System Start Delimiter to f or transparent
can a staff be removed from the system start delimiter... I mean the left hand barline running through all staves be stopped for one particular staff.. (difficult question) -- Mehmet Okonsar, pianist-composer-conductor www.okonsar.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combined tenuto + accent
Thanks for the report, entered as http://code.google.com/p/lilypond/issues/detail?id=186 Please note that this is a feature request which is much harder to implement than it may initially appear; it may be a while until this new feature is added. Cheers, - Graham yota moteuchi wrote: Hi, I am looking for a way to print an articulation made of the combination of an accent (>) and a tenuto (_) of course if I put I get an ugly result where the accent is much wider than the tenuto. If it's not yet the case these articulations http://www.dolmetsch.com/musictheory21.htm should be added as entities. As the already existing tenuto + staccato. Else, the documentation should mention it. Any clue ? Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: newbie questions
Mats Bengtsson wrote:
1) in measure number 4 of the score, the beam in the 3rd quarter note
of the right hand is slightly slanted *upwards*, not downwards as it
should be;
Agree! This seems to be related to how widely spaced the music is, as
can be seen in the following small example:
\version "2.10.0"
\layout{
% line-width = 5\cm % Gives expected beam slanted downwards
line-width = 10\cm % Gives unexpected beam slanted upwards
}
\relative c'''{
\time 2/4
fis16 dis b ais cis4
}
Wow, you've got good eyes. I was just about to claim that I couldn't
reproduce this bug since the beams were horizontal.
Added as
http://code.google.com/p/lilypond/issues/detail?id=191
Cheers,
- Graham
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Re: newbie questions
Mats Bengtsson wrote:
2) from measure 4 to 5, in the right hand a note with an accidental is
tied across the line break, the accidental in the following note
(beginning m. 5) collides with the tie;
You may find something useful if you search the mailing list archives, the
problem looks familiar. For the bug report, here comes a minimal example:
\version "2.10.0"
\layout{ragged-right = ##t }
\relative c'''{ cis1 ~ \break cis }
This is related to an old report that I've just re-opened:
http://code.google.com/p/lilypond/issues/detail?id=55
As a temporary workaround, you could replace the tie with a slur.
Cheers,
- Graham
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Re: newbie questions
Mats Bengtsson wrote:
3) at the end of m. 6 there's again a note tied to the following
measure across the line break, but since there's a clef change in the
left hand, the tie ends before the line.
I cannot recall having seen exactly this problem mentioned earlier.
Here's a minimal example:
\version "2.10.0"
\layout{ragged-right = ##t }
<<
\new Staff \relative c'''{ cis1 ~ \break cis }
\new Staff \relative c{ \clef bass a \clef treble cis }
>>
Thanks, added as
http://code.google.com/p/lilypond/issues/detail?id=192
Cheers,
- Graham
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Re: Hiding empty staves
Hello Werner,
Am 23/12/2006 um 07:46 schrieb Werner LEMBERG:
I am a professional musician and an experienced music teacher. I
would even be willing to write a first chapter of a User's Guide for
the Very Beginner.
Please go on! Either send patches or, in case you aren't satisfied
with chapter 2, rewrite it.
Fine! I have now written the following, and am posting it here for
general criticism.
Manuel
LilyPond's
Beginners Guide
for the
Very Beginner
Chapter One.
Open a new LilyPond window and write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select "Typeset file" from the "Compile" menu.
A small window will open, where you can follow the proceedings, and
then a ".pdf" document will appear, with this result:
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
are essential. You must always write your music inside such brackets.
Also, LilyPond is "case sensitive", which means that in our litte
example, "c" (that's lower case) is right, but "C" (that's upper
case) would be wrong.
Then, LilyPond has certain pre-set values, called "defaults", which
will apply whenever you do not ask for something different. In our
present example, for instance: the treble clef, 4/4 time signature,
fourth notes.
You can, of course, change these and all other defaults, indeed you
can engrave old plainchat, contemporary notation, orchestral scores,
do MIDI files, and more. But all that lies further down the road. For
the moment, we will teach you how to engrave a simple melody.
First, we'll give you a very useful tool to input your notes, called
the "relative mode".
In our example, we have written each note with an octave
denomination: one apostrophe:
'
for the so-called "first octave", which is the octave inmediately
above and including the central c, and two apostrophes:
''
for the "second octave", the one inmediately above the first octave.
But now, using the "relative mode", you will save yourself a lot of
work. Erase what you wrote before in the LilyPond window and write
this instead:
\relative
{ c d e f g a b c }
Save the document again, close the .pdf and select "Typeset file"
from the "Compile" menu. The result will be the same C-major scale.
(insert graphic here)
But now, with the
\relative
command, the first note is automatically engraved as close as
possible to the central c and every further note will be engraved as
close as possible to the previous note. "As close as possible" means
calculating the smallest interval. Thus if you modify your input to
this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf
before compiling)
You will get this result:
(insert graphic here)
You can analize the excercise and see that a third has been preferred
to a sixth, a quarter to a fifth, etc. Now in this mode, when you add
an apostrophe, it makes the note appear one octave higher as it would
have appeared without the apostrophe. Two apostrophes make for two
octaves, and so forth.
To make a note one octave lower as it would otherwise appear, add a
coma:
c,
or two or more for more octaves:
c,,,
See it here:
\relative
{ c' g e' d c c, d c }
(insert graphic here)
Good. Now let's see how to select the following:
Clefs
Time signatures
Keys major and minor
Rhythmic values
Sharps and flats
Double bars and repeat bars.
These are simple things to do. Write this example:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f g a b c }
(insert graphic here)
The result is again our first example of a C-major scale, but this
time you see the way some defaults are set. Change them easily, like
this:
\relative
{
\clef alto
\key cis \minor
\time 2/2
c d e f g a b c }
This should look thus:
(insert graphic here)
Don't worry just yet about the naturals. We'll come to it in a moment.
You change the clef changing the denomination "treble" for
alto
tenor
bass
or other, no less impotant clefs, like:
french (G clef on the first line)
soprano (C clef on the first line)
mezzosoprano (C clef on the second line)
baritone (C clef on the fifth line)
varbaritone (F clef on the third line)
subbass (F clef on the fifth line)
percussion (percussion clef)
tab (tablature clef)
To set the key, proceed in this way:
\key (name of the tonica) \(major or minor)
like for instance:
\key g \minor
And similarly for the time signature, like this:
\time x/y
For instance:
\time 6/8
Now for the rythmic values.
You specify these values with a number after the name of the note:
"c1" will make a whole note; "d8" an eighth note, etc.
Add full stops for dotted or double doted notes:
g4.
for a dotted fourth note,
a8..
for a double dotted eighth note, and so on.
Insert rests with the letter "r" and specify their duration with
numbers
Re: Hiding empty staves
> Fine! I have now written the following, and am posting it here for > general criticism. I like it! Thanks for your work. This is indeed a kind of a first-time starter which I would not be able to write. Graham, do you have some time to include something like this into the manual. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: uniform-stretching
Orm Finnendahl wrote: Hi Han-Wen, Am 16. Dezember 2006, 16:48 Uhr (+0100) schrieb Han-Wen Nienhuys: segfaults are always serious errors. Please send the offending input. This caused the segfault: \acciacatura s32 Do you mean \acciaccatura ? When complaining about a bug, please include a complete example that we can compile (or in this case, not compile). Entered as: http://code.google.com/p/lilypond/issues/detail?id=194 How is it possible to define something on my part in a way that it doesn't break between versions? In the long run I fear that I have to keep old hardware available in order to be able to run certain lilypond/guile/gs... versions to correct older scores (I had to do that with my Finale scores as well and it's a real pain). Read 4.1 Suggestions for writing LilyPond files Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: empty page template suggestion
Martijn Vromans wrote: Since I notate pianomusic with 2 or more staves, it's rather practical to remove the clef and set the indentation to zero. Here it is as I use it. It's only a slight modification. Excuse me for the bad indentation, but this is not copied well into my e-mail. Thanks, added (although I made the invisible clefs a comment). Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi2ly doesn't respect the --key
yota moteuchi wrote: When I try to extract a piece from a midi file which is in f major (1 flat) I do midi2ly --key=-1 "myfile.mid" the resulting file have indeed a nice \key f \major printed on top but all the 'bes' are noted as 'ais' The problem being that a text replacement mess up the relative notation e ais c => a bes c (with one octave shift) I'm not surprised; MIDI files only specifies the pitch number, not the actual note (i.e. bes and ais are both note 58). midi2ly is not intelligent enough to pick notes out of the same key. This is not a bug; it is a missing feature. I doubt that this will ever be implemented; I think the best way to improve our importing abilities is to work on the musicxml importing. Sorry, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: point-n-click again
Laura Conrad wrote: "David" == David Bobroff <[EMAIL PROTECTED]> writes: David> (server-start) David> ...in my .emacs file. Now I can open a *.ly file and click on a note in David> the PDF without opening a new instance of Emacs. It does *not* however David> go to the correct column, only the correct line. Emacs does not become David> the active window, either. Shouldn't it? Yes, but it only works on emacs 22, not on emacs 21. In debian based distributions (including ubuntu), you can get emacs22 as "emacs-snapshot". This should probably be in the documentation. http://www.lilypond.org/web/devel/participating/documentation-adding ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sometimes with bar dashed ..
Mehmet Okonsar wrote: Strange: not always but sometimes I get the following error when I use \bar "dashed" in version 2.10.2 Please construct a small example that always produces the bug, and send it to the bug mailist. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two-pass line/page breaking and lilypond-book -- example/docs?
Arvid Grøtting wrote: I was browsing through the 2.11.2 docs today looking for documentation for two-pass line/page breaking. Unfortunately, all I found was a reference to a regression test that I didn't quite understand. I understand even less about the two-pass stuff. What I'd like to do is take the line breaks from a score processed with optimal-page-breaks and use these breaks in a later invokation of lilypond-book. Is this possible, and how do I do it in a way that I can script? The current optimal page breaks give very decent results, so I'd like to keep those line breaks when I produce an anthology as well... (I understand that I can get similar results by manually specifying the number of systems once an individual score is finished, but still.) Also, keeping the breaks file (permanently) once a score has been printed could be useful, in case one wants to typeset a later edition but keep the same line breaks; in choirs, conductors have an annoying habit of specifying "third measure of the second system on page three" rather than "measure 25", and this can be quite confusing with two different editions in use. Anyway, that's today's hints for the documentation. Those aren't hints for the documentation at all. Please read http://www.lilypond.org/web/devel/participating/documentation-adding - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting involved
Thank you Jan. So I tried now to get the diff with git (this is how I understand the command below. It seems there is quite a lot of addition, especially at the windows installation pages. Is there a way of applying them automatically to the already translated files so they would at least be up to date and then I could start correcting the new parts of English that were added. Second the translation so far is in my opinion too familiar -- I think it should be more polite, as to demonstrate that lilypond is really capable of doing demanding work with good typography and that it might really (and in my opinion also *should*) be used in commercial notation work. So for instance I would change forms into passive or then from second singular to second plural. This might reduce the "coolness" of the product, but adds a lot of trust in my opinion. greetings Till Jan Nieuwenhuizen wrote: That part needs to be checked using make check-translation LANG=de and updated, as well as proofread. Greetings, Jan. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting involved
Till Rettig <[EMAIL PROTECTED]> writes: > Thank you Jan. So I tried now to get the diff with git (this is how I > understand the command below. It seems there is quite a lot of > addition, especially at the windows installation pages. No, the diff that you you see in cygwin.html is bogus, the file was renamed from windows.html. You'll probably have to check that file by hand. > Is there a way of applying them automatically to the already > translated files so they would at least be up to date and then I > could start correcting the new parts of English that were added. No. You cannot apply the diffs of the english pages to the german translations. The diffs are only meant to help you find where the changes were made on the original english page. When translating, you will still be looking at the full original page. > Second the translation so far is in my opinion too familiar -- I > think it should be more polite, as to demonstrate that lilypond is > really capable of doing demanding work with good typography and that > it might really (and in my opinion also *should*) be used in > commercial notation work. So for instance I would change forms into > passive or then from second singular to second plural. This might > reduce the "coolness" of the product, but adds a lot of trust in my > opinion. Ok. So if the diffs do not help you, you could start a new translation with a fresh copy, eg, do make new LANG=new-de and translate over the pages in new-de, and just looking at stuff from the de/ tree for inspiration. Greetings, Jan. -- Jan Nieuwenhuizen <[EMAIL PROTECTED]> | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting involved
Jan Nieuwenhuizen escreveu: >> Second the translation so far is in my opinion too familiar -- I >> think it should be more polite, as to demonstrate that lilypond is >> really capable of doing demanding work with good typography and that >> it might really (and in my opinion also *should*) be used in >> commercial notation work. So for instance I would change forms into >> passive or then from second singular to second plural. This might In most languages, the passive form is bad style, since it is more precise and has a more 'active' sound. -- 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: Two notes per syllable and two syllables per note
On Saturday 23 December 2006 07:42, Eduardo Vieira wrote: > In the two syllables for one note you have 3 ways of doing it (And the > manual is *very clear in the first two ones, just check it in the section > of "entering lyrics"): > http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Entering-lyrics I figured it out. Adding a duration to a syllable works in "\new Lyrics \lyricmode"; it does not work in "\addlyrics". I have a "\midi" block, but I'm not getting any midi output. Any idea why? Pierre ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
On Sunday 24 December 2006 08:01, Manuel wrote:
> Chapter One.
>
>
> Open a new LilyPond window and write this inside:
>
>
> { c' d' e' f' g' a' b' c' ' }
>
>
> Save the file and then select "Typeset file" from the "Compile" menu.
What OS are you on? I open a Kwrite window and type "lilypond music.ly" in a
Konsole.
> You can, of course, change these and all other defaults, indeed you
> can engrave old plainchat, contemporary notation, orchestral scores,
> do MIDI files, and more. But all that lies further down the road. For
> the moment, we will teach you how to engrave a simple melody.
sp: "plainchant". Or do you mean "plainsong"?
> First, we'll give you a very useful tool to input your notes, called
> the "relative mode".
>
> In our example, we have written each note with an octave
> denomination: one apostrophe:
>
> '
>
> for the so-called "first octave", which is the octave inmediately
> above and including the central c, and two apostrophes:
sp: "immediately". "inm-" is Spanish.
In English it's called "middle C".
> To make a note one octave lower as it would otherwise appear, add a
> coma:
sp: "comma". A coma is a form of unconsciousness.
> or other, no less impotant clefs, like:
sp: "important"
> \key (name of the tonica) \(major or minor)
sp: "tonic"
> Now for the rythmic values.
sp: "rhythmic"
I think it's a great introduction!
Pierre
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Re: Hiding empty staves
Pierre, I'm glad you liked it. English is not my mother language, as you can see. So, thank you very much for all spelling corrections! As far as I can see, they are all quite right. Am 24/12/2006 um 18:01 schrieb Pierre Abbat: What OS are you on? I open a Kwrite window and type "lilypond music.ly" in a Konsole. I work with Mac OS X. I don't know what Kwrite is (what is your OS?) I have assumed - perhaps erroneously - than for all OS's it was possible to just "open a new LilyPond window". I select "new" from the "File" menu or press "command-n" and that's it... You can, of course, change these and all other defaults, indeed you can engrave old plainchat, contemporary notation, orchestral scores, do MIDI files, and more. But all that lies further down the road. For the moment, we will teach you how to engrave a simple melody. sp: "plainchant". Or do you mean "plainsong"? Ha ha! Plainchat would be a nice kind of chat, maybe. I meant the medieval monody like Gregorian. How do you name it correctly? for the so-called "first octave", which is the octave inmediately above and including the central c, and two apostrophes: sp: "immediately". "inm-" is Spanish. In English it's called "middle C". I never get that nm-mm thing right. So, "middle C" it is. To make a note one octave lower as it would otherwise appear, add a coma: sp: "comma". A coma is a form of unconsciousness. Let's not get that far and put that extra "m". or other, no less impotant clefs, like: sp: "important" Yes, don't get impotent, get importent. \key (name of the tonica) \(major or minor) sp: "tonic" I would have thought of "Indian Tonic Cunnington" (know it?) But go ahead without an "a". Now for the rythmic values. sp: "rhythmic" Rhight you are again. Give me a moment and I will correct it and then post it again. Are you in Niue? Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Here it is again. I ran it through a spell check in TexEdit and found
even more mistakes, now corrected. All of them?
Manuel
LilyPond's
Beginners Guide
for the
Very Beginner
Chapter One.
Open a new LilyPond window and write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select "Typeset file" from the "Compile" menu.
A small window will open, where you can follow the proceedings, and
then a ".pdf" document will appear, with this result:
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
are essential. You must always write your music inside such brackets.
Also, LilyPond is "case sensitive", which means that in our little
example, "c" (that's lower case) is right, but "C" (that's upper
case) would be wrong.
Then, LilyPond has certain pre-set values, called "defaults", which
will apply whenever you do not ask for something different. In our
present example, for instance: the treble clef, 4/4 time signature,
fourth notes.
You can, of course, change these and all other defaults, indeed you
can engrave old plainchant, contemporary notation, orchestral scores,
do MIDI files, and more. But all that lies further down the road. For
the moment, we will teach you how to engrave a simple melody.
First, we'll give you a very useful tool to input your notes, called
the "relative mode".
In our example, we have written each note with an octave
denomination: one apostrophe:
'
for the so-called "first octave", which is the octave immediately
above and including the central c, and two apostrophes:
''
for the "second octave", the one immediately above the first octave.
But now, using the "relative mode", you will save yourself a lot of
work. Erase what you wrote before in the LilyPond window and write
this instead:
\relative
{ c d e f g a b c }
Save the document again, close the .pdf and select "Typeset file"
from the "Compile" menu. The result will be the same C-major scale.
(insert graphic here)
But now, with the
\relative
command, the first note is automatically engraved as close as
possible to the central c and every further note will be engraved as
close as possible to the previous note. "As close as possible" means
calculating the smallest interval. Thus if you modify your input to
this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf
before compiling)
You will get this result:
(insert graphic here)
You can analyze the exercise and see that a third has been preferred
to a sixth, a quarter to a fifth, etc. Now in this mode, when you add
an apostrophe, it makes the note appear one octave higher as it would
have appeared without the apostrophe. Two apostrophes make for two
octaves, and so forth.
To make a note one octave lower as it would otherwise appear, add a
coma:
c,
or two or more for more octaves:
c,,,
See it here:
\relative
{ c' g e' d c c, d c }
(insert graphic here)
Good. Now let's see how to select the following:
Clefs
Time signatures
Keys major and minor
Rhythmic values
Sharps and flats
Double bars and repeat bars.
These are simple things to do. Write this example:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f g a b c }
(insert graphic here)
The result is again our first example of a C-major scale, but this
time you see the way some defaults are set. Change them easily, like
this:
\relative
{
\clef alto
\key cis \minor
\time 2/2
c d e f g a b c }
This should look thus:
(insert graphic here)
Don't worry just yet about the naturals. We'll come to it in a moment.
You change the clef changing the denomination "treble" for
alto
tenor
bass
or other, no less important clefs, like:
french (G clef on the first line)
soprano (C clef on the first line)
mezzosoprano (C clef on the second line)
baritone (C clef on the fifth line)
varbaritone (F clef on the third line)
subbass (F clef on the fifth line)
percussion (percussion clef)
tab (tablature clef)
To set the key, proceed in this way:
\key (name of the tonic) \(major or minor)
like for instance:
\key g \minor
And similarly for the time signature, like this:
\time x/y
For instance:
\time 6/8
Now for the rhythmic values.
You specify these values with a number after the name of the note:
"c1" will make a whole note; "d8" an eighth note, etc.
Add full stops for dotted or double doted notes:
g4.
for a dotted fourth note,
a8..
for a double dotted eighth note, and so on.
Insert rests with the letter "r" and specify their duration with
numbers:
r4.
will be a dotted fourth rest.
But know that once you specify a rhythmic value, it will be repeated
for the following notes until you specify a new value. This applies
for rests as well. Lets see this with an example:
\relative
{c4 r8 e g4 c r8 g c r c,4 r}
(insert grap
Re: Hiding empty staves
On Sunday 24 December 2006 12:39, Manuel wrote: > I work with Mac OS X. I don't know what Kwrite is (what is your OS?) > I have assumed - perhaps erroneously - than for all OS's it was > possible to just "open a new LilyPond window". I select "new" from > the "File" menu or press "command-n" and that's it... I run Linux with KDE. Kwrite is a plain-text editor in KDE. Any plain text editor will work, as long as it can save the file as UTF-8 if you have anything outside ASCII. I use Ubuntu, which is set up with UTF-8 as default encoding. In Linux LilyPond is a command-line program which takes the .ly file as an argument and outputs the .ps and .pdf files. > Are you in Niue? No, it's just the DNS provider that's registered there. Pierre ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Very Beginner's Guide
Manuel
This looks pretty good. Others have commented on the
spelling. My only comment is the first few sentences assume
a particular OS and implementation which a beginner using MS
XP and the standard Lilypond binary would find very
perplexing. I'm not sure how to get round this, but perhaps
a few words about text editors and ways of invoking a lp
compilation would be useful.
Trevor
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of
> Manuel
> Sent: 24 December 2006 13:02
> To: Werner LEMBERG
> Cc: [EMAIL PROTECTED]; lilypond-user@gnu.org;
> [EMAIL PROTECTED]
> Subject: Re: Hiding empty staves
>
>
> Hello Werner,
>
>
> Am 23/12/2006 um 07:46 schrieb Werner LEMBERG:
>
> >
> >> I am a professional musician and an
> experienced music teacher. I
> >> would even be willing to write a first chapter
> of a User's Guide for
> >> the Very Beginner.
> >
> > Please go on! Either send patches or, in case
> you aren't satisfied
> > with chapter 2, rewrite it.
>
>
> Fine! I have now written the following, and am
> posting it here for
> general criticism.
>
> Manuel
>
>
>
>
>
> LilyPond's
>
> Beginners Guide
>
> for the
>
> Very Beginner
>
>
>
>
> Chapter One.
>
>
> Open a new LilyPond window and write this inside:
>
>
> { c' d' e' f' g' a' b' c' ' }
>
>
> Save the file and then select "Typeset file" from
> the "Compile" menu.
>
> A small window will open, where you can follow
> the proceedings, and
> then a ".pdf" document will appear, with this result:
>
>
> (insert graphic here)
>
>
> It is a little C-major scale. Let us consider it:
>
> The so-called "curly braces"
>
> {
>
> and
>
> }
[rest snipped]
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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Re: Hiding empty staves
On 12/24/06, Manuel <[EMAIL PROTECTED]> wrote: Here it is again. I ran it through a spell check in TexEdit and found even more mistakes, now corrected. All of them? You can analyze the exercise and see that a third has been preferred to a sixth, a quarter to a fifth, etc. Now in this mode, when you add At least in my experience, the interval from, for example, G to the C above is always referred to as a "fourth," not a "quarter." an apostrophe, it makes the note appear one octave higher as it would have appeared without the apostrophe. Two apostrophes make for two octaves, and so forth. Other than that, I think that this is a very good introduction. My only complaint is that I'm not sure it's useful to have all three of - a "very beginner" tutorial - a "normal" tutorial - a user manual Could this "very beginner" tutorial just replace the beginning of the current tutorial? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two-Pass Vertical Spacing
>This is almost certainly because the height-estimation routines are >overestimating the height of the systems prior to page breaking on the >second pass. Can you try it (perhaps just the first couple of pages) with >annotate-spacing = ##t to check? If the Y-extent-estimate interval is much >larger than the Y-extent interval, this is the problem. >Also, what version are you using? Ah, that's the fact I always forget. Using 2.10.4 on OS X 10.4. Also tried with similar results on 2.11.x. Hard to tell if y-extent-estimate is overshooting. In many cases properly respaced systems have the same margin of error as those that aren't. Judge for yourself. Two example pages with annotate-spacing added. The first is not respaced as expected, the second is. Other pages not included seem to vary wildly from these lengths. http://www.foxchange.com/spamguy/extentestimate.pdf Wow, that's some pretty appalling height-estimation! Could you send me the input file (uncondensed will do)? will is the everyman -- _ | WILL ORAM ASCII ribbon campaign ( ) | spamguy (at) foxchange . com - against HTML email X | wro1 (at) cwru . edu & vCards / \ | | AIM spamguy21 -- (ABOVE: Magnetic poetry #6) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
Trevor,
Thank you for your feedback. I have just posted a corrected version
of the text, I hope it is now as it should be?
Indeed you are right, I am using Mac OS X and assumed - wrongly, I
see - that opening a "LilyPond window" was the usual thing in all
operating systems. Maybe the first sentence could be:
If you are using a Mac, open a new LilyPond window.
If working with Linux ...
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
Now, if working on a Mac, save the file and then select "Typeset
file" from the "Compile" Menu.
If on Linux ...
I have no knowledge whatsoever about Linux, so maybe Pierre, or you,
or any Linux user could complete the text where I put the "..." as
well as any other necessary instructions for " invoking a lp
compilation".
What happens with Windows?
Manuel
Am 24/12/2006 um 19:21 schrieb Trevor Daniels:
Manuel
This looks pretty good. Others have commented on the
spelling. My only comment is the first few sentences assume
a particular OS and implementation which a beginner using MS
XP and the standard Lilypond binary would find very
perplexing. I'm not sure how to get round this, but perhaps
a few words about text editors and ways of invoking a lp
compilation would be useful.
Trevor
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Manuel
Sent: 24 December 2006 13:02
To: Werner LEMBERG
Cc: [EMAIL PROTECTED]; lilypond-user@gnu.org;
[EMAIL PROTECTED]
Subject: Re: Hiding empty staves
Hello Werner,
Am 23/12/2006 um 07:46 schrieb Werner LEMBERG:
I am a professional musician and an
experienced music teacher. I
would even be willing to write a first chapter
of a User's Guide for
the Very Beginner.
Please go on! Either send patches or, in case
you aren't satisfied
with chapter 2, rewrite it.
Fine! I have now written the following, and am
posting it here for
general criticism.
Manuel
LilyPond's
Beginners Guide
for the
Very Beginner
Chapter One.
Open a new LilyPond window and write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select "Typeset file" from
the "Compile" menu.
A small window will open, where you can follow
the proceedings, and
then a ".pdf" document will appear, with this result:
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
[rest snipped]
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Re: Hiding empty staves
Manuel wrote: Add full stops for dotted or double doted notes: g4. "stop" may not seem obvious to all. In America, we use the word "period"; I don't know what is used in other English speaking countries. My recommendation is "Add full stops (periods) for dotted or double dotted notes:" -- ° Chris° ° ><°> Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net "To communicate with Mars, converse with spirits, To report the behaviour of the sea monster, Describe the horoscope, haruspicate or scry, Observe disease in signatures." (T.S.Eliot) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Hello Joe, Am 24/12/2006 um 20:00 schrieb Joe Neeman: At least in my experience, the interval from, for example, G to the C above is always referred to as a "fourth," not a "quarter." I'm sure you are right. My English needs you. "fourth", not "quarter", it should be. Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Am 24/12/2006 um 20:30 schrieb Christopher A. LaFond: "stop" may not seem obvious to all. In America, we use the word "period"; I don't know what is used in other English speaking countries. My recommendation is "Add full stops (periods) for dotted or double dotted notes:" Christopher, may be for non-native speakers the word "period" could be confusing in that context. But if "stop" is not quite clear, a solution could be: "Add full stops (called "periods" in american English) for dotted or double dotted notes" What do you think? Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Manuel <[EMAIL PROTECTED]> writes: > The exercises you have done so far should enable you to write any > simple melody. As you are surely aware, we have not said anything yet > about tuplets, lyrics, polyphony and many other things. If you wonder > wether you can do this or that with LilyPond, the answer is very > probably "YES!" wether -> whether this or that -> this is very probably -> is Good work! -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Johan, Thank you! I have now corrected wether to whether (how did this escape the TexEdit spell check?). I don't understand the "this or that" correction, I meant it in the sense of "something or other". Would you explain, please? Is the expression "is very probably" in bad english or are you encouraging more optimism? Manuel Am 24/12/2006 um 21:02 schrieb Johan Vromans: Manuel <[EMAIL PROTECTED]> writes: The exercises you have done so far should enable you to write any simple melody. As you are surely aware, we have not said anything yet about tuplets, lyrics, polyphony and many other things. If you wonder wether you can do this or that with LilyPond, the answer is very probably "YES!" wether -> whether this or that -> this is very probably -> is Good work! -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Here is the whole thing again, including Jay's suggestions and other
corrections
Manuel
LilyPond's
Beginners Guide
for the
Very Beginner
Chapter One.
If you are using a Mac, open a new LilyPond window.
If you are working with Linux...
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select "Typeset file" from the "Compile" menu.
A small window will open, where you can follow the proceedings, and
then a ".pdf" document will appear, with this result:
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
are essential. You must always write your music inside such brackets.
Also, LilyPond is "case sensitive", which means that in our little
example, "c" (that's lower case) is right, but "C" (that's upper
case) would be wrong.
Then, LilyPond has certain pre-set values, called "defaults", which
will apply whenever you do not ask for something different. In our
present example, for instance: the treble clef, 4/4 time signature,
quarter notes.
You can, of course, change these and all other defaults, indeed you
can engrave old plainchant, contemporary notation, orchestral scores,
do MIDI files, and more. But all that lies further down the road. For
the moment, we will teach you how to engrave a simple melody.
First, we'll give you a very useful tool to input your notes, called
the "relative mode".
In our example, we have written each note with an octave
denomination: one apostrophe:
'
for the so-called "first octave", which is the octave immediately
above and including the central c, and two apostrophes:
''
for the "second octave", the one immediately above the first octave.
But now, using the "relative mode", you will save yourself a lot of
work. Erase what you wrote before in the LilyPond window and write
this instead:
\relative
{ c d e f g a b c }
Save the document again, close the .pdf and select "Typeset file"
from the "Compile" menu. The result will be the same C-major scale.
(insert graphic here)
But now, with the
\relative
command, the first note is automatically engraved as close as
possible to the central c and every further note will be engraved as
close as possible to the previous note. "As close as possible" means
calculating the smallest interval. Thus if you modify your input to
this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf
before compiling)
You will get this result:
(insert graphic here)
You can analyze the exercise and see that a third has been preferred
to a sixth, a fourth to a fifth, etc. Now in this mode, when you add
an apostrophe, it makes the note appear one octave higher as it would
have appeared without the apostrophe. Two apostrophes make for two
octaves, and so forth.
To make a note one octave lower as it would otherwise appear, add a
coma:
c,
or two or more for more octaves:
c,,,
See it here:
\relative
{ c' g e' d c c, d c }
(insert graphic here)
Good. Now let's see how to select the following:
Clefs
Time signatures
Keys major and minor
Rhythmic values
Sharps and flats
Double bars and repeat bars.
These are simple things to do. Write this example:
\relative
{
\clef treble
\key c \major
\time 4/4
c d e f g a b c }
(insert graphic here)
The result is our first example of a C-major scale, but this time you
see the way some defaults are set. Change them easily, like this:
\relative
{
\clef alto
\key cis \minor
\time 2/2
c d e f g a b c }
This should look thus:
(insert graphic here)
Don't worry just yet about the naturals. We'll come to it in a moment.
You change the clef changing the denomination "treble" for
alto
tenor
bass
or other, no less important clefs, like:
french (G clef on the first line)
soprano (C clef on the first line)
mezzosoprano (C clef on the second line)
baritone (C clef on the fifth line)
varbaritone (F clef on the third line)
subbass (F clef on the fifth line)
percussion (percussion clef)
tab (tablature clef)
To set the key, proceed in this way:
\key (name of the tonic) \(major or minor)
like for instance:
\key g \minor
And similarly for the time signature, like this:
\time x/y
For instance:
\time 6/8
Now for the rhythmic values.
You specify these values with a number after the name of the note:
"c1" will make a whole note; "d8" an eighth note, etc.
Add full stops (called "periods" in american English) for dotted or
double doted notes:
g4.
for a dotted quarter note,
a8..
for a double dotted eighth note, and so on.
Insert rests with the letter "r" and specify their duration with
numbers:
r4.
will be a dotted fourth rest.
Once a rhythmic value is entered it remains the same for all the
following notes or rests until you change it. This applies for rests
as well. Lets see this with an example:
\relative
Re: lilypond-user Digest, Vol 49, Issue 102
On Dec 24, 2006, at 1.04 PM, [EMAIL PROTECTED] wrote: From: "Joe Neeman" <[EMAIL PROTECTED]> Subject: Re: Two-Pass Vertical Spacing To: "William Oram" <[EMAIL PROTECTED]> Cc: lilypond-user@gnu.org Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset="iso-8859-1" This is almost certainly because the height-estimation routines are overestimating the height of the systems prior to page breaking on the second pass. Can you try it (perhaps just the first couple of pages) with annotate-spacing = ##t to check? If the Y-extent-estimate interval is much larger than the Y-extent interval, this is the problem. Also, what version are you using? Ah, that's the fact I always forget. Using 2.10.4 on OS X 10.4. Also tried with similar results on 2.11.x. Hard to tell if y-extent-estimate is overshooting. In many cases properly respaced systems have the same margin of error as those that aren't. Judge for yourself. Two example pages with annotate-spacing added. The first is not respaced as expected, the second is. Other pages not included seem to vary wildly from these lengths. http://www.foxchange.com/spamguy/extentestimate.pdf Wow, that's some pretty appalling height-estimation! Could you send me the input file (uncondensed will do)? I hope you mean the page-layout.ly file. That is easily done. If you're looking for the source, you will have a directory of stuff to wade through. (Separate e-mail being sent privately.) the morning lets you live but not sleeping is too hard -- _ | WILL ORAM ASCII ribbon campaign ( ) | spamguy (at) foxchange . com - against HTML email X | wro1 (at) cwru . edu & vCards / \ | | AIM spamguy21 -- (ABOVE: Magnetic poetry #1) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
On Sunday 24 December 2006 15:10, Manuel wrote: > Johan, > > Thank you! I have now corrected wether to whether (how did this > escape the TexEdit spell check?). "wether" is a valid word, meaning "sheep" (most often in "bellwether", the sheep who wears a bell to lead the other sheep). Whether the wether is out with the shepherd at night depends on the weather. ;) Pierre ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
On Sunday 24 December 2006 14:34, Manuel wrote: > I'm sure you are right. My English needs you. "fourth", not > "quarter", it should be. The duration of a note, however, is a quarter. phma ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Dear Lilypond Development team, I love you
As a person who is migrating to linux from OSX, I love you. I found an older version of lilypond in the ubuntu package manager, and today, as I was downloading lilypond for my intel iMac, I noticed the powerpc build of lilypond. Whoever is responsible for this, I thank you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
osx intel broken?
wow, just as I was praising the appearance of a ppc version, I'm a little confused, I downloaded both 2.10 and 2.11 for intel macintosh, and after unpacking the archives, they appear to be PPC programs that won't run on my new iMac. I know I've used this software on this computer before I re-installed it, so am I missing something? Or is the file that is downloaded from the intel link actually a ppc program? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding empty staves
Am 24/12/2006 um 23:10 schrieb Pierre Abbat:
Whether the wether is out
with the shepherd at night depends on the weather. ;)
Great! But why are we still hiding empty staves?
I'm sure you are right. My English needs you. "fourth", not
"quarter", it should be.
The duration of a note, however, is a quarter.
phma
That's right, I have corrected it. Who is phma?
Any help for the Linux users coming?
Chapter One.
If you are using a Mac, open a new LilyPond window.
If you are working with Linux...
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file and then select "Typeset file" from the "Compile" menu.
Manuel
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Re: Polyphony doubleslurs to chord
<< { c8 [ d8 ] } \\ { fis,4 } ( ) >>
i want to have a double slur from the c8 and fis,4 to the chord c> i have doubleslurs ##t but it only gives one slur
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Re: Very Beginner's Guide
Manuel wrote:
Here is the whole thing again, including Jay's suggestions and other
corrections
Manuel
LilyPond's
Beginners Guide
for the
Very Beginner
Just a quibble, but in English we'd be more likely to say "Complete
Beginner" or maybe "Absolute Beginner" or even "Complete and Absolute
Beginner".
Chapter One.
If you are using a Mac, open a new LilyPond window. If you are
working with Linux...
I suggest a separate introductory chapter for each operating system.
Trevor Daniels is right. Most Windows beginners who aren't trained
programmers wouldn't get past this point without extra help. Many
Windows users have never had any occasion to use a text editor or a
command window. Windows has some advantages too, but the new user isn't
likely to know how to exploit them without guidance.
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file
On the Mac OS does the file automatically get saved with the .ly
extension? If not, you should tell the complete and absolute beginner
to do that. On Windows, a new user might be using Notepad. The Windows
instructions need to give further details about how to save a .ly file
in Notepad. It isn't easy.
and then select "Typeset file" from the "Compile" menu.
No such menu or option in Windows.
In Windows, if you have succeeded in saving the file as a .ly file, and
if you can find the file, and if you recognize it when you do find it,
you simply double-click the file icon.
A small window will open, where you can follow the proceedings,
Actually, in 2.8 in Windows you can't follow the proceedings. A blank
window flashes open, stays blank, and then closes. If you already have
a real command window open, nothing happens in it. I think that's a
bug, don't know if it has been fixed in 2.10. It doesn't much matter,
but a beginner will worry if they expect something they don't get.
and
then a ".pdf" document will appear, with this result:
You might want to mention that you also get a .txt file called a "log
file" and a .ps file, and you have to double-click the .pdf icon to open
the document. At least that's how it is in Windows.
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
are essential. You must always write your music inside such brackets.
This is really good, clear beginner information, as is the following.
My compliments!
Also, LilyPond is "case sensitive", which means that in our little
example, "c" (that's lower case) is right, but "C" (that's upper
case) would be wrong.
Then, LilyPond has certain pre-set values, called "defaults", which
will apply whenever you do not ask for something different. In our
present example, for instance: the treble clef, 4/4 time signature,
quarter notes.
You can, of course, change these and all other defaults, indeed you
can engrave old plainchant, contemporary notation, orchestral scores,
do MIDI files, and more. But all that lies further down the road. For
the moment, we will teach you how to engrave a simple melody.
First, we'll give you a very useful tool to input your notes, called
the "relative mode".
In our example, we have written each note with an octave
denomination: one apostrophe:
'
for the so-called "first octave", which is the octave immediately
above and including the central c,
You might want to say "the central c on the piano keyboard, called
'middle c'".
and two apostrophes:
''
for the "second octave", the one immediately above the first octave.
But now, using the "relative mode", you will save yourself a lot of
work. Erase what you wrote before in the LilyPond window and write
this instead:
\relative
{ c d e f g a b c }
You might want to point out that \relative goes outside those curly
brackets.
Save the document again, close the .pdf and select "Typeset file"
from the "Compile" menu.
Again, I think these details apply only to the Mac OS.
The result will be the same C-major scale.
(insert graphic here)
But now, with the
\relative
command, the first note is automatically engraved as close as
possible to the central c and every further note will be engraved as
close as possible to the previous note. "As close as possible" means
calculating the smallest interval. Thus if you modify your input to
this:
\relative
{ e g c b g f d c }
(Don't forget to always save the file and close the previous .pdf
before compiling)
This is a better way to put the reminder for users of all systems.
You will get this result:
(insert graphic here)
You can analyze the exercise and see that a third has been preferred
to a sixth, a fourth to a fifth, etc. Now in this mode, when you add
an apostrophe, it makes the note appear one octave higher as
In English "higher than"
it would
have appeared without the apostrophe. Two apostrophes make for two
octaves, and so forth.
To make a note one octave lower as it would otherwi
Re: Very Beginner's Guide
On Sunday 24 December 2006 14:16, Manuel wrote: > I have no knowledge whatsoever about Linux, so maybe Pierre, or you, > or any Linux user could complete the text where I put the "..." as > well as any other necessary instructions for " invoking a lp > compilation". It depends on your desktop. GNOME and KDE are common; some people just use text consoles. I would say this: Open a new file in a plain text editor (e.g. kwrite music.ly; vi music.ly; emacs music.ly). For compiling the file, you run "lilypond music.ly" at a shell prompt (not inside your vi or emacs session). Although emacs is a (plain text) editor, it is by no means a plain (text editor)! phma ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
Am 25/12/2006 um 01:24 schrieb Pierre Abbat:
On Sunday 24 December 2006 14:16, Manuel wrote:
I have no knowledge whatsoever about Linux, so maybe Pierre, or you,
or any Linux user could complete the text where I put the "..." as
well as any other necessary instructions for " invoking a lp
compilation".
It depends on your desktop. GNOME and KDE are common; some people
just use
text consoles. I would say this: Open a new file in a plain text
editor (e.g.
kwrite music.ly; vi music.ly; emacs music.ly). For compiling the
file, you
run "lilypond music.ly" at a shell prompt (not inside your vi or emacs
session).
Although emacs is a (plain text) editor, it is by no means a plain
(text
editor)!
phma
So, would the following be a clear way to put it?
Chapter One.
If you are using a Mac, open a new LilyPond window.
If you are working with Linux open a new file in a plain txt editor
(e.g. kwrite music.ly; music.ly; emacs music ly).
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
With a Mac, save the file and then select "Typeset file" from the
"Compile" menu.
In Linux, run "lilypond music.ly" at a shell prompt (not inside your
vi or emacs session). Although emacs is a (plain text) editor, it is
by no means a plain (text editor)!
Manuel
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Re: osx intel broken?
James Bailey wrote: wow, just as I was praising the appearance of a ppc version, I'm a little confused, I downloaded both 2.10 and 2.11 for intel macintosh, and after unpacking the archives, they appear to be PPC programs that won't run on my new iMac. I know I've used this software on this computer before I re-installed it, so am I missing something? Or is the file that is downloaded from the intel link actually a ppc program? The frontend of the intel version claims to be ppc, but the actual processing is done in native intel code. It works fine here. Please try double-clicking the intel version. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
Thank you, Bonnie. I'll change the text with your corrections as
soon as I have slept a couple of hours (it has been a long and
beautiful day).
But I do think you are right: I should stick with instructions for
Mac OS X and not get into all those Linux and Windows things I don't
know. It should be easy to add separate steps for the other systems.
Am 25/12/2006 um 01:13 schrieb Bonnie Rogers:
Just a quibble, but in English we'd be more likely to say "Complete
Beginner" or maybe "Absolute Beginner" or even "Complete and
Absolute Beginner".
Right.
Then write this inside:
{ c' d' e' f' g' a' b' c' ' }
Save the file
On the Mac OS does the file automatically get saved with the .ly
extension?
Yes, on the Mac you just save and compile - even I can do it.
and then select "Typeset file" from the "Compile" menu.
No such menu or option in Windows.
I see.
then a ".pdf" document will appear, with this result:
You might want to mention that you also get a .txt file called a
"log file" and a .ps file, and you have to double-click the .pdf
icon to open the document. At least that's how it is in Windows.
Well no, all this happens automatically on my Mac - Well done,
developers!
(insert graphic here)
It is a little C-major scale. Let us consider it:
The so-called "curly braces"
{
and
}
are essential. You must always write your music inside such brackets.
This is really good, clear beginner information, as is the
following. My compliments!
Thank you.
for the so-called "first octave", which is the octave immediately
above and including the central c,
You might want to say "the central c on the piano keyboard, called
'middle c'".
I'll do that.
In English, "one octave lower *than* it would otherwise appear, add
a *comma*". Remember the punctuation is spelled "comma" with two
m's. "Coma" with one m is what you are in when you are unconscious
near death. That's another example of why you can't wholly rely on
spell-check in English. Both spellings are good English words -
they just mean something different.
I have already corrected my unconscious commata, but some may have
escaped me...
For consistency, you probably should decide which version of
English you will use, American or British, and whether you will
give both versions every time or just the first time you use a term
that is different in British and American usage. "Stops" is
British English, "periods" is American (note capital A) English,
but elsewhere you are using the American term "quarter note". In
British English a "quarter note" is a "crotchet." For what it's
worth, most of us ignorant Americans need a translation of the
British terms. I don't know if the reverse is true.
So you are really two countries separated by a common language... How
do Canadians, New Zealanders and other natives manage in between? I
think that for us non-natives, "fourth" is logically easier than
"crochet", though crochet and quaver sound nice. Like the French
"soupir" for a rest.
Happy Holidays, everybody!
You too, Bonnie, and good night!
Manuel
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Re: Very Beginner's Guide
On Sunday 24 December 2006 19:39, Manuel wrote:
> So, would the following be a clear way to put it?
>
>
> Chapter One.
>
>
> If you are using a Mac, open a new LilyPond window.
>
> If you are working with Linux open a new file in a plain txt editor
> (e.g. kwrite music.ly; music.ly; emacs music ly).
The second "music" should have "vi " before it.
> Then write this inside:
>
>
> { c' d' e' f' g' a' b' c' ' }
>
>
> With a Mac, save the file and then select "Typeset file" from the
> "Compile" menu.
You have to save the file in Linux as well.
> In Linux, run "lilypond music.ly" at a shell prompt (not inside your
> vi or emacs session). Although emacs is a (plain text) editor, it is
> by no means a plain (text editor)!
The comment about emacs was just a comment and wasn't meant to go into the
guide. There may be a way to run lilypond from inside emacs, but not knowing
emacs, I don't know how.
> A small window will open, where you can follow the proceedings, and
> then a ".pdf" document will appear, with this result:
The TIFF file is black on transparent and showed as a black rectangle in
Kmail. I had to edit it in the Gimp to read it. If it's readable in what
you're writing, that's not a problem.
Pierre
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Re: Constructive Criticism and a Question
Hello:
I've been watching this discussion or debate. There are two ways to
look at this problem. The first is from a programmer's point of view
where the programmer is experienced with some computer languages,
these days its upper level languages more and more. For these people,
lilypond typesetting code feels comfortable when it is syntactically
correct and when it makes sense in either computer or mathematical
terms. A mathematical algorithm is what they are used to seeing.
The other group has less mathematical knowledge, very little (very
little compared to a programmer working on a major project like
Lilypond) programming knowledge or experience. In all likelihood the
only thing that connects these people is the printed musical score.
At least in part I think these points have already been made. The
question that occurs to me as a novice Lilypond user (and one who
jumps in the deep end with complex scores!) is this: How will you
deal with other types of prolongation or compression of notes into one
or more beats or where the composers intentions are clear but they are
not immediately mathematically correct?
The example below is a single bar from a Beethoven Piano Sonata (Opus
31 number 3, 1st mvt. bar 53) in which two more out of the ordinary
examples occur next to each other. You will excuse any mistakes in
coding here, this doesn't render as it should.
upper = \relative c'' {
\clef treble
\key ef \major
\time 3
bf16[d f ef] \times 5/4 d16[ ef f g a] bf32[bf a c bf d c bf a g c g ef]
}
You can see how there are three beams, one for the notes in eaech
beat. The first and second beat are quite clear, but the third one has
eluded me as yet. The score has 12 thirty-second notes beamed together
with "12" below the note heads.
The printed score is clear to the performer. The Lilypond code I
suspect is far more complex. The only way that 12 thirty-second notes
will fit into one beat is if they are triplets, but in context, they
are not played or heard as triplets.
My only comment in this discussion is that the Lilypond code to
represent this short passage should be as clear as the printed score I
am reading.
No argument here - I wasn't advocating a specific syntax, but simply
raising the possibility that the tuplet's span could be an argument of
the function. Otherwise, we're simply turning \times into \tuplet
without really changing anything about its functionality.
I think I agree with this, except that any type of prolongation or
compression of notes should be able to use this function.
cheers
--
David Fedoruk
http://recordjackethistorian.wordpress.com
"Music is enough for one's life time, but one life time is not enough
for music" Sergei Rachmaninov
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Re: Constructive Criticism and a Question
On 12/21/06, Han-Wen Nienhuys <[EMAIL PROTECTED]> wrote: Erik Sandberg escreveu: > BTW, in this case it may be good to register the fraction as its own argument > type, so \tuplets and \tuplet are generic music functions, both with > signature > (tuplet-fraction? music?) it would be cool if we could pull this off, that would make \time generic too. Could you make 3:2 equivalent to #'(3 . 2)? Then - you don't need to introduce a new type - we could use x:y everywhere instead of the scary (it certainly was for me when I first started with lilypond) #'(x . y) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
