Re: Polyrythmic exercices with two gridline on the top and bottom of a score with two rythmics voices

2013-11-08 Thread Peter Bjuhr 


On 11/08/2013 07:17 AM, zaord wrote:

Hi here,

I try to do an exercice partition for working on polyrythms with two
simultaneous rythms.
I have a score with two voice, for the two rythme of the polyrythm.

I want a gridline on the top, giving the pulse of the top-voice and a
another gridline in a different collor for emphasis the pulse of the second
rythm-voice.

There is a bug there and I don't knox how to solve it ;)


Hi Ewen,

I noticed that you use version 2.12.0. If it is a bug maybe it's solved 
in later development (we're approaching version 2.18 now).


Also, if you could make an image of the result you're after I think it 
would be helpful (due to memory limitations: make sure the image file is 
relatively small or post a link).


Best
Peter

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pagenumbering

2013-11-08 Thread Martin Tarenskeen 


Hi,

Lilypond's automatic pagenumbering seems to presume a book with pages 
printed on both sides: the pagenumbers are printed alternating in the 
top-right corner and top-left corner.


But often I print my scores single sided, especially if I use thin paper. 
If I bundle the pages with a ring binder I would like the pagenumber to be 
on the top-right corner for every page. Or another option could be 
top-centered pagenumbering.


How can I accomplish this with Lilypond?

--

MT



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Re: pagenumbering

2013-11-08 Thread David Kastrup 
Martin Tarenskeen  writes:

> Hi,
>
> Lilypond's automatic pagenumbering seems to presume a book with pages
> printed on both sides: the pagenumbers are printed alternating in the
> top-right corner and top-left corner.
>
> But often I print my scores single sided, especially if I use thin
> paper. If I bundle the pages with a ring binder I would like the
> pagenumber to be on the top-right corner for every page. Or another
> option could be top-centered pagenumbering.
>
> How can I accomplish this with Lilypond?

http://lilypond.org/doc/v2.16/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-headers-and-footers>

-- 
David Kastrup


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Re: pagenumbering

2013-11-08 Thread Brian Barker 

At 10:02 08/11/2013 +0100, Martin Tarenskeen wrote:
Lilypond's automatic pagenumbering seems to presume a book with 
pages printed on both sides: the pagenumbers are printed alternating 
in the top-right corner and top-left corner. But often I print my 
scores single sided, especially if I use thin paper. If I bundle the 
pages with a ring binder I would like the pagenumber to be on the 
top-right corner for every page. Or another option could be 
top-centered pagenumbering.


How can I accomplish this with Lilypond?


One obvious way:
evenHeaderMarkup = \oddHeaderMarkup

Alternatively, how about setting "two-sided" to false?

Brian Barker


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Re: Thoughts about creating Stack Exchange page?

2013-11-08 Thread Hilary Snaden 
On 2013-11-02 11:54, David Kastrup wrote:
> Hm, I like this idea of turning a mailing list into an entirely optional
> social networking medium by adding more of a feedback/scoring criterion
> than "Report Spam".

So the mailing-list continues to function as-is, with a separate system
for maintaining and presenting scoring data relating to it? Such a
project could be of use well beyond LilyPond's lists.

ISTR for a while Google did something very similar with Usenet. (Being
Google, they've subsequently thrown away the scoring system and made the
user interface worse.)

-- 
Hilary

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Re: Polyrythmic exercices with two gridline on the top and bottom of a score with two rythmics voices

2013-11-08 Thread daviau ewen 
Hej San!

Thanks for your reply.

For the vesrion it was effctively  a mistake, but the problem is still here
:)

I would like sdomething like that:


On the same score you could see the that there is a grid line in red for
the upper "rythmic voice" and a blue gridline one for the second voice.
Here everything is binary, but I would like to be able to have the first
rythm line in binary and second one in  ternary for exemple.

I hope that could help you to help me ;)

Best

Ewen


2013/11/8 Peter Bjuhr 

>
> On 11/08/2013 07:17 AM, zaord wrote:
>
>> Hi here,
>>
>> I try to do an exercice partition for working on polyrythms with two
>> simultaneous rythms.
>> I have a score with two voice, for the two rythme of the polyrythm.
>>
>> I want a gridline on the top, giving the pulse of the top-voice and a
>> another gridline in a different collor for emphasis the pulse of the
>> second
>> rythm-voice.
>>
>> There is a bug there and I don't knox how to solve it ;)
>>
>>  Hi Ewen,
>
> I noticed that you use version 2.12.0. If it is a bug maybe it's solved in
> later development (we're approaching version 2.18 now).
>
> Also, if you could make an image of the result you're after I think it
> would be helpful (due to memory limitations: make sure the image file is
> relatively small or post a link).
>
> Best
> Peter
>
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Markup on both clef and key signature

2013-11-08 Thread Hans Aberg 
How are markups on both clef and key signature done?

The code [1] produces a warning: "Two simultaneous mark events, junking this 
one”, omitting the key signature markup.


 1 

\version "2.17.29"

\language "english"

music = \new Staff
{
  \override Score.RehearsalMark.break-align-symbols = #'(clef)
  \clef treble
  \mark \markup { \italic E53 }

  \numericTimeSignature
  \time 4/4
  \tempo 4 = 60

  \override Score.RehearsalMark.break-align-symbols = #'(key-signature)
  \key d \phrygian
  \mark \markup { \tiny \italic "D phrygian" }

  \relative c' {
 d4 ef f g | a bf c d | ef r2. |
  }
}

\score {
  \music
}

-


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Re: Polyrythmic exercices with two gridline on the top and bottom of a score with two rythmics voices

2013-11-08 Thread Peter Bjuhr 


On 11/08/2013 01:48 PM, daviau ewen wrote:



I hope that could help you to help me ;)






Ok, here is a more minimal example which hopefully can be a starting point!

\version "2.16.2"

voicei = \relative c''{
  \time 12/4
  r4 e r e ~ e r r e e ~ e r e |
  e r e ~ e r r e e ~ e r r e
}

voiceii = \relative c'{
  \time 12/4
  f4 r f r f r r f r f f f |
  r f ~ f f f r f r f f r f
}

refUp = \relative c''{
  \time 12/4
  \override NoteHead #'transparent = ##t
  \once \override Stem #'color = #red
  b4 b b b b b b b b b b b |
  \once \override Stem #'color = #red
  b4 b b b b b b b b b b b
}
refDwn = \relative c''{
  \time 12/4
  \override NoteHead #'transparent = ##t
  \once \override Stem #'color = #blue
  e4 e e e e e e e e e e e |
  \once \override Stem #'color = #blue
  e4 e e e e e e e e e e e
}

\layout {
  \context {
\type "Engraver_group"
\consists "Axis_group_engraver"
\consists "Note_heads_engraver"
\consists "Stem_engraver"
\name "ref"
\alias "Staff"
  }
  \context {
\Score
\accepts ref
  }
}

\score {
  <<
\new ref \refUp
\new Staff <<
  \new Voice {\voiceOne \voicei }
  \new Voice {\voiceTwo \voiceii }
>>
\new ref \refDwn
  >>
}

Best
Peter

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Re: Markup on both clef and key signature

2013-11-08 Thread Eluze 
Hans Aberg-2 wrote
> How are markups on both clef and key signature done?
> 
> The code [1] produces a warning: "Two simultaneous mark events, junking
> this one”, omitting the key signature markup.

I think that's what http://lsr.dsi.unimi.it/LSR/Item?id=736 basically does
Eluze



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Beam positions and time signature spacing

2013-11-08 Thread Gilberto Agostinho 
Hi all,

I am not too sure if I do agree with some of the automatic beam position
done by LilyPond, and also by the spacing between a time signature and the
first note. First, about the beams. Here is a little code showing the
problem:

beam.ly   

 

So as the image above states, I believe that the staff lines should never
appear through the gap of the beams when dealing with 16th notes or shorter.
Does anyone knows if what I am saying here is correct? Could someone check
on Elaine Gould's book, or some other engraving book?

* * *

My second issue is really small (literally), but I hope my nitpicking will
be understood. I just feel that the spacing between the time signature and
the first note should be the same or larger than the space between the clef
and the time signature (when no key signature is present). The image below
shows it more clearly:

spacing.ly   

 

I would be very glad to hear what you all think about this.

Regards,
Gilberto



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FredBoards settings

2013-11-08 Thread Jan Kašpar 
Hello,

at this documentation page:
  
http://www.lilypond.org/doc/v2.17/Documentation/notation/common-notation-for-fretted-strings
I've found this snippet:

\include "predefined-guitar-fretboards.ly"

<<
  \new FretBoards {
% Set global properties of fret diagram
\override FretBoards.FretBoard.size = #'1.2
\override FretBoard.fret-diagram-details.finger-code = #'in-dot
\override FretBoard.fret-diagram-details.dot-color = #'white
\chordmode {
  c
}
  }
>>

Which unfortunately doesn't work for me:

GNU LilyPond 2.16.2
Processing `chords3.ly'
Parsing...
chords3.ly:6:34: error: syntax error, unexpected '.', expecting
SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
\override FretBoards.FretBoard
  .size = #'1.2
chords3.ly:6:42: warning: Ignoring non-music expression
\override FretBoards.FretBoard.size =
  #'1.2
chords3.ly:7:44: error: syntax error, unexpected '.', expecting
SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
\override FretBoard.fret-diagram-details
.finger-code = #'in-dot
chords3.ly:7:59: warning: Ignoring non-music expression
\override FretBoard.fret-diagram-details.finger-code =
   #'in-dot
chords3.ly:8:44: error: syntax error, unexpected '.', expecting
SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
\override FretBoard.fret-diagram-details
.dot-color = #'white
chords3.ly:8:57: warning: Ignoring non-music expression
\override FretBoard.fret-diagram-details.dot-color =
 #'white
chords3.ly:3:0: error: errors found, ignoring music expression

Would you know what the problem is?

Many thanks in advance,

Jan.

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Re: FredBoards settings

2013-11-08 Thread David Kastrup 
Jan Kašpar  writes:

> Hello,
>
> at this documentation page:
>   http://www.lilypond.org/doc/v2.17/ ...
^

> Which unfortunately doesn't work for me:
>
> GNU LilyPond 2.16.2
   ^^

> Would you know what the problem is?

You are not using the documentation for the version of LilyPond you are
using.

-- 
David Kastrup


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Re: FredBoards settings

2013-11-08 Thread pls 

On 08.11.2013, at 18:12, Jan Kašpar  wrote:

> Hello,
> 
> at this documentation page:
>  
> http://www.lilypond.org/doc/v2.17/Documentation/notation/common-notation-for-fretted-strings
Hi Jan,

you need to upgrade your LilyPond version to 2.17.x to be able to render this 
example taken from the 2.17 docs.

hth
patrick
> I've found this snippet:
> 
> \include "predefined-guitar-fretboards.ly"
> 
> <<
>  \new FretBoards {
>% Set global properties of fret diagram
>\override FretBoards.FretBoard.size = #'1.2
>\override FretBoard.fret-diagram-details.finger-code = #'in-dot
>\override FretBoard.fret-diagram-details.dot-color = #'white
>\chordmode {
>  c
>}
>  }
>>> 
> 
> Which unfortunately doesn't work for me:
> 
> GNU LilyPond 2.16.2
> Processing `chords3.ly'
> Parsing...
> chords3.ly:6:34: error: syntax error, unexpected '.', expecting
> SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
>\override FretBoards.FretBoard
>  .size = #'1.2
> chords3.ly:6:42: warning: Ignoring non-music expression
>\override FretBoards.FretBoard.size =
>  #'1.2
> chords3.ly:7:44: error: syntax error, unexpected '.', expecting
> SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
>\override FretBoard.fret-diagram-details
>.finger-code = #'in-dot
> chords3.ly:7:59: warning: Ignoring non-music expression
>\override FretBoard.fret-diagram-details.finger-code =
>   #'in-dot
> chords3.ly:8:44: error: syntax error, unexpected '.', expecting
> SCM_FUNCTION or SCM_IDENTIFIER or SCM_TOKEN
>\override FretBoard.fret-diagram-details
>.dot-color = #'white
> chords3.ly:8:57: warning: Ignoring non-music expression
>\override FretBoard.fret-diagram-details.dot-color =
> #'white
> chords3.ly:3:0: error: errors found, ignoring music expression
> 
> Would you know what the problem is?
> 
> Many thanks in advance,
> 
> Jan.
> 
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Re: Markup on both clef and key signature

2013-11-08 Thread Hans Aberg 
On 8 Nov 2013, at 17:47, Eluze  wrote:

> Hans Aberg-2 wrote
>> How are markups on both clef and key signature done?
>> 
>> The code [1] produces a warning: "Two simultaneous mark events, junking
>> this one”, omitting the key signature markup.
> 
> I think that's what http://lsr.dsi.unimi.it/LSR/Item?id=736 basically does

Thanks. It may be too complicated, in view of that the markup is tied to 
musical functions. There is [1], too.


1. http://lsr.dsi.unimi.it/LSR/Item?id=735


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Re: Beam positions and time signature spacing

2013-11-08 Thread Peter Bjuhr 


On 11/08/2013 05:50 PM, Gilberto Agostinho wrote:

Hi all,

I am not too sure if I do agree with some of the automatic beam position
done by LilyPond, and also by the spacing between a time signature and the
first note. First, about the beams. Here is a little code showing the
problem:

beam.ly 



So as the image above states, I believe that the staff lines should never
appear through the gap of the beams when dealing with 16th notes or shorter.
Does anyone knows if what I am saying here is correct? Could someone check
on Elaine Gould's book, or some other engraving book?



Hi Gilberto!

Gould doesn't settle this but I found a related passage (p. 21). From 
the examples she gives I would say that she doesn't agree with you...


Here is a scan. Hope it's readable.
https://drive.google.com/file/d/0B627QNBiKcXpZWd0WjJvZUFhNUk/edit?usp=sharing

Best
Peter


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Re: Beam positions and time signature spacing

2013-11-08 Thread Gilberto Agostinho 
Hi Peter!

Thanks a lot for the scan. I would say that even though she doesn't condemns
her example a), she still considers b) as bad and c) as the best compromise.
My corrections above are all similar to her example c)

What about her recommendation of Ted Ross' The Art of Music Engraving and
Processing, does anyone have this book? What does it say about the beams?

This issue came to me while showing one of my compositions to a friend of
mine who used to work at Bärenreiter. His opinions are exactly what I
reproduced on my question above. Also, looking at my G Henle Verlag
editions, I noticed that beams such as of type a) indeed do appear from time
to time, but they are somehow rare. The majority of beams are: straight,
slightly angled but covering the staff lines or positioned above/below the
staff lines (where any angle can take place).

Take care,
Gilberto




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Re: Beam positions and time signature spacing

2013-11-08 Thread Peter Bjuhr 


On 11/08/2013 08:03 PM, Gilberto Agostinho wrote:

Hi Peter!

Thanks a lot for the scan. I would say that even though she doesn't 
condemns
her example a), she still considers b) as bad and c) as the best 
compromise.

My corrections above are all similar to her example c)



I interpret her as saying that a) is the best solution but c) is a 
usable compromise if one want the angle as in b).


This issue came to me while showing one of my compositions to a friend of
mine who used to work at Bärenreiter. His opinions are exactly what I
reproduced on my question above. Also, looking at my G Henle Verlag
editions, I noticed that beams such as of type a) indeed do appear 
from time

to time, but they are somehow rare. The majority of beams are: straight,
slightly angled but covering the staff lines or positioned above/below 
the

staff lines (where any angle can take place).



Maybe this is a Bärenreiter house rule rather than a general convention!?

Best
Peter

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Horizontally-Centered Stems for re, mi, and ti

2013-11-08 Thread Jason R . Fruit 
I was looking at Jesse Aiken's _Christian Minstrel_, the original source of 
Aiken-style shape note heads, and I saw that he centers the noteheads on the 
stems for the symmetrical shapes, i.e. re, mi, and ti.  I think it improves 
the recognizability of the shapes, and I'd like to do it in my shape-note 
music.  I can't figure out how to make it happen only on those scale 
degrees, though, other than to do like this:

\version "2.14.2"

\relative c' {
  \aikenHeads
  c
  \once \override NoteHead #'stem-attachment = #'(0 . 0) d
  \once \override NoteHead #'stem-attachment = #'(0 . 0) e
  f g a
  \once \override NoteHead #'stem-attachment = #'(0 . 0) b
  c \bar "|."
}

What I'd like to be able to do is:

\relative c' {
  \aikenHeads
  \centerReMiTi
  c d e f g a b c
}

Is there an example of scale-degree-sensitive code I can look at?  I can't 
seem to find where aikenHeads is defined.

Jason


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Re: Beam positions and time signature spacing

2013-11-08 Thread Janek Warchoł 
Hi,

2013/11/8 Gilberto Agostinho :
> Hi Peter!
>
> Thanks a lot for the scan. I would say that even though she doesn't condemns
> her example a), she still considers b) as bad and c) as the best compromise.
> My corrections above are all similar to her example c)
>
> What about her recommendation of Ted Ross' The Art of Music Engraving and
> Processing, does anyone have this book? What does it say about the beams?

He doesn't say much about double beams, but he gives an example which
is contrary to what you suggest.

> This issue came to me while showing one of my compositions to a friend of
> mine who used to work at Bärenreiter.

What font-size did you use in that engraving?

> His opinions are exactly what I
> reproduced on my question above. Also, looking at my G Henle Verlag
> editions, I noticed that beams such as of type a) indeed do appear from time
> to time, but they are somehow rare. The majority of beams are: straight,
> slightly angled but covering the staff lines or positioned above/below the
> staff lines (where any angle can take place).

Many modern engravings use such almost-flat beams, but most old
engravings don't.  Personally i don't like these flat beams at all; in
my opinion they lack character and they distort the contour of the
melody.  If anything, the problem that you describe should imo be
resolved by whiting-out the staflines under the beam.

best,
Janek
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Re: Horizontally-Centered Stems for re, mi, and ti

2013-11-08 Thread Janek Warchoł 
2013/11/8 Jason R. Fruit :
> Is there an example of scale-degree-sensitive code I can look at?

http://lsr.dsi.unimi.it/LSR/Item?id=572

hth
Janek

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Re: Beam positions and time signature spacing

2013-11-08 Thread Gilberto Agostinho 
Hi Janek,

I showed him two scores of mine, one with default settings for size, and the
had #(set-global-staff-size 18)

This friend of mine was working with contemporary music as far as I know, so
probably this is why he thought of that as being a rule. I spoke to him
about it once again right now, and he said that indeed he never read this
supposedly rule anywhere, he was just "taught" that while working for
Barenreiter.

Well, so in this case I don't think there is anything to complain about, all
those beams were totally "legal" :)

As for your suggestion of whiting-out the staff lines on the gaps, I think
that this could look bad. My guess is that it would make the notes to appear
to "float" above the staff, and it would make reading more difficult.

Regards,
Gilberto



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Re: Beam positions and time signature spacing

2013-11-08 Thread Janek Warchoł 
Hi Gilberto,

2013/11/8 Gilberto Agostinho :
> Hi Janek,
>
> I showed him two scores of mine, one with default settings for size, and the
> had #(set-global-staff-size 18)

ok, thanks.  I supposed smaller staffsize (such problems are more
visible with small sizes).

> As for your suggestion of whiting-out the staff lines on the gaps, I think
> that this could look bad. My guess is that it would make the notes to appear
> to "float" above the staff, and it would make reading more difficult.

I don't think so.  Everything depends on the font-size, beam
thickness, staffline thickness etc...
look here:
http://imslp.org/wiki/Special:ImagefromIndex/16973 (6MB)
imo it looks very good.

cheers,
Janek

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Re: Beam positions and time signature spacing

2013-11-08 Thread Gilberto Agostinho 
Hi Peter,

I will ask him about this, and I will also check some other scores of mine
to see if I find these kind of beams.

And if it would not be asking you too much, do you know if Gould says
something on her book about the distance between clef, key signature, time
signature and the first note of a system? This was the second discussion I
had with this friend of mine about LilyPond.

Take care,
Gilberto



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Re: Beam positions and time signature spacing

2013-11-08 Thread Gilberto Agostinho 
Hi Janek,

It indeed does not look bad at all!

Best,
Gilberto



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Syntax error

2013-11-08 Thread taylor...@sky.com 
Hi,

I seem to keep getting a syntax error, and I don't know why can someone help 
please??

My code is:

<<
\new Voice = "soprano" {
 \relative c''{
 \key f \major
 \autoBeamOff
 \time 4/4
 \partial 4
 a16 c d8 |
 r4 ees8( d~ d4~ c d c |
 d4. c8~ c) r a16 c d8 |
 r4 ees8( d~ d4~ d16 c d c |
 d8. ees16 d8 c~ c) r a16 c d8 |
 r4 ees8( d~ d4~ d16 c d c |
 d4. c8~ c) r a16 g f8 |
 f1 |
 r4 c' d f |
 f2( e |
 \times 2/3{ d4 e f~) f2) |
 f2( e |
 \times 2/3{ d4 e f~) f2) |
 }
}
\new Lyrics \lyricsto "soprano" {
 How a -- bout
 Love?
 How a -- bout
 Love?
 How a -- bout
 Love?
 Mea -- sure in
 love.
 Sea -- sons of
 love,
 sea -- sons of
 love.
}>>

The error I keep getting is:

# -*-compilation-*-
Processing `C:/Users/staff/Desktop/first try.ly'
Parsing...
C:/Users/staff/Desktop/first try.ly:37:1: error: syntax error, unexpected >>
}
 >>
fatal error: failed files: "C:\\Users\\staff\\Desktop\\first try.ly"

Can someone please help?
 
Thanks,

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Re: Syntax error

2013-11-08 Thread Colin Campbell 

On 11/08/2013 12:37 PM, taylor...@sky.com wrote:

Hi,

I seem to keep getting a syntax error, and I don't know why can 
someone help please??



The error I keep getting is:

# -*-compilation-*-
Processing `C:/Users/staff/Desktop/first try.ly'
Parsing...
C:/Users/staff/Desktop/first try.ly:37:1: error: syntax error, 
unexpected >>

}
 >>
fatal error: failed files: "C:\\Users\\staff\\Desktop\\first try.ly"

Can someone please help?



First, the error message shows you where it began to go wrong. 
"Unexpected . . . " anything, in LilyPond terms, usually means you 
haven't paired your curly braces properly, and yes, that is most of your 
problem. Another thing which will give you problems is that ties only 
join notes of equal pitch; you need slurs to connect d to c.


More generally, when faced with this sort of issue, your first steps 
would be to start eliminating things until the problem goes away, then 
take a hard look at the last thing you cut. Having trimmed the code to 
the bare minimum which produces the problem, you are much more likely to 
get specific help from the community. I'm writing this because my wife 
wants me to come downstairs and move a couple of filing cabinets for 
her, in the face of my not inconsiderable reluctance.


Finally, the canned response is a very firm suggestion that you work 
through the Learning Manual on the LilyPond website, having installed a 
syntax-highlighting editor beforehand. My favourite is undoubtedly 
Frescobaldi, but others are available.


Cheers,
Colin
--
Excellent day for putting Slinkies on an escalator.
 - Dan Galvin, TFTD List 20070228
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Re: Syntax error

2013-11-08 Thread David Nalesnik 
Hi Seb,


On Fri, Nov 8, 2013 at 1:37 PM, taylor...@sky.com  wrote:

> Hi,
>
> I seem to keep getting a syntax error, and I don't know why can someone
> help please??
>
> My code is:
>
> <<
> \new Voice = "soprano" {
>  \relative c''{
>  \key f \major
>  \autoBeamOff
>  \time 4/4
>  \partial 4
>  a16 c d8 |
>  r4 ees8( d~ d4~ c d c |
>  d4. c8~ c) r a16 c d8 |
>  r4 ees8( d~ d4~ d16 c d c |
>  d8. ees16 d8 c~ c) r a16 c d8 |
>  r4 ees8( d~ d4~ d16 c d c |
>  d4. c8~ c) r a16 g f8 |
>  f1 |
>  r4 c' d f |
>  f2( e |
>  \times 2/3{ d4 e f~) f2) |
>

You don't close the \times expression (or the one below) with }.


>  f2( e |
>  \times 2/3{ d4 e f~) f2) |
>  }
> }
>

HTH,
David
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Re: Syntax error

2013-11-08 Thread David Nalesnik 
On Fri, Nov 8, 2013 at 8:11 PM, Colin Campbell  wrote:

>
> Finally, the canned response is a very firm suggestion that you work
> through the Learning Manual on the LilyPond website, having installed a
> syntax-highlighting editor beforehand. My favourite is undoubtedly
> Frescobaldi, but others are available.
>

Yup--I automatically indented your code with Frescobaldi and the problem
was immediately apparent.

--David
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Re: Syntax error

2013-11-08 Thread Colin Campbell 

On 11/08/2013 07:12 PM, David Nalesnik wrote:

Hi Seb,


On Fri, Nov 8, 2013 at 1:37 PM, taylor...@sky.com 
 > wrote:


Hi,

I seem to keep getting a syntax error, and I don't know why can
someone help please??

My code is:

<<
\new Voice = "soprano" {
 \relative c''{
 \key f \major
 \autoBeamOff
 \time 4/4
 \partial 4
 a16 c d8 |
 r4 ees8( d~ d4~ c d c |
 d4. c8~ c) r a16 c d8 |
 r4 ees8( d~ d4~ d16 c d c |
 d8. ees16 d8 c~ c) r a16 c d8 |
 r4 ees8( d~ d4~ d16 c d c |
 d4. c8~ c) r a16 g f8 |
 f1 |
 r4 c' d f |
 f2( e |
 \times 2/3{ d4 e f~) f2) |


You don't close the \times expression (or the one below) with }.

 f2( e |
 \times 2/3{ d4 e f~) f2) |
 }
}






Actually, he probably closed both triplet phrases with ) instead of }

Cheers,
Colin

--
I've learned that you shouldn't go through life with a catcher's mitt on both 
hands.
You need to be able to throw something back.
-Maya Angelou, poet (1928- )

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Re: [ANNOUNCE] Frescobaldi included in MacPorts!

2013-11-08 Thread Guy Stalnaker 
Davide,

Thanks again for your continued work in porting Frescobaldi to the Mac. The
migration from your port to the new port following your instructions was
without incident (though that damned "port upgrade outdated" took a very
very very long time). Is what I get for having an old MacBook running
10.6.x.

Best regards!

Guy Stalnaker
jimmyg...@gmail.com
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Cello bow slurs

2013-11-08 Thread Colin Campbell 
I have an exercise which requires starting a note on one string, then 
adding a second note while the first is still sounding.  Graphically, it 
looks like a slur. My problem is that, in order to get timing right, I 
have to use two voices, and of course, I can't slur from one to the other.


I'm also stuck on cutting pieces out of a scanned image, so here is what 
I need, attempted in ASCII, with the slur from the e2 to the c'4:


upper  r2  r4   c'4 |

lower   r2  e2|

Having an abundance of humility, I don't mind replies of RTFM, as long 
as you point out the part of TFM to read, and I welcome any and all ideas.


Cheers,
Colin
--
There have been times I've considered getting the arbalest mounted on 
the right front fender of my car in working order.

 - denaldo, in alt.callahans
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Re: Cello bow slurs

2013-11-08 Thread David Kastrup 
Colin Campbell  writes:

> I have an exercise which requires starting a note on one string, then
> adding a second note while the first is still sounding.  Graphically,
> it looks like a slur. My problem is that, in order to get timing
> right, I have to use two voices, and of course, I can't slur from one
> to the other.
>
> I'm also stuck on cutting pieces out of a scanned image, so here is
> what I need, attempted in ASCII, with the slur from the e2 to the c'4:
>
> upper  r2  r4   c'4 |
>
> lower   r2  e2|

Well, if we are talking about a cello, you'll never have more than one
slur at a time, right?  So you might just move the Slur_engraver from
Voice level to Staff level.

Since you did not provide a minimal (non-)working example and I am too
lazy to write one myself, the rest is left as an exercise to the reader.

-- 
David Kastrup


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