Hello, Atte:
How do I get a final pedal that is pressed on the last note
and depressed on the final bar-line?
I believe you mean released, not depressed -- as far as I know,
pressed and depressed in this context are usually interpreted as
indicating the same thing, like flammable and
Welcome, Mitch!
Sounds like you did everything right.
Two things you might want to try:
1. Restart Terminal -- sometimes, the alias doesn't link in Terminal
until you restart a session.
2. Use the full executable path to lilypond -- it's likely something
similar to /sw/bin/lilypond.
Hope
Hello, all --
One more clarification that might help \relative newbies...
Unlike \transpose x {}, the pitch that is chosen to define (begin)
the \relative mode block is used ONLY to provide the relative origin
for the FIRST NOTE, and has no other effect on future pitches.
For example, the
Hello, all:
Edward Elgar died February 23rd, 1934, so his music will
enter the public domain a week from Monday.
Actually, I don't think it will go out of copyright until 1 January
2005 (in
most countries), as I think the general rule is the end of the 70th
year
after the author's death.
In
Thorkil (et al.):
\property Voice.Slur \set #'attachment-offset = #' ((1 . 0) 0 . 0)
[...]
You actually tell Lily to let the *beginning* of the slur start 1
*something*
(I don't know if it's a millimeter, a pixel or something else --
can anyone tell me that?) to the right.
The units are staff
Hello, Joerg:
If this does not belong to this list, please excuse
and anwer me peronally.
Could please anybody help with jazz music notation ?
Man, we all have that same question! =)
If this is the case: What if one of the pairs shall really be 2 eights?
Is there an unjazz sign or so ?
straight
Hello, David:
To make everything easy to understand, maybe it's better to say:
Swing 8ths
...
Straight 8ths
...
Because not everyone will understand if you write Jazz.
Excellent point -- especially considering there are jazz styles which
do not incorporate swung 8ths.
Regards,
Kieren.
Hello, Darius:
Since Lilypond variables are just a notational shorthand for scheme
let constructs, wouldn'it be possible to have Lilypond functions
translate seamlessly to scheme functions?
I think this sounds like a great idea; in fact, a library of Scheme
functions which have Lilypond function
Hello, all!
Just a note to say that I've got Lilypond 2.1.17-1 (unstable) running
on Mac OS X 10.2.8. Thanks to the development team for all their hard
work, and to Matthias Neeracher for doing the packaging.
If anyone is wondering how I did it, here are the instructions:
1. Update Fink to
[ Mac OS X 10.2.8 (Fink); Lilypond 2.1.17-1 ]
Hello, all --
I can't seem to change the paper size correctly after converting my
files to 2.1.17-1...
I tried
#(set-paper-size letter)
and
hsize = 8.5 \in
vsize = 11.0 \in
in the \paper block, but I ended up with an a4 (ca 8.2 x
Hello, Ralph:
If I look at professionally produced stuff,
within a system, the staves are always equidistant.
Actually, I have found just the opposite: the staves are *rarely*
exactly equidistant! And this is especially true from page to page (as
opposed to within a block of staves on one
David (et al.):
I'll be very happy to have syntax colouring especially
If anyone is interested, I've attached a rudimentary syntax colouring
rule set built for SubEthaEdit (free collaborative Rendezvous-enabled
Cocoa text editor, http://www.codingmonkeys.de/subethaedit/). I'm
hoping to improve
Hello, development team:
Just a little request...
Since you are improving Lilypond so rapidly (which I appreciate more
than I can tell you!), it often turns out that I am several versions
behind, and can't tell what has been changed since what. If the release
notes could be a little more
Hello, Fodor:
I have a practical question about transposing instruments,
perhaps you have some experience.
Here's my opinion, from the perspective of:
1. Copyist -- enter the concert (i.e., sounding) pitch, to make it
easier to enter and reuse material
2. Conductor -- where possible, give the
Hello, all --
Stan wrote:
I am amazed at the frequency of updates, and at the fact that
each seems to include a feature which was on the wish list.
Agreed! Kudos and thanks to the team!
2.1.12 offers the new #(set-staff-size 18), for example
Does this allow different staff sizes per system?
Hello, Dave (et al.):
I don't like \crescmark too much either, but IMHO something or this
sort
is a lot more logical and intuitive than what is being done now.
\cpin, \endcpin? \dpin, \enddpin? The fact that can be seen as a
letter C doesn't hurt. Any better ideas?
Do you not like the
Will:
\appoggiatura a,8( fsharp'8\p) r fsharp2 e16[( d fsharp a]) |
(Bonus points for identifying what music it is!)
It's almost exactly a quote from Star Wars: The Empire Strikes Back
(Han Solo's theme, I think), so I'm going to guess Richard Strauss...
Best wishes,
Kieren.
Han-Wen (et al.) --
I'm leaving it to others to create the diagrams that each and every
object.
Volunteers, anyone?
Sure, as long as you'll proof-read/edit!
Regards,
Kieren.
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[ Mac OS X 10.2.8 (Fink); Lilypond 2.1.7 ]
Hello, development team --
I love the look of the rounded stems on quarters, eighths, and beams
(outer edges) -- very warm and engraved looking.
However, if you look closely, it's creating a divot on inner notes of
a beamed group:
beamDivot.pdf
Hello, all --
Han-Wen wrote:
I suppose the distance should be increased
if the acc is before a downstem. I added a TODO.
Super!
(By the way, if I wanted to experiment on this, what
property/settings/code would I need to modify/create?)
probably right-padding of AccidentalPlacement. (not sure)
I
Hello, Han-Wen:
No - that's quite difficult. I've fixed the overlap for innerstems, so
you won't see this (except when using large blot diameters.)
I try to keep my blots pretty small, generally... ;-)
The logic of single malt whiskey late in the evening.
My favourite kind! I certainly hope
Hello, Erik:
I like your suggestion, it is something I sometimes have wanted to
use. In
some situations it makes life easier (like, if you have some special
\property tweak which you find yourself using several times within one
block,
it's kind of irritating to have to move out a definition
Hello, David:
In your example, you are illustrating an editing task. It would be
quicker to copy the notes, even if there were a lot more of them.
My example was a straight repetition, certainly, but in concept I was
imagining uses far beyond that... Imagine, for just one example, if the
set
Hello, Paul:
How do your inner definitions help this? Example?
Consider the 'A' section from my Upside-Down Rag (slightly simplified
for this example), which is of the form abac:
rh = \notes \relative c'
{
e16 g,8 e'16 g,8 e'16 a,~
a4~ a16 c e c'( b d b'-.) bf df bf'
a c a' f a f'
Hello, Han-Wen:
I think in both respects 2.1 looks better than 2.0.
I would agree -- that is, while neither is optimal (to my eye), 2.1
errs more pleasingly than 2.0... ;-)
If you like you can experiment a little for yourself,
the property that was changed is
[ Mac OS X 10.2.8; Lilypond 2.1.7-3 (via Fink) ]
Hello, all --
Turns out \oneVoice (the pre-defined property) looks like this in
property-init.ly:
% dynamic ly:dir? text script, articulation script ly:dir?
oneVoice = #(context-spec-music (make-voice-props-revert) 'Voice)
Does that mean
Hello, Paul:
If I was not clear my question was what your idea had to do
with separating time information (in global) from the notes
in other sections. You didn't mention time signature in your hew
example.
The mention of time signatures in my original post was just as one
example of many
Hello, Mats:
Amazing how often one and the same question pops up several times
during the same week. Did you see the following mail (with followups)?
http://mail.gnu.org/archive/html/lilypond-user/2004-01/msg00338.html
Actually, if you read closely, I believe Nick is asking something
slightly
Hello, sb:
Different Editions from one score in the manual.
I quickly saw it a while ago, but thanks for pointing me back to it --
I think with a combination of that mechanism and some fancy
block-separation footwork, I can have all the abstraction and
flexibility I could need or imagine!
I'm
Paul:
I think as a programmer I agree with David that the macro/definitions
are easier to find done the regular way.
I would certainly hope that, if my proposal were adopted, it would not
eliminate the existing system or preclude its use, but rather augment
it for those of us who would prefer
Han-Wen:
making sure those weird doublings [...] are weeded out, etc.
fixed in CVS.
Just in case I forgot to say it, thanks!
Kieren.
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Hello, Alberto:
if we write repetitions on the music (and if the composer wrote them)
it means we want to repeat them. Why to add a new command to unfold
them?
It's really just a short hand for editing purposes, at least as I've
used it so far.
For example, when defining line breaks, rather
Jan:
That was going to be one of my manual tweaks (in Illustrator), but I'm
Does that work yet. I do not remember having seen a followup to
http://mail.gnu.org/archive/html/lilypond-user/2003-12/msg00103.html
If it works, do you have to do somethings special, or does it work
with the
[ Mac OS X 10.2.8; Lilypond 2.1.7-3 ]
Hello, all --
Thanks to the patient assistance of several listers (Stan, Matthias,
etc.), I've got 2.1.7-3 (unstable) working on my machine: I LOVE IT!
To the development team:
1. Rounded stems look great.
2. Spacing after bar lines is much improved.
3.
Han-Wen (et al.):
However, I'm running into an issue with cross-staff piano writing
using
this method -- the issue being that Lilypond crashes [!].
I believe this is fixed in lily 2.0.2
Don't know about 2.0.2, but definitely fixed by 2.1.7-3.
Regards,
Kieren.
[ Mac OS X 10.2.8; Lilypond 2.1.7-3 ]
Hey, y'all --
Just found a weird thing here, and I think it's related to my use of
cross-staff + \voiceOne + \oneVoice: seems that somewhere in the
flipping back and forth, the Script gets stuck on top (q.v., m10
staccato).
Could someone please confirm
[ Mac OS X 10.2.8; Lilypond 2.1.7-3 ]
Howdy, y'all!
Just wondering if there's a way to define a directive/variable inline?
e.g.
Rather than:
innerDef = { g2 g }
stuff = \notes
{
a4 a a a
\innerDef
c4 c c c
\innerDef
}
[Result: a4 a a a g2 g c4 c c c g2 g]
you might be able
[ Mac OS X 10.2.8; Lilypond 2.1.7-3 ]
Hello, all:
I'm a big fan of abstraction and object-oriented thought (regardless of
whether it's computer-related) -- although I have, from time to time,
been accused of over-engineering, I invariably find that (observing
the point of diminishing
Hey, everyone --
Just wanted to take this opportunity to say again how great I think
Lilypond is, and pass on my thanks and kudos to the development team
for their incredible work. I've never seen anything approaching the
output that I get from Lilypond -- I'm totally confident that my music
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Howdy!
Is there any way of centering something on/over a barline explicitly
(i.e., as opposed to putting it over a note and then using extra-offset
to guess at the distance, which might change depending on layout)?
There are lots of situations I can see
Han-Wen:
Yes, and with lilypond 2.1 it would even look better!
(The space following the barlines is a tad on the large side.)
That was going to be one of my manual tweaks (in Illustrator), but I'm
hoping to install 2.1.x soon so that effort can be avoided... On that
note, thank you all for not
Hello, John:
If no one replied about putting objects above barlines yet, the trick
is
to use \mark to do it.
\mark\markup{ \musicglyph #scripts-coda }
Awesome -- thanks!
Kieren.
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Hello, Carl:
How do you force lilypond to use a certain number of measures per
system?
Basically, you superimpose the break rules on the existing music,
using \simultaneous, the short-hand , or some other method --
here's one example from the online docs:
For linebreaks at regular
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
I'm trying to engrave hairpins which end at the end of a measure (i.e.,
rather than the downbeat of the following measure), and was wondering
two things:
1. Is there a shorter way of getting the hairpins to extend to the very
end of the
Hey, y'all...
Han-Wen Nienhuys wrote:
For the tips tricks, it is best if the each example is stripped to
its
bare essentials, and only demonstrates one and only one tip or trick.
I would agree with this *to a point*.
However, for my own learning curve -- especially when I'm a newbie in
some
Hello, Nils:
Welcome to Lilypond!
warning: can't find file: `test'
I hope this is not too simple an answer, but make sure that when you
are in the Terminal window, you are in the directory where your source
file is located.
i.e. (an example -- be sure to use your real path, or type cd and
Hello, Ralph:
It seems like a standard kind of thing to want to do.
Has anybody done this from Lilypond?
Not directly in Lilypond...
However, I did write a small Java class that does what you want from an
original PDF source (controlling the open source iText Java-PDF
classes), and I use it
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
I like to define the notes to my piece in one file (e.g., notes.ly) and
the score formatting in another (e.g., fullscore.ly); this way, if I
want to put together a different format of the same musice (e.g., a
letter-portrait reduction of an
Hello, Ferenc:
I can't stand not pointing out that you could instead use a
jingle *directory* and simpler file names in it. :)
On the other hand, I am often wary of using non-unique filenames, since
there is nothing to distinguish them in a flattened directory
structure (e.g., a search panel).
To the whole Lilypond (development) team --
Just noticed v2.1.3 posted on the website, and that:
Font sizes can now truly be scaled continuously...
there are now no longer limitations in using smaller fonts (eg. grace
notes) at small staff sizes.
The appearance of stem tips is now also engraved
Hello, Mats:
Thanks for the response -- I'm still learning about Contexts (etc.), so
I appreciate the guidance...
I definitely recommend to include it in some existing Staff instead,
for example the mel Staff.
Excellent!
- Why did you use additional Dynamics staves for the dynamics and
Hello, Mats:
I guess you will get the desired alignment if you just make the stem
invisible in my example. The cause of the alignment problems is that
the note head of the whole note is wider then that of shorter notes,
just a you will find in well-typeset printed scores.
Absolutely true; and the
Hello, Mats:
I definitely recommend to do it in LilyPond using the extra-offset
property
instead of doing it by hand afterwards (one thing less to remember
if you have to reprocess the score).
An excellent point: thanks!
Kieren.
___
Lilypond-user
Mats Jan (et al.):
Someone should try editing a feta font file using pfaedit
to see what must be done for Illustrator to accept it.
Having spent a little more time in pfaedit, I think I now understand
what needs to be done. I would love to help the lilypond cause if I
can, so if you want, I
Hello, Mats:
the simple solution is to keep the dynamics line alive for the whole
piece,
...which is likely to happen in a real world situation anyway.
Works like a charm -- thanks!
Kieren.
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[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all:
Inspired by Mats's use Lilypond's extra-offset suggestion, I am
hoping to do as many manual adjustments in the .ly file as possible,
and am wondering where the limits are...
One question that comes to mind immediately is whether I can force a
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
If I have multiple note groups, how do various Score.skipTypesetting
values work/interact? [Example included below.]
Thanks,
Kieren.
_
notesA = \notes
{
\property Score.skipTypesetting = ##t
a b c d |
\property
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
For some reason, I'm getting this warning when processing:
Calculating line breaks... warning: No spacing wishes found. Does your
score have a staff?
warning: No spacing wishes found. Does your score have a staff?
Furthermore, the items don't
Hello, Jan et al:
I am hoping -- planning (!) -- to use Lilypond as the basis
application for a music publishing company I am currently
founding.
Very interesting. Let us know how it's going.
Oh, I will indeed! Once the first score is out the door, I plan to do a
colophon section on the website
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
Just need some clarification here...
If I've got some global values (key and time signatures, \break
indications, etc.), do I have to include them in every context, or only
the GrandStaff? e.g. Given the following [pseudo-code] definitions:
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, Mats et al:
I am hoping -- planning (!) -- to use Lilypond as the basis application
for a music publishing company I am currently founding. This means I
need access to the highest possible (i.e., true PostScript) resolution
for all score objects, so
Hello, Jan and Mats:
Actually, you could try any example.
lilypond-bin input/regression/accidental-double.ly
sort accidental-double.tex sortedlines
sort -u accidental-double.tex uniquesortedlines
diff sortedlines uniquesortedlines
29d28
\def\lilypondpaperunit{mm}%
49d47
\lyitem{ -4. }{
Hello, Mats:
Just use simultaneous notes in the same voice:
r4 g4 d'2 g,4 es'2 d'2 }
or, with the upper voice as well:
r4 {b4 ( c ) } \\ g,4 d'2 g,4 es'2 d'2
You will get some warnings, but the desired output.
Excellent!
One question and one comment+question:
1. Is there any way to suppress
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all:
Could someone tell me the best way to get the following:
3stop.pdf
Description: Adobe PDF document
I want to avoid using three voices, if possible.
Thanks!
Kieren.___
Lilypond-user mailing list
Hello, Mats:
All the fonts are embedded in the PDF and PS files, but Illustrator
unfortunately seems to be very bad at handling embedded fonts and
PS/PDF in general. Of course, this is weird since Adobe themselves
have developed both the PS and PDF format.
One trick that might help is to run the
Hello, Mats (or anyone else who might know what's going on):
I've been playing around with the output from lilypond, putting it
through ps2ps, and then editing it in Illustrator, and I've found
something weird: many objects are doubled, apparently for no reason.
I noticed it first with slurs
Hello, Mats:
I hope you realize the difference between
{...} {...} and {...} \\ {...}.
In the latter case, two separate voices will be created where the
first one has the stems pointing up and the second one pointing down.
If you just want to add some simultaneous spacing notes to insert the
Dear Paul and José:
Thank you for your responses!
José said:
You try using zero lenght notes.
For example:
a4\ s1*0\! b4 c4 d8 d8 |
Unfortunately, at the end of the line (or bar), that trick doesn't stop
the hairpin from breaking over the barline/system.
Paul said:
I think that's it right now.
[ Mac OS X 10.2.8; Lilypond 2.0.1 ]
Hello, all --
Just wondering if there's a way to force a dynamic to be the length of
the note it is attached to, but not to go over the (bar-)line if a
break occurs at that point.
Here is an example (from Igor Engraver):
hairBreak.pdf
Description: Adobe
Hello, all --
I think I messed up my installation of Lilypond... =(
I decided to configure my UNIX environment (with aliases, etc.) --
immediately afterward, 'lilypond' was no longer available as an alias.
Furthermore, running '/sw/bin/lilypond -P myFile.ly' now gives me this:
lilypond (GNU
Hello, Alois:
as far as I know Lilypond relies quite heavily on the presence of a
teTeX
distribution. Which TeX distribution do you have?
On my teTeX system kpsexpand is a shell script, which calls kpsewhich
with
appropriate flags. Let me know, if you have teTeX without kpsexpand.
How do I
Hello, Michal:
Could it be that your PATH got messed up?
Sounds likely!
locate kpsexpand
should find where kpsexpand is.
returns nothing/blank
(n.b. I can manually get to it in /sw/bin/)
echo $PATH
should give you the path(s) to executable directories.
Hello, all:
The solution to my problem was to change ~/.login to include the
following line:
set path = ( $path /sw/bin )
Hope this helps someone else!
Best regards,
Kieren.
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Hello, Mats:
Thank you for the response -- very informative and helpful!
If I wanted to set up staff sizes to *exactly* match the standards, do
I have to build my own fonts (e.g., 20.3259pt), or is there an easy way
(within Lilypond/TeX/etc.) to scale an entire page (or staff) --
including
Hello, David:
I still think that it would be better if the tied notes were on
different stems than the slurred ones on the 4th beat.
It would be considerably clearer.
Quite possibly, but unfortunately it doesn't avoid the notehead
collision AND it adds a more confusing 4th beat stacking into the
Hello, Mats:
Do you only want to do the setting for naturals, not for sharps and
flats?
Yes, exactly!
In that case, take a look at
Thanks!
I hope you are familiar to the Scheme language.
Not yet, but I'm hoping to get more involved with Lilypond (as
developer/hacker), so I might as well start
[ Lilypond 2.0.1; Mac OS X 10.2.8 ]
Hello, all:
I've found one case where the tie engraver could be improved -- when a
short tie joins two notes which are on a line of the staff and the arc
of the tie is within the staff:
Figure 1.
Picture 2.pdf
Description: Adobe PDF document
Notice how
Hello, Michael:
Don't use the \once tag. This way your property should be set
for the entire Voice until changed again.
But the exact amount of the tweak might not be the same, right?
Therefore (if I understand correctly), I must use the \once tag and
call it each time I'm tweaking, yes?
[ Lilypond 2.0.1; Mac OS X 10.2.8 ]
Hello, all:
Does Lilypond correctly handle slurs that end on staccato notes?
While engraving my Parachute Rag, I am running into the following:
Picture 1.pdf
Description: Adobe PDF document
Seems to me that the first slur should end a little lower than
Hello, Mats:
Maybe
http://lilypond.org/doc/v2.0/input/regression/out-www/collated-
files.html#slur-staccato.ly
can provide some help?
Thanks for the link -- it confirmed that I was headed in the right
direction.
However, being as obsessive compulsive as I am, so far it seems like
I'll be
Hello, David:
Your tie is no-win. You seem to be trying to indicate which time
value on the shared notehead is originating the tie by the tie
direction, but tie direction indicates nothing at all.
Actually, I'm not (consciously) using direction to indicate anything.
However, of all the possible
[ Lilypond 2.0.1; Mac OS X 10.2.8 ]
Hello, all --
I'm trying to put together a house style document (to be included in
all my .ly files), and want to add a little more padding between a
notehead and its first accidental (going right to left, that is).
However, I've not been successful (i.e.,
Hello, all!
Is there any obvious relationship between the built-in font/paper sizes
in Lilypond and the accepted engraving standards
(http://anakin-www-hp.cc.colorado.edu/Dept/MU/Musicpress/Images/S/
StaffSizes.gif)?
Thanks!
Kieren.
___
[ Lilypond 2.0.1; Mac OS X 10.2.8 ]
Hello, all --
Sorry if this is a RT(F)M question, but I *did* RT(F)M -- and even
searched the list archive a bit -- and still don't quite understand
what I need to do... ;-)
I want to use (for titles, tempo indications, score markings, etc.)
fonts that I
[ Lilypond 2.0.1; Mac OS X 10.2.8 ]
Hello, all --
I am currently writing a pipe organ piece, and am testing Lilypond's
ability to handle the notation of chord building I have settled on...
Here is the relevant input:
{\slurStemToStem g8~([ ef d'] d, g c4)} \\ \stemDown {g4. s4}
\\
Hello!
I'm putting together a syntax definition property list for SubEthaEdit,
and was wondering if there is a standard already set (i.e., what
colours are used for what elements in Lilypond input files), and if so
where I could get a hold of such a document.
Thanks,
Kieren.
Hello, all!
Is there a way to skip a whole measure -- regardless of time signature
-- without specifying the duration of the skip?
I'm thinking of the case where one defines the time signature in a
global block:
global = \notes
{
\time 7/4 s4*7
\time 2/2 s2*2*5
Hello, Graham:
Does it look very bad to you?
Yes, I find it stands out as looking sloppy.
Here's an example of what I think it *should* look like (untweaked as
engraved by Igor Engraver v1.7):
inline: accidentals.tiff
Note how the top and bottom accidentals align (without touching), and
how
[ Mac OS X 10.2.6; Lilypond 2.0.1 ]
Hello, all:
I seem to be running into a situation where accidentals are not spacing
quite right.
Here is the input:
r fs c'! e! fs c' ef | r f! b e! f b ef
And here is the (untweaked) output:
accidentals.pdf
Description: Adobe PDF document
My guess is
Hey, y'all:
I'm planning the engraving of my first 'big' project in Lilypond, and
want to make sure I'm headed in the right direction! =)
It's a carol for choir and brass sextet, with a reduction/arrangement
of the instrumental parts for piano and a separate one for organ. The
choir has
Hello, all --
I know you can set up predefined variables containing a bunch of
different directives (including notes, tweaks, markings, etc.), but can
you set up functions where the parameters can be decided at
runtime?
For example, can I set up a tuplet within a quadruplet, with slurs
Hello, Graham:
1) Do we particularily care about such awards?
IMO LilyPond's quality speaks for itself.
I wouldn't say I care, really; I've been evangelising Lilypond
(including on the Igor Engraver mailing list!) ever since I first
discovered it (just a week or so, now).
However, I am very
Hello, all!
Graphire Music Press (www.graphire.com) has the following information
about their music font -- Revere -- on their website:
Revere is endorsed by the MPA, the CMPA, and the IFSMP
Graphire has received the honor of the following endorsement for our
Revere music font:
The notehead
Hello, all --
I write choral music that includes many different textures, including
the following: extended sections in unison (i.e., SA in unison, TB in
unison an octave lower), which can be written on a single line;
homophonic sections, which can (often) be written on two staves; and
Hello, Mats:
Certainly! The only thing you have to do is to download the PFA
fonts for the LilyPond version you are using, not for some other
version (as you apparently have done now).
Can't seem to find 1.9.2 on ftp/debian -- is there somewhere else I
can/should look?
Thanks,
Kieren.
p.s. I
Hello, Mats:
Thanks again for all the help -- after some effort, I believe I was
able to install the fonts correctly. Now, running ly2dvi -p appears to
work as expected, and the output looks much cleaner (i.e., totally
clean!).
However, as I zoomed in to admire the crisp Postscript output, I
Hello, Mats and the rest of the Lilypond gang:
First of all, congratulations again on such a stunning engraving
program -- I'm still marveling at how beautiful the untweaked output is!
Part of the beauty, without a doubt, is due to the feta font and the
attention to detail in the rounding of
Hello, Mats:
'ly2dvi -P' that you use, will give you a Postscript file with
bitmapped fonts. I think you want to use 'ly2dvi -p'
Yes, I've tried that, but I get the following:
ly2dvi: error: `kpsewhich feta20.pfa' failed (1)
What is the fix for that?
Thanks for the help!
Kieren.
Hello, Mats:
Did you also run the command 'texhash'?
Not originally. I have now, and this was the response:
texhash: Updating /sw/share/lilypond/1.9.2/ls-R...
texhash: Updating /sw/share/texmf-local/ls-R...
texhash: Updating /sw/var/lib/texmf/ls-R...
texhash: Updating /sw/share/texmf/ls-R...
Hello, Han-Wen:
the \\ only needs to be used for the last chord, not for A-flat.
Ah, I didn't know voice contexts could be instantiated for partial
measures -- that did the trick... =)
Thanks,
Kieren.
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