Re: LilyPond-2.22.2 does not work on Windows XP
That's what to do. XP EULA which they made you agree to: "3. RESERVATION OF RIGHTS AND OWNERSHIP. Microsoft reserves all rights not expressly granted to you in this EULA. The Software is protected by copyright and other intellectual property laws and treaties. Microsoft or its suppliers own the title, copyright, and other intellectual property rights in the Software. The Software is licensed, not sold." So if you buy in, you have to do what they want you to, or risk losing your work all at once. I see you have a Faculty of Asian and Middle Eastern Studies, University of Oxford email address. They shouldn't be using that OS any more. Often, students and staff can buy MS licences for personal use through the institution. I can at Glasgow, but I gave up using MS when I was a postdoc last century, and spent most of my time trying to fix a bug in an adaptive optics platform I'd written which turned out to be in the MS C compiler. This is why open source happened. I've only used Linux since. I don't do games, so it's a no-brainer. If I did, there's the dual boot / virtual machine route. You may prefer to move to a newer Windows, if your machine is up to it. Either way, do it soon. XP is unsupported, which means you shouldn't really connect it to the big bad internet. There are nasty viruses out there, and XP won't be protected against new ones any more. On Friday, 14 October 2022 10:48:37 BST Dag Bergman wrote: > Thanks Werner for your comments, > > I will eventually test your suggestions, but the quickest way seems to do > Lilypond work on the Windows 10 machine, albeit inconvenient. > Best regards > Dag
Re: MIDI Position Markers
Sorry about that post guys. It was to a student about a completely different
thing! I've just got a new mouse and it seems I've not got the hang of using
it yet!
On Thursday, 15 July 2021 17:37:34 BST Dr Nicholas Bailey wrote:
> Also looking good. Well-formed user stories.
>
> Helping each other is fine. You are going to have to allocate a %effort
> though (sorry to be such an authoritarian, but as I explained it's not a
> group project). For this exercise, concentrate on the ideas when allocating
> effort. It's beautifully formatted, but the ideas count for the stories.
>
> See if you can get her to be a collaborator for your github repo, or it'll
> make giving you both credit really hard. Or have a repo each. But we must
> keep an audit trail of who did what.
>
> NJB/.
>
> On Thursday, 15 July 2021 17:17:42 BST Keith Smith wrote:
> > Is there anyway to generate MIDI Position markers in the MIDI output?
> >
> > My use case is that \unfoldRepeats only works for simple "\repeat volta
> > ...{" constructs. In compositions that have D.S. Coda, etc the
> > structure of the composition is lost in MIDI. I import the MIDI from
> > lilypond into my DAW (Reaper) and then cut and paste to get the
> > structure back. My DAW will also import MIDI Position Markers if
> > available. If I could generate these directly from lilypond then it
> > would be very useful as I would be able to find where I need to cut and
> > paste the lilypond MIDI in my DAW.
> >
> > Thanks,
--
The University of Glasgow, charity number SC004401
Re: MIDI Position Markers
Also looking good. Well-formed user stories.
Helping each other is fine. You are going to have to allocate a %effort though
(sorry to be such an authoritarian, but as I explained it's not a group
project). For this exercise, concentrate on the ideas when allocating effort.
It's beautifully formatted, but the ideas count for the stories.
See if you can get her to be a collaborator for your github repo, or it'll
make giving you both credit really hard. Or have a repo each. But we must keep
an audit trail of who did what.
NJB/.
On Thursday, 15 July 2021 17:17:42 BST Keith Smith wrote:
> Is there anyway to generate MIDI Position markers in the MIDI output?
>
> My use case is that \unfoldRepeats only works for simple "\repeat volta
> ...{" constructs. In compositions that have D.S. Coda, etc the
> structure of the composition is lost in MIDI. I import the MIDI from
> lilypond into my DAW (Reaper) and then cut and paste to get the
> structure back. My DAW will also import MIDI Position Markers if
> available. If I could generate these directly from lilypond then it
> would be very useful as I would be able to find where I need to cut and
> paste the lilypond MIDI in my DAW.
>
> Thanks,
--
The University of Glasgow, charity number SC004401
Re: music symbols in LibreOffice
On Sunday, 26 July 2020 09:10:55 BST Dick Kampman wrote: > I an writing text in LibreOffice about metronome-markings. So, I have > for instance to replace "...quarternote=60..." by "... symbol>=60...", etc. Like ♩=72? > > Can I use the Lilypond extension in LibreOffice to achieve such purposes? It seems like a massive overkill. I'd just use Unicode 2669 (♩) > > With kind regards, > > Dick Kampman > > kamp...@xs4all.nl > > Netherlands.
Re: Remote Ensemble Playing
Off topic, so I've not bothered the list with it. But you might be interested... https://www.researchgate.net/publication/ 200806144_Perception_of_onset_asynchronies_Acoustic_Piano_versus_Synchronized_complex_versus_pure_tones http://musicstudies.org/wp-content/uploads/2017/01/Parncutt_JIMS_11050202.pdf I'd be very interested to hear more about your Jitsi project by the way! github? -- The University of Glasgow, charity number SC004401 On Wednesday, 1 April 2020 11:06:06 BST Andrew Bernard wrote: > This is all very good but ensembles have been performing double choir > and organ in three widely spaced spots in Venice for centuries. > Without click tracks in 1600. > > I am not convinced that there is a human clock running at a specific > rate. Where is the evidence for that, I ask, purely out of interest. > > On this topic, I am currently building our own global jam software > with video and audio with low latency based on the open source jitsi > software. if it all works, I get back to you with the results. > > Session players are great at following click tracks, but classically > trained players are usually hopeless in my experience, amusingly. > > Andrew
Re: Remote Ensemble Playing
On Saturday, 28 March 2020 11:00:56 BST Peter Gentry wrote: > I appreciate this is off topic but in these times of social isolation does > anyone have any tips. Clearly latency is the main issue - I wonder could > this be reduced by say hosting a Zoom meeting on a private router - maybe > only one video for a conductor. Experience suggests that a latency of 25ms > is not low enough. > > Regards Peter We've been trying that, and so have Glasgow University Chapel Choir with hilarious results. See https://m.facebook.com/story.php? story_fbid=3271515439543488&id=215071425187920 (At the end you discover they are really very good!) Maybe try one of the low-latency programs like Jamulus? http://llcon.sourceforge.net/index.html What would be really good would be to find such an application which could follow the conductor and show a moving Lilypond score... I don't trust Zoom anyway. Why has it got more than 2 open file descriptors? What's it doing with my files?? $ lsof | grep -i zoom | wc -l 20811 -- The University of Glasgow, charity number SC004401
Re: New option for OOoLilyPond: PDF to SVG
On Wednesday, 30 October 2019 15:35:34 GMT Klaus Blum wrote: > For Mac, I don't have any idea. My knowledge about Macs is exactly zero. > > > Am I still missing something? Do you have any more thoughts, ideas, > recommendations, experiences, ... ? I don't know either, but the thing about MacOS is "it's Unix, Jim, but not as we know it". I'd be very surprised if Mac users couldn't be asked to install pdf2svg via one of their pacakge managers such as Homebrew https://brew.sh/ specifically: https://formulae.brew.sh/formula/pdf2svg Nick/.
Re: Lilypond <-> Sibelius
On Friday, 25 May 2018 22:09:31 BST J Martin Rushton wrote: > On 25/05/18 10:52, Nicholas Bailey wrote: > > On Sunday, 22 April 2018 12:26:01 BST J Martin Rushton wrote: > >> What is the current state of play for converting between Sibelius and > >> Lily? > >> > >> My elder son uses Sib at university, but has to travel in (40 miles) to > >> log into one of their machines. I run Lily/Frescobaldi at home and it > >> would be useful to be able to let him work at home and take it in to > >> uni, and conversely print off uni work at home. I assume the uni > >> machines are WinBoxes, we run Linux and Windows at home. > > > > Any chance the university offers a VPN facility? Could he get a > > site-licensed copy and run it at home using that? Whether or not that's > > "legal" depends on the exact terms of the license I suppose. I could go > > off on a "why do you want to do that??" rant, but it's been done already > > ;) > > > > NJB/. > > Nice thought, but I suspect a little close to the wind. In the end I've > installed MuseScore both on my machine and his laptop. > Regards, > Martin Glad you got a resolution. Actually, our group's music prof has a load of stuff he wrote years back on Sibelius 5 which, fortunately, mostly runs under Wine. Since he owns a copy he can use that. It was a royal PITA trying to get Sibelius to issue an authorisation code! I don't think more modern versions work under Wine, but I've not looked into it for a while. I think he's really got the message that using proprietary solutions is effectively handing your work over to the software producers. There's lots of lilyponding going on here now :) Nick/. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond <-> Sibelius
On Sunday, 22 April 2018 12:26:01 BST J Martin Rushton wrote: > What is the current state of play for converting between Sibelius and Lily? > > My elder son uses Sib at university, but has to travel in (40 miles) to > log into one of their machines. I run Lily/Frescobaldi at home and it > would be useful to be able to let him work at home and take it in to > uni, and conversely print off uni work at home. I assume the uni > machines are WinBoxes, we run Linux and Windows at home. Any chance the university offers a VPN facility? Could he get a site-licensed copy and run it at home using that? Whether or not that's "legal" depends on the exact terms of the license I suppose. I could go off on a "why do you want to do that??" rant, but it's been done already ;) NJB/. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Apple stealing "Lily"
That's right. My PhD supervisor was a consultant for one of the Apples (don't remember which one :) ) Apple was only allowed to use Apple Corps trademark and branding if they didn't participate in the "Music" (i.e. recording) industry. Hmmm... On Friday, 5 May 2017 08:50:39 BST Robert Schmaus wrote: > On 5 May 2017, at 07:35, Michael Gerdau wrote: > > Anybody remembering apple sueing apple records for trademark infringement? > > Also, if I recall correctly, the lawsuit wasn't about trademark infringement > at all. I think Apple Corps had an understanding with the newly founded > Apple Inc that the latter may use its chosen name and logo as long as it > doesn't go into the music publishing business. > > Oh blast, now I looked it up on the Wikipedia entry anyway. So it turns out > that Apple Corps sued Apple Inc not one but *three* times. > > First time for copyright infringement - settled by both Apples promising not > to tap into the other's business. Second time for Apple Inc adding Midi and > Recording capabilities to their computers. Third time for launching the > iTunes Store. > > At no time did Apple Inc sue Apple Corps (at least I couldn't find any > evidence of that). > > Sorry folks, I know, all this doesn't belong on this list, but "alternative > facts" should be addressed wherever one finds them ... > > Or apple filing a lawsuit against M$ for copying the concept of > > graphical UI using mouse and windows and such thereby completely > > ignoring the fact that apple stole this whole concept from Xerox. > > Some more alternative facts here. Apple made a deal with the Xerox > management (who completely failed to see the potential of a GUI) - > basically, Xerox sold Apple the concept in return for Apple shares with a > net value of 16 Million $. Apple didn't steal anything, they just didn't > invent the concept themselves. > > > > > ___ > 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: Which Linux distro for Lilypond
On Saturday, 7 January 2017 10:20:17 GMT Werner LEMBERG wrote: > > Unfortunately I ran into this very issue, changing from Debian > > stable (in the Linux Mint Debian Edition incarnation) to vanilla > > Debian testing. I did this because the PyQt5 packages in stable are > > too old to run current Frescobaldi from its Git repository. Now > > that I managed to get Frescobaldi running again I can't build > > LilyPond anymore because in Debian testing I don't have guile 1.8 > > anymore :-( > > > > For working *with* LilyPond it's not much of an issue to use the > > releases, but I can't work *on* LilyPond right now ... > > Mhmm, compiling and installing guile 1.8 is not rocket science... > Have you tried that already? > > Maybe we have to bite the bullet and distribute guile 1.8 together > with lilypond. I know that this is a step into the wrong direction > since it doesn't force the guile maintainers to improve guile 2.x so > that lilypond can use it... > > > Werner > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user Don't laugh yet. A while ago, I was showing Cordy Hall who was at our CS department how we used Lilypond to typeset our applications' output. She is a fine violinist. She was very interested in it, and suggested rewriting the whole of Lilypond in Haskell. It took me a while to realise she wasn't joking. Wait for it... It turns out she had a lot to do with the Haskell type-checker. http://citeseerx.ist.psu.edu/viewdoc/download? doi=10.1.1.103.5639&rep=rep1&type=pdf scheme2haskell, anyone? You can laugh now :) Nick/. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Which Linux distro for Lilypond
Watch out for Debian. There isn't a Lilypond in Testing (Stretch) AFAIK. It's because they've removed the old scheme version. I develop in Testing in the hope that by the time I get around to releasing anything, it will be compatible with Stable :) Stable released rather infrequently, but I use it on our servers and it is very, well, *stable*. It's easy to install the Stable lilypond debian package on a Testing Debian box, fortunately. Debian is my favourite distro: I've tried others but always returned. Shame about the scheme thing, but it will sort itself out sooner or later (if it hasn't already!). I guess the clue's in the distribution name: "Testing" ;) Nick/. On Friday, 23 December 2016 22:37:32 GMT David Wright wrote: > On Sat 24 Dec 2016 at 13:06:23 (+1000), Craig Dabelstein wrote: > > Hi Lilyponders, > > > > Just a quick question. I'm taking the plunge and moving to Linux. Which > > distro would you recommend for running Lilypond and Frescobaldi? > > I don't know where you're moving from, but I think you should choose > your distribution on what you and your computer find most comfortable > to use. > > Assuming you're coming from, say, windows or a mac, you would probably > run a Desktop Environment, in which case the choice of DE could be as > important as the distribution. > > OTOH with an older machine that's past being able to run windows, > Frescobaldi should run happily on X and the simplest of Window > Managers, like fvwm for example (and maybe a DE too). > > The version of LP that the distribution supports can be made > irrelevant by downloading it/them from the lilypond.org website, > and I assume the same goes for F. (Debian stable, currently jessie, > will always bundle comparatively old versions of software.) > So I would say that you should sort out your platform first. > > (I wasn't aware of oddities with OpenSuse Leap 42.1, nor whether these > involved only its bundled versions or all versions.) > > 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: Spare SSD anybody?
On Wednesday, 1 June 2016 12:36:02 BST David Kastrup wrote: > Alexander Kobel writes: > ... > > Sure, it would be nice to keep in mind. I'm not really sure what the > expected lifetime of the disk I have is. Maybe I just need to keep > making backups in sane intervals and otherwise am still fine. I had cause to look into this recently and came across the following. Executive summary: everything is fine now and new SSDs last forever. http://techreport.com/review/27909/the-ssd-endurance-experiment-theyre-all-dead It's on the internet so it must be true :) (I expect more authoritative tests are available). I'm using a hybrid 1TB in my laptop at the moment with no problems with Debian Stretch GNU/Linux as the only OS installed. These devices feature typically 8GB or so of flash with the majority of the storage being on the whirlydisk. What the flash gets used for is up to the drive. With no tweaking or setup, it appears to me to be much faster than the old 1TB drive (only whirly, no flash), which I replaced because of increasingly frequent heat-related failures after it been running for 4 hours or so. Nick/. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
On Friday 18 Mar 2011 08:14:48 Dmytro O. Redchuk wrote: > Let's say, i love J. S. Bach very much (well, let's say), as much as my > father and grandfather (etc). So, can i really be sure that i understand > his music as good as my grandfather?.. I mean that every Beethoven's > symphony contains "a piece of information" -- can i be sure that i can > recognize it as good as my grandfather? Yes, i know this can not be > measured at all. I'm not sure you can't measure that. You should see what MRI scanners can measure these days. Get yourself scanned now, then perhaps your great grandchildren really will be able to see if they respond in the same way (using the same mechanisms) as you. On Friday 18 Mar 2011 13:15:56 James Lowe wrote: > Hello, > ... > When you are a 'grandfather' you will know the answer because the 'good' > stuff of today will still be around or known and the 'bad' stuff will not > (or rather it will be 'somewhere' but everyone will have forgotten about > it). I am sure there are some exceptions but they won't be the rule, and > of course things like distribution 'back in your grandfather's day' would > have made some differences, but this frankly is not a consideration in our > linked world today. We are exposed to more good and bad stuff than ever > before. Hmmm, I'm not sure. The point you make about distribution may be the more significant. You might find there are petabyte disks in your watch with the whole of human culture on them, or else your phone will be quantum-entangled with the whole of the web giving instant access to absolutely everything :) The real problem will be categorising it. Two ways: "what do people who listen to the stuff I like also listen to"; and (this is another reason why work like Graham's is important) "What is there that is played in the same manner as the the stuff I like." The second, I believe, is beyond the state of the art, because we don't know what "in the same manner" means. On Friday 18 Mar 2011 11:15:02 Kieren MacMillan wrote: > Graham, > ... > I *do* think so -- and recent studies on youth support my belief with > evidence. On the music side, consider the fact that recent studies have > shown a majority of young people prefer the sound of compressed audio > (e.g., low- to medium-bitrate MP3s) to uncompressed audio. [Pause here to > fully appreciate the horror of that statement.] Independent of the content > of the music itself -- the debate about which is far more subjective -- > many listeners can no longer appreciate what music is physically supposed > to sound like. Let's not confuse music with audio or sound. Everybody's hijacking the word "Music" these days. "Music Industry" (record industry), "Music player" (audio player). Music is a process and we "make music". How do we make it? Let's experiment... > > A lower barrier of entry by definition allows people to "get into the > field" with less experience, less training, less discipline, less > persistence, and so on. Are there some benefits to this? Sure. Does it > increase the amount of crap we have to wade through. Absolutely. I have > yet to see any field -- athletics, art, construction, law, comedy, > whatever -- where a lower barrier of entry doesn't increase the amount of > crap. And, unfortunately, I also see in the audience for that field a > concomitant decrease in discriminatory powers. True, I'm sure, but more disturbing is that hardly anybody (in the UK at least) benefits from a general musical education in the state sector. You have to buy your lessons privately pretty much everywhere. What goes on in schools is "music appreciation" or, worse, "free improvisation" (except that it's not, except in the literal sense). Lowering the barrier to making music might be a good thing. It's very different from lowering the barrier to people imposing their compositions on you in the local lift/supermarket/train etc etc. Perhaps exposing people to the process of making music might be a good defence against waning discrimination? Thank you, everybody, for a great thread! Nick/. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OOoLilyPond 0.3 released
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 That's right, but it's really important to store temp files in /tmp: it's not so bad on my lab machines because they are all Linux and we run our own file server, but if you walk downstairs to the undergraduate clusters that run Windows/Novell, you can wait up to five minutes after turning the machine on before the desktop appears if you do it on the hour in term time when lab teaching's on, and this is because of network load. The University magnanimously grants each student just a few MB of quota in /home (or H: I think they call it) -- many of them resort to doing all their work from USB flash keys. This is the sort of nonsense one has to put up with. I ask the first year students to work out how much they are worth by looking up the price of hard disk drives. The admin hate me :) Anything to make sure the temporary files stay on the local machine! Nick/. On 13 Oct 2006, at 10:04 am, Graham King wrote: If the files are _required_ to remain until the next time the user runs OOoLilypond, /tmp might not be the best place. On some unices, / tmp is a swap-based filesystem that gets trashed at reboot; on others (including various Linux distros), there's a cron job that removes anything that has not been accessed for some period of time. On Fri, 2006-10-13 at 09:15 +0200, Mats Bengtsson wrote: Samuel Hartmann wrote: Hi Mats, Mats Bengtsson wrote: Samuel Hartmann wrote: * on Linux, ~/.ooolilypond-tmp is used for temporary files Why not use a directory in /tmp/ for temporary files? I'm probably not the only one who has $HOME on a network file system with limited quota. Of course, I could add a soft link from .ooolilypond-tmp to /tmp/. Using /tmp can cause problems when several users use OOoLilyPond on the same machine. The temporary files are the LilyPond input file, the LilyPond output, the eps or png file. These file stay in the temporary directory until the next time you run OOoLilyPond. Another user running OOoLilyPond will have problem deleting or overwriting these files. Such problems are easily handled by creating separate subdirectories below /tmp/, for example based on the user name or using tmpfile(). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFFL1jnFo+kGmUnzkQRAmEaAJ478I8C6S3QqDTCJYWlSv5zWBK9xACfRsOW DDcwgojYrA8mZIbQCHalYCY= =w+as -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond store?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On 5 Jul 2006, at 2:09 pm, Stewart Holmes wrote: Yes. Harsh this may sound, but how much of the music on Mutopia would you be satisfied to print out, and use yourself? From a quick browse through various sections, I have to say that a large amount of the music on there is fairly poorly engraved. My proposition is for much more strict quality control... after all, nobody will pay money for music unless it looks professional. Oh yeah? And when did you last see a set of orchestral parts that looked "professional"? Some of them are even photocopies of (badly) handwritten manuscripts! Isn't that why Han-Wen started writing Lilypond in the first place? That said, anything to increase the profile of Open Software and increase the quality of music publishing has to be good, so good luck to you. I don't think existing publishers will agree with me though :) Nick/. -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFEq8BwFo+kGmUnzkQRAheSAJ0aMR1wCIhvZVp8B/vorq0ISFFGFACgnNu7 oUUvtbBlh7NVWTkqafltvF0= =cp3K -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scanning music and transposing
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On 15 Jan 2006, at 4:45 pm, Robert T Wyatt wrote: Hi Lilypond folks, I was wondering if anyone has scanned sheet music and then used Lilypond to transpose keys (especially on a Macintosh). I've googled a bit and haven't found a method for doing this yet. Any guidance is appreciated. This is actually quite difficult! Kia Ng in Leeds knows how to do it http://www.kcng.org/omr/ but it's a big deal. I think he charges money to do it. But he can handle hand-written stuff as well as printed. I don't know if he has a lilypond backend. Nick/. -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFDypbSFo+kGmUnzkQRAr/FAKCHk/yhHUCXIPE15J54nZqkXpOEXACeMKWB 4Dsd67kAjn9U2FEBSHpfTSA= =lxEp -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: User Experience Engineering
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On 6 Jan 2006, at 10:57 am, fiëé visuëlle wrote: There's already LilyPad for MacOS X (http://edbaskerville.com/software/lilypad/), LilyPond's own simple GUI (at least on MacOS X) and jEdit's LilyPond mode (http://lily4jedit.sourceforge.net/). And as a GUI tool there's at least RoseGarden on Linux (http://www.rosegardenmusic.com/), that can export LilyPond code. Some other GUI tools might be able to export MusicXML that could be converted to LilyPond code (never tried that myself), or you could go via MIDI (but the midi2ly code is rather ugly). Don't forget Denemo (http://denemo.sourceforge.net/) which is maintained by Adam Tee and others. It's a WhatYouSeeAllYouWant thing, i.e. it's really ugly on screen until the you press the lilypond export button, then the output's beautiful as we'd all expect. Apparently, there's a DarwinPort of it. Also RPM, and of course a debian package. No Windows port AFAIK, at last since v0.5 and the sound didn't work on that. I'll stick to emacs myself, but some folk might like it :) Nick/. -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFDvmyNFo+kGmUnzkQRAs1xAKCN2CS3SQGZTyXrhR7oGK/Eh+TB9QCgha3q uLwWFY8s74uS5BlTKoR7lXk= =3Qfn -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: User Experience Engineering
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On 5 Jan 2006, at 9:31 pm, Han-Wen Nienhuys wrote: Keep in mind that every 10 minutes we save you on doing system administration, typically takes us 8 hours of debugging, fiddling with cross-compilers and testing. Add to that that Windows by far is our least favorite platform: I'll go on record saying that the entire development team actually loathes and despises Windows. Hear hear! (not that I'm on the development team, I hasten to add) If you have to use Windows, Linda, and you really don't since you could install Linux over the top of it on almost any Windows-compatible hardware you actually control, the best thing to do is to not to use any Microsoft applications if you can avoid it. Install new web browsers, editors, everything. I speak from bitter and current experience as I'm trying to write a web site with css that actually works on Internet Explorer: it flagrantly mis-implements the web standards and provides Microsoft-only "specials" to "fix" them. The Scilab experience is instructive in this case. They spent ages making a Windows version, then when it eventually just about started to work, all they got from the Windows community was complaints about missing functionality (and in contrast to the other communities, no contributed code, in spite of the allegedly large user-base). Caltech alumni especially should be aware of this. Tut tut. :) Nick/. http://cmt.gla.ac.uk If you're concerned about user-experience, I recommend you to choose between any of the following options - switch over to MacOS - sponsor the development team for Windows usability work - volunteer time to help engineer the Windows release Regards, -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFDvkToFo+kGmUnzkQRArQwAJ4ppjXK+pZoAAOdfbnFmBcnLk69UQCfTlfR SXL+RrfbK16PyhurLNRtlo4= =AbtF -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A simple diagram of a .ly file?
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Hi Ray! And a happy new year to you too!
I found a similar problem with understanding when and how tweaking
properties can be used, so I know what you mean. I've got no excuse:
the manual even tells you what to look up, how and in which order, but
it is one of those that you read, think "Yeah, I understand that", then
find yourself unable to actually do any of it! A bit like doing
Schenkerian analysis really. It's really easy if you know the answer
before you start :) Lilypond is a salutary experience and has made me a
lot more tolerant of some of my first-year C programming students!
I don't know if this is just because the problem of music layout is
inherently complex. Maybe. Or perhaps I'm just getting old.
One thing about syntax and layout: I do find the lilypond mode for
emacs rather useful. If I'm thinking about higher things, I'm still
sufficiently inexperienced to write c2' instead of c'2, and the syntax
colouring of emacs immediately points up the error. I use Debian
Gnu/Linux so I just installed it from the repository. I don't know
about its availability for other platforms, or if similar capabilities
exist for other portable editors (jedit and kate are popular around
here). But it might be worth looking into. It might not be so good at
helping with global structure though.
I hope you carry on with Lilypond. It seems to me like using LaTeX.
Dreadfully over-complicated at first, but with familiarisation comes
the feeling of amazement that you could ever have put up with what you
were using before, and astonishment that you ever found it hard to use.
Nick/.
http://cmt.gla.ac.uk
On 5 Jan 2006, at 4:54 am, Ray wrote:
First off, I think Lilypond is amazing and I had very few problems
installing
it or using it, despite a relatively limited musical knowledge. I'm an
amateur songwriter with no ambitions of ever going pro but wanted to
print out
my music as a gift for my mom at Christmas. We're talking very simple
stuff:
a melody, lyrics, and the markup guitar chords at (approximately) the
right
time.
Through the tutorial I quickly gained fluency in the make up of an .ly
file,
but I found that as the file got larger it got harder and harder to
keep track
of. Furthermore, when any kind of bug appeared it was almost
impossible to
sleuth out...as there is almost no documentation (that I could find,
anyway)
dealing with the syntax or _general_ form of a .ly document. I don't
see this
as a failing per se, but perhaps it might be something that folks
could push
for as time permits? Alternatively, additional templates might be
nice, ones
that address non-classical music forms.
In my case, I found it hard not to compare Lilypond to HTML...they
both seem
essentially like markup languages and they both have "header" files.
Getting
the hang of Lilypond _should_ be relatively easy. But having a visual
sense
of the .ly "body" is much, much harder. In the example files it's
hard to
discern what are the variables and what are the Lilypond syntax codes
(color
coding the examples would be a great boon for anyone trying to figure
them
out). And there doesn't seem to be any kind of simple discussion
about how
to organize a file, such as:
"A .ly file has 3 basic parts. The header, the body, and the score.
In the
header, info about the piece is given (composer, title, etc.) as well
as any
other useful info the program may need but which doesn't relate to the
notes
themselves. The body is where the notes and the lyrics are set down.
The
score is where the "printing" (whether to paper or MIDI) is done.
Variables
are written in the 'body' part and then used later as part of the
score."
I'm not even sure I'm right about what I've just written, actually,
but it's
what I'm gleaning from the current examples, most of which are fine for
explaining the particular microscopic issue but which don't place it
in a
macroscopic context. After about 2 weeks of solid sleuthing and head
scratching, I am still having a heck of a time getting my .ly file to
print
a pdf and a MIDI file at the same time, and I haven't had any luck in
using
the "score" section. I can get a nice pdf if I comment out my score
part,
but then it won't play MIDI. I also have had a heck of a time with
getting
my lyrics to match the right notes. I tried using the "\lyrics" line
but
couldn't get the syntax to work.
Also, what the tutorial needs is some kind of sense of how these
smaller
pieces fit into a larger whole. It's easy enough to see that "{a2 b1
c4is
(d8 e16)}" will write appropriate notes. It's much harder to know
what's
going wrong when they _don't_ appear that way as part of a larger song.
Please don't take this as a vent or that I'm upset---I'm not: I could
never
write music like this without Lilypond and really want to become more
fluent
in writing it so that it doesn't take me so long to write songs down.
If
Re: Changing polyphonic per-voice rest position
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On 4 Jan 2006, at 4:33 pm, David Raleigh Arnold wrote: Wouldn't it be better to have \followrests mean that the rest takes its pitch from the next note in the part? Rests are cues and the ideal pitch for a rest if there is more than one part is the one that leads one's eye to the note. daveA Quite right! There is no such thing as \followrests in 2.6 though? (I couldn't it in http://lilypond.org/doc/v2.6/Documentation/user/lilypond.html) I've gone through and manually placed the rests explicily. Throuble is now, after running my scordatura program, the rests sometimes get placed on spaces in the staff which makes it look like minim rests and semibreve ones are swapped, but actually they are just being typeset half a line off (like I asked for). I think it'll be best to tackle this by hand for the moment. I'll send you a PDF of what I've got so far if you're interested... Nick/. -BEGIN PGP SIGNATURE- Version: GnuPG v1.2.3 (Darwin) iD8DBQFDvBcgFo+kGmUnzkQRAuQNAJ45Ez23F2/YbIKdtnD5veaeEnF/mACdG9lE cYr9umILhmtn732VoEzF9jQ= =Rpsb -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing polyphonic per-voice rest position
On 3 Jan 2006, at 10:42 am, Maarten Storm wrote:
You could do
\override Rest #'staff-position = #x
where x is a number indicating the position on the staff. Positive
above the middle line, negative under it.
You can find a good example in the regression tests.
Ah, I see, you put it in the polyphonic voice and it really does only
change the rest for that voice. I was using loads of << ... \\ ... >>
constructs, rather than
typing four separate parts like you would with a string quartet or four
voices. Then I'd put the override at the top of the score where of
course it didn't work, so I went off on the tangent of trying to get
something like \override VoiceOne.Rest ... to work (which of course I
couldn't). Thanks for your help with this.
Actually, I think the explicit positioning with eg b'2\rest might be
the thing. The reason is that after typesetting, I'm running the whole
lot through a lex program to convert it to 19-divisions of the octave
(cis != des) which will then be played on a retuned MIDI keyboard so
that each octave covers an octave and a fifth of keys. So if I use the
explicit placement for all the rests, there won't be any nasty
surprises when the version with scordatura tuning version for keyboard
(?!) is typeset.
All this is very unlikely to make any sense at the moment, but I urge
people to come along to the gig if they are interested and around at
the time...
http://markov.music.gla.ac.uk/cmt-wiki/NextSeminar#nism
If anyone is interested in the 19-divisions-of-the-octave microtonality
stuff, maybe they can email me off list and I'll send them some
resources.
One final tiny little point of interest. I've noticed that the rest
placement is actually much worse in 2.6 (specifically 2.6.3 debian
unstable) than 2.4 on my powerbook, so that there are collisions with
rests in addition the eccentric placement.
The attached snippet shows what I mean. In the first bar, the b
semibreve collides with the minim rest in (the implicit) voiceTwo.
Also, just a very very minor thing, but the braces at the left hand
side of the staff have increased in size since 2.4. This looks fine,
but they collide with the bar numbers now, so you have to increase
their offset to generate really nice output. (I think I know how yo do
this).
I notice I'm a few minor revisions behind the stable release, I'm just
using what's in the debian unstable branch. Here're the first three
bars anyway, with the collision in bar 1 and the very high rest
placement in bar 3.
When I've got the whole thing sorted, I'll put it on Mutopia or
something... I wonder how many people have ill-tempered keyboards so
they can play it though? :)
\version "2.6.3"
\header {
title= "Ut, re, mi, fa, sol, la."
composer = "John Bull"
}
\score {
\new GrandStaff <<
\new Staff {
#(set-accidental-style 'voice)
%% Bar 1
\time 3/1
g1 a << b \\ {r2 g} >>
%% Bar 2
\time 4/1
<< {c'1 d'} \\ {a2 c'~ c' b2:16} >>
<< {e'1 e'} \\ {c'4 g c'2~ c'4 b g a } >>
%% Bar 3
<< b1 d' >>
<< a c' >>
<< {r2 d'~ d' c'~} \\ {b1 a} >>
}
\new Staff {
#(set-accidental-style 'voice)
\clef bass
%% Bar 1
r2 g~ g f << r1 \\ {e2. d4} >>
%% Bar 2
<< r2 \\ c2 >>
<< {g1 f2 e2. d4 c d e c} \\ {e2 d1 c2 a,~ a,4 b, c2} >>
%% Bar 3
<< {g4 d} \\ b,2 >>
<< {g2~ g4 e fis2} \\ {a,4 g, a,1} >>
<< g2 \\ {g,4 a,} >>
<< {g2~ g4 f f2} \\ {b,4 c d2 a,} >>
}
>>
\layout {
\context {
\Staff
\remove Time_signature_engraver
}
}
} % end of score
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Re: Changing polyphonic per-voice rest position
On 3 Jan 2006, at 10:42 am, Maarten Storm wrote:
You could do
\override Rest #'staff-position = #x
where x is a number indicating the position on the staff. Positive
above the middle line, negative under it.
You can find a good example in the regression tests.
Ah, I see, you put it in the polyphonic voice and it really does only
change the rest for that voice. I was using loads of << ... \\ ... >>
constructs, rather than
typing four separate parts like you would with a string quartet or four
voices. Then I'd put the override at the top of the score where of
course it didn't work, so I went off on the tangent of trying to get
something like \override VoiceOne.Rest ... to work (which of course I
couldn't). Thanks for your help with this.
Actually, I think the explicit positioning with eg b'2\rest might be
the thing. The reason is that after typesetting, I'm running the whole
lot through a lex program to convert it to 19-divisions of the octave
(cis != des) which will then be played on a retuned MIDI keyboard so
that each octave covers an octave and a fifth of keys. So if I use the
explicit placement for all the rests, there won't be any nasty
surprises when the version with scordatura tuning version for keyboard
(?!) is typeset.
All this is very unlikely to make any sense at the moment, but I urge
people to come along to the gig if they are interested and around at
the time...
http://markov.music.gla.ac.uk/cmt-wiki/NextSeminar#nism
If anyone is interested in the 19-divisions-of-the-octave microtonality
stuff, maybe they can email me off list and I'll send them some
resources.
One final tiny little point of interest. I've noticed that the rest
placement is actually much worse in 2.6 (specifically 2.6.3 debian
unstable) than 2.4 on my powerbook, so that there are collisions with
rests in addition the eccentric placement.
The attached snippet shows what I mean. In the first bar, the b
semibreve collides with the minim rest in (the implicit) voiceTwo.
Also, just a very very minor thing, but the braces at the left hand
side of the staff have increased in size since 2.4. This looks fine,
but they collide with the bar numbers now, so you have to increase
their offset to generate really nice output. (I think I know how yo do
this).
I notice I'm a few minor revisions behind the stable release, I'm just
using what's in the debian unstable branch. Here're the first three
bars anyway, with the collision in bar 1 and the very high rest
placement in bar 3.
When I've got the whole thing sorted, I'll put it on Mutopia or
something... I wonder how many people have ill-tempered keyboards so
they can play it though? :)
\version "2.6.3"
\header {
title= "Ut, re, mi, fa, sol, la."
composer = "John Bull"
}
\score {
\new GrandStaff <<
\new Staff {
#(set-accidental-style 'voice)
%% Bar 1
\time 3/1
g1 a << b \\ {r2 g} >>
%% Bar 2
\time 4/1
<< {c'1 d'} \\ {a2 c'~ c' b2:16} >>
<< {e'1 e'} \\ {c'4 g c'2~ c'4 b g a } >>
%% Bar 3
<< b1 d' >>
<< a c' >>
<< {r2 d'~ d' c'~} \\ {b1 a} >>
}
\new Staff {
#(set-accidental-style 'voice)
\clef bass
%% Bar 1
r2 g~ g f << r1 \\ {e2. d4} >>
%% Bar 2
<< r2 \\ c2 >>
<< {g1 f2 e2. d4 c d e c} \\ {e2 d1 c2 a,~ a,4 b, c2} >>
%% Bar 3
<< {g4 d} \\ b,2 >>
<< {g2~ g4 e fis2} \\ {a,4 g, a,1} >>
<< g2 \\ {g,4 a,} >>
<< {g2~ g4 f f2} \\ {b,4 c d2 a,} >>
}
>>
\layout {
\context {
\Staff
\remove Time_signature_engraver
}
}
} % end of score
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Changing polyphonic per-voice rest position
Hello! I'm trying to typeset a piece of polyphonic keyboard music by the English composer John Bull with version 2.4 and 2.6 (two different platforms), and I've noticed the positioning of the rests doesn't look too good. I understand that you can place a rest using a note followed by \rest, but for much of the score the register of the "sooprano" part is rather low, and the default rest position for that voice seems to be at the very top or even above the clef. Would it be possible to say "Please use the following default vertical positions for rests for the moment" in the score, to save having to place rests explicity the whole time? I've read the manual and as far as I can understand it, it might be possible to set staff-position of Rest somehow, but as to how to achieve this per-voice, I'm very much out of my depth I'm afraid. Any help very much appreciated. Nick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
