is there a possibillity to use lilypond with a smartphone...
I'm a music student from germany and I just found lilypond in the www. It wasn't realy what I was looking for, cause what I was searching for, was a possibillity to use a notation-software on my smartphone or a pocket-pc, cause I have to go by train every day and there I have time to compose but no software... thanks for your answer! greets chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
LilyPond 1.5.28 burps on rh7.3, fixed it!
[Chris@w1 Chris]$ ly2dvi -P danser.ly
Running LilyPond...
-I /home/Chris -H dedication -H title -H subtitle -H subsubtitle -H
footer -H head -H composer -H arranger -H instrument -H opus -H piece -H
metre -H meter -H poet -H texttranslator -H language -H linewidth -H
latexpackages -H latexoptions -H latexheaders -H orientation -H
pagenumber -H textheight -H papersize /home/Chris/danser
GNU LilyPond 1.5.28
Now processing: `/home/Chris/danser.ly'
Parsing...
Interpreting music...[8][16][24][32][40][47]
Preprocessing elements...
Calculating column positions...
[3][6][9][12][15][18][21][24][27][30][33][36][39][42][45][47]
paper output to `danser.tex'...
writing header field `title' to `danser.title'...
writing header field `subtitle' to `danser.subtitle'...
writing header field `composer' to `danser.composer'...
Interpreting music...
MIDI output to `danser.midi'...
Track ...
Analyzing danser.tex...
Running LaTeX...
error: latex: command exited with value 256
Traceback (innermost last):
File "/usr/local/bin/ly2dvi", line 859, in ?
run_latex (files, outbase, extra_init)
File "/usr/local/bin/ly2dvi", line 635, in run_latex
system (cmd)
File "/usr/local/bin/ly2dvi", line 235, in system
error (msg)
File "/usr/local/bin/ly2dvi", line 133, in error
raise _ ("Exiting ... ")
Exiting ...
MIDI output to `danser.midi'...
LATEX output to `danser.latex'...
TEX output to `danser.tex'...
[Chris@w1 Chris]$
__
rpm -q :
tetex-1.0.7-47, bison-1.35-1, flex-2.5.4a-23,
tetex-latex-1.0.7-47, python-1.5.2-38, guile-1.3.4-19,
texinfo-4.1-1, xdvi version 22.05d-k, GNU Ghostscript 6.52 (2001-10-20),
[Chris@w1 Chris]$ latex
This is TeX, Version 3.14159 (Web2C 7.3.1)
[Chris@w1 Chris]$ locate metapost
/usr/share/texmf/metapost
[Chris@w1 Chris]$ locate kpathsea
/usr/lib/libkpathsea.a
/usr/share/info/kpathsea.info.gz
____
THEN I installed every .rpm fro rh7.3 starting with "tetex- "
/home/Chris/zip/tetex-1.0.7-47.i386.rpm
/home/Chris/zip/tetex-xdvi-1.0.7-47.i386.rpm
/home/Chris/zip/tetex-fonts-1.0.7-47.i386.rpm
/home/Chris/zip/tetex-dvips-1.0.7-47.i386.rpm
/home/Chris/zip/tetex-dvilj-1.0.7-47.i386.rpm
/home/Chris/zip/tetex-afm-1.0.7-47.i386.rpm
and went into my lilypond install dir, make clean, ./configure, make
all, make install.
THAT WORKED !!!
[Chris@w1 Chris]$ ly2dvi -P a_danser.ly
Running LilyPond...
-I /home/Chris -H dedication -H title -H subtitle -H subsubtitle -H
footer -H head -H composer -H arranger -H instrument -H opus -H piece -H
metre -H meter -H poet -H texttranslator -H language -H linewidth -H
latexpackages -H latexoptions -H latexheaders -H orientation -H
pagenumber -H textheight -H papersize /home/Chris/a_danser
GNU LilyPond 1.5.28
Now processing: `/home/Chris/a_danser.ly'
Parsing...
Interpreting music...[8][16][24][32][40][47]
Preprocessing elements...
Calculating column positions...
[3][6][9][12][15][18][21][24][27][30][33][36][39][42][45][47]
paper output to `a_danser.tex'...
writing header field `title' to `a_danser.title'...
writing header field `subtitle' to `a_danser.subtitle'...
writing header field `composer' to `a_danser.composer'...
Interpreting music...
MIDI output to `a_danser.midi'...
Track ...
Analyzing a_danser.tex...
Running LaTeX...
Running dvips...
MIDI output to `a_danser.midi'...
PS output to `a_danser.ps'...
DVI output to `a_danser.dvi'...
[Chris@w1 Chris]$ gv a_danser.ps
***
**
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Lilypond-book does not run
I have used Lilypond-book (2.14) with Vista. Now I switched to Windows 8 and installed the actual stable lilypond Version (2.16). An actual MikTeX Installation did run (pdfLaTeX works). Lilypond.exe runs well, lilypond-book does not run correctly. To have a simple test I used the example of the documentation (http://lilypond.org/doc/v2.16.1/Documentation/usage/an-example-of-a- musicological-document.html) and deleted the line with \lilypondfile Starting a cmd and entering the suggested command "C:\Program Files\LilyPond\usr\bin\lilypond-book.py" --output=out --pdf lilybook.lytex I get the help. Starting with --verbose I get an Exeption in line 114 Is there a incompabiliy with Windows 8? Do I have an error in the command? Thanks! Chris ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-book does not run
> >I switched to Windows 8 and
> > installed the actual stable lilypond Version (2.16.1). An actual MikTeX
> > Installation did run (pdfLaTeX works).
> > Lilypond.exe runs well, lilypond-book does not run correctly.
> > To have a simple test I used the example of the documentation
> > (http://lilypond.org/doc/v2.16.1/Documentation/usage/an-example-of-a-
> > musicological-document.html) and even simplified it.
Content of the file test3.lytex
\documentclass[a4paper]{article}
\begin{document}
Document for Test
\begin{lilypond}
\relative c' {
c2 e2 \times 2/3 { f8 a b } a2 e4
}
\end{lilypond}
Options are put in brackets.
\end{document}
The process:
Start a cmd
Run the command: "C:\Program Files\LilyPond\usr\bin\lilypond-book.py"
--output=out --pdf --verbose test3.lytex
Result:
The same Information as with the Option --help followed by
Traceback (most recent call lat):
File "C:\Program Files\LilyPond\usr\bin\lilypond-book.py", line 766, in ?
main ()
File "C:\Program Files\LilyPond\usr\bin\lilypond-book.py", line 689, in main
files = do_options ()
File "C:\Program Files\LilyPond\usr\bin\lilypond-book.py", line 681, in do opt
ions
exit (2)
File "C:\Program Files\LilyPond\usr\bin\lilypond-book.py", line 114, in Exit
Excetion: Exiting (2)...
without the "--verbose" I get only the help information
The Directory "out" is existing as a subdirectory
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Re: Lilypond-book does not run
> \begin{lilypond}
> \relative c' {
> c2 e2 \times 2/3 { f8 a b } a2 e4
> }
> \end{lilypond}
> Options are put in brackets.
> \end{document}
The above code is not running with Lilypond-book 2.16.1 (XP and Windows 8)
The same example is running with Version 2.16.0 (XP) or Version 2.17.8 (XP and
Windows 8)
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Changing staff size
Hi! Is it possible to change the staff size? I found in the documentation only a command to change the note size. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord Charts - rhythm and chords
On Wed, 2 Jul 2008, Carl Sorensen wrote: cpgray library.uwaterloo.ca> writes: I'm trying out LilyPond to see if there is a way to do chord charts in the fashion illustrated in the wikipedia article on "Chord Charts". The image there illustrates what I'm looking for: http://en.wikipedia.org/wiki/Image:Chord_chart.jpg Here is an example. You were close, but needed to put the Pitch_squash_engraver in a Voice context, rather than a Staff context. Many thanks, Carl. This is will do very well. Sometimes transposition and sometimes chord diagrams would be useful, but both simultaneously isn't really necessary. Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord Charts - rhythm and chords
On Thu, 3 Jul 2008, Reinhold Kainhofer wrote:
Am Donnerstag, 3. Juli 2008 schrieb Johan Vromans:
Carl Sorensen <[EMAIL PROTECTED]> writes:
Here is an example.
Very nice!
Is there a way to avoid the naturals and sharps? They're rather
meaningless.
You mean the key signature (and its cancellation)? That's easy: Simple create
the staff context manually and remove the Key_engraver there:
myrhythm = {
\key f \major
\improvisationOn
e8 f8 r8 b8 r8 b8 r8 b |
c1
}
Because b natural is used in the myrhythm in the first measure, a natural
is used before that note head in the first measure. Carl was just
illustrating that pitch changes don't affect note head vertical positions.
The best practice, I assume would be to use the root note of the chord
rather than random notes and the accidentals should disappear.
Chris
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Beaming sixteenths sandwiched in a triplet
I'm struggling in my attempts at beaming two sixteenths in the middle of a
triplet. Is this possible with automatic beaming, or must one result to beam
counts?
I've attached an example showing my current output and my desired output;
code follows:
\paper{ ragged-right=##t }
\relative c'' {
\time 4/4
\times 2/3 { c8 c16 c c8 }
r4 r r
}
Thanks!
P.S. I'm using version 2.10.33.
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\textLengthOn - choosing which note to lengthen
I'm running into a situation where \textLengthOn isn't behaving like I would expect it to. I have an organ piece where I'd like to put some text between the staves for the manuals. The text is a bit too long, however, so it hits the barline. Adding \textLengthOn seems to be the right solution. Unfortunately, I can't get it to do anything other than lengthen the space after the shortest note that occurs at the same time as the text, even the shorter note is in a different voice than the text. The expected/desired behavior for me would be to have that command lengthen the time interval for the note that the text is attached to - if it was attached to a whole-note in a 4/4 bar, for instance, I'd expect it to expand the whole bar to match the length of the text. Instead, it lengthens the length of the shortest note in the bar. I've whipped up an example of what's going on: http://temp.mvpsoft.com/ly/TextLength.ly http://temp.mvpsoft.com/ly/TextLength.png Thanks in advance. -Chris Snyder ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \textLengthOn - choosing which note to lengthen
Trevor Daniels wrote: > The action of \textLengthOn can be better understood as extending > the length of the moment in time at which it occurs. All notes > which occur at a later musical moment will be displaced to the end > of the text, whichever staff or voice they are in, in order to remain > synchronous. Thanks for the response. That makes sense (at least from a programmatic standpoint). It seems to me that the documentation (which has been tremendously improved over the last year - thanks Graham et al) could be a bit clearer on this. Perhaps including a blurb like the following: "Note that \textLengthOn does not necessarily increase the spacing of the note that the text is attached to. Rather, the shortest moment in time when the text occurs will get the added space. For instance, in 4/4 time if text is added to a whole-note while another staff contains quarter-notes, the space will be added between the first and second quarter-notes of the measure." If that (or a variant of it) is at all useful, please feel free to use it in the docs. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \textLengthOn - choosing which note to lengthen
Carl Sorensen wrote:
> If you'd like to propose additions to the docs, we'd appreciate it if
> you'd tell us where the addition should go.
>
> Also, in a case like this, a simple example that shows the behavior
> being described can help understand possibly-confusing wording.
> If you could work up a simple example (one bar long) that
> demonstrates the point you're trying to make, I'll add it to the
> documentation.
Here ya go. This is for section 1.8.1.1. I'd recommend that it be placed
between the current \textLengthOn example and the Predefined commands
header.
-- begin documentation snippet --
Note that \textLengthOn does not necessarily increase the spacing of
the note that the text is attached to. Rather, the shortest moment in
time when the text occurs will get the added space (even if it is
in another voice).
\score {
\new ChoirStaff <<
\new Staff \relative c' {
\clef treble
c4 e g e
}
\new Staff \relative c {
\clef bass
\textLengthOn
c1_\markup \column {
"The space is inserted between the first"
"and second beat, even though this text"
"is attached to the whole-note."
}
}
>>
}
-- end documentation snippet --
Thanks!
-Chris
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Re: Score with large empty section at the top
Dominic Neumann wrote: I think it is standard behaviour. I remember there was a command to let LilyPond display all the spaces it uses and its names. But I don´t remember the command and couldn´t find it by searching ... Take a look at Notation Reference 4.6.1: "Displaying spacing." -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \textLengthOn - choosing which note to lengthen
Carl D. Sorensen wrote: Your proposed text shows that you don't quite understand how \textLengthOn works from a LilyPond point of view. Your terminology is not quite right, so we'll need to change the text a bit before we put it in the manual. I hope you'll not mind that. Please feel free to modify it in whatever way you see fit. \textLengthOn applies to a musical moment, not a note. A musical moment starts at an instant in time of the score, and includes all events that occur at that instant. A musical moment ends when the next musical moment begins, or when the first event occurs is not simultaneous with the current moment. Your explanation is helpful - perhaps something like that should be in the doc as well? Looking at the docs some more, it seems that the idea of musical moments isn't explained anywhere (at least not as well as you've just explained it to me). So, in the example, the first musical moment contains the c4 in the treble cleff, the c1 in the bass clef, and the markup. The second musical moment contains the e in the treble clef. The effect of \textLengthOn is to make the first musical moment take as much horizontal space as the markup. While it appears that \textLengthOn adds space to the shortest note, this is incorrect. It is not the duration of the note in the current moment that matters, but the timing of the first note to follow the current moment. This seems pedantic to me - isn't the time that elapses before the next musical moment going to be equal to the length of the shortest note/skip/rest in the current moment? Perhaps this modified version of your example helps to explain the concept. \score... That looks fine to me. I think I've understood it better than demonstrated in the example I provided; your version is easier to understand. Thanks for taking the time to work with me on this. Your attention to detail on even such a minor element is appreciated. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Jonathan Kulp wrote: I would agree with Mats on this one. When I was first starting with Lilypond and the template didn't have a MIDI block, I couldn't make it work b/c I couldn't figure out *where* to stick the MIDI block. i was VERY grateful to find a template that already had a working MIDI block. It's easy enough to comment this out while working on big files to speed things up. What about adding a comment in the template instead? Perhaps even leaving the \midi block commented out by default, with an "uncomment the following line to enable MIDI output" comment on the previous line. That way, it's obvious where to put it, and it receives even more attention than it does now. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Automatic accidentals across staves
I'd like to modify the automatic accidental behavior for an organ piece I'm engraving. The staves are set up such that there is a PianoStaff, containing two Staffs, for the manuals, and an additional Staff for pedal. No matter what I do, I can't get the pedal staff to follow the automatic accidentals like the PianoStaff staves do. Not surprisingly, moving the pedal staff to be in the PianoStaff group solves the problem, but I'd really like to follow notational conventions and have the pedal staff outside of the PianoStaff. I've whipped up an example to show what I'm doing. I've created my own custom accidental rules, but the problem also occurs with the standard piano automatic accidentals. http://temp.mvpsoft.com/ly/AutomaticAccidentals.ly http://temp.mvpsoft.com/ly/AutomaticAccidentals.png Thanks in advance. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ver. 2.11.56 problems
Tom Cloyd wrote: Major lesson: the Unix/Linix command processor (or whatever - genie?) is disinterested in the fact that I'm already in the dir containing the referenced file. I have to tell it explicitly. Coming from Windows, I find this extremely confusing, nonsensical, etc., but I now suddenly understand why there are 75,000+ symlinks in my OS (unless, of course, I'm completely misunderstanding what symlinks are about). I made the switch from DOS/Windows about six years ago, and remember the same confusion. There is a very good reason for this behavior: it provides a safeguard against malicious programs being accidentally executed. Consider the following example: A user places an executable named "ls" in their home directory. This executable silently gives that user root-level access to the system, then calls the actual ls program. This program won't do anything if run by a normal user, of course. However, the malicious user asks the system administrator to take a look at their home directory to diagnose a problem they're having. The administrator changes to the user's home directory and runs ls to get a directory listing; unbeknownst to the administrator, the malicious ls has just given the user admin privileges using the privileges of the administrator that called it. This isn't as big of a deal with single-user systems, but it still is a good way to make sure that users are aware that they're not executing system-supplied software. Well, that explanation was longer than I thought it would be. Hopefully it's useful, or at least interesting. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transparent background in lilypond generated png's
Han-Wen Nienhuys wrote: How does IE deal with pngalpha images today? According to the top Google hit I came across for "png alpha ie," IE7 does support PNG alpha (http://www.howtocreate.co.uk/alpha.html). -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transparent background in lilypond generated png's
Han-Wen Nienhuys wrote: According to google analytics on lilypond.org - 25% uses IE of which 65% uses IE7. So, 8.75% use IE6. Given that the fallback in IE6 is still usable (albeit ugly) and that that percentage will only continue to drop, it sounds to me like now is as good a time as any to switch. Perhaps it might be a good idea to still allow PNG16 as an option, though, for users that are posting images to their own web sites? I'm sure that most sites see a much higher percentage of IE6 users. Otherwise, I'm sure Imagemagick could easily convert from PNG24 to PNG16 for users that need it. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: welcome, helpers!
Graham Percival wrote: One concern: is Ravel mutopia-worthy? How long has he been dead? I hate to ask, but... :( Wikipedia lists his date of death as 28 Dec 1937, so his music will go out of copyright in most of the world on 1 January 2008. To be extra safe, you should stick to music first published before 1923 to ensure that it is out of copyright in the USA. See the Wikipedia Public Domain page for more info: http://en.wikipedia.org/wiki/Public_Domain Regards, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: searching score
Phil Raynaud wrote: I have it done and ready for Mutopia (it is the version for voice and piano from Peters Band 1 you can find here : http://www.dlib.indiana.edu/variations/scores/ ). Now online at: http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1054 Regards, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: use the feta font in GIMP
Hi, Matthieu, I'd like to add some little details to finalize a score, it would be a bit too hard for me to do this with lily so I had the idea to import the pdf in the GIMP and then add the final touch. I don't have the knowledge to comment about the font issue, but I do have a suggestion about the choice of tools. GIMP is not well-suited for working with vector images (such as PDFs). You'd probably be better off using a desktop publishing program, Scribus being an open-source option. -- Chris Snyder Credo Music Publishing +1 616-828-4436 http://www.credomusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiline footer in Postscript backend
On 11 Jul 2005, at 09:28, Mark Van den Borre wrote:
I'm working on a Mutopia score. I'm having trouble creating a multiline
footer with the Postscript backend.
Any suggestions on how to accomplish that in the most elegant way?
Hi,
Sorry this is a bit slow, I've just returned from vacation.
Did you see the example I posted to the mutopia-discuss mailing list a
couple of weeks ago? For LilyPond 2.6:
maintainer = "Whoever"
tagline = \markup { \override #'(box-padding . 1.0) \override
#'(baseline-skip . 2.7) \box \center-align { \small \line { Sheet music
from \with-url #"http://www.MutopiaProject.org"; \line { \teeny www.
\hspace #-1.0 MutopiaProject \hspace #-1.0 \teeny .org \hspace #0.5 } ~
\hspace #0.5 \italic Free to download, with the \italic freedom to
distribute, modify and perform. } \line { \small \line { Typeset using
\with-url #"http://www.LilyPond.org"; \line { \teeny www. \hspace #-1.0
LilyPond \hspace #-1.0 \teeny .org } by \maintainer \hspace #-1.0 .
\hspace #0.5 Reference: Mutopia-20050704-000 } } \line { \teeny \line {
This sheet music has been placed in the public domain by the
typesetter, for details see: \hspace #-0.5 \with-url
#"http://creativecommons.org/licenses/publicdomain";
http://creativecommons.org/licenses/publicdomain } } } }
tagline = \markup { \override #'(box-padding . 1.0) \override
#'(baseline-skip . 2.7) \box \center-align { \small \line { Sheet music
from \with-url #"http://www.MutopiaProject.org"; \line { \teeny www.
\hspace #-1.0 MutopiaProject \hspace #-1.0 \teeny .org \hspace #0.5 } ~
\hspace #0.5 \italic Free to download, with the \italic freedom to
distribute, modify and perform. } \line { \small \line { Typeset using
\with-url #"http://www.LilyPond.org"; \line { \teeny www. \hspace #-1.0
LilyPond \hspace #-1.0 \teeny .org } by \maintainer \hspace #-1.0 .
\hspace #0.5 Copyright © 2005. \hspace #0.5 Reference:
Mutopia-20050704-000 } } \line { \teeny \line { Licensed under the
Creative Commons Attribution 2.5 License, for details see: \hspace
#-0.5 \with-url #"http://creativecommons.org/licenses/by/2.5";
http://creativecommons.org/licenses/by/2.5 } } } }
tagline = \markup { \override #'(box-padding . 1.0) \override
#'(baseline-skip . 2.7) \box \center-align { \small \line { Sheet music
from \with-url #"http://www.MutopiaProject.org"; \line { \teeny www.
\hspace #-1.0 MutopiaProject \hspace #-1.0 \teeny .org \hspace #0.5 } ~
\hspace #0.5 \italic Free to download, with the \italic freedom to
distribute, modify and perform. } \line { \small \line { Typeset using
\with-url #"http://www.LilyPond.org"; \line { \teeny www. \hspace #-1.0
LilyPond \hspace #-1.0 \teeny .org } by \maintainer \hspace #-1.0 .
\hspace #0.5 Copyright © 2005. \hspace #0.5 Reference:
Mutopia-20050704-000 } } \line { \teeny \line { Licensed under the
Creative Commons Attribution-ShareAlike 2.5 License, for details see:
\hspace #-0.5 \with-url
#"http://creativecommons.org/licenses/by-sa/2.5";
http://creativecommons.org/licenses/by-sa/2.5 } } } }
The reference (Mutopia-20050704-000 in the examples above) needs to be
moved into a separate variable, in the same way as the maintainer, but
this should give the general idea.
Chris
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Re: Installation de lilypond sous FC4
Mais il y a aussi une liste française :
http://lists.gnu.org/mailman/listinfo/lilypond-user-fr
(je suis desolé, je ne peux pas vous aider avec ce problème-là)
Chris
On 8 Nov 2005, at 10:40, Maurits Lamers wrote:
Victor,
C'est plus facile si vous parlez anglais.
Je pense plus de 95% sur cette list parle pas francais :)
(Et je parle que un petit peut ... )
Maurits
On 4-nov-05, at 21:52, LIBON Victor wrote:
Madame/Monsieur
Je suis un nouvel utilisateur de FC4.
Ayant programmé sous MsDos puis sous Windows, je suis un fervent
défenseur de l'idée de logiciel libre.
Etant aussi musicien, je m'occupe actuellement de réduction de
partitions (quatuor à cordes, petits ensembles, piano...) pour duo de
guitare (baryton et alto).
Lilypond m'est apparu comme la solution idéale.
Malheureusement je ne parviens pas à installer votre logiciel,
j'obtiens systématiquement l'erreur:
ghostscript-devel 7.07,40
ghostscript-gtk 7.07,40
manquants.
J'ai alors utilisé la commande rpm indiquée sur votre site:
rpmbuild --rebuild
ftp://dl.xs4all.nl/pub/mirror/fedora/development/SRPMS/
ghostscript-8.15.1
-1.src.rpm
suivi de:
rpm -U /usr/src/redhat/RPMS/i386/ghostscript*8.15.1*
le message suivant s'est alors affiché:
le fichier /usr/lib/libgs.so de l'installation de
ghostscript-8.15.1-1 entre en conflit avec le fichier du paquetage
ghostscript-libs-7.07-41
le fichier /usr/lib/libijs.so de l'installation de
ghostscript-8.15.1-1 entre en conflit avec le fichier du paquetage
ghostscript-libs-7.07-41
Ensuite j'ai réessayé d'installer lilypond, et j'ai obtenu l'erreur
suivante:
Paquetage non localisable Requis par
ghostscript ('lilypond','2.6.4','1')
Pourriez-vous m'aider à solutionner ce problème?
Merci.
LIBON Victor
118 rue des Français
6020 Charleroi
Belgique
--
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Free sheet music for all at: http://www.MutopiaProject.org/
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Finding note coordinates in output
Is there a way to find out what the coordinates are of notes in scores generated by Lilypond? For instance, is there a way to get the data needed to generate an image map to go with a PNG file and allow notes to be clicked on? Thanks in advance. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing 2.8 after many other releases
> >>> [EMAIL PROTECTED]:~# lilypond -v > >>> bash: /usr/bin/lilypond: No such file or directory This error can appear if a dynamic library cannot be found or loaded. On my system, lilypond is a shell-script wrapper which sets LD_LIBRARY_PATH and then execs a binary. Check that the LD_LIBRARY_PATH is correct and also examine the output of ldd on the binary. Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond store?
Erik Sandberg wrote: On Wednesday 05 July 2006 15:09, Stewart Holmes wrote: Yes. Harsh this may sound, but how much of the music on Mutopia would you be satisfied to print out, and use yourself? From a quick browse through various sections, I have to say that a large amount of the music on there is fairly poorly engraved. My proposition is for much more strict quality control... after all, nobody will pay money for music unless it looks professional. I suggest that you start a discussion thread on mutopia's mailing lists: If you have constructive ideas on how to create an archive of high-quality public domain notes, then I would strongly recommend you to use your ideas to improve mutopia; if that's not possible, use mutopia as a base for creating such an archive (i.e., fork the mutopia project). Hi, I initially read this thread as a proposal for offering printed versions of scores for sale. However, on a re-read, I understand that you're proposing to offer downloads of PDF files instead. The attraction of Mutopia for me was the creation of an "open source" archive of sheet music, that people can download for free, print out, photocopy, and distribute. Rather like Project Gutenberg, but for music. If you want to create a rival archive offering pieces for download at a price, then you are of course free to go ahead. Speaking from the point of view of someone who's looked after Mutopia for the last seven years, I think cleaning up Mutopia pieces and organising them for printing would be a very time consuming task. Entering new pieces is of course even more time consuming. From a legal point of view, you will have to be careful what pieces from Mutopia you use. Many are licensed under a CreativeCommons Attribution or Attribution-ShareAlike license. Neither restricts you from selling works based on the Mutopia version, but the latter insists that you release your versions under an identical license (a bit like the GPL). My positive suggestion would be to create a new website offering high quality *printed* LilyPond-engraved music for sale based on Mutopia contributions, still licensed under "open source" licenses. We did some experiments with lulu.com a while ago, and the results were very promising, so that's one possibility. If we work with you on this, and improvements are fed back to Mutopia, then we'd be happy to have links from the relevant Mutopia music pages to your store (ie. "buy a printed copy of this music"). Of course, you can pick music from Mutopia which is already reasonably high quality and likely to be popular. If you're interested, please let me know. I would personally be very disappointed if someone were to "fork" Mutopia. Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
adding fingering diagrams
is it possible to place fingering diagrams in the score like this: http://www.interopp.org/flute/htm/fu_fingerings.htm the solid holes are closed finger holes. the open holes are not covered by the finger. the cracked closed hole is the one used to make vibrato. i don't need to reproduce the diagram clint gloss uses, i would be happy with something much simpler: three characters in a vertical line above or below the staff for each note. i could come up with my own scheme for which characters represent whether the hole should be covered or not. maybe x for covered, o for open and ~ for closed with vibrato. in case you're curious, the notation is for the fujara. it's a traditional three hole overtone flute from central slovakia. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: adding fingering diagrams
Chris Capoccia spamcop.net> writes:
>
> the tin whistle fingering tips might be helpful:
> http://comments.gmane.org/gmane.comp.gnu.lilypond.general/3651
>
using the idea from the tin whistle fingering discussion, i was able to come up
with something that i think will work well:
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 180\mm - 2.0 * 0.4\in
}
\layout {
}
\version "2.8.7"
\header {
title = "The Ninety and Nine"
composer = "Ira D. Sankey (1874)"
poet = "Elizabeth C. Clephane (1868)"
}
melody = \relative c' {
\clef treble
\key g \major
\time 6/8
\partial 8
d16_"◍"_"●"_"●" d_"◍"_"●"_"●" g8._"◍"_"●"_"●" g16_"◍"_"●"_"●" g8_"◍"_"●"_"●"
g4_"◍"_"●"_"●" g8_"◍"_"●"_"●" fis4_"●"_"○"_"○" fis8_"●"_"○"_"○" g4_"◍"_"●"_"●"
g16_"◍"_"●"_"●" g_"◍"_"●"_"●" b4_"◍"_"●"_"●" b8_"◍"_"●"_"●" g4_"◍"_"●"_"●"
g8_"◍"_"●"_"●" a4._"●"_"●"_"○" r4
\bar "||"
\break
\partial 8
d,8_"◍"_"●"_"●" g4_"◍"_"●"_"●" g8_"◍"_"●"_"●" g4_"◍"_"●"_"●" g16_"◍"_"●"_"●"
g_"◍"_"●"_"●" b4_"◍"_"●"_"●" b8_"◍"_"●"_"●" g4_"◍"_"●"_"●"
g8_"◍"_"●"_"●" a4_"●"_"●"_"○" a16_"●"_"●"_"○" a_"●"_"●"_"○" fis4_"●"_"○"_"○"
fis8_"●"_"○"_"○" g4._"◍"_"●"_"●" r4
\bar "||"
\break
\partial 8
g8_"◍"_"●"_"●" b8._"◍"_"●"_"●" b16_"◍"_"●"_"●" b8_"◍"_"●"_"●" g4_"◍"_"●"_"●"
g8_"◍"_"●"_"●" b4_"◍"_"●"_"●" b8_"◍"_"●"_"●" g4_"◍"_"●"_"●"
d'8_"●"_"◍"_"●" d8._"●"_"◍"_"●" d16_"●"_"◍"_"●" d8_"●"_"◍"_"●"
d8(_"●"_"◍"_"●" b8)_"◍"_"●"_"●" g8_"◍"_"●"_"●" a8(_"●"_"●"_"○" g8)_"◍"_"●"_"●"
a8_"●"_"●"_"○" b4_"◍"_"●"_"●"
d8_"●"_"◍"_"●" d8.^\fermata_"●"_"◍"_"●" d16_"●"_"◍"_"●" e8_"○"_"○"_"○"
d8(_"●"_"◍"_"●" b8)_"◍"_"●"_"●" g8_"◍"_"●"_"●" a8(_"●"_"●"_"○"
b8^\fermata)_"◍"_"●"_"●" a8_"●"_"●"_"○" g4_"◍"_"●"_"●"
\bar "|."
}
text = \lyricmode {
\set stanza = "1. "
There were nine -- ty and nine, that safe -- ly lay
In the shel -- ter of the fold,
But one was out on the hills a -- way,
Far off from the gates of gold.
A -- way on the moun -- tains wild and bare,
A -- way from the ten -- der Shep -- herd’s care,
A -- way from the ten -- der Shep -- herd’s care.
}
\book{
\score{
<<
\new Voice = "one" {
\autoBeamOn
\melody
}
\new Lyrics \lyricsto "one" \text
>>
\layout { }
\midi { }
}
\markup{
\wordwrap-string #"
Verse 2.
“Lord, Thou hast here Thy ninety and nine;
Are they not enough for Thee?”
But the Shepherd made answer: “This of Mine
Has wandered away from Me;
And although the road be rough and steep,
I go to the desert to find My sheep,
I go to the desert to find My sheep.”"
}
}
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Re: adding fingering diagrams
Mats Bengtsson ee.kth.se> writes:
>
> If you want to save some typing, you can define macros for these
> patterns, like
> fingerD = \markup{\column{◍ ● ● }}
>
> and then use them like d16^\fingerD
>
>/Mats
>
i like the idea of using a macro, but there is more space in the vertical
direction between each circle with this method.
d16_"◍"_"●"_"●"
has the circles closer together.
is there a way to make the circles closer in the macro definition?
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Re: adding fingering diagrams
> is there a way to make the circles closer in the macro definition?
>
i overrode the baseline-skip property, and now the circles are closer together.
fingerD = \markup{\override #'(baseline-skip . 2) \column{◍ ● ● }}
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Re: Lilypondtool conf
> How could I avoid this ? you need to use backslashes before each of the spaces like this: %lilypond %args /home/yoochan/classeur/lilypond/danse\ macabre\ -\ St\ Saens/alto.ly > Moreover, I would like to use "evince" instead of JPedal as pdf > reader, does someone have some tips on how to do this ? a lot of the specifics here depend on which window manager you are using (i.e. kde, gnome ...). if you're using kde, just right click on any pdf file and select properties. then push the button that looks like a wrench. here you can choose which program is the default for opening this file type and a lot of other things. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Mutopia improvements
Hi, Apologies for the cross-posting - but I thought this may be of interest to a wider audience. Over the last few weeks we have been making a number of improvements to the Mutopia website. Mutopia is a growing collection of "open source" sheet music, all of which is free to download, print out, perform and distribute. We currently have over 800 pieces, and all of it is typeset using LilyPond. http://www.mutopiaproject.org/ Improvements include the following: - Visual refresh of the website using CSS - Clearer and simpler front page - Clearer guidelines for contributing - Improved search algorithm - RSS feed for staying up-to-date with new contributions - Printed editions of some pieces available for purchase through Lulu Thanks to Stewart Holmes for the Lulu service, and to Conrad Irwin for help with the CSS. All feedback is welcome - either to me personally, or to the Mutopia discussion mailing list: http://lists.blackcatnetworks.co.uk/cgi-bin/mailman/listinfo/mutopia-discuss Thanks, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mutopia improvements
Hi Michael, You're right. In fact, we do accept music from composers who are still alive, but it wasn't made clear on the "How to Contribute" page. I've added an extra sentence at the beginning of the "Check Copyright Status of Source" section to clarify this. It would possibly be a good idea to separate out the modern + classical composers in some way; currently they're all mixed in together. I'll give this some thought for the future. Thanks, Chris Michael David Crawford wrote: Hi, Your contribution guidelines don't seem to allow for the possibility that the original composer could be still alive, if he has placed his music under a Creative Commons license. There is a growing body of modern Creative Commons music, but so far very little of it is available as sheet music - just audio recordings. I think The Mutopia Project could do well to get those who CC-license their music to supply sheet music as well. Michael David Crawford [EMAIL PROTECTED] http://www.geometricvisions.com/ Chris Sawer wrote: Hi, Apologies for the cross-posting - but I thought this may be of interest to a wider audience. Over the last few weeks we have been making a number of improvements to the Mutopia website. Mutopia is a growing collection of "open source" sheet music, all of which is free to download, print out, perform and distribute. We currently have over 800 pieces, and all of it is typeset using LilyPond. http://www.mutopiaproject.org/ Improvements include the following: - Visual refresh of the website using CSS - Clearer and simpler front page - Clearer guidelines for contributing - Improved search algorithm - RSS feed for staying up-to-date with new contributions - Printed editions of some pieces available for purchase through Lulu Thanks to Stewart Holmes for the Lulu service, and to Conrad Irwin for help with the CSS. All feedback is welcome - either to me personally, or to the Mutopia discussion mailing list: http://lists.blackcatnetworks.co.uk/cgi-bin/mailman/listinfo/mutopia-discuss Thanks, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
feathered beams
Is it possible to do feathered beams in LY? If so, how? Thanks, -Chris ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: feathered beams
If it isn't yet "officially" possible (although I like your hack!), I would absolutely LOVE to see it as a feature in a future release. (Consider that a subtle hint to the developers!) More specifically, it would be cool to be able to specify the number of starting/ending beams, allow for direction changes in mid-group, and the total duration of the group. For midi it could then dynamically calculate the duration of each individual note. I don't know how hard it would be to implement that, but I do know a bit of c++. If the developers need any grunt-work accomplished, let me know. By the way, in my opinion, the coolest LY feature is the automatic midi pitch bends when using microtonal accidentals. It rocks!!! a happy composer, -Chris Bryan On Jun 14, 2004, at 12:13 PM, Peter Lutek wrote: On Mon, 2004-06-14 at 11:16, Bryan, Chris wrote: Is it possible to do feathered beams in LY? If so, how? there is no native mechanism for this. i hacked it a while ago by making two simultaneous beamed note-groups, with the beams tilted opposite directions in each, and tweaked so the beam start-points were the same. lily's spacing algorithm was sufficiently reliable that i didn't have to worry about making one set of noteheads or stems disappear - they always coincided exactly. that was back on 2.0.0, so things may have changed since then. if anyone else has a better solution, i'd love to hear it too! -p ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
choral voice part splitting
I am just learning Lilypond, and am having trouble understanding how to notate a style which is common in choral music. I am entering a composition for SATB voices, so I am creating a sopranoMusic, altoMusic, tenorMusic, and bassMusic section, and will use partcombine to place the two female parts in the treble staff, etc. My current problem is that occasionally one of the voice parts will split, e.g. the soprano part will split to independent soprano 1 and soprano 2 parts, but only for a few note, then back to a single soprano line. Since the parts split so infrequently, it does not seem the best approach to enter the notes as if it were an eight voice composition. When the split parts maintain the same rhythm, I am able to enter chord notation in a single voice (e.g. 1 ) and that works OK, but when the rhythms are not identical, I do not understand how to enter the sub-parts within the same voice part. I tried to use chord notation so that the notes were stacked, but with different rhythms, e.g. d2 but that was flagged as a syntax error. So what would be the proper way to enter that example, where the sopranos split, with part of the singers for that voice part sustaining a whole note, while part of the voices sang on a half not rhythm? thanks for any help, Chris Caudle ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Chords showing on bottom?
Newbie alert: just subscribed to the list. If I can find my answer
elsewhere, please just redirect me.
I have the following .ly content, and the output puts the chordnames
under the piano staff, I'd like them to be on top of the piano staff,
or on top of the voice staff. How can I control this? I've
experimented with various groupings, but I'm not sure.
% comment line
\include "english.ly"
\version "2.2.0"
\paper { raggedlast = ##t }
\header {
title = "Chords on Bottom example"
arranger = "Chris Morris"
}
\score {
\notes <<
\new Staff {
\context Voice = "Melody" {
\relative bf' {
\key ef \major
\time 4/4
r2 r4 f4 | f4 ef4 d4 ef4
}
}
}
\lyricsto "Melody" \new Lyrics \lyrics {
The Lord has pro -- mised
}
\new PianoStaff <<
\new ChordNames {
r1 | \chords { ef:2 }
}
\new Staff {
\clef treble
\context Voice {
\relative bf {
\key ef \major
r1 | << f1 bf1 ef1 f1 >>
}
}
}
\new Staff {
\clef bass
\relative bf, {
\key ef \major
r1 | << ef,1 bf'1 ef1 >>
}
}
>>
>>
}
--
Chris
http://cministries.org
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Font reference?
The help stuff I've seen for lilypond -- Chris http://clabs.org ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Font reference?
> The help stuff I've seen for lilypond Whoops - let's try that again. Font selection in the help doesn't seem to be helping me. It lists font-encoding, font-family, font-shape & font-series. The example then shows font-name, which confuses me since it wasn't in the previous list ... and then the font-name in the example is "cmr17" -- which for a Windows hack like me, just doesn't register. I like the font for the chords in the jazz section -- how can I use that one? Or any other one? What are my options, and how do I use them for chords and titles? Is there another reference I can use to get these answers? ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Create PDF on Windows without opening it?
I'm looking into creating .ly lead sheets for many of the songs on one of my sites, I've got custom automation that rips mp3s and oggs from master wav files, so I'd like to throw the lilypond rendering step into the mix, but currently running Lilypond 2.2 on Windows (cygwin) automatically tries to open the pdf. I don't want it to automatically open -- is there a way to control this? The command-line switches don't seem to offer an option for this -- Chris http://clabs.org ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Setting paper size from the command line in Lily 2.4
Hi, I've been trying to figure out if it's possible to set the paper size of Lilypond's output from the command line in version 2.4. In version 2.2, I used to use --set=papersize="letter", however this option seems to have been removed. I thought that -e "(set-default-paper-size \"letter\")" might work, but I get the following error message. I'm not sure if I'm trying the right approach here, or maybe this is a bug. Are any gurus able to help? Thanks in advance, Chris [EMAIL PROTECTED]:~/munew/tamb$ lilypond-snapshot -e "(set-default-paper-size \"letter\")" tamb.ly GNU LilyPond 2.4.1 Backtrace: In current input: 1: 0* (begin #t (set-default-paper-size "letter")) 1: 1 [set-default-paper-size "letter"] In /usr/share/lilypond-snapshot/2.4.1/scm/paper.scm: 124: 2 [internal-set-paper-size ... 125: 3* [ly:output-def-scope ... 125: 4* [eval $defaultpaper #] In unknown file: ?: 5* $defaultpaper : In expression $defaultpaper: : Unbound variable: $defaultpaper -- Chris Sawer: [EMAIL PROTECTED]-Mutopia team leader Free sheet music for all at Mutopia: http://www.MutopiaProject.org Mutopia discussion mailing list now up and running. Details at: http://lists.blackcatnetworks.co.uk/cgi-bin/mailman/listinfo/mutopia-discuss ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing on macosx 10.3
On 10 Dec 2004, at 16:13, andrea valle wrote: I'm a bit surprised that I'm able to run lily only on windows... If I type lilypond -v I only obtain: lilypond: command not found. That's strange as I installed fink with non errors. Or maybe am I missing something? Your fink installation might not have been successfully completed. Start Terminal and type the following: set | grep PATH You should get a few lines printed out, one of which will start with PATH= Mine looks as follows: PATH=/sw/bin:/sw/sbin:/bin:/sbin:/usr/bin:/usr/sbin:/usr/X11R6/bin If /sw/bin and /sw/sbin do not appear in the list, then fink has not been installed correctly. It this case, try adding the following at the top of the .profile text file in your home directory (creating it if it doesn't exist): . /sw/bin/init.sh Once you've done this, start a new terminal window and try LilyPond again. Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI and repeat
On 31 Jan 2005, at 15:57, Michael Kallas wrote: I also have problems playing MIDI files: Repetitions don't work which sounds extremely bad with alternatives (the second one is played directly after the first one). Have a look at the section called "Repeats and MIDI" in the manual. The version for Lily 2.4.2 is online at: http://lilypond.org/doc/v2.4/Documentation/user/out-www/lilypond/ Repeats-and-MIDI.html Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
question!
Hello! I was just told about lilypond yesterday, and so I wanted to try it out today. I'm at the point where I'm running the cygwin program (I'm in winXP), and I've created the test.ly file, but I can't seem to open it. I type in lilypond test.ly, but it always gives me the error message "can't find test" I've saved it to the desktop and another one to the C: drive, and I even tried entering lilypond c:test. All to no avail. I'm sure there is something pretty simple I'm missing here. Can you help me out? Thanks so much! Chris Fresolone __ Do you Yahoo!? Yahoo! Mail - Easier than ever with enhanced search. Learn more. http://info.mail.yahoo.com/mail_250 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mac/Safari question-
On 19 Feb 2005, at 22:27, Stan Sanderson wrote: OS 10.3.8 and Safari- The Documentation Tips & Tricks (and similar) fail to produce graphic output. Only "missing graphic" icons (box with question mark) are shown after each item. Clicking on the box produces the code for the item. It's the same for me here (OS X 10.3.8) using Safari or Mac IE. Only Firefox shows the images. It appears to be related to the fact that the source for the web page: http://lilypond.org/doc/v2.5/input/test/out-www/collated-files.html has image tags like the following: The file lily-931951662.png exists, and is the image as expected. The file lily-931951662 (no extension) also exists, but appears to be a short text file saying merely "image of music". This is the result when trying to fetch the file lily-931951662 using wget, IE or Safari. I'm not quite sure why or how Firefox shows the images, but this would appear to be a bug in the website, rather than in Safari. [the 2.4 Tips and Tricks page displays fine in all browsers] Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature request - extended ties
On 20 Feb 2005, at 15:07, Han-Wen Nienhuys wrote: [...] I understand what you need, and I'll look into it. I only know this notation from grace notes writing out an arpeggiated chord. Do you know whether it is also used without grace notes (ie. with the 16th notes being normal rhythmic notes?) Yes, see for example the 3rd movement of Beethoven's Moonlight Sonata, available at Mutopia: http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=292 (around bar 164 - they're 32nd notes in this case. In my Berners edition they're certainly not grace notes) Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MacOS X native packaged (was Re: lilypond install mac os x)
For some reason, jedit's really slow on my Mac (1GHz iBook G4, 512Mb RAM, OS X 10.3.8). Even with the syntax completion features turned off, lily4jedit is not really useable. Does anyone else have this? Any ideas? I've tried increasing the amount of memory given to the Java interpreter, but it doesn't seem to have made any difference... Chris On 1 Mar 2005, at 09:58, Mats Bengtsson wrote: And my idea was that a copy of jedit with lilypond preinstalled might be a good candidate to include in this environment. :-) /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Disabling point & click
Hi, Is there a way to disable point & click in the PostScript backend of 2.5.16, so as to decrease the size of the resulting PostScript and PDF files? Thanks, Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Failure to run Lilypond
I down-loaded Lilypond on to Windows XP a week or so ago but have been unable to get it to work. It will generate straight lines (the staff lines and the bar lines, and the vertical lines where the notes should be) but nothing else. I've looked at the Tex output and I cannot see anything that corresponds to the blobs for notes. I've also run both under bash and as a direct Windows program and I get the same results. (Incidentally bash does not work properly on XP - I cannot execute built-in commands like DIR or COPY). Any ideas as to what's wrong? Chris Paradine
Mutopia announcement mailing list
Apologies if this is off topic for this mailing list, but I don't post about Mutopia very often... A "Mutopia announce" mailing list has been created. I'm intending to post a message at the beginning of each month with information on all the new contributions and updates in the previous month, and any other Mutopia news. If you would like to join the list, please send an e-mail to [EMAIL PROTECTED] with the phrase "subscribe mutopia-announce" in the subject line or body of the e-mail. Thanks, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia Maintainer Free sheet music for all at Mutopia: http://www.mutopiaproject.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Artificial string harmonics question
Hello,
I was wondering if there was a way to notate artificial string harmonics
in Lilypond. This consists of a normal shaped note with a
diamond-shaped note head above it (usually a fourth above). I haven't
been able to figure out how to get a note to have a diamond-shaped
notehead. I'm currently using Lilypond 1.4.8.
Thanks.
--
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Chord spanning two staffs
I'm happy with automatic and manual staff changes for voices in piano staffs, but is it possible to typeset a single chord, with notes on both staffs, whose stem spans the two staffs? -- chris ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Chord spanning two staffs
On Thu, Apr 11, 2002 at 09:11:05AM +, David Raleigh Arnold wrote: > Chris Jackson wrote: > > > I'm happy with automatic and manual staff changes for voices in piano > > staffs, but is it possible to typeset a single chord, with notes on both > > staffs, whose stem spans the two staffs? > > > How is that not just a matter of increasing the stem length on > one of the staves? Sometimes when there are multiple voices, the stems of the two chords aren't exactly aligned vertically, because head collisions force one of the chords to be shifted sideways. So I might have to find out how to add bits of extra horizontal space, or force them to be aligned vertically some other way. -- chris ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Weird beaming problem with major seconds
Hello,
I am currently working on a piece for concert band, and am setting it
using lilypond 1.4.11, under Red Hat Linux 7.2. In the score, I have
the first and second flute parts on the same line, and there's a part
where they are both playing an eighth note ostinato, and on the offbeats
the resulting harmony between the two is a second. This produces some
very odd beaming results. I've attached a sample measure so you can
see. Do you know a) if this is a bug and b) if there's a workaround?
Thanks,
Chris Lipe
FluteI = \notes {
\clef treble
\relative c''' {
\time 4/4 [aes8-\p( f] [aes f] [aes f] [aes )f] |
}}
FluteII = \notes {
\clef treble
\relative c'' {
\time 4/4 [bes8-\p( ees] [bes ees] [bes ees] [bes )ees] |
}}
\score {
<
\context Staff = flutes
<
\property Staff.instrument = "Flute 1,2"
\property Staff.instr = "Fl 1,2"
\property Staff.midiInstrument = #"flute"
\context Voice=one \partcombine Voice
\context Thread=one \FluteI
\context Thread=two \FluteII
>
>
\paper { }
}
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spectacular ly2dvi failure
Hello,
I am running Red Hat Linux 7.2, and lilypond version 1.4.11-1. I'm
trying to compile a moderately large piece (75 measures of full band
score), and I get the following error when invoking ly2dvi:
Analyzing default.tex...
Running LaTeX...
error: latex: command exited with value 256
Traceback (innermost last):
File "/usr/bin/ly2dvi", line 850, in ?
run_latex (files, outbase, extra_init)
File "/usr/bin/ly2dvi", line 626, in run_latex
system (cmd)
File "/usr/bin/ly2dvi", line 234, in system
error (msg)
File "/usr/bin/ly2dvi", line 132, in error
raise _ ("Exiting ... ")
Exiting ...
I get a .tex file out of this, but it's never more than the first four or five pages
or so of the score. I can compile the woodwinds, the saxes, and the brass all
separately, and they work beautifully, giving me the entire .ps file I want, but when
I try to compile the whole score at once, it goes splat. I still get a .tex file, but
if I try to turn that into a .dvi, I get only three, somtimes four pages of the score.
If I try invoking lilypond instead of ly2dvi, I get a .tex file without too much
complaint, but when I run tex on that to get a dvi file, I get the following output:
This is TeX, Version 3.14159 (Web2C 7.3.1)
(default.tex (/usr/share/lilypond/tex/lilyponddefs.tex
(/usr/share/lilypond/tex/feta20.tex)
(/usr/share/lilypond/tex/lilypond-plaintex.tex LilyPond Plain TeX settings)
(/usr/share/lilypond/tex/lily-ps-defs.tex) [footer empty])
Underfull \vbox (badness 1) has occurred while \output is active [1]
Underfull \vbox (badness 1) has occurred while \output is active [2]
Underfull \vbox (badness 1) has occurred while \output is active [3]
Underfull \vbox (badness 1) has occurred while \output is active [4]
Underfull \vbox (badness 1) has occurred while \output is active [5]
Underfull \vbox (badness 1) has occurred while \output is active [6]
Underfull \vbox (badness 1) has occurred while \output is active [7]
Underfull \vbox (badness 1) has occurred while \output is active [8]
Underfull \vbox (badness 1) has occurred while \output is active [9]
! TeX capacity exceeded, sorry [main memory size=350001].
\botalign #1->\vbox to 0pt{\vss #1}
l.82057}
%
Output written on default.dvi (9 pages, 507964 bytes).
Transcript written on default.log.
Here I have 9 pages of the score, but that's still a couple pages short (it's about 12
pages long).
There are a handful of warnings I get when compiling either way, but there's nothing
that's fatal; mostly "putting slur over rest", or some inexplicable complaints about
beaming. Something very odd about this: if I compile the entire score with ly2dvi, it
finds a whole bunch of failed bar checks (which I can't verify by looking at the
score, because it inevitably stops right before the measure in question), but
compiling smaller parts of the score with ly2dvi (either the last 3/4 of the score,
full band, or the whole score, one section at a time), or the entire score with
lilypond, there are no failed bar checks.
I'm not sure what's going on here, and I really can't get enough output out of ly2dvi
to figure it out. Both the .ly file involved and the log of error messages are rather
lengthy; I can provide them if necessary. Does anyone have any ideas to help me out?
Thanks.
Chris Lipe
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spell krzysztof as in Penderecki.
Chris Lipe
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soiling your pants laughing by now."
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Re: First edition of famous unpublished works on Mutopia?
In message <[EMAIL PROTECTED]> Juergen Reuter <[EMAIL PROTECTED]> wrote: > Maybe you heard in the news about the archive of unpublished manuscripts > by famous composers such as Wilhelm Friedemann Bach. This archive was > lost during World War II, has been found in Kiev, and is now being made > available for research and "practical" purposes. For more information, > see http://www.sing-akademie.de/news-kiew.htm (this page contains > information mostly in German language, but also some in English further > down on the page). I'd not heard of this archive, but from the (English parts of) the page you pointed out, it sounds very interesting. > Maybe we should ask if we can somehow get access to some of the works and > try to publish it on mutopia? I think it would be nice if there were some > piece of famous baroque music that has been first published on mutopia... Unless I've missed something, the page above doesn't mention any of the music being digitised, so presumably it only exists in the original paper form ATM. Therefore, if anyone wants to do any work with them, they'd have to go to Kiev. A slight drawback, but if anybody is willing and able to go and gain access to these manuscripts, I'm sure we'd be more than happy for them to be contributed to Mutopia (subject to checking out the legal position, of course). I agree that it would be fantastic for the first publication of works by such famous composers to be on Mutopia! > For proper editing, there, however, should be some annotational features > added to lilypond (therefore this mail is cc:-ed to lilypond-devel). In > particular, it should be possible to have a standardized way of putting > information into an .ly file such as "the manuscript contains here a cis, > but it probably should be a c" (i.e. some kind of alternative music, > with only one alternative actually printed in the score, and other > alternatives added as footnote, for example). We (at Mutopia) have been thinking along the same lines recently, and there will be a number of improvements coming up shortly for people who want to publish well researched editions on Mutopia. I agree with you that some kind of footnote feature would be useful in LilyPond. Developers: is it practical/possible to add something along the lines of the LaTeX footnote feature - maybe even using it, since LilyPond uses LaTeX? Thanks, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia Maintainer Free sheet music for all at Mutopia: http://www.mutopiaproject.org ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: First edition of famous unpublished works on Mutopia?
In message <[EMAIL PROTECTED]>
Han-Wen <[EMAIL PROTECTED]> wrote:
> [EMAIL PROTECTED] writes:
> > I agree with you that some kind of footnote feature would be useful in
> > LilyPond. Developers: is it practical/possible to add something along the
> > lines of the LaTeX footnote feature - maybe even using it, since LilyPond
> > uses LaTeX?
>
> I haven't come to grips with the way that footnotes work in LaTeX. If
> you try to do a \footnote{} insine a lilypond text (eg
> c4^"\\footnote{..}"), latex gets all confused since we do funky stuff
> with shoving around texts for formatting.
>
> We could dump footnote info between systems, but then some LaTeX guru
> would have to figure out how
>
> 1. to keep footnotes and their systems together
> 2. how to get the footnotenumber at the bottom of the page, but not
> at the end of the system.
>
>
> (for 2. I could imagine something like
>
> * lily prints a mark (say, (A) ) to indicate a footnote
> * at the end of the system, lily dumps
>
> \footnote[]{(A) ..footnotetext.. }
>
> trouble now is: the numbering can not be reset across pages, since
> lily doesn't know where the pages are.)
OK, sounds like it could be complicated to implement! Thanks to everyone that
replied for all the info, and if anyone can come up with a definitive way of
getting footnotes working within LilyPond (using ly2dvi rather than
lilypond-book), then we'd be very grateful.
I've CCed this to Erik Sandberg who has also expressed an interest in having
footnotes in LilyPond to see if he has anything extra to add (I'm not sure if
he's on any of the LilyPond mailing lists).
Thanks,
Chris
--
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Free sheet music for all at Mutopia: http://www.mutopiaproject.org
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Re: other_brackets
On Sat, Jun 29, 2002 at 12:25:32PM +, David Bobroff wrote:
> I asked a question some time ago about bracketing some notes but never got
> a suggestion. I'm not talking about the same kind of brackteing as the
> recent bracket thread. What I would like to do is something like this:
>
> ____
> | * * * * |
> | | | | ||
> | | | | ||
> | | | | ||
> | | | | ||
> | ---|
> |__ --- __|
>
> I want the bracket to extend above and below the group of notes in
> question. I want a large version of '[ ]' and not '( )'.
Currently it is possible to use \arpeggio to draw a bracket to group
together the set of note heads in a chord - see the Piano
Music->Arpeggio section of the development version reference manual.
(CC'd to lilypond-devel...)
If you apply the patch below to the latest CVS version of lilypond,
then you'll be able to extend the bottom of the bracket to embrace the
stems as well. This is done by modifying the 'shorten-pair' property
of these fake arpeggios. Then you can achieve the above using
something like...
\score {
\notes \relative c'' {
\property Staff.Arpeggio \override #'molecule-callback = \arpeggioBracket
\property Staff.Arpeggio \override #'shorten-pair = #'(0.0 . -3.0)
[ e16 \arpeggio e e
\property Staff.Arpeggio \override #'direction = #1
e \arpeggio ]
}
}
--
chris
Index: ChangeLog
===
RCS file: /home/lilypond/lilypond/ChangeLog,v
retrieving revision 1.250
diff -p -u -r1.250 ChangeLog
--- ChangeLog 30 Jun 2002 15:17:11 - 1.250
+++ ChangeLog 30 Jun 2002 16:47:39 -
@@ -1,3 +1,8 @@
+2002-06-30 Chris Jackson <[EMAIL PROTECTED]>
+
+ * lily/arpeggio.cc: shorten-pair property added to 'arpeggio'
+ vertical brackets. direction property mirrors the bracket on the
+ right of the notes.
+
2002-06-30 Jan Nieuwenhuizen <[EMAIL PROTECTED]>
* lily/grob.cc (mark_smob): don't mark parents, explain why.
Index: lily/arpeggio.cc
===
RCS file: /home/lilypond/lilypond/lily/arpeggio.cc,v
retrieving revision 1.16
diff -p -u -r1.16 arpeggio.cc
--- lily/arpeggio.cc10 Apr 2002 17:25:35 - 1.16
+++ lily/arpeggio.cc30 Jun 2002 16:47:40 -
@@ -17,7 +17,6 @@
#include "font-interface.hh"
#include "lookup.hh"
-
MAKE_SCHEME_CALLBACK (Arpeggio, brew_molecule, 1);
SCM
Arpeggio::brew_molecule (SCM smob)
@@ -89,7 +88,7 @@ Arpeggio::brew_molecule (SCM smob)
return mol.smobbed_copy () ;
}
-/* Draws a vertical bracket to the left of a chord
+/* Draws a vertical bracket to the left or right of a chord
Chris Jackson <[EMAIL PROTECTED]> */
MAKE_SCHEME_CALLBACK (Arpeggio, brew_chord_bracket, 1);
@@ -119,10 +118,19 @@ Arpeggio::brew_chord_bracket (SCM smob)
}
Real lt = me->paper_l ()->get_var ("linethickness");
- Real sp = 1.5 * Staff_symbol_referencer::staff_space (me);
- Real dy = heads.length() + sp;
- Real x = 0.7;
-
+ Drul_array sp;
+ SCM s = me->get_grob_property ("shorten-pair");
+ Real pad = 1.5 * Staff_symbol_referencer::staff_space (me);
+ sp[UP] = sp[DOWN] = 0.0;
+ if (gh_pair_p(s)) {
+sp[UP] += gh_scm2double (ly_car (s));
+sp[DOWN] += gh_scm2double (ly_cdr (s));
+ }
+
+ Real dy = heads.length() + pad - sp[UP] - sp[DOWN];
+ int dir = to_dir (me->get_grob_property ("direction"));
+ Real x = 0.7 * (- dir);
+
Molecule l1 = Lookup::line (lt, Offset(0, 0), Offset (0, dy));
Molecule bottom = Lookup::line (lt, Offset(0, 0), Offset (x, 0));
Molecule top= Lookup::line (lt, Offset(0, dy), Offset (x, dy));
@@ -130,7 +138,9 @@ Arpeggio::brew_chord_bracket (SCM smob)
mol.add_molecule (l1);
mol.add_molecule (bottom);
mol.add_molecule (top);
- mol.translate_axis (heads[LEFT] - sp/2.0, Y_AXIS);
+ mol.translate_axis (heads[LEFT] - pad/2.0 + sp[DOWN], Y_AXIS);
+ if (dir == 1)
+mol.translate_axis (-x, X_AXIS);
return mol.smobbed_copy();
}
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Multi-measure rests
It doesn't seem to be possible to attach articulations to multi-measure
rests.
Is this by design? Although it is possible to work around this by using
skips.
\score {
\notes {
\time 3/4
R2.^"Allegro" | | r2.^"Allegro"
}
}
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Re: Fwd: 8va
Jule Slootbeek wrote: >> >> in the meantime i found TextSpanners, but it gives me this error: >> >> Parsing... >> /Users/jslootbe/musc220/ass4/ass4.ly:16:27: error: parse error: >> [bes'! bes,!]\spanrequest >> \start "text" [b'! b,!] >> [bes'! bes,!] \spanrequest \stop "text" >> >> /Users/jslootbe/musc220/ass4/ass4.ly:16:78: error: parse error: >> [bes'! bes,!]\spanrequest \start "text" [b'! b,!] >> [bes'! bes,!] \spanrequest >> >> \stop "text" > Try putting the \spanrequests inside the square brackets, immediately after the note you want it attached to: [ b'! \spanrequest \start "text" b,!] [bes'! bes,! \spanrequest \stop "text" ] or [bes'! bes,! \spanrequest \start "text" ] [b'! b,!] [bes'! bes,! \spanrequest \stop "text" ] Or alternatively use \commandspanrequest instead of \spanrequest, but I'm not sure how the internals work here. -- chris ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to lengthen the arpeggio...
Minh A. Hoang wrote:
...so that the arpeggio grob would cover the whole staff vertically
(and over the other voices as well).
You might be able to do something like this, which adds invisible notes
that are spanned by the arpeggio:
blanknotes = { \property Thread.NoteHead \override #'transparent = ##t
\property Thread.Stem \override #'transparent = ##t }
\score {
\notes \relative c' \context Voice {
} >
}
}
The stem length also needs shortening here, but you get the general idea.
--
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Re: Can't get the thing to compile...
Alexandre Aractingi wrote: ... actually I can't get past the ./configure stage... I am using a Mandrake 9.0 Linux distribution, and I have tetex, python and libpython-devel installed (from Mandrake packages). I downloaded Lilypond 1.6.6, but ./configure says : ERROR: Please install required programs: python.h (python-devel, python-dev or libpython-dev package) Did you remember to remove config.cache before rerunning ./configure? Now if I try to do the same with 1.7.4, everything is ok regarding Python, but it says I need guile-config 1.6, which I only have in version 1.4. So what do you think, do I really have to install guile 1.6 to get the thing compiled, or does somebody know a quick workaround to make 1.6.6 compile properly? Should be no problems with building 1.6 from source and putting it in /usr/local. However as you're running Mandrake 9.0, even after you've got configure to run, you might run into problems doing the compile. This distro has a buggy version of flex which generates code which is not recognised by gcc 3.2. See past threads on this list: http://mail.gnu.org/pipermail/lilypond-user/2002-October/002916.html describes a workaround (I haven't tried this myself). -- chris ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Centering text spanners under a note
Maurizio Tomasi wrote:
I am typesetting an old edition of Mozart quartets, and sometimes
dynamics appear in parentheses. I manage to write these with
---
\score {
\context Staff {
\notes \relative c' {
c1_#'(columns (large "(") (dynamic "p") (large ")"))
}
}
}
---
but the "(p)" string is not rightly centered above the note (it is a
bit at the right because of the parentheses). I tried with the
"edge-text" of the Text Spanner grob, but without success (brackets
are not shown at all):
That's because it's not a text spanner - it's a text script. You could
use the
extra-offset property to fiddle the horizontal position - the following
produces
an approximately centered (p) for me:
\score {
\context Staff {
\notes \relative c' {
\property Voice.TextScript \override #'extra-offset = #'(-0.7 . 0)
c1_#'(columns (large "(") (dynamic "p") (large ")"))
}
}
}
To create a text spanner see Expressive marks->Text spanners in the manual.
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Slurs in lyrics
I'm engraving a piece where I'd like to put dotted slurs directly in the lyrics to instruct the singers to carry the note. I know there are other ways to indicate this (such as dotted slurs over the notes, which is what I've settled with currently), but I'd like to put the slurs over the lyrics if possible. Does anyone know of a way to do this? My hunch is that there isn't a way to do it without modifying the code, but I figured I'd check first. Thanks. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slurs in lyrics
Hi Mats,
Your solution works exceptionally well. The only issue I've had is
aligning the slurs with the ends and beginning of words (rather than the
center, where the hidden noteheads are). I can tweak this using
\override NoteHead #'X-offset commands.
Thanks so much for the tip! I'll put together a snippet for the LSR when
I get a chance.
-Chris
Mats Bengtsson wrote:
> Here's one possibility. Since you can redefine contexts, you can add the
> slur engraver to the Lyrics
> context. However, it turns out that slurs need to be attached to note
> heads, so there are a couple of
> other engravers that have to be added as well. Then, you can add the
> slurs attached to a line of
> dummy notes.
>
> \version "2.12.0"
> \layout{
> \context {
>\Lyrics
>\consists "Note_heads_engraver"
>\consists "Slur_engraver"
>\consists "Rhythmic_column_engraver"
>\consists "Pitch_squash_engraver"
>\override NoteHead #'transparent = ##t
>squashedPosition = #2
>% For slurs above the text, use the following line
> %\override Slur #'direction = #UP
> }
> }
>
>
> \new Lyrics <<
> % The actual lyrics:
> \lyricmode{ Here's the ly -- rics }
> % The slurs, attached to dummy notes
> { c2 c4 ( c ) }
>>>
>
> /Mats
>
> Chris Snyder wrote:
>> I'm engraving a piece where I'd like to put dotted slurs directly in the
>> lyrics to instruct the singers to carry the note. I know there are other
>> ways to indicate this (such as dotted slurs over the notes, which is
>> what I've settled with currently), but I'd like to put the slurs over
>> the lyrics if possible.
>>
>> Does anyone know of a way to do this? My hunch is that there isn't a way
>> to do it without modifying the code, but I figured I'd check first.
>> Thanks.
>>
>> -Chris
>>
>>
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>>
>
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Re: problem with installing frescobaldi
Stefan Thomas wrote: > I tried to install Frescobaldi from source. > But I get the following error message: > The C++ compiler "CMAKE_CXX_COMPILER-NOTFOUND" is not able to compile a > simple test program. > I don't undertand the meaning of it- > I use Kubuntu, with KDE 4.2 It looks to me like you don't have a proper build environment (including a C++ compiler) installed. You can get what you need by installing the build-essential package. Alternatively, I've been working on setting up an Ubuntu PPA (personal package archive) that contains Frescobaldi. While I have been told that Frescobaldi will likely be included in Ubuntu Jaunty, I'm planning to always have the most recent version available in this archive. I also provide the latest version of LilyPond (currently 2.12.1 - I haven't been able to get a 2.12.2 package to compile because of documentation issues that I believe are fixed in git), since LilyPond releases occur much more frequently than Ubuntu ones. You can access the PPA by going to the following address: https://launchpad.net/~csnyder/+archive/ppa That page also gives instructions for adding it to your sources.list. If anyone does use this archive, I'd appreciate feedback. Thanks. -Chris Snyder ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem with installing frescobaldi
Till wrote: > Wow, this looks great, I tried also to compile some time ago but was not > willing to install all the compiling stuff for kde, since I have gnome. But > some kde4 libraries I can afford. Did you include all the correct > dependences? I will try it in the near future. > Thanks > Fun btw that lilypond is still considered to be "TeX"... I did spend quite a bit of time to make sure the dependencies were right. I haven't tested running Frescobaldi outside of KDE, but the package does build in a clean environment (absolute base system install - no Gnome, KDE, X, etc.) just fine, and pulls in the necessary dependencies. If you do try it, please let me know how it goes. I also find it amusing that LilyPond is still in the TeX section. I briefly considered changing it in the builds in my PPA, but figured that such a change would cause more problems than it was worth. I never really pay attention to those categories anyways... -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mutopia Project site down
Francisco Vila wrote: 2009/3/13 Jonathan Kulp : Does anyone know if something has happened to the Mutopia Project? The site has been unavailable for three days straight. Hope it's not gone forever. These mirrors work: http://www.ibiblio.org/mutopia/ http://eremita.di.uminho.pt/mutopia/ ftp://ibiblio.org/pub/multimedia/mutopia/ Thanks for your concern! Our ISP managed to delete our domain from their database... It has now been restored, and e-mail is coming through again. The website should be available later once DNS changes propagate throughout the internet. Please resend any e-mails that bounced. Best regards, Chris -- Chris Sawer - ch...@mutopiaproject.org - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Frescobaldi] ANN: Frescobaldi 0.7.8 released
Wilbert Berendsen wrote: > Frescobaldi 0.7.8 has been released. [...] For Ubuntu users: Frescobaldi 0.7.8 has been posted to the Frescobaldi PPA: https://launchpad.net/~frescobaldi/+archive/ppa The build of the Intrepid packages has completed. The Jaunty builds will have to wait until some package conflicts in the Jaunty repositories are resolved. If you added my PPA (csnyder) in the past, please switch over to the Frescobaldi PPA. Thanks, -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overlong extender
Carl D. Sorensen wrote: >> Can you give a bit more context? After paring down to just this, I'm having a >> little difficulty understand how this problem arises in the actual music. The >> extender is so long because there's no text after it, simply adding another >> syllable solves that problem. So, I ask for a bit more context, since I'm >> guessing in the actual music, there is text after the word to, and before as >> well. > > This is a known issue. See bug # 331. > > <http://code.google.com/p/lilypond/issues/detail?id=331> I recently submitted a patch that fixes this issue. It was just accepted within the past few days, so it's not in any release builds yet (it will be in 2.13.1). I tried your score in a version with the patch, and the extender is the correct length, so you'll be fine with 2.13.1. -Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius (was Review of Valentin's Opera)
Valentin Villenave wrote: > To me, note entry is much, much, much faster with LilyPond than with > Fin/Sib. (even using a MIDI keyboard -- which, by the way, is one of > the less enjoyable experiences I know of). I concur here. I am much faster with Lily than I suspect I ever could be with a graphical interface. It's so much more intuitive to me, and actually feels more musical - I have to think about the relationships between notes in a much more musical way, especially when dealing with multiple voices. > The only advantage I could ever find in using such programs is that, > while LilyPond's workflow is very horizontal (i.e. you enter one voice > at a time), graphical programs allow you to have a global, vertical > view of your score. As an engraver (rather than a composer), I greatly prefer the line-by-line approach the vast majority of the time - I prefer that the other parts take care of themselves, retaining modifications I've made, while I work on tweaking a specific area. Other than initial line+page breaks and final evaluation, I find that I keep my PDF reader zoomed in most of the time. If I need to jump between voices, the point+click hyperlinks in the PDF are a tremendous help. > - if you're still composing and need to constantly have an overview > of your score instead of entering pre-existing material... well, you > may as well use this free-hardware tool called "pencil and paper"? :-) The following observation isn't true 100% of the time (i.e. don't flame me if you believe you don't fit into my perception), but in my observation most of the best composers still compose the old-fashioned way. In the little composing I've done (music theory exercises when I was still in school, etc.) I found that the GUI interface acted as a crutch, preventing me from really thinking about the relationships between notes. The GUI was certainly faster - and I appreciated utilizing it for the exercises where I really didn't care about the quality of the resulting music (especially for one theory professor that I didn't respect much) - but I started thinking about the way the music looked on the page rather than how it sounded. The way that music is entered for LilyPond causes me to think in a more musical way - there have been times when I've been stumped as to how to tell Lily to engrave something, only to realize that even if I did get it exactly as the composer wanted, the music would be confusing to read. LilyPond makes it much easier for me to work in my dual editor+engraver role. I've been using LilyPond exclusively for my fledgling music publishing business. Virtually without exception, every composer has been blown away by the quality of the engraving when presented with the proofs of their music about to be published. I deserve some of the credit for this - I spend a lot of time tweaking output, especially ties (mainly in chords) - but LilyPond gives me an excellent starting point, a very intuitive interface, and the ability to modify absolutely anything if I want to take the time. I'm convinced that no commercial product can come close. -Chris -- Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website, draft 7
I've finally gotten around to looking at the new web site, and I have to say I'm very impressed. Great work! A couple of comments about the site: On Text-input.html, the pop music example is missing a hyphen and an extender line in the first measure (though perhaps this was intentional to simplify things?) On Productions.html, I think you mis-entered the name of the other publishing company listed - on that page it's "The Shady Lady Publishing" but it looks like it should be "The Shady Lane Publishing" (though I quite like the former!). Thanks for the link to my company's site, as well. I've also added a link to the LilyPond site to the next revision of our site (I've been meaning to do that for some time). Most of the LilyPond promoting I've been doing so far has been face-to-face - especially at conventions we've exhibited at, where there are a few inquiries every day as to what software we use. Related to LilyPond promotion - do any people have suggestions as to how to explain it to people unfamiliar with LilyPond or the open source philosophy in general? The concept is certainly much more mainstream than it used to be (using Linux or Firefox as examples seems to help) but it's still difficult to explain. Also, I'm never sure how to promote LilyPond to technical illiterates who are used to a point-and-click interface. I usually end up giving LilyPond a glowing review, but cautioning that it requires a very different mindset than Finale/Sibelius. Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website draft 8: almost giving up
I should've read your email before I sent my previous message... Graham Percival wrote: > Most of the people who have been working on the website, including > me, are fed up with it. I'm ready to shovel this out the door > just to get rid of it... not particularly the best frame of mind > to be introducing a major change to our users' experience, but > hey, that's life in open-source projects! If you feel at all > enthusiastic about the new website, please consider helping. I'd like to help, though I realize it's quite late in the game for me to get up to speed on the environment you're using. One major area I see is the editing environments page (which, as far as I can see, doesn't currently exist). If it would be useful, I'd be willing to put together a page containing links to all of the various programs, categorized by type (text editor vs. point-and-click), OS, etc. > Make sure you check out the alternate CSS style #2. This has > fancy gradient-shaded menu bars, which could be a great hit. It's > /much/ easier to see which item you have selected. If you like > it, make sure you let us know, so that it can be added to the > default layout. To be honest, I'm not a big fan of the different menu bar. I would like it more if it were green instead of brown (though I'm a Ubuntu user, so I'm sick of brown by now), but the gradients also make it look less clean to me. I really like to solid green of the default style. Perhaps something else could be done to make the current selection more evident (perhaps a darker green background with white text?). Thanks for all your hard work on the new site. It really does look quite stunning, and is clear and easy to use as well. Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website draft 8: almost giving up
Bertalan Fodor (LilyPondTool) wrote: >> IMO, such a page is best reserved until people have a little bit >> of experience with lilypond. > Which will be a quite bad experience without a decent editing > environment... I agree with Bertalan. Editing environments are great to help people get up to speed with LilyPond. The first thing I did when helping my wife get started with LilyPond (she does most of my first drafts) was to set up LilyPondTool. That removed multiple layers of complexity for her - running LilyPond was a button-click away (rather than using the command-line or navigating to the file in Explorer) and previewing was just as simple as well. I can understand wanting people to know how the internals work before everything is wired up for them. The learning from the bottom-up mentality is definitely the way I think (knowing *how* my car works - rather than just what it does - for example, has been very valuable), but I think it's unrealistic to expect potential users to adopt this mindset overnight, without anyone personally helping them in the process. Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website non-git help
Andrew Hawryluk wrote: > Could we add a link in the first paragraph to the (upcoming) essay? > Perhaps on the words "beautifully engraved music". The essay was a > prominent feature of the previous web design, and says a lot about the > attention to detail that goes into LilyPond. I'd like to see the essay prominently featured in the new design as well. When I first found LilyPond, reading the essay changed my reaction from the initial "Great! I found open-source engraving software that will be useful." to "Damn! LilyPond looks better than any of its competitors, including the expensive ones. These people know what they're doing." Perhaps one place for a link to the essay could be right under the "Excellent classical engraving" subheading near the top of the Features page: "Read more: The LilyPond philosophy" Glancing at the Features page, I also just noticed a typo under "Excellent support:" s/documetation/documentation/ -Chris -- Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website menus: gradient vs. solid
> I'm probably not helping much by saying so, but I prefer the solid - > it just looks cleaner, and while the gradient version stands out more > that might be just due to the darker color, and finally, I don't think > it's *necessary* for it to stand out so much - it's right at the top, > bold and underlined. It probably doesn't matter that much, though. > Either way, it's a great improvement over the current page! +1 (to both the solid preference and the positive review of both options) Chris Snyder Adoro Music Publishing 1-616-828-4436 x800 http://www.adoromusicpub.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Controlling MIDI output and chords
Hi! Apologies for using the list for something that's probably clearly described on page 32767 of the docs, but I've been searching around and can't find it among the massive amounts of information there!! :) I'm using Lilypond to create both MIDI and PDF scores. What I hope to achieve is a printable score which has four-part piano (two on the treble clef, two on the bass), lyrics in the middle, and chord names across the top; and in the MIDI, I want the piano parts, the lyrics, but not the chords. So far, I have a .ly file which produces correct-looking PDF output, but the MIDI has the chords as well. I'm guessing that it's probably something along the lines of removing the Note_performer from the MIDI output, but I tried that and it doesn't seem to work. Any advice would be gratefully received! As an alternative to actually suppressing the chords from the MIDI, taking their volume down to nothing would also serve. Thanks in advance! ChrisA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Controlling MIDI output and chords
On Thu, Oct 29, 2009 at 4:41 PM, James E. Bailey
wrote:
> You'll probably want to create two \score blocks, one for layout, with the
> chords, and one for MIDI, without the chords.
> James E. Bailey
Ahh. Is there an easy way to macrofy that? My file currently looks like this:
\version "2.10.33"
\include "english.ly"
\score {
<<
\new ChordNames {
... chomp ...
}
\new Staff <<
\new Voice = "sops" \relative f' {
... chomp ...
}
\new Voice = "alto" \relative f' {
... chomp ...
}
\addlyrics {
... chomp ...
}
>>
\new Staff <<
\new Voice = "tenor" \relative c' {
... chomp ...
}
\new Voice = "bass" \relative c' {
... chomp ...
}
>>
>>
\layout { }
\midi { }
}
I'd rather not duplicate content or structure if I can. Can I make a
macro out of the entire two-staff system, or do I have to create a
variable for each Voice and build up two entire copies of the
structure?
ChrisA
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Re: Controlling MIDI output and chords
On Thu, Oct 29, 2009 at 5:26 PM, madMuze wrote:
>
> It's not clear how you removed the Note_performer; have you tried:
>
> \midi {
> \context { \ChordNameVoice \remove Note_performer }
> }
>
> ?
> This has worked for me.
Ah. I was doing:
\midi { \context { \ChordNames \remove "Note_performer" } }
Trying it how you said
Ha! It works! Thank you thank you thank you!
ChrisA
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Re: Mailing list strangeness
On Fri, Oct 30, 2009 at 7:57 AM, Frank Steinmetzger wrote: > Hi, > > not Lilypond-specific, but about the mechanisms of the mailing list: > > During the last days I asked two questions on the list, and both Kieren and > Neil wrote their answers with To:my address and a copy (CC) to the list. The > same goes for answers they write to each other in the ongoing thread. > > Shouldn't I get two messages then; the one for me and the one that goes to the > list and hence to all subscribers? For the latter I set up a filter that > moves all lilypond mails into an own folder. The listserver is set up to be smart; if it notices that you've been cc'd into the list, it won't send you another copy. If that's a problem for you, go to the config page, as mentioned in your welcome email - it should be this, I believe: http://lists.gnu.org/mailman/options/lilypond-user/Warp_7%40gmx.de You'll need your password, which you can have emailed to you. Once you log in, you'll see an option down the bottom "Avoid duplicate copies of messages?", which you can set to No to get all those emails you're missing out on. Hope that helps! ChrisA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Scheme code snippet: lyric newlines/paragraphs
Peer review requested! I've added a snippet to LSR, showcasing my absolute brilliance in coding Scheme (hey, it's the first thing I've ever done in the language - gimme a break!!), to solve a problem between vanBasco's Karaoke Player for Windows, and the printed score. Am I going about things entirely wrong, and is there a really really easy solution to the problem? Snippet is here: http://lsr.dsi.unimi.it/LSR/Item?u=1&id=644 ChrisA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Coloring note heads by pitch
I've spent some time trying to figure this out, and I'm certain it's
possible; the only question is, what's the cleanest way to do it?
I want to print out score with each note color coded (middle C in red,
D in orange, E in green) to match a set of bells. Currently, I have a
fairly straightforward setup, but exceedingly tedious: identify the
bell AND give the music expression. What I'd like to do is make it
that I can simply key in the music as is, and then have some
scriptwork figure out what color to make each one based on its
staffposition.
Current code:
% Is there an alternative to this shocking editor inheritance?
bell = #(define-music-function (parser location bellnum mus) (integer?
ly:music?)
(if (eq? bellnum 1) #{ \once \override NoteHead #'color = #red
\once \override Stem #'color = #red $mus #}
(if (eq? bellnum 2) #{ \once \override NoteHead #'color = #orange
\once \override Stem #'color = #orange$mus #}
(if (eq? bellnum 3) #{ \once \override NoteHead #'color = #yellow
\once \override Stem #'color = #yellow$mus #}
(if (eq? bellnum 4) #{ \once \override NoteHead #'color = #green
\once \override Stem #'color = #green $mus #}
(if (eq? bellnum 5) #{ \once \override NoteHead #'color =
#darkgreen \once \override Stem #'color = #darkgreen $mus #}
(if (eq? bellnum 6) #{ \once \override NoteHead #'color = #cyan
\once \override Stem #'color = #cyan $mus #}
(if (eq? bellnum 7) #{ \once \override NoteHead #'color =
#darkblue \once \override Stem #'color = #darkblue $mus #}
(if (eq? bellnum 8) #{ \once \override NoteHead #'color = #magenta
\once \override Stem #'color = #magenta $mus #}
#{ #}
)
... and inside the Voice:
% Every note must be entered as a bell identifier (#1
being the lowest bell, and #8 being the highest),
% in addition to its note definition.
s2
\bell #1 c8(
\bell #2 d8)
\bell #3 e2
\bell #3 e4
\bell #5 g4.(
\bell #4 f8)
\bell #3 e4
\bell #2 d4.(
\bell #3 e8)
\bell #4 f4
\bell #3 e2
r4
This is tedious and error-prone, as I have to give all information
twice. I'm pretty certain that my failure is due to my lack of
knowledge of the system, and that the experts on this list will be
able to offer a solution - maybe there's one already built and ready!
ChrisA
Hopeful in the trusting, rather than futile, sense! :)
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Re: Coloring note heads by pitch
On Tue, Nov 3, 2009 at 6:27 AM, Trevor Daniels wrote:
> Hi Chris
>
> Does the example in the Learning Manual help? I think it does exactly what
> you want. See section 4.6.6.
>
> Trevor
Strange. I just looked up the manual, and it doesn't HAVE a section
4.6.6... and then found out why. Seems that when you google for
'lilypond learning manual', the first hit is an older version. This is
most peculiar, but it explains why I've been having trouble!
Very interesting there. I had no idea I could /override with a
function - guess that's obvious to anyone who's familiar with Scheme
though! I've made some changes to the code, and now it looks like
this:
% override a couple colors to make them match our bells
orange =3D #(rgb-color 1 0.5 0)
yellow =3D #(rgb-color 1 1 0)
% Taken straight from the docs and then tweaked very slightly
#(define (bell-color grob)
"Color the notehead according to its position on the staff."
(case (ly:grob-property grob 'staff-position)
; Why these aren't 1-8 I'm not wholly sure
((-6) red ) ; for C
((-5) orange ) ; for D
((-4) yellow ) ; for E
((-3) green) ; for F
((-2) darkgreen) ; for G
((-1) cyan ) ; for A
(( 0) darkblue ) ; for B
(( 1) magenta ) ; for >C
)
)
\score {
<<
\new Staff <<
\key c \major
\time 3/4
\tempo "" 4 =3D 120
\new Voice \relative c' {
\stemUp
s2
% Arrange to obtain color from procedure above
\override NoteHead #'color =3D #bell-color
\override Stem #'color =3D #bell-color
c8(d8) e2 e4 g4.(f8) e4 d4.(e8) f4 e2
r4
}
>>
>>
\layout { }
}
This is working perfectly (and leaving black any note outside the
range we can render) on the note heads. I guess it's not worth trying
to color the stems as well? It doesn't seem to work, which I think
might be because the stems don't have a staff-position attribute.
Many thanks for the help! Knew I could rely on you :)
ChrisA
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Re: A must-see for anybody on this list
On 10 February 2013 21:43, Henning Hraban Ramm wrote: > > Am 2013-02-10 um 21:18 schrieb bobr...@centrum.is: > >> I assumed SCORE, too, but this would imply Sibelius if that was Henle we >> were looking at in the second video: >> >> http://www.sibeliusblog.com/meta/henles-music-engraving-video/ >> >> Also, Sibelius keyboard input does bear a number of similarities with >> LilyPond input syntax. > > Ah, sorry, I didn’t know Sibelius had a text mode. > I found references that implied Henle used SCORE (but can’t find them again). > > But I didn’t pay attention to some important details: > - The video is from 1997. > - The desktop is X/Motif (or similar), not Windows 3.1. > - The operator uses MIDI keyboard input. > > So it’s probably MusicTeX or an early MusiXTeX. > LilyPond wasn’t released before 1998. > > Ah, but Sibelius started 1986 on Acorn RISC OS, and released in 1993. The > last Sibelius version for Acorn was in 1998. > We can’t see the computer in the video. The different screenshots of RISC OS > that I found don’t resemble that in the video, but are close enough that it > might be possible. > > Neither with MusiXTeX nor with Sibelius I could find a reference to MIDI > keyboard input. Could it be Amadeus? It's difficult to find information on the web about this program today, but here's an interview with someone who used it, along with a screenshot and sample code: http://www.all-day-breakfast.com/cannam/linux-musician/barnes.html Chris ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extract notes from chords, with silence when there are none
Just to clarify, in the case of 3-voice music, how would you expect it to deal with a 2 note chord? One note to Treble, one to Bass, or one in Treble, one in Alto, or... what? Chris On 16 September 2015 at 13:07, wrote: > I'd like to take a passage of music that contains chords with differing > numbers of notes, and some single notes, and extract it into separate > monophonic streams such that their union is the original passage. The > application is to generate microtonal MIDI using pitch bend, which can > only practically play one note per channel, from music entered as > polyphonic voices for typesetting convenience. > > I'm aware of the snippet at >http://lsr.di.unimi.it/LSR/Item?id=545 > > and it does almost what I want, except for the handling of missing notes. > If I specify an index greater than the number of notes playing at a given > moment, then this code returns the highest-numbered note that exists. I > don't understand why anyone would want that behaviour, but that's what the > code does. I want to have rests, not duplicated notes, in the remaining > voices when there are fewer notes playing than the number of voices. > > Is there any simple, obvious way to modify the code to do this? I can > probably get it to work with enough trial and error, but it's not clear to > me where in the code it is actually handling the case of index greater > than the number of notes, so I'm not sure what to try modifying first. > > -- > Matthew Skala > msk...@ansuz.sooke.bc.ca People before principles. > http://ansuz.sooke.bc.ca/ > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Violin notation advice requested
No, It's quite common to indicate the string by Roman numerals. Printed music would hardly ever indicate position, but it is normal to see either "sul G" or "IV". On 19 Sep 2015 12:31, "Ralph Palmer" wrote: > On Fri, Sep 18, 2015 at 2:14 PM, Michael Gerdau wrote: > >> > No, both are fingerings. >> >> I've never seen a >> violin fingering indicating the string. > > > I have seen violin and viola fingerings indicating the string, but I agree > that it is infrequent and usually the string is indicated by letter, not > number. I have, however, seen the string indicated by number, though I > cannot remember where. > > All the best, > > Ralph > > -- > Ralph Palmer > Brattleboro, VT > USA > palmer.r.vio...@gmail.com > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi creates the pdf but doesn't export it?
Hi -- yes, I've seen this happen a few times recently (on Windows). Although as far as I know, the file you're looking at in Frescobaldi is a temporary PDF file. I may be corrected by someone. Having said that I'm not sure whether Frescobaldi always has the "working" folder you would expect... And one possibility of this occurring seems to be if the target file was open in another PDF reader (some -- Adobe for example -- locks the file. Very annoyingly. ) Chris On 10 October 2015 at 10:57, Luca Danieli wrote: > Hello all, > > in these last 2 days I have been re-editing some scores of mine in > lilypond. > One worked perfectly, while the second one worked fine as well but didn't > export the pdf file of the score. > I mean that I can stream the pdf in Frescobaldi, but I cannot find the > file in the relative path. > > This is the building response: > > Layout output to `Violin piece from Cist Tombs on Amorgos.ps'... > Converting to `./Violin piece from Cist Tombs on Amorgos.pdf'... > Success: compilation successfully completed > Completed successfully in 16.4". > > but if I go to the path -> ./ > nothing is there except for the *.ly file. > > I am using lilypond 2.18.2 on Ubuntu 15.04 > > Cheers, > Luca > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: My finances for working on LilyPond
> Well, this *something* seems easy to pin down: too few developers. So at > any given moment it is difficult to find someone who has the ability, > the interest, and spare time at the same moment. ... Could we expect to be paid for it? I don't expect to be paid for open-source work. In fact, doing it for the love of it is part of the reason, when I've contributed to things in the past. I'd love to contribute to Lilypond, but I suspect much of the work needs to be in Lisp -- quite the learning curve (and unless I'm wrong, very likely a blocker to getting more collaboration). I was really quite shocked to read of David's situation and very surprised that someone thinks they can reasonably make a living off developing an open source tool such as this. I must of course say that's not without complete respect for his past and continuing work on the project. I use Lilypond because it's free, like free speech. This is open source software! If I were using Lilypond commercially this would be a different situation; but if I was writing music commercially I would probably, either by force of collaboration with publishers or by choice, have already purchased a popular commercial software package beginning with S. However whilst I felt a bit guilt-tripped by the original post, I have easily had enough use out of it to donate some cash to someone in order to support Lilypond. I suggest David, or one of the other project owners set up a Paypal account that we can easily fire money off to from anywhere in the world, anonymously. Chris ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: My finances for working on LilyPond
Yes, naturally PayPal takes commission. So does your bank, any credit card provider, WorldPay or Moneygram or any other similar service. However, PayPal is secure and reliable enough for Amazon and a huge number of online stores to be happy using it, not to mention charitable organizations that benefit from it being so convenient for spur-of-the-moment donations! As I understand it, there are some differences in the commission payable for sending money to a friend vs buying a thing, but I've not looked into it for a couple of years. We were investigating it for managing our orchestra subs - I think it was about £1.30 for a £40 subscription payment. Sure they do probably evade/avoid tax. I've given up worrying too much about that, because I don't want to live my life completely off the grid ;-) I don't work for them or anything, I just don't understand the paranoia. Your choice as ever whether you use them. Anyway, this is probably OT. Cheers, Chris On 24 Oct 2015 07:21, "Michael Gerdau" wrote: > > I suggest David, or one of the other project owners set up a Paypal > > account that we can easily fire money off to from anywhere in the world, > > anonymously. > > Paypal ? > > I would NEVER pay via Paypal unless it would be absolutely crucial for > me and there were no other options. > > For once to my knowledge Paypal does take a huge amount of the paid > money. I've been told it is 1/3 on small amounts but that is only > hearsay, albeit I've been told this by a person to whom I once tried > to send money via Paypal. In the end we worked out something different. > > The other thing is payment definitely is NOT anonymously. > > Last not least at least in europe they try to escape normal banking > regulations by cherry picking their business site, evading national > legislation etc. > > Ever tried to sue Paypal from Germany because you felt they are doing > you wrong ? > Good luck - they are based in Luxembourg. You've got to sue them there. > > Paypal ? No, Never. > > Kind regards, > Michael > -- > Michael Gerdau email: m...@qata.de > GPG-keys available on request or at public keyserver > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How Beautiful Upon the Mountains by Stainer
It's available at CPDL, did you look there? http://www1.cpdl.org/wiki/images/7/7e/How_beautiful_upon_the_Mountain.pdf On 3 December 2015 at 15:18, Gregory Citarella wrote: > Hello: is there anyway I can get a pdf of the choir anthem that I see on > you tube of How Beautiful upon the mountains by John Stainer. I see it was > done by someone using lilypond.org > > This is the url I am referring to: > > https://www.youtube.com/watch?v=H5wCy3v3Xyg > > I am the Minister of Music at Zion Episcopal church in Wappingers Falls NY > / > USA. I have a score in 4/2 meter. I see this one is in 4/4 meter. It > looks better in 4/4. > > I appreciate whatever you can do to help me. My choir is singing this > anthem at Christmas. > > Peace... > > Gregory > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How Beautiful Upon the Mountains by Stainer
Sorry, I see that's an arrangement for ATB On 3 December 2015 at 15:44, Chris Yate wrote: > It's available at CPDL, did you look there? > > http://www1.cpdl.org/wiki/images/7/7e/How_beautiful_upon_the_Mountain.pdf > > > On 3 December 2015 at 15:18, Gregory Citarella < > gregory.citare...@gmail.com> wrote: > >> Hello: is there anyway I can get a pdf of the choir anthem that I see on >> you tube of How Beautiful upon the mountains by John Stainer. I see it >> was >> done by someone using lilypond.org >> >> This is the url I am referring to: >> >> https://www.youtube.com/watch?v=H5wCy3v3Xyg >> >> I am the Minister of Music at Zion Episcopal church in Wappingers Falls >> NY / >> USA. I have a score in 4/2 meter. I see this one is in 4/4 meter. It >> looks better in 4/4. >> >> I appreciate whatever you can do to help me. My choir is singing this >> anthem at Christmas. >> >> Peace... >> >> Gregory >> >> >> ___ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Adjusting a slur after line break
Hi,
I'm having trouble with a long slurred passage, where the final note
appears on a new line.
The slur shape is quite wrong after the line break in both upper and lower
parts, but I've included only the upper part here.
Snippet ly (actual excerpt) and a PNG attached -- I think there's a thing
called "alterBroken" but I can't work out how to use it.
Hopefully someone can help!
Thanks in advance,
Chris
\version "2.19.33"
\language "english"
right =
\relative c''{
\time 6/8
\oneVoice
r4. d,16 (f af cf af bf
|
gf bf ef gf f ef d f af cf af bf
|
gf f ef d ef cf bf af gf f ef df
|
\change Staff = "down"
\stemUp
cf bf af gf ff ef d cf' ef, bf' f af
\break
|
8^. ) s8 s8 s4.
|
}
\score{
\new PianoStaff \with {
instrumentName = "Piano"
} <<
\new Staff = "up" \right
\new Staff = "down" \with {
} { \clef bass \time 6/8 s2. s2. s2. s2. s2. }
>>
}
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Re: Adjusting a slur after line break
Thanks... with that hint and a bit more research, I can achieve something a bit better with this modification to the original: r4. \shape #'(((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) ((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) ((0 . 4.0) (0 . 3) (0 . 1) (0 . 0)) ) Slur d,16 (f af cf af bf | I'd rather tweak just the messy end of the slur, leaving the rest as default, but it appears that can't be done. The example here for setting the final part of the slur to dashes works ok: http://lilypond.org/doc/v2.18/Documentation/notation/modifying-broken-spanners But I can't get /alterBroken to work properly at all on control points. When I try the "tweak" version, that I assume would look like: r4. d,16-\alterBroken control-points #'(((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) ((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) ((0 . 4.0) (0 . 3) (0 . 1) (0 . 0)) ) (f af cf af bf | then the slur only appears as a small, and odd-shaped squiggle by the first note d. Editing these control points is a bit of hit and miss anyway, but I don't feel I understand the syntax for \alterBroken well enough; there are too few examples at present! Chris On 19 December 2015 at 22:46, Urs Liska wrote: > I'm only on the phone right now. But wirh \shape you can pass overrides > for multiple parts of a broken curve. > > Am 19. Dezember 2015 23:39:15 MEZ, schrieb Chris Yate >: > >> Hi, >> >> I'm having trouble with a long slurred passage, where the final note >> appears on a new line. >> >> The slur shape is quite wrong after the line break in both upper and >> lower parts, but I've included only the upper part here. >> >> Snippet ly (actual excerpt) and a PNG attached -- I think there's a thing >> called "alterBroken" but I can't work out how to use it. >> >> Hopefully someone can help! >> >> Thanks in advance, >> >> Chris >> >> -- >> >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> >> > -- > Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail > gesendet. > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adjusting a slur after line break
On 20 December 2015 at 00:41, Simon Albrecht wrote: > On 20.12.2015 00:45, Chris Yate wrote: > >> I can't get /alterBroken to work properly at all on control points. >> >> When I try the "tweak" version, that I assume would look like: >> >> >> >> r4. >> d,16-\alterBroken control-points #'(((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . >> 1)) ((0.0 . 0.0) (0 . 1.2) (0 . 1.2) (4 . 1)) ((0 . 4.0) (0 . 3) (0 . 1) >> (0 . 0)) ) >> (f af cf af bf | >> >> >> >> then the slur only appears as a small, and odd-shaped squiggle by >> the first note d. Editing these control points is a bit of hit and miss >> anyway, but I don't feel I understand the syntax for \alterBroken well >> enough; there are too few examples at present! >> > > The big advantage of the shape command is that you can give offsets for > each control point against the default shape. The control-points property > however has every point coded relative to the reference point for the > entire slur (the note head of the first note in the slur, I think), which > often makes numbers very high and trial and error very time-consuming. > > The second argument to \alterBroken is a list. Each of its elements will > be applied to one of the segments of the broken spanner. If you supply less > entries than there are segments, the remaining segments will not be tweaked. > > HTH, Simon > I think I *half* understand what "shape" is doing, but I can't get alterBroken to work for the control points. Can you give a working example? (I only half understand it, but I know the _two pairs_ of numbers at _each_ end of a slur shape, which code for the bezier coordinates, give the four sets of bracketed values. How the numbers work isn't a complete mystery but I've not yet found a better way to determine them than to keep plugging in numbers until it looks good, by iteration. A graphical tool would be WONDERFUL ;-) ). Thanks, Chris ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unwanted barline. How to get rid of it?
Your 3rd full bar has only 5 quavers. It should be a partial, if that's
what you want.
On 23 December 2015 at 11:47, Robert Blackstone wrote:
> Dear all,
>
> In one of the pieces that I'm presently typesetting there appears, near
> the end, after a repeat, a barline that should not be there. (See the MWE
> below)
>
> How can I either get rid of it or else hide it?
> _
> \version "2.18.2"
>
>
> {\relative c {
>\clef bass
>\key c \major
>\time 6/8
>
> \repeat volta 2 {\partial 8
> c'8
> c4. c |
> c c |
> c r4|
> }
>
> c4.~ c \bar "|."
> }
> }
> __
> Thanks in advance for any advice,
>
> Best regards,
> Robert Blackstone
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: Unwanted barline. How to get rid of it?
On 23 December 2015 at 12:03, Chris Yate wrote: > Your 3rd full bar has only 5 quavers. It should be a partial, if that's > what you want. > Erm. I may be wrong... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unwanted barline. How to get rid of it?
Just checked. As I said -- you may want another partial bar
\relative c {
\clef bass
\key c \major
\time 6/8
\repeat volta 2 {\partial 8
c'8
c4. c |
c c |
* \partial 8*5*
c r4|
}
c4.~ c \bar "|."
}
On 23 December 2015 at 12:23, Noeck wrote:
> Hi Robert,
>
> do you mean something like this?
>
> {
> \relative c {
> \clef bass
> \key c \major
> \time 6/8
> \partial 8
> \repeat volta 2 {
> c'8
> c4. c |
> c c |
> c r4
> }
> r8 | c4.~ c \bar "|."
> }
> }
>
> Cheers,
> Joram
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: Unwanted barline. How to get rid of it?
On 23 December 2015 at 12:55, Robert Blackstone wrote:
>
> On 23 Dec 2015, at 13:44 , Chris Yate wrote:
>
> Just checked. As I said -- you may want another partial bar
>
>\relative c {
>\clef bass
>\key c \major
>\time 6/8
>
> \repeat volta 2 {\partial 8
> c'8
> c4. c |
> c c |
> * \partial 8*5*
> c r4|
> }
>
> c4.~ c \bar "|."
>
>
>
> Thank you Chris. This does it.
> I did not know how to code this.
>
> Best regards,
>
> Robert
>
Yes, that syntax is not obvious from the documentation. I have used this on
typesetting some Beethoven variations which have anacrusis bars; I needed
"\partial 16*10" in one place.
I think using a partial bar is more intuitive than "/set
Timing.measurePosition = #(ly:make-moment 6/8)". But there may be
situations where the latter is necessary.
HTH. Thanks,
Chris
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Strange beaming error
Hi,
I'm wondering whether anyone can shed some light on the attached image.
LH of the piano here is:
{
bf,16 (ef g8) r8
c,16 g' c, g' bf, g'
\clef bass
}
I have a suspicion this may have something to do with the Timing / beat
moment and beat structure, but it's inconclusive. This section of the music
has:
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'( 6 6 )
There are no barline errors, but I'm seeing this in the output quite a lot:
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 105.654382
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
Previously I was getting a similar issue where I had bars of 6 quavers,
which were grouped in 3's -- and the middle of the second group was getting
a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
the cause was.
Thanks in advance,
Chris
[image: Inline images 1]
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