Re: how to get error messages in a separate text file
Hi. > how can I get (on linux) the error-messages that lilypond produces in a > separate text-file, that I can save and read with e.g. kwrite? "lilypond" outputs its messages to the standard error stream. So, if you use "bash" as a command interpreter, redirect stderr to a file: $ lilypond test1.ly 2> err.txt $ cat err.txt GNU LilyPond 2.10.33 Processing `test1.ly' Parsing... Interpreting music... [2] Preprocessing graphical objects... Layout output to `test1.ps'... Converting to `test1.pdf'... Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to get error messages in a separate text file
Hello. > I'm using bash, but on OSX. And I don't really get the results that I > was looking for with this. I still get my errors in stdout. I don't use/have Mac OSX. I have no idea whether lilypond behaves differently on different OS. You should post the exact command you are using; hopefully someone can try it, and provide the solution appropriate to your environment. Good luck, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: numérotation , chiffre de chaque mesure / numbering of each measure
> The default setting of Lilypond displays the sequential number of the > first measure of each staff. > Is it possible to get that number for each measure printed on the pdf > output? > If yes, how? > \set Score.barNumberVisibility = #(every-nth-bar-number-visible 1) Best, Gilles P.S. I don't remember where, in the manual, I had found that. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roman numeral analysis
Hi. > > I hoped there might be a seperate context for roman numerals [...] I use a \Lyrics context. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: #(layout-set-staff-size 3)
Hi.
> \score {
> {
> c' d' e' f'
> }
> \layout {
> #(layout-set-staff-size 3)
> }
> }
To get a global zoom out, try to put this
#(set-global-staff-size 13)
at the top of the file.
Best,
Gilles
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Re: Forcing note ... tail orientation
> > How can I force the note... erm... tail to go up or down, instead of the > automatic orientation based on the note position in the stave? > http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Stems#index-g_t_005cstemDown-217 Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score with large empty section at the top
Hello. For automatic adjustment of vertical spacing, you could also try what is explained here: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Two_002dpass-vertical-spacing#Two_002dpass-vertical-spacing Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: collision with TimeSig
Hello. > I have a collision between the note and the text of the TimeSig in the below > quoted example. Compiling the provided code with version 2.10.33, I don't see that there is any collision (see the attached pdf). Best, Gilles test1.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ubuntu package
Hi. > What I want to do is install the latest version of LilyPond, but I'm > unsure how or if I should remove LilyPond 2.10.33. Since I like LilyPond > so much (despite my lack of knowledge concerning markup languages and > programming), I'd prefer to avoid fouling up the installation of the new > version. > > How do I go about removing 2.10.33 (if that's even necessary) before > installing the latest development version. Path$ and Directorie$ are new > to me because ever since I have used a computer, I have never had to > deal with such weighty decisions (BTW, if anyone knows of an online > "self-help" or "twelve-step prgram"-type resource to help recovering > Windows users learn how to install programs in GNU/Linux, please pass > them along--I'm not really 'lazy,' I just want to avoid messing things up). 1. As was suggested in another post, you could have a "personal" installation of inside your "home" directory. But depending on the program (like if it depends on several external components), it might not be as easy as installing it system-wide. 2. If you have 2 installations of the same program (say, one system-wide and another in your home directory), then you have to make sure that you call the one you want to use. That will require using the full name to the executable file, or setting up the appropriate "$PATH" variable. 3. So, if you only want to use the latest version of Lilypond, it's probably better to remove the other one, but be careful to do so using the appropriate tools of your distribution (unless you want to mess up your system!). There is no one single way of (un)installing software on GNU/Linux. Originally the various distributions came into being *because* they handle this aspect in different ways. A distribution would allow to install a "foreign" package system-wide on condition that it is done in places that do not interfere with its package management. Usually, those place are directories like "/opt" or "/usr/local". These must then be used as argument to the "--prefix" option of the "configure" script. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ver. 2.11.56 problems
Hello. > [...] > > For what it's worth. > > And again...thanks for all the help people have offered me since I've > arrive here. I now have a very good looking score in front of me, as > fruits for this labor - and more to come. I'm loving the experience I'm > having here, mostly. I'd love to give a little talk about Lilypad at our > lively local Classical Guitar Society, but I'm not going to. I don't > want to witness the carnage. > I've not read the whole thread, so some of the following might have been said already but anyway... 1. Why try to install the development version of Lilypond if your distribution provides one which has probably been checked for smooth integration with the other packages it needs? If you are new to Lilypond, you can probably do whatever you need with the last stable version. 2. Using the software provided by a Linux distribution is not more complicated than using that other well-known operating system. Not everyone will be able to manage the system (i.e. install/configure/ uninstall/troubleshoot) but the same is true for M$-Windows (where people usually just reinstall everything with the "recovery" CD when things start to behave strangely, as if this were perfectly normal). 3. Using the lilypond program (on Linux) amounts to learn the following 2 commands: $ lilypond myfyle.ly $ xpdf myfile.pdf That certainly should not scare away people motivated by the nice printed scores which this software produces. [Of course, assuming that people know what a file is, how to edit its contents and what a command is.] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "set-global-staff-size..." puzzle
Hi. > If I have > > "#(set-global-staff-size 20)" > > in my code, I get 6 staffs spread across 1.5 pages (#6 is all that's on > page 2). If I set the size to 18, I get the crowded onto one page with > 2" at the bottom. > > I cannot figure out what's happening, or how to get better control of > spacing between staffs. The solution might be not to have more control but less... See: http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg00452.html Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transparent background in lilypond generated png's
Hello. > I've been using Lilypond regularly for several years now with great > satisfaction. Recently, I've begun using lilypond generated png files in > powerpoint presentations and I'd like to know if there is a way to > generate these files with a transparent (rather than white) background so > I can add something like a textured background image. Any help is > greatly appreciated. You can use the "convert" tool (part of "imagemagick" package) like this: $ convert test.png -transparent white test_tr.png which will create "test_tr.png" with a transparent background. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting a list of all pitches used in a score
Hi.
> Does anyone have any ideas about how to get a list of all the pitches from a
> score? ... besides just counting off the sheet music.
> Even better, to get a count of how many times each of the used notes are
> played.
Here is a Perl script that counts the notes in LilyPond files (only the
English pitch names).
Example usage:
countLilyNotes.pl *.ly
Best,
Gilles
#!/usr/bin/perl -w
use IO::File;
my $lilyRE = '\b([a-gs](is|es){0,2})(\d|\b)';
my %counters = ();
for my $f (@ARGV) {
my $io = IO::File->new($f);
while ($_ = $io->getline) {
chomp;
my $note;
while (($note) = /$lilyRE/o) {
s/^.*?$note//;
$counters{$note}++;
}
}
}
my $total = 0;
foreach (keys %counters) {
$total += $counters{$_};
}
my %percent = ();
foreach (keys %counters) {
$percent{$_} = $counters{$_} / $total * 100;
}
foreach (keys %counters) {
print $_, '=', $counters{$_}, ' (';
printf "%.2f", $percent{$_};
print '%)', "\n" ;
}
print "Total=$total\n";
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Re: Getting a list of all pitches used in a score
Hi.
> I am unable to get the attachment (I get http error 404). What am I missing?
A possible explanation was given in another post.
In any case, here is the script inline (just copy/paste the text between
the "---CUT---" marks in another file):
---CUT---
#!/usr/bin/perl -w
use IO::File;
my $lilyRE = '\b([a-gs](is|es){0,2})(\d|\b)';
my %counters = ();
for my $f (@ARGV) {
my $io = IO::File->new($f);
while ($_ = $io->getline) {
chomp;
my $note;
while (($note) = /$lilyRE/o) {
s/^.*?$note//;
$counters{$note}++;
}
}
}
my $total = 0;
foreach (keys %counters) {
$total += $counters{$_};
}
my %percent = ();
foreach (keys %counters) {
$percent{$_} = $counters{$_} / $total * 100;
}
foreach (keys %counters) {
print $_, '=', $counters{$_}, ' (';
printf "%.2f", $percent{$_};
print '%)', "\n" ;
}
print "Total=$total\n";
---CUT---
Best,
Gilles
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Re: Getting a list of all pitches used in a score
Hi. > > In any case, here is the script inline (just copy/paste the text between > > the "---CUT---" marks in another file): > > Please be aware that this script scans anything, including > commented-out lines and controls. For example, > > title = "This is a nice song" > \key d \major > > This will give you an additional a and d . Right; thanks for pointing it out. My intended usage was to roughly evaluate the amount of encoding work needed to create a score. > If accuracy is important, I'd advise to use the MIDI scanner I posted > here. This will give 100% accurate results. [For my intended usage then, this is not quite accurate since I guess that notes in repeats will be picked up several times, whereas they were encoded only once. ;-)] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to split autobeam
Hi.
> in a \time 4/4 a sequence of chords is written, patterns like this:
>
> <> <> <> <>
Please always send a working LilyPond code example. It will make it
easier to understand what you tried.
The above does not compile (I'm using v2.10.33)!
> these 4 chords are beamed together. But I need the two chords cis,8 beamed
> together and the two chords d,8.
The following excerpt might do what you want:
%---
\version "2.10.10"
theMusic = {
\time 4/4
8[ ] [ ]
}
\score {
\theMusic
\layout {}
}
%---
Best,
Gilles
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Re: How to split autobeam
Hi.
> Here's one example that produces the wrong beaming:
>
> right = \context Voice = "discant"
>
> {
>
> \clef violin
>
> \time 4/4
>
> \relative b' { <> <> <> < fis b>>
>
> <> <> <> <> }|
>
> }
Hmm, this is still not a complete code: The \score part is missing.
Why do you use the << ... >> construct? A chord is created with something
like
4
I.e. with single brackets. Also, the duration is specified after the closing
bracket.
> The compiler produces the correct beaming between the b8. and bes,16 chord
> and between the two b,8 chords.
>
> With the default auto-beam setting the next 4 chords are beamed together. In
> this case the cis,8 chords should
>
> Be beamed together and the two d,8 chords should be beamed.
You didn't tell why the solution I proposed does not satisfy your needs.
Similarly to my previous post, your code above can turned into:
%---
right = \context Voice = "discant"{
\clef violin
\time 4/4
\relative b' {
8. 16 8 8
8[ 8] 8[ 8] |
}
}
\score {
\right
}
%---
See attached pdf.
> I've tried severla options, for example adding \nobeam to the first d,8
> chord. As a result the last two chords are
>
> Beamed together, but the first two chords (cis,8) are then separated, not
> beamed.
I agree that this behaviour looks strange. Maybe someone else can give an
explanation or confirm that this is a bug.
> Also tried overriding the default auto-beam, but that didnot produce the
> correct result (yet).
In this, I guess that the default behaviour should be what you expect,
without resorting to this.
> Hope you can help or point me in the direction where to look for a solution.
Again, what's wrong with using square (beaming) brackets?
Something like
a8[ b] c[ d]
produces the right result.
Gilles
test2.pdf
Description: Adobe PDF document
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Re: one voice
> I want to hide some notes. But, in the below quoted example, I don't see any example here... Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: padding tempo indication over multiple whole-bar rests?
> Sorry! I'm not quite sure what you mean by the .ly code, but I typeset the
> indication as
>
> \mark\markup\normalsize {Maestoso}
Then you probably need something like the following:
\override Score.RehearsalMark #'padding = #3.0
Best,
Gilles
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Re: Removing bundled LilyPond
Hello. > Usually it is sufficient to rename the old executable and point a > symbolic link to the new one; say you installed the recent version in > /home/johndoe/bin/lilypond/, and the default choice is in /usr/bin/, > then you have do > mv /usr/bin/lilypond /usr/bin/lilypond-2.10.33 > ln -s /home/johndoe/bin/lilypond/lilypond /usr/bin/lilypond This is not to be recommended as it interferes with the distribution's package management and will break at some point (e.g. next upgrade). Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing bundled LilyPond
> By '$HOME', I assume you mean the path of my local home directory. By
> the way, what is my $PATH? Where do I find it and how may I alter it?
"HOME" and "PATH" are so-called "environment" variables.
You can change them in the initialization files of your shell (command-line
interpreter). Which file depends on which shell you use: Try the command
"echo $SHELL" to find out.
If it is "bash", you can add something like the following lines in the
".bash_profile" file in your home directory [1]:
#---CUT---
# set PATH so it includes user's private bin if it exists
if [ -d ~/bin ] ; then
PATH=~/bin:"${PATH}"
fi
#---CUT---
Best,
Gilles
[1] You must log in again for the change to take effect.
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Re: chords above piano staff
Hi.
> The layout is as follows:
>
> \new PianoStaff <<
> \chords { ... } % 24 bars
> \new Staff = "upper" {
> \upperIntro% 8 bars
> \melody% 16 bars
> }
> \addlyrics { }
> }
> \new Staff = "lower" {
> \lowerIntro% 8 bars
> }
> >>
Please send a minimal but *compilable* example: It's a waste of time if
someone willing to help must first fill in the blanks to have an idea of
what you already got and are not happy with.
Best,
Gilles
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Re: chords above piano staff
Hello.
> > Please send a minimal but *compilable* example: It's a waste of time
>
> Sorry, I thought advanced users could imagine the output.
Sometimes not so advanced users, or users with less imagination can help
too. ;-)
Here attached a modified version of your code that puts the chords above the
staff.
[The problem has something to do with the PianoStaff already instantiated
when the chord line is being defined.]
Gilles
\version "2.10.10"
harmony = \context ChordNames {
\chordmode {
c1 |
g |
}
}
<< \harmony
\new PianoStaff <<
\new Staff = "upper" {
\relative c' {
c4 c c c
d d d d
}
}
\addlyrics {
\repeat unfold 4 \skip 1
la la la la
}
\new Staff = "lower" {
\relative c' {
c4 c c c
}
}
>>
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Re: generating pdf and png but no ps
Hi. > How can I generate pdf and png but no ps? $ lilypond file.ly GNU LilyPond 2.10.33 Processing `file.ly' Parsing... Interpreting music... [2] Preprocessing graphical objects... Layout output to `file.ps'... Converting to `file.pdf'... $ rm file.ps > Can I adjust resolution of the png? I just need thumbnails. $ convert file.png -resize 120 file_resized.png > Is there a simple way to see (e.g. from the shell or an external > programming language) how many png-pages lilypond produced? ? Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining parts into a score
Hello. > \include "alto+descant notes.ly" > \include "alto2 notes.ly" > << > \new Staff \alto+descant notes > \new Staff \alto2 notes > >> This looks quite odd. Although I'm not sure whether lilypond will be confused by it, using spaces in a file name is a bad idea. Morevover "space" characters are used as token separators so that, in the above, "\alto2" refers to a variable named "alto2" and "notes" is a syntax error. Also, LilyPond does not allow non-alphabetic characters in variables so that "alto+descant" is also an error. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental besides trill
Hi.
> How to put an accidental besides trill?
Try this:
e^\markup{\musicglyph #"scripts.trill" {\raise #1 \sharp}}
Best,
Gilles
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Re: Keeping annotations when extracting parts from a score
Hi.
> I've got a song where several annotations like "Refrain" or "Verse" are set
> in
> the Vocals (because that's the voice at the top of the system).
> Now I'm starting to extract parts, and of course the annotations are only
> shown in the vocal part.
> is there any other way to have the annotations in each other part than to
> write it down for any voice but using tags to prevent them getting printed in
> the score?
> It would be nice if I could define for e.g. bar 3 independently of the
> instrument the part is for that the annotation "Refrain" has to be set at
> the
> upper right of the bar.
You can save the annotations in a variable and create one staff with them and
one
staff without; then you use the appropriate one in the \score block. [See
attached
example.]
Best,
Gilles
\version "2.10.10"
annotationsForParts = {
s1*3 |
s1^"Refrain" |
% etc.
}
partNotes = \relative c' {
c1 |
d2 e |
f1 |
g4 a g f |
% etc.
}
partStaffWithAnnotations = \context Staff = "AnnotatedPart" {
<<
\annotationsForParts
\partNotes
>>
}
partStaff = \context Staff = "Part" {
\partNotes
}
\score {
\partStaff
% \partStaffWithAnnotations
\layout {}
}
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Re: chord name position
Hi.
> changes = \chords {
> c1 c1
> }
>
> slashes = {
> \override NoteHead #'style = #'slash
> b'1 b'1
> }
>
> \score {
> \new Staff <<
> \changes
> \slashes
> >>
> }
>
> ---
>
> would someone be kind enough to explain?
\new Staff
appears before
\changes
Hence the chord line is after the staff line.
The attached file shows how to make it the other way around.
Best,
Gilles
\version "2.10.10"
harmony = \context ChordNames {
\chordmode {
c1 |
c1 |
}
}
slashes = {
\override NoteHead #'style = #'slash
b'1 |
b'1 |
}
<<
\harmony
\new Staff {
\slashes
}
>>
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Re: How to put whole measure rest in unmetered music?
Hi. Maybe that \cadenzaOn is what you should use. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transposing help.
Hi. > If someone could download the music and help me out here I would greatly > appreciate it. It is mentioned, on the Mutopia page for that piece that this score uses LilyPond v2.6.4. Did you compile it with the right version? In fact, I guess that you have a much more recent version installed. So you must convert all the files to the right version. There is a tool called "convert-ly" that would do that, but it needs the "\version" statement at the top of the file; which is missing in the piece you refer to. So you have to add it there yourself, then run "convert-ly", then add the "\transpose" statement, and try again to compile. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Escaping text in title and composer?
Hi. > [...] I can easily change " to \" > in the text, but perhaps there are other characters that will cause lilypond > to fail. As a first step, I'd suggest to filter out (or escape) anything that your program cannot handle. Languages usually used for web development provide libraries for regular expressions (e.g. Perl, Java, ...) that can easily match all non alphanumeric characters: All those should be escaped. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combine dynamics of 2 voices
Hi.
> I would like to print on the same staff two parts of wind instruments
> (flutes, clarinettes...) but if I use << { \partI } \\ { \partII } >> or
> \partcombine { \partI } { \partII }, the dynamics are not merged when
> they are the same. I get the same crescendo et decrescendo above and
> below the staff which is not very nice.
>
> Any clue?
You can use "\tag".
Best,
Gilles
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Re: Combining parts
Hi.
> > My problem is that when combining the top parts as separate voices, it
> > looks rather messy and confusing. I can combine two parts with
> > \partcombine, and that does give a much better copy, but it still leaves
> > the third part. I know that \partcombine can only handle two parts, but
> > has anyone any idea how three parts might similarly be combined?
> >
> >
>
> I think I need the same thing: combining 2 *OR MORE* parts in one staff or
> double staff.
> I need this for orchestral music in order to produce a simplified output
> such as "woodwinds" or "brass" staves instead of a dozen staves with 90% of
> void measures each...
> Couldn't tweak \partcombine but perhaps because I'm just a basic Lilypond
> user.
> Any idea?
I'm not sure that "\partcombine" is the best option. You could try using
"Voice" contexts, something along the following lines (for the combined
score):
%---CUT---
\version "2.10.10"
soprano = \relative c'' {
% ... Notes here ...
}
alto = \relative c'' {
% ... Notes here ...
}
tenor = \relative c {
% ... Notes here ...
}
basse = \relative c {
% ... Notes here ...
}
upper = \context Staff = "Upper" {
\clef G
<<
\context Voice = "Soprano" { \voiceOne \soprano }
\context Voice = "Alto" { \voiceTwo \alto }
>>
}
lower = \context Staff = "Lower" {
\clef F
<<
\context Voice = "Tenor" { \voiceOne \tenor }
\context Voice = "Basse" { \voiceTwo \basse }
>>
}
pianoStaff = <<
\context PianoStaff = "Piano" <<
\upper
\lower
>>
>>
%---CUT---
Then you can add separate staves for the instrument parts:
%---CUT---
recorderOneStaff = \context Staff = "RecorderOne" {
\soprano
}
recorderTwoStaff = \context Staff = "RecorderTwo" {
\alto
}
% etc.
%---CUT---
If you need more voices on one staff, there is also "\voiceThree" and
"\voiceFour" (see manual).
Best,
Gilles
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Re: Markup from HTML
Hello.
>> does anyone of you have a script or a way to convert from (simple)
>> html to markup like this:
>>
>> This is a melisma.
>>
>> To get:
>>
>> \markup { "This is a " \concat { "me" \bold \italic "lis" "ma." } }
>>
>
> sed would do the job, but I'm too hazy on it to offer a solution.
Depending on how complex the input may be, XSL might be a more powerful
approach (but it takes quite some effort to get used to it!).
Here attached is an XSL script that can serve as a starting point.
Used as
$ xsltproc htm2txt.xsl in.htm
You'll get
\markup { \concat { "This is a me"\bold { \concat { \italic { \concat { "lis"
} } } }"ma." } }
[I couldn't test the output as I don't have a \concat in \version 2.10.]
Best,
Gilles
htm2txt.xsl
Description: XML document
This is a melisma.
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Re: jeux inegales
Hi. > the question I'm asking You is not directly connected with lilypond, > but I guess, that some of You could help me a lot. > I'm searching for instructive examples from the french baroque-music, > where the so called "jeux inegales" (it's a little bit like swing) has ^ This should be "jeu inégal" or maybe "notes inégales". > tu be used. Mostly I'm interested in examples, where some of the notes > has to be played "inegal", and some not. There is an article on Wikipedia which mentions the "rule": http://en.wikipedia.org/wiki/Notes_in%C3%A9gales > If You know some good example, please send it to me, if possible in > Lilypond-code. In article referred to above, they point to Bach's "Contrapunctus II" which is on Mutopia: http://www.mutopiaproject.org/cgibin/make-table.cgi?searchingfor=bach [Although the uneven notes are spelled out explicitely with dotted durations.] > I'm searching for this for my students. I brace myself > for a lecture about rhythms, ornaments and so on during the baroque > era. I have a sonata by "Boismortier" which I encoded quite some time ago (with "\version 2.4"). [Now I've just converted to 2.10 but the result has a problem: the bass figures are too far from the bass staff (a lilypond bug?). I don't have version 2.12 so cannot tell whether it's solved with it.] I think that there are a few passages in the first movement that contain notes to be played uneven. If you want I can send you the files. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sharp and flat in headers.
Hi.
>
> Off the top of my head I have a page with multiple staffs, each with its own
> header and I am using \header { piece = "Db major" } and which to replace "b"
> with the correct character.
Maybe something like
\header { piece = \markup { "D" \flat "major" } }
Best,
Gilles
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Re: Sharp and flat in headers.
Hi.
> Thanks very much for that, it works but produces a result where the sharp or
> flat symbol is quite low vertically in comparison with the other letters.
>
> Is there any way to tweak its vertical position?
>
Yes, something like the following might do it (adjust the number):
\header { piece = \markup { "D" \raise #0.8 \flat "major" } }
Best,
Gilles
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Re: Header block instrument name problem
>
> Having trouble to include \flat in instrument name in the \header block i.e.
> :-
>
> \header {
> instrument = "Trumpet in B"\flat
> }
Try that instead:
instrument = \markup{ "Trumpet in B"\small\flat }
Best,
Gilles
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Re: Information on Lilypond
Hi. > What I like to do best, is play a song > on the MIDI keyboard and then have > the notes appear on the screen. To do this, you might want to have a look at the "Rosegarden 4" software. Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mark sugestion
Hi.
> Working in a Mozart Flute and Harp Concerto, I found a turn mark during the
> flute part. The \turn mark seems have to be placed in the middle of to
> notes. This is logical becouse, turn afects two notes not only one note.
> Lylipond put the \turn over the note where it is wirtten. My sugestion if is
> posible is to make the \turn mark be positioned in the middle of the
> concernig
> notes. As you can find in the Breitkopf & Härtel (from complete works edition
> 1877-1883).
>
You can try something like this:
\relative c'' {
g4 << {a4 b}{s8 s\turn s4} >> c |
}
Best,
Gilles
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Re: How to put current date in footer?
Hi. > > I'm trying to have a timestamp in the footer of every page. nice would > also be to have subversion revision as metainformation printed. > I'm quite new to Lilypnd... > > How can I do that? > Define \today as today = #(strftime "%d-%m-%Y" (localtime (current-time))) before using it. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Outdated lilypond-mode for emacs ?
Hello. > Could you please point out exactly what problems you have noted. Since you ask, one little thing I've noted is that in "\figures" mode, the automatic alignment is screwed up when the number is followed by a flat (minus sign), e.g.: <6->4 Then, in subsequent lines, pressing TAB sends the cursor one space too far. The workaround is to put a space after the minus sign, i.e.: <6- >4 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords problem
Hello.
> I want to insert a few (not all) chord names in a sheet.
>
> I trid the following:
>
> \relative c {
> ..
> << \chords { cis:m1 }
> { cis,1 } >>
> ..
> }
>
> but then the Chord name is below the melody.
Not so here; this code
%-
\version "2.10.10"
theMusic = \relative c {
\time 4/4 |
<< \chords {cis:m1} {cis,1} >>
}
\score {
\theMusic
\layout {}
}
%-
will indeed print the chord name above the staff.
So the behviour you see must come from another part of your file.
Best,
Gilles
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Re: Replys
Hello.
>
> Thunderbird doesn't include a "Reply to list" command,
Then, you could file a bug ("wishlist") report, requesting
the feature.
> to lilypond list, and since all other lists follow the practice
> mentioned above, there's no reason for me to change my habits.
>
It depends. If the lilypond ML settings are the right way to do
it, then you should.
> But I like LilyPond much and I'd like to use it, so I'd like to monitor
> its mailing lists regularly, but the reply behavior of this list sucks.
>
"All mail clients suck. This one just sucks less." (http://www.mutt.org/)
By default, "mutt" provides key bindings that do the right thing.
E.g. when viewing your post, I get the following behaviour:
Key -> Address
r (reply)-> To: Tomas Valusek <[EMAIL PROTECTED]>
g (group reply) -> To: Tomas Valusek <[EMAIL PROTECTED]>
L (list reply) -> To: lilypond-user@gnu.org
Isn't that nice? :-)
[Note that the group reply does *not* include the ML as one of the
recipients!]
Best,
Gilles
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Re: Drum Kit Writing
Hi. > > I was wondering if someone could please post up an example kit part for me > to have a look at? > I've attached a tar file of a part I transcribed some time ago. Hopefully, it will show enough to get you started. > > Code: > > [...] Sorry to say, but your code is hardly legible. [Moreover it made "gs" crash here. So that I can't even see what it looks like...] You'll probably have many answers to your questions by carefully organizing the code (using variables, bar checks, multiple files), like in the example I sent. Good luck, Gilles drumkit.tar.gz Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Several midifiles together
Hi.
>
> After reading in the list, I have built a template for put several
> midifiles in one file .mid
I was once looking for a tool to concatenate the files that lilypond
generates from several \score blocks.
What you propose is *not* that. You just put everything in a single
\score, and of course you get a single midi file, loosing in the way
the purpose of using several \score (e.g. different headers for
different movements).
> (see below)
> Is it possible, in a similar way, ie. with the identifiers upperun,
> upperdeux ...
> and then score, to make a template for the layout ? (with indent for the
> first system
> of each piece, for instance)
> I know an another way for make it, but, to my limited knowledge, the
> typesetting for files is different
> and I must treat the issues with separate files where copy and paste
> aren't so easy.
What I'm using is a template for the full score, and another for the
separate parts, each including the files containing the actual music.
This *avoids* copy/paste.
> Otherwise, I don't find good solutions for layout with this template.
> Is it possible ? Any help ?
Well, I don't think I understand what you are asking :-{
But if you want to have a look at my files, you are welcome.
> (Please, tell me if it run for you)
When you provide a code snippet, you should make sure that it contains
valid syntax, so that one doesn't have to fiddle to make it compile.
Best regards,
Gilles
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Re: Voicing problems
Hello.
>
> Any help would be most appreciated!
>
I've made some change to your file [see attachment], most
notably to make explicit use of the "Voice" context.
Best,
Gilles
\version "2.6.3"
global = {
\clef "G_8"
\key d \minor
}
preludemelody = \relative c' {
% \global
% \stemUp
\set fingeringOrientations = #'(up up)
r8 a' g a e g f e |
f f e\trill f d d d e |
% Need an A here
cis2\trill r8 d cis8.\trill d16 |
e8 g f\trill e g 8.\trill a'16 |
% This is the portion I can't seem to get right.
% <<
a8 a e g fis2\trill |
r8 g d f e2\trill |
r8 f8 f e d
% \\
% { s2 g,8\rest d' a c
% b2 g8\rest c g bes
% a2 }
% >>
% Here ends the portion.
bes'8 bes a |
g f e8.\trill e16 e4 r16 g f e |
d4~ d16 f e d cis4.\trill d8 |
d1 |
\bar "|."
}
preludeThirdVoice = \relative c'' {
s1*4 |
s2 g,8\rest d' a c |
b2 g8\rest c g bes |
a2 s |
}
preludebass = \relative c {
% \global
% \stemDown
s1 |
d'4 c b bes |
r8 a e g f4 e8 d |
cis4 a d8 c' bes4 |
% Here is the portion in the bass voice.
4 cis' d,2 |
c4\rest g' c,2 |
% Here ends the portion.
r8 4 ~ |
g gis a |
bes16 c bes a g4 2 |
1 |
\bar "|."
}
prelude = \new Staff {
<<
\global
\new Voice { \voiceOne \preludemelody }
\new Voice { \voiceThree \preludeThirdVoice }
\new Voice { \voiceTwo \preludebass }
>>
}
%\book {
\header {
title = "Suite IX"
composer = "Robert de Visée"
instrument = "Guitar"
}
\score {
\header { piece = "Prelude" }
\prelude
\layout{}
}
%}
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Re: Several midifiles together
Hi. > >(Please, tell me if it run for you) > > When you provide a code snippet, you should make sure that it contains > valid syntax, so that one doesn't have to fiddle to make it compile. > > > > Hmm... > Of course, it run for me. It's a valid syntax. As it is, it's not! ["...etc" (lines 15, 18, 22), "..." (lines 22, 23, 29, 32), and a commented out bracket (line 63) are not valid constructs.] > I've tested it with > several little pieces for piano. I'm in the following situation : > I has typeset, a few months ago, 17 Valses sentimentales de Schubert > (there are 34 for the whole), each in a separate file. There are little > piano pieces in chains (not orchestral parts) of about 16, 24 or 32 > measures and i'm asking me if i can concatenate 2, 3 or 4 files (or > more) in only one with also only one midifile. To get one midi file, the only way I know, it to have the music in a single "\score" block, as you did. But, nothing prevents you to define the variables "upperun" etc, in separate files, and then "\include" those files in another one where you use the variables to build the score. > With this template, i'm > succesfull in doing that. That's the reason why i'm asking somebody the > way. I'm afraid i'm loosing the purpose of using different headers, and > so, especially indent for N°1, N°2, N°3 ... etc . > Perhaps the workaround is to use markups instead. > Do you think is right ? That's a workaround indeed, but I personally prefer to keep the "\header" and lose the single midi file. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: right aligning text
Hi.
> Why doesn't this code right align the text on the bar line?
>
> \version "2.8.1"
>
> \relative c'' {
> a1 c f g^\markup{ \right-align{ "D.S. al Coda" } }
> f
> }
>
Where do you tell it should? [As expected, the text is right-aligned
with respect to the note it is attached to.]
Try this one:
%-
\version "2.6.3"
\relative c'' {
a1 c f g
\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\mark \markup { \small "D.S. al Coda" }
f
}
%-
Best,
Gilles
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Re: Drum bladmuziek schrijven
Hello. > > Ik zou Lilypond graag gebruiken om mijn drummuziek netjes op papier te > krijgen. > Op jullie site staat nergens duidelijk uitgelegt hoe dat moet. Weten jullie > misschien een goede handleiding daarvoor? Of is Lilypond niet geschikt voor > drummuziek? > http://lilypond.org/doc/v2.8/Documentation/user/lilypond/Percussion-staves.html#Percussion-staves Best regards, Gilles P.S. You'll get more answers if you write in English. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Drum bladmuziek schrijven
Hi. > > I would like to use Lilypond to get my drum-music on paper in a proper way. > On your site i couldn't find a clear explanation for writing drummusic. > > Do you know a good tutorial for it? Or is Lilypond not suitable for > drum-music? > > Thank you for your time. > What's wrong with the link I sent in reply to your first message? LilyPond is perfectly suitable for drum music. The tutorial is the "LilyPond Manual"; then, you use the appropriate constructs for percussion music: \drummode, \DrumStaff, \DrumVoice, ... Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Figured bass switches direction!
Hello.
In the following code, the figure direction switches: In the second bar
the flat is printed above the 6, and the "6 5" is printed "5 6"!
%---
\version "2.8.7"
<<
\relative c' {
\time 3/4
\clef F
\key c \major
a4 e f |
f4 c d |
}
\new FiguredBass {
\figuremode {
<6>4 <6 5/> <_-> |
<6 _->4 <6 5/> <5> |
}
}
>>
%---
I guess that LilyPond is aligning identical numbers but this is rather
confusing. Is there a way so that the numbers are always printed in input
order?
Thanks.
Gilles
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Re: Tutorial
Hi.
>
> I had been trying to do that. I show you now a brief example modified
> from the pdf tutorial:
>
> Version 2.10.0
>
> \paper{
> printallheaders=##t
> }
>
>
>
> \Score
> \header {
> title = "Miniature"
> composer = "Igor Stravinsky"
> }
> { c' d' e' f' }
> }
>
> \Score
> \header {
> title = "Second Miniature"
> composer = "Igor Stravinsky"
> }
> { a' b' c'' d'' }
> }
>
>
> I seeked to put the headers and the music "inside" the score blocks.
> What am I doing wrong?
>
Try this:
%---
\score {
\header {
piece = "Miniature"
opus = "Igor Stravinsky"
}
{ c' d' e' f' }
}
\score {
\header {
piece = "Second Miniature"
opus = "Igor Stravinsky"
}
{ a' b' c'' d'' }
}
%---
See
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Creating-titles.html#Creating-titles
Best,
Gilles
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Re: Tutorial
Hi.
> It seems to be working now. Gilles suggestion (thanks, Gilles) worked
> fine but I couldn't substitute "title" and "composer" for "piece" and
> "opus". Eventually I wrote it thus:
>
In a \score block, you can use only "piece" and "opus".
["title" and "composer" must be set outside of all \score blocks.]
>
> I cannot find, however, how to write part of the title between double
> quotes, like this:
>
> Branle "Quatre branles"
>
You can "escape" the quotes with a backslash:
\score {
{ c' d' e' f' }
\header {
piece = "Branle \"Quatre Branles\""
opus = "Susato"
}
}
Best,
Gilles
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Re: date insertion
Hello. > Is there a predefined constant in Lily which shows the current date > and/or system time. > today = #(strftime "%d-%m-%Y" (localtime (current-time))) Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Repeat count [Was: [Mischa Falkenburg] STUMPED...]
Hello.
If I understood correctly what you want to achieve, you would
change this:
> upper = \relative {
> \time 7/8
> \key g \major
> \clef treble
>
> g'16[g] r8 g16[g] r8 g8[a g]
> }
>
into:
upper = \relative {
\time 7/8
\key g \major
\clef treble
\set countPercentRepeats = ##t
\repeat percent 24 {
g'16[g] r8 g16[g] r8 g8[a g]
}
}
And the same for the "lower" staff.
Best,
Gilles
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Re: Time signature in French baroque music
Hi.
> I'm editing an early-18th-century French composition.
> As in French baroque music 3/4 time is written just by a great "3", I'd
> like to know if it exist in LilyPond a command to this sign.
>
Some time ago, I had asked how to define a compound time signature. I got
some hints but couldn't quite obtain the right result.
For your question, the following snippet might be a start but you'll see
that something is missing from the incantation.
%---BEGIN--
\version "2.8.7"
#(define (single-number grob one)
(let* ((layout (ly:grob-layout grob))
(text (interpret-markup
layout
(ly:grob-alist-chain grob (ly:output-def-lookup layout
'text-font-defaults))
(markup (#:number one)
text))
theMusic = \relative c'' {
\time 3/4
\override Staff.TimeSignature #'stencil =
#(lambda (grob) (single-number grob "3"))
a4 b g | f4 g2 |
}
\score {
\theMusic
\layout {}
}
%---END---
For my own problem, can someone help me out? [I wonder why there
is still no easy way to create those time signatures.]
This is what I tried:
%---BEGIN---
#(define (compound-time-2 grob one two three four)
(let* ((layout (ly:grob-layout grob))
(text (interpret-markup
layout
(ly:grob-alist-chain grob (ly:output-def-lookup layout
'text-font-defaults))
(markup
#:line
(#:column (#:number one #:number two)
#:hspace -1 #:lower 0.5 "+"
#:column (#:number three #:number four))
text))
%---END---
Thanks and best regards (and Happy New Year),
Gilles
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Re: Time signature in French baroque music
Hi.
>
> Regarding Gilles' problems with compound time signatures, I would recommend
> to use the example in Sect. "8.4.1 Polymetric notation" as a starting
> point.
> Then, you could end up with something like:
>
> \version "2.8.7"
>
> #(define (compound-time-2 one two three four)
> (markup #:override '(baseline-skip . 2) #:number
> (#:line ((#:column (one two)) #:lower 1 "+" (#:column (three four))
>
Thanks, this is much simpler now.
But if you compile the attached sample file, you'll notice that there is
still a problem: In the sized-down staff, there is a gap between numerator
and denominator of the time signature fraction.
How to get rid of it?
Best,
Gilles
\version "2.8.7"
#(define (compound-time-2m one two three four)
(markup #:override '(baseline-skip . 2) #:number
(#:line ((#:column (one two)) #:lower 1 "+" (#:column (three four))
staffOne = \context Staff = "1" {
\time 3/4
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text = #(compound-time-2m "1" "2" "3" "4")
a4 b g | f4 g2 |
}
staffTwo = \context Staff = "2" {
\time 3/4
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text = #(compound-time-2m "1" "2" "3" "4")
a2. | g2. |
}
theMusic = \relative c'' {
\context StaffGroup <<
\context Staff = "1" {
\set Staff.fontSize = #-4
\override Staff.StaffSymbol #'staff-space = #(magstep -4)
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 3)
}
\staffOne
\context Staff = "2" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 3)
}
\staffTwo
>>
}
\score {
\theMusic
\layout {}
}
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Re: my blank music sheet errors
Hi. > > > Could someone please tell me where I was wrong? > Re-posting the example _without_ the line numbering might get you more answers. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: my blank music sheet errors
>
> >Re-posting the example _without_ the line numbering might get you more
> >answers.
>
> Ok, here we go ...
>
Well, it needed some modifications; there were missing closing braces and
you were creating the "music" contents of the staff before setting the
instrument name. See the attached file.
Note that you might have to change back "Staff.instrument" to
"Staff.instrumentName" which didn't work in my version (2.8.7).
Reagards,
Gilles
\version "2.8.7"
trebleemptymusic = {
\repeat unfold 2
{ \clef treble s1\break }
\bar ""
}
bassemptymusic = {
\repeat unfold 2
{ \clef bass s1\break }
\bar ""
}
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #""
\remove Bar_number_engraver
}
% \new StaffGroup
<<
\new Staff {
\set Staff.instrument = \markup {"flute"}
\trebleemptymusic
}
\new Staff {
\set Staff.instrument = \markup {"oboe"}
\trebleemptymusic
}
\new GrandStaff
<<
\new Staff {
\set Staff.instrument = \markup {
\column { \line {"clarinet"} \line {"in B" \flat} }
}
\trebleemptymusic
}
\new Staff {
\set Staff.instrument = \markup {
\column { \line {"clarinet"} \line {"in C"} }
}
\trebleemptymusic
}
>>
\new GrandStaff
<<
\new Staff {
\set Staff.instrument = \markup {
\column { \line {"horn"} \line {"in F"} }
}
\trebleemptymusic
}
\new Staff {
\set Staff.instrument = \markup {
\column { \line {"horn"} \line {"in C"} }
}
\trebleemptymusic
}
>>
\new Staff {
\set Staff.instrument = \markup {"bassoon"}
\bassemptymusic
}
>>
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Re: ps and pdf question
Hello. > > Anybody who wants to play tricks with ps files (and I am occasionally > > one of them) is free to invoke lilypond --ps, so this is a red herring. > > I agree with Laura: we should treat the .ps files are temporary and > > delete them. I have a script that does this automatically, but I think > > that deleting the .ps files is a good default option. Most users don't > > want ps, and many users who investigate the ps files won't know how to > > deal with them properly. Anybody who really wants a ps file can invoke > > with --ps. > > What is the big deal with pdf? > >From what I understand is that they are "portable", but most pdf's I > get from others does not show up good or at all in gv, xpdf or evince. > It seems that they are "portable" in the sens that work with ths latest > Adobe acrobat. > > For me, pdf means trouble. Why should I ever want to produce pdf's? > > And btw, the pdf's produces by current lilypond does not print either > on my (postscript) printer. > I also have problems when printing the pdf. And my postscript printer doesn't like the ps produced by lilypond: it spits out pages and pages, each one with a single error message on it, most of them about "unknown command". >From an earlier message, I understand that it is probably related to the binary font description in PS level 3. So, I too, would rather have lilypond convert automatically to PS level 2. Thanks, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ps and pdf question
> > > So, I too, would rather have lilypond convert automatically to PS > > level 2. > > You can do this manually, saying > > gs -sDEVICE=pswrite \ > -dLanguageLevel=2 \ > -sOutputFile=foo-level2.ps \ > foo.ps > That's what I'm doing currently. But I sometimes forget... > Making LilyPond emit level 2 is problematic since it relies on level 3 > features. > There seem to be two users category who participated to this thread: 1. Those who need only the PDF (and suggested to remove the "temporary" PS file). 2. Those who wanted to print the PS file on a PS level 2 printer (and couldn't because lilypond produces PS level 3. Couldn't it be possible that the small step you suggest is performed by the lilypond script? [Just to prevent wasted paper sheets ;-)]. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 20th century music
Hello.
>
> I' am a Lilypond-Beginner start working seriously now...
> Although I've studied all the documentation files
http://lilypond.org/doc/v2.8/Documentation/user/lilypond-internals/TrillSpanner.html#TrillSpanner
> I can't find a
> solution for the shown notation.
%---BEGIN---
\version "2.8.7"
theMusic = \relative c'' {
\time 4/4 |
\override Voice.TextScript #'padding = #3.0
\override Voice.TrillSpanner #'edge-text = #'("" . "")
e1~\startTrillSpan^\markup {"(poco vibr.)"} |
e2~ e\stopTrillSpan |
}
\score {
\theMusic
\layout {}
}
%---END---
Best,
Gilles
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Re: converting from Encore and using segno+coda
Hi. [Better to use 2 separate posts for 2 different questions.] > Also, in the documentation, it's not clear how to use Segno and Coda, e.g., > how > to put a "D. S. al Coda" or "To Coda". > Maybe something like a^"D. S. al Coda" Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RemoveEmptyStaffContext
Hi.
> I have a score with 3 voices, A, B, and C.
> Voices B and C have a lot in common. For about half of the score the B
> parts is identical to the C part.
>
> By specifying rests in voice B where it is identical to voice C, and
> using \RemoveEmptyStaffContext, LilyPond can eliminate printing of
> voice B. That's good. And a space saver.
>
> But, not surprisingly, this makes the generated MIDI less useful. I
> split the MIDI into separate parts for the individual voices, and now
> voice B will have large gaps where it should sound the same as voice
> C. I hope it is clear what I mean.
>
> What would be a good way to benefit from \RemoveEmptyStaffContext and
> still get a useful MIDI? I'm currently considering to write
> non-printing rests (S-rests) in voice B where it matches voice C and
> then develop a scheme function that copies the measures from C where B
> has S-rests. But I was wondering whether there are other means to deal
> with this situation.
You could use different "\tag"s (e.g. "midi" and "score"). Something like:
BC = \relative c' { a4 b a b }
B = \relative c' { c4 d e \tag #'midi { \BC } \tag #'score { s4*4 } d4 c }
C = \relative c' { a4 b a \BC g f }
Then in the "\midi" block you use
\keepWithTag #'midi { ... }
and, in the "\layout",
\keepWithTag #'score { ... }
[Not tested. It would have been easier if you provided a minimal working
example of your current code.]
Best,
Gilles
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Total invisibility
Hi.
I'd like a "Voice" to be totally invisible (i.e. taking up no space) while
retaining midi output.
The purpose is to add the drone to a bagpipe part. Currently I've done
something like the attached file.
The problem is that the "\drone" takes space and pushes the violin staff
downwards. Also (in the complete file) I get a lot of:
[...] warning: ignoring too many clashing note columns
What would be the incantation to make those notes totally "neutral",
graphically speaking (and, if possible, make the warnings disappear)?
Or is there another, better, way to achieve this?
Thanks and best regards,
Gilles
\version "2.10.10"
drone = \relative c' {
\override Tie #'transparent = ##t
\hideNotes
1~ |
1 |
}
bagpipeNotes = \relative c'' {
<<
\new Voice {
\oneVoice
d4 c8 ees d4. ees8 |
fis4 d16 d g8 fis2 |
}
\new Voice {
\drone
}
>>
}
bagpipeStaff = \context Staff = "Bagpipe" {
\clef G
\bagpipeNotes
}
violinNotes = \relative c' {
d4 c8 ees d4. ees8 |
d4 d16 d ees8 d2 |
}
violinStaff = \context Staff = "Violin" {
\clef G
\violinNotes
}
\score {
\context StaffGroup <<
\context Staff = "Bagpipe" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\bagpipeStaff
\context Staff = "Violin" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\violinStaff
>>
}
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Re: Total invisibility
Hi.
>> I'd like a "Voice" to be totally invisible (i.e. taking up no space)
>> while
>> retaining midi output.
>
> Then don't include it in the \score block with a \layout. You can have
> multiple \score blocks in a file.
> \score {
> \new Staff {\bagpipeMusic}
> \layout {}
> }
> \score {
> <<
> \bagpipeMusic
> \droneMusic
> >>
> \midi {}
> }
Unfortunately, that doesn't fit well with my current "templates": I use one
file for each instrument, then another file for the full layout (that refers
to the "Staff" variables defined in those other files) and then still others
that contain the "\score"... Well, in short, I'd rather keep the reference
to "\drone" in the bagpipe file, if possible.
Hence seeking the eventual "\set" or "\override" that could get the result.
I assumed that something akin to "[...] #'stencil = ##f" would have been nice
but, if that doesn't exist...
Best,
Gilles
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Re: Total invisibility
I'd like a "Voice" to be totally invisible (i.e. taking up no space)
while
retaining midi output.
>>>
>>> Then don't include it in the \score block with a \layout. You can
>>> have
>>> multiple \score blocks in a file.
>>> \score {
>>> \new Staff {\bagpipeMusic}
>>> \layout {}
>>> }
>>> \score {
>>> <<
>>> \bagpipeMusic
>>> \droneMusic
>>> >>
>>> \midi {}
>>> }
>>
> How does this not work for your templates? I'm assuming you have a
> \score block in your file. It probably has a \layout {} and a \midi {}
> block in it. You duplicate the \score block, and leave one with the
> \layout {} and one with the \midi {}.
I already have 2 "\score" blocks (namely to have "\unfoldRepeats" for
the MIDI output). But the thing is that both "\score"s refer only to a
variable "\staves" (defined in another file, that groups all the staves for
all the instruments) and I don't want those blocks to refer to a "\drone"
variable which won't even exist in most projects. [When an instrument
doesn't exist in a score, I comment it out in the file that defines the
"\staves" variable.]
> Then, in the one that has the
> \layout {}, you remove all references to the "invisible" staff.
Currently, the drone is *not* in its own staff; it's a second "Voice" in
the bagpipe staff.
Hence my question: Is it possible to completely hide that "Voice" (the
same way that some symbols can be made to take no space at all). [That
would be the easiest solution since I wouldn't have to touch any file
other than the one concerned with the drone i.e. the bagpipe file.]
But, if the above is not possible, then I figure I'll have to add a new staff
for the drone, and figure out something with "\keepWithTag" (or
"\removeWithTag") to prevent the staff from appearing in the layout. [In any
case, I'd seek a modification that would be done once for all in the "\score"s
blocks (i.e. no commenting in/out in each project).]
Best,
Gilles
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Re: Multi measure rest for non 4/4 measures
> > I wanted to have something like that : > > \set Score.skipBars = ##t > \time 12/8 r1*12/8*4 ^^^ Should be a capital R. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Total invisibility
Hi. > Ah, I understand now. Honestly, I would change the input to reflect what > you want. What you want is a midi voice that is not present in the score. > If I understand correctly, you have typeset this voice into the printed > score. (This is where I learned a lot from Kieren about separating > things.) That's also what I'm trying to achieve but it doesn't always seem possible with LilyPond only. I like having separate input files for the different instruments, but for most projects, I don't think it would be wise to go further and put other tools in the picture such as a preprocessor that would fetch its data from a database! E.g. in this instance, I would have liked to keep the drone notes and the melody notes together (i.e. in the same file) because they both are the bagpipe "content". But that, as we've seen, that makes it difficult to separate the printed from the midi output; hence I had to *separate* contents that belong together (i.e. create the "drone" staff) and then use "\tag"... > I've learned with lilypond to put one thing into a variable. If > there are two voice that are always two voices throughout the entire > piece, then it's easier to type those two voices into separate variables > and combine them in my staff, than to type them both into the same > variable. Of course, that's also what I do. But having the "drone" and "melody" in separate voices is not enough; they had to go in separate staves. Otherwise I would have mixed contents (music) with layout decision, by specifiying a "\tag #'no-layout" in front of the drone "Voice"! Anyway, in the end, it works, with minimal changes :-) Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Total invisibility
>> E.g. in this instance, I would have liked to keep the drone notes and
>> the
>> melody notes together (i.e. in the same file) because they both are
>> the
>> bagpipe "content".
>> But that, as we've seen, that makes it difficult to separate the
>> printed
>> from the midi output; hence I had to *separate* contents that belong
>> together (i.e. create the "drone" staff) and then use "\tag"...
> No, that's not true. There's a difference between having them in the
> same file, and having them in the variable. You can have a variable
> drone = {music} and a variable pipes = {music} in the same file.
I had exactly that: 2 _variables_.
> And
> then your score has \new Staff <<\drone \pipes>> or not.
I cannot have that (i.e. it's a personal choice to minimize the number of
changes from one project to another) because the "Staff" is exported from
the "contents" file: Hence at the score level, I just want to see a variable
"\staves" (which is a "StaffGroup"); but no reference to the internal
"drone" or "pipes".
Admittedly, there might be a better way to organize the layout/contents into
multiple files but if I'm not mistaken, there is a huge gap between the
examples in the manual or LSR (where everything is crammed into a single
file) and frameworks for large scale projects. [Some proposals have been
talked about in this ML (e.g. Nicolas Sceaux's) but they are not (yet?)
integral part of LilyPond.]
In-between these extremes, there are many different aproaches, but not one
considered to be the final "normalized" LilyPond template of templates...
Best,
Gilles
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Re: Total invisibility
Hi.
> First, the great thing about a program like LilyPond is that one is
> not constrained to templates. You create your own that works for you.
I don't see templates are not a constraint but as a time-saver.
It's nice not to be constrained to a single one. But that doesn't mean
that one template cannot be arguably better than another.
Then, it might be interesting to have some template repository so that
we can compare their respective merits and bring some ideas to improve
our own. [It has been said a few times that LSR wasn't suitable for that
(because of the multiple files approach).]
> Second, the problem is that you may learn over the course of several
> projects that your current template is somehow deficient. Much better
> to improve your template now and save yourself potential hours of
> working around an old template that may not suit all your needs. I
> can foresee many types of workflow for large projects, but I for one
> like to have many small files that feed into one or more parent files.
> Editing is much easier that way (at least in vim) and it offers
> maximum flexibility in the end. But it's taken a couple years to get
> a template I'm happy with.
>
> I know that's not too helpful - but I've never regretted a few hours'
> work getting my templates right.
My templates are not too bad either, also built up for several years with
nice tricks from here (the ML) and there (the Manual).
In the end, fo the problem that started this thread, I just needed to add
this
\tag #'no-layout {
\context Staff = "Drone" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\droneStaff
}
to my "StaffGroup", and this
\removeWithTag #'no-layout \staves
instead of just "\staves" to my "\score" block (the one with "\layout{}").
Best,
Gilles
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Re: why does this simple notation fail a barcheck?
> trpta = {
> \partial 8*1 e8-. |
> e4 d8 c4 d8 |
> e4 e8-. r r e |
> e4 d8 c4 d8 |
> e4 e8 r r fs |
> g4 fs8 g4 e8 |
> d2 d8 e |
> \times 2/3 {f4 fs b} |
> \times 2/3 {d c b} |
> g2.\fermata \bar "||" |
> r1*5
> }
>
> There errors are this -
>
>
> Interpreting music... [8]
> F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 1/2
> \times 2/3 {f4 fs b}
> |
Probably because this bar contains the value of a half-note (or 2 quarter
notes) while a complete bar is a dotted half-note (or 3 quarter notes or 2
dotted quarter notes or ...).
Best,
Gilles
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Re: Writing text in a measure
Hi.
> I need something like
>
> music .. |s-\markup {"Play loud random notes, then burn your instrument (30s)
> "}| more notes...
This seems to work for me (see attached files).
Best,
Gilles
\version "2.10.10"
mm = \relative c'' {
a4 b c d |
s4-\markup {"Play loud random notes, then burn your instrument (30 s)"} s s s
|
e4 d e c |
}
\score {
\new Staff {
\mm
}
\layout {}
}
test2.pdf
Description: Adobe PDF document
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Re: Writing text in a measure
>> This seems to work for me (see attached files). > > But don't you need an \instrumentSwitch command near the end? I never used this command. How is it related to what the first poster asked? Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I don't remember how to do this ...
Hi.
> [...]
> realized that the notes are one step too high.
> [...]
If I understood correctly, you just need to use "\transpose":
>
> % -- Trombone 1--
> tbonea = { all the notes of the piece }
> trombonea = \relative c {
> \global
> \key f \major
> \set Staff.instrumentName = #"Trombone 1"
> \set Staff.shortInstrumentName = #"Tbn 1"
> \clef bass
\transpose d c { \tbonea }
> }
>
> % -- Trombone 2--
> tboneb= { all the notes of the piece }
> tromboneb = \relative c {
> \global
> \key f \major
> \set Staff.instrumentName = #"Trombone 2"
> \set Staff.shortInstrumentName = #"Tbn 2"
> \clef bass
\transpose d c { \tboneb }
> }
But if you also want to keep the same pitch (as without the transposition),
you also need "\transposition":
\transposition bes { \transpose d c { \tboneb } }
Best,
Gilles
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Re: Multiple skips in lyrics
> [...] I use
> underscore "_" multiple times, e.g. 30 underscores. Is there any more
> convenient way to define multiple skips instead of long row of
> underscores like "_ _ _ _ _ _ _"?
\repeat unfold 30 { _ }
Best,
Gilles
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Re: printing rest in ChordNames context
Hi. > This solution to the N.C. problem (use r to indicate N.C.) ^^^ Will R also work? Thanks, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi omits one instrument in full score
Hello. > Hi, I've copied my complete code at the bottom, but the highlighted part is > this. The midi plays the piano part only. > > [...] > > I've tried repositioning the \set Staff.midiInstrument everywhere but I > never hear the part. Did you try selecting another instrument? [Maybe it's the MIDI player that misses something to play the "viola".] I could try compiling your score but you should provide it as an *attachement*. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi omits one instrument in full score
Hello. > Hi again. I did some more work and found that "viola" and "vibraphone" are > silent while "voice oohs", "glockenspiel", and "violin" (and default > acoustic grand) play ok. As I indicated in my previous reply, this depends on the MIDI player, and accompanying data used for rendering the sound of the selected instrument: If this data is missing, that instrument's sound cannot be generated. > If anyone can tell me if I'm missing something it would be greatly helpful. > I have attached one file for your convenience. I tried it on my computer. E.g. for the "timidity" midi player, the vibraphone is absent, while with "fluidsynth" it's there. As a workaround, for "timidity", you can modify its configuration file; when you see the following message in the output: --- No instrument mapped to tone bank 0, program 11 - this instrument will not be heard --- then you can create an appropriate line in "/etc/timidity/freepats.cfg" which would reference one of the existing "patch" (i.e. sound) file. [Of course, you still won't have the sound of the "vibraphone", but at least you can keep the reference to the correct midi instrument in the Lilypond file.] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [frogs] trailing spaces
Hi. >>> python script that removes tailing spaces >>> from lines. [if: s/Python/Perl/] perl -i -pe 's/\s+$/\n/' some_file Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RehearsalMark under Volta Bracket
Hi. > In this example, is there a way to move the "To Coda" rehearsal mark so > that it is underneath the Volta Bracket? Also, I'd like to have the > brackets on the same baseline (after the mark is moved down). > > Any hints? Things you might try to fiddle with are: \override Score.RehearsalMark #'padding = #2.0 \override Score.VoltaBracket #'minimum-space = #4.0 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrument name misalignment
Hi. > I have several instances where instrument names are too high, much higher > than the staff center line. It happens with both full and short names, but > only when a volta bracket is over the first measure. > > If this rings a bell and merits further discussion, I can provide examples. Without an example, it's hard to gues what's going wrong ;-) Best, Gilles P.S. Keep the example minimal (i.e. just enough code to display the behaviour). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reuse \header definitions: Is it possible?
Hi.
> Is there a way to reuse a \header definition?
Yes; you put all your header items in a file which you then include wherever
you need them:
In file "header.inc.ly":
---CUT---
title = "..."
subtitle = "..."
composer = "..."
% etc.
---CUT---
And, in other files:
---CUT---
\header {
\include "header.inc.ly"
}
---CUT---
Best,
Gilles
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Re: text with \musicglyph
Hi. > ...and I'm not getting entirely what I need. The varcoda sign is too > low and too close to the preceding text. I've been searching through > the docs to find a solution and have not yet come across what I need. > > Ideas? Try fiddling with \raise #1.0 and \hspace #1.0 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond for drums
Hello.
> Thanks in advance. BTW, this is what I did for her three exercises (just
> beginning ;-). Is this maybe rewritable to shorthand in some case? Maybe
> with repeats or so? Any help wouyld be appreciated.
The shorthand for
cymr8 cymr8 cymr8 cymr8
would be
\repeat unfold 4 {
cymr8
}
The structure of the file seems fine.
Best,
Gilles
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Re: new website, nothing happening
Hi. > Anybody volunteers? For, say, making an orchestra example? I can provide a version of "Adeste fideles"[1] arranged for SATB, oboe, trumpet, basson and strings. Let me know whether it would be useful. Best, Gilles [1] http://en.wikipedia.org/wiki/Adeste_Fideles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: octave
Hi. > Now, the part of the first piano has to be played an octave higher the > what is written on the score, so the guy who has written it with > encore has placed an "8" over the clefs of the piano staves. > > Is this a standard way to specify to play an octave higher? > If yes, how can I do this with lilypond? \clef "G^8" Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: marks
Hello.
> can I put "marks" A, B, C etc etc generated by \mark\default in a
> separate file to be included in every staff/staffgroup, [...]
Yes.
You could proceed somewhat along the following lines.
In file "global.inc.ly":
%---CUT---
\version "2.12.0"
global = {
\key d \minor
\time 2/4
\mark \default
s1*2/4*8 |
\bar "|."
}
%---CUT---
In file "violin.inc.ly":
%---CUT---
\version "2.12.0"
\include "global.inc.ly"
violinNotes = \relative c' {
%
}
violinStaff = \context Staff = "Violin" {
\clef G
<<
\global
\violinNotes
>>
}
%---CUT---
In file "violin.ly":
%---CUT---
\version "2.12.0"
\include "violin.inc.ly"
\score {
\violinStaff
\layout {}
}
%---CUT---
And similarly for all the instruments and the orchestra score.
Best,
Gilles
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Re: Nesting SLurs and phrases
Hello.
> I would have expected something like this to work
> e''8-1^\markup {\bold "#8"} \slurDown
> (
> \slurNeutral
> (f-2 e f) fis-3 (f-2 fis f\))
^^
This "\)" seems unbalanced.
> but it won't compile.
Gilles
P.S. Please always give a self-contained example file, in attachement.
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Re: RE; Re nesting curves getting closer
Hi. > > Gilles asked for an attachment I don't exactly know what to attach so > > I've attached the latest pdf output. > > What was wanted was the exact working code to get bad output, which you've > included in the body of the email. Perfect! IMHO, perfect would be to *attach* a complete lilypond file, so that people trying to help don't have to copy/paste/fill the missing bits/fiddle with long streaks of blank spaces, etc; but just save and compile. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RE; Re nesting curves getting closer
Hi. > >>> Gilles asked for an attachment I don't exactly know what to attach so > >>> I've attached the latest pdf output. > >> > >> What was wanted was the exact working code to get bad output, which you've > >> included in the body of the email. Perfect! > > > > IMHO, perfect would be to *attach* a complete lilypond file, so that people > > trying to help don't have to copy/paste/fill the missing bits/fiddle with > > long streaks of blank spaces, etc; but just save and compile. > > Well, IMO, it's better to have a short file in the body of the email. > Because that way I can look at it and identify errors without having to save > an attachment and then open it up in another application. I don't *have* to save to attachment to just view it. I said that it's easier (if the purpose is to compile it) to just save it than to cut/copy the relevant bits from the body of the mail. [If you cannot view attached text files inline, I guess that it's a shortcoming of the mail client you use...] > It's best if long files are not used, because if you can get a short file to > show your problem, it's better for your thinking and better for the people > who are trying to answer. Short or long is not the question; if you have to compile, you must have an input file. And it should be just long enough to show the problem. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Octave help
Hello.
> When I am using Lilypond the program assumes a different octave and
> no matter what I do the the \relative c, it won't change the octave.
> See the code below:
>
> {
> \clef treble
> \time 4/4
> \key g \major
> \relative c
> \partial 4 d8 d
> d d g g g4 f8 g
> a g c a b2
> d'4 a8 b c4 b8 c
> d'4 e'8( c) b g a4
> g1
> }
Try to put the music between curly brackets:
\relative c {
\partial 4 d8 d
% ...
}
Best,
Gilles
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Re: Best practice when typesetting transposing instruments.
Hello.
> I cannot quite find figure out from the manual which is a better practice when
> typesetting transposing instruments (say, a B\flat clarinet):
I use the following (assuming that the music contents is in variable
"clarinetNotes" and that the "global" variable namely contains the "\key"
declaration in concert pitch):
1. If the music has been entered in concert pitch:
%---CUT---
\transposition bes {
\transpose c d {
<<
\global
\clarinetNotes
>>
}
}
%---CUT---
2. If the music has been entered in Bb-clarinet pitch:
%---CUT---
\transposition bes {
\transpose bes c {
<<
\global
\transpose c bes {
\clarinetNotes
}
>>
}
}
%---CUT---
Best,
Gilles
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Re: Cord Names vs midi Instrument
Hi. > Is it possible to override the midi instrument for named chords (to > change it to a guitar, for instance) or is note format the only way ? \set ChordNames.midiInstrument = "acoustic guitar (nylon)" Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Replies to the list
Hi. Maybe another, non-technical, viewpoint. I think that, out of respect for those people who are on the list, someone who intends to ask for help from them, should have made the (little) effort of subscribing. Or, if he is not subscribed, he should state it in his message, and kindly request that the answer be CC'ed to his email address. Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help using convert-ly recursively on Linux
Hello.
> I'm running LilyPond on Ubuntu 9.10 (Karmic Koala).
>
> I'd like to run convert-ly against all of my .ly files that I have created,
> without having to manually change directories to each directory that
> contains a file I want to convert, and then run convert-ly against the files
> in that directory.
You could use the "find" command:
$ find -name '*ly' -exec convert-ly -e {} \;
Best,
Gilles
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Re: Problems with segnos and codas
Hi.
> You're trying to put 2 rehearsal marks on the same bar line. Does
> something like:
>
> { r4 r r
>\override Score.RehearsalMark #'self-alignment-X = #CENTER
>\mark \markup {"D.S " \musicglyph #"scripts.segno" " "
> \musicglyph #"scripts.coda" "Coda "}
> |
> g2 r2 |
> }
>
> do what you want?
In many cases, that won't do since what usually happens is that "D.C."
must appear at the last bar, then there is a "\break" and the next line is
the coda (with the "scripts.coda" sign).
The workaround which I use is to put the "D.C." \mark one bar earlier with
a "#LEFT" alignment (so it looks like it is on the last bar, albeit not
aligned on the end of it).
Indeed it's strange that LilyPond cannot write both marks even if they are
not on the same line.
Best,
Gilles
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Re: Problems with segnos and codas
On Tue, Oct 05, 2010 at 09:26:52AM -0500, Tim McNamara wrote: > While this doesn't solve the problem (somebody else seems to have > done that), it'd sure be nice if using marks for segno and coda > would be a lot more user friendly- like > > g1\segno > > g1\coda That would not solve the problem because we want those to be associated with the bar line (i.e. a single setting for a whole score, not one per staff). > [...] although both coda and segno are > probably more properly associated with a bar line than with a beat, > unlike a fermata. Indeed. > And it would be nice if the problem with manual breaks and codas > could be fixed. There is no reason for the coda mark to be forced > to the beginning of the next line if a \break is present. The mark > should be rendered where it is placed. I guess that the problem is that a bar line is a bar line, even if visually splitted over two staves. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: help with particular notation...
On Tue, Oct 12, 2010 at 03:49:01PM +0100, Mark Knoop wrote: > At 15:58 on 12 Oct 2010, 106ohm(G.Masetti) wrote: > > I don't know how to trascript a particolar notation, I had scan the > > paper and isolate the problem, the little image is here: > > http://poisson.phc.unipi.it/~masetti/IMG.jpg > > In the absence of more context, it is impossible to tell what that > notation means. It could be a comma (breath mark), a quaver rest, or > some sort of articulation. At least tell us the meter of the music. I think that he meant the line connecting the notes in the upper and lower staves. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
