Re: Lilypond on Sparc
On Mon, 26 Jul 2004 17:39:49 -0400, Julian Squires <[EMAIL PROTECTED]> wrote: > On Mon, Jul 26, 2004 at 08:44:01PM +0200, [EMAIL PROTECTED] wrote: > > I just found that a Sun Sparc is, as second hand not expensive at all > > (well, that is a matter of "taste") but I have no idea, what models are > > confortable enough specially to get a fast execution of lily (I am > > actually running Athlon 2 Ghz with Suse 9.0) > > > > Who can help with own experience? > > Does Solaris accept rpms? > > You can run debian on sparc machines pretty nicely, and just apt-get > install lilypond. I have a bunch of sparc-based machines, but I do all > my lilypond work on a powerpc machine, so I can't say too much about > speed, except that you probably want an ultra 2 as an absolute bare > minimum; you probably want a modern machine like a blade 150 or better > for real work. Sun machines are great for multiuser work (amazing for > many interactive sessions for example), but their speed may not impress > you for single user work. Linux tends to be a bit faster than Solaris > on older sparc machines, can't vouch for the newer ones. I've been away from Sparc machines for a year or two now, but I'd like to echo Julian's comments. The strength of the Sparc machines is in their scalability, not in their speed. In other words, they are much better than a Pentium-based machine if you want 32 processors and many gigabytes of memory, but for a basic single-processor machine you'll probably find that a normal PC is much faster. At my last job, we had some really long running jobs that took a couple days to complete. We used our flashy Sparc machine, which was very expensive when we bought it two years earlier. It was a single processor machine but we were all mesmerized by the Sun and Solaris names. The jobs were taking too long to run, however, so in the end we bought a consumer PC from Costco at less than 1/5 what the Sparc machine had cost us, and it ran the job 17 times faster. Normal PCs are cheap and fast, and a couple-years-old Sparc machine probably can't compete with a cheap, modern PC. If you don't already know how a Sparc machine will help you, then chances are it won't. - Russ ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2 questions - ties and midi, ties notes in a separate coda
Selon Shelagh <[EMAIL PROTECTED]>: > I have two questions. > 1) I made a beautiful printout of a song and the midi output was > successful, but the tied notes did not 'tie' in the midi song. Is this > normal? or am I missing something. The ties over the bar lines seemed to > work but the tied notes in the middle of the measure separated. I'm using > Lilypond 2.2.0. This is a bug in the early 2.2 releases. It's fixed in 2.2.2 See Changelog: 2004-05-31 Han-Wen Nienhuys <[EMAIL PROTECTED]> * VERSION: 2.2.2 * lily/tie-performer.cc (stop_translation_timestep): reset ties_created_. Fixes bugs/midi-tie.ly, bugs/midi-lyrics-barcheck.ly > 2) In another song the coda was separated from the main score. The > structure of the song is like this > > music repeat x2 music skip to coda > > The problem is that the note that is on the barline which skips is tied so > the coda begins with the end of a tied note. I played around with \skips > but nothing looked promising. Does anyone have any suggestions? No idea for the moment, sorry! Bye, Olivier > > Shelagh > > > ___ > lilypond-user mailing list > [EMAIL PROTECTED] > http://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
root / user question
Hello list, I think this is more of a linux (SuSE 9.1 ) than a lilypond question, but I dare to ask: When I run lilypond 2.2.4 as user I get some console messages in german and some english. I do not like this, and jEdit with lilytool does not like it either. When I run lilypond as root everything is in english. Can anybody explain what happens? Thank you, Thomas ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: root / user question
On Tue, Jul 27, 2004 at 03:56:40PM +0200, Thomas Scharkowski wrote: > When I run lilypond 2.2.4 as user I get some console messages in > german and some english. I do not like this, and jEdit with lilytool > does not like it either. > When I run lilypond as root everything is in english. > Can anybody explain what happens? You've one of the environment variables LANG, LC_ALL, or LC_MESSAGES set to de (or de_DE or something similar). Since LilyPond involves many different programs, some of them may be localized, others not. Unset all mentioned environment variables or just set LANG and LC_ALL to C to get only english messages. Ciao, Kili ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
#(set-accidental-style 'default) and note spacing
Hi !
I think there is a bug in the combinaision between set-accidental-style
and spacingspanner, or I am completely lost !
I have the following in my .ly partition:
\score {
\notes \relative do' {
#(set-accidental-style 'modern)
...NOTES
}
}
\paper {
\context {\ScoreContext
\override SpacingSpanner #'spacing-increment = #2.2
\override SpacingSpanner #'shortest-duration-space = #2.5
}
\context {\StaffContext
\override DynamicLineSpanner #'padding = #1.5
\override DynamicLineSpanner #'staff-padding = #6.0
\override TextScript #'padding = #1.5
\override TextScript #'staff-padding = #6.0
\override PhrasingSlur #'height-limit = #5.0
}
#(set-paper-size "a4")
}
This renders perfectly, my tweaks for the Spacingspanner behave exactly
as described in the docs.
Now if I remove the #(set-accidental-style 'modern) or comment it, or
change from 'modern to 'default, I cannot change anything about spacing
anymore, I can set spacing-increment to #10.0 it has no effects and
everything looks like the dedault spacing has come back !!
Is this a bug, or I am doing something wrong ?
Raf
___
lilypond-user mailing list
[EMAIL PROTECTED]
http://lists.gnu.org/mailman/listinfo/lilypond-user
note tweaks for variations in small size
[EMAIL PROTECTED] writes:
> Hi,
>
> I want to typeset a couple of transcribed songs[1], and many of them
> contain variations of short sequences of notes or even single notes.
> In the original manuscript, those are set in a smaller type.
> Sometimes the variation is put as another, smaller note-head on the
> same stem as the main note, and sometimes it has its own stem
> (dependent on how far the pitch is apart and if the value is the
> same).
>
> I have tried to do the same in lilypond, and it turns out to be
> extra-ordinarly hard.
There should probably be a mechanism to do this neatly (entering the
alternate voice separately), but here is a quick hack for starters.
#(define ((set-position-font-size pos size) grob origin current)
(let*
(
(ifs (ly:grob-property grob 'interfaces))
(sp (ly:grob-property grob 'staff-position))
)
(if (and (memq 'note-head-interface ifs)
(= pos sp))
(set! (ly:grob-property grob 'font-size) size
\score { \relative c' {
c
\applyoutput #(set-position-font-size -2 4)
}}
--
Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.xs4all.nl/~hanwen
___
lilypond-user mailing list
[EMAIL PROTECTED]
http://lists.gnu.org/mailman/listinfo/lilypond-user
clef after bar
Hi everyone! At a certain point in a composition, I try to make a new clef appear after the barline instead of before, without a positive result. Is it possible in Lily to achieve this? I searched the docs, but couldn't find an answer. Thanks! Thorkil lily222/cygwin ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Band parts - a newbie's view
- Begin Forwarded Message -
Envelope-to: [EMAIL PROTECTED]
Date: Tue, 27 Jul 2004 23:48:15 +0100
To: [EMAIL PROTECTED]
From: "Anthony W. Youngman" <[EMAIL PROTECTED]>
Subject: Band parts - a newbie's view
User-Agent: Turnpike/6.02-U ()
Quick bio - I'm a professional programmer and amateur musician ...
I'm trying to set some band parts, and I'm using 2.2.2 on cygwin. Okay,
some things are probably me trying to do things the "wrong" way, but
some things appear to be bugs...
What I'm trying to do is make stuff generic - not repeat stuff across
files - and some things are annoying while at least one thing appears to
be a bug...
I've put all the header info - title, composer etc into a "header.ly"
file. I include this in a part file, followed by a "header { instrument
= }" section. This second header section appears to wipe the first :-(
at any rate, all I get is the instrument name and everything else is
lost. Commenting out the second section means the first one appears ...
And the instrument is in the wrong place ... it gets put in the middle
of the header :-( As far as I'm concerned, on a part it belongs left
justified just above the first stave, and presumably on a score it
belongs just above or to the left of the relevant stave.
Okay - having moaned - how do I fix this the way I want? Do I need to
install source or can it be done in Scheme as part of the standard user
install? And if I need the source, what language is it? C++? I want to
make the header print the way I want :-), and I presume I need to add a
Staff.Instrument property to get that to print properly in a score...
Another annoying thing when trying to produce parts ... I've found that
putting time signatures, speed markings etc in a separate "part" is
great for getting timings right etc. Unfortunately, it seems that "s"
and "\skip" are classed as notes, so when I try to collapse bars with
the R syntax in the part, it doesn't work :-( (as an aside, how do I do
multi-bar rests with a time signature of eg 9/8? Does R1*9/8*n work?)
Two other annoyances (and in my mind they're UI blunders ...).
Practically every piece of music I've played that has letter rehearsal
marks DOES use the letter I. It's fine to have a default that doesn't,
but the manual appears to say "our tradition doesn't use it, therefore
we won't let you use it". Bad! Where do I change it? And do I have the
option of passing a list of marks for it to use?
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 ...
Have any of these points been addressed post 2.2.2? And if not, where
and how do I go about "fixing" them?
Cheers,
Wol
--
Anthony W. Youngman - wol at thewolery dot demon dot co dot uk
HEX wondered how much he should tell the Wizards. He felt it would not be a
good idea to burden them with too much input. Hex always thought of his reports
as Lies-to-People.
The Science of Discworld : (c) Terry Pratchett 1999
- End Forwarded Message -
___
lilypond-user mailing list
[EMAIL PROTECTED]
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Band parts - a newbie's view
On 27-Jul-04, at 4:18 PM, Anthony W. Youngman wrote:
I've put all the header info - title, composer etc into a "header.ly"
file. I include this in a part file, followed by a "header { instrument
= }" section. This second header section appears to wipe the first :-(
at any rate, all I get is the instrument name and everything else is
lost. Commenting out the second section means the first one appears ...
AFAIK, that's a bug. I've encountered it. Some of the changes in the
2.3 devel series may have fixed this one, though.
And the instrument is in the wrong place ... it gets put in the middle
of the header :-( As far as I'm concerned, on a part it belongs left
justified just above the first stave, and presumably on a score it
belongs just above or to the left of the relevant stave.
Quick hack: instead of using "instrument", how about using "piece" or
a different lilypond header? :)
Another option would be to use lilypond-book -- lilypond stuff inserted
into a LaTeX document. I've found that while Lilypond is good for small
pieces and rough copies, when I want to make a final, publishable copy,
I need the extra power of lilypond-book.
Okay - having moaned - how do I fix this the way I want? Do I need to
install source or can it be done in Scheme as part of the standard user
install? And if I need the source, what language is it? C++? I want to
make the header print the way I want :-), and I presume I need to add a
Staff.Instrument property to get that to print properly in a score...
I'll let a programmer answer this one, other than mentioning
lilypond-book
again.
Another annoying thing when trying to produce parts ... I've found that
putting time signatures, speed markings etc in a separate "part" is
great for getting timings right etc. Unfortunately, it seems that "s"
and "\skip" are classed as notes, so when I try to collapse bars with
the R syntax in the part, it doesn't work :-( (as an aside, how do I do
multi-bar rests with a time signature of eg 9/8? Does R1*9/8*n work?)
I'm pretty sure that R1*9/8*n works. And if for some reason it doesn't,
I know that R8*9*n works.
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 ...
Lilypond defines 4/4 and C as the same[1], but if you want to see 4/4
instead
of C, use:
\override Staff.TimeSignature #'style = #'numbered
[1] and therefore changing that would require a patch
Have any of these points been addressed post 2.2.2? And if not, where
and how do I go about "fixing" them?
Right now most effort is focused on the devel branch, so if you want to
fix issues, that's probably the best place to go. It also includes new
code
for slurs, which take into account articulations and fingerings; devel
also
has quite a few page output improvements.
Cheers,
- Graham
___
lilypond-user mailing list
[EMAIL PROTECTED]
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: note tweaks for variations in small size
At Tue, 27 Jul 2004 21:04:22 +0200, Han-Wen Nienhuys wrote: > > (dependent on how far the pitch is apart and if the value is the > > same). > > > > I have tried to do the same in lilypond, and it turns out to be > > extra-ordinarly hard. > > There should probably be a mechanism to do this neatly (entering the > alternate voice separately), but here is a quick hack for starters. > > #(define ((set-position-font-size pos size) grob origin current) [...] Works great, thanks! This is the hack I needed most. For any lurker who wonders: The first argument seems to be the note-head to alter, with 0 being the note head on the middle line of the staff, +1 being the note-head in the space above the middle line, etc. Marcus ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Creativity Courses in Europe and New York
Creativity Courses in Europe and New York Creativity Courses in Europe and New York http://www.creativity-course.com The Creativity Workshop is dedicated to teaching people about their creativity and how to use it in all aspects of life, work, and creative expression. In a non-competitive, nurturing atmosphere, the Workshop helps participants develop creative skills, expanded sense perception, innovative problem solving, inspired brainstorming, and new ways of looking at life as exciting and transformative. Hello, Our workshops from June through September will take place in 7 different countries in Europe. They are a wonderful way to learn and travel. Please see below our complete Calendar including our 9 day Summer 2004 workshops in Europe-- including classes in Dublin, Venice, Prague and Paris! Whether you are a writer, a business person, a teacher, or an artist, the Workshop can help you discover and nurture your particular way of expression and break through the fears and blocks that inhibit creativity. Working with thousands of individuals, businesses, and institutions since 1993, the Creativity Workshop helps people believe in and develop their imagination through using a unique series of exercises in memoir, creative writing, visual arts, sense perception, brainstorming, and storytelling. Our concentration is on the process of creativity rather than the product. We emphasize the importance of play and the sharing of ideas to nurture creative growth. You can read more about the workshop below and also go directly to our extensive informational site: http://www.creativity-course.com Regards, Karen Bell Administrative Associate 245 E 40th St. 25th Floor New York, NY 10016 Tel Toll-Free: 1-866-217-1980 also: 1-212-922-1555 2004 Calendar and details: S U M M E R 2 0 0 4 PRAGUE August 6 - 16 9 day workshop >From $1,450 including tuition and 10 night accommodations PARIS August 18 - 28 9 day workshop >From $2,000 including tuition and 10 night accommodations VENICE September 2 - 12 9 day workshop >From $1,975 including tuition and 10 night accommodations DUBLIN September 14 - 24 9 day workshop >From $1,800 including tuition and 10 night accommodations UPCOMING WORKSHOPS IN NEW YORK CITY OCTOBER New York City October 22-25, 2004 4 day workshop Friday through Monday, 10 AM to 1:30 PM Tuition Fee: $600 NOVEMBER New York City November 13-14, 2004 2 day weekend workshop Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 DECEMBER New York City December 10-13, 2004 4 day workshop Friday through Monday, 10 AM to 1:30 PM Tuition Fee: $600 MARCH New York City March 11-14, 2005 4 day workshop Friday through Monday, 10 AM to 1:30 PM Tuition Fee: $600 APRIL New York City April 16-17, 2005 2 day weekend workshop Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 MAY New York City May 13-16, 2005 4 day workshop Friday through Monday, 10 AM to 1:30 PM Tuition Fee: $600 If you are interested in reading more about the Workshop, we can send you some very interesting magazine articles and interviews with the directors, Shelley Berc and Alejandro Fogel which will give you a deeper idea about the workshop's techniques, origins, and results. What people say about the Creativity Workshop: "The new millennium needs bold, creative men and women who can turn their dreams into reality... Shelley Berc and Alejandro Fogel show how you can do this through their challenging and inspiring creativity workshops...even a simple first contact will prove what these two talented teachers can do for your own gifts." Dr. Kirpal Singh, Writer, Professor Singapore Management University. "I have attended at least 10 creative seminars and this creativity workshop is far above the others in its inspiration, positive spirit and techniques for nurturing creativity. The Creativity Workshop changed me forever and moved me forward in managing my creative companies, but more importantly in my personal determination, commitment and creativity in my own projects. This workshop is important for anyone who wants to better understand, develop and celebrate their creativity in their personal or business life." Barbara Roberts, President and CEO Acoustiguides, New York City "Thank you for the great, great inspiration and fun of the Creativity Workshop. It helped me get a whole screenplay done during a trip to Mexico afterwards. It was great for me and my students. I don't think I've ever seen them so happy." Doris Doerrie, Filmmaker, Professor Munich Film School, Germany "Shelley and Alejandro created an atmosphere where everyone from student, to business professional, to published novelist felt equally comfortable creating and sharing stories, drawings, experiences. I've explored other places and workshops that make me feel good while I'm there, that provide activities that I know I really should make time for when I go back to the real world. But this workshop is the first to provide methods and exercises
