Problems with Lilypond
Hi, Installed lilypond on my PC running Window XP Pro SP2. Installation completed with error. Downloaded test.ly file and followed instructions on http://lilypond.org/web/install/windows Got error saying could not find test.ly file. I've checked...it's there with the right extension. Any ideas? Thanks Error log as follows: GNU LilyPond 2.6.0 warning: can't find file: `test.ly' error: failed files: "test.ly" ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How can I change text to a serif font?
I have Lilypond 2.6.4 installed in Cygwin (this is the latest version available in Cygwin). Previous versions always used a serif font for all the text, but now the titles, footers, and rehearsal marks are in a sans serif font. I prefered the serif font. How can I change the default for text back to a serif font, or could a problem with my configuration cause this? If there is any configuration information you need to see, please let me know, but I expect something about how to make global font changes first. I have tried this in the \paper block, but it doesn't change the font used. I got it from an example, but I don't entirely understand what it does: #(define text-font-defaults '((font-encoding . latin1) (baseline-skip . 2) (word-space . 0.6))) #(set! fonts (make-century-schoolbook-tree 1.0)) Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
jazz font?
hello, is there a jazz font (music & text) available? thanks, -steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Mutopia-discuss] Help with Lilypond
Howdy! There are lots of different ways to do this. Lilypond and the *NIX systems it runs on are very flexible... You may learn something by wading through the files in my source directory tree for my arrangement of Goldberg Variations http://indra2.web.net/~linuxsui/gooeytar.com/public/bwv-988/0.80/ I have tried to organize the build of both a "book" and individual variations all from the same source files organized in multiple directories It can certainly be improved on, but it seems to work out ok.. -steve > Hi Huw > > I'm CCing lilypond-user because you'll probably get more help from there > > > 2013/4/21 Huw Richards > >> Dear All, >> >> I have been using Lilypond to transcribe various pieces of music for >> Mutopia for 2 or 3 years now, but have not yet uploaded anything to >> Mutopia. I am very happy with typing in the notes, clefs, time >> signatures etc. but I struggle to know how to produce a complete >> assembled document with page numbers, cover, text etc. >> >> As an example of what I mean, I have produced a set of six viola/ >> violin duets by Benjamin Blake. I have them as multiple files (- viola >> file, violin file, score file) for each duet. >> >> I would like to be able to combine them elegantly into a book. I >> think I may have started in the wrong way and perhaps should have >> understood more about possible file structures before I started. >> I do not understand how, or if, Lilypond can combine files together >> to produce a single output. >> >> > > Yes, you can: search \include in the documentation. \include is the same > as > pasting the content of the file in the point you use it. > You should have a good understanding of file structure. > If you can provide a minimal example or a link to the files you've > written, > we'll be able to help you. > Anyway, this is the relevant part of the documentation: > http://lilypond.org/doc/v2.17/Documentation/notation/input-structure > > > >> Is there any way / anywhere I can get face-to-face training or help >> with this in particular and with Lilypond in general? >> >> I live in Cambridge, UK. >> > > Maybe someone from lilypond-user lives there... > > > > 2013/4/21 Huw Richards > >> Dear All, >> >> I have been using Lilypond to transcribe various pieces of music for >> Mutopia for 2 or 3 years now, but have not yet uploaded anything to >> Mutopia. I am very happy with typing in the notes, clefs, time >> signatures etc. but I struggle to know how to produce a complete >> assembled document with page numbers, cover, text etc. >> >> As an example of what I mean, I have produced a set of six viola/ >> violin duets by Benjamin Blake. I have them as multiple files (- viola >> file, violin file, score file) for each duet. >> >> I would like to be able to combine them elegantly into a book. I >> think I may have started in the wrong way and perhaps should have >> understood more about possible file structures before I started. >> I do not understand how, or if, Lilypond can combine files together >> to produce a single output. >> >> Is there any way / anywhere I can get face-to-face training or help >> with this in particular and with Lilypond in general? >> >> I live in Cambridge, UK. >> >> >> Huw Richards - a...@eng.cam.ac.uk >> >> >> >> >> >> ___ >> Mutopia-discuss mailing list >> mutopia-disc...@mutopiaproject.org >> http://lists.bcn.mythic-beasts.com/mailman/listinfo/mutopia-discuss >> > ___ > Mutopia-discuss mailing list > mutopia-disc...@mutopiaproject.org > http://lists.bcn.mythic-beasts.com/mailman/listinfo/mutopia-discuss ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\grace in repeat breaks volta spanner?
HOwdy!
I have a problem putting a grace note in a repeat, when there are
two staves
in a system. See this link for a simplified example
http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/
http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/lily_grace_error.pdf
This is the error when compiling the source file
GNU LilyPond 2.16.2
Processing `lily_grace_error.ly'
Parsing...
Interpreting music...
warning: already have a volta spanner, ending that one prematurely
[8][8]
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `lily_grace_error.ps'...
Converting to `./lily_grace_error.pdf'...
Success: compilation successfully completed
Works if there is just one stave. Is there a fix for this?
This is the lilypond code that the above was created from
\version "2.16.2"
global = {
\time 3/4
\clef "G_8"
\key g \minor
}
guitarone = \relative c {
\repeat volta 2 { cis2. | }
\alternative {
{ cis4 r r }
{ cis4 r r }
}
\repeat volta 2 { fis2. | }
\alternative {
{ \grace fis16 g2. |}
{ g2. |}
}
}
guitarthree = \relative c' {
\repeat volta 2 { a2. | }
\alternative {
{ d2. | }
{ d2. | }
}
\repeat volta 2 { d2. | }
\alternative {
{ g2. |}
{ g2. \bar "|." |}
}
}
\score {
\new StaffGroup {
<<
\new Staff << \global \guitarone >>
\new Staff << \global \guitarthree >>
>>
}
\layout { }
}
Ideas?
thanx - steve
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Lines and Ties and Slurs oh my!
Howdy! It is well known that Ties and Slurs are problematic in LilyPond 2.18.0. As can be seen by a simple example from my project "Goldberg Variations for Guitar Ensemble" variation 22 http://www.gooeytar.com/projects/BWV-988/test/test.orig.pdf Notice that Ties in bar 1 are different than Ties in bar 2 or bar 4 or bar 7. Termination of the Tie is not consistent. So first we need to ask the question: How should Ties be drawn? Specifically where should the Tie terminate relative to the notehead? Ties in bar 1 and bar 3 terminates at the "inside upper corner" of the notehead. Ties in bar 4 and 7, terminate "above / below and in the middle" of the notehead. Which is correct? My understanding is that the Ties in bar 1 and 3 are correct. Slurs should terminate in the middle of the note to distinguish between Ties. Is that the consensus with Lilypond users / dev? Is there a general fix for this across the broad section of examples? One solution is to use \shape to fix individual Ties. If I define a couple of macros * to fix ties in bar 4, 13 (TieDown_stemsUpUp) TDUUa = \shape #'((0.6 . 0.4)(0 . 0.6)(0 . 0.6)(-0.6 . 0.4)) Tie * to fix ties in bar 7 (TieUp_stemsDownDown) TUDDa = \shape #'((0.6 . -0.2)(0 . -0.3)(0 . -0.3)(-0.6 . -0.2)) Tie The results of the above can be seen here http://www.gooeytar.com/projects/BWV-988/test/test.pdf Are they correct now? Is there another better way to deal with this? It is certainly possible to go through the 100+ or so "bad" Ties manually and I expect that there are simple fixes like the above that will correct common categories of bad Ties; for example all Ties between notes that are on upper ledger lines with stems down are drawn incorrectly with termination in the middle of the notehead (like a slur). Some preliminary testing has led me to conclude that the same fix (like above) may typically fix the same situation regardless of the length of the Tie or the value of the notes Is there a way to integrate this heuristic into the main code so that most manual tweaking is not needed? Or is there another better approach that can be used for issue? thanx - steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Goldberg Variations for Guitar Ensemble
Howdy! As per Janek's suggestion, I would like to announce my LilyPond project, the transcription and engraving of J. S. Bach's "Goldberg Variations" BWV 988 for Guitar Ensemble. http://www.gooeytar.com/projects/BWV-988/ The basics are mostly finished, and what remains is the fixing up of a few "lilypond" issues, fixing ties etc or whatever suggestions for improvement this forum and its experience can provide. I have an idea of how to approach the issue of ties and will elaborate in another post. -steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lines and Ties and Slurs oh my!
> hello, > > < snip> > Unfortunately, i have very little time for lilypond now, so i cannot > do much more. If you'd like to start seriously working on this issue, > i'd be happy to provide some guidance, feedback and testing. I > estimate that anyone who wants to really fix this would have to spend > 20-30 hours on researching tie shapes (i.e. reading my research), > 10-20 hours to get an idea how lilypond thinks about ties now, 40-80 > hours on writing new algorithms and then 20-60 hours on testing and > fixing corner cases. With that amount of effort, it should be > possible to create an almost-perfect tie formatting algorithms (i > mean, an algorithm that formats 99.9% ties correctly, as opposed to > 50% success rate now). > > I'm sorry if this sounds discouraging, but that's how it is. I will select examples of ties and slurs from Goldberg on 2.18.0 and put together a minimalist exposition for discussion. So, I guess the final solution is to do some programming work. Hmm... what if we paid someone to do the work? Can we raise money through kickstarter for this kind of project? The opengoldberg project did this http://www.opengoldbergvariations.org/ https://www.kickstarter.com/projects/293573191/open-goldberg-variations-setting-bach-free they raised money to engrave BWV-988 on Musescore. What if we set a similar goal for lilypond ties / slurs.. and made an example of the Goldberg Variations for Guitar Ensemble? We may even get a recording out of it? -steve > > best, > Janek > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lines and Ties and Slurs oh my!
> st...@linuxsuite.org writes: > >> I will select examples of ties and slurs from Goldberg on 2.18.0 and >> put >> together a minimalist >> exposition for discussion. >> > So for a separate tie project, it would be nice to raise money from > people not already investing in LilyPond. A particular and popular show > project like Goldberg would probably help. Exactly, there are lots of Goldberg fans, and for this particular project, the transcription for guitar ensemble, which has never been done before, could be a significant motivator for support, amongst the guitar community. For example, a kickstarter program could solicit investors that would recieve a high quality print of the finished project. Also as an extension of my work on the guitar transcription, I can imagine a "generic" transcription, unlike the guitar version which has lots of octave transposition, and other changes to make it playable on a standard guitar. This version would be a note for note rendering of the original, but with the voices separated out. It could then become a basis for any number of instrument combinations > >> What if we set a similar goal for lilypond ties / slurs.. and >> made an example of the Goldberg Variations for Guitar Ensemble? > > So the goal would be to have it nicely typeset without tweaking ties > manually? If the issue of ties / slurs is a big outstanding issue ( and I think it is) to taking LilyPond to the next level, then we could fix that and use Goldberg both the guitar and "generic" transcriptions as a focal point for organizing and fund raising...?? -steve > > -- > David Kastrup > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Goldberg Variations for Guitar Ensemble
> Terrific work Steve. I love the idea of dividing it into duos, trios and > quartets. > Can I pass the URL along to others, or is the announcement just meant for > list members? Yes, allocating the appropriate resources to each variation is, I believe, the best way to preserve the structure(s) of the work. I have this posted on imslp.org and intend for it to be distributed as widely as possible under Creative Commons by-sa 3.0 Feel free to pass the URL to others. I think the notes and other fundamentals are in good shape, and working to make the engraving as good as possible. Of course, I encourage you and others to perform the work ;-). The LilyPond engraving is a beautiful work of art in its own right, but the greatest art is the music itself. We will be performing at least 7 or 8 variations at our annual guitar weekend on April 12. Ultimately I, would like to see all of the variations recorded, along with the individual parts for study and practice.. -steve > > > On Fri, Feb 14, 2014 at 2:52 PM, wrote: > >> Howdy! >> >> As per Janek's suggestion, I would like to announce my LilyPond >> project, the transcription and engraving of J. S. Bach's "Goldberg >> Variations" BWV 988 for >> Guitar Ensemble. >> >> http://www.gooeytar.com/projects/BWV-988/ >> >>The basics are mostly finished, and what remains is the fixing up >> of a few "lilypond" issues, >> fixing ties etc or whatever suggestions for improvement this forum >> and >> its experience can provide. >> >> I have an idea of how to approach the issue of ties and will >> elaborate in >> another post. >> >> -steve >> >> >> >> >> >> >> >> ___ >> 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: Lines and Ties and Slurs oh my!
Howdy! I put together a sample of ties and a couple of apogg/slurs... This issue is hugely dependent on context, particularly spacing requirements, so some stuff was not reproducible as it ocurred in the origina, and other times new stuff came up that was not evident before... so I 'm not sure how useful this will be... www.gooeytar.com/projects/BWV-988/samples/ There a lots of obvious problems with some ties. Most of are consistent enough that a standard kind of \shape fix should work good enough... Summary of some issues bar 4 -8 : tie terminates on inner staff line, but not in bar 9 and 10. But it is the identical notes and rythym bar 12 : tie terminates on upper staff line bar 13 : tie terminates high on middle of note, unlike in bar 17 and 33 even though note pitch is identical and values are similar. I understand that the correct fix is a significant amount of work, but was wondering a simple "quick fix" for 2.18.1 is possible... There are certain obvious tie problems that are pathological, in sense that they are consistent and there is a common solution. For example i) ties terminating on an upper staff lilne ii) ties terminating on an inner staff line iii) ties terminating above in the middle of a note for notes on an upper ledger line These all have individual \shape fixes that will work well enough for a large number of cases.. the process of going through identifying a problem case and applying a \shift solution is a simple mechanical one. Is it possible for LilyPond to identify these cases and fix them itself? So an simplified algorithm is If ( Bad_Tie_Case_A ) apply_fix_a If ( Bad_Tie_Case_B) apply_fix_b If ( Bad_Tie_Case_C ) apply_fix_c where each apply_fix is a simple \shape transformation Is it possible to algorithmically determine in advance a Bad Tie? Going through it manually can be easily done and would only require a few days, but I would be willing to sponsor a solution for 2.18.1 if it is simple enough, not expensive, and will not make a mess.. -steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
What is LilyPond's ideal of "classical music engraving" ?
Howdy! I am starting to investigate how Ties and Slurs should look according to the statement on lilypond.org that lilypond "creates beautiful sheet music following the best traditions of classical music engraving." I was looking at a couple of engravings, Ralph Kirkpatrick's Shirmer Goldberg and the OpenGoldberg the more engraving's I look at, computer generated or not, the more I realize how good LilyPond is... So where is an example of good historical engraving that is diverse enough in its content so as to be representative of that model that LilyPond seeks to emulate? -steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What is LilyPond's ideal of "classical music engraving" ?
> Hi Steve, > > > On Wed, Feb 19, 2014 at 10:30 AM, wrote: > >> >> Howdy! >> >> I am starting to investigate how Ties and Slurs should look >> according to the >> statement on lilypond.org that lilypond >> >> "creates beautiful sheet music following the best traditions of >> classical music engraving." >> >>I was looking at a couple of engravings, Ralph Kirkpatrick's >> Shirmer Goldberg and >> the OpenGoldberg >> >> the more engraving's I look at, computer generated or not, the >> more I realize >> how good LilyPond is... So where is an example of good historical >> engraving that >> is diverse enough in its content so as to be representative of that >> model >> that >> LilyPond seeks to emulate? >> > > You might want to consult this essay for insights: > > http://www.lilypond.org/doc/v2.18/Documentation/essay-big-page.html Yes also this http://lilypond.org/doc/v2.19/Documentation/essay/engraved-examples-_0028bwv-861_0029 Hmm, Is the Bärenreiter Neue Bach Ausgabe engraving the "gold standard" in engraving that LilyPond seeks? At least for Bach? -steve > > HTH, > David > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lines and Ties and Slurs oh my!
Howdy! I spent the last 2 afternoons in the Toronto Reference Library going through Henle and Bärenreiter scores from the 1970's and 80's. Mostly Goldberg, other Bach stuff and some Beethoven. I specifically looked at ties and came to the following conclusions... i) There is huge variability and general lack of consistency not only in between the Henle and Bärenreiter, but even within the same editions. All of the "errors" and "inconsistencies" noted in this thread that appear in LilyPond also appear in both the Henle and Bärenreiter ii) The shape of the ties is noticeably thinner at the ends and broader in the middle, more so than the LilyPond tie. iii) ties are generally terminated over/under the middle of the notehead I can only conclude that historically there was much less attention to the minute details of tie consistency etc, and much of the detailing was left to the discretion of the engraver. Also since it was done manually, the minute variations that result actually work to "hide" the inconsistencies that otherwise would be more noticeable and produces a much more pleasing affect to the eye.. unlike the repetative algorithmic application of similar "errors" or "inconsistencies" that we might attribute to LilyPond. I don't think that attempting to emulate historical practice of manual engraving wrt. ties, is either possible or desireable. What we need is a modern standard that makes sense in the age of computer engraving. Here is my general sense of LilyPond ties and how they seem to be drawn and behave i) ties drawn between notes on the outside most staff space terminate on the outside staff line ii) ties drawn between notes on ledger lines terminate over/under the middle of the notehead iii) ties drawn between notes on spaces above ledger lines terminate to the side of the notehead iv) as space becomes more constrained, ties on the inner staff are diminished (shortened and less arch) in order to not cross over a staff line, at the expense of a more appropriate orientation to the notehead. v) ties drawn between notes on internal staff spaces, sometimes have more gap / space between the notehead making them inconsistent with other similar I think that i) above, should change so that the tie terminates outside the staff. I am ok with ii) and iii); this seems to make sense to me now as it somehow allocates the space around the note / tie / ledger line in a good way. Also I think that ties in the inner staff should cross over staff lines in order to maintain a more consistent orientation to the notehead. In conclusion, I think that perhaps 80% of ties in LilyPond are fine, fixing i) would make that substantially greater, as would a fix for iv) What makes a tie "good" or "bad" is often the result of personal preference. I don't think that rewriting the entire Tie code is the solution, and that it is probably best to make some relatively minor (?) changes to "fix" what is a consensus of the problematic ties, perhaps i) iv) and v) ? Thoughts? -steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Strange font in \markup {} with \Dynamics ?
Howdy!
I am fixing up one of my transcriptions for 2 guitars by centering
some dynamics between
the staves.
Seems to work fine except when I want to combine \dynamic with
text.. I can't the font to work correctly
http://www.gooeytar.com/projects/test/berceuse.pdf
see bar 18 - 19
bar 19 is done with
< b\harmonic >4 _\markup { \dynamic p \italic \tiny "sempre." } b
~ |
in guitarone
To centre this between the staves I am trying to use \Dynamic like
this
psempredyn = \markup {
\hspace #12
\dynamic p
\hspace #1
\tiny
\italic
sempre
}
psempre = #(make-dynamic-script psempredyn)
dynamics = {
s4\p s4
\repeat unfold 2 { s4 s4 }
\repeat unfold 6 { s4 s4 }
s4 \> s4 %10
s4\! s4
\repeat unfold 6 { s4 s4 }
s4\psempre s4
}
\score {
\new StaffGroup \with {
\override StaffGrouper #'staff-staff-spacing =
#'((basic-distance . 14)
(minimum-distance . 10)
(padding . 4))
}
<<
\new Staff << \global \guitarone >>
\new Dynamics \dynamics
\new Staff << \global \guitartwo >>
>>
\layout { }
}
\global is simply
global = {
\clef "G_8"
\key e \major
\time 2/4
}
Why do I get that weird font instead of \italic ? Doesn't matter
what I
change to font to, it is always the same.. fontsize works and hspace work
Ideas?
thanx - steve
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Re: Strange font in \markup {} with \Dynamics ?
Thats it!! thanx - steve > - Original Message - > > > From the NR where make-dynamic-script is introduced: > > "In general, make-dynamic-script takes any markup object as its argument. > The dynamic > font only contains the characters f,m,p,r,s and z, so if a dynamic mark > that > includes plain > text or punctuation symbols is desired, markup commands that reverts font > family and font > encoding to normal text should be used, for example \normal-text." > > -- > Phil Holmes > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How to separate these voices??
Howdy!
How do I get the bass quarter notes to separate from
the middle 8ths? They are fused as 8ths, and
\override NoteColumn.force-hshift = #1
shifts both the middle and bass voices?
\version "2.18.0"
voiceone = \relative c' {
<<
{ e2. | }
\\
{ gis,8[ b] gis[ b] gis[ b] | }
>>
}
voicetwo = \relative c {
< e, e' >4 dis' cis |
}
guitar = << \voiceone \\ \voicetwo >>
thanx - steve
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Re: How to separate these voices??
>
> This program produces no output. Please include working minimal
> examples demonstrating your problem with queries like that.
>
Ooops sorry.
\version "2.18.0"
voiceone = \relative c' {
<<
{ e2. | }
\\
{ gis,8[ b] gis[ b] gis[ b] | }
>>
}
voicetwo = \relative c {
< e, e' >4 dis' cis |
}
guitar = << { \voiceone } \\ { \voicetwo } >>
global = {
\time 3/4
\key e \major
\clef "G_8"
}
\score {
\new Staff { << \global \guitar >> }
\layout { }
}
-steve
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Re: How to separate these voices??
> Try putting everything in the same voice with this sort of construct
> {<<{}\\{}\\{}>>}
>
Doesn't change anything...
-steve
> regards,
> Shane
>
> On Mon, Jun 9, 2014 at 11:55 AM, wrote:
>>
>> Howdy!
>>
>> How do I get the bass quarter notes to separate from
>> the middle 8ths? They are fused as 8ths, and
>>
>> \override NoteColumn.force-hshift = #1
>>
>> shifts both the middle and bass voices?
>>
>>
>> \version "2.18.0"
>>
>> voiceone = \relative c' {
>> <<
>> { e2. | }
>> \\
>> { gis,8[ b] gis[ b] gis[ b] | }
>> >>
>> }
>>
>> voicetwo = \relative c {
>> < e, e' >4 dis' cis |
>> }
>>
>>
>> guitar = << \voiceone \\ \voicetwo >>
>>
>>
>> thanx - steve
>>
>>
>>
>> ___
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>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: How to separate these voices??
Thanks for the hints. I've looked at them and have come up with the
following which looks a lot like the original. F. Tarrega's transcription of
Beethoven minuet ( start of the trio ). Not sure if its the best solution
though...
http://imslp.org/wiki/6_Minuets,_WoO_10_%28Beethoven,_Ludwig_van%29
\version "2.18.0"
voiceone = \relative c' {
<<
\new Voice { \voiceOne e2. | }
\new Voice { \voiceThree \stemDown \override NoteColumn.force-hshift =
#1.1
gis, 8[ b] gis[ b] gis[ b] | }
>>
}
voicetwo = \relative c {
< e, e' >4 dis' cis |
}
guitar = << { \voiceone } \\ { \voicetwo } >>
global = {
\time 3/4
\key e \major
\clef "G_8"
}
\score {
\new Staff { << \global \guitar >> }
\layout { }
}
thanx - steve
> 2014-06-09 19:41 GMT+02:00 David Kastrup :
>> st...@linuxsuite.org writes:
>>
>>> Ooops sorry.
>>>
>>>
>>> \version "2.18.0"
>>>
>>> voiceone = \relative c' {
>>> <<
>>> { e2. | }
>>> \\
>>> { gis,8[ b] gis[ b] gis[ b] | }
>>> >>
>>> }
>>>
>>> voicetwo = \relative c {
>>> < e, e' >4 dis' cis |
>>> }
>>>
>>> guitar = << { \voiceone } \\ { \voicetwo } >>
>>>
>>> global = {
>>> \time 3/4
>>> \key e \major
>>> \clef "G_8"
>>> }
>>>
>>>
>>> \score {
>>> \new Staff { << \global \guitar >> }
>>>
>>> \layout { }
>>> }
>>
>> Nesting several \\ at different levels does not work. This is one case
>> where you are better off using explicit voices anyway since you can then
>> finetune the \voiceXxx things using for shifting voices apart in the
>> case of collision. That gives you
>>
>>
>>
>> I'm not overly convinced in how it is typeset, but then I don't have a
>> better suggestion after juggling with different presets.
>>
>>
>>
>>
>> --
>> David Kastrup
>
>
> Here my code as well.
> Second example gives same output as David's
> Third example shows strange behaviour of the Dot. IMHO, it should flip
> back to the NoteHead. There's enough space.
> A bug?
>
> \version "2.18.0"
>
> global = {
> \time 3/4
> \key e \major
> \clef "G_8"
> }
>
> \new Staff
> <<
> \global
> \new Voice \relative c' { \voiceOne e2. }
> \new Voice
> \relative c' {
> \voiceFour
> \override NoteColumn.force-hshift = #1.1
> gis8[ b] gis[ b] gis[ b]
> }
> \new Voice \relative c' { \voiceTwo < e,, e' >4 dis' cis }
> >>
>
> \new Staff
> <<
> \global
> \new Voice \relative c' { \voiceOne e2. }
> \new Voice \relative c' { \voiceThree gis8[ b] gis[ b] gis[ b] }
> \new Voice \relative c' { \voiceTwo < e,, e' >4 dis' cis }
> >>
>
> \new Staff
> <<
> \mark "bug with Dots?"
> \global
> \new Voice \relative c' { \voiceOne e2. }
> \new Voice
> \relative c' {
> \voiceThree
> \once \override NoteColumn.force-hshift = #1.5
> gis8[ b] gis[ b] gis[ b]
> }
> \new Voice \relative c' { \voiceTwo < e,, e' >4 dis' cis }
> >>
>
> Cheers,
> Harm
>
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\afterGrace \glissando draws incorrect line?
Howdy!
I have a problem getting lilypond to draw the correct glissando
line...
Here is a pdf and lilypond source file
http://gooeytar.com/projects/test/test.pdf
http://gooeytar.com/projects/test/test.ly
and another attempt
http://gooeytar.com/projects/test/test2.pdf
http://gooeytar.com/projects/test/test2.ly
I want the glissando line to go from fis - > a and from dis -> fis
but instead of dis -> fis I get a-> fis ???
Ideas?
here is a sample lilypond source
\version "2.18.0"
global = {
\time 3/4
\key e \major
\clef "G_8"
}
voiceone = \relative c' {
a''4 < b,, dis a > dis16 a fis' dis |
a'4 < dis,, a' b > a'16 fis b( a) |
dis4 < fis, a dis >
<<
\new Voice \voiceOne { \afterGrace fis4 \glissando a8 }
\new Voice \voiceTwo { \stemUp a4 }
\new Voice \voiceThree { \afterGrace dis4 \glissando fis8 }
>>
< a, fis' >4 < gis e' >
}
voicetwo = \relative c {
r4 < b dis > r |
r4 b b |
r4 b b |
e,2
}
guitar = << \voiceone \\ \voicetwo >>
\score {
\new Staff { << \global \guitar >> }
\layout { }
}
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Re: \afterGrace \glissando draws incorrect line?
>
> voiceone = \relative c' {
> a''4 < b,, dis a > dis16 a fis' dis |
> a'4 < dis,, a' b > a'16 fis b( a) |
> dis4 < fis, a dis >
> %% changed input order:
> < fis dis' a >\glissando
> %% thanks to David K:
> \grace { \bar "" 8 \bar "|" }
> < a fis' >4 < gis e' >
> }
This works!
thanx - steve
>
> HTH,
> Harm
>
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Re: \afterGrace \glissando draws incorrect line?
>
>
> I changed the
>
> <<
> \new Voice \voiceOne { \afterGrace fis4 \glissando a8 }
> \new Voice \voiceTwo { \stemUp a4 }
> \new Voice \voiceThree { \afterGrace dis4 \glissando fis8 }
> >>
>
>
>
> to
>
> << \afterGrace dis'4 \glissando fis8 \\ \stemUp a,4 \\ \afterGrace
> fis4 \glissando a8 >>
>
> and I get the correct glissandoes but I also get a warning:
>
> warning: ignoring too many clashing note columns
> <
> a, fis' >4 < gis e' >
> new file.ly:13:21: warning: ignoring too many clashing note columns
> << \afterGrace
> dis'4 \glissando fis8 \\ \stemUp a,4 \\ \afterGrace
> fis4 \glissando a8 >>
>
> So it's something to do with that construction but I cannot tell you why.
>
> If that helps?
Thanx, the best I can get is this
http://www.gooeytar.com/projects/test/test3.pdf
http://www.gooeytar.com/projects/test/test3.ly
which has the stems wrong and using \stemUp doesn't fix it.
???
-steve
>
> James
>
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Bad rest placements?
Howdy?
So I have been working on an engraving and had 80% of it
finished when I decided I needed another voice. I added it and it solved
my voicing
issue, but it completely ruined ALL of my previous rests which were fine
before. I don't see why these rests should be so badly out of position???
http://www.gooeytar.com/projects/test/test4.pdf
http://www.gooeytar.com/projects/test/test4.ly
The rests in voicethree are way out! Sure I could use "\rest" for
each one but shouldnt this just work??
Here is a minimal reduction of the problem. Ideas? thanx - steve
\version "2.18.0"
global = {
\time 3/4
\key e \major
\clef "G_8"
}
voiceone = \relative c' {
\repeat volta 1 {
\partial 4 { e'16_\p b gis' e } |
b'4 r gis,16 e b' gis |
e'4 r gis,,16 e b' gis |
< a fis' >4 < gis e' >
}
}
voicetwo = \relative c' {
s4
\repeat unfold 2 { s2. } s2
}
voicethree = \relative c {
\stemDown
\repeat volta 1 {
\partial 4 s4 |
r4 < e gis b > r | r4 < e, e' gis > r |
e2
}
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree >>
\score {
\new Staff { << \global \guitar >> }
\layout { }
}
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Bad rest placements?
Howdy?
So I have been working on an engraving and had 80% of it finished
when I decided I needed another voice. I added it and it solved my voicing
issue, but it completely ruined ALL of my previous rests which were fine
before. I don't see why these rests should be so badly out of position???
http://www.gooeytar.com/projects/test/test4.pdf
http://www.gooeytar.com/projects/test/test4.ly
They rests in voicethree are way out! Sure I could use "\rest" for
each one but shouldnt
this just work??
Here is a minimal reduction of the problem. Ideas? thanx - steve
\version "2.18.0"
global = {
\time 3/4
\key e \major
\clef "G_8"
}
voiceone = \relative c' {
\repeat volta 1 {
\partial 4 { e'16_\p b gis' e } |
b'4 r gis,16 e b' gis |
e'4 r gis,,16 e b' gis |
< a fis' >4 < gis e' >
}
}
voicetwo = \relative c' {
s4
\repeat unfold 2 { s2. } s2
}
voicethree = \relative c {
\stemDown
\repeat volta 1 {
\partial 4 s4 |
r4 < e gis b > r | r4 < e, e' gis > r |
e2
}
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree >>
\score {
\new Staff { << \global \guitar >> }
\layout { }
}
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How to control beamed stem length to avoid collision?
Howdy!
For some reason lilypond ( 2.18.0) doesn't get this correct
straight
out of the box, though there is lots of room for slightly shorter stems...
shouldn't
need to move the note column...
http://www.gooeytar.com/projects/test/granada_test.pdf
How do I fix this stem collision?
Using this thing will lengthen stems but not shorten them
\once \override Stem.details.beamed-lengths = #'(7)
\once \override Stem.details.beamed-lengths = #'(2)
Code below..
thanx - steve
*
\version "2.18.0"
\paper { }
\header { }
#(set-global-staff-size 19)
first = \relative c' {
\set Staff.instrumentName = "Guitar "
\set Staff.connectArpeggios = ##t
\key e \major
\tempo "Allegretto"
\tuplet 3/2 { e16([ fis e) } d8]~ d8~ |
}
second = \relative c' {
\once \override Stem.details.beamed-lengths = #'(1)
< g b >8 < g b > < g b > |
}
third = { }
fourth = \relative c {
g4.
}
guitar = << \first \\ \second \\ \third \\ \fourth >>
global = {
\clef "G_8"
\time 3/8
\set harmonicDots = ##t
\set Staff.connectArpeggios = ##t
}
\score {
\new StaffGroup \with {
\consists "Span_arpeggio_engraver"
\override StaffGrouper #'staff-staff-spacing =
#'((basic-distance . 12)
(minimum-distance . 8)
(padding . 2))
}
<< \global \guitar >>
\layout { }
}
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Custom Key Signatures
Howdy! I want to make a custom key signature. It should have f# c# a# How can I do this? -steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom Key Signatures
> On 14-11-13 10:13 AM, st...@linuxsuite.org wrote:
>>Howdy!
>>
>> I want to make a custom key signature. It should have f# c#
>> a#
>>
>> How can I do this?
>>
>> -steve
>>
>>
>>
>>
>
> THis will get you started, Steve:
> http://www.lilypond.org/doc/v2.19/Documentation/snippets/pitches#pitches-creating-custom-key-signatures
>
Ok I found this,
http://www.lilypond.org/doc/v2.18/Documentation/snippets/staff-notation#staff-notation-non_002dtraditional-key-signatures
Which works fine! But the 2.19 method is gross! Why so ugly,
complicated in
2.19 compared to 2.18? Or will this work in 2.19?
\set Staff.keySignature = #`(( 3 . ,SHARP)
( 0 . ,SHARP)
( 5 . ,SHARP))
-steve
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status of mutopia project
Howdy! Hope this isn't too OT, but can't get any info anywhere else.. What is the status of the mutopiaproject http://mutopiaproject.org ?? I have discovered errors in goldberg aria, reported them to all contacts, even added corrected source files. Also just recently tried to subscribe to mailing list at mutopiaproject and the subscription request(s) bounced!! This has been going on for at least a year. No corrections, no acknowledgement, no contact at all?? Is this project dead? thanx - steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: status of mutopia project
Unfortunately, there is an obvious error in Bach Goldberg Aria bar 18 that I have seen propagated to several other versions that have used this as source. Not good. -steve > 2011/4/8 Francisco Vila >> >> 2011/4/8 steve : >> > Howdy! >> > >> > Â Hope this isn't too OT, but can't get any info anywhere else.. >> > >> > Â What is the status of the mutopiaproject http://mutopiaproject.org >> ?? >> > >> > Â I have discovered errors in goldberg aria, reported them to >> > all contacts, even added corrected source files. Also just >> > recently tried to subscribe to mailing list at mutopiaproject and >> > the subscription request(s) bounced!! Â This has been going on >> > for at least a year. No corrections, no acknowledgement, no contact >> > at all?? >> > >> > Â Â Is this project dead? >> >> Sadly yes it is, in practice. Â Latest updates are dec 2010 (four >> posts). Any posts previous to those 4 are a year old. Â I'd love that >> Petrucci Music Library http://imslp.org/wiki/ supported maintaining of >> source lilypond files in the same site. Â Sceaux and others just link >> to their own sites for sources. > > At least we can be thankful that the project website is still available... > >> Maybe it is a good thing that freely available scores mix scanned and >> typeset documents whatever their origin or the software used; but no >> doubt that completely free scores are only possible if you have the >> source _and_ the typesetting engine is free as in freedom (i.e. Finale >> documents are useless for me for a triple reason: I need a costly >> software to see them, even if a viewer is available at zero cost I >> still can not hack the score, and even if I could, I am not free >> because that viewer is prorietary software). > > Any Linux user has at least one more reason - finale doesn't run on > Linux... > > cheers, > Janek > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Page formating for book layout
Howdy!
I have a set of variations (BWV 988) that I have transcribed
and engraved
with lilypond version 2.16.2. It is printed on both sides of the page and
reads like a
book. I have a \bookpart for each variation. Each variation starts on the
left page
and has a title and other custom \header stuff. Each variation is either on
2 pages or 4 pages. I want the top system on the right hand page to line
up with
the top system on the left page when space allows. How to do this? I simply
want to set the top-margin somehow only on these pages... is this possible
without
messing up top-margin on the "title" page? Or what is the correct way to
do this?
thanx - steve
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Re: Page formating for book layout
Thanx thats it! I ended up doing something like this
top-system-spacing =
#'((basic-distance . 20)
(minimum-distance . 20)
(padding . 0))
which seems to work ok.
-steve
> 2013/6/3
>
>>
>> Howdy!
>>
>> I have a set of variations (BWV 988) that I have transcribed
>> and engraved
>> with lilypond version 2.16.2. It is printed on both sides of the page
>> and
>> reads like a
>> book. I have a \bookpart for each variation. Each variation starts on
>> the
>> left page
>> and has a title and other custom \header stuff. Each variation is
>> either
>> on
>> 2 pages or 4 pages. I want the top system on the right hand page to line
>> up with
>> the top system on the left page when space allows. How to do this? I
>> simply
>> want to set the top-margin somehow only on these pages... is this
>> possible
>> without
>> messing up top-margin on the "title" page? Or what is the correct way to
>> do this?
>>
>> thanx - steve
>>
>>
> Hi Steve
>
> the answer is top-system-spacing
>
> see this example:
>
> \version "2.16.2"
>
>
> \paper {
>
> top-system-spacing = #'((padding . 3.5))
>
> }
>
>
> \markup { \null }
>
> \pageBreak
>
>
> \bookpart {
>
> \header {
>
> title = "Part 1"
>
> }
>
> \repeat unfold 100 { c1*4 }
>
> }
>
>
> \bookpart {
>
> \header {
>
> title = "Part 2"
>
> }
>
> \repeat unfold 100 { d1*4 }
> }
>
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Re: Individually system spacing multiple scores
> Hi,
>
> If I have two or more scores on the same page, how can I setup different
> system-system spacing for each?
have you tried putting each score in \bookpart ? This allows
for separate \paper sections.
-steve
>
> I've searched the documentation on this one without any success.
> System-system spacing commands can be placed in a \paper block, but \paper
> doesn't work inside a \score block and is global.
>
> \paper{}
> \score{}
> \paper{}
> \score{}
>
> uses the last \paper{} for both... and I can't find any system-system
> spacing commands for \layout blocks.
>
>
> \version "2.17.8"
> Phil.
>
>
>
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Inconsistent ties ?
I have a problem with 2 similar ties that are treated differently. Here
is a simplified example.
\version "2.16.2"
\score {
\new Staff {
\relative c'' {
\time 3/4
\clef "G_8"
\key g \major
\stemDown g8 [ fis ] e [ d ] ~ d [ e ] | e [ d ] c [ b ] ~ b [
c ] |
}
}
}
The tied "d" in the first bar is quite different than the tied "b"
in the second.
The "d" is joined from the top of the head. The "b" is joined differently.
The bars
are identical except one is a minor third lower. Both slurred notes are on
lines
and have identical beaming, stem direction.. etc.. shouldn't the ties be
identical also?
Here is a link to a pdf.
http://indra2.web.net/~linuxsui/gooeytar.com/public/lilypond/tst.pdf
--steve
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Inserting a "Preface" into Table of Contents
Howdy! I have a Table of Contents. The TOC is the first file and has the first page number. All the rest of the pieces are correctly inserted into the TOC. I have a Preface that appears before the TOC, has a roman numeral like page numbering and is inserted as a pdf after compilation. I want the Preface to appear in the TOC with its page number. How can I manually insert the entry for the Preface into the TOC?? thanx - steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\break before \repeat volts breaks \acciaccatura
Howdy!
Seems my nice lilypond score gets messed up if I have a \break before
a \repeat volta followed by a \acciaccatura
http://gooeytar.com/projects/Anitra%27s_dance/ad.pdf
http://gooeytar.com/projects/Anitra%27s_dance/TEST/ad.pdf
complete reduced files are in
http://gooeytar.com/projects/Anitra%27s_dance/TEST
Below is a brief snippet
thoughts?
\version "2.16.2"
guitarone = \relative c'' {
\override Staff.NoteCollision #'merge-differently-dotted = ##t
\set Staff.instrumentName = "Gtr1 "
\tempo "Tempo di Mazurka"
2.
4 r4 r4
r4 4 4
r4
%5
r4
r4
\break
\repeat volta 2 {
\acciaccatura {a16[ b]} a8 gis a b c d |
e8 a e4 d\trill |
%9
c8 a' c,4 b\trill |
a2\harmonic r4 |
a8 c a4 g\trill |
fis8 c' fis,2 |
}
}
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Re: \break before \repeat volts breaks \acciaccatura
Seems to work ok with only a single staff
http://gooeytar.com/projects/Anitra%27s_dance/TEST/one-staff/ad.pdf
???
reduced files in
http://gooeytar.com/projects/Anitra%27s_dance/TEST/one-staff/
-steve
>
> Howdy!
>
> Seems my nice lilypond score gets messed up if I have a \break
> before
> a \repeat volta followed by a \acciaccatura
>
> http://gooeytar.com/projects/Anitra%27s_dance/ad.pdf
>
>http://gooeytar.com/projects/Anitra%27s_dance/TEST/ad.pdf
>
> complete reduced files are in
>
> http://gooeytar.com/projects/Anitra%27s_dance/TEST
>
> Below is a brief snippet
>
> thoughts?
>
>
> \version "2.16.2"
>
> guitarone = \relative c'' {
> \override Staff.NoteCollision #'merge-differently-dotted = ##t
> \set Staff.instrumentName = "Gtr1 "
> \tempo "Tempo di Mazurka"
> 2.
> 4 r4 r4
> r4 4 4
> r4
> %5
> r4
> r4
> \break
> \repeat volta 2 {
> \acciaccatura {a16[ b]} a8 gis a b c d |
> e8 a e4 d\trill |
> %9
> c8 a' c,4 b\trill |
> a2\harmonic r4 |
> a8 c a4 g\trill |
> fis8 c' fis,2 |
> }
> }
>
>
>
>
>
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Re: \break before \repeat volts breaks \acciaccatura
> A shot in the dark: what happens if you add acciaccaturas with spacer
> rests in _all_ voice contexts?
that fixed it
adding
\break
\acciaccatura s8
to guitar2 produces the desired result
http://gooeytar.com/projects/Anitra%27s_dance/ad.pdf
thanx - steve
>
>
>
> st...@linuxsuite.org schrieb:
>>
>> Howdy!
>>
>> Seems my nice lilypond score gets messed up if I have a \break before
>>a \repeat volta followed by a \acciaccatura
>>
>>http://gooeytar.com/projects/Anitra%27s_dance/ad.pdf
>>
>> http://gooeytar.com/projects/Anitra%27s_dance/TEST/ad.pdf
>>
>> complete reduced files are in
>>
>> http://gooeytar.com/projects/Anitra%27s_dance/TEST
>>
>> Below is a brief snippet
>>
>> thoughts?
>>
>>
>>\version "2.16.2"
>>
>>guitarone = \relative c'' {
>>\override Staff.NoteCollision #'merge-differently-dotted = ##t
>>\set Staff.instrumentName = "Gtr1 "
>>\tempo "Tempo di Mazurka"
>>2.
>>4 r4 r4
>>r4 4 4
>>r4
>>%5
>>r4
>>r4
>>\break
>>\repeat volta 2 {
>>\acciaccatura {a16[ b]} a8 gis a b c d |
>>e8 a e4 d\trill |
>>%9
>>c8 a' c,4 b\trill |
>>a2\harmonic r4 |
>>a8 c a4 g\trill |
>>fis8 c' fis,2 |
>>}
>>}
>>
>>
>>
>>
>>
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>
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Getting ragged-last-bottom et. al to work?
Howdy!
Seems no matter what I do I end up with a ragged last-bottom
I have tried putting
ragged-right = ##f
ragged-bottom = ##f
ragged-last-bottom = ##f
ragged-last = ##f
into both \paper {} and \layout {}
and it does nothing..
I have some files at
http://www.gooeytar.com/projects/FourMoments/Python/fm.ly
http://www.gooeytar.com/projects/FourMoments/Python/fm.pdf
never had this problem before? Am I missing something?
I can't verify it with a tiny example.
-steve
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Re: Getting ragged-last-bottom et. al to work?
> - Original Message -
> From:
> To: "lilypond-user"
> Sent: Monday, March 09, 2015 5:42 PM
> Subject: Getting ragged-last-bottom et. al to work?
>
>
>>
>> Howdy!
>>
>> Seems no matter what I do I end up with a ragged last-bottom
>>
>> I have tried putting
>>
>>ragged-right = ##f
>>ragged-bottom = ##f
>>ragged-last-bottom = ##f
>>ragged-last = ##f
>>
>> into both \paper {} and \layout {}
>>
>> and it does nothing..
>
> From the NR:
> "ragged-bottom:
>
> If this is set to true, systems will be set at their natural spacing,
> neither compressed nor stretched vertically to fit the page."
>
> It seems apparent that setting ragged-* to _true_ will cause a ragged
> layout, as you want.
Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..
-steve
>
>
> --
> Phil Holmes
>
>
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Re: Getting ragged-last-bottom et. al to work?
Phil,
Thats IT Pulled my hair out for days..
I'll pay it forward... somehow
thanx - steve
> - Original Message -
> From:
> To: "Phil Holmes"
> Cc: "lilypond-user"
> Sent: Tuesday, March 10, 2015 2:30 PM
> Subject: Re: Getting ragged-last-bottom et. al to work?
>
>
>>
>>>>> Subject: Getting ragged-last-bottom et. al to work?
>>>
>>>> Umm,,, no I don't want a ragged layout. I want the last line
>>>> on
>>>> the last page to fill the line..
>>>
>>> Well, the example you sent is too complex to debug by sight and doesn't
>>> compile without all the included files, but ragged-last in a layout
>>> block
>>> definitely does work as documented:
>>>
>>> \score {
>>> \repeat unfold 52 c''
>>> \layout {
>>> ragged-last = ##t
>>> }
>>> }
>>>
>>> \score {
>>> \repeat unfold 52 c''
>>> \layout {
>>> ragged-last = ##f
>>> }
>>> }
>>>
>>
>> Yes, I have proven to myself that it works for simple examples.
>> I am trying
>> to reduce my example to a simple one that will still demonstrate the
>> problem
>> but I haven't been able to... yet.
>>
>> All if the files needed to compile my example can be found in
>>
>> http://www.gooeytar.com/projects/FourMoments/Python/
>>
>> Also I modified
>> /usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
>> by adding a 9" X 12" paper size, which is standard size for music score
>> in
>> my locale
>
>
> Your dynamics music is one bar longer than your guitar music, so it pushes
> the guitar music to the left to accommodate it. Take off your final s2 s2
> and the problem is solved.
>
> --
> Phil Holmes
>
>
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Re: Getting ragged-last-bottom et. al to work?
>>> Subject: Getting ragged-last-bottom et. al to work?
>
>> Umm,,, no I don't want a ragged layout. I want the last line on
>> the last page to fill the line..
>
> Well, the example you sent is too complex to debug by sight and doesn't
> compile without all the included files, but ragged-last in a layout block
> definitely does work as documented:
>
> \score {
> \repeat unfold 52 c''
> \layout {
> ragged-last = ##t
> }
> }
>
> \score {
> \repeat unfold 52 c''
> \layout {
> ragged-last = ##f
> }
> }
>
Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the problem
but I haven't been able to... yet.
All if the files needed to compile my example can be found in
http://www.gooeytar.com/projects/FourMoments/Python/
Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9" X 12" paper size, which is standard size for music score in
my locale
("gooeytar_9X12" . (cons (* 9.0 in) (* 12.0 in)))
-steve
> --
> Phil Holmes
>
>
>
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Notes in voiceone corrupt voicethree after voice splitting?
Howdy!
I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.
Each bar shows a different behaviour depending on the first voice
bar 1 - seems ok
bar 2 - seems ok and NoteColumn.force-hshift works in voicethree
bar 3 - a quarter note on beat 3 in voiceone causes a collision in
voicethree and NoteColumn.force-hshift doesn't work
bar 4 - a simple white harmonic in voiceone creates the same
condition as bar 3
bar 5 - use of Staff.NoteHead.style = #'harmonic-black in
voiceone causes
notes in voicethree to change to black harmonics
http://www.gooeytar.com/projects/test/test.pdf
Obviously, voiceone is messing with the "new voice" in voice three.
What is the correct way to do this in LilyPond??
thanx - steve
\version "2.18.2"
H = \once \override Staff.NoteHead.style = #'harmonic-black
voiceone = \relative c'' {
\clef "G_8"
\time 4/4
\key g \major
b4 b2 r4 |
b4 b4 r r |
b4 b b b |
b4 b b\harmonic b |
b4 b \H b b |
}
voicetwo = \relative c {
\set harmonicDots = ##t
e'8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
e8\rest d2..\harmonic |
}
voicethree = \relative c' {
<<
\new Voice % needed or voiceone and three are fused
{
s4 g4^~ g2 | s4 g4^~ g2 |
s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
%\\
\new Voice
{
\stemDown
g4\rest g4 fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #2.0 % to prove it works
here
fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #2.0 % doesn't work
here
fis2 |
g4\rest g4 fis2 |
g4\rest g4 fis2 |
}
>>
}
voicefour = \relative c {
c1 | c1 | c1 | c1 | c1
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
#(set-global-staff-size 19)
\score { \new Staff \guitar }
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Re: Notes in voiceone corrupt voicethree after voice splitting?
Your attached code still has the note heads in voiceThree and voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne
-steve
> Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:
>>Howdy!
>>
>> I have reduced a multivoice structure that is part of a
>> composition to a simple five bar example of voice splitting.
>> I need 4 voices, and then I need one voice to split.
>>
>> Each bar shows a different behaviour depending on the first
>> voice
>>
>> bar 1 - seems ok
>> bar 2 - seems ok and NoteColumn.force-hshift works in
>> voicethree
>> bar 3 - a quarter note on beat 3 in voiceone causes a collision
>> in
>> voicethree and NoteColumn.force-hshift doesn't work
>>
>> bar 4 - a simple white harmonic in voiceone creates the same
>> condition as bar 3
>> bar 5 - use of Staff.NoteHead.style = #'harmonic-black in
>> voiceone causes
>>notes in voicethree to change to black harmonics
>>
>> http://www.gooeytar.com/projects/test/test.pdf
>>
>> Obviously, voiceone is messing with the "new voice" in voice
>> three.
>>
>> What is the correct way to do this in LilyPond??
> Well, indeed that seems to be a complicated case. However, if you just
> follow the relevant NR section at
> <http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices#collision-resolution>,
> it all works as expected (see attachment). Careful doc reading helps
>
> HTH, Simon
>>
>> thanx - steve
>>
>>
>>
>>
>> \version "2.18.2"
>>
>> H = \once \override Staff.NoteHead.style = #'harmonic-black
>>
>> voiceone = \relative c'' {
>> \clef "G_8"
>> \time 4/4
>> \key g \major
>> b4 b2 r4 |
>> b4 b4 r r |
>> b4 b b b |
>> b4 b b\harmonic b |
>> b4 b \H b b |
>> }
>>
>> voicetwo = \relative c {
>> \set harmonicDots = ##t
>> e'8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> }
>>
>> voicethree = \relative c' {
>> <<
>> \new Voice % needed or voiceone and three are fused
>> {
>> s4 g4^~ g2 | s4 g4^~ g2 |
>> s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>> }
>> %\\
>> \new Voice
>> {
>> \stemDown
>> g4\rest g4 fis2 |
>> g4\rest g4
>> \once \override NoteColumn.force-hshift = #2.0 % to prove it
>> works
>> here
>> fis2 |
>> g4\rest g4
>> \once \override NoteColumn.force-hshift = #2.0 % doesn't work
>> here
>> fis2 |
>> g4\rest g4 fis2 |
>> g4\rest g4 fis2 |
>> }
>> >>
>> }
>>
>> voicefour = \relative c {
>> c1 | c1 | c1 | c1 | c1
>> }
>>
>> guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>>
>> #(set-global-staff-size 19)
>>
>> \score { \new Staff \guitar }
>>
>>
>>
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Re: Notes in voiceone corrupt voicethree after voice splitting?
Ok,
I reduced the problem to one bar, and the black harmonics..
Everything works except the notes are changed in voicethree and
voicesix to black harmonics. This is the simplest reduction I can produce...
http://gooeytar.com/projects/test/test.ly
http://gooeytar.com/projects/test/test.pdf
\version "2.18.2"
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)
H = \once \override Staff.NoteHead.style = #'harmonic-black
voiceone = \relative c'' {
\clef "G_8"
\time 4/4
\key g \major
b4 b \H b b |
}
voicetwo = \relative c {
\set harmonicDots = ##t
e'8\rest d2..\harmonic |
}
voicethree = \relative c' {
\override NoteColumn.force-hshift = #0.0
s4 g4^~ g2 |
}
voicefour = \relative c {
c1 |
}
voicefive = \relative c {
}
voicesix = \relative c' {
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
\voicefive \\ \voicesix >>
#(set-global-staff-size 19)
\score { \new Staff \guitar }
>>
>> Howdy!
>>
>> I have reduced a multivoice structure that is part of a
>> composition to a simple five bar example of voice splitting.
>> I need 4 voices, and then I need one voice to split.
>
> I managed to improve it by adding voices, but the black harmonics
> still corrupt the other voice
>
> http://gooeytar.com/projects/test/test.ly
> http://gooeytar.com/projects/test/test.pdf
>
> voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
> voiceSix = #(context-spec-music (make-voice-props-set 4) 'Voice)
>
>and changing voice three
>
> voicethree = \relative c' {
> <<
> \new Voice
> {
> \voiceFive
>\override NoteColumn.force-hshift = #0.0
>s4 g4^~ g2 | s4 g4^~ g2 |
>s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
> }
> \\
> \new Voice
> {
>\voiceSix
>\stemDown
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
> fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
> fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #1.0
>fis2 |
> }
> >>
> }
>
>
> -steve
>
>>
>> Each bar shows a different behaviour depending on the first
>> voice
>>
>>bar 1 - seems ok
>>bar 2 - seems ok and NoteColumn.force-hshift works in
>> voicethree
>>bar 3 - a quarter note on beat 3 in voiceone causes a collision
>> in
>> voicethree and NoteColumn.force-hshift doesn't work
>>
>>bar 4 - a simple white harmonic in voiceone creates the same
>> condition as bar 3
>>bar 5 - use of Staff.NoteHead.style = #'harmonic-black in
>> voiceone causes
>> notes in voicethree to change to black harmonics
>>
>> http://www.gooeytar.com/projects/test/test.pdf
>>
>> Obviously, voiceone is messing with the "new voice" in voice
>> three.
>>
>> What is the correct way to do this in LilyPond??
>>
>> thanx - steve
>>
>>
>>
>>
>> \version "2.18.2"
>>
>> H = \once \override Staff.NoteHead.style = #'harmonic-black
>>
>> voiceone = \relative c'' {
>> \clef "G_8"
>> \time 4/4
>> \key g \major
>> b4 b2 r4 |
>> b4 b4 r r |
>> b4 b b b |
>> b4 b b\harmonic b |
>> b4 b \H b b |
>> }
>>
>> voicetwo = \relative c {
>> \set harmonicDots = ##t
>> e'8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> e8\rest d2..\harmonic |
>> }
>>
>> voicethree = \relative c' {
>> <<
>> \new Voice % needed or voiceone and three are fused
>> {
>> s4 g4^~ g2 | s4 g4^~ g2 |
>> s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
>> }
>>% \\
>> \new Voice
>> {
>> \stemDown
>&g
Re: Notes in voiceone corrupt voicethree after voice splitting?
>
> Howdy!
>
> I have reduced a multivoice structure that is part of a
> composition to a simple five bar example of voice splitting.
> I need 4 voices, and then I need one voice to split.
I managed to improve it by adding voices, but the black harmonics
still corrupt the other voice
http://gooeytar.com/projects/test/test.ly
http://gooeytar.com/projects/test/test.pdf
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
voiceSix = #(context-spec-music (make-voice-props-set 4) 'Voice)
and changing voice three
voicethree = \relative c' {
<<
\new Voice
{
\voiceFive
\override NoteColumn.force-hshift = #0.0
s4 g4^~ g2 | s4 g4^~ g2 |
s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
}
\\
\new Voice
{
\voiceSix
\stemDown
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
g4\rest g4
\once \override NoteColumn.force-hshift = #1.0
fis2 |
}
>>
}
-steve
>
> Each bar shows a different behaviour depending on the first
> voice
>
>bar 1 - seems ok
>bar 2 - seems ok and NoteColumn.force-hshift works in voicethree
>bar 3 - a quarter note on beat 3 in voiceone causes a collision in
> voicethree and NoteColumn.force-hshift doesn't work
>
>bar 4 - a simple white harmonic in voiceone creates the same
> condition as bar 3
>bar 5 - use of Staff.NoteHead.style = #'harmonic-black in
> voiceone causes
> notes in voicethree to change to black harmonics
>
> http://www.gooeytar.com/projects/test/test.pdf
>
> Obviously, voiceone is messing with the "new voice" in voice
> three.
>
> What is the correct way to do this in LilyPond??
>
> thanx - steve
>
>
>
>
> \version "2.18.2"
>
> H = \once \override Staff.NoteHead.style = #'harmonic-black
>
> voiceone = \relative c'' {
> \clef "G_8"
> \time 4/4
> \key g \major
> b4 b2 r4 |
> b4 b4 r r |
> b4 b b b |
> b4 b b\harmonic b |
> b4 b \H b b |
> }
>
> voicetwo = \relative c {
> \set harmonicDots = ##t
> e'8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> e8\rest d2..\harmonic |
> }
>
> voicethree = \relative c' {
> <<
> \new Voice % needed or voiceone and three are fused
> {
>s4 g4^~ g2 | s4 g4^~ g2 |
>s4 g4^~ g2 | s4 g4^~ g2 | s4 g4^~ g2 |
> }
>% \\
> \new Voice
> {
>\stemDown
>g4\rest g4 fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #2.0 % to prove it works
> here
>fis2 |
>g4\rest g4
>\once \override NoteColumn.force-hshift = #2.0 % doesn't work
> here
> fis2 |
>g4\rest g4 fis2 |
>g4\rest g4 fis2 |
> }
> >>
> }
>
> voicefour = \relative c {
> c1 | c1 | c1 | c1 | c1
> }
>
> guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>
> #(set-global-staff-size 19)
>
> \score { \new Staff \guitar }
>
>
>
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Re: Notes in voiceone corrupt voicethree after voice splitting?
YES!!!
Thank U All 4 u.
-$teev
> On 25/03/2015 07:20, st...@linuxsuite.org wrote:
>>Your attached code still has the note heads in voiceThree and
>> voiceSix
>> changed to black harmonics, when there is a black harmonic in voiceOne
>
> Just change Staff.NoteHead to NoteHead, and it fixes the problem:
>
> \version "2.18.2"
>
> voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
> voiceSix = #(context-spec-music (make-voice-props-set 5) 'Voice)
>
> H = \once \override NoteHead.style = #'harmonic-black
>
> voiceone = \relative c'' {
> \clef "G_8"
> \time 4/4
> \key g \major
> b4 b \H b b |
> }
>
> voicetwo = \relative c {
> \set harmonicDots = ##t
> e'8\rest d2..\harmonic |
> }
>
> voicethree = \relative c' {
> \override NoteColumn.force-hshift = #0.0
> s4 g4^~ g2 |
> }
>
> voicefour = \relative c {
> c1 |
> }
>
> voicefive = \relative c {
> }
>
> voicesix = \relative c' {
>g4\rest g4
> \once \override NoteColumn.force-hshift = #1.0
> fis2 |
> }
>
> guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \\
> \voicefive \\ \voicesix >>
>
> #(set-global-staff-size 19)
>
> \score { \new Staff \guitar }
>
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NoteColumn.force-hshift doesn't work on 2nd beat but works on others??
Howdy!
For some reason this doesn't work as expected.
\once \override NoteColumn.force-hshift
works fine in voiceTwo on beats 1 and 3 but not on beat 2?
I need more space around the rest.
http://www.gooeytar.com/projects/test/test.ly
http://www.gooeytar.com/projects/test/test.pdf
ideas? - steve
\version "2.18.2"
voiceone = \relative c' {
\voiceOne
\clef "G_8"
\time 4/4
\key c \major
s4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
%\once \override NoteColumn.force-hshift = #-1.0 % works
\stemUp
g4
\stemDown
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
%g4
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
\score { \new Staff \guitar }
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Re: NoteColumn.force-hshift doesn't work on 2nd beat but works on others??
> Steve,
>
> 1. Remember that the << { } \\ { } ... >> syntax automatically
> (implicitly)
> applies \voiceXXX in ascending order.
Yes, but I like explicitly stating some of the defaults..
>
> 2. Putting notes in proper voices usually eliminates any need to manually
> specify \stemUp and \stemDown, note\rest, etc.
There is another voice I left out. so"note\rest" is neccessary to
avoid that collision.
>
> 3. Here's how I would re-code your score, if I understand your intentions:
It doesn't solve the problem of moving the 8th note to make room
for the
rest. The rest can't be up where it is by default. It will clash with the
upper voice
which I left out to simplify the example...
So how can I move the note to the left if
NoteColumn.force-hshift
doesn't work? And why doesn't it.
Here is a cleaner example
\version "2.18.2"
voiceone = \relative c' {
\voiceOne
\clef "G_8"
\time 4/4
\key c \major
g4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
s4
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
\score { \new Staff \guitar }
>
> %< - SNIP -
>
> \version "2.18.2"
>
> voiceone = \relative c' {
> \clef "G_8"
> \time 4/4
> \key c \major
> g4 r16 g8. ~ g2 |
> }
>
> voicetwo = \relative c' {
> s4 g8 fis ~ fis2 |
> }
>
> voicethree = \relative c' {
> }
>
> voicefour = \relative c {
> c1 |
> }
>
> guitar = <<
> \voiceone \\
> \voicetwo \\
> \voicethree \\
> \voicefour
>>>
>
> \score { \new Staff \guitar }
>
> %< - SNIP -
>
> Regards,
> Abraham
>
>
> On Thu, Mar 26, 2015 at 2:55 PM, steve-166 [via Lilypond] <
> ml-node+s1069038n173722...@n5.nabble.com> wrote:
>
>>
>> Howdy!
>>
>>
>> For some reason this doesn't work as expected.
>>
>> \once \override NoteColumn.force-hshift
>>
>> works fine in voiceTwo on beats 1 and 3 but not on beat 2?
>> I need more space around the rest.
>>
>> http://www.gooeytar.com/projects/test/test.ly
>> http://www.gooeytar.com/projects/test/test.pdf
>>
>> ideas? - steve
>>
>> \version "2.18.2"
>>
>> voiceone = \relative c' {
>> \voiceOne
>> \clef "G_8"
>> \time 4/4
>> \key c \major
>> s4
>> \once \override Rest #'extra-offset = #'(1.6 . 0.6 )
>> g16\rest g8.^~ g2 |
>> }
>>
>> voicetwo = \relative c' {
>> \voiceTwo
>> %\once \override NoteColumn.force-hshift = #-1.0 % works
>> \stemUp
>> g4
>> \stemDown
>> \once \override NoteColumn.force-hshift = #-1.0 % doesn't work
>> g8 fis~
>> %g4
>> % \once \override NoteColumn.force-hshift = #1.0 % works
>> fis2 |
>> }
>>
>> voicethree = \relative c' {
>> \voiceThree
>> }
>>
>> voicefour = \relative c {
>> \voiceFour
>> c1
>> }
>>
>> guitar = << \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour >>
>>
>> \score { \new Staff \guitar }
>>
>>
>>
>> ___
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>>
>>
>> --
>> If you reply to this email, your message will be added to the
>> discussion
>> below:
>>
>> http://lilypond.1069038.n5.nabble.com/NoteColumn-force-hshift-doesn-t-work-on-2nd-beat-but-works-on-others-tp173722.html
>> To start a new topic under User, email
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>> To unsubscribe from Lilypond, click here
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>
> --
> View this message in context:
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Ending second repeat on final \bar "|."
Hi,
I know this has come up before, but I can't figure it out.. What is
the right way to end the first section with a double bar that will
go with the "D. C. al Fine". If I put the \bar "|.", the repeat at
the beginning of the next repeat is wiped out. Is possible on
2.18.2?
thanx - steve
\version "2.18.2"
%#(define-bar-line ".|:-|." "|." ".|:" "||")
\relative c'' {
\time 2/4
\repeat volta 2 {
c4 c | c c |
}
\alternative {
{ d b }
{ c b^"Fine" }
}
\bar "|."
\break
\repeat volta 2 {
% \bar ".|:"
c4 c | c c |
}
\alternative {
{ d b }
{ c b^"D. C. al Fine" }
}
\bar "||"
}
Re: Ending second repeat on final \bar "|."
Thats it! thanx very much
version 2.18.2 does everything I need and have been using it for
years and don't want to deal with compatibility issues..
thanx - steve
> Hi,
>
> (The mailing list is lilypond-user, not lilypond-users,
> I've corrected the address so we're no longer off-list.)
>
>
>> Le 03/08/2022 15:57 CEST, st...@linuxsuite.org a écrit :
>>
>> > This is easier in 2.23.x, the current series of development
>> > versions, because there is a dedicated \repeat segno feature,
>> > but it's also possible in 2.18 with \bar ".|:-|." (no need
>> > to define it yourself, it's already predefined).
>> Just compiled it. It doesn't work either. There are 2 sections,
>> each a \repeat volta 2. The second repeat of the first section
>> must end in a final "|.". , but also need the repeat sign at the
>> beginning of the second section. It gets wiped out. tried messing around
>> with it but no luck.
>
>
> I'll admit I didn't test version 2.18 (and forgot
> to update the version statement). It looks like that
> bar line didn't exist at the time, so you need to
> define it (as you had started doing in your original example):
>
> \version "2.18.2"
>
> #(define-bar-line ".|:-|." "|." ".|:" "")
>
> \relative c'' {
>
> \time 2/4
>
> \repeat volta 2 {
> c4 c | c c |
> }
> \alternative {
> { d b }
> { c b^"Fine" }
> }
>
> \break
>
> \repeat volta 2 {
> \bar ".|:-|."
> c4 c | c c |
> }
> \alternative {
> { d b }
> { c b^"D. C. al Fine" }
> }
> \bar "||"
> }
>
>
> Wouldn't you be better off with a recent version of
> LilyPond though? LilyPond 2.18 is from 2014, few people
> use it today, so you'll get better answers on mailing
> lists if your upgrade to 2.22. The convert-ly program
> can update the syntax of your input files automatically
> (in Frescobaldi: Tools > Update with convert-ly),
> usually leaving very little to be updated manually.
>
> Best,
> Jean
>
Solution to have repeats with upbeat and different alternatives??
Howdy!
What is the solution to having repeats with upbeats and different
alternatives?
As in Beethoven's opus 31 no4 the "Allegretto"
This is the best that I can get with lilypond. There is a
extraneous bar in the last
second alternative of the last repeat???
https://ln.sync.com/dl/2d42a9350/ukfaa7s8-rpenm7ne-xqxv7mpk-x99vbzbw
thanx - steve
test.ly ***
\version "2.18.2"
music = \relative c''
{
\time 3/4
\partial 4 a8 a |
a4 a a |
\repeat volta2
{
b4 b b | b4 b b |
}
\alternative {
{ b4 b b | }
{ c4 c }
}
\repeat volta 2
{
\partial 4 d8 d | d4 d d |
}
\alternative {
{ d4 d }
{ e4 e4 e4 }
}
}
\score { \music }
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Re: Solution to have repeats with upbeat and different alternatives??
> Hi Steve,
>
> Does this sketch help you out?
Thanks, I am aware of that solution... and there are a couple of
others...
I am trying to render this second appearance of this after the
trio. Here is a
a page. The part I am interested in has the downbeat a C flat half note
and the
upbeat is in the repeat section.. Also the second alternative has 3 beats
and continues
into the coda.
https://ln.sync.com/dl/17a64e740/7vb6gz87-hi7jxedr-x9rpws6e-tw7z5yma
Not sure why it is different than its first appearance? I prefer
the later as it moves the entire phrase into the repeat
section
-steve
>
> Andrew
>
>
> \version "2.19.81"
>
> {
> \time 3/4
> \key es \major
> \partial 4 bes8. ees'16 |
> ees'2 g'8. es'16 |
> \repeat volta 2
> {
> es'4 d'4. es'8 |
> R1*3/4^\markup "etc"
> }
> \alternative
> {
> {
> g'4 f'8 bes'8\rest bes8. es'16 |
> es'2 g'8. es'16 |
> }
> {
> g'4 f'8 bes'8\rest
> \bar "||"
> bes'8. ces''16
> }
> }
> \repeat volta 2
> {
> ces''2 bes'8 a'\trill |
> R1*3/4^\markup "etc"
> }
> \alternative
> {
> {
> f''4 es''8 bes'8\rest bes'8. ces''16 |
> }
> {
> f''4 es''8 bes'8\rest
> }
> }
> \bar "|."
> }
> ====
>
> By the way, the list is lilypond-user not lilypond-users. Some of your
> email has the latter, which is incorrect.
>
>
> On 17 May 2018 at 22:52, wrote:
>
>>
>>Ooops.. Opus 31 no 3, "Menuetto"
>>
>>
>>
> Click here to Reply or Forward
>
>
> On 17 May 2018 at 22:52, wrote:
>
>>
>>Ooops.. Opus 31 no 3, "Menuetto"
>>
>> -steve
>>
>> > Hi Steve,
>> >
>> > Opus 31 has only three Sonatas, not four. What work are you referring
>> to?
>> >
>> > Dare I say, don't you just have an extra note in the last second
>> > alternative? Perhaps if I could find the Allegretto you are referring
>> to
>> > it
>> > would help see what you are actually asking. Let us know which Sonata.
>> >
>> > Andrew
>> >
>>
>>
>>
>
___
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Re: Solution to have repeats with upbeat and different alternatives??
Well, I mean it appears that the same thing is scored differently. The first entrance has the upbeat before the repeat. If you look at this link of the first entrance with the downbeat a half note C flat in the third system https://ln.sync.com/dl/e80999780/f4ravrje-6gg923k6-id9vw4ub-4bc39fdp the second entrance, in this link, the fourth system starts a repeat that includes the upbeat. https://ln.sync.com/dl/17a64e740/7vb6gz87-hi7jxedr-x9rpws6e-tw7z5yma The repeat is preceded by a second alternative that is an incomplete measure of 2 beats. Not sure why it is notated differently than its first entrance, in which has the upbeat in the second alternative that precedes the repeat, but I do prefer the later, and in my arrangement of this work for 3 guitars I want to use the later solution for both for consistency. Or at least I want to maintain the original. And I can't find a lilypond solution.. and / or a reason why they are notated differently. -steve > Hi Steve, > > I'm unclear what the problem is. Seems also easy. Can you show your code? > > I am also puzzled about you saying there are several ways to set the first > part. Again, I cant see how one would do it differently to how I showed. > This proves I don't know what you are referring to as your difficulty. Can > you elaborate? > > Keep it on the list - no need for a private chat. Others may understand > better than I what you want. > > Andrew > > > On 18 May 2018 at 00:55, wrote: > >> > Hi Steve, >> > >> > Does this sketch help you out? >> >> Thanks, I am aware of that solution... and there are a couple >> of >> others... >> >> I am trying to render this second appearance of this after the >> trio. Here is a >> a page. The part I am interested in has the downbeat a C flat half note >> and the >> upbeat is in the repeat section.. Also the second alternative has 3 >> beats >> and continues >> into the coda. >> >> https://ln.sync.com/dl/17a64e740/7vb6gz87-hi7jxedr-x9rpws6e-tw7z5yma >> >> Not sure why it is different than its first appearance? I prefer >> the later as it moves the entire phrase into the repeat >> section >> >> -steve >> >> > ___ > 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: Solution to have repeats with upbeat and different alternatives??
> Hi Steve,
>
> Just going to chime in here, that I believe it will come out like the
> latter version you prefer by default.
>
I am finished the basic engraving for 3 guitars, but can't get the
repeats the
way they should be.
I posted a piece of simplified code to illustrate. This is what
the default does
isnt 'it??
https://ln.sync.com/dl/2d42a9350/ukfaa7s8-rpenm7ne-xqxv7mpk-x99vbzbw
or what is the default?
For interest, here is a page from the first edition, It has
the upbeat
in the repeat but then an obvious error in the first alternative, ie. it
repeats the upbeat at
the end of the bar.
https://ln.sync.com/dl/e1bb35540/twus49gv-5kwieeek-8ajtjrkd-vk72mh4s
As far as standard practice, every version on imslp publised after the
first edition
has "fixed" the error by moving the upbeat before the repeat.
I agree that the second version with the upbeat in the repeat is
preferable, but
I can't seem to do it with lilypond.
the code below prints an extraneous bar in the second alternative at
the end.
So what is wrong with this code.?? How can we do this, what I
think most modern
engravers would consider more correct?
thanx - steve
test.ly ***
\version "2.18.2"
music = \relative c''
{
\time 3/4
\partial 4 a8 a |
a4 a a |
\repeat volta2
{
b4 b b | b4 b b |
}
\alternative {
{ b4 b b | }
{ c4 c }
}
\repeat volta 2
{
d8 d | d4 d d |
}
\alternative {
{ d4 d }
{ e4 e4 e4 }
}
}
\score { \music }
>Original is subjective here, some editor did that for some reason in the
> first example. That's not really standard practice.
>
> Have you started scoring it for guitars yet? Are you experiencing an issue
> getting it to come out the way you want?
>
> Amy
>
> On Thu, May 17, 2018 at 12:07 PM, wrote:
>
>>
>>Well, I mean it appears that the same thing is scored
>> differently.
>> The first entrance
>> has the upbeat before the repeat. If you look at this link of the first
>> entrance with
>> the downbeat a half note C flat in the third system
>>
>> https://ln.sync.com/dl/e80999780/f4ravrje-6gg923k6-id9vw4ub-4bc39fdp
>>
>>the second entrance, in this link, the fourth system starts a repeat
>> that includes the upbeat.
>>
>> https://ln.sync.com/dl/17a64e740/7vb6gz87-hi7jxedr-x9rpws6e-tw7z5yma
>>
>> The repeat is preceded by a second alternative that is an
>> incomplete measure of 2 beats. Not sure why it is notated
>> differently than its first entrance, in which has the upbeat in
>> the second
>> alternative that precedes the repeat, but I do prefer the later, and in
>> my
>> arrangement of this work for 3 guitars I want to use the later solution
>> for both
>> for consistency. Or at least I want to maintain the original.
>>
>> And I can't find a lilypond solution.. and / or a reason why they are
>> notated differently.
>>
>> -steve
>>
>>
>>
>> > Hi Steve,
>> >
>> > I'm unclear what the problem is. Seems also easy. Can you show your
>> code?
>> >
>> > I am also puzzled about you saying there are several ways to set the
>> first
>> > part. Again, I cant see how one would do it differently to how I
>> showed.
>> > This proves I don't know what you are referring to as your difficulty.
>> Can
>> > you elaborate?
>> >
>> > Keep it on the list - no need for a private chat. Others may
>> understand
>> > better than I what you want.
>> >
>> > Andrew
>> >
>> >
>> > On 18 May 2018 at 00:55, wrote:
>> >
>> >> > Hi Steve,
>> >> >
>> >> > Does this sketch help you out?
>> >>
>> >> Thanks, I am aware of that solution... and there are a
>> couple
>> >> of
>> >> others...
>> >>
>> >> I am trying to render this second appearance of this after
>> the
>> >> trio. Here is a
>> >> a page. The part I am interested in has the downbeat a C flat half
>> note
>> >> and the
>> >> upbeat is in the repeat section.. Also the second alternative has 3
>> >> beats
>> >> and continues
>> >> into the coda.
>> >>
>> >> https://ln.sync.com/dl/17a64e740/7vb6gz87-hi7jxedr-x9rpws6e-tw7z5yma
>> >>
>> >> Not sure why it is different than its first appearance? I
>> prefer
Re: Solution to have repeats with upbeat and different alternatives??
Thats it!!
thanx - steve
> On 2018-05-17 10:22, st...@linuxsuite.org wrote:
>> I posted a piece of simplified code to illustrate. This is what
>> the default does
>> isnt 'it??
>>
>>
>> https://ln.sync.com/dl/2d42a9350/ukfaa7s8-rpenm7ne-xqxv7mpk-x99vbzbw
>>
>> [ . . . ]
>>
>> the code below prints an extraneous bar in the second alternative
>> at
>> the end.
>>
>> [ . . . ]
>>
>> test.ly ***
>>
>> \version "2.18.2"
>>
>> music = \relative c''
>> {
>> \time 3/4
>>
>> \partial 4 a8 a |
>> a4 a a |
>>
>> \repeat volta2
>> {
>> b4 b b | b4 b b |
>> }
>> \alternative {
>> { b4 b b | }
>> { c4 c }
>> }
>>
>> \repeat volta 2
>> {
>> d8 d | d4 d d |
>> }
>> \alternative {
>> { d4 d }
>> { e4 e4 e4 }
>> }
>> }
>>
>> \score { \music }
>
> Using the snippet you provided and running against 2.19.81, I do not see
> the barline you are seeing. (See attachment: upbeat-repeat.preview.png)
>
> It would seem that the newer version handles implicit partial measures
> automatically.
>
> One option is to use \partial explicitly, however LilyPond 2.18.2 warns
> about this practice. 2.19.81 does not:
>
>
>\repeat volta 2 { d8 d | d4 d d | }
>\alternative {
> { \partial 2 d4 d }
> { e4 e4 e4 | }
>}
>
>
> You could also simply change time signatures secretly:
>
>
>\repeat volta 2 { d8 d | d4 d d | }
>\alternative {
> { \omit Score.TimeSignature \time 2/4 d4 d }
> { \time 3/4 e4 e4 e4 | }
>}
>\undo \omit Score.TimeSignature
>
>
> That option seems to work in both 2.18.2 and 2.19.81 without any
> warnings.
>
> -- Aaron Hill___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Heitor Villa-Lobos out of copyright in Canada. Guitar Preludes completed
Hi, I studied these works in the 1980's, and have since largely forgot about them. Well imagine my delight when I discovered their copyright expiration! French publisher Max Eschig has largely ignored this work since first published in the 1950's. Though a reissue in 2006 fixed the wrong notes, many of the issues of modern engraving practice remain. Heitor Villa-Lobos has been out of copyright in Canada for several years, but copyright remains in USA, EU etc... In order to fix a problem that has existed for at least 70 years, it has become apparent that a complete re engraving is necessary. Necessary but insufficient. A new engraving of the work will not guarantee an error free result. What is needed is a release of source files under a license that is Free enough to allow for modification. Something like Creative Commons 4.0? I started the project of re engraving the guitar works of Villa-Lobos in November 2024, and have just completed the Cinq Preludes. They are posted, along with lilypond source at https://imslp.org/wiki/Preludes%2C_W419_(Villa-Lobos%2C_Heitor) It is truly amazing the improvements that are possible with good tools, and a modern disposition. I have 2 movements of the 5 piece Suite Bresilienne finished, then on the Choro No 1, and the 12 Etudes. Of course anyone with sufficient skill, ambition, etc is welcome to help! How about the 12 Etudes? thoughts? -steve
Re: Heitor Villa-Lobos out of copyright in Canada. Guitar Preludes completed
> --
>
> Date: Sat, 15 Feb 2025 09:35:00 -0300
> From: Diosnel Herrnsdorf
> To: lilypond-user@gnu.org
> Subject: Re: Heitor Villa-Lobos out of copyright in Canada. Guitar
> Preludes completed
>
> Content-Type: text/plain; charset=UTF-8; format=flowed
>
> On the front page, prelude 1 is an homage to the Brazilian "sertanejo"
> ("t" instead of "i"), and it's a "Melodia LÃrica" (last word, first "i"
> is stressed, no "o" at the end).
>
> Prelude 2 is an homage to the "Malandro Carioca" (not "melandro")
Ok, Great! thanks. I will fix these.
>
> There's something missing in the dedication of the 5th prelude... "Aos
> rapazinhos e mocinhas fresquinhos que frequentam os concertos ("nos"?)
> teatros no Rio". I haven't been able to find a full reference not
> written in English, so I'm not sure about the specifics here.
Ok, I have checked the Max Eschig ( 2006? ) seems correct, that is
all they have. Would be nice to have a full reference if it exits.
>
> Lastly, the dedication at the beginning of each prelude is "Ã Mindinha".
Of the 3 versions I have seen It written à Mindinha, and à
Mindinah. The latter edition by Zigante, is in the last re
issue in 2006, so I kept it.
thanx - steve
>
> Thank you for your contribution. Cheers,
>
> Diosnel Herrnsdorf
>
> On 14/2/25 15:13, st...@linuxsuite.org wrote:
>> Hi,
>>
>
Lilypond on OSX
Has Lilypond been fixed to work properly on OSX Leopard yet? I see all kinds of archived messages about problems with it and I have just downloaded the latest 2.11.x version and indeed it does not seem to work on first try. here is what happens now: 1 - Download lilypond for Intel OSX 2 - Decompress it, there is only one file extracted, called Lilypond. Its actually a package with much stuff found inside its contents, but I'm not at all sure how, for example, to execute musicxml2ly since its deep inside the package. 3 - If I double click on the Lilypond package, something launches and a text window comes up with the test ly code. There is no way to save this file. The menu has "Lilypond" displayed but there is no way to save, quit or do anything else. I have to use ForceQuit to kill the application. 4 - I am able to copy and paste this code into another text editor and save test.ly that way. However when I then try to drag and drop this test.ly into the Lilypond icon, the same thing happens as when I just double clicked on the icon.it opens up a text editor with the sample ly code in it and wedges the menu so that there is no way to quit or do anything. Nothing is rendered. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond on OSX
I can totally live without the gui. If the only thing is I have to run the command line PPC version, I can live with the long load time. Thanks for letting me know. On Jun 22, 2008, at 4:42 PM, Damian leGassick wrote: download the ppc version, it works fine - just use a different editor - vim, emacs, textmate, lilypond-tool (jEdit) are all good- it's only the lilypond text editor which doesn't work, and to be honest you won't miss it. d On 22 Jun 2008, at 23:40, Steve Schow wrote: Has Lilypond been fixed to work properly on OSX Leopard yet? I see all kinds of archived messages about problems with it and I have just downloaded the latest 2.11.x version and indeed it does not seem to work on first try. here is what happens now: 1 - Download lilypond for Intel OSX 2 - Decompress it, there is only one file extracted, called Lilypond. Its actually a package with much stuff found inside its contents, but I'm not at all sure how, for example, to execute musicxml2ly since its deep inside the package. 3 - If I double click on the Lilypond package, something launches and a text window comes up with the test ly code. There is no way to save this file. The menu has "Lilypond" displayed but there is no way to save, quit or do anything else. I have to use ForceQuit to kill the application. 4 - I am able to copy and paste this code into another text editor and save test.ly that way. However when I then try to drag and drop this test.ly into the Lilypond icon, the same thing happens as when I just double clicked on the icon.it opens up a text editor with the sample ly code in it and wedges the menu so that there is no way to quit or do anything. Nothing is rendered. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Backwards compatibility: \compressMusic, \scaleDurations, WHY WHY WHY
You have absolutely no idea how much chaos things like this cause for people who are using Lilypond for major projects. You have absolutely no idea how much of a problem this sort of thing is for archives like Mutopia. You have no idea how the lack of input grammar stability undermines efforts for wider adoption of Lilypond for projects like Gutenburg and Wikipedia. If you want to change the syntax, fine, add the new, update the documentation, but for heaven's sake leave the old syntax alone so that existing files will still compile. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Backwards compatibility: \compressMusic, \scaleDurations, WHY WHY WHY
> This has been discussed numerous times on the mailing list. Check the > archives. > > Handling syntax changes such as \compressMusic --> \scaleDurations are > easily handled by convert-ly, since there is no change in structure of > the input file. Simply use the following command: > > $ convert-ly -e oldfile.ly > > and your file's \version declaration will be updated along with the syntax. > You don't get it. If you have an archive like Mutopia, where there are thousands of files and dozens of contributors, and mixed dependencies on versions, running conver-ly doesn't work. It doesn't work because two people working on the same file may not have the same version of Lilypond. You can't get dozens of volunteer contributors to upgrade to the latest version all at once every time a new version comes out by snapping your fingers. It doesn't work because the same file may be included in two separate projects which use different versions of Lilypond because they rely on features and syntax much more difficult to fix than the example I cite. In some cases one of the projects may be in a "freeze" where only minor changes from proofreading are being admitted, and something major like a Lilypond upgrade would be problematic because the whole project would have to be re-proofread to be sure things like spacing weren't adversely affected. It doesn't work because the person who needs the change may not be the maintainer of the file, and the maintainer of the file may have other things to do besides run convert-ly on some old project. Unless all you ever want Lilypond to be is a program used by individuals typesetting a handful of their favorite works, rather than, say, the lingua Franca of the open content classical music movement. Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: convert from absolute to relative
I shall eagerly await the development of a script that will work in the
reverse direction. When I edit scores prepared by others (often in
relative mode) from the Mutopia Project, I often make changes that
disturb the octavation, and it's time consuming to go back and fix.
Typically this happens when rearranging notes among voices, or changing
polyphonic notation to chord notation; less frequently when correcting
pitch errors.
I've come to the conclusion that, for me, it's faster to enter absolute
pitches when entering music because the time required to correct the
inevitable octavation errors is so much greater when working in relative
mode.
Steve
> Original Message
> Subject: Re: convert from absolute to relative
> From: Jonathan Kulp <[EMAIL PROTECTED]>
> Date: Fri, August 22, 2008 7:27 am
> To: [EMAIL PROTECTED]
> Cc: lilypond-user@gnu.org, [EMAIL PROTECTED]
>
>
> Ok I tried it after changing italiano to nederlands in the python script
> (btw, you also have to change it on line 85 of lilymusic.py), and I
> removed the head, layout, and paper blocks. This all helps considerably.
>
> Remaining problems:
>
> 1. did not handle \clef indication--it changed "bass" to "b,ass",
> causing errors in compiling
> 2. It put the "\relative g" (why G instead of C?) in the wrong place
> causing file not to compile. One of the problems is that instead of
> simply adding "\relative do" or "\relative g", it also adds a bracket
> (i.e. "\relative do {") that causes a bunch of "unexpected string"
> errors. I tried changing line 132 to keep it from inserting the brace,
> but I did it wrong and it aborted the conversion. I don't know Python
> so I have no idea how to handle this.
>
> Thanks again, Yota! If you or the community get this working well it
> could be a big help. :)
>
> Jon
>
>
>
> Yota wrote:
> > Jonathan > thank you for the remarks and for the samples too.
> >
> > Neil > I corrected this small bug, indeed the script didn't care of the
> > options you fed it with. And if you prefer nederlands default output,
> > just change in lilymusic.py line 38
> > lily_out_style = "italiano"
> > into
> > lily_out_style = "nederlands"
> >
> > For today, I give up finding an easy way to parse a complex .ly file...
> > i'll try later :D
> >
> > Nevertheless, the script should run better. To launch it, you may copy
> > the part containing only the notes into a separate file
> >
> > ex : from
> > clarinet = { ... } or \new Staff {... }
> > extract { ... } (with the braces) and copy into a new file
> >
> >
> > to use it :
> > python lilymusic.py --out_style="nederlands" < test.ly > new.ly (thx carl)
> >
> > to download it (new version) :
> > http://dl.free.fr/pXHJyTc5P
> >
> > + handle comments and multiline comments
> > + put a \include "italiano.ly" on top according to the chosen style
> > ! corrected bug : you can now use --out_style
> >
> > TODO
> > - handle properly \key indications
> >
> > Yota
> >
> > Jonathan Kulp wrote:
> >> This is a good idea, Yota. I was going through some of my first
> >> Lilypond files today and found that I had written them in absolute
> >> mode and wished I'd had a script to convert them to relative. I did
> >> them by hand since they were very short, but for anything longer, a
> >> script like yours would be very helpful.
> >>
> >> I ran your script on the test file "in.ly" included in your archive
> >> and it seemed to work fine (the absolute pitches were changed to
> >> relative) but then I couldn't get the resulting file to compile in
> >> lilypond. I worked on it for a few minutes but couldn't find the
> >> problem and gave up.
> >>
> >> I also ran the python script on one of my own files and had problems
> >> with it. First of all, it doesn't seem to recognize comments
> >> properly, as it goes through my comments changing them as if they were
> >> pitch indications. It did the same thing to the title in my Header
> >> block and even added a stray { that caused errors when trying to
> >> compile. Also, I use the default Dutch pitch names, and while it read
> >> them correctly, it also changed them to the Italian pitch names in the
> >> conversion process.
> >>
> >> I wish I could help tweaking the code, but I have no i
trouble installing
hello, i'm trying to install lilypond on puppylinux 3.01, and i'm having a problem with extracting the files: # sh lilypond-2.10.33-1.linux-x86.sh LilyPond installer for version 2.10.33 release 1. Use --help for help You're about to install lilypond in /usr/local/lilypond/ A script in /usr/local/bin/ will be created as a shortcut. Press ^C to abort, or Enter to proceed Making /usr/local/lilypond/ Creating script /usr/local/bin/lilypond Creating script /usr/local/bin/lilypond-wrapper.python Creating script /usr/local/bin/lilypond-wrapper.guile Creating script /usr/local/bin/uninstall-lilypond Untarring lilypond-2.10.33-1.linux-x86.sh tail: short write bzip2: Compressed file ends unexpectedly; perhaps it is corrupted? *Possible* reason follows. bzip2: Invalid argument Input file = (stdin), output file = (stdout) It is possible that the compressed file(s) have become corrupted. You can use the -tvv option to test integrity of such files. You can use the `bzip2recover' program to attempt to recover data from undamaged sections of corrupted files. tar: Child returned status 2 tar: Error exit delayed from previous errors To uninstall lilypond, run /usr/local//bin/uninstall-lilypond For license and warranty information, consult /usr/local/lilypond/license/README # i've searched the archives and found this thread http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00551.html, but the solution seems to be in french, and my languages are english and german. my python version is: # python Python 2.4.3 (#1, Aug 15 2006, 19:02:50) [GCC 3.4.4] on linux2 Type "help", "copyright", "credits" or "license" for more information. >>> what other info can i post? i've used and installed lilypond on this and other platforms before; this is the first time i've had trouble. thanks, -steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: trouble installing
thanks for the suggestion, Jon; i tried it and got the same error. i thought it may have been my python installation, but removing it didn't seem to help either. -steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: trouble installing
i think i'm all set for now; i found a dotpup package of 2.10.11, and it seems to work well enough for me. i found it at http://dotpups.de/dotpups/Multimedia/Lilypond-2.10/ , and i downloaded (but didn't seem to need to install) the optional python add-on pup. i'd still like to know what i did to cause the original problem, though... thanks! -steve On Fri, Dec 19, 2008 at 11:14 AM, Jonathan Kulp wrote: > steve berthiaume wrote: > >> hello, >> >> i'm trying to install lilypond on puppylinux 3.01, and i'm having a >> problem >> with extracting the files: >> >> # sh lilypond-2.10.33-1.linux-x86.sh >> >> LilyPond installer for version 2.10.33 release 1. >> Use --help for help >> >> >> You're about to install lilypond in /usr/local/lilypond/ >> A script in /usr/local/bin/ will be created as a shortcut. >> >> Press ^C to abort, or Enter to proceed >> >> Making /usr/local/lilypond/ >> Creating script /usr/local/bin/lilypond >> Creating script /usr/local/bin/lilypond-wrapper.python >> Creating script /usr/local/bin/lilypond-wrapper.guile >> Creating script /usr/local/bin/uninstall-lilypond >> Untarring lilypond-2.10.33-1.linux-x86.sh >> tail: short write >> >> bzip2: Compressed file ends unexpectedly; >>perhaps it is corrupted? *Possible* reason follows. >> bzip2: Invalid argument >>Input file = (stdin), output file = (stdout) >> >> It is possible that the compressed file(s) have become corrupted. >> You can use the -tvv option to test integrity of such files. >> >> You can use the `bzip2recover' program to attempt to recover >> data from undamaged sections of corrupted files. >> >> tar: Child returned status 2 >> tar: Error exit delayed from previous errors >> To uninstall lilypond, run >> >>/usr/local//bin/uninstall-lilypond >> >> >> For license and warranty information, consult >> >>/usr/local/lilypond/license/README >> >> # >> i've searched the archives and found this thread >> http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00551.html, >> but >> the solution seems to be in french, and my languages are english and >> german. >> >> my python version is: >> # python >> Python 2.4.3 (#1, Aug 15 2006, 19:02:50) >> [GCC 3.4.4] on linux2 >> Type "help", "copyright", "credits" or "license" for more information. >> >> what other info can i post? i've used and installed lilypond on this and >> other platforms before; this is the first time i've had trouble. >> >> thanks, >> -steve >> > > This may or may not solve your installation problem, but you should > consider trying the latest development release 2.11.65 since it's actually > more stable than 2.10.33 at this point. In fact it will become the latest > stable release 2.12 very soon. It's at least worth a try to download > 2.11.65 and see if the installation proceeds correctly. > > Jon > -- > Jonathan Kulp > http://www.jonathankulp.com > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: square group brackets
Rune,
Thanks a lot for the quick response!
Oh the mysteries of Lilypond. I'm looking forward to the day I can
intuitively figure out solutions myself. I used your trick and it worked
perfectly for my first staff group, but the rest of the staff groups in the
same system now show no bracket at all. (ignoring the single staff group
problem for now). I am sure I must not be understanding how the \override
feature works. Will consult the manual, but please let me know if this
sparks a memory in you. I'm guessing there must be a property to hug that
bar-line bracket in tighter to the system horizontally as well, i will
search for it.
Here is what I used for first two staffgroups in one system and I have
attached resulting image.
http://www.nabble.com/file/p11492340/ScreenHunter_04%2BJul.%2B08%2B13.12.jpg
\score {
<<
\new StaffGroup <<
\override StaffGroup.SystemStartBracket #'style = #'bar-line
\override StaffGroup.SystemStartBracket #'thickness = #4
\new Staff {
\clef treble
\set Staff.instrumentName = "Flute"
<<
\meterMap
\fluteOnePart
>>
}
\new Staff {
\clef treble
\set Staff.instrumentName = "Flute"
<<
\meterMap
\fluteTwoPart
>>
}
>>
\new StaffGroup
\override StaffGroup.SystemStartBracket #'style = #'bar-line
\override StaffGroup.SystemStartBracket #'thickness = #4
<<
\new Staff {
\clef treble
\set Staff.instrumentName = "Oboe"
<<
\meterMap
\oboeOnePart
>>
}
\new Staff {
\clef treble
\set Staff.instrumentName = "Oboe"
<<
\meterMap
\oboeTwoPart
>>
}
>>
>>
}
Rune Zedeler wrote:
>
>
> The first problem is solved by
>
>\override StaffGroup.SystemStartBracket #'style = #'bar-line
>\override StaffGroup.SystemStartBracket #'thickness = #4
>
> (of course you may alter the thickness to your liking)
>
>
--
View this message in context:
http://www.nabble.com/square-group-brackets-tf4045612.html#a11492340
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Is this expected behavior or a bug?
Is this expected behavior or a bug?
\grace { c,16[c]} c4\p\laissezVibrer
That is producing the following with lilypond 2.10.25:
http://www.nabble.com/file/p11495639/ScreenHunter_02%2BJul.%2B08%2B21.04.jpg
What do i need to do to get the grace notes on the right side of the time
sig?
--
View this message in context:
http://www.nabble.com/Is-this-expected-behavior-or-a-bug--tf4047067.html#a11495639
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RE: Hiding whole measure rests from conductor score
If you mean this is the answer:
"When skipBars is set, the result will look OK, but the bar numbering will be
off."
I already found that out from reading the manual, but I am trying to figure
out a work-around. Also, what about the notion of the part sheets showing mm
rests while the conductor score just shows empty measures?
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: Sunday, July 08, 2007 1:57 PM
> To: Dewdman42
> Cc: lilypond-user@gnu.org
> Subject: Re: Hiding whole measure rests from conductor score
>
> If you read the section on "Rests" in the users manual, it
> tells you to
> look in the section called "Multimeasure rests"
> for whole measure rests, which should answer your question.
>
> /Mats
>
> Quoting Dewdman42 <[EMAIL PROTECTED]>:
>
> >
> > I have come up with my own way to hide whole measure rests
> from the conductor
> > score, while displaying them for the parts, but I would
> like to hear if
> > there is a generally accepted better way of handling this,
> as my way feels a
> > little complicated. I'm trying to have it so that I have
> only definition of
> > the actual note data and then the part and score are
> formatted differently
> > from the same note data.
> >
> > Basically I defined a couple "macros" such as
> >
> > wholeRest = {s1}
> >
> > Then when creating my voice data I use that macro:
> >
> > myVoice = \newVoice { relative c' {| \wholeRest | c d e
> f | \wholeRest
> > | }}
> >
> > When I produce the Part score for that player I would then
> change the
> > wholeRest definition to {r1}
> >
> > So that works pretty well, but I am wondering if there is
> an easier way to
> > begin with, and then also since I am going to want to have
> multi-measure
> > rests for the parts, that brings up another question, which
> is how I could
> > have one set of voice data that feeds both part and score,
> and the part
> > version has a multi-measure rest, while the score version
> just has empty
> > measures.
> >
> > Perhaps I need to use some kind of parallel, merged voices
> strategy that is
> > not too complicated?
> >
> > Please forgive me if these are naive questions. I am just
> starting out with
> > Lilypond and I have been pouring through the manual for the
> past couple days
> > trying to figure this stuff out myself, but a few things are not too
> > straightforward.
> >
> >
> > --
> > View this message in context:
> >
> http://www.nabble.com/Hiding-whole-measure-rests-from-conducto
> r-score-tf4045659.html#a11491939
> > Sent from the Gnu - Lilypond - User mailing list archive at
> Nabble.com.
> >
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
>
>
>
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RE: Decrescendo on last note??
Ok. I had already read that section last night. I just read it again to make sure. I am either blind or the answer to my question is not there. It says in the manual: "A crescendo mark is started with \< and terminated with \! or an absolute dynamic. A decrescendo is started with \> and is also terminated with \! or an absolute dynamic. \cr and \decr may be used instead of \< and \>." I am new to Lilypond, so there must be some other detail I do not know about. But if I have no second note to attach the termination to, how do I do it? > -Original Message- > From: Graham Percival [mailto:[EMAIL PROTECTED] > Sent: Sunday, July 08, 2007 2:47 PM > To: Dewdman42 > Cc: lilypond-user@gnu.org > Subject: Re: Decrescendo on last note?? > > Dewdman42 wrote: > > I can't figure out how to get a decrescendo hairpin on the > last note of a > > staff? There is nothing to anchor the ending of the > decrescendo to. See > > attached picture of what I'm trying to do. the ly notation > I have for that > > bar would be: > > > >| a1\fermata\> \!| > > > > I guess or something, but the compiler complains that the > \! is not attached > > to anything and if I remove it, it complains about no > termination to the > > decrescendo. What's the secret for this? > > The secret is to read section 6.6.3 Dynamics. > > - Graham > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: midi2ly
Yea, I've tried a couple different midi files. The same midi files open up fine in sonar. I've read to resave them from Sonar too and those also have the same problem. They don't crash really. Midi2ly produces a message saying that it created my ly file. But the ly file has no note data in it. > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Graham Percival > Sent: Sunday, July 08, 2007 3:26 PM > To: Daniel; lilypond-user Mailinglist > Subject: Re: midi2ly > > Unfortunately I have no experience running midi2ly on windows, but > hopefully somebody on the mailing list can help. > > The only thing I can think of is finding out if this crash happens on > every file, or just the one you tried -- try creating a very > simple midi > file (with one or two notes), and try running midi2ly on that file. > > Cheers, > - Graham > > > Daniel wrote: > > Hi Graham: > > > > > > > > I've been trying to use the midi2ly python script that you > provided as part > > of lilypond, but it is crashed on line 243. > > > > The midi2ly version is 2.10.25. > > > > > > > > The exact output I get when trying to run it is the following: > > > > > > > > D:\Program Files\LilyPond\usr\bin>midi2ly.py thegrand.mid > > > > Traceback (most recent call last): > > > > File "D:\Program Files\LilyPond\usr\bin\midi2ly.py", line > 996, in ? > > > > main() > > > > File "D:\Program Files\LilyPond\usr\bin\midi2ly.py", line > 994, in main > > > > convert_midi (f, o) > > > > File "D:\Program Files\LilyPond\usr\bin\midi2ly.py", line 834, in > > convert_midi > > > > > > > > for (dur, num, den) in global_options.allowed_tuplets: > > > > SystemError: > > /home/lilydev/vc/gub/target/mingw/gubfiles/src/python-2.4.2/Objects > > > > /listobject.c:243: bad argument to internal function > > > > > > > > D:\Program Files\LilyPond\usr\bin> > > > > > > > > > > > > Any help would be greatly appreciated, > > > > > > > > Thank you > > > > > > > > > > > > > > > > > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Decrescendo on last note??
To help anyone else who reads this thread in the future. The answer to my
question is that the opening of the decrescendo does not have to be attached to
a note.. Per the example, only the termination needs to be attached to a note.
> -Original Message-
> From: Graham Percival [mailto:[EMAIL PROTECTED]
> Sent: Sunday, July 08, 2007 3:37 PM
> To: Steve Schow
> Cc: 'Dewdman42'; 'lilypond-user@gnu.org'
> Subject: Re: Decrescendo on last note??
>
> Steve Schow wrote:
> > It says in the manual:
> >
> > "A crescendo mark is started with \< and terminated with
> \! or an absolute dynamic. A
> > decrescendo is started with \> and is also terminated with
> \! or an absolute dynamic. \cr and
> > \decr may be used instead of \< and \>."
>
> And the example directly underneath that sentence is this:
>
> c\< c\! d\> e\!
> << f1 { s4 s4\< s4\! \> s4\! } >>
>
> Compare the example with the output.
>
> Cheers,
> - Graham
>
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RE: Decrescendo on last note??
Or actually the answer is to attach to spacers. Got it.
> -Original Message-
> From: Steve Schow [mailto:[EMAIL PROTECTED]
> Sent: Sunday, July 08, 2007 3:42 PM
> To: 'Graham Percival'
> Cc: 'Dewdman42'; 'lilypond-user@gnu.org'
> Subject: RE: Decrescendo on last note??
>
> To help anyone else who reads this thread in the future. The
> answer to my question is that the opening of the decrescendo
> does not have to be attached to a note.. Per the example,
> only the termination needs to be attached to a note.
>
> > -Original Message-
> > From: Graham Percival [mailto:[EMAIL PROTECTED]
> > Sent: Sunday, July 08, 2007 3:37 PM
> > To: Steve Schow
> > Cc: 'Dewdman42'; 'lilypond-user@gnu.org'
> > Subject: Re: Decrescendo on last note??
> >
> > Steve Schow wrote:
> > > It says in the manual:
> > >
> > > "A crescendo mark is started with \< and terminated with
> > \! or an absolute dynamic. A
> > > decrescendo is started with \> and is also terminated with
> > \! or an absolute dynamic. \cr and
> > > \decr may be used instead of \< and \>."
> >
> > And the example directly underneath that sentence is this:
> >
> > c\< c\! d\> e\!
> > << f1 { s4 s4\< s4\! \> s4\! } >>
> >
> > Compare the example with the output.
> >
> > Cheers,
> > - Graham
> >
>
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RE: Hiding whole measure rests from conductor score
> Quoting Steve Schow <[EMAIL PROTECTED]>: > > > If you mean this is the answer: > > > > "When skipBars is set, the result will look OK, but the bar > numbering > > will be off." > > What do you mean that the bar numbering will be off. A multimeasure > rest is counted as the corresponding number of measures, so the bar > numbering will be exactly the same no matter if skipBars is > set or not. > That's what it says in the manual and when I tried it out per the instructions, that is what happens. When you use the multimeasure rest feature to say indicate a 12 measure rest, it only increments the measure counter by 1. The next measure is really measure 13 in the conductor score. > One answer is provided in section "Hiding staves". Another answer > is provided in section "Different editions from one source", which > shows how to get for example R1*5 in the instrumental parts and s1*5 > in the full score, from the same LilyPond code. > I will investigate whatever you are trying to suggest that I don't understand yet, later. Thanks. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hiding whole measure rests from conductor score
thanks for the idea, I will play around with it. I'm still not sure its what
will help.
Imagine the following musical section.
|rest | rest | rest |
I want the score to look like this:
|| | |
and I want the part to look like this
| I3I |
Furthermore, I want the next measure in the part to have measure number 4,
rather than 2.
Merely hiding the multimeasure rest symbol from the conductor score will not
show all three empty measures to the conductor unless I am missing
something.
Bryan Stanbridge wrote:
>
> Steve Schow wrote:
>
> Greetings,
>
> Transparent rests in the score is easy. Add:
>
> \layout {
>\context {
> \Voice
> \override MultiMeasureRest #'transparent = ##t
> \override MultiMeasureRestNumber #'transparent = ##t
> \override MultiMeasureRestText #'transparent = ##t
>}
> }
>
> to your Score block for the musical score and make sure it's not in the
> Score block for the parts. It may be a little extreme in some cases (if
> all your MMRs are single measures in the score, for instance, the last
> two aren't needed), but it should do the trick. YMMV
>
> Cheers,
> Bryan...
>
>
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>
>
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RE: multimeasure rests with proper measure numbering
Thanks for the simple example and see the measure numbering is retained
correctly this way. But I still do not understand how I can have the conductor
score have EMPTY measures when the whole measure is a rest (but not hide the
rests in measures that have notes).
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
>
> I think you are missing something very basic and I hope the following
> example can help you realize how to use multimeasure rests.
> It's always much easier to get relevant answers if you include
> an example (preferably short but complete) of the LilyPond code you
> have tried.
>
> m = \relative c'{
> c1 | d | e | f | R1*4 \break | g1 | f | e | d |
> }
>
> % Conductors score:
> \score{
> \new StaffGroup <<
> \new Staff \m
> >>
> }
>
> % Instrumental part:
> \score{
> \new Staff {\set Score.skipBars = ##t \m }
> }
>
> As you can see, the bar numbering is correct in both versions of the
> music.
>
>
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PDF Problem
Ok, here's a question. I know this question comes up occasionally. I have been one of the people bringing it up. Why do lilypond PDF's look crappy on-screen, even though they print fine? particularly on windows. Here is a simple example. This screen shot is from around page 15 of the lilypond pdf manual, as displayed on my computer: http://www.nabble.com/file/p11699420/ScreenHunter_05%2BJul.%2B19%2B15.55.jpg here is an example I created with current stable Lilypond: http://www.nabble.com/file/p11699420/ScreenHunter_04%2BJul.%2B19%2B15.53.jpg Notice that some stems and barlines are thicker than others. Also, the spacing between staff lines does not appear to be consistent to me. Those were both displayed at 100% in adobe reader 8.x Can anything be done to improve it? I don't know enough about postscript to analyze it and find the culprit postscript code. But I sure wish someone who does know would figure it out. here is some more background that my help: 1 - I have had the same problem on Windows Finale for years 2 - On Mac Finale, the PDF's produced through built in OSX support look great on screen, and the same PDF's can be viewed on windows and also look great there. On windows finale, the PDF's produced look terrible, no matter which machine you use to view it. So in other words, there is something about the PDF creation process on the Mac that creates a PDF which can be viewed well on screen on both the Mac and Windows. However, something about the windows PDF creation process that doesn't look acceptable on screen. 3 - I found out a work-around for #2 on windows. If I use the "Compile Postscript Listing" command in Finale to render the entire score as a postscript file. Then I exit Finale and use Ghostscript to convert the ps file into a PDF file, then I end up with an excellent PDF which views well both on screen and print. 4 - This leads me to believe that the main reason the WinFinale PDF's were having a hard time is because Finale was not sending the "ideal" postscript to the printer driver. It must be sending some other generic vector information and then letting the printer driver create postscript if it makes sense to. A finale expert explained to me that Finale actually sends significantly different stuff to the printer driver than what it compiles into a ps file. For example, beams are comprised of many small lines next to each other, for some silly reason, as opposed to one thick slanted line that can be done in postscript. In any case, what I have found is that I take the "ideal" postscript compliation from finale and use that to create a PDF with ghostscript, it works just fine and I end up with a beautiful PDF on screen. 5 - Knowing the above, I try to do the same with lilypond, convert the ps file manually with ghostscript, which is sort of a moot point since that is what lilypond does normally anyway, and the PDF's still look bad on screen. 6 - For whatever its worth, when I use a ghostscript-based print driver to create PDF's with Overture, they look just fine on screen and print, and that is without any special postscript rendering first or anything. Overture does not understand anything about postscript like Finale does. So it is sending whatever it sends to the printer as generic print commands. And ghostscript creates PDF's from it that blow away both Lilypond and Finale when used that way. I only mention this to show that it *IS* possible. 7 - I have tried Adobe distiller as well and it produces exactly the same results as ghostscript. No better, no worse. Just more expensive option and perhaps more complicated to use compared to the freebies that are based on ghostscript. Anyone have any thoughts? Any work-arounds for making PDF's from lilypond that look good on screen AND print(not including generating PNG files, etc.??? thanks -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11699420 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Using a different PDF viewer is not really an acceptable solution for work that will be published on the internet. It needs to be acceptably viewable in ANY pdf viewer on any platform. I will point out again, that if a PDF is created on the mac(with finale), it looks fine on windows. Also if I create the PDF with overture on windows, it looks fine on windows. Also if I use the postscript output option of Finale on windows, those PDF's also look fine on windows...even in the crummy PDF viewers that have been mentioned they look excellent. I am guessing that the lilypond manual was created on linux. It does not look ok on windows in any case. By the way, I just loaded up Ubuntu linux on vmware to see some PDF rendering there. Here is with Linux adobe reader: http://www.nabble.com/file/p11699968/ScreenHunter_05%2BJul.%2B19%2B15.55.jpg Here is with KPDF: http://www.nabble.com/file/p11699968/ScreenHunter_05%2BJul.%2B19%2B15.55.jpg Here is from KGhostView: http://www.nabble.com/file/p11699968/ScreenHunter_05%2BJul.%2B19%2B15.55.jpg They all have problems, on linux. now granted, that is running on top of VMware... is this a display driver issue or a rasterizing issue? What exactly *IS* the issue? Seems to me that lilypond is producing some form of postscript that is not resiliant enough, or portable enough to display well in all viewers and platforms. Why not make it so ly scores will be more universaly displayable? Valentin Villenave wrote: > > 2007/7/20, Graham Percival <[EMAIL PROTECTED]>: > >> Because your on-screen PDF viewer lies to you. Particularly on windows. > > Yes, this is something I noticed. On windows for example, the JPedal > viewer which is included in LilyPondTool produces awfuls results ; > Adobe is not very good either. I used Foxit Reader, which is by far > the best PDF viewer (and it is free as free beer), along with Sumatra > which is free as free speech, but lacks many features. > > On Mac, the native PDF-to-display that they call Quartz is absolutely > awesome ; whenever I want to see what a PDF really looks like, (and > whenever I can), I use a Mac for both export and viewing. > > On Linux, the JPedal is crappy as usual :) but some PDF viewers are > quite good (evince is my favorite; it make LilyPond scores look really > great). Besides, Linux has some native anti-aliasing features which > make fonts and stuff look really better than on Windows. > > So, maybe you should consider using another viewer, another output > format (high-res PNG?).. or another OS ;) [OK, never mind] > > Regards, > Valentin > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > > -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11699968 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Unfortunately I can't, which is why I am now reduced to begging, pleading, groveling and anything else that will influence the developers of Lilypond to consider fixing it. Graham Percival-2 wrote: > > > If you can contribute any code that addresses > these issues, great. > > - Graham > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > > -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11700183 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
> For what it's worth, here's my screenshot of the same snippet > (Linux64). It's not perfect, but not so ugly though. Couldn't see your image? > Honestly, I don't think LilyPond developers *can* fix it (maybe > GhostScript guys could, I totally disagree. I use ghostscript to produce overture and finale PDF's which look spectacular on screen on windows. Ghostscript is not the problem. Additionally, the same problem shows up regardless of whether you us ghostscript or distller to produce the final lilypond pdf. For example I can do this: file.ly --> lilypond --> file.ps --> adobe distiller --> file.pdf and the result is the same as ghostscript..messed up. > By the way, on linux, some viewers such as evince allow to view the > .ps file (actually, it converts it internally to PDF on the fly, and > then applies a nice anti-aliasing filter). If you want to have a more > accurate preview, this could be worth considering... (I don't know if > there's any equivalent on windows) There may be a viewer that will work, but like I said that doesn't solve my problem. I don't actually care whether *I* can view it on screen. I'm not gonna view my own scores that way anyway, I'm gonna print them out. What I care about is if I can send the PDF to someone else and not have to tell them that they have to use a special viewer to see it correctly. See what I mean? Fundamentally, whatever Lilypond is outputting may very well be valid postscript. obviously it is, because the print outs look nice. However, for whatever the reason, its not "ideal" postscript or else it would look good in the final PDF's, like it is from finale and overture. I sure wish I knew postscript better or the guts of lilypond to contribute to the programming effort, but I don't. Just making observations and PLEADING for someone to consider that even linux developers may want to share their PDF's with people that aren't on linux. -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11701065 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Ok, here is a short example. This is using windows ghostscript, and using the pre-compiled postscript file from Finale: http://www.nabble.com/file/p11701393/ScreenHunter_03%2BJul.%2B19%2B19.33.jpg This is using windows ghostscript direct from finale, through the print driver: http://www.nabble.com/file/p11701393/ScreenHunter_04%2BJul.%2B19%2B19.34.jpg Just to compare, here is the same thing, using using Adobe Distiller: http://www.nabble.com/file/p11701393/ScreenHunter_05%2BJul.%2B19%2B19.35.jpg http://www.nabble.com/file/p11701393/ScreenHunter_06%2BJul.%2B19%2B19.36.jpg The direct version through print driver looks worse when you zoom in: http://www.nabble.com/file/p11701393/ScreenHunter_07%2BJul.%2B19%2B19.36.jpg Here is the compiled one, zoomed in: http://www.nabble.com/file/p11701393/ScreenHunter_08%2BJul.%2B19%2B19.38.jpg Just for comparison, here is something sent direct through ghostscript print driver from Overture, no postscript involved anywhere: http://www.nabble.com/file/p11701393/ScreenHunter_09%2BJul.%2B19%2B19.40.jpg And zoomed in: http://www.nabble.com/file/p11701393/ScreenHunter_10%2BJul.%2B19%2B19.41.jpg -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11701393 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
and here are a couple PDF's. I can't share the last one from Overture yet due to licensing issues. http://www.nabble.com/file/p11701415/test_ghost_direct.pdf test_ghost_direct.pdf http://www.nabble.com/file/p11701415/test_ghost_manual.pdf test_ghost_manual.pdf http://www.nabble.com/file/p11701415/test.ps test.ps -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11701415 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Rune. THANKS FOR TRACKING THAT DOWN BRUTHA! -- View this message in context: http://www.nabble.com/PDF-Problem-tf4114229.html#a11702477 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
back-to-back repeats
hello, i've looked in the "barlines" section of the manual, but couldn't
find this particular issue: ending repeat ":|" , line break, starting repeat
"|:" in next line:
\version "2.10.20"
\score
{\relative c'
{
\time 4/4
\key c \major
c1 d e f
\bar ":|" %this repeat won't show up
\break
\bar "|:"
c1 d e f
}
}
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repeats and ties
could someone point me to where can i find the answer to this: a note at the end of a repeat section needs to be tied back to the first note of the section thanks, -steve (2.10.20) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\RemoveEmptyStaffContext deleting half a GrandStaff
I'm typesetting some organ scores which will be open content upon completion. As with most organ scores, there is a GrandStaff, for the hands, and a staff for the feet. The desired engraving technique is to remove the staff for the feet when it carries no notes. It is important to use a GrandStaff, not a PianoStaff, because cross staff beaming is not in use and I want automatic adjustment of staff spacing. Part of the GrandStaff being removed when only one of its staves carries notes in a system. This is undesired. Any advice? Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[FWD: RE: Thematic index]
> Original Message > Subject: RE: Thematic index > From: Steve Dunlop <[EMAIL PROTECTED]> > Date: Thu, February 07, 2008 11:00 am > To: Laura Conrad <[EMAIL PROTECTED]> > > > Kieren> Not that I know of... But just put each example in its own > > \score > > Kieren> (with ragged-right = ##t, probably), precede it by its own > > \markup > > Kieren> heading, and I think you'll get what you're looking for [...] > > Yes. That's what I've been experimenting with. It's taking a certain amount > of fiddling to get > the surrounding markup really right. > > > > <> > > I would have said to use --preview and put the eps files into a table > > of contents document using your favorite publishing program. But I > > keep forgetting that lots of people on this list really believe that > > lilypond has the potential to be a real publishing program. (Which is > > of course true in the long run if they go on working as hard at making > > it one as some people have been.) > > I'm on a personal mission to publish usable, complete books of open content > organ music to sites such as mutopia, Icking, and Wikisource. Using a > publishing program to paste together a book, while a good idea in general, > doesn't fit well with that mission and with the openness and reuse goals. > > Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Thematic index
I googled and checked the LSR, but haven't found any good examples for formatting thematic indexes. Does anyone have an example to share? For those not familiar with the term, a thematic index is a table of contents usually appearing at the front of a book of music, where the first few bars of each work are engraved to aid the reader in locating a piece of interest. Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Insufficent space around bar lines
I'm reducing the spacing-increment to #0.80 to get a tightly spaced score. The notes are spaced to my liking except that they crowd the barlines. Is there a way to give the barlines more space? Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Augmentation dot on polyphonic notes a second apart
I'm running 2.11.38. In reviewing the output, I see that in situations where the score contains polyphonic voices, stems in opposing directions, and the upper voice but not the lower has an augmentation dot, the placement of the dot in the output is ambiguous. The source scores I have add horizontal space between the notes to allow the dot to clearly apply to the upper voice. Is this a bug? Is there a tweak? Thanks Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Beaming question
4/4 time. Lilypond 2.11.33.
I'm trying to get the autobeaming behavior to match an existing style
where:
* Up to four eighth notes can be beamed together (subject to the usual
limitations on ending beat)
* But, when sixteen notes share the beam with eighth notes, beams may
not cross beats. Another way of saying this is that a beam can only
have one eighth note and two sixteenth notes.
Perhaps an example will make it clear. I want the autobeamer to make
this:
{ a8 a a a a a a a16 a }
to look like this:
{ a8 [a a a] a [a] a a16 a }
Can someone help me out?
Thanks
Steve
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Spacing around bar lines in 2.11.38
I'm finding that there isn't enough space around bar lines. In some cases ledger lines are touching the bar lines. Is this a known bug? Is there a way to adjust the space a barline takes up? Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Spacing around bar lines in 2.11.38 - links to example
http://www.nerstrand.net/8lpf.pdf Measure 26 is the worst but you can see the problem throughout the score. I'm posting the whole thing because the overall spacing situation seems to be contributing to the problem. Sources: http://www.nerstrand.net/8lpf.ly http://www.nerstrand.net/bwv558.ly http://www.nerstrand.net/organscore.ly Steve > Original Message > Subject: Re: Spacing around bar lines in 2.11.38 > From: Mats Bengtsson <[EMAIL PROTECTED]> > Date: Tue, March 04, 2008 1:04 pm > To: Steve Dunlop <[EMAIL PROTECTED]> > Cc: Valentin Villenave <[EMAIL PROTECTED]>, lilypond-user@gnu.org > > > Valentin Villenave wrote: > > >Hi Steve, > > > >can you send a short example? > > > >If this is obviously a collision, i'll add it as a bug. If it's about > >a matter of taste, you should try something such as > >\override Staff.TimeSignature #'Y-extent = #'(-1 . 1) > > > > > That won't affect the spacing around bar lines! > We've had some bugs related to the spacing around > bar lines, but these should be fixed in recent 2.11.x > versions. Of course, what's a bug or not in these > situations may be a matter of taste. Do you mainly > see the problem before or after the bar lines? > >/Mats > > >Cheers, > >Valentin > > > >2008/3/3, Steve Dunlop <[EMAIL PROTECTED]>: > > > > > >>I'm finding that there isn't enough space around bar lines. In some > >> cases ledger lines are touching the bar lines. Is this a known bug? Is > >> there a way to adjust the space a barline takes up? > >> > >> Steve > >> > >> > >> > >> ___ > >> lilypond-user mailing list > >> lilypond-user@gnu.org > >> http://lists.gnu.org/mailman/listinfo/lilypond-user > >> > >> > >> > > > > > > > > > > > -- > = > Mats Bengtsson > Signal Processing > Signals, Sensors and Systems > Royal Institute of Technology > SE-100 44 STOCKHOLM > Sweden > Phone: (+46) 8 790 8463 > Fax: (+46) 8 790 7260 > Email: [EMAIL PROTECTED] > WWW: http://www.s3.kth.se/~mabe > = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Spacing around bar lines in 2.11.38 - links to example (fixed)
Sorry about the bad PDF. I had FTP'd it in text mode. I have fixed the original PDF: http://www.nerstrand.net/8lpf.pdf And put all the files together into one .ly file for ease of viewing: http://www.nerstrand.net/barexample.ly And for good measure posted the PDF from the barexample.ly file: http://www.nerstrand.net/barexample.pdf And fixed the broken link: http://www.nerstrand.net/bwv558.ly Sorry for the mixup, and thanks for looking. Steve > Original Message > Subject: Re: Spacing around bar lines in 2.11.38 - links to example > From: "Valentin Villenave" <[EMAIL PROTECTED]> > Date: Wed, March 05, 2008 4:15 am > To: "Steve Dunlop" <[EMAIL PROTECTED]> > Cc: lilypond-user@gnu.org > > > 2008/3/4, Steve Dunlop <[EMAIL PROTECTED]>: > > http://www.nerstrand.net/8lpf.pdf > > I cannot open your pdf :( > > > I'm posting the whole thing because the overall spacing situation seems > > to be contributing to the problem. > > Could you please put all of it in a single file, and maybe post it on the > list? > > > Sources: > > > > http://www.nerstrand.net/8lpf.ly > > http://www.nerstrand.net/bwv558.ly > > http://www.nerstrand.net/organscore.ly > > The second link isn't working :( > > Cheers, > Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Spacing around bar lines in 2.11.38
This has the unfortunate side effect of preventing barlines from appearing flush right with the staff, so that instead the five lines of the staff continue past the bar line for whatever amount Y-extent is set to. I'm trying Mats' suggestion now. Steve > Original Message > Subject: Re: Spacing around bar lines in 2.11.38 > From: "Valentin Villenave" <[EMAIL PROTECTED]> > Date: Tue, March 04, 2008 1:36 pm > To: "Mats Bengtsson" <[EMAIL PROTECTED]> > Cc: "Steve Dunlop" <[EMAIL PROTECTED]>, lilypond-user@gnu.org > > > 2008/3/4, Valentin Villenave <[EMAIL PROTECTED]>: > > > \override Staff.BarLine #'Y-extent = #'(-1 . 1) > > ... and X-extent instead of Y. > > Gosh, I'd better go to bed now. > > Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Spacing around bar lines in 2.11.38 - links to example (fixed)
> See > http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg00124.html > for a hint on how to adjust the spacing after bar lines. Mats, That works OK, thanks. I'm puzzled as to the cause of the tight spacing, though, because the overrides used in the score are not unusual. The problem seems worst with whole notes on ledger lines in measures that also contain running eighth notes. Thanks for the note on repeated spaces as well. Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Even and odd page margins
Is there any way to get a different left margin on even and odd pages? I'm trying to make room for the binding without giving up any space on the outside of the leaf. Thanks Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
3/4 time oddity
Using LilyPond 2.6.1, does anyone else notice an oddity with: \time 3/4 Using gs the "3" seems to be displayed correctly, over the "4," in both the .pdf and .ps versions of the document. In xpdf the .pdf looks fine, but in gpdf and the evince document viewer the "3" is either invisible or distorted or seems to be only partially displayed. This phenomenon sometimes changes with the magnification. The "4" is displayed correctly by all four applications (gs, xpdf, gpdf, evince) at all sizes. It's only the "3" that is invisible or "odd-looking." sd ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 3/4 time oddity
On Wed, Jul 20, 2005 at 12:10:11AM -0600, Steve D wrote:
>
> Using LilyPond 2.6.1, does anyone else notice an oddity with:
>
> \time 3/4
--- ---
What a horrible question I asked, with no indication of operating
environment, PDF application version numbers, with imprecise phrases
like "odd looking" and "[the phenomenon] changes with different
magnifications," etc. Sorry everyone. I'll work on trying to figure it
out.
Basically, if I include the following in a .ly file:
\time 1/2 { c2 }
\time 2/4 { c2 }
\time 3/4 { c2. }
\time 4/8 { c4 c }
\time 5/4 { c4 c c c2 }
\time 6/8 { c4 c c }
\time 7/8 { c4 c c c8 }
\time 8/8 { c1 }
\time 9/8 { c1 c8 }
\time 13/8 { c2 c c c8 }
--only the time signatures that include a "3" (or "5," it turns out) as
the upper number are displayed in such a way that the 3 (in some PDF
viewers) is either invisible or seems to have the left half of the glyph
chopped off, as well as seeming displaced slightly downward and to the
left of its usual position above the lower number.
Here's a small cropped screenshot of the 13/8 time signature change in
the LilyPond fragment above, as displayed by Gnome PDF Viewer (gpdf):
http://www.xscd.com/pub/pics/tmp/thirteen-eight.gif
Operating environment:
* Tyan dual-CPU (AMD MP) motherboard
* AGNULA DeMuDi 1.2.1 (Debian based Linux distro, latest release, recently
installed)
* Gnome desktop environment
* gs -> GPL Ghostscript 8.15 (2004-09-22)
* xpdf -> xpdf version 3.00
* gpdf -> Gnome PDF Viewer 2.8.2
* evince document viewer -> v 0.3.0
Anyway, gs displays both the postscript and PDF versions of the file
created by LilyPond just fine, and xpdf displays the PDF version fine as
well. It's just gpdf and evince (the only two other programs on my
machine that can display PDF files, that I know of) that display the
"anomalous '3' (and '5')." However, that did make me wonder if there was
something unusual about the glyph(s) or postscript code that creates the
glyph(s).
Apologies again for such an awkwardly expressed question in the first
place.
-sd
--
He is simply a shiver looking for a spine to run up. -Paul
Keating
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Re: unexpected digit with tied chords
On Sun, Jul 24, 2005 at 09:21:37AM -0700, Jay Hamilton, Sound and Silence wrote: > I'm getting an error message > syntax error, unexpected DIGIT, expecting DRUM_PITCH or NOTENAME_PITCH > or '>' Instead of this: ~ Type this: 4~ Instead of this: Type this: 2. The duration of all the notes of the chord (within the same voice on the staff), are the same, so it is not merely an arbitrary convention but logical that the duration would be placed following the chord as a whole, not after a particular note *within* the chord. -sd -- Quip: "I have plenty of talent and vision; I just don't give a damn." ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
