Lilypond engine getting stuck...
I'm using version 2.8.3I've run into a problem with Lilypond getting "stuck" on a file. The score uses relatively complex rhythms combined with text, and I gave up on trying to use \lyricsto - there were just too many melismata that I had to override etc. Instead I've just inserted all the rhythmic values into the \lyrics context (including many tuplets - it gives me a warning message for each one "no-one to print a tuplet start bracket" but up until now seemed to work normally.) I've been checking the file as I went along, and it worked fine. Now it always gets stuck at the same point, and I really can't see what is wrong with it. It doesn't give me an error message, it just keeps running indefinitely. Is this a known bug in the program, and if so is there a newer version I can install to fix the problem? I've attached the file. If someone could take the time to try running it on your system, I'd be really grateful.Many thanks,Vivian. Feex.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: connecting arpeggio
On Wed, 24 May 2006 16:54:50 +0200, Georges Roux <[EMAIL PROTECTED]>
wrote:
> I have two voices and want to connect the arpeggio
> have something like this
>
> << { 4\arpeggio} \\ { 8.\arpeggio} >>
>
> \set PianoStaff.connectArpeggios = ##t dont seem to work
The PianoStaff statement has no effect in your solo guitar staff and can be
removed.
Try to replace your \score section with the suggestion below, but please be
aware that this might not work in version 2.6. Consider an upgrade to the
current stable version 2.8.
\score {
\context Staff = Guitar \with {
\consists Span_arpeggio_engraver} {
\set Staff.connectArpeggios = ##t
\midiStuff
\global
\Guitare
}
\midi { \tempo 4=95 }
\layout {
linewidth = 180.000 \mm
textheight = 250.000 \mm
}
}
Regards
Ketil Mehl
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Re: lilypond-book fragment with ties/slurs continuing over the end of the fragment
On 23-May-06, at 4:04 AM, Vaclav Smilauer wrote: I tried to typeset fragments that have slurs and ties that continue to the part of music that is not in the fragment. The fragments are block-aligned; I would like to produce the slur/tie as if the fragment was line-broken at the end, but without the other line appearing. I tried two approaches: This sounds fairly complicated; I'm not certain if it can be done in lilypond. The only other option I can think of is using laissez vibre ties. 2. "... | c1 ~| \break\hideNotes\stopStaff c": the alignment was perfect, the tie was also perfect, but I got clef, bar number and the other part of the broken tie printed. You could hide the clef and bar numbers relatively easily. I'm not at all certain about hiding the other part of the tie, and in any case these "extra" markings would occupy space (leaving a huge gap between music and text). Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: raise text in Scheme
On 25-May-06, at 10:37 AM, Kieren Richard MacMillan wrote: One last thing I can't seem to do is build into the Scheme definition itself the X-offset of the "hybrid dynamic". I'd like things like "mf dolce" to be essentially left-aligned, things like "poco f" to be essentially center-aligned, etc. Here's a few examples of what I do: flegato = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 6 0) #:line( #:dynamic "ff" #:text #:italic "legato" ))) ... mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0) #:line( #:dynamic "mp" #:text #:italic "dolce" ))) ... mfespr = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 4 0) #:line( #:dynamic "mf" #:text #:italic "espr" ))) ... fdolceespr = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 10 0) #:line( #:dynamic "f" #:text #:italic "dolce espr" ))) mflegatoespr = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 11 0) #:line( #:dynamic "mf" #:text #:italic "legato espr" ))) subp = #(make-dynamic-script (markup #:hspace 2 #:line( #:text #:bold #:large "sub" #:dynamic "p" ))) I'm not certain why I don't use #:hspace 0, but it works now so I'm not going to touch it. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inital barnumber?
On 25-May-06, at 9:27 AM, Daniel Johnson wrote:
Graham Percival wrote:
On 23-May-06, at 2:29 PM, Christian Conkle wrote:
I'm working on what the Lilypond docs so nicely term a
"musicological document" with lilypond-book excerpts from a Bach
fugue. (fis minor from WTCI) I'm using \set Score.currentBarNumber
to keep the bar numbering correct, and it would be nice to have
Lilypond put a bar number at the beginning of the excerpt. Is this
possible?
See this message:
http://lists.gnu.org/archive/html/lilypond-user/2005-09/msg00662.html
Excellent! This works, although it displays a warning:
{
\bar ""
\set Score.currentBarNumber = #53
c4 c c c c c c c
}
I'll add this to the docs; it's not at all obvious to me that there
isn't a bar line at the beginning of a piece.
Cheers,
- Graham
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Re: raise text in Scheme
Hi, Graham:
mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate
(cons 5 0) #:line(
#:dynamic "mp" #:text #:italic "dolce" )))
Thanks for the suggestion, but I had already tried the same thing
(that's what is in the docs), and was disappointed by the result --
q.v., the following comparison:
%% CODE SNIPPET BEGINS
\version "2.9.5"
\paper
{
line-width = 5\in
indent = 0\in
}
mpDolceTrans = #(make-dynamic-script (markup #:hspace 1 #:translate
(cons 5 0) #:line( #:dynamic "mp" #:text #:italic "dolce" )))
mpDolceNoTrans = #(make-dynamic-script (markup #:hspace 1 #:line
( #:dynamic "mp" #:text #:italic "dolce" )))
\relative c'
{
\override Staff.TimeSignature #'stencil = ##f
c4\< c\mpDolceTrans\> c2\! \break
c4\< \once \override DynamicText #'self-alignment-X = #-0.45 c
\mpDolceNoTrans\> c2\!
}
%% CODE SNIPPET ENDS
Notice how the crescendo ends far earlier on the "translated" version
than on the "realigned" one -- I'd like to use the latter, but
encapsulate the realignment in the variable itself (rather than in
the Lilypond code).
Thanks,
Kieren.
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Re: More Figured Bass Improvements... (potential sponsorship)
Trent Johnston hotmail.com> writes: > > Hi Han-Wen and Lilyponders, > > I am looking at the potential to sponsor more changes to the figured bass ... I second this and would gladly participate in sponsoring this. > I've included an example image.. taken from the Neue Ausgabe sämtlicher > Werke: Bärenreiter illustrating this. > > Also I was looking at making the numbers 10 / 11 / 12 as one symbol. This > would make the numbers as in: Moreover I would propose to create some additional "strike through" symbols - the slash we see now doesn't work ideally with all numbers re. visibility (esp. the 6 is an less than ideal case in my opinion). Typically these would be numbers with elongated elements slashed - I could supply examples, if wished. Trent, count me in with this sponsoring project. Michael (in Vienna) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
thickness staff lines
Hello, I am a recently user of Lilypond 2.8.2, and I am searching how to change thickness of the staff lines or other lines (stems, slurs, ties, bar lines... ) before printing. Thanks for your help ! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Thickness staff lines and other lines
Hello, I am a recently user of Lilypond 2.8.2, and I'm searching how to change thickness of the staff lines and other lines (stems, slurs, ties, bar lines...). Thanks for your help ! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering Type Size
Hi, Carrick: Well, that worked just great. Thanks a lot. My pleasure! I never would have guessed how the size increment divisions worked without your help, as it seems a bit counter-intuitive to me. It is counter-intuitive if you think of them literally as "divisions" -- in that case, it would be intuitive that 0 is zero (invisible), 1 (= 100%) is "full-size", and numbers in between are smaller than normal but bigger than invisible (e.g., 0.5 = 50% of normal size). However, if you think of 1 as "full-size" and each number, positive or negative, as ONE STEP AWAY FROM NORMAL IN THE DIRECTION OF THE SIGN (+1 = one step bigger, -1 = one step smaller), then this system suddenly "becomes intuitive". ;-) Best wishes, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Thickness staff lines and other lines
On 26-May-06, at 5:49 AM, Michel Fayard wrote: I am a recently user of Lilypond 2.8.2, and I'm searching how to change thickness of the staff lines and other lines (stems, slurs, ties, bar lines...). Read chapter 9 Changing defaults. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mixed questions
Hello,
With regard to the questions I posed a few days ago:
- the first question has been solved with \hspace (something I thought I
had already tried out, but apparently not correctly). The code now
says:
poet =
\markup { \hspace #10 \center-align { "Words by" "MORE OF
THAT POET" } }
without the \hspace, the text falls over the left edge of
the paper (is that on purpose, or an oversight of sorts?).
For the other two questions, I have toned down the code:
\version "2.8.1"
\score{
\relative
c''
{ c d e f
f e d c
\bar "||" \break
\repeat
"volta" 2 { c b a c e c d e( }
\alternative
{
{ fis) g e c
}
{ d) c b c \bar
"|."}
}
}
}
- I'd like a double bar line at the end of bar 2, then a line break, then
the repeat-part, starting with its proper bar line. Setting the double
bar line cancels the repeat bar line, adding a " \bar "|:"
" to bring it back cancels the double bar line in the bar before it.
Any way to have both of them?
- the last bar of the repeat before the alternative endings ends with a
note with a slur. The slur is finished properly on the first note of the
first alternative, but not so in the second alternative. Just adding a
")" does not help, Lilypond complains about not being able to
end the slur. \repeatTie gives a very unsatisfactory result, which seems
immune to the normal tie-tweaking. Any other way of getting the proper
end of the slur?
TIA, and have a nice weekend,
Matthijs
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multiple \mark items on a single measure
Hello, all --
The code included below clearly doesn't "do the right thing", i.e.,
in the final measure, I want to have a fermata over the (leading)
barline and then the tempo indication, but Lilypond appears to ignore
(or, at least, replace) all but the last \mark it encounters.
Is there any way to apply multiple \mark items to a single measure?
Thanks,
Kieren.
%% CODE SNIPPET BEGINS
\version "2.9.5"
tempoMarkPrep =
{
\once \override Score.RehearsalMark #'break-align-symbol = #'time-
signature
\once \override Score.RehearsalMark #'self-alignment-X = #left
\once \override Score.RehearsalMark #'extra-offset = #'( 1 . 0 )
}
\relative c'
{
\tempoMarkPrep \mark \markup { "tempo markup" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" }
\tempoMarkPrep \mark \markup { "tempo markup" }
c c c c |
}
%% CODE SNIPPET ENDS
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Re: multiple \mark items on a single measure
My first reponse is of course you can have only one mark per barline. Try
combining everything in one \mark statement. Perhaps if you placed each mark
in a separate layer it could work, but Lilypond can't know what priority
each mark gets otherwise.
Stephen
From: "Kieren Richard MacMillan" <[EMAIL PROTECTED]>
Sent: Friday, May 26, 2006 9:56 AM
Hello, all --
The code included below clearly doesn't "do the right thing", i.e., in
the final measure, I want to have a fermata over the (leading) barline
and then the tempo indication, but Lilypond appears to ignore (or, at
least, replace) all but the last \mark it encounters.
Is there any way to apply multiple \mark items to a single measure?
Thanks,
Kieren.
%% CODE SNIPPET BEGINS
\version "2.9.5"
tempoMarkPrep =
{
\once \override Score.RehearsalMark #'break-align-symbol = #'time-
signature
\once \override Score.RehearsalMark #'self-alignment-X = #left
\once \override Score.RehearsalMark #'extra-offset = #'( 1 . 0 )
}
\relative c'
{
\tempoMarkPrep \mark \markup { "tempo markup" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" } c c c c |
\mark \markup { \musicglyph #"scripts.ufermata" }
\tempoMarkPrep \mark \markup { "tempo markup" }
c c c c |
}
%% CODE SNIPPET ENDS
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Re: Mixed questions
The double bar-line followed by a repeat bar-line
is significant for many. Every 32-bar song form of the Twentieth Century needs a
double bar-line after the 4-bar intro and/or a double bar-line
after the 16-bar verse, followed by a 32-bar chorus with repeats and an
alternative. The slur on the repeat alternative is similiarly required for
every poplular song. Someone must have solved this already. I have to say that
this new example is nicely simplified.
Stephen
- Original Message -
From:
Matthijs Frankena
To: lilypond-user@gnu.org
Sent: Friday, May 26, 2006 9:43 AM
Subject: Re: Mixed questions
Hello,With regard to the questions I posed
a few days ago:- the first question has been solved with \hspace
(something I thought I had already tried out, but apparently not correctly).
The code now
says:poet =
\markup { \hspace #10 \center-align { "Words by" "MORE OF THAT POET" }
} without the \hspace, the text falls over the left edge of
the paper (is that on purpose, or an oversight of sorts?).For the
other two questions, I have toned down the code:\version
"2.8.1"\score{\relative
c''
{ c d e
f
f e d c \bar
"||"
\break
\repeat "volta" 2 { c
b a c e c d e(
}
\alternative
{
{ fis) g e c
}
{ d) c b c \bar
"|."}
}}}-
I'd like a double bar line at the end of bar 2, then a line break, then the
repeat-part, starting with its proper bar line. Setting the double bar line
cancels the repeat bar line, adding a " \bar "|:" " to bring it back cancels
the double bar line in the bar before it. Any way to have both of
them?- the last bar of the repeat before the alternative endings ends
with a note with a slur. The slur is finished properly on the first note of
the first alternative, but not so in the second alternative. Just adding a ")"
does not help, Lilypond complains about not being able to end the slur.
\repeatTie gives a very unsatisfactory result, which seems immune to the
normal tie-tweaking. Any other way of getting the proper end of the
slur?TIA, and have a nice weekend,Matthijs
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dotted phrasing slurs
Dear friends, How can I make a dotted phrasing slur? I have tried \phrasingSlurDotted and also several wild guesses beginning with \once \override Slur... Using \slurDotted before a phrasing slur makes the next non-phrasing slur to be dotted. I looked in the user archive, but encountered only opacity. Also, is it possible to have dotted slurs between lyrics (in order to persuade people not to breath between specific words)? Many thanks Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \mark items on a single measure
Stephen wrote: My first reponse is of course you can have only one mark per barline. Try combining everything in one \mark statement. Right (AFAIK) The multiple marks would have to be in one markup, either side by side or vertically stacked (\column). Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mixed questions
Hi, Matthijs:
- the last bar of the repeat before the alternative endings ends
with a note with a slur. The slur is finished properly on the first
note of the first alternative, but not so in the second
alternative. Just adding a ")" does not help, Lilypond complains
about not being able to end the slur. \repeatTie gives a very
unsatisfactory result, which seems immune to the normal tie-
tweaking. Any other way of getting the proper end of the slur?
%% CODE SNIPPET BEGINS
\version "2.8.1"
slurPrep = { \once \override Slur #'extra-offset = #'( -6 . 0.8 ) }
\relative c''
{
c d e f
f e d c \bar "||" \break
\repeat "volta" 2 { c b a c e c d e( }
\alternative
{
{ fis) g e c }
{ \slurPrep d( c) b c \bar "|."}
}
}
%% CODE SNIPPET ENDS
Tweak slur details as necessary.
It ain't perfect, but it solves your issue (I think!?).
Hope this helps!
Kieren.
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Re: More Figured Bass Improvements... (potential sponsorship)
Trent Johnston schreef:
Hi Han-Wen and Lilyponders,
I am looking at the potential to sponsor more changes to the figured bass
system. While the figured bass system is comphrehensive and looks good it's
placement within a score that needs adjusting. There is often a wide a gap
between the staff and the figures when using the current system (the case
whether the figures are placed below or above the staff). I guess this is
the mixture of both the minimum-Y-extent of the bass staff and the figured
bass line.
What I'm looking at sponsoring is changing the figured bass system so that
the figures are closer to the notes. That instead of placing the figures in
one line aligned above the highest note or lowest note that the figures will
change height according to the notes in the score. i.e. figures are placed
closer to the bass part and their heights change on a note by note basis. I
know Nicholas Sceaux has an alternative figured-bass scheme that positions a
figure in relation to the note that it is associated with. While this is a
good alternative it doesn't have the extender lines of the new system.
Could the two system be possibly put together?
Or maybe way where the figures are placed close to the top line or bottom
line depending on which way there user wants and the user can define padding
for the individual or groups of figures that need to changed?
Ideally the second option would be good as this would give the user more
control over the system.
Hello,
I think I know a good solution to this: I can make another engraver,
which positions a consecutive range of figured bass numbers (created by
the current engraver) above or below a staff. By putting it in the
Staff context, the vertical alignment can react to individual notes.
The syntax for this would be similar to
theFigures = \figuremode { }
\new Staff \with {
\consists Figured_bass_side_engraver
} <<
\new Voice \with {
\consists Figured_bass_engraver
} <<
\theBassMelody
\theFigures
>>
>>
where theFigures and theBassMelody contain the figures and the bass line
respectively.
I can do this for 130 EUR.
Also I was looking at making the numbers 10 / 11 / 12 as one symbol. This
would make the numbers as in:
> 10
5
3
centred in the group rather than left aligned.
I can add a property which specifies the alignment of individual
figures, I can do this for 20 EUR. For completeness, I need to know how
you want those numbers aligned when there are alterations.
(Or, if you're clever with markups and Scheme, you can have a try
yourself, see format-bass-figure in translation-functions.scm)
--
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LilyPond Software Design
-- Code for Music Notation
http://www.lilypond-design.com
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Re: More Figured Bass Improvements... (potential sponsorship)
Michael Meixner schreef: I've included an example image.. taken from the Neue Ausgabe sämtlicher Werke: Bärenreiter illustrating this. Also I was looking at making the numbers 10 / 11 / 12 as one symbol. This would make the numbers as in: Moreover I would propose to create some additional "strike through" symbols - the slash we see now doesn't work ideally with all numbers re. visibility (esp. the 6 is an less than ideal case in my opinion). Typically these would be numbers with elongated elements slashed - I could supply examples, if wished. it's possible to design new number glyphs, but it is _a lot_ of work. It's much easier to change the positioning of the slash for the 6 specifically. Have a look at slashed-digit in define-markup-commands.scm. I can also do it as a (tiny) sponsored feature. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \mark items on a single measure
Stephen: My first reponse is of course you can have only one mark per barline. By "of course" do you mean *Lilypond* doesn't allow multiple, or *music* doesn't require multiple? ;-) Let's say I want a rehearsal letter (e.g., "K") over a barline and then in the following measure have a tempo change markup -- an unbelievably common occurrence, appearing many times in nearly every orchestral score I own. Since Lilypond won't allow multiple \mark items (q.v., example that started this thread), I have to: 1. Combine the two into one and then try to fudge the spacing between the two and the placement (which would not be static, given different score editions); or, 2. Put one mark on the barline, then enter the first note of the next measure, *then* add the tempo mark and fudge with the spacing, rods, offset, etc., in order to send it back to the beginning of the measure (settings which, again, might change depending on the precise layout). Sounds like more trouble than it *should be* in Lilypond... Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Even and odd page-margins
Gianluca D. schreef: Hi everybody! I'd like to ask if anyone knows a way to set different margins for odd and even pages with Lilypond. I've tried to find some information from the manual of boh 2.8 and 2.9 version, but I couldn't find anything. I wouldn't like to use lilypond-book to achieve my goal, because I think it would be a waste of resources to use two different programs to obtain a simple thing like this. I'd be also interested in sponsoring this feature, eventually. Hello! I can add this for 65 EUR. Another feature I'd like to see in lilypond is a set of properties for the first page of a score, or the page with title- something like "first-page-between-system-space" or "first-page-top-margin"; actually, the first page usually needs specific tuning, which are often not suitable for the rest of the score- so I've thought it would be pretty nice to have specific settings for the "title-page". I would be interested in sponsoring this feature too. I can add code to override all relevant page dimensions for the first page only, for 130 EUR. Cheers, -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Call for sponsorship: MusicXML
Hello List, In the past few months, the MusicXML to Lilypond converter has been developed and improved significantly, sponsored by myself and several others (thanks a lot to this bunch, including Mark van den Borre and others... !!!) We are now facing an additional set of features that would turn this converter into a truly usable tool, addressing things such as dynamics, grace notes, hairpins, etc. In addition to features that support my own personal interest in this area - namely, the fully automated translation of Finale scores onto Lilypond as a backend - a number of features address maintainability of the generated lilypond score, namely, support for relative mode and meaningful identifiers. The total evaluation amounts to 875 Euros (Details available on request, the list is pretty comprehensive but it's perfectly possible that it misses a feature you would consider essential, such as lyrics, for instance). Is there anyone willing to help me pay for this ? This would allow fairly smooth migration from Finale scores to Lilypond, or even, as I'm considering, using Lilypond to produce beautiful scores rather than the ugly things Finale generates. Darius. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
artificial harmonic function
[ Lilypond 2.9.5 ]
Hello, all --
Has anyone built their own artificial (string) harmonic function?
Specifically, I'm thinking something like
\ah { c4 f c'' }
to get the c (stopped note) in the given duration, the f (touched
node) as a diamond-shaped note in the same chord (i.e., sharing
stems, flags, etc.), and a small parenthesized quarter note head (no
stem or flag, regardless of the value of the stopped note) at the
sounding pitch (here, c two octaves above the stopped pitch).
I suppose I can dig in and build my own, but it seems like this wheel
must have already been invented! =)
Thanks,
Kieren.
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Re: artificial harmonic function
On 5/26/06, Kieren Richard MacMillan <[EMAIL PROTECTED]> wrote:
[ Lilypond 2.9.5 ]Hello, all --Has anyone built their own artificial (string) harmonic function?Specifically, I'm thinking something like \ah { c4 f c'' }to get the c (stopped note) in the given duration, the f (touched
node) as a diamond-shaped note in the same chord (i.e., sharingstems, flags, etc.), and a small parenthesized quarter note head (nostem or flag, regardless of the value of the stopped note) at thesounding pitch (here, c two octaves above the stopped pitch).
Nice. I've wondered this myself. Let me know what you find ...
hopefully there might also be a corresponding two-element form like
\ah { c4 f }
if you want just the stopped note and touched node, without printing the resultant pitch.
-- Trevor Bača[EMAIL PROTECTED]
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pageBreak fails
I couldn't get \pageBreak to work consistently in 2.7.27 I was doing something like this example from the web site: title = "Konzert Nr. 3 Es dur" subtitle = "für Horn und Orchester" composer = "Wolfgang Amadeus Mozart (1756-1791)" I had three movements, which I put into separate include files. I wanted a page break between movement one and movement two. I tried putting \pageBreak at the end of the music in the first include file. It was ignored there. I tried putting it in the book file and got a syntax error. I obviously don't know enough about this. -- - Jimmy Wilkinson| Professor of Computer Science [EMAIL PROTECTED] | The College of Charleston (843) 953-8160 | Charleston SC29424 http://www.cs.cofc.edu/~jimmy If there is one word to describe me, that word would have to be "profectionist". ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pageBreak fails
Hi, James:
I had three movements, which I put into separate include files.
I wanted a page break between movement one and movement two.
If you're using \book (implicitly or explicitly), use breakbefore =
##t in the header after the desired page break, e.g.,
\score
{
%% mvt 1 notes, staves, etc.
}
\score
{
%% mvt 2 notes, staves, etc.
\header
{
breakbefore = ##t
%% other header stuff (like mvt 2 titles, subtitles, etc.)
}
}
Good luck!
Kieren.
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subdivided beams partially successful
I'm working on a piece that has a long run of triplet 16th notes. In
the original they are printed in groups of six which are subdivided
into subgroups of three. I.e. the top beam covers six stems, and
there are two bottom beams, one for the first three notes and one for
the second three notes. In trying to duplicate that with version
2.7.37 of LilyPond I did this
\set subdivideBeams = ##t
\set Score.beatLength = #(ly:make-moment 1 8)
\times 2/3 { music ...}
What I got was eight separate groups of three, which is exactly what
I would expect (and got) from taking out the "subdivideBeams" and
leaving the rest.
Interestingly, if I change the make-moment to 1 4, I get what I
expect both times: subdivideBeams gives me groups of 12 in two
subgroups of six, and without that I get plain groups of 12.
I obviously don't know enough about this.
--
-
Jimmy Wilkinson| Professor of Computer Science
[EMAIL PROTECTED] | The College of Charleston
(843) 953-8160 | Charleston SC29424
http://www.cs.cofc.edu/~jimmy
If there is one word to describe me, that word would have to be
"profectionist".
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cues?
My original contains cues: small notes (played by someone else) near the end of an extended rest that are there to help the player come back in at the right time. I suppose that my problem is that I don't know what such notes are called in Europe. I couldn't find "cue" in the index. thanks -- - Jimmy Wilkinson| Professor of Computer Science [EMAIL PROTECTED] | The College of Charleston (843) 953-8160 | Charleston SC29424 http://www.cs.cofc.edu/~jimmy If there is one word to describe me, that word would have to be "profectionist". ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: subdivided beams partially successful
Hi, James:
The "easy" way is to explicitly include a connected beam around the
duration of a quarter note each time, q.v., the second set of six
16th notes in
%% CODE SNIPPET BEGINS
\version "2.9"
\relative c''
{
\set subdivideBeams = ##t
\set Score.beatLength = #(ly:make-moment 1 8)
\times 4/6 { c16 c c c c c } \times 4/6 { c16[ c c c c c] }
}
%% CODE SNIPPET ENDS
There's probably a (better) way to do it using Lilypond's auto-beam-
settings, but I don't know enough about it to give you that answer.
Good luck!
Kieren.
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Re: cues?
Hi, James: I couldn't find "cue" in the index. Look in the docs (User Manual), section 8.3 Orchestral Music. [BTW: I find the PDF version of the User Manual to be most helpful, because you can search for things like "cue" more easily...] Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
index glitch?
While scrolling through the index I noticed an entry for "The Feta Font" alphabetized by "The" in the T section. There is no corresponding entry alphabetized by "Feta" in the F section. This seems wrong on both counts. -- - Jimmy Wilkinson| Professor of Computer Science [EMAIL PROTECTED] | The College of Charleston (843) 953-8160 | Charleston SC29424 http://www.cs.cofc.edu/~jimmy If there is one word to describe me, that word would have to be "profectionist". ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: More Figured Bass Improvements... (potential sponsorship)
G'day all. Quoting Han-Wen Nienhuys <[EMAIL PROTECTED]>: > it's possible to design new number glyphs, but it is _a lot_ of work. > It's much easier to change the positioning of the slash for the 6 > specifically. Have a look at slashed-digit in > define-markup-commands.scm. I can also do it as a (tiny) sponsored feature. While I think of it, I'm trying to do some figuring like this at the moment: 7- 5- 5- 4- 3 Is there any way to express this? (I want to keep the slashes AND I want to avoid expanding this out to four lines.) I'm using 2.8.1. Cheers, Andrew Bromage ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple \mark items on a single measure
On 26-May-06, at 10:34 AM, Kieren Richard MacMillan wrote: Stephen: My first reponse is of course you can have only one mark per barline. Let's say I want a rehearsal letter (e.g., "K") over a barline and then in the following measure have a tempo change markup -- an unbelievably common occurrence, appearing many times in nearly every orchestral score I own. Sounds like more trouble than it *should be* in Lilypond... I agree; also note that the end of one system and the beginning of the next system are the same bar line. In other words, you can't print one \mark at the end of a line and have a different \mark at the beginning of the next line. (such as "Fine" "Trio" in a minute and tiro) - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cues?
On 26-May-06, at 1:58 PM, James Wilkinson wrote: I couldn't find "cue" in the index. Added to CVS, thanks. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: index glitch?
On 26-May-06, at 2:04 PM, James Wilkinson wrote: While scrolling through the index I noticed an entry for "The Feta Font" alphabetized by "The" in the T section. There is no corresponding entry alphabetized by "Feta" in the F section. What version? I can't see any "The..." entries in the index of the 2.9 manual. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
