Thanks for all the responses there are lots of options to try here
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___
lilypond-user mailing
Hi,
This appears to be a known scam of sorts.
http://www.hoax-slayer.com/domain-name-application-scam.shtml
(this is your exact scam)
http://www.fraudwatchers.org/forums/showthread.php?t=58331
(related)
Good luck,
Ben
m...@mikesolomon.org wrote
> Begin forwarded message:
>
>> From: "gavin.
Hey don't worry about it. I'm still a new beginner of lily pond and am trying
my hardest to get this assignment done in 2 weeks, Ok a week and a few days.
I'll take a look at the editor you mensioned and if I don't make any progress
soon someone can help me in correcting the mistakes until I r
Thanks David and Ming.
The unicode value of the special punctuation is \u3002 (
http://www.unicodemap.org/details/0x3002 )
Jun
Date: Thu, 2 May 2013 17:06:40 -0700
From: tsan...@rogers.com
Subject: Re: Lyrics and Punctuations Alignment Issue?
To: david.nales...@gmail.com
CC: lilypond-user@gnu.or
Hi David,
Here is the .ly file that generates the png file in previous email. This file
is UTF-8 encoded.
Thank for looking the solution,
Ming.
>
> From: David Nalesnik
>To: MING TSANG
>Cc: "lilypond-user@gnu.org"
>Sent: Thursday, May 2, 2013 7:43:09 PM
Hi Ming,
On Thu, May 2, 2013 at 6:04 PM, MING TSANG wrote:
> Hi David:
>
> Thank you for the align grob.
>
> The chinese character is double byte. Please refer to lyric d & f :
> correspondent Chinese character to d is ok but the Chinese character at f
> is off a bit. Is it possible to make f
ace::aligned-on-x-parent grob)
> displacement)))
>
>\paper {
> ragged-right = ##f
>}
>
>\relative c' {
> \time 3/4 e4 e4. e8
> d4 e d c2.
>}
>
>\addlyrics {
> \override LyricText #'X-offset = #align
> "\"\"\"I!
On Thu, May 2, 2013 at 11:06 AM, Nathan wrote:
> On Thu, May 2, 2013 at 7:42 AM, James Worlton wrote:
>
>> I'm getting a strange result when I try to compile a score. It includes 8
>> staff contexts plus a Dynamics context.
>> [...]
>>
>
> -1073741819 is an access violation error; that's all I k
Hi all,
I want to define a "tree" of contexts like
\Staff
\PianoSingleStaff
\PianoSingleStaffRH
\PianoSingleStaffLH
\ReductionSingleStaff
\ReductionSingleStaffRH
\ReductionSingleStaffLH
and then, in my music (e.g., in a reusable variable), I'd like to say
Oops,
Attached wrong version.
\version "2.16"
#(define (align grob)
(let* ((stil (ly:grob-property grob 'stencil))
(stil-X (ly:stencil-extent stil X))
(text (ly:grob-property grob 'text))
(punct-R (char-set #\, #\" #\; #\! #\. #\space))
(punct-L (char-set #\
Hi Jun,
On Wed, May 1, 2013 at 10:28 PM, Jun Wang wrote:
> Hi
> I have a lyrics alignment issue when lyrics contains punctuations.
>
> First Let me take the example from the reference manual, see the " I am
> so lonely..." piece below.
>
> http://lilypond.org/doc/v2.16/Documentation/notation/
Oeps,
I'm sorry, I simply assumed that mentioning line numbers would be easy
for you. Lots of editors use these, on my Mac I often use TeXShop for
Lilypond and LaTeX. Basic functionality but with(!) line numbers.
In what way do you prefer a response? I could do the edits and send
back the
Hi all,
I have a piece I'm writing where the piano part is in various time signatures
(e.g., 7/8 for a while, then 4/4 then 7/8 then 3/4 then 7/8 for a while, etc.),
whereas the voice is in 4/4 throughout.
Is there a way to break MultiMeasureRests in the voice, so that the piano part
is spaced
On Thu, May 2, 2013 at 7:42 AM, James Worlton wrote:
> I'm getting a strange result when I try to compile a score. It includes 8
> staff contexts plus a Dynamics context.
> [...]
>
-1073741819 is an access violation error; that's all I know.
Can you provide a minimal example?
__
fazer666 writes:
> David Kastrup gnu.org> writes:
>
>>
>> David Kastrup gnu.org> writes:
>>
>> > ChordNames and keeps its transposition in there. Two ways out: the one
>> > that likely should get into LilyPond proper would be
>> > \layout {
>> > \ChordNames
>> > \alias "Staff"
>> > }
>>
On Thu, May 02, 2013 at 10:52:23AM +, fazer666 wrote:
> Hi,
>
> I'm trying to write some music for Tenor Sax (Bb). I have melody and chords
> above the staff. When I put "\transposition bes" directive, melody is
> correct in midi file, but not chords.
As a side point here tenor sax sounds a
David Kastrup gnu.org> writes:
>
> David Kastrup gnu.org> writes:
>
> > ChordNames and keeps its transposition in there. Two ways out: the one
> > that likely should get into LilyPond proper would be
> > \layout {
> > \ChordNames
> > \alias "Staff"
> > }
> > and then overrides for Staff s
Hello. thanks for your reply.
Unfortunitally it is impossible to show line numbers in the mac version of lily
pond. and having to count that many manually is going to be a chore lol! I
have made the suggestion that there be an option to show line numbers and I
tried the control e command for
I'm getting a strange result when I try to compile a score. It includes 8
staff contexts plus a Dynamics context.
All of the Staves compile fine individually--no errors or warnings.
All combinations of "Total_Staves - 1" compile fine--no errors or warnings
(I comment out each individual staff in t
Andrew Bernard writes:
> The lilypond scheme-sandbox documentation assumes you have the
> readline library enabled for guile, although it does not state this
> explicitly.
http://lilypond.org/doc/v2.16/Documentation/extending/scheme-sandbox>
states:
You can enter Scheme expressions at this
On May 1, 2013, at 5:49 PM, g...@sdf.org wrote:
> Message: 6
> Date: Thu, 2 May 2013 00:49:32 +0200 (CEST)
> From: g...@sdf.org
> To: lilypond-user@gnu.org
> Subject: Breathes placement
> Message-ID:
> Content-Type: TEXT/PLAIN; format=flowed; charset=US-ASCII
>
>
> Hi list,
>
> I have a quest
The lilypond scheme-sandbox documentation assumes you have the readline
library enabled for guile, although it does not state this explicitly.
Turning on readline makes the behaviour as stated in the manual.
I tried this with racket 5.3.3 also - same thing.
Readline is not enabled by default,
David Kastrup writes:
> ChordNames and keeps its transposition in there. Two ways out: the one
> that likely should get into LilyPond proper would be
> \layout {
> \ChordNames
> \alias "Staff"
> }
> and then overrides for Staff should arrive in ChordNames.
Of course, this would be more impo
fazer666 writes:
> fazer666 free.fr> writes:
> OK, let's write it shorter (just as example, it's only a excerpt of my whole
> code) :
>
> \score
> {
> <<
> \chords
> {
> \transposition bes
> gis,1:m7.5- cis:7
> }
> \new Staff \relative g'
> {
> \transpo
Hello,
2013/5/2
> Yes, I know that these are overfull measures; actually most measure bars
> are not even drawn (I have \context { \Score defaultBarType = "empty" },
> with a few \bar "|" here and there). These are indeed the intended
> durations; in the kind of (liturgical) music I want to type
the main problem with your input is, that you have overfull measures. {
c d e f2 } are 5/4 in a 4/4 measure. That means, Lilypond draws and
starts this f2 in the first measure, but it is still played in the
second. Therefore, the breathing mark is placed where the f2 is over.
How can you br
Maybe this is a documentation error. I tried the sequence in another scheme
implementation (racket)
and resulted in a similar output, implying separate functions are processed
one by one,
whose outputs intersperesed each time with command prompts.
So, you need to enclose multiple functions (comman
fazer666 free.fr> writes:
>
> David Kastrup gnu.org> writes:
>
> >
> > http://lilypond.org/tiny-examples>
> >
> > I can't really guess what kind of constructs you are trying to use here.
> >
>
> Sorry, a bad copy paste... :
> \transpo -> wrong typo, correct is : \transposition bes
> And I
> Thanks, this seems to fix the problem indeed. But is there a more
> systematic way of doing this, instead of typing "*1/2 ... s4" each time?
>
> --ghe
Hi,
the main problem with your input is, that you have overfull measures.
{ c d e f2 } are 5/4 in a 4/4 measure. That means, Lilypond draws an
Trevor Daniels wrote:
Indeed, my question was not precise enough. Here is a minimal example:
\relative c' { c d e f2 \breathe g4 a b c }
For the printed score it can be done like this:
\relative c' { c d e f2*1/2 \breathe s4 g a b c }
Thomas Morley wrote:
You could try to scale dur
Hi lily user:
I try lilypond scheme-sandbox. The highlight did not correspond to what
chapter 1 - scheme tutorial (extending.pdf) said: "2" is suppose displays on a
line, but it is not. Please refer to the copy of the run.
Thanks for the help,
Ming
Microsoft Windows [Version 6.1.7600]
Cop
David Kastrup gnu.org> writes:
>
> http://lilypond.org/tiny-examples>
>
> I can't really guess what kind of constructs you are trying to use here.
>
Sorry, a bad copy paste... :
\transpo -> wrong typo, correct is : \transposition bes
And I put the same line just after bracket in Staff block.
fazer666 writes:
> I'm trying to write some music for Tenor Sax (Bb). I have melody and
> chords above the staff. When I put "\transposition bes" directive,
> melody is correct in midi file, but not chords.
>
> Here is a snippet of my code :
>
> \score
> {
> "double_opening_chevrons"
> \ch
Hi,
I'm trying to write some music for Tenor Sax (Bb). I have melody and chords
above the staff. When I put "\transposition bes" directive, melody is
correct in midi file, but not chords.
Here is a snippet of my code :
\score
{
"double_opening_chevrons"
\chords
{
\transpo
2013/5/2 :
>
>>>
>>> I have a question about the placements of breathe symbols.
>>>
>>> When measure bars are placed automatically, and when a \breathe is placed
>>> at the end of a measure, it seems that it is placed *after* the bar, before
>>> the first note of the next measure.
>>
>>
>> Can you
g...@sdf.org> wrote Thursday, May 02, 2013 10:04 AM
> Indeed, my question was not precise enough. Here is a minimal example:
>
> \relative c' { c d e f2 \breathe g4 a b c }
For the printed score it can be done like this:
\relative c' { c d e f2*1/2 \breathe s4 g a b c }
Trevor
___
I have a question about the placements of breathe symbols.
When measure bars are placed automatically, and when a \breathe is
placed at the end of a measure, it seems that it is placed *after* the
bar, before the first note of the next measure.
Can you post a minimal example for this? And
In 2.16, you just put the accidental style definition into the
layout block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
http://packages.debian.org/search?keywords=lilypond
g...@sdf.org writes:
>>>
In 2.16, you just put the accidental style definition into the
layout block and that's it.
>>>
>>> Alas, 2.16 is not in Debian as far as I know... I can live with a
>>>
>>> global = {
>>> #(set-accidental-style 'forget)
>>> ...
>>> }
>>>
>>> definition at th
Hi Sarah,
The closing bracket } on line 34 is one too much. And in line 156
there is some strange - not lilypond - text.
When I compiled this I noticed one important thing: the flute and
trumpet (in C) melodies show one sharp for \key g \major,
but the line you indicate with Clarinet in B-f
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