Re: All Ye People Clap your hands (was Re: lilypond-user
Hi, I don't know if this is what you are looking for but here is something that Mats posted sometime back (2003) I believe: http://www.mail-archive.com/lilypond-user@gnu.org/msg03243.html Regards, Ralph - Instant message from any web browser! Try the new Yahoo! Canada Messenger for the Web BETA___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine problem
Hi, I seem to remember that this problem has been discussed a number of times before. As Trevor points out, the \partcombine code creates its own contexts and adds the combined notes to them depending on whether or not they are combined. I think (from memory) it creates 3 contexts, one, two and both which it combines visually such that you cannot tell. Whichever context you pick to attach your lyrics, it will have holes: one will not contain combined notes and both will not contain any events where notes are not combined. It is a nuisance, but \partcombine is a bit of a hack anyway. There are a number of solutions I think to the problem, one of which is the DevNull solution which is not ideal in itself, where you create another context into which one of the melody lines is put and attach lyrics to that. The DevNull context actually doesn't put anything out so it is an invisible context - it just provides the musical events onto which you can hang the lyrics. I would search LSR and the archives for partcombine and look for the previous discussions - last one around 2 months ago I believe! Regards, Ralph - Instant message from any web browser! Try the new Yahoo! Canada Messenger for the Web BETA___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Part 2 of 2 -- Re: GDP: NR 1.1 Pitches 2008-01-26 [OT]
Accidentals are only printed on tied notes which begin a new system: Each to his/her own I guess. In this case that is correct and which is incorrect. To me, which sounds strange in this context. It implies to me that tied notes begin a new system *which* is, of course, untrue. :) What people think of as strange or normal depends on their common usage in spoken language I find. That's why you still see people writing there instead of they're and where instead of we're. Don't even get me started on its :D Regards, Ralph - All new Yahoo! Mail - - Get a sneak peak at messages with a handy reading pane.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A question on ##t
if the # puts lilypond into scheme mode, does that mean that the equals-sign in #'merge-differently-headed = ##t is not scheme? if it is, then why not #'merge-differently-headed = #t ? In fairness to Damian, I think his further question was more to do with the scope of the # scheme introducer. i.e. how much of what follows the # is interpreted as scheme. I'm not sure that I know the definitive answer to that question since you can define an entire scheme function with a single # in a different context. In answer to his specific question about #['merge-differently-headed = #t], it wouldn't work anyway because the syntax of scheme is different. The assignment here is Lilypond's syntax. Regards, Ralph - Instant message from any web browser! Try the new Yahoo! Canada Messenger for the Web BETA___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
Perhaps the quarter/half thing is a confusion of terms? If you look at flats and sharps as semi- or half-tones then a half of one of those could be reasonably termed quarter-tones. I've not seen a quarter flat but I have seen the term quarter tone Ralph - Instant message from any web browser! Try the new Yahoo! Canada Messenger for the Web BETA___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: tutorial draft 4, fundamental draft 1
Hi, Just had a look through and it looks awesome! Thanks for everyone involved! Regards, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: line break in headers
How can I get two line in a header? Like:
\header {
copyright = First line \\ Second line
}
Hi,
I guess that something like this should work
(sorry I'm at work at the moment and can't test):
\header {
copyright = \markup { \column {First line Second line } }
}
Regards,
Ralph
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Re: Lilypond versus Braille
Hello, has anyone created a comparison between Lilypond source file format and Braille notation? The Braille notation is described at http://www.brl.org/music/. For blind people, Lilypond input file syntax is much moor natural than for other users. Tomas Valusek Hi Tomas, A Music Braille output option is currently under development by me at the moment. You should see something in about 2 weeks. Regards, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I'm having a problem with this file
Hi Tim, Could you mail the file to me as an attachment, I can't seem to access the file from gnu.org? Sounds like things are moving on for you :D Cheers, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I'm having a problem with this file
Tim Litwiller wrote:
Yeh, I'm moving along trying different suggested methods as I go,
keeping notes as to what works. and what doesn't.
Hi Tim,
Could you mail the file to me as an attachment, I can't seem to
access the file from gnu.org?
Sounds like things are moving on for you :D
Cheers,
Ralph
Hi,
OK, I have made 2 changes to your file:
First, so that new voices always get the aikenHeads by default, I've
removed the \aikenHeads setting from \global and added the following to
\layout:
\context {
\Voice
shapeNoteStyles = ##(do re mi fa #f la ti)
}
This adds the \aikenHeads definition to the default Voice.
So when using the \\ notation, any new Voices created get aikenHeads
by default.
The reason that you weren't getting the tenor and bass parts together
was that they should be encapsulated in .
So you now have:
\new Voice = tenor {
\global
\PartsThree
}
\new Voice = bass {
\global
\PartsFour
}
instead of :
\global
\PartsThree
\PartsFour
Regards,
Ralph
File follows:
=
\version 2.11.32
%\include english.ly
% template for song with no repeating - several verses and a common chorus
\header {
title=It's a Long, Long Road
poet=get from source
composer=get from source
tagline=Copyright Larry Ensz 2006
}
\paper {
%#(set-paper-size letter)
%line-width = 189\mm
%line-width = #(- line-width (* mm 3.00))
%between-system-space = 6\mm
%force-assignment = #
%between-system-padding = #6
ragged-bottom=##f
ragged-last-bottom=##f
}
mBreak = { }
leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup
#brace260 }
rightbrace = \markup { \rotate #180 \leftbrace }
dropLyrics =
{
\override LyricText #'extra-offset = #'(0 . -5)
\override LyricHyphen #'extra-offset = #'(0 . -5)
\override LyricExtender #'extra-offset = #'(0 . -5)
}
raiseLyrics =
{
\revert LyricText #'extra-offset
\revert LyricHyphen #'extra-offset
\revert LyricExtender #'extra-offset
}
skipFour = \repeat unfold 4 { \skip 8 }
global = {
\key aes \major
%\tempo 4=180
\partial 4
\autoBeamOff
}
PartsOne = {
\key aes \major
\relative c' {
\voiceOne
ees4
aes2. aes4
f des f aes
ees1
b'4\rest ees, f g
aes2. aes4
bes2 ees2
ees1
\mBreak
b4\rest ees4 d d
ees1
b4\rest ees, f g
g2. \bar || g8^Chorus g8
g4 bes bes aes
bes4. aes8
\mBreak
f4. f8
ees4 aes c aes
bes2( bes8) bes8 c des
ees4 ees4 ees4 des8 c8
des8 des4
\mBreak
des8 des4 des
c8 c4 c8 c4 bes8 aes
bes4 f f f
ees2 g2
aes1
}
}
PartsTwo = {
\key aes \major
\relative c' {
\voiceTwo
ees4
aes2. aes4
f des f aes
ees1
b'4\rest ees, d d
bes2. bes4
ees2 g2
g1
b4\rest
\mBreak
g aes aes
g1
b4\rest ees, d d
bes2. bes8 bes
bes4 ees ees ees
des4. des8
\mBreak
des4. des8
c4 c ees ees
ees2( ees8) ees8 ees f
aes4 aes aes ees8 ges
f8 f4
\mBreak
f8 f4 f4
ees8 ees4 ees8 ees4 ees8 ees
des4 des des b
c2 des
c1
}
}
PartsThree = {
\relative c {
\voiceOne
ees4
aes2. aes4
f4 des f aes
ees1
b1\rest
ees2. aes4
g2 bes
bes1
d,4\rest
bes'4 bes bes
bes1
d,4\rest aes'4 aes ees
ees2. ees8 ees
ees4 aes aes g
f2
aes4. aes8
aes4 aes aes aes
g2( g8) g8 aes aes
c4 c c bes8 aes8
aes8 aes4
aes8 aes4 aes4
aes8 aes4 aes8 aes4 g8 aes8
f4 aes aes aes
aes2 ees2
ees1
\break
}
}
PartsFour = {
\relative c {
\voiceTwo
ees4
aes2. aes4
f4 des f aes
ees1
b1\rest
aes2. f'4
ees2 ees2
ees1
d4\rest
ees4 bes bes
ees1
d4\rest c bes ees
aes,2. aes8 aes8
aes4 aes aes
c
des2
des4. des8
aes4 aes aes c
ees2( ees8) ees8 ees ees
aes4 aes aes aes8 aes8
des,8 des4
des8 des4 des4
aes8 aes4 aes8 aes4 aes8 des8
des4 des des des
ees2 ees
ees1
}
}
\score {
\new Staff = top
{
\override Staff.TimeSignature #'style = #'()
\set Staff.midiInstrument=recorder
\global
\clef treble
%\new Devnull=nowhere \PartsOne
\new Voice = soprano {
\global
\PartsOne
}
\new Voice = alto {
\global
\PartsTwo
}
\new Lyrics \lyricsto soprano { \set stanza = 1.
I walked one morn -- ing by the sea, and all the waves reached out to me
I took thier fears, Then let them be.
}
%\new Lyrics \lyricsto nowhere { \set stanza = 1.
%I walked one morn -- ing by the sea, and all the waves reached out
to me
%I took thier fears, Then let them be.
%}
\new Lyrics \lyricsto alto { \set stanza = 2.
I walked one morn -- ing at the dawn, When bits of night still ling
-- ered on.
I sought my
Re: sunday school music
Hi Tim,
There are two snippets following.
The first is a bit of your power example with the lyrics spacing issue.
You can use the same techniques as before but introduce another DevNull
voice with one of the bottom parts which moves with the extra line and
it will follow that instead.
- If you use the _ character in lyrics it is like a silent word (or skip
in Lilypond terminology). Since we are using \lyricsto, you don't need a
duration e.g. _8 as they are ignored when following another voice.
- if a lyric line has no words in it, the space it would have taken
closes up.
The second snippet is a modification of the power example. I've doubled
up the notes to get enough for two lines of output music.
Hope it is clear enough!
Cheers,
Ralph
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine {\PartsOne \PartsOne} { \PartsTwo \PartsTwo }
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c {
\aikenHeads
f4 f f f
f8 f4 f8 f2
c8 c4 c8 c2
f8 f4 f8 f2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine {\PartsThree \PartsThree} { \PartsFour \PartsFour }
}
\score {
\new Staff = top
{
\override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull=topfollow { \PartsOne \PartsOne}
\new Lyrics \lyricsto topfollow { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto topfollow { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto topfollow { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men
_ _ _ _ _ _ _ _ _ _ _ fish--
ers of men }
\new Lyrics \lyricsto topfollow { \set stanza = 2. Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me
_ _ _ _ _ _ _ _ Come un-- to
me }
}
\new Staff = bottom
{
\override Staff.TimeSignature #'style = #'()
\PartsBottom
}
}
--
\version 2.11.32
\include english.ly
\header {
title=There Is Power in the Blood
subtitle = They overcame him by the blood of the Lamb.-Rev. 12:11
poet=Lewis E. Jones, 1865-1936
composer=Lewis E. Jones, 1865-1936
}
\layout {
indent = #0
}
PartsOnea = {
\relative c'' {
\aikenHeads
\partial 8 bf8
a4 a8. a16 c4 bf8. a16
bf2. \bar || f8^REFRAIN bf
d2 d
}
}
PartsTwoa = {
\relative c' {
\aikenHeads
\partial 8 f8
f4 f8. f16 ef4 d8. c16
d2. \bar || d8 d
f2 f
}
}
PartsTopa = {
\key f \major
\clef treble
\partcombine \PartsOnea \PartsTwoa
}
PartsThreea = {
\relative c' {
\aikenHeads
\partial 8 d8
c4 c8. c16 a4 f8 f
f2. \bar || bf8 f8
bf4 bf8 bf bf2
}
}
PartsFoura = {
\relative c {
\aikenHeads
\partial 8 bf8
f'4 f8. f16 f4 f8 f
bf,2. \bar || bf8 bf
bf4 d8 f bf2
}
}
PartsBottoma = {
\key f \major
\clef bass
\partcombine \PartsThreea \PartsFoura
}
\score {
\new Staff = top
{
\override Staff.TimeSignature #'style = #'()
\PartsTopa
\new Devnull=TopFollow \PartsOnea
\new Devnull=BottomFollow \PartsThreea
\new Lyrics \lyricsto TopFollow { There's won- der- ful pow'r
in the blood There is pow'r pow'r }
\new Lyrics \lyricsto BottomFollow { _ _ _ _ _ _ _ _ _ _ _
There is pow'r }
}
\new Staff = bottom
{
\override Staff.TimeSignature #'style = #'()
\PartsBottoma
}
}
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Re: sunday school music
Hi, There is a good workaround for typing the four voices separately, and combining This is OK, but you still have to fiddle around to get the split notes where heads collide. The best way must surely be to get Lilypond to support this directly with \partcombine or another similar function as Mats suggests. I had not noticed that the lyrics are not centred with the DevNull method. I don't know how to get around that as I'm not sure why it happens. :( As ever, it always seems that Lilypond does a good job apart from one or two niggley little things :D Perhaps some of the others have ideas on this. So close...yet so far Regards, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school music
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented one and two voices only
contain the notes that are separated (not chords) so you only get lyrics
beneath the separate notes.
Looking at a dump of the stream event output, there are voices one,
two, shared, and solo. I think the notes are directed at different
voices depending on whether they are separate or not, so I suspect
linking the lyrics to a voice is a non-starter for the case of
\partcombine. My suspicion is that \partcombine was never intended to be
used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to go.
See 7.3.5.4 Lyrics independent of notes
OK, enough of that moaning, using the above method, here is what I get
which seems to work with the previous fix for part-combine.scm.
The method involves using the top-most voice and creating a pseudo
DevNull voice context which the lyrics can track. It exists but there is
no output.
You get a big pile of warnings which I think is a bug because you get
the warnings with the example in the doc also.
---
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
\new Staff = top
{
\override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull=nowhere \PartsOne
\new Lyrics \lyricsto nowhere { \set stanza = 1. I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto nowhere { \set stanza = 2. Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
}
\new Staff = bottom
{
\override Staff.TimeSignature #'style = #'()
\PartsBottom
}
}
Regards and have fun!
Ralph
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Re: sunday school songs
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It uses chords instead of \partcombine which would make note entry a lot
easier.
If someone knows how to tweak the operation of \partcombine so that some
notes could separate with different flags (where you have indicated)
that would make it a lot easier to do I think.
Hope this helps... P.S. I did this using 2.11.32 which is the version
I'm using at the moment.
BTW, do you have an example of the natural sign problem that you were
having?
Cheers,
Ralph
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsTop = {
\key f \major
\clef treble
\relative c' {
f c4 f c f c g c,
a f8 a f4 gs8 \\ f8 a f2
g e8 g e4 fs ds8 g e2
f c8 f c4 d bf8 c2 \\ c2
}
}
PartsBottom = {
\key f \major
\clef bass
\relative c' {
a f4 a f a f bf f
c f,8 c f,4 b c,8 c f,2
c c,8 c c,4 c c,8 c c,2
a f8 a f4 bf f8 a f2
}
}
\score {
\new Staff = top
{
\new Voice = 1
\override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsTop
}
\new Lyrics \lyricsto 1 { \set stanza = 1. I will make you
fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto 1 { \set stanza = 2. Hear Christ call--
ing Come un-- to me Come un-- to me Come un-- to me }
\new Staff = bottom
{
\override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsBottom
}
}
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Re: Suppress InstrumentName for a only a single system?
Actually, does this look like a bug to anyone else? I presume you don't mean the missing last :D Yes - I get the same, the short name turns into the long name on the middle part. Strange indeed. Regards, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school songs
Tim Litwiller wrote:
I can do it this way - but it sure would be simpler to input if we are
able to have each voice separated.
Hi Tim,
I looked at the partcombiner code which is written in scheme and I have
to say it is pretty impenetrable :(
I was trying to think of a way to fool the partcombine code into
thinking that the notes were in fact different so that it would separate
them but it looks to be comparing pitch and length of each note.
It would make for messy code, but you could do a hybrid of the two -
using \\ for the single split flag notes and partcombine for the rest:
untested code alert...
\partcombine {f4 f f g a8 a4 } {c4 c c c f8 f4} gs8 \\ f8
\partcombine {a2} {f2}...
I'm not sure that that is much better, though - it depends on how many
of the split flag instances there are.
Regards,
Ralph
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Re: sunday school songs
Tim Litwiller wrote:
I can do it this way - but it sure would be simpler to input if we are
able to have each voice separated.
Ralph Little wrote:
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It uses chords instead of \partcombine which would make note entry a
lot easier.
If someone knows how to tweak the operation of \partcombine so that
some notes could separate with different flags (where you have
indicated) that would make it a lot easier to do I think.
Hope this helps... P.S. I did this using 2.11.32 which is the version
I'm using at the moment.
BTW, do you have an example of the natural sign problem that you were
having?
Cheers,
Ralph
\version 2.11.32
\include english.ly
\header {
title=Fishers Of Men
poet=Harry D. Clark
composer=H.D.C
}
\layout {
indent = #0
}
PartsTop = {
\key f \major
\clef treble
\relative c' {
f c4 f c f c g c,
a f8 a f4 gs8 \\ f8 a f2
g e8 g e4 fs ds8 g e2
f c8 f c4 d bf8 c2 \\ c2
}
}
PartsBottom = {
\key f \major
\clef bass
\relative c' {
a f4 a f a f bf f
c f,8 c f,4 b c,8 c f,2
c c,8 c c,4 c c,8 c c,2
a f8 a f4 bf f8 a f2
}
}
\score {
\new Staff = top
{ \new Voice = 1
\override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsTop
}
\new Lyrics \lyricsto 1 { \set stanza = 1. I will make you
fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto 1 { \set stanza = 2. Hear Christ call--
ing Come un-- to me Come un-- to me Come un-- to me }
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsBottom
}
}
Hi Tim,
OK, it is a bit of a frig if you fancy giving it a try, but I think I
can make it happen and it depends on what version of Lilypond you are using.
Find the file part-combiner.scm - it should be in the scm directory of
your Lilpond installation.
Search for the string ;; voice crossings: - should be about line 300.
This should be before it:
( chord-threshold (ly:pitch-steps
(ly:pitch-diff (car pitches1)
(car pitches2
Add the following *after* the above snippet:
(= 1 (ly:pitch-steps
(ly:pitch-diff (car pitches1)
(car pitches2
(= 0 (ly:pitch-steps
(ly:pitch-diff (car pitches1)
(car pitches2
You should be able to just use \partcombine. The code above decides that
if the pitch difference is 1 or 0 then separate the notes.
I will try to get something more official added to the distribution that
is configurable to make this happen optionally.
Let me know how you get on.
Regards,
Ralph
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I'm Off :)
Hi to all at Lilypond, My family and I are off to Canada (from the UK) to live in the next few weeks, so I'm going to be off the air until I get sorted out over there with an internet connection. When I'm sorted, I plan to finish off the Braille support - I'll have a fair bit more time over there so I should get it done now I have finished work over here. Many thanks to all of you - you're a friendly bunch - see you on the other side ;) Regards, Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Syntax questions
Hi,
I have a statement like
hn = { \markup{Hn.} }
I think you want:
hn = \markup {Hn.}
If you put the whole thing in {}, Lilypond expects notes/music therein.
Cheers,
Ralph
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Re:: Syntax Questions
Hi,
Oh, BTW:
\column stacks markups vertically:
hn = \markup { \column {Hello There }}
Regards,
Ralph
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Using define-music-function
Hi, I'm using 2.9.16 on Windows and I'm getting into scheme and more complex stuff now I have some time. I am trying some of the define-music-function examples from the doc but Lilypond can't seem to find the function. I get: === GNU LilyPond 2.9.16 Processing `blob.ly' Parsing...ERROR: Unbound variable: def-music-function === I found a definition for the function in music-functions.scm and tried to include that, but it generated another error: === GNU LilyPond 2.9.16 Processing `blob.ly' Parsing... C:/Program Files/LilyPond/usr/bin/../share/lilypond/current/scm/ music-functions.scm --ERROR: Unbound variable: :optional === I must be doing something really stupid :( Could anyone point me in the right direction? Cheers, Ralph Little ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tremolo positioning
Hi,
I saw some comments earlier on tremolo positioning.
I've seen some issues with some tremolos on semiquavers in 2.8.1 (on
windows)
\include english.ly
\score {
{c'1:16
a'1:16
a''1:16}
}
The tremolo slashes cover the first and third note, although the a looks
fine.
Might be something to do with the fact that the incorrect ones are not on
the staff.
Regards,
Ralph
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RE: Tremolo positioning
Hi,
Cheers.
I just downloaded 2.8.3 and it's still wrong unfortunately.
Do you know if it got into 2.8.3?
Regards
Ralph
-Original Message-
From: Joe Neeman [mailto:[EMAIL PROTECTED]
Sent: 24 May 2006 12:30
To: Ralph Little
Cc: lilypond-user@gnu.org
Subject: Re: Tremolo positioning
On Wed, 2006-05-24 at 10:06 +0100, Ralph Little wrote:
Hi,
I saw some comments earlier on tremolo positioning.
I've seen some issues with some tremolos on semiquavers in 2.8.1 (on
windows)
This issue came up on the bug list recently and it should be fixed in
the latest stable version.
\include english.ly
\score {
{c'1:16
a'1:16
a''1:16}
}
The tremolo slashes cover the first and third note,
although the a looks
fine.
Might be something to do with the fact that the incorrect
ones are not on
the staff.
Regards,
Ralph
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Re: Feature request - jazz / bigband notation and caesurae
Hi, Put me down for 20 euros. Regards, Ralph At this point I agree that I don't know how to do it either. So now we need more money to get these features. Any more people willing to contribute? TRIBAL TECHNOLOGY IS A MEMBER OF THE TRIBAL GROUP plc www.tribalgroup.co.uk This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. Access, copying, dissemination or re-use of information in it by anyone else is unauthorised. If you have received this message in error, please contact the sender as soon as possible. This message has been scanned for viruses by Viatel MailControl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request - jazz / bigband notation and caesurae
Hi, There are some nice examples (hand written) here: http://bands.army.mil/masterclass/tusafb/dec2000/jazz.htm What exactly are we asking for then? I think what's been mentioned so far is what the above page calls Drops, Falls, Doits(?) and Bends. The rest of what I've seen and is mentioned there is covered by existing functionality I think. In graphical terms they all seem to be different variants on different line styles only connected to a note at one end either at the left or the right. One of the tricks would be to detemine the length of the Drop/Fall/Doit/Bend. Perhaps it would make sense to specify a theoretical note from which the fall would start (or to which the Doit would go to). E.g. c\doit-c' Not sure on what would be appropriate syntax though :( Getting these would be really cool! Regards, Ralph TRIBAL TECHNOLOGY IS A MEMBER OF THE TRIBAL GROUP plc www.tribalgroup.co.uk This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. Access, copying, dissemination or re-use of information in it by anyone else is unauthorised. If you have received this message in error, please contact the sender as soon as possible. This message has been scanned for viruses by Viatel MailControl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Feature request - jazz / bigband notation and caesurae[]
Hi, E.g. cdoit-c' Not sure on what would be appropriate syntax though :( One problem is that the versions I'm used to don't really go anywhere. I'm going to look at this when I get a chance (probably some time next week), and write it up for Han-Wen. I guess we want one version to be a straight fall that attaches just to one note, and a second version that goes between notes. If the version you mean about going between notes, I've usually seen the glissando implementation that Lily already does using \glissando. What I was thinking about regarding giving a theoretical note for the other end of the marking would give a mechanism for judging where the mark would end up physically on the staff relative to the real note, rather than having to mess with measurements and paddings and the like to get the right length of fall or doit. So something like: c4\doit-c' would render a c crotchet, but the doit visually would stretch up an octave and c4\fall-g, would render a shorter fall down a 4th (in distance rather than musically) I wasn't really thinking of where it goes when you play which is kinda determined largely by the feel of the moment, of course :D Then again, perhaps a default length would suffice mostly and require a grob tweak to adjust the length for the unusual occasion where it is required to be a bit longer or shorter. The other issue of course is controlling the horizontal length of the mark. Not so sure there. I'm sure Han-Wen will have a view on that. ...hopefully a load of us will chip in and get it done ... Yep, I'm up for that. It is an issue that has come up a few times over the years, not to mention the often asked How do I get a jazz font? :D I'd get a lot of use out of it. Cheers, Ralph TRIBAL TECHNOLOGY IS A MEMBER OF THE TRIBAL GROUP plc www.tribalgroup.co.uk This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. Access, copying, dissemination or re-use of information in it by anyone else is unauthorised. If you have received this message in error, please contact the sender as soon as possible. This message has been scanned for viruses by Viatel MailControl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clef transposition: tenor - bass
Hi,
Mats and the others are right.
I think you are confusing transposition and the clef that is being used.
The clef determines only which lines and spaces the notes will appear
on.
Which ever clef you use, the notes remain the same. Changing the clef
does not change the notes, just the lines and spaces used when the music
is rendered.
So to get your example in bass clef, just change the tenor to bass.
Changing the clef does NOT change the pitching of the music, just the
way that it is laid out on the staff.
staffTrombone1 = {
\key c \major
\clef bass % was tenor
\relative c' {
c d es f
...
}
}
The music is still the same, just using different lines and spaces.
However, if like me sometimes, you score part in concert, you have to
transpose the parts for the instrument.
In this case, just use the \transpose statement in Lily to change the
sounding pitch of the music.
I think either we or thee are getting confused about these two issues -
why don't you post a small example and we can work it through with you?
It is a subject which frequently bamboozles me when scoring out for
brass band where we have a mixture of bass antreble clef and Bb, Eb and
C instruments.
Regards,
Ralph
That's true, but for those players that can't read tenor clef, I
have
to write it into bass clef, which is more common in trombone sections
and can be read from all players
The following staff should afterwards have a bass clef with all the
notes on the appropriate interspace/line, so that it can be read from
players that can only read bass clef!! How can I reach this?
staffTrombone1 = {
\key c \major
\clef tenor
\relative c' {
c d es f
...
}
}
\book {
\score {
\staffTrombone
\layout { indent = 0\mm }
}
}
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FW: Re: clef transposition: tenor - bass
Hi,
I've just thought of a good example, and sorry if I sound patronising :(
Say you wanted to score a piano-accompanied solo for tenor trombone.
A tenor trombone is usually pitched in Bb.
You could enter the music for the trombone in concert pitch.
So for a C scale:
\relative c' {
c d e f g a b c
}
You could do this in tenor clef and bass also:
\relative c' {
\clef tenor
c d e f g a b c
}
\relative c' {
\clef bass
c d e f g a b c
}
The notes will appear in different places on the staff, but ultimately
the notes are actually the same.
Two trombone players reading the tenor and bass clef will end up playing
exactly the same sounding notes.
*However* this is no good for accompanying by the piano.
The tenor trombone is a Bb pitched instrument.
You will have to transpose the C scale for it to match the C scale on
the piano - the trombone's C is a Bb on the piano.
\relative c' {
\transpose bf c {
c d e f g a b c
}
}
You could still do this in tenor or bass clef. Again the notes are the
same, they are just notated differently.
\relative c' {
\clef tenor
\transpose bf c {
c d e f g a b c
}
}
\relative c' {
\tenor bass
\transpose bf c {
c d e f g a b c
}
}
Hope this helps and I hope I got the transpose the right way round :P
Regards,
Ralph
That's true, but for those players that can't read tenor clef, I
have
to write it into bass clef, which is more common in trombone sections
and can be read from all players
The following staff should afterwards have a bass clef with all the
notes on the appropriate interspace/line, so that it can be read from
players that can only read bass clef!! How can I reach this?
staffTrombone1 = {
\key c \major
\clef tenor
\relative c' {
c d es f
...
}
}
\book {
\score {
\staffTrombone
\layout { indent = 0\mm }
}
}
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FW: Re: clef transposition: tenor - bass
Hi,
OK, I just remembered that the relative needs to go inside the
\transpose of course otherwise it don't work. :(
Sorry don't have a Lilypond at hand to test:
\clef tenor
\transpose bf c {
\relative c' {
c d e f g a b c
}
}
Regards,
Ralph
-Original Message-
From: Ralph Little
Sent: 18 May 2006 15:46
To: 'lilypond-user@gnu.org'
Subject: FW: Re: clef transposition: tenor - bass
Hi,
I've just thought of a good example, and sorry if I sound patronising :(
Say you wanted to score a piano-accompanied solo for tenor trombone.
A tenor trombone is usually pitched in Bb.
You could enter the music for the trombone in concert pitch.
So for a C scale:
\relative c' {
c d e f g a b c
}
You could do this in tenor clef and bass also:
\relative c' {
\clef tenor
c d e f g a b c
}
\relative c' {
\clef bass
c d e f g a b c
}
The notes will appear in different places on the staff, but ultimately
the notes are actually the same.
Two trombone players reading the tenor and bass clef will end up playing
exactly the same sounding notes.
*However* this is no good for accompanying by the piano.
The tenor trombone is a Bb pitched instrument.
You will have to transpose the C scale for it to match the C scale on
the piano - the trombone's C is a Bb on the piano.
\relative c' {
\transpose bf c {
c d e f g a b c
}
}
You could still do this in tenor or bass clef. Again the notes are the
same, they are just notated differently.
\relative c' {
\clef tenor
\transpose bf c {
c d e f g a b c
}
}
\relative c' {
\tenor bass
\transpose bf c {
c d e f g a b c
}
}
Hope this helps and I hope I got the transpose the right way round :P
Regards,
Ralph
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Re: Contexts (Was Re: Set vs. Override - I'm confused)
Hi, I too find the context/grob property distinction not clear and I did not find the online doc any help in getting through this barrier of understanding. It is the one most powerful aspect of Lilypond, but the one aspect which is treated the most meanly in the introductory docs. Even user doing basic stuff need to get into settings and stuff when changing default behaviour so I think it should be touched on earlier in the documentation. If the tutorial could be beefed up somewhat in this area, I think there would be far fewer questions regarding how to find tweaks and settings through the advanced doc, given that users would be armed with this important information beforehand. Wish I had the time to do it myself but sadly I do not :( Good luck to whoever gets the job ;) Regards, Ralph TRIBAL TECHNOLOGY IS A MEMBER OF THE TRIBAL GROUP plc www.tribalgroup.co.uk This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. Access, copying, dissemination or re-use of information in it by anyone else is unauthorised. If you have received this message in error, please contact the sender as soon as possible. This message has been scanned for viruses by Viatel MailControl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
System at bottom page on score
Hi,
I'm trying to print a score using 2.8 (on Windows XP).
Because there is a header and multiple pages, the first system is forced
to the bottom of the first page.
The rest are fine and are at the top of subsequent pages.
Anybody know why?
Cheers in advance,
Ralph
Short Example:
===
\include english.ly
#(set-global-staff-size 16)
\header {
title = \markup { \italic In Trutina}
}
TestNotes = { \repeat unfold 20 {a4 b c d e}}
\score {
\new StaffGroup
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new StaffGroup
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new StaffGroup
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
\new Staff {
\TestNotes
}
}
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Strange fonts
Title: Strange fonts Hi, I have installed Lily 2.4.5 from tarball onto a Gentoo system. However, all the output (including the doc examples) have only basic font rendering. The fonts have funny spacing and it looks like it isn't linking to decent fonts. Difficult to explain, really. Where could I start to track down what is going on? Lilypond 2.4.5 Tetex 2.0.2-r5 I have tried a *very* basic test in LaTeX-the typical hello world example, and that is OK. dvips reports that the test uses cmr10. Regards, Ralph This email and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. Access, copying, dissemination or re-use of information in it by anyone else is unauthorised. If you have received this message in error, please contact me on the above number.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to hide pedal markings in the engraving?
How can I surpress engraving of the pedal markings, but keep
them in for midi?
I think that answer to your question is to remove the
Piano_pedal_engraver from Staff.
The syntax for this depends on your version.
What version are you using?
In 2.4, something like:
\context {
\Staff
\remove Piano_pedal_engraver
...
}
...should do it, I think.
Afraid I can't test this where I am. :(
Regards,
Ralph
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[no subject]
Hi, I guess that's true. However, if Aron's \pedal definition contains things other than pedal markings, then I would think it would be more fiddly to have to go through and tag all of the pedal markings in \pedal. In this case, unless I've missed something, attacking the engraver setup might involve less work. Cheers, Ralph Han-Wen writes.. [EMAIL PROTECTED] writes: I've been using LilyPond almost since its first version, but I had no idea that pedal marks made any difference to the MIDI output. You learn something new every day. ;-) Well... me too :-) I'd use \tag for this purpose. Much easier than mucking about with performers and engravers. -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- Man who shoot off mouth... expect to lose face. - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two questions
Hi,
Sorry if this has already been answered, but SPAM makes my spam filter
kill every other digest or so... :(
I tried to answer your first question with the following solution, which
is to use \relative in your notes blocks, which should fixed the octaves
of you notes at source.
However, it doesn't work as I expected! It renders each part on separate
staff contexts!!?!?
Anybody know why?
--8--8---
foo = \notes \relative c''
{
c4 d e f g a b c r4
}
bar = \notes \relative c''
{
e4 b c d a g
}
\score {\notes
{
\foo
\bar
\foo
\bar
\foo
\bar
}
--8--8---
I tried this on 2.2.6.
Regards,
Ralph
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RE: Réf. : Re: two questions
Hi,
I think that Michiel intended to have a set of repeating themes in his score taken
from two notes blocks.
He was using \relative in the score instead of where he was defining the notes in the
notes block, so the relative was not actually working in the way he expected.
He wrote:
--8--8--8--8---
when I create a part like this
foo = \notes
{
c4 d e f g a b c r4
}
bar = \notes
{
e4 b c d a g
}
and then reuse those parts like this
\relative c''
{
\foo
\bar
\foo
\bar
\foo
\bar
}
The music shifts up one octave (quite logically)
I fixed it so far with \octave c'' wherever it would go wrong...
--8--8--8--8---
By shifing the \relative to the notes blocks, I expected this to solve his problem,
but it did not work in the way I expected and I can't see why.
If it works for others fine, then I guess I have been messing with my reference
Lilypond installation too much... :(
Regards,
Ralph
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-Original Message-
From: Jean-marc LEGRAND [mailto:[EMAIL PROTECTED]
Sent: 15 October 2004 14:04
To: Ralph Little
Cc: [EMAIL PROTECTED];
[EMAIL PROTECTED]
Subject: Réf. : Re: two questions
I can't remember what you want to do, but if you aim to have
a multiple voice staff, you have to
write :
\score {
\notes
\context Staff =foo \foo
\context Staff =bar \bar
\context Staff =foo \foo
\context Staff =bar \bar
Ralph Little
[EMAIL PROTECTED]
Envoyé par :
Pour :[EMAIL PROTECTED]
lilypond-user-bounces+jean-marc.legrand=total.cc :
[EMAIL PROTECTED]
Objet : Re: two questions
15/10/2004 14:54
Hi,
Sorry if this has already been answered, but SPAM makes my spam filter
kill every other digest or so... :(
I tried to answer your first question with the following
solution, which
is to use \relative in your notes blocks, which should fixed
the octaves
of you notes at source.
However, it doesn't work as I expected! It renders each part
on separate
staff contexts!!?!?
Anybody know why?
--8--8---
foo = \notes \relative c''
{
c4 d e f g a b c r4
}
bar = \notes \relative c''
{
e4 b c d a g
}
\score {\notes
{
\foo
\bar
\foo
\bar
\foo
\bar
}
--8--8---
I tried this on 2.2.6.
Regards,
Ralph
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RE: two questions
Hi,
Thanks, I actually used \a and \b when I tried it, but the original
example was from Michiel.
I think that this is a bug.
It is certainly very strange; I'm sure that I have done this kind of
thing before
Reducing the problem down if you start a score with a \relative,
changing to a non-relative spits out another Staff.
If you start without a \relative then this seems to get things going OK
and subsequent \relative invocations have no effect - there is only one
Staff.
Two staffs:
\version 2.2.6
\score {
\notes {
\relative c'' {c d e f}
c d e f
\relative c'' {c d e f}
c d e f
}
}
Only one staff:
\version 2.2.6
\score {
\notes {
c d e f
\relative c'' {c d e f}
c d e f
\relative c'' {c d e f}
}
}
Regards,
Ralph
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-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 15 October 2004 14:24
To: Ralph Little
Cc: [EMAIL PROTECTED]
Subject: Re: two questions
For some reason, LilyPond creates new contexts for each of the
blocks. Just add a \new Voice or \new Staff to get wbat you want:
\score{
\new Voice {
\foo
\bar
...
}
By the way, \bar is already occupied as a command, so you have to
rename that variable to something else.
/Mats
Ralph Little wrote:
Hi,
Sorry if this has already been answered, but SPAM makes my
spam filter
kill every other digest or so... :(
I tried to answer your first question with the following
solution, which
is to use \relative in your notes blocks, which should
fixed the octaves
of you notes at source.
However, it doesn't work as I expected! It renders each
part on separate
staff contexts!!?!?
Anybody know why?
--8--8---
foo = \notes \relative c''
{
c4 d e f g a b c r4
}
bar = \notes \relative c''
{
e4 b c d a g
}
\score {\notes
{
\foo
\bar
\foo
\bar
\foo
\bar
}
--8--8---
I tried this on 2.2.6.
Regards,
Ralph
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Problems with drum score
Hi, I've had problems with scoring drums as well, but different ones. 2) Making 'chords' out of drum notes works fine. For example, I can write cymc8 sn and I will get a cymbal and a snare playing at the same time. However, if I try cymc16 sn I get the message: I can't verify this at the moment because my PC at home is kaput, but I think the correct syntax for chording is notename notename...duration E.g. cymc sn8 Please somebody correct me if I'm wrong... Regards, Ralph -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- Man who shoot off mouth... expect to lose face. - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Band parts - a newbie's view
Hi, Yup, I agree with all of that. My statement regarding increase in tempo is from experience of it's use rather than any implied meaning. In brass band parts we often see it used as a mechanism to double pace from common time (and feel of pace, with it being 2 beats per bar), but it is usually accompanied by a qualifying tempo indication. But you are quite correct, there is no explicit difference in pace. Regards, Ralph -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- Man who shoot off mouth... expect to lose face. -Original Message- From: David Rogers [mailto:[EMAIL PROTECTED] Sent: 28 July 2004 18:31 To: Ralph Little Subject: Re: Band parts - a newbie's view On Jul 28, 2004, at 9:09 AM, Ralph Little wrote: Cut-common is often found in band parts and effectively doubles the pace, at least that is my interpretation. It all depends on the tempo markings, of course. It's quite possible to have a slow 2/2. The real difference is in the accents and the feel of the music. 2/2 flows differently from 4/4 because there are fewer beats (and therefore fewer accents) per bar. As far as whether one uses numbers or c-shaped symbols, I think that the c-shaped symbols are traditional in certain types of music, but that the numbers seem to have become standard practice in modern music. It would make sense to me for Lilypond to have choices like use-numbers or use-symbols. (And what about the circle-with-a-line that Bach uses for 16/8 in the gigue of the E major keyboard partita? Is that in Lilypond somewhere, or is it too obscure to include such things?) David - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Band parts - a newbie's view
Hi, Getting a bit off topic here, but a quick search on Google reveals the following, which may the answer to the 4/2 /alla breve issue: http://www.music.indiana.edu/som/courses/rhythm/illustrations/large_alla _breve.html and to quote: --8--8--8--8--8--8 --8 large alla breve Definition: The name given to compound 4/2 meter by German theorists and composers of the first half of the eighteenth century. They ascribed equal metric weight to the first and third half-note beats of the bar. Consequently, they regarded each measure of this type as a composite of two 2/2 bars. Baroque and classical composers employed large alla breve in slow movements of sacred works and in works written in stile antico. During the first half of the eighteenth century, German theorists and composers regarded the stately 4/4 frequently employed in fugues as a notational variant of large alla breve. See Grave (1985). --8--8--8--8--8--8 --8 Well, I didn't know that! Regards, Ralph -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- Man who shoot off mouth... expect to lose face. -Original Message- From: Ralph Little Sent: 29 July 2004 10:05 To: 'David Rogers' Cc: '[EMAIL PROTECTED]' Subject: RE: Band parts - a newbie's view Hi, Yup, I agree with all of that. My statement regarding increase in tempo is from experience of it's use rather than any implied meaning. In brass band parts we often see it used as a mechanism to double pace from common time (and feel of pace, with it being 2 beats per bar), but it is usually accompanied by a qualifying tempo indication. But you are quite correct, there is no explicit difference in pace. Regards, Ralph -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- Man who shoot off mouth... expect to lose face. -Original Message- From: David Rogers [mailto:[EMAIL PROTECTED] Sent: 28 July 2004 18:31 To: Ralph Little Subject: Re: Band parts - a newbie's view On Jul 28, 2004, at 9:09 AM, Ralph Little wrote: Cut-common is often found in band parts and effectively doubles the pace, at least that is my interpretation. It all depends on the tempo markings, of course. It's quite possible to have a slow 2/2. The real difference is in the accents and the feel of the music. 2/2 flows differently from 4/4 because there are fewer beats (and therefore fewer accents) per bar. As far as whether one uses numbers or c-shaped symbols, I think that the c-shaped symbols are traditional in certain types of music, but that the numbers seem to have become standard practice in modern music. It would make sense to me for Lilypond to have choices like use-numbers or use-symbols. (And what about the circle-with-a-line that Bach uses for 16/8 in the gigue of the E major keyboard partita? Is that in Lilypond somewhere, or is it too obscure to include such things?) David - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Band parts - a newbie's view
Hi, Unless I'm mistaken, cut-common and common-time are actually different things. Cut-common is the same as 2/2 not 4/4, whereas common-time and 4/4 are the same thing. Cut-common is usually represented with a C with a slash through. Cut-common is often found in band parts and effectively doubles the pace, at least that is my interpretation. Any other opinions? Regards, Ralph --- The other is, if I ask for a time signature of 3/4, that's what I get. Or 9/8. Or 6/8. Or 5/4 or almost anything. But if I ask for 2/2 or 4/4, then that's what I DON'T get. Bad bad bad! If I want common or cut-common, then I should be able to ask for that directly. And in my experience 4/4 and common are not the same thing - I often play pieces that have both ... Interesting; what is the difference between C and 4/4? - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lily pond note interface
Hi, I am assuming that this is not just a bait No, actually it makes more sense to enter music in this way. After using Lilypond for some time now, I find it far quicker and convenient that mouse-twiddling. Lilypond actually does the vast majority of the positioning work for you which saves a lot of unnecessary work. Although the manual touches on a lot of different issues, formats, types of music, the vast majority of casual users need only look at the first few pages of the tutorial to get going for simple parts etc. Give it a go, it's well worth a try! Regards, Ralph Hello, Do you have to enter commands for Lily Pond to work? In other sheet music programs, you simply grab notes and drag them onto the staff. I was really excited about the engraving quality of the Lily Pond notes on the website. But I think I came to a horrifying conclusion that you have to program your notes in Lily Pond. That's CRAZY -- [EMAIL PROTECTED] www.tribaldata.co.uk ...or see what I do in my spare time: www.skelmanthorpeband.org -- - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
[no subject]
Hi Bruce,
Many thanks for that.
When you put it like that it makes perfect sense!
I'll give it a try!
Regards,
Ralph
Hi Ralph.
This problem was bugging me too. Unfortunately the docs don't explain
that you have to force the drumvoice to be as long as the piece if you
want it to be robust...
Change {s1*2} to {s1*n} where n = how many bars you want the drumvoice
to persist for...
Cheers,
Bruce.
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Percussion and bars rest problem
Hi,
Can anybody help with this problem with percussion and bars rest?
I am trying to use the short-hand multi-voice \\ syntax and it seems to break after
bars rest.
A small example:
\version 2.2.1
\score {
\drums \new DrumStaff
\time 2/2
\context DrumVoice=1{s1*2}
\context DrumVoice=2{s1*2}
{
bassdrum4 r4 sidestick4 r4
R1
r4 r8 sidestick16 ss ss8 ss4 ss8
{hh8 hh hh hh ~ hh hh hh hh} \\
{bd4. bd8 ss4 r8 bd8}
}
}
The DrumVoices seem to disappear.
If I try to reinstate the drum voices with the 2 context definitions as at the start,
after the bars rest, then I get a couple of empty bars because of the skips and the
source gets really messy.
\version 2.2.1
\score {
\drums \new DrumStaff
\time 2/2
\context DrumVoice=1{s1*2}
\context DrumVoice=2{s1*2}
{
bassdrum4 r4 sidestick4 r4
R1
\context DrumVoice=1{s1*2}
\context DrumVoice=2{s1*2}
{r4 r8 sidestick16 ss ss8 ss4 ss8}
{hh8 hh hh hh ~ hh hh hh hh} \\
{bd4. bd8 ss4 r8 bd8}
}
}
I've tussled with this for some time.
Any help would be greatly appreciated!
Regards,
Ralph
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RE: Two staves to one while dropping the bracket?
Hi Mats, Many thanks for that. I will give it a try! BTW, if anybody is interested, I've earned some money from typesetting a band score with Lilypond for somebody and they are very pleased with the result! Sounds like the start of a wonderful career ;-) Even more thanks to all concerned for a wonderful project! More on the Braille stuff soon Regards, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Methods of working
Hi, With a lot of files related to notes files etc, I have started using Makefiles to automate the build process, being a die-hard UNIX programmer ;) If you are interested what I have, let me know and will post something. It is not sophisticated, but means I don't have to worry about what is up-to-date. Just a quick make score or make parts or make all does the trick. Do other people do this kind of thing? Regards, Ralph I've been wondering lately how other people organise their workflow, the tools used, and how they actually go through the typesetting process. Given the number of different platforms supported, I imagine this would vary widely. - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Methods of working
Hi,
Erm, I'm not really sure what you mean.
I'm talking about building Lilypond music projects, not Lilypond itself..
The kind of think I mean is sort of
Header.ly
---
\header {
title=my title
}
Notes.ly
--
NotesSoloCornet=\notes {
a b c d
}
PartSoloCornet.ly
\include Notes.ly
\include Header.ly
\score {
\NotesSoloCornet
}
Makefile
all: score parts
parts:PartSoloCornet.ps
PartSoloCornet.ps: Notes.ly Header.ly
lilypond -P PartSoloCornet.ly
Then just do make all etc..
Seems like a lot of effort for a small project, but with a large number of parts and a
score, it gets more convenient.
The real setup is a bit more complicated but this is kinda what I mean.
I'm sure that it can be simplified using default rules and the like.
As I say, does anybody else do this kind of thing?
Regards,
Ralph
-Original Message-
From: Jan Nieuwenhuizen [mailto:[EMAIL PROTECTED]
Sent: Mon 28/06/2004 11:22
To: Ralph Little
Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Subject: Re: Methods of working
Ralph Little writes:
With a lot of files related to notes files etc, I have started using
Makefiles to automate the build process, being a die-hard UNIX
programmer ;)
Any big reason not to use/extend/send bug reports on the for this
purpose included .../lilypond-xyz/share/make/ly.make Makefile?
Do other people do this kind of thing?
Jan.
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RE: Methods of working
Hi Jan, Sorry, I'm a bit slow today. I've just realised what you mean. If people would use it, I'll put something a bit more general together and send it in Regards, Ralph -Original Message- From: Jan Nieuwenhuizen [mailto:[EMAIL PROTECTED] Sent: Mon 28/06/2004 11:22 To: Ralph Little Cc: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: Re: Methods of working Ralph Little writes: With a lot of files related to notes files etc, I have started using Makefiles to automate the build process, being a die-hard UNIX programmer ;) Any big reason not to use/extend/send bug reports on the for this purpose included .../lilypond-xyz/share/make/ly.make Makefile? Do other people do this kind of thing? Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Output Combined Parts
Hi there,
The \score() in the parts files is triggering the individual part
output.
What I do (and most others I think) is put the parts (without \score)
into a notes file, and have separate files for parts and the score
generation.
E.g.
Notes.ly:
-
PartViolin = \notes {
a4 b c d
}
PartCello = \notes {
d4 c b a
}
-
PartViolin.ly:
--
\include Notes.ly
\header {
header stuff...
}
\score {
\PartViolin
}
--
PartCello.ly:
--
\include Notes.ly
\header {
header stuff...
}
\score {
\PartCello
}
--
Score.ly:
--
\include Notes.ly
\header {
header stuff...
}
\score {
\notes {
\context StaffGroup = Strings {
\context Staff {
\PartViolin
}
\context Staff {
\PartCello
}
}
}
}
--
...or something like that.
Can't vouch for the syntax because I'm at work and haven't got time to
check!
You get the picture though?
BTW, there was some discussion recently in this group about getting the
bulk of the \header section into a separate file also which I have found
VERY useful.
See here for more details:
http://lists.gnu.org/archive/html/lilypond-user/2004-05/msg00095.html
Cheers,
Ralph
Hi
I put each of my instrument notes is inside a separate file, so lets
say all cellos notes are inside cello.ly and violin notes are inside
violin.ly
In each of these files, they have a \score{} so I can print out the
indiviual parts.
Then I have a score.ly which have a huge staff which combine all the
parts together. however, while is parsing the individual instruments
like
cello.ly, it will render the \score{} inside, causing the score.pdf
not only to contain the combined parts, and it has the separate parts.
Is there anyway I can control when to print the indiviual parts, and
when to print all parts as a group?
Thanks,
Joshua
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Re: Two staves to one while dropping the bracket?
Hi Mats,
I have a related question.
I have a score where I wish to use the \RemoveEmptyStaffContext on one
staff of a staff group only. The reason for this is that I have a part
which is separate but only exists for a few bars in the entire piece,
and I don't want it to occupy a line on every page of the score.
However, all other parts I do, even if they only have bars rest.
I can't remember exactly what I tried, but I think it involved using the
new \with syntax to add the HaraKiri engraver, like:
\score {
\new StaffGroup {
\new Staff \SoloCornet
\new Staff \with { \consists Hara_kiri_engraver}
\TuttiCornet
}
}
..or something like that.
I could put together a simple example if nothing comes immediately to
mind
What happened is that lilypond just hung.
Do you know if anybody has used this in this way?
Lilypond 2.2 BTW.
Regards,
Ralph
Mats wrote:
One solution is to use the \RemoveEmptyStaffContext and simply insert
multimeasure rests in the second stave. Then, LilyPond will
automatically remove the second stave and the opening brace on the
lines where there are no notes.
Example:
uppervoice=\new Staff \notes\relative c'{
c d e f g a b c c b a g f e d c
c d e f g a b c c b a g f e d c
c d e f g a b c c b a g f e d c
}
lowervoice=\new Staff \notes\relative c''{
c b a g f e d c c d e f g a b c \break
R1*4 \break
c4 b a g f e d c c d e f g a b c }
\score{
\new GrandStaff
\uppervoice
\lowervoice
\paper{
\context {
\RemoveEmptyStaffContext
}
}
}
/Mats
Alex Klein wrote:
Hi,
a month ago I had a little problem which I still haven't found a
solution for. I was engraving a piece of music where the first violin
is
split into upper and lower voice, which was notated by using two
staves
and a group bracket. At one time in the piece, the split is lost and
all
first violins play in unison. I was able to drop the second stave, but
no matter what I did, there was always a group bracket around the
single
stave left.
What is the correct way to engrave this?
Cheers
Alex
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Re: Lyrics not lining up properly
Hi,
I think that what Mats was hinting at is the following sort of thing
which is a bit easier to read also
-8-8-8-8
mymusic=\notes {
f,8 | bes(d) f, bes(d) f, | bes( d4 )~ d4
ees8^(Sing) | d4 d8 c4 c8 | bes4.~bes4
f8 | bes(d) f, bes(d) f, | bes( d4 )~ d4
ees8^(Sing) | d4 d8 c4 c8 | bes4
}
mywords=\lyrics {
\skip 8*12
A8 hunt4 -- ing8 we4 will8 go.4.
\skip 8*12
A8 hunt4 -- ing8 we4 will8 go.4
}
\score{
\notes{
\relative c''{
\key bes \major
\time 6/8
\partial 8
\mymusic \context Lyrics {\mywords }
}
}
}
-8-8-8-8
Regards,
Ralph
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Re: Lyrics not lining up properly
Hi,
Nice to hear another cornet player using Lilypond ;)
I'm guessing, but I think that each \context Lyrics is creating a new
separate context, so that they are stacking up vertically.
I'm not near a Lilypond to try it, but try \context Lyrics = LONE
instead and see if that helps.
Regards,
Ralph
I'm typesetting a piece of cornet music which requires the musician to
sing every once in a while. However, each separate instance of lyrics
(presumably in the same context comes out a line lower than the one
before it. It's a bit hard to describe, so here's a cut down version
of
what I'm trying to do (I get the same result). I've defined the Lyrics
context earlier in the piece and used it without any problems. It sits
at the same height as does the first instance of my example here. Any
ideas what I'm doing wrong?
\version 2.2.0
\score{
\notes{
\relative c''{
\key bes \major
\time 6/8
\partial 8 f,8 | bes(d) f, bes(d) f, | bes( d4 )~ d4
{ees8^(Sing) | d4 d8 c4 c8 | bes4.~bes4}
{ \context Lyrics \lyrics {A8 hunt4 -- ing8 we4 will8
go.4.}}
f8 | bes(d) f, bes(d) f, | bes( d4 )~ d4
{ees8^(Sing) | d4 d8 c4 c8 | bes4}
{ \context Lyrics \lyrics {A8 hunt4 -- ing8 we4 will8
go.4}}
}}}
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blind user, installing on Windows
Hi, David Bobroff said: As a side note, you may be interested to know that there has been discussion on one of the LilyPond lists (there are three; user, bug, and devel) about braille output from LilyPond. I'm not sure if development in that direction has gone very far. Yes, Braille output development is ongoing, but not really ready for users yet. I'm trying to sort out some formatting issues. There is not anything in CVS as yet, support is not complete enough. Currently, there are notes, chords and rests. Multi-voice output is vexing me at present. Current effort is on rendering Braille for the screen and printed output alongside normal notation. Embosser export should follow on afterwards... Regards, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Percussion madness.
Hi,
Anybody know what's wrong with this?
Lilypond 2.2.2 on Linux.
Percussion staff seems to split into notes-type Voices for the
multi-drumvoice stuff.
This is the smallest I can get it, but I can't figure out what's going
on.
Seems to be something to do with the r1, which I have some markup
attached to, otherwise I would
use R1 (or rather R1*2):
888888-
\include english.ly
\score {
\drums {
\new DrumStaff
\context DrumVoice = 1 { s1*2}
\context DrumVoice = 2 { s1*2}
{
R1
r1
r4 r8 sidestick16 ss ss8 ss4
{hihat8 ~
hh8 hh hh hh ~
hh hh hh hh}
\\
{ss8 bd4. bd8 ss4 r8 bd8}
}
}
}
888888-
Any help would be muchly appreciated...
Regards,
Ralph
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Re: Find of czech users
Hi, Your English seems pretty good to me and is a hell of a lot better than my Czech!!! Fire away and let's see if we can help! Regards, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Score spacing.
Hi, Thanks for that. I have resorted to lilypond-book in the end to squeeze the maximum amount of space from the paper, which wasn't as painful as I thought it would be! My main problem seems to be that If I look at professionally produced stuff, within a system, the staves are always equidistant. I presume that somebody has taken the trouble to make sure everything fits and doesn't overlap within this regime when they placed all of the dynamics and stuff not in-staff. That way there are no vertical spacing issues. With that in mind, is there an easy way of locking the interstaff distance within a system so that all pages are consistent, even given that there may be overlaps which I can correct by tweaking? I know this is a bit naughty, but I'm sure that a consistently spaced score page is more pleasing to the eye than one that squeezes and stretches to requirement from page to page. Regards, Ralph -Original Message- From: Mats Bengtsson [mailto:[EMAIL PROTECTED] Sent: 02 February 2004 11:44 To: Ralph Little Cc: [EMAIL PROTECTED] Subject: Re: Score spacing. Did you notice the text on interscoreline and interscorelinefill at http://lilypond.org/doc/v2.0/Documentation/user/out-www/lilypond/Page-la yout.html#Page%20layout You might also want to fiddle with the textheight variable. /Mats Ralph Little wrote: Hi, I am having a problem with a score which, for the most part, fits fine onto A4 landscape. However, on one page, all the parts are double forte at about the same point, and this pushes the staves apart sufficiently to drop the bottom 1 1/2 staves off the bottom. I've fitted the score onto the page by reducing the Staff MinimumVerticalExtent, so I guess I'm pushing it. As an alternative I can restore the defaults and print onto A3 landscape instead (or A4 portrait and suffer having more pages and a bit of waste). I have a few options. As a general question of style though, I have a professionally produced score which has the same number of staves and fits them all on consistently and does not have this problem. Dynamic markings seem abnormally small but look OK on a score. Am I expecting too much from something that is largely automated (lord knows, it does a damn good job!) or are there some tricks to fitting a score onto a compact area? Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Score spacing.
Hi, I am having a problem with a score which, for the most part, fits fine onto A4 landscape. However, on one page, all the parts are double forte at about the same point, and this pushes the staves apart sufficiently to drop the bottom 1 1/2 staves off the bottom. I've fitted the score onto the page by reducing the Staff MinimumVerticalExtent, so I guess I'm pushing it. As an alternative I can restore the defaults and print onto A3 landscape instead (or A4 portrait and suffer having more pages and a bit of waste). I have a few options. As a general question of style though, I have a professionally produced score which has the same number of staves and fits them all on consistently and does not have this problem. Dynamic markings seem abnormally small but look OK on a score. Am I expecting too much from something that is largely automated (lord knows, it does a damn good job!) or are there some tricks to fitting a score onto a compact area? Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Printing onto A3
Hi, To answer my own question and for the benefit of others: I found an interesting idea on somebody's website: http://gem.win.co.nz/mb/misc/shellcmds.txt along with some other interesting PS type jobs. At the bottom, there is mention of some tools from the psutils package, namely psbook and psnup. I will look into this, when I get chance. I quote: === Generate postscript file in signature (2x A5 pages to A4): cat _a.ps |psbook |psnup -pa4 -s1 -2 pa.ps Print odd pages: psselect -o pa.ps pa_o.ps Print even pages: psselect -e pa.ps pa_e.ps Print A5 booklet on A4 duplex on HP5Si: cat book.ps |psbook |psnup -pa4 -s1 -2 |\ lpr -Plp2o -J 'PageSize:A4 Duplex:DuplexTumble' Print A4 booklet on A3 duplex on HP5Si: cat book.ps |psbook |psnup -pa3 -s1 -2 |\ lpr -Plp2o -J 'PageSize:A3 Duplex:DuplexTumble' === Cheers, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: jazz articulations - fall
Hi,
I tried this, and they look cool.
In addition to what Rune wrote:
sright = {
\once \property Voice.scriptHorizontal = ##t
\once \property Voice.TextScript \override #'direction = #right
\once \property Voice.TextScript \override #'padding = #0.5
}
...I found that changing the padding to 0.5 gets the fall closer to the
note and looks cooler.
Added line might not be quite right although I tried it at home, but I'm
at work and haven't gat facilities to try it and make sure.
Echoing what chip says, it would be kinda cool to have it implemented
internally. Perhaps I'll have a look at it
Regards,
Ralph
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Printing onto A3
Hi, I know that this is really a Ghostscript/Tex type of questions, but given the context, I wondered if you guys had any experience in this area. I'm considering getting an A3 duplex laser printer to print multi-page parts. Now, as long as the output is for up to 4 pages, then it is just a case of printing 2 pages per sheet on two sides. However, for more pages, it gets a bit more complicated. For 8 pages, it will require 2 A3 sheets: sheet 1 will have pages 1,8 and 2,7 and sheet 2 will have pages 3,6 and 4,5, with sheet 2 folded and inserted inside sheet 1. Our LaserJet 4050TN has a booklet option which does this automatically, when using the Windoze printer driver. It seems like a standard kind of thing to want to do. Has anybody done this from Lilypond? Cheers, in advance, Ralph - Tribal Data Solutions has moved, please visit our website for more details http://www.tribaldata.co.uk. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp. If you are not the intended recipient, please notify the sender and delete this message. Thank you. --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: dvi to ly?
Title: Message Hi, longshot If you have generated a MIDI file from your moribund source, I think there is a way to generate .ly from it (midi2ly), although I have never used it./longshot Cheers, Ralph We have moved! Tribal Data Solutions (formerly Trackit Systems) has moved to bigger and better premises at Hawthorn Park, which is two minutes from the junction of the A64 and Leeds outer ring road. The new contact details are; Tribal Data Solutions, Tribal House, Hawthorn Park, Coal Road, Leeds, LS14 1PQ, Telephone number - 0113 306 0306. For more details and a map, please visit our website at http://www.tribaldata.co.uk This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/policies.asp If you are not the intended recipient, please notify the sender and delete this message. Thank you. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Extra staves
Hi,
Further to what I posted earlier, I have tried the following which is my
best attempt at a neat hanging second staff for a temporary staff:
---8---8---8---8---8---
8--
\score {
\notes {
\context Staff = One { c4 d e f }
{c d e f c d e f}
\context SubStaff = Two { c4 d e f c d e f}
c d e f
}
\paper {
raggedright = ##t
\translator {
\ScoreContext
\consists Span_bar_engraver
\remove System_start_delimiter_engraver
}
\translator {
\type Engraver_group_engraver
\name SubStaff
\remove Clef_engraver
}
}
}
---8---8---8---8---8---
8--
I'm trying to remove the clef from the second stave by creating a new
context that removes the respective engravers.
I get an error though:
Interpreting music...warning: can't find or create `SubStaff' called `Two'
lilypond-bin: event-chord-iterator.cc:27: virtual Translator_group*
Event_chord_iterator::get_req_translator(): Assertion `report_to ()' failed.
lilypond: error: LilyPond crashed (signal 6).
Have I misunderstood the translator syntax or is there a bug?
Cheers,
Ralph
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Extra staves
Hi,
I am trying to wangle the creation of a temporary extra staff that will
appear below an existing staff for the duration of the extra part only.
(Lily 2.0.1)
|--|--|
|--|--|
|--|--|
|--|--|
|--|--| etc
| |
|--|
|--|
|--|
|--|
I have seen the example in the tips and tricks, and the closest that I can
get to what I am after is below.
However, I am left with a couple of problems which I can't get my head
around
* How can I easily remove the dangling clef and time sig from the
new stave? Is the only way to create a new Staff context which excludes the
engravers that I don't want, or is there an easier, neater way?
* How can I get rid of the dangling bar line at the beginning of the
first staff, which I believe is coming from the Span_bar_engraver? I want
the bar lines to span, but not the one at the left which is not attached to
by new staff?
I've also tried entering a new StaffGroup context for the duration of the
extra staff only, but I can't seem to get continuity with the parent staff.
Any help gratefully appreciated!
Ralphy
--8--8--8--8--8--8--8--8---
\score {
\context StaffGroup {
\notes {
\context Staff = One {c4 d e f}
{c d e f}
\context Staff = Two {c4 d e f}
c d e f
}
}
\paper {
raggedright = ##t
\translator {
\StaffGroupContext
\remove System_start_delimiter_engraver
}
}
}
--8--8--8--8--8--8--8--8---
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Chords polyphony in 2.0.1
Hi, I have been using 1.8.2 for a little while now, and have been using the syntax for chords. I have just upgraded to 2.0.1 and the syntax seems to have reverted back to how it was in 1.6. Why the apparent change and is it likely to stay that way? Arghh! What's going on? Regards, Ralph -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Chords polyphony in 2.0.1
Hi, OK, OK, I've just read the change log for 2.0. They've changed back. Shame. I'd just got used to the new format. sigh Sorry to take up bandwidth... Regards, Ralph -Original Message- From: Ralph Little Sent: 06 October 2003 17:04 To: '[EMAIL PROTECTED]' Subject: Chords polyphony in 2.0.1 Hi, I have been using 1.8.2 for a little while now, and have been using the syntax for chords. I have just upgraded to 2.0.1 and the syntax seems to have reverted back to how it was in 1.6. Why the apparent change and is it likely to stay that way? Arghh! What's going on? Regards, Ralph -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Markups as variables.
Hi,
humility Sorry if this is obvious to everyone else, but /humility I
can't find anything in the Lilypond manual to indicate that you can assign
markups to variables and use those variables to attach markups to notes.
e.g.
allegro = \markup { \bold \large { Allegro }}
\notes { a^\allegro b c d}
This is a well funky idea, but it wasn't obvious to me that it would work,
until I had this mad idea and gave it a try.
I think it would be a useful thing to add to the manual.
Regards,
Ralph
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Short stem
Hi, In 1.8.2, I am seeing the downstem of a middle-line b slightly shorter than other downstems above it. Thus: O--- -O--|- --O--|--|--- --|--|--|--- --|--|- It does look a bit odd, sort of like it has been chopped off. On screen and printoff. Has anybody else seen this? Cheers, Ralph -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Style sheets
Hi there, I'm getting to the point in my Lilypond excursions whereby I want to produce something a little posher and in a more structured way. It occurs to me that it would be cool to setup some kind of general settings a Lilypond composition that I can reuse easily. The kinds of things that I am thinking of are global settings for font preferences for dynamic markings, fonts for headers, copyright footnotes, macros for common markups. Once this is all setup nicely to a preferred house-style it would be nice to drop in those definitions at the beginning of subsequent compositions as a kind of package. Has anybody tried to do this and have you had much success? If so, it would be cool to have a store of different styles for the web site, to go with the templates. Sorry if this is an obvious question... Cheers, in advance, Ralph -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Style sheets
Hi,
Thanks, that all seems fine.
I think the vast majority of what I want to do to make life easier is to set
some appropriately nice fonts globally and make up some shortcuts for my
favourite markups.
I will have a fiddle and see what pops up.
It would seem to me that if people have a favourite format for marking up
their Lilypond, it would assist newcomers to Lilypond to have a gallery of
styles from which one could start from, similar to the templates, all
adjusted up with fonts and stuff to look nice and presentable. I know we
have the mutopia stuff which is a nice place to go to, to get this sort of
stuff.
The defaults for Lilypond look alright, but to get anything presentable, you
need to mess about with fonts and things.
What I'll do is have a look at some professionally printed music and see if
I can emulate some of them in general look and font presentation and
generate something like a plug-in that others could use.
From what I am used to playing off (brass band music), there seems to be a
definate divide between modern markups, with san serif fonts, and old
markups which use serif fonts. Surely, it is also true that in the Jazz and
Orchestral worlds, music looks different and has a number of different
conventions in terms of general look and feel, and it would be nice to pull
this all together to assist newbies in getting off the ground so-to-speak.
Cheers,
Ralph
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
Sent: 30 September 2003 13:18
To: Thorkil Wolvendans
Cc: Ralph Little; Lilypond Mailinglist
Subject: Re: Style sheets
In contrast to the common.ly file sent by Nicolas earlier today,
Thorkil's file is a template, similar to all the template files
that are included in the LilyPond distribution in
.../doc/input/templates/.
If I were you, I would put definitions like Dynamics context
in a separate common.ly file, since these things are more likely
to have to be updated when new versions of LilyPond appear and in
that case, you don't want to update every single input file.
...
\include paper16.ly
\paper { papersize = a4 }
If you really want to change the paper size, you have to
include paper16.ly or some other of the paperNN.ly
files AFTER you have set the papersize variables, otherwise
it won't have any effect, see the reference manual.
In this case it doesn't really matter, since a4 already is the
default but if you want letter size, for example, you have to
switch the two lines.
Mats
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r1 resting bars
Hi, [I got the strange wide spacing of multi-measure rests as well as Paul! Until I upgrade, I will avoid using Multi-Measure rest markup] I have noticed that on 1.8.2 a single bar rest with r1 (4/4 time) results in the rest not being centred in the bar. Is this by design or is it a bug? It does look a little odd. Cheers, Ralphy -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: r1 resting bars
Thanks for the note about R1/r1. You are quite right. A quick replace s/r1/R1/g should fix that :D Regarding the Multi-measure rest issue, I thought that a change was added to CVS. I've just upgraded from 1.6.4 to 1.8.2 and I'm just getting over the shock! Maybe I'll have a go shortly, but it does not cause me great grief at the moment! Ralph -Original Message- From: Olivier Cloirec [mailto:[EMAIL PROTECTED] Sent: 26 September 2003 16:01 To: Ralph Little Cc: [EMAIL PROTECTED] Subject: Re: r1 resting bars Ralph Little wrote: Hi, [I got the strange wide spacing of multi-measure rests as well as Paul! Until I upgrade, I will avoid using Multi-Measure rest markup] Now, you can use it, can't you? I have noticed that on 1.8.2 a single bar rest with r1 (4/4 time) results in the rest not being centred in the bar. Is this by design or is it a bug? No, it's the normal comportment with normal rests. If you want it to be centered, you have to use a multi-measure rest (R1). Olivier It does look a little odd. Cheers, Ralphy -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Multi-measure rests again again
Hi Looking through the archives, there seems to be a lot of issues relating to attaching text markup to MultiMeasure rests. One general solutions seems to be along the lines of R1*10 s1^Hello there ...or somesuch. I'm running 1.8.2 now. What's the recommended way of attaching text to multi-measure rests now? Is there a better way? Cheers (in advance), Ralph -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected by visiting http://www.tribaldata.co.uk/contact_index.asp. and clicking on the print friendly link. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Multi-measure rests again again
Hi,
This is exactly the issue that I am having!
Same goes for:
R1*2_\markup{ Allegro }
..I guess.
Regards,
Ralph
-Original Message-
From: Paul Scott [mailto:[EMAIL PROTECTED]
Sent: 23 September 2003 10:09
To: Ralph Little
Cc: [EMAIL PROTECTED]
Subject: Re: Multi-measure rests again again
Ralph Little wrote:
Hi
Looking through the archives, there seems to be a lot of issues relating to
attaching text markup to MultiMeasure rests.
One general solutions seems to be along the lines of
R1*10 s1^Hello there
...or somesuch.
I'm running 1.8.2 now.
What's the recommended way of attaching text to multi-measure rests now?
Is there a better way?
The answer should be R1*2^\markup{ Allegro } but the markup hides the
measure count. I am waiting for a comment on that problem.
Paul Scott
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RE: Multi-measure rests again again
That's funky!
Thanks, I'll give it a try!
Ralph
-Original Message-
From: Han-Wen Nienhuys [mailto:[EMAIL PROTECTED]
Sent: 23 September 2003 10:28
To: [EMAIL PROTECTED]
Cc: Ralph Little; [EMAIL PROTECTED]
Subject: Re: Multi-measure rests again again
[EMAIL PROTECTED] writes:
Ralph Little wrote:
Hi
Looking through the archives, there seems to be a lot of issues relating
to
attaching text markup to MultiMeasure rests.
One general solutions seems to be along the lines of
R1*10 s1^Hello there
...or somesuch.
I'm running 1.8.2 now.
What's the recommended way of attaching text to multi-measure rests now?
Is there a better way?
The answer should be R1*2^\markup{ Allegro } but the markup hides the
measure count. I am waiting for a comment on that problem.
Added this to the doco:
If you want to have a text on the left end of a multi-measure rest,
attach the text to a zero-length skip note, i.e.
@example
s1*0^Allegro
R1*4
@end example
--
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Re: Ties between enharmonic pitches?
Jonas_Lindstr wrote: But I cannot nest the slurs. (Why not?) So my third attempt was: That's an interesting concept, a nested slur! As a brass player, I can see no situation where a nested slur makes musical sense. Perhaps a violin can or a mouth-organ? ;) The slur is a performance indication, rather than a notational convenience, and my understanding is that the \( \) phrasing construct is provided for the circumstance that you are in. Cheers, Ralphy -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected at our website at http://www.tribaldata.co.uk/html/contact.html#6. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Lilypond-book LaTeX
Hi All,
Sorry for being a dunce, but I know little of LaTeX (not having used it for
years!) and I'm trying to get the manual example running.
The lilypond-book bit seems to work OK, but I can't get seem to get LaTeX to
find the feta font files.
I've tried fiddling with TEXINPUTS and TEXMF but to no avail.
export
TEXINPUTS=.:/usr/local/share/lilypond/1.7.4/tex:/usr/share/texmf/tex/latex/b
ase:
/usr/share/texmf/tex/latex/graphics:/usr/share/texmf/tex/latex/config
export
TEXMF={@local_lilypond_datadir@,{@local_lilypond_datadir@,{@local_lilypond_d
atadir@,{!!/usr/local/share/lilypond/1.7.4/fonts/tfm,!!/usr/local/share/texm
f,!!/usr/share/texmf
Here is what I get:
88888
This is TeX, Version 3.14159 (Web2C 7.3.1)
(lilbook.latex
LaTeX2e 2000/06/01
Babel v3.7h and hyphenation patterns for american, french, german,
ngerman, i
talian, nohyphenation, loaded.
(/usr/share/texmf/tex/latex/base/article.cls
Document Class: article 2000/05/19 v1.4b Standard LaTeX document class
(/usr/share/texmf/tex/latex/base/size10.clo))
(/usr/share/texmf/tex/latex/graphics/graphics.sty
(/usr/share/texmf/tex/latex/graphics/trig.sty)
(/usr/share/texmf/tex/latex/config/graphics.cfg)
(/usr/share/texmf/tex/latex/graphics/dvips.def)) (lilbook.aux)
(lily-1115171988.tex (/usr/local/share/lilypond/1.7.4/tex/lilyponddefs.tex
(/usr/local/share/lilypond/1.7.4/tex/lilypond-latex.tex LaTeX definitions)
(/usr/local/share/lilypond/1.7.4/tex/feta20.tex)kpathsea: Running mktextfm
feta16
mktextfm: Running mf \mode:=ljfour; mag:=1; nonstopmode; input feta16
This is METAFONT, Version 2.7182 (Web2C 7.3.1)
kpathsea: Running mktexmf feta16
! I can't find file `feta16'.
* ...:=ljfour; mag:=1; nonstopmode; input feta16
Please type another input file name
! Emergency stop.
* ...:=ljfour; mag:=1; nonstopmode; input feta16
Transcript written on mfput.log.
mktextfm: `mf \mode:=ljfour; mag:=1; nonstopmode; input feta16' failed.
kpathsea: Appending font creation commands to missfont.log.
! Font \fetasixteen=feta16 not loadable: Metric (TFM) file not found.
to be read again
\def
l.51 \def
\fetafont{\fetasixteen}
?
! Emergency stop.
to be read again
\def
l.51 \def
\fetafont{\fetasixteen}
No pages of output.
Transcript written on lilbook.log.
88888
I have Lily 1.7.4 on Redhat 8.
Ly2dvi works fine.
Contents of /usr/local/share/lilypond/1.7.4/fonts/tfm:
feta11.tfm, feta13.tfm, feta16.tfm, feta19.tfm, feta20.tfm, feta23.tfm,
feta26.tfm, feta-braces0.tfm, feta-braces1.tfm, feta-braces2.tfm,
feta-braces3.tfm, feta-braces4.tfm, feta-braces5.tfm, feta-braces6.tfm,
feta-braces7.tfm, feta-braces8.tfm, feta-din10.tfm, feta-din11.tfm,
feta-din12.tfm, feta-din13.tfm, feta-din14.tfm, feta-din17.tfm,
feta-din19.tfm, feta-din4.tfm, feta-din5.tfm, feta-din6.tfm, feta-din7.tfm,
feta-din8.tfm, feta-din9.tfm, feta-nummer10.tfm, feta-nummer7.tfm,
parmesan11.tfm, parmesan13.tfm, parmesan16.tfm, parmesan19.tfm,
parmesan20.tfm, parmesan23.tfm, parmesan26.tfm
Any help would be greatly appreciated!
Cheers,
Ralph
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Lilypond-book LaTeX
You're a star mate!
That did the trick.
I had done what you said. :(
Xdvi output looks brill.
Cheers,
Ralphy
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]]
Sent: 17 December 2002 14:40
To: Ralph Little
Cc: '[EMAIL PROTECTED]'
Subject: Re: Lilypond-book LaTeX
Ralph Little wrote:
Hi All,
Sorry for being a dunce, but I know little of LaTeX (not having used it
for
years!) and I'm trying to get the manual example running.
The lilypond-book bit seems to work OK, but I can't get seem to get LaTeX
to
find the feta font files.
I've tried fiddling with TEXINPUTS and TEXMF but to no avail.
export
TEXINPUTS=.:/usr/local/share/lilypond/1.7.4/tex:/usr/share/texmf/tex/latex/b
ase:
/usr/share/texmf/tex/latex/graphics:/usr/share/texmf/tex/latex/config
There's no need to set TEXINPUTS if you get the following setting correct.
export
TEXMF={@local_lilypond_datadir@,{@local_lilypond_datadir@,{@local_lilypond_d
atadir@,{!!/usr/local/share/lilypond/1.7.4/fonts/tfm,!!/usr/local/share/texm
f,!!/usr/share/texmf
Did you compile Lilypond yourself? It looks as if you sourced the file
buildscripts/lilypond-profile.sh and not buildscripts/out/lilypond-profile.
Try to unset the variable and then use the setting from lilypond-profile.
/Mats
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RE: Cresc Decresc
Hi,
Thanks for that Mats.
As an aside, I have a sequence of (something like):
\notes {
\time 4/4
a1 \ \!
R1*4
etc...
}
This throws an error because the \! attaches to the following note, which is
a multi-measure rest in this case!
If I insert an s4 before the R, would this throw out my time sequencing,
and therefore, generate a bar check error on the R1*4?
\notes {
\time 4/4
a1 \ \! s4
R1*4
etc...
}
In this situation, I guess that I would have to revert to something like the
following , and also for situations where I don't want the cresc/dim to
extend to the next bar.
\notes {
\time 4/4
{a1} {s4 \ s s \! s}
R1*4
etc...
}
It's a shame that the \ does not attach to the following note and the \!
attach to the previous instead of the inverse as at present.
I guess there are syntactic reasons why this is not the case.
In any case, {} {} does provide some interesting options for spacing and
insertion of multiple dynamic marks under single notes, which I will
experiment with...
Regards,
Ralph
-Original Message-
From: Mats Bengtsson [mailto:[EMAIL PROTECTED]]
Sent: 16 December 2002 10:24
To: Ralph Little
Cc: '[EMAIL PROTECTED]'
Subject: Re: Cresc Decresc
The solution you've tried is more or less the recommended method.
In this particular example, it's maybe easier and better to do
a1 \ \! s4
but if you want both crescendo and diminuendo below the same note,
I'm afraid you have to do this solution with a separate of line of
silent notes to attach them to.
/Mats
Ralph Little wrote:
Hi all,
I having some trouble with crescs and dims.
How can I attach a cresc or dim. to a single note?
I have tried something along the lines of
\notes {
\time 4/4
{a1} {s4 \ s s \! s}
}
...or something like that (sorry if syntax is wrong!)
But the spacing does not seem very nice. Also, it's a bit of a mouthful
for
what I'm trying to do!
I have also seen situations where there is a cresc AND dim on a single
note.
I can see why the above has a certain desirability because you can sort of
specify the exact timing of the crescendo.
Is there any easy way to get around this?
I am using 1.7.3 on Linux.
Cheers, in advance,
Ralphy
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=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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RE: Fis or not fis, that is the question.
HEEEYYY! COOL DOWN Mister!
Keep yer hair on!
I have not heard of anybody being annoyed at the way Lilypond works!??!?
Ok Ok,
First let me say that I am happy to carry on with what Lily currently does.
After using it for some months, I find it easy enough.
When designing software (and believe me I know what I am talking about,
being a C++ programmer, database designer and a project manager for a
bespoke software house) you need to make design decisions at the beginning
and stick to them.
I query only the particular reasoning behind the rationale currently
employed, especially since we occasionally get readers that pose this very
question from time to time and, thus far, I have not seen an answer to
convince me to the bottom of my heart of the fundamentals behind the method
chosen.
OK, well what am I on about?
Since were kind enough to ask:
Currently, we have:
\score {
\key g \major
g2 a b c d e fis g
}
What's wrong with:
\score {
\key g \major
g2 a b c d e f g
}
...which generates o o o o o o #o o.
It is self-evident from the fact that the key is G, that all f's are
sharpened other than those altered by accidentals. It does not have to be
directly specified.
Being a fundamentalist at heart, I hate to see apparent redundancy in
anything, and I have to say that my heart says that to have a key including
fis, fis should not have to be specified in \notes {}.
For a natural we could have fn or \natural {f}.
Would you like to be able to simply specify which accidentals lilypond
was to write instead of which notes they were to represent?
The representation in the script should not affect the rendered
representation in the output. Lilypond knows what the key is and can (and
does) make decisions as to whether or not to render sharps/flats/naturals
etc dependant on the context regardless of which method is used.
Generally, this approach leads to a total overlap between notation and
music - actually your note entries even depend on the TIME SIGNATURE
(!!!) - if you for instance should feel like replacing 4/4 with 8/4,
then the 5th note should be g instead of gs.
No, that is incorrect. It would be correct it you had to handle accidental
policy in the notation specified, but you don't. All I am suggesting is that
where the key signature gives a default, that default should be applied
across the board apart from notes that you specify differently. As far as I
am concerned, there is no current relationship between baring and key.
If you type something like as it stands:
\score {
\time 4/4
\key g \major
\notes {g2 fis4 f f f f f }
}
...you get a second bar full of of naturals. Lilypond makes the assesment as
to whether or not to print naturals using the current natural regime.
Alternatively taking the key into account,
\score {
\time 4/4
\key g \major
\notes {g2 fis4 fn fn fn fn fn}
}
changing the timesig to 8/4 will have no affect on the notation
whatsoever. You will still get the right notation.
{ gis g gis gis | gis gis ges g }
OK, this is a bit of an extreme example.
Let me give you one of my own:
\score {
\key cis \major
\notes {cis dis eis fis gis ais bis cis}
}
Que?
To my mind (and it is just my opinion) catering for the common case rather
than the rare case is better. Using either method, you cannot just change
the key sig and expect it to work, so that is a red-herring. The key and the
notes are linked forever, you can't change the key without changing the
notes, and transposition is best done using \transpose.
Therefore, my only conclusion is that the choice of what to go with is
entirely down to preference.
Which I am happy to go with, as I have for a number of months now...
My 3 pennyworth
Ralphy
-Original Message-
From: Rune Zedeler [mailto:[EMAIL PROTECTED]]
Sent: Tuesday, December 10, 2002 3:12 PM
To: Ralph Little
Cc: [EMAIL PROTECTED]
Subject: Re: Fis or not fis, that is the question.
Ralph Little wrote:
Can anybody explain why, despite having a fs specified by the current
key
(for G Major), fs or fis needs to be specified, rather than just
assuming that the key fills in the gaps?
I don't really understnad what you expect/request.
Would you like to be able to simply specify which accidentals lilypond
was to write instead of which notes they were to represent?
This would be a hell to work with.
Think of this example:
{ gis g gis gis | gis gis ges g }
This gives output (n meaning natural):
#O nO #O O | #O O nbO nO
Would you REALLY prefer to input it like
{ gs gn gs g | gs g gnf gn }
?!?!
This way you would need to explicitly think about all the sophisticated
rules about accidental typesetting - and if you should wish to alter an
accidental-rule you would have to change all your input by hand instead
of simply replacing the accidental macro with something else.
Generally, this approach leads to a total overlap between notation and
music - actually
Dynamics in scores
Hi, I have generated a score from parts and find that dynamics (-\f etc) do not appear. Dynamics appear in parts. Can generate sample if required, but has anybody seen this before? Any suggestions? Info: Version 1.7.4 Linux Redhat 8 ly2dvi -p to generate PDF for Adobe Acrobat in Windows (landscape kills my gv)--- print to LaserJet. Muchos thankos in advance Ralphy -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected at our website at http://www.tribaldata.co.uk/html/contact.html#6. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Compiling Lilypond 1.7.4
Hi, Many thanks Klaus. My mistake was putting duff information in the e-mail ;) I checked /etc/ld.so.conf and it contained /usr/local/lib. However, running ldconfig cured the problem. I'm not sure what the problem was in the end, but I will look into it a bit more. Up and running! Wahay! Cheers! Ralph -Original Message- From: Klaus Zimmermann [mailto:klaus_zimmermann;gmx.de] Sent: 05 November 2002 22:27 To: Ralph Little Cc: '[EMAIL PROTECTED]' Subject: Re: Compiling Lilypond 1.7.4 Ralph Little wrote: Hi, I am trying to get Lily 1.7.4 up and running on Redhat 8 I have built and installed Guile1.6 from source, and there is a /usr/local/lib/libguile.so.12 (sym linked to libguile.so.12.3.0), and guile (/usr/local/bin/guile) fires up fine. I saw some posts on a similar vein previously, and I have checked that /usr/local/bin is in /etc/ld.so.conf. I think you should rather include /usr/local/lib not bin. After you've checked that you should execute ldconfig as root (which wouldn't hurt anyway). regards Klaus -- Our communications with you matter to us. This e-mail and any attachments are confidential and are sent on the basis of our copyright, e-mail and security policy which can be inspected at our website at http://www.tribaldata.co.uk/html/contact.html#6. If you are not the intended recipient, please notify the sender and delete this message. Thank you. -- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: Key sigs repeats
Hi,
Here we go!
For only a single repeat section (before or after), it works as expected.
I think that the ghist is that if there are 2 volta-style repeats
back-to-back, then the grace notes are placed between the end/start repeat
bars, which looks a bit odd.
888888
\score {
\notes {
\time 3/4
\key bes \major
\relative c' {
\repeat volta 2 {
c4 d ees f2.
}
\repeat volta 2 {
\grace {d16 ( } ) c4 d ees f2.
}
}
}
}
888888
Secondly, I have a grace note at the beginning of a bar
following a repeated
section and it is shoved (rather unceremoniously) into the
preceding bar
(the last bar of the repeat). Has anybody seen this before?
Can you send an example?
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