and select "Plain text".) > > Cheers. > > On 27 April 2016 at 17:33, David Wright wrote: > > On Wed 27 Apr 2016, Chris Yate wrote: > > > >> To be honest, I'd suggest you ignore the people that whinge about HTML > >> emails, top-posting, etc. For the 20-something years I've been using the > >> internet there's always been pedantic arses on mailing lists that would > >> rather beat people up about the format of emails and people's grammar > and > >> spelling than answer the damn question. > > > > > >> On 27 Apr 2016, "Andrew Bernard" wrote: > >> > Although I started this thread, it was purely because David Wright had > >> > mentioned the difficulty to another user, as he had to me. I am not > the one > >> > complaining! Wanting to be considerate of all folks on the list I > took some > >> > effort to configure my Outlook in Office 365 to produce the correct > output > >> > for HTML and plain text email with internet quoting style replies. It > can > >> > certainly be done. There is no reason to ask people to stop using > Outlook. > >> > What has changed is that its current default behaviour is the > opposite of > >> > the past, and I was attempting to alert people to that. Even I was > unaware. > > [...] > >> > In my opinion, internet etiquette would suggest that one be > considerate > >> > of the community of mailing list users, and try to accomodate > everyone as > >> > best one can. I can’t see why this is not desirable. Or perhaps I am > >> > completely obsolete, and etiquette in general is now considered old > >> > fashioned. > > > >> With all due respect, considerate is as considerate does. Shouting and > >> screaming because you use some obscure tool that doesn't work the way > 99% > >> of the internet messaging tools in use work, and expect people to be > >> accommodating of you, isn't considerate. > > > > > >> ...to be clear > >> > >> I understand not everyone uses the same tools and we have different > needs. > >> The thing that tends to rile me is the tone of the complaints. > > > > > > I have in the recent past posted (the first being the "Exhibit One" > > of this thread): > > > > "Please can you quote in a way that's visible in text clients, not just > HTML ones." > > > > "Please configure your client to post a text equivalent of your HTML > code." > > > > Perhaps you could help me improve the tone of these sentences as I > > don't want to be accused of shouting and screaming. > > > > Cheers, > > David. > > > > ___ > > lilypond-user mailing list > > lilypond-user@gnu.org > > https://lists.gnu.org/mailman/listinfo/lilypond-user > > > > -- > We are (...) star stuff contemplating the stars (...) We are one > species. We are star stuff harvesting star light. > -- Carl Sagan > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
"special"? I'll show you special. I have a Maltron split-layout keyboard,
with a switch on the underside to change between the "normal" German QWERTZ
layout and the custom one Maltron designed for themselves to be ergonomic
(in which the home row is ANISF -- DTHORÄ, the numeric keypad is in between
them, the E is under the left thumb, and every single person who tries to
use my computer walks away with a splitting headache). Hear: look at the
product page and weep at the baffling eccentricity:
http://www.maltron.com/shop/product/2526-maltron-two-hand-3d-fully-ergonomic-keyboards-for-germany
(yes, it cost a fortune, but it saved my hands after years of steadily
increasing carpal tunnel issues)
On Wed, Apr 27, 2016 at 2:10 PM, wrote:
> Am 2016-04-27 13:39, schrieb N. Andrew Walsh:
>
>>
>>> In german we have a saying:
>>> "Leute fresst Scheisse. Millionen Fliegen können nicht irren."
>>>
>>> Now I'm going to start an argument about your deplorable capitulation to
>> the masses by abandoning the venerable "ß".
>>
>> *goes back to the popcorn*
>>
>>
> I can only guess but some years ago I changed my keyboard layout from
> german qwertz (containing umlauts and ß) to US qwerty because {[]}\|~ are
> much more easily to reach and LaTeX (which I used often then) has ASCII
> representations of these characters. Maybe he has similar reasons. Or he is
> secretly Swiss ;)
>
> (now I use the neo layout but that's somewhat special ...)
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
> > In german we have a saying: > "Leute fresst Scheisse. Millionen Fliegen können nicht irren." > Now I'm going to start an argument about your deplorable capitulation to the masses by abandoning the venerable "ß". *goes back to the popcorn* ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
> > With all due respect, considerate is as considerate does. Shouting and > screaming because you use some obscure tool that doesn't work the way 99% > of the internet messaging tools in use work, and expect people to be > accommodating of you, isn't considerate. > Well, here's the part where I feel like I should put the popcorn down and step back in. See, I've had to spend no small amount of time arguing with people higher up in the various institutions where I've worked, that I can't read mails they send in proprietary formats. I had one place that would type an email message as a Word document and send that as an email attachment, because they didn't understand how email worked. And I, that annoying nerd with the Linux box, had to point out every time that I couldn't read it and got told in no uncertain terms that I would "get mail like everybody else did" and kindly asked to keep my mouth shut. People have legitimate reasons for using programs like Mutt for mail (of course, why you'd use emacs when vim is clearly the *real* text editor [COME AT ME BRO] is beyond me), and it's not unreasonable for them to ask for some accommodation. Or, more to the point, for a third party to send a general mail asking a group to make accommodations for some of its members (for which those members did not themselves ask, likely out of exactly this considerate impulse), the only burden of which would be that some users might need to spend a little time configuring a(n admittedly terribly designed) client. And as you point out, there isn't really a good argument for why you *need* to use html-formatted email (unless you *need* to send all your email in Comic Sans or something, in which case I got nuthin'), so I think it's also not an unreasonable request. Cheers, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
Actually, I'm more inclined to agree with you (I *despise* overly-HTML-formatted email, even though I use gmail, because even with a good fontconfig setup it looks like garbage). I was, rather, expressing some enthusiasm that we're a community that has intensive discussions about stuff like this, without taking any position in the discussion itself. You want a *real* nerd-fight, though, we can go back to talking about accidentals for music in just intonation. Cheers, A On Mon, Apr 25, 2016 at 4:47 PM, David Kastrup wrote: > "N. Andrew Walsh" writes: > > > Oh man, this is going to be the best nerd-fight ever. > > > > *gets popcorn and writes a reply out in non-ISO character encoding* > > There is no need to fight. If there is sufficient support for > abolishing all mailing list etiquette and common sense, those who are > not willing to contribute to the discussion under such circumstances > (which includes me) are free to go elsewhere where conversing about a > typesetting system driven by plain text in a medium of plain text is not > frowned upon. > > -- > David Kastrup > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replying to posts
Oh man, this is going to be the best nerd-fight ever. *gets popcorn and writes a reply out in non-ISO character encoding* <3 A On Mon, Apr 25, 2016 at 3:17 PM, Blöchl Bernhard < b_120902342...@telecolumbus.net> wrote: > Nonsense, to stay polite! > > Have you ever heard of ASCII? If not, google ... > > Am 25.04.2016 14:39, schrieb Tim McNamara: > >> On Apr 25, 2016, at 5:00 AM, Andrew Bernard >> wrote: >> what is now an out of date standard >> ___ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fonts from the former fonts.openlilylib.org
A side note: it seems to me that one of Abraham's root causes for wanting to commercialize the substantial work he's done making engraving fonts is his own financial situation. If this is the case, it might be worth considering some of the crowd-funding mechanisms that support development work. For example, though I've never used it before, Patreon ( www.patreon.com) allows groups to fund developers with a monthly contribution. One or two people chipping in might not amount to much, but a whole lot of people chipping in a bit might indeed make up a substantial supplementary income. (one of my favorite game mods is funded this way, netting the developer about €1k a month). My concern is that trying to build an income by commercializing fonts that have already been out in the wild for a while seems problematic both from the side of its viability as a business venture and from the licensing side (as well as the social side of a community that's been freely using a resource that now looks to become somewhat less free). Abraham, is this an option that you've considered? On the purely abstract level, I'm much more in favor of working from patronage rather than sales and licensing. Cheers, A On Sun, Mar 27, 2016 at 5:55 AM, Abraham Lee wrote: > Andrew, > > On Saturday, March 26, 2016, Andrew Bernard > wrote: > >> What I am concerned about is how would a lawyer or the owner know if you >> were using the open source font or the commercial one? There is no way to >> tell the difference from a published score as far as I would know. There >> are now many concerns. Hopefully the developed will clarify for us soon. >> > > These are valid concerns. I can assure you that the newly commercial ones > will have certain font metadata that are unique to the transition. There > are other things that will tell the difference, too. There won't be nearly > as many glyphs as in the earlier files because I had to completely separate > them from Emmentaler in order to put them under the new license at all. > There's also the OS's creation date that's embedded in each file. Pretty > much anything with a creation date prior to January 1, 2016 is in the > "open-source" category. I'm not really concerned what anyone might do with > them because they are subject to their own licenses and I know what's > legally allowed and what's not. > > The point to all this is to let you know there are lots of ways a lawyer > could find out the needed info, so you'll be covered. > > Hopefully that can bring you some peace of mind over the situation. If > not, please don't hesitate to ask more questions and I'll do my best to > answer them. > > Best, > Abraham > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Horizontal \sustainOn alignment
Hi Andrew, thank you for your kind offer. To be honest, I tend to agree with you: as ugly as the Fraktur glyph is, it's immediately recognizable (Gould even argues against using a Roman typeface, to avoid confusion with the sostenuto pedal). TBH, I think it was aligned like this in my working copy because the client had his son do it in Finale, and the son didn't know how to do it so just placed a text block into the score. In that case, I'll let the client know that standard praxis places the glyph as it is, and ask him how serious he is about wanting it moved. Cheers, A On Thu, Mar 24, 2016 at 1:36 PM, Andrew Bernard wrote: > Hi Andrew. > > Talk them out of it! :-) > > I understand why they want this – they want the exact start of the pedal > down to be exactly on the leading edge of the note. But I think if they > want that precision they are better off using the bracket pedal notation, > which can be fine tuned easily. However, if they must have these dreadful > ugly 19 century Ped glyphs then I have some pedal stencil code that can be > adapted I believe. > > Let me know how serious the client is about this, and if they will not > budge and accept traditional practice, I could have a go at some custom > code for you. > > With the Fraktur font P, where exactly do they think the vertical line > lies? [I need to know if we are to do this.] > > I don’t think there are existing LSR snippets for this – but I may be > wrong. The LSR search engine is primitive. > > Andrew > > > > On 24/03/2016, 22:42, "N. Andrew Walsh" < > lilypond-user-bounces+andrew.bernard=gmail@gnu.org on behalf of > n.andrew.wa...@gmail.com> wrote: > > Well, we're talking about mm. here: In all of Gould's examples, it's more > the "e" that's centered on the notehead. My client wants the vertical of > the P to be flush with the left side of the notehead (which shifts it > slightly but noticeably rightward compared to standards). I'm not sure why, > but that's what he wants. Is that even doable? > > Cheers, > > A > > On Thu, Mar 24, 2016 at 12:39 PM, Kieren MacMillan < > kieren_macmil...@sympatico.ca> wrote: > >> Hi, >> >> > For reasons inexplicable to me (also somewhat odd from an engraving >> standpoint) my client wants the traditional Ped. glyph left-aligned to the >> start of the note. >> >> Isn’t that the accepted tradition (cf. Gould)? >> Perhaps I’m misunderstanding your description… >> >> Thanks, >> Kieren. >> >> >> Kieren MacMillan, composer >> ‣ website: www.kierenmacmillan.info >> ‣ email: i...@kierenmacmillan.info >> >> > ___ lilypond-user mailing list > lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Horizontal \sustainOn alignment
Well, we're talking about mm. here: In all of Gould's examples, it's more the "e" that's centered on the notehead. My client wants the vertical of the P to be flush with the left side of the notehead (which shifts it slightly but noticeably rightward compared to standards). I'm not sure why, but that's what he wants. Is that even doable? Cheers, A On Thu, Mar 24, 2016 at 12:39 PM, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi, > > > For reasons inexplicable to me (also somewhat odd from an engraving > standpoint) my client wants the traditional Ped. glyph left-aligned to the > start of the note. > > Isn’t that the accepted tradition (cf. Gould)? > Perhaps I’m misunderstanding your description… > > Thanks, > Kieren. > > > Kieren MacMillan, composer > ‣ website: www.kierenmacmillan.info > ‣ email: i...@kierenmacmillan.info > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Horizontal \sustainOn alignment
Hi List, quick question: is there a way to modify the horizontal alignment of the various \sustainOn grobs? For reasons inexplicable to me (also somewhat odd from an engraving standpoint) my client wants the traditional Ped. glyph left-aligned to the start of the note. Is there a way to do this that isn't ugly and hacky? Thanks, A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
volta with stanzas in variables
Hi List,
I have a song with a \repeat volta 3 { ... } section in the middle (that
is, it's padded before and after with about eight measures. The volta
section has three stanzas of lyrics, but the 2nd and 3rd stanzas start as a
pickup note at the end of the \alternative ending. Going from my previous
MWE, something like this:
\version "2.19.36"
\relative c'' {
r2 r4 a
\repeat volta 3 {
\repeat unfold 3 {
a a a a }
a2 a
}
\alternative {
{ a r4 b | }
{ a4 r r b | }
}
c d e a, | a1 |
}
\addlyrics {
\set stanza = #"1. "
This is the start of the first two ly -- rics sec -- tions, they're so
great! Wh!
\set stanza = #"2. "
Oh,
}
\addlyrics {
ché -- ri, je t'aime
}
That works fine (minus the literary merits), but doesn't work if I try to
do it with variables. ie, something like:
\version "2.19.36"
voceMusic = \relative c'' {
r2 r4 a
\repeat volta 3 {
\repeat unfold 3 {
a a a a }
a2 a
}
\alternative {
{ a r4 b | }
{ a4 r r b | }
}
c d e a, | a1 |
}
lyricsI = \lyricmode {
\set stanza = #"1. "
This is the start of the first two ly -- rics sec -- tions, they're so
great! Wh!
\set stanza = #"2. "
Oh,
}
lyricsII = \lyricmode {
ché -- ri, je t'aime
}
\score {
<<
\new ChoirStaff = "Staff_voci"
<<
\new Staff = "voce" <<
\new Voice = "voce" {
\voceMusic
}
>>
\new Lyrics \lyricsto "voce" {
{ \lyricsI \lyricsII }
}
>>
>>
}
Obviously I'm missing some subtle difference between a variable calling
\lyricmode { } and using \addlyrics { }. Can you advise me on how to fix
the syntax here?
Cheers,
A
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Re: volta with stanzas in variables
Yes, I'm going past the MWE and adding a third stanza. But never mind! I've found the part of the NR that tells me how to do *this exact thing* (the thing is using more of the \skip command), so I figured it out by being less lazy and rading the documentation. Cheers, A On Fri, Mar 18, 2016 at 7:48 PM, tisimst wrote: > On Fri, Mar 18, 2016 at 12:45 PM, N. Andrew Walsh [via Lilypond] <[hidden > email] <http:///user/SendEmail.jtp?type=node&node=188676&i=0>> wrote: > >> Wh, that fixed a bunch of things! Thanks everybody! >> >> One last issue: how do I move the last syllable of the third stanza to >> the third ending? Right now it's still sitting under the first note of the >> first/second ending, when it should kick over to the third. >> > > What third stanza? I only see two... > > - Abraham > > -- > View this message in context: Re: volta with stanzas in variables > <http://lilypond.1069038.n5.nabble.com/volta-with-stanzas-in-variables-tp188664p188676.html> > Sent from the User mailing list archive > <http://lilypond.1069038.n5.nabble.com/User-f3.html> at Nabble.com. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: volta with stanzas in variables
Hi David,
fixing as the following:
\version "2.19.36"
voceMusic = \relative c'' {
r2 r4 a
\repeat volta 3 {
\repeat unfold 3 {
a a a a }
a2 a
}
\alternative {
{ a r4 b | }
{ a4 r r b | }
}
c d e a, | a1 |
}
lyricsI = \lyricmode {
\set stanza = #"1. "
This is the start of the first two ly -- rics sec -- tions, they're so
great! Wh!
\set stanza = #"2. "
Oh,
}
lyricsII = \lyricmode {
ché -- ri, je t'aime
}
\score {
<<
\new ChoirStaff = "Staff_voci"
<<
\new Staff = "voci" <<
\new Voice = "voce" {
\voceMusic
}
>>
\new Lyrics \lyricsto "voce" {
{ \lyricsI \lyricsII }
}
>>
>>
}
(note the name change to \new Staff)
did not solve the issue. Anyway, it's supposed to go to that Voice context.
Cheers,
A
On Fri, Mar 18, 2016 at 9:43 AM, David Kastrup wrote:
> "N. Andrew Walsh" writes:
>
> > That works fine (minus the literary merits), but doesn't work if I try to
> > do it with variables. ie, something like:
> >
> > \version "2.19.36"
>
> [...]
>
> > \new Staff = "voce" <<
> >\new Voice = "voce" {
>
> [...]
>
> > \new Lyrics \lyricsto "voce" {
>
> Which voce?
>
> --
> David Kastrup
>
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\volta \alternative and \( .. \)
Hi List,
I'm working on a short song, which repeats three times and has alternate
endings. However, the music has a phrasing slur that should extend into the
alternate ending. This works fine for endings 1 and 2 (ie, the first of two
\alternative expressions), but the second does not, and I get an error in
the log that it "cannot end phrasing slur".
Here's an MWE to show what I mean:
\version "2.19.36"
\relative c'' {
\repeat volta 3 {
\repeat unfold 3 {
a a a a }
a2 a\(
}
\alternative {
{ a\) r | }
{ a4\) r r b | }
}
c d e a, | a1 |
}
Is there a way to have a courtesy phrasing slur end on that second
alternative ending?
Cheers,
A
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Re: \volta \alternative and \( .. \)
Sigh. Well, \repeatTie does well enough, I suppose (though, it should be on
the same side of the staff as the phrasingSlur, but I can deal with that).
Question: does having that tie cause issues with phrase lyric alignment?
Cheers,
A
On Thu, Mar 17, 2016 at 9:29 AM, David Kastrup wrote:
> "N. Andrew Walsh" writes:
>
> > Hi List,
> >
> > I'm working on a short song, which repeats three times and has alternate
> > endings. However, the music has a phrasing slur that should extend into
> the
> > alternate ending. This works fine for endings 1 and 2 (ie, the first of
> two
> > \alternative expressions), but the second does not, and I get an error in
> > the log that it "cannot end phrasing slur".
> >
> > Here's an MWE to show what I mean:
> >
> > \version "2.19.36"
> >
> > \relative c'' {
> > \repeat volta 3 {
> > \repeat unfold 3 {
> > a a a a }
> > a2 a\(
> > }
> > \alternative {
> > { a\) r | }
> > { a4\) r r b | }
> > }
> > c d e a, | a1 |
> > }
> >
> > Is there a way to have a courtesy phrasing slur end on that second
> > alternative ending?
>
> The usual expedient is to use \repeatTie here. We had a more complete
> approach in review already but it was sort of hackish and had a number
> of things hardwired that were likely going to end up problematic, and
> the discussion did not really lead to a satisfactory resolution.
>
> --
> David Kastrup
>
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Re: volta with stanzas in variables
Wh, that fixed a bunch of things! Thanks everybody!
One last issue: how do I move the last syllable of the third stanza to the
third ending? Right now it's still sitting under the first note of the
first/second ending, when it should kick over to the third.
Thanks for the help!
A
On Fri, Mar 18, 2016 at 6:53 PM, tisimst wrote:
> Andrew,
>
> You'll probably also want to change \lyricsII to include an initial \skip
> so it starts on the right syllable, like:
>
> lyricsII = \lyricmode {
> \skip 4 ché -- ri, je t'aime
> }
>
> NOTE: A duration following \skip is necessary, but the value doesn't
> matter. It always skips a single syllable.
>
> HTH,
> Abraham
>
>
>
> On Fri, Mar 18, 2016 at 11:25 AM, Klaus Blum [via Lilypond] <[hidden
> email] > wrote:
>
>> Hi Andrew,
>>
>> you variables \lyricsI and \lyricsII are placed one following the other:
>>
>> <<
>> ...
>>
>> \new Lyrics \lyricsto "voce" {
>> { \lyricsI \lyricsII }
>> }
>>
>> >>
>>
>> Replace that part by
>>
>> <<
>> ...
>>
>> \new Lyrics \lyricsto "voce" {
>> { \lyricsI }
>> }
>> \new Lyrics \lyricsto "voce" {
>> { \lyricsII }
>> }
>>
>> >>
>>
>> and your're done.
>>
>> Cheers,
>> Klaus
>>
>> --
>> If you reply to this email, your message will be added to the discussion
>> below:
>>
>> http://lilypond.1069038.n5.nabble.com/volta-with-stanzas-in-variables-tp188664p188671.html
>> To start a new topic under User, email [hidden email]
>>
>> To unsubscribe from Lilypond, click here.
>> NAML
>>
>>
>
>
> --
> View this message in context: Re: volta with stanzas in variables
>
>
> Sent from the User mailing list archive
> at Nabble.com.
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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Re: Staff-staff spacing temporary changes
I have a very similar problem (my use case is wanting to space staves more or less distant from each other on a per-system basis), and the solution I got at the time was something like "insert invisible boxes or \hideNotes expressions into a simultaneous voice to force specific spacing." That seems to me like an ugly hack, somewhat contrary to the idea of separating content and presentation, but I don't think the engraver itself has options to set spacing on such a fine-tuned basis. It's unfortunate, because I'd really like to be able to do this myself, and it seems like something that could be implemented with some sort of \override. Cheers, A On Tue, Feb 23, 2016 at 8:26 AM, Andrew Bernard wrote: > Hi Joram, > > Right indeed. But if I adjust stretchability, it affects the rest of my > score adversely, and I cannot find a good compromise that leaves the main > score relatively wide spaced with respect to staff-staff spacing, and then > a particular page with fewer systems closely spaced. I suppose I am wishing > that you can set the property basic-distance temporarily for a couple of > pages and then revert. Would it be fair to say this is not possible? > > Andrew > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Install on linux
Late to the party, but most Linux distros will allow you to add repositories/packages for more-recent versions: on gentoo, you can even use a "live" version that installs from git. This has the occasional consequence of lilypond reporting itself as a version that isn't officially released yet. So if you want to be WICKED HARDCORE, you can certainly install newer versions. Ubuntu, iirc, allows you to add repositories, and I think (?) there's one out there for more-recent lilypond. Cheers, A On Mon, Feb 22, 2016 at 4:05 AM, David Wright wrote: > On Sun 21 Feb 2016 at 22:12:51 (+0100), Malte Meyn wrote: > > Am 21.02.2016 um 22:02 schrieb David Wright: > > >On Sun 21 Feb 2016 at 19:10:29 (+0100), Peter O'Doherty wrote: > > >>Thanks a lot. Sorted now using sudo sh lilypond... > > > > > >I can't help wondering what the ... stands for. > > > > > It’s the install script, something like > > > > lilypond-2.18.2-1.linux-64.sh > > I was interested whether anything followed that, both arguments and > subsequent commands (if any). Your advice was good, but his second > posting was a reply to his own OP, not to yours. (Not all the advice > in the thread was good.) > > Cheers, > David. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ossia Piano Staff
Yeah, that's what I settled on, too. It's exactly the sort of ugly hack I
wanted to avoid (putting invisible content into the score to force
presentation changes), but my lilypond-fu is weak :(
On Wed, Feb 17, 2016 at 1:36 PM, Phil Holmes wrote:
> I don't know a "good" way. A hacky way is to place a hidden markup or
> note within the measure so that it forces the spacing to be what you want.
>
> --
> Phil Holmes
>
>
>
> ----- Original Message -
> *From:* N. Andrew Walsh
> *To:* lilypond-user
> *Sent:* Wednesday, February 17, 2016 11:44 AM
> *Subject:* Fwd: Ossia Piano Staff
>
> Whoops. forgot to reply-all. Here's my reply to Andrew Bernard's message.
>
> UPDATE: I've discovered the \omit Staff.TimeSignature command, so now the
> time signature is properly hidden. My last issue with this score is
> controlling staff spacing within systems on an explicit per-measure basis
> (ie, set an override at specific points to change spacing allowed for the
> empty staves). Is there a way to do this? All the instructions I find in
> the NR are for the Staff or Score level, which would change them for the
> whole piece. I only want them changed at specific sections. Is there a way
> to do that?
>
> Cheers,
>
> A
> -- Forwarded message --
> From: N. Andrew Walsh
> Date: Wed, Feb 17, 2016 at 12:14 PM
> Subject: Re: Ossia Piano Staff
> To: Andrew Bernard
>
>
> Hi Andrew,
>
> thanks for pointing the errors out. I realized it wasn't compiling after I
> sent it out. I found a workaround by using a \context block, like this:
>
> \version "2.19.36"
>
> VioloncelloMusic = \new Voice \relative c {
> \clef bass
> \time 4/8
> \key es \major
><<
> { g8.\( f16 es8 g16--( g--) | as4 es8 as | g8. f16 es8 es | f2\) |
> g4\( es8 g | as4 es8 as | g4 f | es2\) | bes'4\( es, | c' es,8 es | bes'4
> es,8 es | f4.\) f8\( | %% Bar 95
> g8. f16 es8 g | as4 es8 as | g4 f | es2\) | }
> \context PianoStaff = "ossia" \with { \remove
> "Time_signature_engraver" } <<
> { \startStaff \clef treble \hideNotes | es2^\markup { ossia }
> \omit PianoStaff.SpanBar | \omit Staff.BarLine \repeat unfold 15 { es2 }
> \undo \omit Staff.BarLine \undo \omit PianoStaff.SpanBar | \stopStaff }
> { \startStaff \clef bass \hideNotes | es2 \omit PianoStaff.SpanBar
> | \omit Staff.BarLine \repeat unfold 15 { es2 } \undo \omit Staff.BarLine
> \undo \omit PianoStaff.SpanBar | \stopStaff }
> >>
>>>%% Bar 99 (end of ossia piano)
> }
>
>\score {
>
> \new Staff = "Staff_violoncello" <<
> \override Staff.InstrumentName.self-alignment-X = #LEFT
> \set Staff.instrumentName = \markup \left-column \abs-fontsize
> #10 { Violoncello }
> \set Staff.midiInstrument = #"cello"
> \VioloncelloMusic
> >>
>}
>
>
> Some issues with this:
>
> * sticking an ossia piano part into the cello music is an ugly hack, but I
> have two simultaneous voices in each hand of the piano, forcing me to use
> << { } \\ { } >> blocks. These blocks break at %% Bar 95, and I didn't know
> how to have the \context block extend across them.
> * I can't figure out how to get the time signatures not to appear.
>
> Any tips how to improve this?
>
> Cheers,
>
> A
>
> On Wed, Feb 17, 2016 at 11:44 AM, Andrew Bernard > wrote:
>
>> Hi Andrew,
>>
>> Can you send something that compiles?
>> global is missing. Also, I don't kno who wyou compile the version line
>> - it's a syntax error to have an equals sign.
>>
>> Better if you can make an MWE - minimal working example, for the list.
>>
>> Andrew
>>
>>
>>
>>
>>
>> On 17 February 2016 at 21:30, N. Andrew Walsh
>> wrote:
>> > Hi List,
>> >
>> > also, in the same ensemble piece I mentioned in the last message, I'd
>> like
>> > to have a passage in the piano part that also includes such "empty"
>> staves
>> > for graphics, but only within one section. I'm trying to apply the NR
>> > instructions for ossia staves, and it's apparently not working. Here's
>> what
>> > I have:
>> >
>> > \version = "2.19.36"
>> >
>> > KlavierMusicUpper = \new Voice \relative c'' {
>> > \clef treble
>> > R1*5/8 |
>> > \time 3/8
>> > R1*3/8 |
>> > \time 4/8
>> > s2*127 | %% all the music omitted for brevity
&g
Fwd: Ossia Piano Staff
Whoops. forgot to reply-all. Here's my reply to Andrew Bernard's message.
UPDATE: I've discovered the \omit Staff.TimeSignature command, so now the
time signature is properly hidden. My last issue with this score is
controlling staff spacing within systems on an explicit per-measure basis
(ie, set an override at specific points to change spacing allowed for the
empty staves). Is there a way to do this? All the instructions I find in
the NR are for the Staff or Score level, which would change them for the
whole piece. I only want them changed at specific sections. Is there a way
to do that?
Cheers,
A
-- Forwarded message ------
From: N. Andrew Walsh
Date: Wed, Feb 17, 2016 at 12:14 PM
Subject: Re: Ossia Piano Staff
To: Andrew Bernard
Hi Andrew,
thanks for pointing the errors out. I realized it wasn't compiling after I
sent it out. I found a workaround by using a \context block, like this:
\version "2.19.36"
VioloncelloMusic = \new Voice \relative c {
\clef bass
\time 4/8
\key es \major
<<
{ g8.\( f16 es8 g16--( g--) | as4 es8 as | g8. f16 es8 es | f2\) | g4\(
es8 g | as4 es8 as | g4 f | es2\) | bes'4\( es, | c' es,8 es | bes'4 es,8
es | f4.\) f8\( | %% Bar 95
g8. f16 es8 g | as4 es8 as | g4 f | es2\) | }
\context PianoStaff = "ossia" \with { \remove "Time_signature_engraver"
} <<
{ \startStaff \clef treble \hideNotes | es2^\markup { ossia } \omit
PianoStaff.SpanBar | \omit Staff.BarLine \repeat unfold 15 { es2 } \undo
\omit Staff.BarLine \undo \omit PianoStaff.SpanBar | \stopStaff }
{ \startStaff \clef bass \hideNotes | es2 \omit PianoStaff.SpanBar
| \omit Staff.BarLine \repeat unfold 15 { es2 } \undo \omit Staff.BarLine
\undo \omit PianoStaff.SpanBar | \stopStaff }
>>
>>%% Bar 99 (end of ossia piano)
}
\score {
\new Staff = "Staff_violoncello" <<
\override Staff.InstrumentName.self-alignment-X = #LEFT
\set Staff.instrumentName = \markup \left-column \abs-fontsize
#10 { Violoncello }
\set Staff.midiInstrument = #"cello"
\VioloncelloMusic
>>
}
Some issues with this:
* sticking an ossia piano part into the cello music is an ugly hack, but I
have two simultaneous voices in each hand of the piano, forcing me to use
<< { } \\ { } >> blocks. These blocks break at %% Bar 95, and I didn't know
how to have the \context block extend across them.
* I can't figure out how to get the time signatures not to appear.
Any tips how to improve this?
Cheers,
A
On Wed, Feb 17, 2016 at 11:44 AM, Andrew Bernard
wrote:
> Hi Andrew,
>
> Can you send something that compiles?
> global is missing. Also, I don't kno who wyou compile the version line
> - it's a syntax error to have an equals sign.
>
> Better if you can make an MWE - minimal working example, for the list.
>
> Andrew
>
>
>
>
>
> On 17 February 2016 at 21:30, N. Andrew Walsh
> wrote:
> > Hi List,
> >
> > also, in the same ensemble piece I mentioned in the last message, I'd
> like
> > to have a passage in the piano part that also includes such "empty"
> staves
> > for graphics, but only within one section. I'm trying to apply the NR
> > instructions for ossia staves, and it's apparently not working. Here's
> what
> > I have:
> >
> > \version = "2.19.36"
> >
> > KlavierMusicUpper = \new Voice \relative c'' {
> > \clef treble
> > R1*5/8 |
> > \time 3/8
> > R1*3/8 |
> > \time 4/8
> > s2*127 | %% all the music omitted for brevity
> > }
> >
> > KlavierMusicLower = \new Voice \relative c'' {
> > \clef treble
> > R1*5/8 |
> > \time 3/8
> > R1*3/8 |
> > \time 4/8
> > s2*127 | %% here too. Just imagine it's full of passage-work or
> something
> > }
> >
> > KlavierOssiaUpper = \new Voice \relative c'' {
> > \clef treble
> > \time 5/8
> > s4 s s8 |
> > \time 3/8
> > s4. |
> > \time 4/8
> > s2*82 | \hideNotes es2 | \omit Staff.BarLine \repeat unfold 14 { es2 }
> > \unHideNotes \undo \omit Staff.BarLine |
> > s2*30 | %% End of piece, Bar 129
> >
> > }
> >
> > KlavierOssiaLower = \new Voice \relative c {
> > \clef bass
> > \time 5/8
> > s4 s s8 |
> > \time 3/8
> > s4. |
> > \time 4/8
> > s2*82 | \hideNotes es2 | \omit Staff.BarLine \repeat unfold 14 { es2 }
> > \unHideNotes \undo \omit Staff.BarLine |
> > s2*30 | %% End of piece, Bar 129
> >
> > }
> >
> > \score {
> >
> > \new S
Ossia Piano Staff
Hi List,
also, in the same ensemble piece I mentioned in the last message, I'd like
to have a passage in the piano part that also includes such "empty" staves
for graphics, but only within one section. I'm trying to apply the NR
instructions for ossia staves, and it's apparently not working. Here's what
I have:
\version = "2.19.36"
KlavierMusicUpper = \new Voice \relative c'' {
\clef treble
R1*5/8 |
\time 3/8
R1*3/8 |
\time 4/8
s2*127 | %% all the music omitted for brevity
}
KlavierMusicLower = \new Voice \relative c'' {
\clef treble
R1*5/8 |
\time 3/8
R1*3/8 |
\time 4/8
s2*127 | %% here too. Just imagine it's full of passage-work or something
}
KlavierOssiaUpper = \new Voice \relative c'' {
\clef treble
\time 5/8
s4 s s8 |
\time 3/8
s4. |
\time 4/8
s2*82 | \hideNotes es2 | \omit Staff.BarLine \repeat unfold 14 { es2 }
\unHideNotes \undo \omit Staff.BarLine |
s2*30 | %% End of piece, Bar 129
}
KlavierOssiaLower = \new Voice \relative c {
\clef bass
\time 5/8
s4 s s8 |
\time 3/8
s4. |
\time 4/8
s2*82 | \hideNotes es2 | \omit Staff.BarLine \repeat unfold 14 { es2 }
\unHideNotes \undo \omit Staff.BarLine |
s2*30 | %% End of piece, Bar 129
}
\score {
\new Staff = "Staff_violoncello" <<
\override Staff.InstrumentName.self-alignment-X = #LEFT
\set Staff.instrumentName = \markup \left-column \abs-fontsize
#10 { Violoncello }
\set Staff.midiInstrument = #"cello"
\global \VioloncelloMusic
>>
\new PianoStaff = "Staff_klavier" <<
\override PianoStaff.InstrumentName.self-alignment-X = #LEFT
\set PianoStaff.instrumentName = \markup \left-column {
\abs-fontsize #10 \line { Piano } }
\new Staff = "pianoupper" <<
\global \KlavierMusicUpper \systembreaks
>>
\new Staff = "pianolower" {
\global \KlavierMusicLower
}
>>
\new PianoStaff = "ossia" <<
\new Staff = "ossiaupper" \with {
\remove "Time_signature_engraver"
\hide Clef
\magnifyStaff #2/3
\RemoveAllEmptyStaves
} {
\global \KlavierOssiaUpper
}
\new Staff = "ossialower" \with {
\remove "Time_signature_engraver"
\hide Clef
\magnifyStaff #2/3
\RemoveAllEmptyStaves
} {
\global \KlavierOssiaUpper
}
>>
>>
\layout {
\context {
\Staff \RemoveEmptyStaves
}
}
\midi {}
\header {
opus = ##f
}
}
--
NB: "\global" is a variable that just sets stuff like time signature
format, initial key/time signature, etc.)
When I try to compile, Lily throws an error that \RemoveAllEmptyStaves is
an "unrecognized escaped string" and pukes.
What am I formatting wrong here?
Cheers,
A
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explicit (temporary) staff-spacing overrides
Hi List,
I have a piece in which a stretch of measures has no notes or barlines, but
requires a lot of vertical space (that is, sets aside space into which
graphics may be placed from external sources). So I have the following:
\version "2.19.36"
celloMusic = \relative c {
\key c \major
\clef bass
\time 4/8
es16 g es g es4 | \hideNotes es2 | \omit Staff.BarLine \repeat unfold 9 {
es2 } | \unHideNotes s8 s s g\(^\markup \right-align \italic { (solo) }
\undo \omit Staff.BarLine |
}
\score {
\celloMusic
}
--
NB: this is one voice in an ensemble. There are other variables set for the
others that I have omitted here.
What I would like is to be able to set, explicitly for the section between
\hideNotes and \unHideNotes, for the stave to have much more vertical
padding around it. Is there a way to set that manually without doing it at
the Staff level?
Cheers,
A
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Re: [Correction] Is there a bug in the way Lilypond handles SLURS?
Hi Devin,
Lilypond's syntax deviates from other programming languages in a subtle but
significant way: certain characters -- namely brackets -- do not need to be
explicitly nested inside one another. Rather, they occur at the points
where their corresponding graphical object begins and ends. See here:
http://www.lilypond.org/doc/v2.19/Documentation/learning/on-the-un_002dnestedness-of-brackets-and-ties
(just saw that Urs replied. Here's hoping I'm not redundant!)
Cheers,
A
On Mon, Feb 15, 2016 at 5:03 PM, Devin wrote:
> [This is a correction of previous messsage -- I meant "slurs", not
> "staccato". SORRY!]
>
> Hi,
>
> I am working with Walter Bender on a visual programming language called
> "Music Blocks" (http://musicblocks.net).
>
> Neither of us know Lilypond well enough, so maybe someone on this list
> can help us out.
>
> As part of Music Blocks software, we are developing a feature where the
> user can export to lilypond and we have a SLUR feature in our own
> code, which we are trying to get to go down the pipeline to the lilypond
> code.
>
> Our Question:
>
> Is this a bug?
>
> This doesn't work:
> a'4 (b'4 \tuplet 3/2 {a'8 b'8 c'8} )
>
> But this does:
>
> a'4 (b'4 \tuplet 3/2 {a'8 b'8 c'8) }
>
> (The parenthesis and brackets must be flipped in order for the lilypond
> code to work)
>
> It does not make sense to me and Walter, but then again we may not be
> familiar enough with how Lilypond works.
>
> At any rate, we are able to generate code either way, but if this is an
> issue we thought to bring it up now. Our full conversation can be found
> at
>
> https://github.com/walterbender/musicblocks/issues/180#issuecomment-184214934
>
> Devin
>
>
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Re: Scripting the \paper blocks output
Hi Andrew,
Ha! Works like a charm! Thanks, that's going to be super-handy when I, uh …
start my lilypond publishing empire. Seriously, though, that's some cool
scripting magic.
For others who might want to use the function, one remark: note that the
quotation marks for the "catalog-number" variable are not straight-quotes
in the provided example (they're so-called "smart-quotes", which Scheme
does not recognize and throws a syntax error if not replaced). So, make
that trivial change, and you're all set for automagically-generated catalog
IDs. I also re-named the variable to "composer-shortstring" to make clear
that it's not the definition set in \header, and that it can be a different
format from the full name.
Cheers,
A
On Mon, Feb 15, 2016 at 7:35 AM, Andrew Bernard
wrote:
> Hi Andrew,
>
> If I follow you correctly, then this would work:
>
> Put these vars in directly in your lilypond file:
>
> composer = "Bob Smith"
> catalog-number = “001”
>
>
> In default.ily, create this function:
>
> #(define-markup-command (substitute layout props) ()
>(interpret-markup layout props
> (markup (string-append composer "." catalog-number))
> ))
>
>
>
> Then use it in default.ily as follows:
>
> \on-the-fly #not-part-first-page \line { Klang Büro \substitute }
>
>
> I am sure you can think of a better function name than I can.
>
> Obviously you can format the substitute string as per your desire.
>
> Andrew
>
>
>
>
>
>
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Scripting the \paper blocks output
Hi List,
I have an included file, "default.ily" that I use for my stylesheet,
comprising the following \paper block:
\paper {
%% Set system-system distance
system-system-spacing.basic-distance = #32
indent = 18\mm
two-sided = "true"
inner-margin = 15.0\mm
outer-margin = 3.3\mm
top-margin = 8.0\mm
bottom-margin = 12.0\mm
%% Set Page numbers to the bottom
oddHeaderMarkup = \markup \fill-line { " " }
evenHeaderMarkup = \markup \fill-line { " " }
oddFooterMarkup = \markup \abs-fontsize #10 \fill-line {
\on-the-fly #not-part-first-page \line {Klang Büro xx.xxx }
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
}
evenFooterMarkup = \markup \abs-fontsize #10 \fill-line {
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
\on-the-fly #not-part-first-page \line {Klang Büro xx.xxx }
}
%% Set default page size
#(set-paper-size "a4")
}
What I'm interested in are the lines with the "xx.xxx" part. I'd like to
automate that to output, on a per-book basis, some string that uniquely
identifies the piece as some combination of composer name and serial
number. This is taken from the Carus Verlag's practice of numbering, by
which Bach's works are numbered as 31.xxx, with "xxx" replaced by the BWV
number.
It doesn't have to be purely numerical. I'd be happy to, say, just take the
first two letters of the composer's last name, and then number the pieces
sequentially as I finish them. What I would really like to do, though, is
to set that number of the piece as a variable in the master .ly file, and
have the .ily file pull it and the composer's identifier on the fly (so
that I don't have to change the .ily file each time I work on a piece with
a different number).
So, I have my .ly file, and there's a line of pseudo-code like:
composer = { Bob Smith }
catalognumber = { 001 }
and the .ily file automatically replaces "xx.xxx" with "Sm.001".
Is there a way to do that?
Cheers,
A
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Avoiding PhrasingSlur/accidental collisions
Hi List,
I'm working with the following expression:
\version "2.19.36"
\relative c {
\repeat tremolo 8 { es'''32\( es, } es'!2\) |
}
When that's stretched out a bit (or even, actually, here) the PhrasingSlur
collides with the accidental. How do I avoid this? I see the following
possible override:
\once \override PhrasingSlur.details.accidental-collision = #'(3)
but that doesn't seem to have any effect. Am I modifying the wrong grob
here?
Thanks for the help,
A
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