I'm not quite sure what I did wrong but I tried this a few times and
it still doesn't want to work.
I am able to run steps 1 - 4 but at step 5, the line already reads
"export PATH=$PATH:/Applications/LilyPond.app/Contents/Resources/bin"
so it doesn't seem to make sense to add ":/Applications/
Geoff Horton wrote:
Thanks, Graham. So here's what Peter (and I) need to do, assuming that
you moved the LilyPond app off your desktop and into the Applications
folder:
Werner mentioned altering the documentation. Just in case you don't
have it handy, here's the link:
http://lilypond.org/web
Thanks for this Graham (and your patience!). I think I messed it up
somewhere. Here's what I have:
1) lilypond.app is in /applications folder
2) I call up a terminal and see this:
ip5455a71f:~ peter$ cd '/Applications/'
ip5455a71f:/Applications peter$
3) Then I type:
nano
4) next: I hit R.
[Resending my mail to maillist, since Reply does not do "the right thing"]-- Forwarded message --From: Simon Dahlbacka <
[EMAIL PROTECTED]>Date: Sep 17, 2006 12:51 PMSubject: Re: Lilypond + LaTex (on Mac)To: Peter O'Doherty <[EMAIL PROTECTED]>you have the .profile in the wrong place
So, my question is, what is the correct way to vertically center a
refrain shared by several stanzas?
A real hack method is simply to include it only in the middle stanza
Verse one line one
Verse one line two
Verse two line one
Verse two line two
Refrain line
Verse Three line one
Verse Three
Hi,
I have written a very simple Lilypond engine for TeXShop, which you may
find here:
http://www.dimi.uniud.it/vitacolo/freesoftware.html
Maybe this can help.
Regards
Nicola
In article <[EMAIL PROTECTED]>,
Michael J Millett <[EMAIL PROTECTED]> wrote:
> I know this doesn't help, but I have h
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
documentation.
Greetings,
Rainer
Kieren MacMillan wrote:
> Hi, Rainer:
>
>> I've following code:
>> 1\arpeggio ~ | << 1\fermata \\ {r2 r4 b
> export
>
PATH=/opt/local/bin:/opt/local/sbin:/Applications/LilyPond.app/Contents/Resources/bin
IMO, it's better to do this:
export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin
That way the existing path is still used, even if it's set somewhere
else (say, /etc/profile).
I agree
Thanks for all your help.I eventually got it to work using Nicola Vitacolonna's Lilypond engine for TeXShop which can be found here: http://www.dimi.uniud.it/vitacolo/freesoftware.htmlI would definately recommend it - it works beautifully.Regards,Peter___
Peter O'Doherty wrote:
ip5455a71f:~ peter$ cd '/Applications/'
ip5455a71f:/Applications peter$
You edit/create the .profile in your home directory. Don't change
directories; just open up a terminal and create the file.
- Graham
___
lilypond-user
Hi Rainer,
Fell free to help. See
http://lilypond.org/web/devel/participating/documentation-adding
- Graham
Rainer Hahnekamp wrote:
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
docu
Note that this already is described fairly clearly both in
"Basic Polyphony" and "Explicitly Instantiating Voices".
However, if you have any idea on how to make it even
clearer/easier to find, then they are off course welcome.
Graham Percival wrote:
Hi Rainer,
Fell free to help. See
http://li
On 9/17/06 4:18 AM, "nicola" <[EMAIL PROTECTED]> wrote:
> Hi,
> I have written a very simple Lilypond engine for TeXShop, which you may
> find here:
>
> http://www.dimi.uniud.it/vitacolo/freesoftware.html
>
> Maybe this can help.
>
> Regards
> Nicola
>
> In article <[EMAIL PROTECTED]>,
> Mich
Hi there!
I'm just trying to fix the LilyPond moduke for ConTeXt to work with
e.g. the latest 2.9;
the module works similar to lilypond-book.
My problem is, that the EPS is always too big, i.e. much bigger than
defined.
My LilyPond snippet has
linewidth = 341.43306\pt
but the EPS and PDF
I believe this approach could also work properly:
<< 1\arpeggio~ \\ s1 >> | << 1\fermata \\ {r2 r4 b'32 (c d
e f g a b)} >>
i.e., a second "space" voice is added to the first compass. However,
don't take it as example of good style, since I've just started to learn
Lily.
Best,
Mauríc
Hi list,I'm having problems trying to write scores for some pieces with polyrhythm:lilypond says that:warning: can't find line breaking that satisfies constraintsI put here a minimal example that shows anyway the problem, my real situation is on a much bigger scale, that's why I need to force in th
Hi, Maurí cio!
I have two voices that I should tie to a chord. Is it possible to
do that?
Would the attached example for you?
I know it's not *exactly* what you were asking for -- it uses a
convention of engraving that *fakes* two separate voices, rather than
actually *being* two voices
Hi Libero!
> and I have to split a measure in the middle...
Line breaks only work at "proper" bar lines. (see
http://lilypond.org/doc/v2.9/Documentation/user/lilypond/Line-breaking.html#index-g_t_005cbreak-1560)
In your example the third 4:5 in the second staff overlaps the invisible bar.
>From
I'm using a user-created staff context to "accepts" ossia notes mid-stream
(see OssiaUnsynchronized below).
I have a piece where my ossia length will have a different number of
measures than the main staff (more or fewer). So for example if the ossia
passage has 2 measures to the main staffs 1 m
Kieren MacMillan wrote:
Hi, Maurí cio!
I have two voices that I should tie to a chord. Is it possible to do
that?
Would the attached example for you?
(...)
theMusic = \relative c'
{
\time 2/4
\set tieWaitForNote = ##t
c4~ e4~ 2
\set tieWaitForNote = ##f
}
No, it doesn'
Hi, Maurí cio:
if I could get lilypond to draw the first c4 as a c2, while keeping
that note time as a 1/4.
Do you think that is possible?
With Lilypond, *anything* is possible! ;-)
theMusic = \relative c'
{
\time 2/4
\set tieWaitForNote = ##t
c2*1/2~ e4~ 2
\set tieWaitFor
It's really up to you. In the end the goal is to separate music from
structure so that you can freely re-use your template files for subsequent
pieces without having to change or re-write the templates. I tend to keep
all the music variable setting for all parts in a single file, then I make
an
Here is a simple example of separating music from structure, just make sure
all the music goes into variables, then the templates only reference
variables, not any particular songs music:
myMusic_ForConcertoNo3.ly would contain this kind of stuff:
varViolinINotes = \relative c' { a-4 b c d }
var
Kieren MacMillan wrote:
Hi, Maurí cio:
if I could get lilypond to draw the first c4 as a c2, (...)
With Lilypond, *anything* is possible! ;-)
(...)
If you absolutely need the rest (in the second voice), I might be able
to take a few seconds and whip up a solution.
Best,
Kieren.
Cool!
Hi,
I'm trying to get the edge text of a series of consecutive
TextSpanners to vertically align according to baseline.
I've pasted in a sequence of ever-closer steps but beware that the
post is long. If you're not interested in markup, skip to the next
thread.
Here's what I'm starting out with,
I hope you have read the section on "Polymetric notation". It shows several
methods to modify the synchronization between staves.
Yet another alternative is to use ^\markup{\score{...}}
/Mats
Rick Hansen (aka RickH) wrote:
I'm using a user-created staff context to "accepts" ossia notes mid-s
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