Newby questions
I've just installed Lilypond in the past week. Starting from the vocal music
template in the
manual, I've printed a couple songs, which my wife and I will sing from at
church tomorrow.
The results are beautiful!
There are some things I don't understand. I invoke the program from the command
line:
lilypond --pdf filename.ly
On my WInXP machine, this works fine. The program spits out some status lines,
and the
*.ps and *.pdf files appear. On my Win Vista laptop, when I type the command
the version
line appears ... and I wait. It sits there about 45 or 50 seconds, then
(finally) runs normally.
Does anybody know what's going on hre, and what I can do to fix it?
Here's one more: I have a section like this:
\new Staff = women
<<
\new Voice =
"sopranos" { \voiceOne << \global \sopMusic >> }
>>
\new Lyrics = sopranos { s1 }
\new Lyrics = sopranosb { s2 }
\new Staff = men
<<
\clef bass
\new Voice =
"basses" { \voiceTwo <<\global \bassMusic >> }
>>
\context Lyrics = sopranos \lyricsto sopranos \sopWords
\context Lyrics = sopranosb \lyricsto sopranos \sopWordsb
My question is about the "\new Lyrics" command. What's the {s1} referring to?
It uses
"sopransob" to find the right set of lyrics. When I had four verses, I used s1,
s2, s3, and s4.
got an error message saying that 3 is not a duration. True, but what's that got
to do with
anything.
--
Tim Slattery
[EMAIL PROTECTED]
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lilypond to midi
Hi! Your FAQ describes a number of ways to use midi as an input method. I wonder if one can go the other way and generate a midi file from a lilypond document? Thanks Tim ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Feta symbols in latex
Hi, I'm looking for a way to import symbols from the meta fonts into my latex project. Sorry to bother you with something that's in the past already been on the list twice, but that instructions didn't work for me, parhaps its outdated or i just don't know how te read them. Can somebody tell me the exact procedure to place, for instance a clef, in my latex (lilypond-book). If i have just 1 char that works, i can figure out how to get the other ones myself. And i was wondering, does someone know if the original texinfo files can be found of the lilypond manuals? It's not latex, but i think it'd give me a better insight and makes me able to figure out a lot more by myself so i don't have to bother you guys unless there are more serious issues. Greets, tiM ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Feta symbols in latex
Please don't think I'm unpatience, but I think my mail is being forgotten,
so I've resent it. I'll be a bit more explicit this time.
I've tried to use lilypond-book on
http://www.lilypond.org/~janneke/jeremie/latex-example.lytex
I get the following error
{
! I can't find file `feta20.tex'.
l.37 \input feta20.tex
Please type another input file name
! Emergency stop.
l.37 \input feta20.tex
}
So I copied all lilypond files to a map in my miktex map were I save other
packages and updated the file name database of miktex. Once again I tried
lilypond-book. Now I get the following message:
{
(C:\MiKTeX\localtexmf\tex\latex\lily\feta20.tex)"makemf" --verbose "feta16"
"hbf2gf" -q -g "feta16" 300
maketfm: No creation rule for font "feta16".
! Font \fetasixteen=feta16 not loadable: Metric (TFM) file not found.
\def
l.41 \def
\fetafont{\fetasixteen}
No file tmpmuyqwr.aux.
}
And here's were it ends. Anyone knows what to do? Probably more a latex
question than a lilypond-book one. But still I think here's the place to
ask.
Thanks a lot,
tiM
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
tiM
Sent: maandag 7 augustus 2006 20:37
To: lilypond-user@gnu.org
Subject: Feta symbols in latex
Hi,
I'm looking for a way to import symbols from the meta fonts into my latex
project. Sorry to bother you with something that's in the past already been
on the list twice, but that instructions didn't work for me, parhaps its
outdated or i just don't know how te read them. Can somebody tell me the
exact procedure to place, for instance a clef, in my latex (lilypond-book).
If i have just 1 char that works, i can figure out how to get the other ones
myself.
And i was wondering, does someone know if the original texinfo files can be
found of the lilypond manuals? It's not latex, but i think it'd give me a
better insight and makes me able to figure out a lot more by myself so i
don't have to bother you guys unless there are more serious issues.
Greets, tiM
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Zoom in really far
> When you zoom in really far on a note you'll notice that for a note with > it's stem up, the right of the stem isn't placed exactly at the right of > the notehead. The same goes for a note with stem down of course. > > I don't mind at all, but since lilypond has very much care/concern about > beauty and perfection, i just report it. > > Gr tiM (lilypond 2.8.5) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: triangle chord notation (bit of toppic: why c != b sharp)
You're completely right, sorry about forgetting about all musician that don't use keys ;), it was getting late at the moment I wrote it. But I guess we agree on the fact that a C is not equally pitched as B#. And as a result there's a difference between a B# and C chord. Thanks for correcting me, tiM -Original Message- From: Anthony Youngman [mailto:[EMAIL PROTECTED] Sent: vrijdag 11 augustus 2006 9:38 To: tiM Sportny Cc: lilypond-user@gnu.org Subject: RE: triangle chord notation (bit of toppic: why c != b sharp) Actually, that bit about "all instruments are tuned in a mathematical way" is just plain wrong :-) Think about it ... apart from the open strings, how do you guarantee that an a# is a b-flat on a violin? Or any other violin-like stringed instrument, for that matter? I play the trombone, and I always tune it fractionally sharp. That way, I can flatten even the open notes by ear to give a note that's exactly in tune. And - and this applies to ANY brass instrument - because you can think of a brass instrument as having a "single string" to which you can apply "harmonic stops" (ie which force notes to be a harmonic of the fundamental) then all brass instruments are, by their very nature, out of tune with themselves. So most of them have a tuning slide operated by the 4th finger that allows you to tune while playing. What does that leave? Just the woodwind. And even there, with lip pressure and other stuff, you can 'bend' a note up or down. Okay, I can't speak with authority for woodwind, but the most spectacular "bending" story I've heard was about a young trombonist. His teacher suddenly realised this lad, although able only to move the slide as far as fourth position, was playing perfect b naturals (seventh position). In other words, using lips alone, he could force the instrument three semitones flat! In other words, the "tuned percussion" (which includes piano) is about the only family of instruments which is forced to play in "well tempered" mode. Pretty much every other instrument can be played with proper harmonic tuning. Cheers, Wol -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] org] On Behalf Of tiM Sportny Sent: 11 August 2006 02:24 To: [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Subject: Re: triangle chord notation (bit of toppic: why c != b sharp) In modern music were all instruments are almost tuned in a mathematical way, there is no practical relevance so we try to easy things up a bit. My personal oppinion is, just write down how you think it's easiest to play. I once had a piece of music written in F key, full of naturals in front of every b flat. And it didn't sound alteratic. Well, theoreticly it sounds diffenent, but don't try to be so interesting and just say it's in C key. I don't even bother the difference between Cmaj7 and Em/C but maybe that's a bit to careless. * * This transmission is intended for the named recipient only. It may contain private and confidential information. If this has come to you in error you must not act on anything disclosed in it, nor must you copy it, modify it, disseminate it in any way, or show it to anyone. Please e-mail the sender to inform us of the transmission error or telephone ECA International immediately and delete the e-mail from your information system. Telephone numbers for ECA International offices are: Sydney +61 (0)2 8272 5300, Hong Kong + 852 2121 2388, London +44 (0)20 7351 5000 and New York +1 212 582 2333. * * ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Feta symbols in latex
> The most convenient solution for you, would have been if such
> a short score could contain just a simple \markup{...}
> expression, just as an .ly file can.
> However, it seems that the resulting inserted .eps file will
> have lots of white space around the actual markup, so it will
> end up on a page of its own in the document.
If there's no other way out I'll just have to adjust eps boundery boxes
manualy, but I was hoping to do something less laborious like using the real
fonts for the job, as you discriped below...
Now something funny happened. I was doing as you said and removed the folder
i copied to my miktex folder. All of the sudden I cant find feta??.tex files
anywhere. I guess I found that files as a leftover of an older installation.
On the other hand I have my doubts it would work anyway, cause basicly
nothing really changed. Still the lytex file on the url should work for some
version. Is there a save way to get the files the author used without
accidentically removing my previous install of lilypond?
Tnx tiM
> A second alternative, along the lines of what you have tried
> so far, is to install the LilyPond fonts so that they are
> accessible from your TeX installation. For MikTeX, I think it
> should suffice to start MikTeX Options, click on "Roots" and
> then on "Add" and then select the folder C:\Program
> Files\LilyPond\usr\share\lilypond\current\
> and finally press "Refresh FNDB". One nice feature of this
> solution is that it will automatically keep up to date once
> you upgrade LilyPond (I hope you remember to remove that
> files you have installed directly into your localtemx
> earlier). However, you should not expect the file feta20.tex
> to be present i all future releases (maybe not even in the current).
>
>/Mats
>
>
> tiM wrote:
>
> >Please don't think I'm unpatience, but I think my mail is being
> >forgotten, so I've resent it. I'll be a bit more explicit this time.
> >
> >I've tried to use lilypond-book on
> >http://www.lilypond.org/~janneke/jeremie/latex-example.lytex
> >I get the following error
> >{
> >! I can't find file `feta20.tex'.
> >l.37 \input feta20.tex
> >
> >Please type another input file name
> >! Emergency stop.
> >l.37 \input feta20.tex
> >}
> >So I copied all lilypond files to a map in my miktex map were I save
> >other packages and updated the file name database of miktex.
> Once again
> >I tried lilypond-book. Now I get the following message:
> >{
> >(C:\MiKTeX\localtexmf\tex\latex\lily\feta20.tex)"makemf"
> --verbose "feta16"
> >"hbf2gf" -q -g "feta16" 300
> >maketfm: No creation rule for font "feta16".
> >
> >! Font \fetasixteen=feta16 not loadable: Metric (TFM) file not found.
> >
> > \def
> >l.41 \def
> > \fetafont{\fetasixteen}
> >No file tmpmuyqwr.aux.
> >}
> >
> >And here's were it ends. Anyone knows what to do? Probably
> more a latex
> >question than a lilypond-book one. But still I think here's
> the place
> >to ask.
> >
> >Thanks a lot,
> >
> >tiM
> >
> >
> >
> >-Original Message-
> >From: [EMAIL PROTECTED]
> >[mailto:[EMAIL PROTECTED]
> On Behalf
> >Of tiM
> >Sent: maandag 7 augustus 2006 20:37
> >To: lilypond-user@gnu.org
> >Subject: Feta symbols in latex
> >
> >Hi,
> >
> >I'm looking for a way to import symbols from the meta fonts into my
> >latex project. Sorry to bother you with something that's in the past
> >already been on the list twice, but that instructions didn't
> work for
> >me, parhaps its outdated or i just don't know how te read them. Can
> >somebody tell me the exact procedure to place, for instance
> a clef, in my latex (lilypond-book).
> >If i have just 1 char that works, i can figure out how to
> get the other
> >ones myself.
> >
> >And i was wondering, does someone know if the original texinfo files
> >can be found of the lilypond manuals? It's not latex, but i
> think it'd
> >give me a better insight and makes me able to figure out a
> lot more by
> >myself so i don't have to bother you guys unless there are
> more serious issues.
> >
> >Greets, tiM
> >
> >
> >
> >___
> >lilypond-user mailing list
> >lilypond-user@gnu.org
> >http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> >
> >
Missing noteheads
Hi, i think i found a very strange bug using lilypond-book. Now i'm just new
at lilypond, but the inconsistency makes me think it's not my fault, still
i'm aware that it could well be me doing something wrong.
The following code leads to an output with missing noteheads and time
signature and fingering in courier new.
\begin{lilypond}
\relative c'{
\context RhythmicStaff {
\override Staff.TimeSignature #'style = #'()
\time 4/4
g4_4 g_4 a_5 a_5 g2_4 e_2
}
}
\end{lilypond}
While the exact same code placed twice leads to the output I expected from
the input above.
\begin{lilypond}
\relative c'{
\context RhythmicStaff {
\override Staff.TimeSignature #'style = #'()
\time 4/4
g4_4 g_4 a_5 a_5 g2_4 e_2
}
}
\relative c'{
\context RhythmicStaff {
\override Staff.TimeSignature #'style = #'()
\time 4/4
g4_4 g_4 a_5 a_5 g2_4 e_2
}
}
\end{lilypond}
How is this possible?
Tnx. tiM
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RE: Missing noteheads
Hi all,
All seems to work fine on my installation, but the output still has a wrong
font with my first example. I don't know if its normal to add attachments on
mailing lists, but here's my pdf output illustrating what happends with both
examples. If this only happends to my installation, don't bother, I'll
repear the problem with the "bug" on the second example.
Greets, tiM
MiKTeX 2.4.1461
Windows XP SP2
LilyPond 2.8.5
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: maandag 14 augustus 2006 10:03
> To: tiM; Lilypond bug
> Cc: lilypond-user@gnu.org
> Subject: Re: Missing noteheads
>
> You have certainly exposed a bug/inconsistency, but probably
> not the one you thought that you found. I include a copy of
> this email to lilypond-bug.
>
> First of all, the note heads and other symbols should
> certainly work in your first example. As far as I can see
> from your earlier emails, you have managed to get
> lilypond-book to work correctly with other files and if you
> use exactly the same sequence of commands this time, you
> should get a correct output also in this example.
>
> Back to the bug. Your second example contains two \score{...}
> sections (even though you haven't written them out
> explicitly). This doesn't work in lilypond-book and if you
> really want two (or more) separate scores in one and the same
> example, you should add a \book{...} around the full example
> (then you also need to add the \score{...} statements explicitly).
>
> The rest of my answer is mainly intended for bug-lilypond.
> What happens in tiM's second example is a collision between
> two different naming conventions:
>
> A. When there is more then a single \score{...} block in a
> lilypond example
> within lilypond-book, the corresponding outputs are named
> {.eps,-systems.tex,-N.eps}
> -1{.eps,-systems.tex,-N.eps}
> -2{.eps,-systems.tex,-N.eps}
> ...
> where the .eps file contains the full score and all fonts
> whereas the -N.eps
> files contain single score lines and no fonts (to avoid
> duplicating the same
> information several times in the PS file for the full document).
> This is similar to the naming scheme obtained if you call
> LilyPond directly
> on a .ly file that contains several \book{...} blocks.
>
> B. The score lines for each single score of a lilypond
> example in lilypond-book
> are named
> -1.eps
> -2.eps
> -3.eps
> ...
>
> Clearly, these two naming schemes collide and the same file
> names will appear several times. Since the score blocks are
> processed in sequential order, the -1.eps file with
> the first score line of the first score will be overwritten
> by the full score of the second score and so on.
>
> For example, the following snippet
> \begin{lilypond}
> \score{\repeat unfold 4 {c'1 \break | }}
> \score{\repeat unfold 4 {d'1 \break | }}
> \score{\repeat unfold 4 {e'1 \break | }}
> \score{\repeat unfold 4 {f'1 \break | }} \end{lilypond}
> will result in The full second \score{...} followed by The
> full third \score{...} followed by The full fourth
> \score{...} followed by The last score line of the first score.
>
> If we changed one of these naming schemes, for example using
> something else then a '-' before the number, then the output
> from lilypond-book would at least contain the full first
> score while the rest of the scores would disappear, which at
> least is a simple rule that easily can be documented ("only
> the first \score{...} block will appear in the output").
> Well, at second thought the message to be conveyed in the
> manual should anyway be "Use only a single \score{...} block
> or combine everything into a single \book{...} block".
>
> I've actually considered adding a 'book' or 'keep-together'
> option to lilypond-book snippets, which adds the \book{...}
> block in the generated .ly file.
>
>/Mats
>
>/Mats
>
>
> tiM wrote:
>
> >Hi, i think i found a very strange bug using lilypond-book. Now i'm
> >just new at lilypond, but the inconsistency makes me think
> it's not my
> >fault, still i'm aware that it could well be me doing
> something wrong.
> >
> >The following code leads to an output with missing noteheads
> and time
> >signature and fingering in courier new.
> >
> >\begin{lilypond}
> >\relative c'{
> > \context RhythmicStaff {
> > \override Staff.TimeSignature #'style = #'()
> > \time 4/4
> >g4_4 g_4 a_5 a_5 g2_4 e_
RE: Feta symbols in latex (how to disable footer)
Hi Mats,
I gave it a little thought. And actually, I like the idea to use the
\markup{} expression. Constructing notes with stems will get a lot easier I
guess. As you said using this directly in my lytex file won't work. Cropping
from the output from a straight lilypond file won't work either due the
footer.
I thought of this approach:
Making a \pagestyle{empty} lilypond book latex file with the \markup
expression in it.
Convert page 2 of the dvi file to ps
Excute ps2epsi mychar.ps mychar.eps
When I take a look at this eps file it looks as I expected. But when I
include this in a new LaTeX file, out of nowhere the footer pops up again in
the eps file. By footer I mean the "Music engraving by LilyPond 2.8.6-
www.lilypond.org" line at the bottom of the picture.
If there's no other solution, I'm considering to convert the ps to pdf,
convert it back to ps, etc. But life would get a whole lot easier if there's
a way to delete the footer right from the beginning. So I could just make a
lilypond file and crop that output.
Thanks,
tiM
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: maandag 14 augustus 2006 10:06
> To: tiM
> Cc: lilypond-user@gnu.org
> Subject: Re: Feta symbols in latex
>
>
>
> tiM wrote:
>
> >>The most convenient solution for you, would have been if
> such a short
> >>score could contain just a simple \markup{...} expression,
> just as an
> >>.ly file can.
> >>However, it seems that the resulting inserted .eps file
> will have lots
> >>of white space around the actual markup, so it will end up
> on a page
> >>of its own in the document.
> >>
> >>
> >
> >If there's no other way out I'll just have to adjust eps
> boundery boxes
> >manualy, but I was hoping to do something less laborious
> like using the
> >real fonts for the job, as you discriped below...
> >Now something funny happened. I was doing as you said and
> removed the
> >folder i copied to my miktex folder. All of the sudden I cant find
> >feta??.tex files anywhere. I guess I found that files as a
> leftover of an older installation.
> >
> >
> Probably (which means that they might have used the wrong
> numbering of the symbols if the font has changed since then).
>
> >On the other hand I have my doubts it would work anyway,
> cause basicly
> >nothing really changed.
> >
> My guess is that you hadn't installed the font files in a
> folder where MikTeX could find them. This shouldn't be a
> problem in my solution.
>
> > Still the lytex file on the url should work for some
> version. Is there
> >a save way to get the files the author used without accidentically
> >removing my previous install of lilypond?
> >
> >
> Sorry, I don't understand your last question.
>
>/Mats
>
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RE: Feta symbols in latex (how to disable footer)
Nope sorry,
tagline = " "
\markup \note #"4" #1
Still gives a footer.
> -Original Message-
> From: Stewart Holmes [mailto:[EMAIL PROTECTED]
> Sent: dinsdag 15 augustus 2006 1:37
> To: tiM
> Subject: Re: Feta symbols in latex (how to disable footer)
>
> I've not been following this discussion, so this may have
> already been discussed, but... wouldn't tagline = "" work?
>
> - Original Message -
> From: "tiM" <[EMAIL PROTECTED]>
> To: "'Mats Bengtsson'" <[EMAIL PROTECTED]>
> Cc:
> Sent: Tuesday, August 15, 2006 12:28 AM
> Subject: RE: Feta symbols in latex (how to disable footer)
>
>
> > Hi Mats,
> >
> > I gave it a little thought. And actually, I like the idea to use the
> > \markup{} expression. Constructing notes with stems will
> get a lot easier
> > I
> > guess. As you said using this directly in my lytex file won't work.
> > Cropping
> > from the output from a straight lilypond file won't work
> either due the
> > footer.
> > I thought of this approach:
> > Making a \pagestyle{empty} lilypond book latex file with the \markup
> > expression in it.
> > Convert page 2 of the dvi file to ps
> > Excute ps2epsi mychar.ps mychar.eps
> >
> > When I take a look at this eps file it looks as I expected.
> But when I
> > include this in a new LaTeX file, out of nowhere the footer
> pops up again
> > in
> > the eps file. By footer I mean the "Music engraving by
> LilyPond 2.8.6-
> > www.lilypond.org" line at the bottom of the picture.
> >
> > If there's no other solution, I'm considering to convert
> the ps to pdf,
> > convert it back to ps, etc. But life would get a whole lot
> easier if
> > there's
> > a way to delete the footer right from the beginning. So I
> could just make
> > a
> > lilypond file and crop that output.
> >
> > Thanks,
> >
> > tiM
> >
> >
> >> -Original Message-
> >> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> >> Sent: maandag 14 augustus 2006 10:06
> >> To: tiM
> >> Cc: lilypond-user@gnu.org
> >> Subject: Re: Feta symbols in latex
> >>
> >>
> >>
> >> tiM wrote:
> >>
> >> >>The most convenient solution for you, would have been if
> >> such a short
> >> >>score could contain just a simple \markup{...} expression,
> >> just as an
> >> >>.ly file can.
> >> >>However, it seems that the resulting inserted .eps file
> >> will have lots
> >> >>of white space around the actual markup, so it will end up
> >> on a page
> >> >>of its own in the document.
> >> >>
> >> >>
> >> >
> >> >If there's no other way out I'll just have to adjust eps
> >> boundery boxes
> >> >manualy, but I was hoping to do something less laborious
> >> like using the
> >> >real fonts for the job, as you discriped below...
> >> >Now something funny happened. I was doing as you said and
> >> removed the
> >> >folder i copied to my miktex folder. All of the sudden I cant find
> >> >feta??.tex files anywhere. I guess I found that files as a
> >> leftover of an older installation.
> >> >
> >> >
> >> Probably (which means that they might have used the wrong
> >> numbering of the symbols if the font has changed since then).
> >>
> >> >On the other hand I have my doubts it would work anyway,
> >> cause basicly
> >> >nothing really changed.
> >> >
> >> My guess is that you hadn't installed the font files in a
> >> folder where MikTeX could find them. This shouldn't be a
> >> problem in my solution.
> >>
> >> > Still the lytex file on the url should work for some
> >> version. Is there
> >> >a save way to get the files the author used without accidentically
> >> >removing my previous install of lilypond?
> >> >
> >> >
> >> Sorry, I don't understand your last question.
> >>
> >>/Mats
> >>
> >
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
___
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lilypond-user@gnu.org
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RE: Markup macro?
Hey stewerd,
i'm relatively new at lilypond so i dont know how to make
functions. But since you've tried to help me. i thought it's not only about
taking here.
\relative c'{c4-\markup { \finger 2 "-" \finger
3}}
gives the output i think you're looking for. Now, how to
put this in a function, i wouldn't know. I hope this is of any
help.
gr. tiM
p.s. on intuitive reading, i think the/one problem of your
code is that the \finger command only allows you to place numbers (i think). You
should look at the output of \finger more as characters than as a real
font.
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Stewart HolmesSent: dinsdag 15 augustus 2006 1:23To:
lilypond-user@gnu.orgSubject: Markup macro?
Hi,
I'm trying to do something like:
fingerSwitch = #(define-music-function
(parser location text) (string?)#{ \markup { \finger
$text }
#})
c4-\fingerSwitch
but it's not working. I guess that you can't
attach scheme code to a note in such a way. Is there a nice neat solution to
this? The original problem is that if I use, say:
c4-"3-2"
the fingering font is not used, so I'm trying to
remedy that with the above scheme code.
Thanks,
Stewart
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RE: Feta symbols in latex (how to disable footer)
Hi Stewert,
Again, I'm relatively new with lilypond. I didn't place tagline ="" in a
header{}. So I've got results now. But now ps2epsi doesn't creates a
bounding box. But this one I have to figure out myself. (unless someone has
brilliant ideas on this :P)
Thanks,
tiM
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]
> On Behalf Of tiM
> Sent: dinsdag 15 augustus 2006 1:55
> To: 'Stewart Holmes'; 'Mats Bengtsson'
> Cc: lilypond-user@gnu.org
> Subject: RE: Feta symbols in latex (how to disable footer)
>
> Nope sorry,
>
> tagline = " "
> \markup \note #"4" #1
>
> Still gives a footer.
>
> > -----Original Message-
> > From: Stewart Holmes [mailto:[EMAIL PROTECTED]
> > Sent: dinsdag 15 augustus 2006 1:37
> > To: tiM
> > Subject: Re: Feta symbols in latex (how to disable footer)
> >
> > I've not been following this discussion, so this may have
> already been
> > discussed, but... wouldn't tagline = "" work?
> >
> > - Original Message -
> > From: "tiM" <[EMAIL PROTECTED]>
> > To: "'Mats Bengtsson'" <[EMAIL PROTECTED]>
> > Cc:
> > Sent: Tuesday, August 15, 2006 12:28 AM
> > Subject: RE: Feta symbols in latex (how to disable footer)
> >
> >
> > > Hi Mats,
> > >
> > > I gave it a little thought. And actually, I like the idea
> to use the
> > > \markup{} expression. Constructing notes with stems will
> > get a lot easier
> > > I
> > > guess. As you said using this directly in my lytex file
> won't work.
> > > Cropping
> > > from the output from a straight lilypond file won't work
> > either due the
> > > footer.
> > > I thought of this approach:
> > > Making a \pagestyle{empty} lilypond book latex file with
> the \markup
> > > expression in it.
> > > Convert page 2 of the dvi file to ps Excute ps2epsi mychar.ps
> > > mychar.eps
> > >
> > > When I take a look at this eps file it looks as I expected.
> > But when I
> > > include this in a new LaTeX file, out of nowhere the footer
> > pops up again
> > > in
> > > the eps file. By footer I mean the "Music engraving by
> > LilyPond 2.8.6-
> > > www.lilypond.org" line at the bottom of the picture.
> > >
> > > If there's no other solution, I'm considering to convert
> > the ps to pdf,
> > > convert it back to ps, etc. But life would get a whole lot
> > easier if
> > > there's
> > > a way to delete the footer right from the beginning. So I
> > could just make
> > > a
> > > lilypond file and crop that output.
> > >
> > > Thanks,
> > >
> > > tiM
> > >
> > >
> > >> -Original Message-
> > >> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> > >> Sent: maandag 14 augustus 2006 10:06
> > >> To: tiM
> > >> Cc: lilypond-user@gnu.org
> > >> Subject: Re: Feta symbols in latex
> > >>
> > >>
> > >>
> > >> tiM wrote:
> > >>
> > >> >>The most convenient solution for you, would have been if
> > >> such a short
> > >> >>score could contain just a simple \markup{...} expression,
> > >> just as an
> > >> >>.ly file can.
> > >> >>However, it seems that the resulting inserted .eps file
> > >> will have lots
> > >> >>of white space around the actual markup, so it will end up
> > >> on a page
> > >> >>of its own in the document.
> > >> >>
> > >> >>
> > >> >
> > >> >If there's no other way out I'll just have to adjust eps
> > >> boundery boxes
> > >> >manualy, but I was hoping to do something less laborious
> > >> like using the
> > >> >real fonts for the job, as you discriped below...
> > >> >Now something funny happened. I was doing as you said and
> > >> removed the
> > >> >folder i copied to my miktex folder. All of the sudden
> I cant find
> > >> >feta??.tex files anywhere. I guess I found that files as a
> > >> leftover of an older installation.
> > >> >
> > >> >
> > >> Probably (which means that they might have used the
&
RE: Lilypond-Book error
If you're using lilypond-book for LaTeX, the output will be a *.tex file. If the input is allready *.tex, lilypond-book is afraid to overwrite your original document. There are two solutions. Name your input file something like *.lytex. Or do what lilypond-book suggested (best solution). In your working folder, make a new folder named "out" (or anything you like) and execute "lilypond-book --psfonts --output=out mybook.tex". Lilypond-book's output will be placed in .\out\ and won't overwrite the original input file. Hope it's of any help. Gr. tiM > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > On Behalf Of S L Raymond > Sent: zaterdag 19 augustus 2006 9:48 > To: Lilypond User Group > Subject: Lilypond-Book error > > I'm running lilypond-book 2.6.3. I tested an article > containing lilypond code according to the instructions at > http://lilypond.org/doc/v2.6/Documentation/user/lilypond/An-ex ample-of-a-musicological-document.html#An-example-of-a-> musicological-document , and it worked fine. Then, however, > I ran the program using a more complex document -- a book, > containing a chapter which in turn contained the code > snippet, and this is what I get: > > lilypond-book: error: Output would overwrite input file; use --output. > > What can be done? > > Lyle > > > > ___ > 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: Lilypond-Book error
Hmm that's really strange... Try to put your input files in a brand new folder (with a new .\out folder) maybe something goes wrong if you name your new file after your test file. In this way there's no chance lilypond-book is going to overwrite anything. Gr. tiM > -Original Message- > From: S L Raymond [mailto:[EMAIL PROTECTED] > Sent: zaterdag 19 augustus 2006 16:11 > To: tiM > Cc: 'Lilypond User Group' > Subject: Re: Lilypond-Book error > > But I am directing the output to an "out" directory, and I > still get the same message. > > tiM wrote: > > If you're using lilypond-book for LaTeX, the output will be a *.tex > > file. If the input is allready *.tex, lilypond-book is afraid to > > overwrite your original document. There are two solutions. > Name your > > input file something like *.lytex. Or do what lilypond-book > suggested > > (best solution). In your working folder, make a new folder > named "out" > > (or anything you like) and execute "lilypond-book --psfonts > > --output=out mybook.tex". Lilypond-book's output will be > placed in .\out\ and won't overwrite the original input file. > > > > Hope it's of any help. > > > > Gr. tiM > > > > > >> -Original Message- > >> From: [EMAIL PROTECTED] > >> [mailto:[EMAIL PROTECTED] > >> On Behalf Of S L Raymond > >> Sent: zaterdag 19 augustus 2006 9:48 > >> To: Lilypond User Group > >> Subject: Lilypond-Book error > >> > >> I'm running lilypond-book 2.6.3. I tested an article containing > >> lilypond code according to the instructions at > >> http://lilypond.org/doc/v2.6/Documentation/user/lilypond/An-ex > >> > > ample-of-a-musicological-document.html#An-example-of-a-> > > musicological-document , and it worked fine. Then, however, > > > >> I ran the program using a more complex document -- a book, > containing > >> a chapter which in turn contained the code snippet, and > this is what > >> I get: > >> > >> lilypond-book: error: Output would overwrite input file; > use --output. > >> > >> What can be done? > >> > >> Lyle > >> > >> > >> > >> ___ > >> 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: Is it possible to import scores generated by Lilypond to other softwares?
On 23 Jul 2020 at 14:27, Parviz Farnia wrote: > > Hello, > > Recently, I've started learning Lilypond (I'm completely a newbie in this > field). I'm impressed by the > excellent quality of the scores one can produce via Lilypond. I was wondering > whether it is > possible to import scores generated by Lilypond to professional softwares > allowing to play music. Frescobaldi can export a MusicXML version of your score. Many music programs can import that format. -- Tim Slattery t...@risingdove.com
Frescobaldi 3.1.3 and landscape music
I just updated Lilypond to version 2.22.0 and Frescobaldi to version 3.1.3. I brought up a piece that's engraved in landscape orientation. Frescobaldi and Lilypond work fine, the piece is engraved -- but Frescobaldi displays it in portrait orientation, so it appears on its side! When I use Fresco's LilyPond|Engrave(publish) command, Adobe Acrobat shows it the same way! What have I missed? -- Tim Slattery t...@risingdove.com
Re: Frescobaldi 3.1.3 and landscape music
On 11 Feb 2021 at 13:27, Aaron Hill wrote: > Are you using > >#(set-default-paper-size "a6" 'landscape) > > or > >#(set-default-paper-size "a6landscape") I was using #(set-default-paper-size "letter" 'landscape) I changed iti to #(set-default-paper-size "letterlandscape") and it works properly. > The former simply rotates the content while keeping the normal paper > dimensions. The latter swaps the height and width values without > rotation. Adding another feature is fine, but why change the function of existing language instead of invoking the new feature with new language? -- Tim Slattery t...@risingdove.com
Re: convert-ly
On 30 May 2021 at 17:50, JxStarks wrote: > > > Hi Ralph, > > I read that documentation and tried it. I'm running Windows 10 Pro, > 10.0.19041 and I still get the > same response: " 'convert-ly is not recognized...". Am I missing something > obvious? I think so. The name of the file is convert-ly.py, so (to me anyway) it's perfectly reasonable that the OS can't find the file without the extension. When you type a command, the OS will look for a file of that name with any of several extensions that it knows about: *.exe, *.bat, *.cmd,*.lnk that sort of thing. It doesn't know about the *.py extension, so you have to type it in as part of the command. -- Tim Slattery t...@risingdove.com
Re: Help!
On 29 Jul 2021 at 20:47, Lukas-Fabian Moser wrote: > I can only guess as to what your set-up is, but: You need LilyPond itself and > a suitable editor for > lilypond files. Any old text editor will do, but many people prefer > Frescobaldi which provides a very > convenient environment for hacking LilyPond code. > Do you have those two things? > Lukas Frescobaldi will also ask you questions in a Wizard format, then set up a Lilypond file for you, ready for you to add notes, lyrics, whatever you want. Very nice! Frescobaldi runs on just about any platform you can name. -- Tim Slattery t...@risingdove.com
Search/Replace in Frescobaldi
I'm trying to use Frescobaldi's Search and Replace function, and it doesn't seem to work. I use Edit|Replace... and it pops up a small box at the bottom of the source code pane. When I put text in the "Search" box, it highlights all occurrences of that text in the source code, and tells me how many occurrences it found. Great! So then I put text in the "Replace" box. When I click the "Replace" button ... nothing happens. When I click the "All" button ... nothing happens. So what am I missing? And more specifically, how would I delete all occurrences of a particular string from my source code with Frescobaldi? -- Tim Slattery t...@risingdove.com
Re: Search/Replace in Frescobaldi
On 17 Aug 2021 at 21:51, Jean Abou Samra wrote: > Le 17/08/2021 à 18:57, t...@risingdove.com a écrit : > > I'm trying to use Frescobaldi's Search and Replace function, and it doesn't > > seem to work. > > > > I use Edit|Replace... and it pops up a small box at the bottom of the > > source code pane. When > > I put text in the "Search" box, it highlights all occurrences of that text > > in the source code, and > > tells me how many occurrences it found. Great! > > > > So then I put text in the "Replace" box. When I click the "Replace" button > > ... nothing happens. > > When I click the "All" button ... nothing happens. > This sounds reminiscent of > https://github.com/frescobaldi/frescobaldi/issues/1366. > What OS are you using? What is your version of Frescobaldi? Yes, it looks like the exact same thing. I'm using Frescobaldi 3.1.3 on Windows 10. -- Tim Slattery t...@risingdove.com
Midi file is quiet???
I have an engraving of a Vivaldi piece that has a ChoirStaff with three staffs
within it, then a
separate staff, then a PianoStaff with the normal two parts. The last two lines
in the \score
block are:
\layout {}
\midi {\tempo 4 = 70 }
Then a curly brace to end the \score block, and the file ends.
The PDF looks absolutely beautiful;, no problem there. But the midi file is
completely quiet,
from beginning to end. What would cause that?
Thanks!
--
Tim Slattery
t...@risingdove.com
Re: Midi file is quiet???
On 3 Sep 2021 at 14:49, Knute Snortum wrote:
> On Fri, Sep 3, 2021 at 1:56 PM wrote:
> >
> > I have an engraving of a Vivaldi piece that has a ChoirStaff with three
> > staffs within it, then a
> > separate staff, then a PianoStaff with the normal two parts. The last two
> > lines in the \score
> > block are:
> >
> > \layout {}
> > \midi {\tempo 4 = 70 }
> >
> > Then a curly brace to end the \score block, and the file ends.
> >
> > The PDF looks absolutely beautiful;, no problem there. But the midi file is
> > completely quiet,
> > from beginning to end. What would cause that?
> >
> > Thanks!
> >
> > --
> > Tim Slattery
> > t...@risingdove.com
>
> What version of LilyPond are you using? What environment are you on
> (like Windows 10, Linux, Mac)? How are you playing the midi file?
> Try playing it with another application, like if you're playing it
> from Frescobaldi, try right-clicking the midi file in a file explorer
> and see if there are other apps associated with it. If you're using
> Frescobaldi, do other Midi files play? Do you have Midi setup in the
> preferences?
WIndows 10, Frescobaldi 3.1.3, Lilypond 2.22.0. Midi files are associated with
Irfanview,
which has always worked fine.
--
Tim Slattery
t...@risingdove.com
Re: issues with installing Lilypond
On 19 Sep 2022 at 17:55, Cluanie Fraser wrote: > > Hi Tim, > Thanks for responding. I´m really struggling as I´m quite out of depth > with this tech stuff. > This is what shows up when I download the Lilypond file from the website > and double > click to open it. You've opened it in Notepad, which is for text files. What you have opened is definitely NOT a text file. > I tried downloading Denemo and that kind of worked but doesn´t let me > edit the music in > the lilypond text file, I can only do it graphically which isn´t ideal. I know next to nothing about Denomo, but I think it's a graphical music editor, which would work with files in its own format, and would know nothing about Lilypond (*.ly) files. I you have an existing *.ly file, open it in a text editor (or maybe better yet Frescobaldi, which I gave you a URL for). And read the Learning manual, which I also gave you the URL for. The *.ly file probably will make no sense to you until you read the Learning manual. There is certainly a learning curve with Lilypond, but the results are worth it. > I appreciate any help; I feel like it shouldn´t be this difficult! > > Cluanie > > > > Sent from Mail for Windows > > From: t...@risingdove.com > Sent: 09 September 2022 15:16 > To: li.lypond-u...@gnu.org; Cluanie Fraser > Subject: Re: issues with installing Lilypond > > On 9 Sep 2022 at 11:21, Cluanie Fraser wrote: > > > > > Hi, > > I´m struggling to download lilypond and wondering if it´s supported on > Windows 11? > > It certainly runs on Win11, that's how I use it. > > > When I download the Lilypond file it opens as a huge encrypted text > file on > Notepad. > > It's basically a command line application. You prepare a file for it to > process and it spits > out a > PDF. For the basics of how to use it, download the Learning manual at > http://lilypond.org/doc/v2.22/Documentation/learning/index.html > > Also, check out Frescobaldi at frescobaldi.org. That's a multiplatform > front-end for Lily > that > makes writing, editing, and compiling your Lilypond input easier. > > And continue to ask questions here. > > -- > Tim Slattery > t...@risingdove.com > > -- Tim Slattery t...@risingdove.com
Landscape output displays sideways
After some more investigation, it seems that my problem is not with
Frescobaldi, but with Lilypond 2.24.1.
My composition includes this block:
\paper {
#(set-paper-size "letter" 'landscape)
}
The output is in landscape format, but it's displayed sideways. That is,
the 8.5x11 page is displayed in portrait format, even though the music in
it is in landscape. Apparently something is not being set properly in the
PDF file to get it to rotate the page. It's always worked fine before, the
output is landscape and is displayed properly.
This sideways display appears both in Frescobaldi and in a separate PDF
reader, so the problem must be in the PDF.
--
Tim Slattery
t...@risingdove.com
Re: Landscape output displays sideways
On 17 Feb 2023 at 18:03, Jean Abou Samra wrote:
>
> Le vendredi 17 février 2023 à 11:47 -0500, t...@risingdove.com a écrit :
> After some more investigation, it seems that my problem is not with
> Frescobaldi, but with Lilypond 2.24.1.
> The way you start your message, it sounds like you have already told the list
> about a
> problem, but I didn't receive anything?
I thought that I had posted before, but I was having some trouble getting mail
to this list.
> My composition includes this block:
> \paper {
> #(set-paper-size "letter" 'landscape)
> }
> The output is in landscape format, but it's displayed sideways. That is,
> the 8.5x11 page is displayed in portrait format, even though the music in
> it is in landscape. Apparently something is not being set properly in the
> PDF file to get it to rotate the page. It's always worked fine before, the
> output is landscape and is displayed properly.
> This sideways display appears both in Frescobaldi and in a separate PDF
> reader, so the problem must be in the PDF.
> Are you sure that it worked differently before?
It has certainly worked properly in the past. I may have missed the exact
version that started
messing up, but it's difficult to believe that *nobody* noticed it. I'm looking
at a composition is
version 2.18.2 that displays properly in landscape.
> For me,
> There is a big difference with
> \paper {
> #(set-paper-size "letterlandscape")
> }
!! That makes it work! I don't get it, it seems to me that the "letter"
'landscape is misbehaving.
But, good enough, I'll use "letterlandscape" from now on. Thanks!
I have another question. I get five of these messages:
warning: MIDI channel wrapped around
warning: remapping modulo 16
I am-generating a MIDI file, but the only line in the source file talking about
MIDI is
\midi {
\tempo 2=100
}
in the score block. What's going on.
--
Tim Slattery
t...@risingdove.com
Re: Landscape output displays sideways
On 17 Feb 2023 at 19:11, Jean Abou Samra wrote:
> I have another question. I get five of these messages:
> warning: MIDI channel wrapped around
> warning: remapping modulo 16
> I am-generating a MIDI file, but the only line in the source file talking
> about MIDI is
> \midi {
> \tempo 2=100
> }
> in the score block. What's going on.
> You cannot have more than 16 channels in a MIDI file, it's a limitation of
> the MIDI
> format. Maybe you have more than 16 staves?
The piece has four staves.
--
Tim Slattery
t...@risingdove.com
Re: Frescobaldi
On 6 Dec 2017 at 14:49, Guy Stalnaker wrote: > > Tim, > > From Frescobaldi menu: Tools | Special Characters -- my install has all three > of the characters > you mention (highlighted in the screen shot). This is the default view shown > me when I select this > Tool. I'm using Windows Vista (yeah, I know) and what I see for Latin-1 Supplement is quite different from what you show. The desired characters are NOT there. I guess I'll have to use the Windows character map. -- Tim Slattery t...@risingdove.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi
On 6 Dec 2017 at 14:49, Guy Stalnaker wrote: > > Tim, > > From Frescobaldi menu: Tools | Special Characters -- my install has all three > of the characters > you mention (highlighted in the screen shot). This is the default view shown > me when I select this > Tool. I take it back, somewhat. The characters are there, but they are rather small and difficult to read. I didn't find the esszet (it says "LATIN SHARP S" by counting down the table rows til I got to where it was on your screenshot. It's difficult to tell which diacritical is on the other characters other than by pointing at them and reading the description (LATIN SMALL LETTER U WITH DIAERESIS). So now I know where they are anyway. Thanks for the help. -- Tim Slattery t...@risingdove.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Gaps in lyrics
On 26 Apr 2016 at 17:14, Richard Shann wrote: > I just did this in Denemo, I selected the notes and chose the Skip > Syllables in Selection command > it generated > \repeat unfold 8 \skip 1 Outstanding! Works perfectly. Thanks for the solution! -- Tim Slattery t...@risingdove.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyric braces?
It looks like the attachment didn't come thru - so my example doesn't
make a lot of sense.
If you want to see the example let me know and I'll put it on a web
server after work tonite.
Timothy C Litwiller wrote:
Timothy C Litwiller wrote:
This isn't perfect but may be a place for you to start
here is the code
---
%right and left brace setup
leftbrace = \markup { \override #'(font-encoding . fetaBraces) \bold
\lookup #"brace105" }
rightbrace = \markup { \rotate #180 \leftbrace }
%lyrics setup
stanzaOneLineOne = {
\set stanza = \markup { "1. " \leftbrace } \lyricmode { Child,
you're mine ...
}
}
stanzaOneLineTwo = {
\lyricmode { Child, I have ...
}
}
%calling lyrics in the score
\new Lyrics \lyricsto "One" \stanzaOneLineOne
\new Lyrics \lyricsto "One" \stanzaOneLineTwo
Dominic Neumann wrote:
Hi,
how do I create braces within lyrics to clarify that two lines of text
belong to the same verse (see textbrace1.jpg) or when there´s a part
of lyrics which belongs to all verses (see textbrace2.jpg)?
Dominic
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___
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Re: not-so-ancient flags
Reinhold, I noticed that on the second staff (downward stems), the eighth notes have their flags all in the C space, rather than at the end of their stems. Do you know why that happened? Tim Reeves original message: [EMAIL PROTECTED] Sent by: [EMAIL PROTECTED] 06/19/2008 09:05 AM Please respond to lilypond-user@gnu.org To lilypond-user@gnu.org cc Subject lilypond-user Digest, Vol 67, Issue 68 Message: 1 Date: Thu, 19 Jun 2008 07:50:19 -0700 (PDT) From: madhg <[EMAIL PROTECTED]> Subject: Re: not-so-ancient flags To: lilypond-user@gnu.org Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset=us-ascii Reinhold Kainhofer wrote: > > Actually, adding different flags in lilypond is quite simple: Simply use > \override Stem #'flag-style = #'flagstylename > and lilypond will use the characters "flags.flagstylename[ud][3456]" as > flags. > > Now, to implement straight flags, all one has to do is to create glyphs > named > flags.straightu3, flags.straightd3, etc.! > > Attached is a first attempt to do this, plus a sample file showing the > new "straight", the "mensural" and the default flag styles. The PDF of the > sample file can be found at: > http://www.fam.tuwien.ac.at/~reinhold/temp/test_straight_flags.pdf > Looks pretty good. Just one comment: in the 18th century prints, the horizontal extent of the flag is comparable with the note-head, maybe slightly smaller. In your sample I think the flag is rather smaller (right now my browser can't access the pdf file). I think the note would look better with a larger flag, as well as more like the 18th century examples, from quite carefully engraved and elegant editions. Anyway, congratulations and thanks for this quick response to my suggestion! David Griffel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changelog (was: Arbitrary changes?)
It took me a couple of minutes to scan through the source code (of convert-ly.py) as Han-Wen suggested and find the changes in 2.11.51, so as a convenience to others, here they are: \\octave changed to \\octaveCheck arpeggioUp changed to arpeggioArrowUp arpeggioDown changed to arpeggioArrowDown arpeggioNeutral changed to arpeggioNormal setTextCresc changed to crescTextCresc setTextDecresc changed to dimTextDecresc setTextDecr changed to dimTextDecr setTextDim changed to dimTextDim setHairpinCresc changed to crescHairpin setHairpinDecresc changed to dimHairpin sustainUp changed to sustainOff sustainDown changed to sustainOn sostenutoDown changed to sostenutoOn sostenutoUp changed to sostenutoOff Funny thing is, the only ones I use are the cresc and dim ones, and I don't see what was gained by those changes, but no big deal - I'd have to look them up the next time used them anyway most likely. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: indexing (was LSR search is broken)
I agree with Kieren and Werner. Programming and Mathematics aside, if I'm standing in line, the first person to be served will be the first person in line, not the "zeroth" person in line. I don't think "zeroth person in line" has ever been uttered. And I'm not just being "anti-pedantic". Believe me, I can be quite pedantic. ;-) Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changelog (was: Arbitrary changes?)
True, but I usually avoid command line stuff. I'm on Windows XP. Also, I learned a little bit by looking at the code. Not enough to do anything with it, mind you. Tim Reeves Graham Percival <[EMAIL PROTECTED]> 07/09/2008 12:49 PM To Tim Reeves <[EMAIL PROTECTED]>, Han-Wen Nienhuys <[EMAIL PROTECTED]> cc lilypond-user@gnu.org Subject Re: changelog (was: Arbitrary changes?) Or you could have done what I suggested to Haipeng, and ran convert-ly -s --from=2.11.50 to see a list of all these changes. No looking at source code required. Cheers, - Graham On Wed, 9 Jul 2008 10:58:30 -0700 Tim Reeves <[EMAIL PROTECTED]> wrote: > It took me a couple of minutes to scan through the source code (of > convert-ly.py) as Han-Wen suggested and find the changes in 2.11.51, > so as a convenience to others, here they are: > > \\octave changed to \\octaveCheck > arpeggioUp changed to arpeggioArrowUp > arpeggioDown changed to arpeggioArrowDown > arpeggioNeutral changed to arpeggioNormal > setTextCresc changed to crescTextCresc > setTextDecresc changed to dimTextDecresc > setTextDecr changed to dimTextDecr > setTextDim changed to dimTextDim > setHairpinCresc changed to crescHairpin > setHairpinDecresc changed to dimHairpin > sustainUp changed to sustainOff > sustainDown changed to sustainOn > sostenutoDown changed to sostenutoOn > sostenutoUp changed to sostenutoOff > > Funny thing is, the only ones I use are the cresc and dim ones, and I > don't see what was gained by those changes, but no big deal - I'd > have to look them up the next time used them anyway most likely. > > > Tim Reeves > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest - no messages for a few days
For several days I didn't get any message digests from lilypond-user, but instead of resubscribing, I just looked at the archives a few times. Now, all of sudden, today, I'm getting digests again. Anyone know what happened? Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score with large empty section at the top
> > I think it is standard behaviour. > > I remember there was a command to let LilyPond display all the spaces > > it uses and its names. But I don´t remember the command and couldn´t > > find it by searching ... > > Take a look at Notation Reference 4.6.1: "Displaying spacing." > > -Chris He actually did include annotate-spacing = ##t in his Paper block in his file, but he had it commented out. Putting it back in did give several clues for how to change the spacing to his liking.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Well, you decide! I'll keep the thread open for a while, and then make a final decision based on the majority of responses I get. Thanks! Kieren. I agree, keep the midi code in the examples - comment it out if you want. with a reference or link to the part of the documentation that explains how to use it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
OT: singing training
This is not specifically on the topic of lilypond but my daughters love of singing and trying to help her learn to sing is one of the things that got me interested in lilypond in the first place. She loves to sing and I would love to help her learn to hear when she hits a pitch. We are 2 hours away from a city of any size so getting her to a school with singing training is not possible at this time. She has some singing training in the church school she is in but the teacher doesn't have time for 1 on 1 with her personally. Most of the training is focused on getting the kids ready for the times they have a program and some singing numbers for the parents etc. back to my question: I found some programs that play tones and she is getting a lot better at telling how far apart the tones played are and what the pitch played is. So her hearing of the sounds is getting better. Her singing has improved a bit from that excessive but not very much. What I would like to find is some kind of program that would play a note or tone and she would try to sing that note or tone back into a microphone and then it would continue to the next note when she hits it. Just dreaming now it would be nice if i could use lilypond files of the children songs I have entered as the source of these notes. then as she gets better at hitting the correct note. it should start going faster and train her on timing also. I am not a good singer myself but I spend a few hours per week trying to do this manually in the evening. But if there was a program available that she could use several hour per day before I get home from work I think we could accelerate her learning on this. I figured if there was any group of people on the net that would know of such a program as this it would be this group. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: singing training
Nick Bailey wrote: We did some work on Rosegarden which might interest you: http://www.n-ism.org/Papers/Nick_Bailey/icmc2008_19ETrehearsal.pdf The software described in that paper was for training expert musicians to sing microtonal songs which have more than 12 divisions of the scale such as Graham Hair's "Three Microtonal Songs: Dance". There is a video of a successfully trained (and, if I might say so, rather brilliant) Soprano here: http://www.polonius.uklinux.net/dance.mp4 (which is more often down than up I'm afraid) The score is here: http://www.n-ism.org/People/graham.php#microtonal Dance starts on page 9 (not Lilypond!!! Sorry!!!). Thanks I'll take a look. I'd be a bit careful about teaching absolute pitch accuracy. I'm not a musician, but it is a common mistake by us engineers and computer scientists to consider individual notes important. Right I just want her to by ear be able to match a note. I think the schools training is covering reading notes, at least she can read me the note names and or scale letters from a song faster than I can read them she just can't put the right sound on them. They aren't. They are like sub-atomic particles, and are only make sense when formed into molecules (motifs). I'd look into the teaching aspect a bit more if I were you. I'm sure a singing teacher would be able to advise you what would be best to do first. You might find they prefer your daughter to work from a primer which develops pitch accuracy alongside other musical skills. Again, IANAMusician, but I suspect you are doing a lot of good in getting your daughter to interact with other players (you) instead of a mechanical device, so perhaps it's a case of "be careful what you wish for, you might get it". Yes, I don't plan to quit helping her. But I think some more pure practice could help her. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: singing training
Graham Percival wrote: On Mon, 15 Sep 2008 12:21:38 -0500 Tim Litwiller<[EMAIL PROTECTED]> wrote: What I would like to find is some kind of program that would play a note or tone and she would try to sing that note or tone back into a microphone and then it would continue to the next note when she hits it. Just dreaming now it would be nice if i could use lilypond files of the children songs I have entered as the source of these notes. then as she gets better at hitting the correct note. it should start going faster and train her on timing also. My Master's project is very similar to what you want. Compared to the above, MEAWS: - does not play notes (student must be able to read music) + grades pitches (some users call it an "addictive game") + exercises can be user-created lilypond files (although for display reasons, I only recommend one line of the score) - does not do rhythm and intonation practice at the same time (a deliberate design choice based on pedagogy and politics). However, there are two huge problems: - isn't compiled for Windows. (your email client reports you as being on windows) The source is available, and all the libraries used are cross-platform... but windows is a *terrible* environment for developers, so it'll probably take 2-20 hours to get the libraries compiled and installed. - the note segmentation is TERRIBLE at singers. MEAWS was designed for violin and cello (it works very well for those instruments!) It only works for singers if you add rests in between every note. Not terribly useful... but then again, it might be better than nothing. At the moment, neither of those is a priority for me, I'm afraid. I don't have a windows machine, so fixing the first issue would require external help or trying to do it on my Mom's computer. And to be honest, I have a hard time motivating myself to start fighting with windows again. I haven't used that OS myself in eight years. I have several linux machines that could be used for this - including the childrens game machine - it will dual boot linux. Fixing the second issue is much more interesting, but there are more important tasks that I need to finish first. I'll probably start a google code or sourceforge project for MEAWS in a few weeks (once I've fixed some of those more important issues), so in theory this feature could be added by somebody else. even just trying to get on pitch for one note at a time would help to start with. What I was really thinking was on screen it would show the note and play the tone. Then she would try to duplicate the note. If it could show the pitch she is singing back so she has some visual indication where she is and how far she needs to adjust that would be great also. I really think after a short while with something like this she will be able to start to "feel" / hear when she get the right pitch. Currently: http://web.uvic.ca/~gperciva/meaws/ Soon to be: http://percival-music.ca/ It sounds very intersting, I'll definitely take a look at what you have. Thanks very much. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: generating pdf and png but no ps
Sebastian Menge <[EMAIL PROTECTED]> wrote: >Hi > >How can I generate pdf and png but no ps? AFAIK, you can't. My understanding is that Lilypond generates the *.ps first, then converts that to *.pdf. You could write a script that invokes the program then deletes the *.ps file. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mao
> > > > So when I write "Mao", it has *nothing* to do with chairman mao. > > > > Ah -- finally I get an explanation of "mao" in the writings of Graham. > Obviously the M in WTM has just as much meaning as the F in WTF, but I have > never before been able to find out when or why "mao" began to be used in > place of less acceptable expletives. Thanks for the explanation (and thanks > for using "mao" instead of the other version!) > In other circles, MAO = monoamine oxidase.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond examples
Cameron Horsburgh <[EMAIL PROTECTED]> wrote: >I'd also appreciate it if anyone had files I could use that show off >some of the more interesting features of LilyPond. I'll produce some >printed examples, and if people start scratching their heads trying to >work out how I did something, I'll have done my job ;-). For lots of examples, look at http://www.mutopiaproject.org/. All the sheet music there is done by Lilypond, and each one comes with the *.ly file that generated it. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What to do when \> and \< produce text
> > The \cresc macro is defined in ly/spanners-init.ly and is preceded
> by a comment:
> >
> > % STOP: junkme!
> >
> > so it's clearly not well-supported It's certainly intended to
> generate a text style crescendo "cresc.".
> > However, at the time the macro was implemented, any setting of
> crescendoText was automatically
> > reverted after the next crescendo event (i.e. it worked like a
> \once \set ...) so now that the crescendoText
> > property works just as all other properties, it would make more
> sense to let the macro be implemented as
> >
> > cresc = {
> > #(ly:export (make-event-chord (list cr)))
> > \once \set crescendoText = \markup { \italic "cresc." }
> > \once \set crescendoSpanner = #'text
> > }
> >
> > if we want it to remain. In contrast to using the supported and
> documented macro \crescTextCresc,
> > you don't get any dashed line when using \cresc. Note also that
> there is a macro \endcresc that reverts
> > the settings done by \cresc (which wouldn't be needed if we used
> the above definition).
>
> Given that what \cresc currently does can also be achieved with
>
>\override DynamicTextSpanner #'dash-period = #-1.0
>\crescTextCresc\
>
> as clearly shown in Notation Reference 1.3.1, it there really a need to
> keep it? I can't say that I've seen many instances of the text "cresc."
> without the dashed line, but perhaps others have.
Please don't get rid of useful functions. What is it hurting to keep it?
Tim Reeves
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Re: LilyPond is excessively slow on Windows Vista
Carl Sorensen <[EMAIL PROTECTED]> wrote: >> >> 545 Defect Verified Medium v.villenaveLilyPond is excessively slow >> on >> Windows Vista Performance fixed_2_11_43 >> > >Rob, > >Have you checked that it's slow the _second_ time you run a file? It will be >slow the first time it runs because it needs to build a font cache, but >successive times should not be slow. On my Vista system, when I invoke Lilypond I get the GNU version notice, and then. it sits for almost 50 seconds, apparently doing NOTHING. Then it wakes up and processes the file. It's still usable, but it sure slows things down. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Special characters (umlauts, accents, etc) in lyrics
I'm setting a song with German lyrics. Several places there are umlauts over a and u, and the German double-s character that looks like a Greek "beta". I found these things in Vista's CharacterMap, and pasted them into my input file. They showed just fine there. But when I ran I got hordes of messages about them. In the PDF output, there were blanks where these characters should have been. So how can I get Lilypond to use these characters? -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:LilyPond is excessively slow on Windows Vista
"Hajo Dezelski" <[EMAIL PROTECTED]> wrote: Thinkpad x61sNewUbuntu (Linux)Dual 1,6 GHz2 GB4-5 s Thinkpad x61sNewXP Dual 1,6 GHz2 GB2 s Only one data point but interesting: Faster on WinXP than on Ubuntu. Was it the latest of each? i.e. Ubuntu 8.10 and XP SP3? Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
I also run Win Xp SP2 on my laptop (work provided) which is where I usually run Lilypond (typical .ly file compile times are about 5+/-2 seconds from my memory), but I have a Vista machine (newer, wife uses mainly) and an older machine running Ubuntu for now at home. I want to get her used to the idea of Linux and make the switch the next time Vista crashes hard ;-) Thanks for the information. Did you mean you switched from Lilypond back to some proprietary music software and that forced you to use Windows instead of Linux? I don't know what DAW is. Tim Reeves "Hajo Dezelski" <[EMAIL PROTECTED]> 11/12/2008 12:43 PM To "Tim Reeves" <[EMAIL PROTECTED]> cc lilypond-user@gnu.org Subject Re: LilyPond is excessively slow on Windows Vista It was Ubuntu 8.10 but XP SP2 and I took the time measure from Lilypond. Of course I ran the tests several times. On XP I only ran the necessary processes and the compile times were stable. Ubuntu was right out of the box and compile times differed. I switched back to XP for it was easier for me to use other musical software (DAW) Hajo 2008/11/12 Tim Reeves <[EMAIL PROTECTED]> "Hajo Dezelski" <[EMAIL PROTECTED]> wrote: Thinkpad x61sNewUbuntu (Linux)Dual 1,6 GHz2 GB4-5 s Thinkpad x61sNewXP Dual 1,6 GHz2 GB2 s Only one data point but interesting: Faster on WinXP than on Ubuntu. Was it the latest of each? i.e. Ubuntu 8.10 and XP SP3? Tim Reeves -- --- ... indessen wandelt harmlos droben das Gestirn ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pdf file
Naomy Gaudet <[EMAIL PROTECTED]> wrote: > >i just installed lilypond and i cant get the pdf >file Have you used the --pdf flag when you invoke Lilypond? -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pdf file
"Francisco Vila" <[EMAIL PROTECTED]> wrote: >2008/11/14 Tim Slattery <[EMAIL PROTECTED]>: >> Naomy Gaudet <[EMAIL PROTECTED]> wrote: >> >>> >>>i just installed lilypond and i cant get the pdf >>>file >> >> Have you used the --pdf flag when you invoke Lilypond? > >Output is PDF by default. Then what does the flag do? I though I saw in the manual someplace that LP makes a *.ep file and converts that to PDF if the flag is set. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
"Trevor Daniels" <[EMAIL PROTECTED]> wrote: >The Vista fix for LilyPond releases for and after 2.11.42 is to uncheck the >"Automatically adjust .." box, delete ~/.lilypond-fonts.cache-2 and run >LilyPond again to rebuild the cache. The "Automatically adjust ..." box >can then be checked again and all should thereafter work correctly. Bizarre, just totally bizarre. I'll certainly try this, and I hope it works. I've been programming computers for over forty years. I've encountered lots of strange bugs, but this is at the top of the list. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
"Trevor Daniels" <[EMAIL PROTECTED]> wrote: >The Vista fix for LilyPond releases for and after 2.11.42 is to uncheck the >"Automatically adjust .." box, delete ~/.lilypond-fonts.cache-2 and run >LilyPond again to rebuild the cache. The "Automatically adjust ..." box >can then be checked again and all should thereafter work correctly. >For releases earlier than 2.11.34 the font cache was saved in >~/.fontconfig. Otherwise I guess the fix is the same. I couldn't find either of these files anywhere on my machine. I unchecked the DST box and ran the program a couple of times. No change. So I downloaded and installed 2.11.64. The first time I ran it, there was the long wait again, though it was only about 30 seconds instead of the 50 seconds that 2.10.33 had been taking. The second time, no wait at all! -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond is excessively slow on Windows Vista
"Trevor Daniels" <[EMAIL PROTECTED]> wrote: >> I couldn't find either of these files anywhere on my machine. I >> unchecked the DST box and ran the program a couple of times. No, >> change. >The leading dot in the name makes these system or hidden files. That's how Unix works, not Windows. Files are made hidden or system by setting a property bit in their directory entry. >To see them, select your home directory in Windows Explorer, >then Tools -> Folder Options, select the View tab and select >the "Show hidden files and folders" option. Nope, not there. -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: More vertical space between staves
Probably this was not the first time you compiled it, and a previous run's output (pdf file) was still open, preventing writing the new one. You were just looking at the old pdf. Happens to me frequently. Close the pdf and re-run Lilypond on it. Tim Reeves > > Interpreting music... [8] > Preprocessing graphical objects... > Finding the ideal number of pages... > Fitting music on 1 page... > Drawing systems... > Layout output to `blues_2.ps'... > Converting to `./blues_2.pdf'... > error: failed files: "blues_2.ly" > > regards: Seppo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics
Last weekend I was entering a song into Lilypond. It's four parts, SATB, and has two verses. The verses scan very slightly differently. There is a measure in the music where there are two slurred halfnotes. In one verse, one syllable is stretched over both half-notes. The other verse has an extra syllable, so there's a separate syllable for each halfnote. Lilypond's ability to match lyrics with music is absolutely fantastic, but it apparently doesn't handle this scenario. I wound up having one verse matched automatically, and assigning a duration to *every* syllable in the other verse. I'm wondering whether I missed something that would have let me say "do the automatic match, but in this measure do it this way". -- Tim Slattery [EMAIL PROTECTED] http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics
Reinhold Kainhofer <[EMAIL PROTECTED]> wrote:
>Yes, you did indeed miss the ignoreMelismata setting, which is described in
>the documentation:
>PS: Note that the comment in the documentation about the setting applying only
>to the second next syllable ("fas" in this case), is actually no longer true
>in LilyPond 2.11.x. The setting now applies to the very next lyrics syllable
>already!
*Many* thanks to all who responded, and thanks especially for the note
about the documentation. The more I learn about Lilypond, the more
impressed I am with it!
--
Tim Slattery
[EMAIL PROTECTED]
http://members.cox.net/slatteryt
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pianist's needs
I like the thrust of your notation software. As a pianist, I'd like to make a comment on what I would like to see. Although the traditional method of marking accidentals works, it can be time-consuming to figure out whether a note is to be played as an accidental and this is often time a pianist does not have. I'd like to have my music all colour coded: naturals should be in black, sharps in some other colour, perhaps red, and flats in maybe green (double sharps and flats are rare and could be done in black or a different colour). Then I would not have to figure things out. This colour coding could be added to normal notation without changing the traditional aspects. As an alternative to colour coding, it might be possible for the note heads to be different shapes for accidentals. These differences might be too small to notice at pace though. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
4 bar repeat
Hi,
I'd like to produce a four bar percent repeat, is this possible in 2.10?
I've tried this but it doesn't work, but instead gives me four blank bars.
There are four bars of 4/4 notes between the inner curly braces.
up = \drummode { \repeat "percent" 2 {sn4 sn4 sn4 sn4 sn8 sn8 sn8 sn8 sn4 sn4
sn4 sn8 sn8 sn4 sn8 sn8 sn8 sn8 r8 sn8 sn4 sn4} \bar "|." }
If I shorten the music down to two bars worth, then I get a correct two bar %
repeat.
Cheers,
Tim.
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Re: 4 bar repeat
On Saturday 13 December 2008 17:41:23 Neil Puttock wrote:
> Hi Tim,
>
> 2008/12/13 Tim Sawyer :
> > I'd like to produce a four bar percent repeat, is this possible in 2.10?
>
> I'm not sure whether this is what you're after (and I haven't tested
> it in 2.10, but it should work):
>
> \drummode {
> \compressMusic #'(1 . 4) {
> \repeat "percent" 2 {
> sn4 sn4 sn4 sn4 \bar "|"
> sn8 sn8 sn8 sn8 sn4 sn4 \bar "|"
> sn4 sn8 sn8 sn4 sn8 sn8 \bar "|"
> sn8 sn8 r8 sn8 sn4 sn4
> }
> \bar "|."
> }
> }
Cheers Neil.
Unfortunately, this just shows a single bar percent style repeat after four
bars of music.
I need something like the two bar repeat, where all the bar lines are present
and there's a double line in the middle of the percent.
This is what I'm after, but it only goes over two bars, I'd like it over four,
\drummode { \repeat "percent" 2 {sn4 sn4 sn4 sn4 sn8 sn8 sn8 sn8 sn4 sn4 }
\bar "|." }
Thanks anyway,
Tim.
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Re: 4 bar repeat
>So two sets of double percent repeats? Not quite...that would be "repeat the last two bars twice", not "repeat the last four bars" ;-) Never mind...it's not something that comes up very often anyway, I was just trying to be complete in explaining what it was in my drum tutor book. It should be fairly obvious really! Thanks for trying, Tim. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Segmentation fault on file with bookparts
> > Message: 1 > Date: Mon, 15 Dec 2008 07:01:36 -0800 > From: "Patrick McCarty" > Subject: Re: Segmentation fault on file with bookparts > To: "Jonathan Kulp" > Cc: lilypond-user > Message-ID: > > Content-Type: text/plain; charset=UTF-8 > > On Mon, Dec 15, 2008 at 5:25 AM, Jonathan Kulp wrote: > > > > Yes, I had trouble, too, when I tried downloading it from my site. I think > > my admin doesn't allow serving of .tar files. Try this one: > > > > http://dl4.louisiana.edu/lorca.tar > > > > Run lilypond on the "lorca.ly" file and see what happens. > > I am able to compile this file successfully. Processing seemed > normal, and there were only three types of warnings: > > warning: type check for `stencil' failed; value `#t' must be of type`unknown' > warning: ignoring too many clashing note columns > warning: too many colliding rests > > Patrick Also ran successfully here on Win XP SP2, Lilypond 2.11.65, with many warnings. (different from above warnings!) Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why is Dutch the default language for note-entry?
> Date: Wed, 17 Dec 2008 10:54:21 +0100 > From: "Francisco Vila" > Subject: Re: why is Dutch the default language for note-entry? > Do English-speaking people read music saying "g sharp f sharp" all the time? Yes. An extra syllable is not a problem for us, I guess. -Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: New LilyPondTool version available for testing
"Bertalan Fodor (LilyPondTool)" wrote: >Hi, > >for more advanced LilyPondTool users I released a new version. > >Installation instructions: > >- Install Project Viewer plugin from Plugin Manager (it's a new dependency) >- Replace LilyPondTool.jar with the following file: >http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/LilyPondTool.jar >and download >http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/julie-0.1.jar Can you give a clue what this is and what it does? I find no description, only the jars (which implies that it's a Java system). -- Tim Slattery slatter...@bls.gov http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:New LilyPondTool version available for testing
> Message: 3
> Date: Wed, 17 Dec 2008 15:41:05 +0100
> From: "Bertalan Fodor (LilyPondTool)"
> Subject: Re: New LilyPondTool version available for testing
> To: Tim Slattery
> Cc: lilypond-user@gnu.org
> Message-ID: <49490f81.8080...@organum.hu>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Look at http://lilypondtool.organum.hu/demo.html
>
> Tim Slattery wrote:
> > "Bertalan Fodor (LilyPondTool)" wrote:
> >
> >
> >> Hi,
> >>
> >> for more advanced LilyPondTool users I released a new version.
> >>
> >> Installation instructions:
> >>
> >> - Install Project Viewer plugin from Plugin Manager (it's a new
dependency)
> >> - Replace LilyPondTool.jar with the following file:
> >> http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/LilyPondTool.jar
> >> and download
> >> http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/julie-0.1.jar
> >>
> >
> > Can you give a clue what this is and what it does? I find no
> > description, only the jars (which implies that it's a Java system).
> >
> >
>
Bert,
I *really* appreciate LilyPondTool. I have been using it for some time and
it makes using Lilypond so much easier and enjoyable. I also really
appreciate the new capabilities and icons. Thankyou!
Some suggestions and questions:
1. How can I make the LilypondTool help work? It seems to be missing a
help file. ("Resource not found: LilyPondTool.jar!doc/users-guide.html)- I
THINK YOU'RE WORKING ON THIS?
2. What does julie.jar do? (just curious)
3. Could you update your webpage (and the jEdit plugin repository) with
links to the latest files? It would be much easier to upgrade that way. It
was hard to get the needed files. I GUESS YOU'RE WAITING TO MAKE SURE IT
IS STABLE.
4. Is there a way I can easily make LilyPondTool point to the 2.11.65
documentation (which I have on my hard drive) when I click on Show
LilyPond help in the LilypondTool menu?
5. The new properties.xml that you instructed us to replace our old
properties.xml file with seems to be a totally different sort of file. I'm
not sure what to do with it. Could you instruct me in more detail? Is it
really needed?
(maybe I should have stayed away when I saw you wrote "For more advanced
LilyPondTool users" - Sorry ;-)
Thanks a lot!
(I meant to send this message a few days ago, but I had some e-mail
problem I guess...)
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Re: question about transposing an interval of a 4th
> Umm... yeah. The fact that he thinks this answers the question > gives me *less* confidence that he knows what he's talking about. > If he wanted it a perfect fourth lower, then \transpose does the > job. And normally when somebody says "a fourth lower", they mean > a perfect interval. If he wants it a variable fourth lower, then > it's not doable without scheme. > > - Graham Yes, a variable fourth, if you want to call it that - you finally got it. This is like the not-so-helpful answer "You can't get there from here." It just took about 20 messages to get to that conclusion. Merry Christmas!___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Extension line in figured bass notation
In figured bass notation currently we can use \bassFigureExtendersOn to represent repeated chords. However, In many baroque music scores I encountered, often there are lines drawn without a figure preceding it. I believe this means the root chord <5 3> is held, because this chord is omitted as default. However, currently it seems there is no way to draw a line without a figure preceding it. Also, according to the explanation I found for such extention line, it means a chord is held. Holding a chord and repeating it seems to be different concepts. Also in many places, when extension lines are drawn, I see a single line, not seperate lines drawn after each stacked figures. Maybe there should be a way to simply express a "extension line" rather than writing repeated figures, or is there a way to draw such line right now? Tim Yang ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extension line in figured bass notation
2008/12/25 Carl D. Sorensen : > > > On 12/24/08 8:19 AM, "Tim Yang" wrote: > >> In figured bass notation currently we can use \bassFigureExtendersOn >> to represent repeated chords. However, In many baroque music scores I >> encountered, often there are lines >> drawn without a figure preceding it. I believe this means the root >> chord <5 3> is held, >> because this chord is omitted as default. However, currently it seems >> there is no way >> to draw a line without a figure preceding it. > > This can be done by entering a figure that is made transparent. > Thanks. I think this can do the trick. > > >> Also, according to the >> explanation I found for such extention line, it means a chord is held. >> Holding a chord and repeating it seems to be different concepts. > > According to what I read from Kelley, > <http://www.robertkelleyphd.com/FiguredBass.pdf>, and as described in > Wikipedia as well, > <http://en.wikipedia.org/wiki/Basso_continuo#Basso_continuo> > the extension line means that notes in the figured bass are held from the > previous bass, even though the bass moves. Repeating a figure with two > different bass notes gives two different chords; using an extension line > gives the same chord. "Holding" in the sense of rhythm doesn't apply, as I > understand figured bass. > > But I'm *NOT* an expert on figured bass, so don't take my word for it. > I believe you are correct and I can understand what "held" is meant now. It seems the \bassFigureExtendersOn notation is not really a good idea, and maybe a new symbol to represent the extension line is better. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: save generated files to a separate directory
chip wrote: >When I installed lily on xp it put the shortcut on the desktop, how >would I run it from the 'other' directory? right now all the files, 8 of >them each time I drop the .ly file onto the lily icon, are written to >the desktop. Do I move the shortcut icon into the new directory and drag >the .ly file onto it there? Right-click the shortcut and choose "Properties". On the "Shortcut" tab, type the desired directory in the "Start in" slot. -- Tim Slattery slatter...@bls.gov http://members.cox.net/slatteryt ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: nvlle version -pov 3.7 beta 30
>2009/1/6 Martial : >> funny but true >> http://cathemline.org/povcheri/random/index.html >A very nice piece of news for the (soon) resurrected LilyPond Report :-) I don't read French (Je parle francais non?), but from what I infer from that webpage - that is very funny. Making 3d-looking shapes based on musical content. Who would've thought? Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fragment with broken/torn/shredded staff lines
>I made a small change to the randomization code (attached). >- Mark Mark, That is a very cool function. I don't have an immediate use for it, but I saved it for later, and I think it's a great illustration of the power of Lilypond. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: splitting chords entered as <>^"with stuff" \etc
On Fri, 16 Jan 2009, David Raleigh Arnold wrote: Thanks Dave, Seems the script doesn't like the text in the file - using ^"some words" causes problems. Also, some of the articulations are a problem for it. When I finally got a resulting file the octaves were totally messed up, I had notes with ledger lines halfway up or down the page. Too much time editing the resulting file, I may as well just edit the original by hand. thanks anyway, Chip The octaves are not changed as long as there's no \relative. Surely the octaves can change? (I'm a very new lilypond user but a fairly confident sed user so I might be completely misunderstanding something) goes to c d e f c' d' e' f' Even something like doesn't work because it needs to be c c c c e f g, a (Given that the OP wants to separate these out into parts it's probably the case that the music doesn't do this but ...) It might be sufficient to drop all the ' and , and then let the OP put them back by hand if that doesn't cause too many places where the octave goes wrong. "s/,'//g" first on the file Tim. -- God said, "div D = rho, div B = 0, curl E = - @B/@t, curl H = J + @D/@t," and there was light. http://www.woodall.me.uk/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trying to start once again...
On Sun, 18 Jan 2009, Michael Falkenburg wrote:
...after a VERY Long hiatus.
There a couple of problems I'm experiencing:
1) Trying to use Ubuntu (it's Ibex), I just can't seem to install LilyPond
(ver. 2.10.33-1) correctly. There's no icon for it on the Desktop. JEdit
(4.3pre16) works fine...but there no "obvious" connection between the
two...hence WHY I think I haven't installed LP the way it should. And then
again, I'm pretty sure that LilyPondTool is set up OK with jEdit.
2) In the past (pre-Ubuntu or ANY Linux use on my part), and now, I've also
installed these 3 programs on my XP box. At least there I've got the icon on
the Desktop. But dragging the sample to it produces an error message about
how the .pdf file doesn't exist.
I sort of remember that in the past that a path needed to be set a certain
way...but like I said, 'sort of remember'.
If you can respond (soon) it sure would help me a lot...it's snowing (again)
and I have no need/plans to go anywhere. Just the perfect time to start
working with Lilypond once again.
I can't help you with Ubuntu specifics but just to get started, once
you've created your .ly file just open a terminal, cd to the directory
where you're .ly files are and then type lilypond whatever.ly
On my Debian system that would be:
->Debian->Applications->Shells->bash
And then in the window that appears:
t...@feynman:~$ cd cvs/lilypond
t...@feynman:~/cvs/lilypond$ lilypond beethoven-liszt.ly
GNU LilyPond 2.10.33
Processing `beethoven-liszt.ly'
Parsing...
Interpreting music... [8][16][24][32][40][48][56][64][72][80][88][96]
[104][112][120][128][136][144][152][160][168][176][184][192][200][208]
[216][224][232][240][248][256][264][272][278]
Preprocessing graphical objects...
beethoven-liszt.ly:1089:39: warning: ignoring too many clashing note
columns
\times 2/3 {a gis fis} \times 2/3 {
e b' e}
Layout output to `beethoven-liszt.ps'...
Converting to `beethoven-liszt.pdf'...
t...@feynman:~/cvs/lilypond$
And they you can view that pdf however you normally view it.
Tim.
--
God said, "div D = rho, div B = 0, curl E = - @B/@t, curl H = J + @D/@t,"
and there was light.
http://www.woodall.me.uk/
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Re: splitting chords entered as <>^"with stuff" \etc
On Sun, 18 Jan 2009, Tim Woodall wrote:
Surely the octaves can change? (I'm a very new lilypond user but a
fairly confident sed user so I might be completely misunderstanding
something)
Well it was an interesting exercise. I believe that the following bash
script does what is required. It works correctly on the following input:
staff \relative c {
4
4
4
8 8~ 4 \times 2/3 { 8 }
4 8 8~ 4 \times 2/3 { 8 }
}
(The script might fail if there are any notes not in chords. I think all
that will be required is that the octave might need correcting in one or
more parts at the note which will be cloned in all three parts. I'm also
not sure what might happen if there are chords missing notes. It might
not work at all. The first is hard to fix, the second shouldn't be too
difficult.)
#!/bin/bash
cat test.ly | sed 's/<[^>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g'
>part1.ly
cat test.ly | sed
's/<[^>a-g]*[a-g][a-g]*[^>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g'
>part2.ly
cat test.ly | sed
's/<[^>a-g]*[a-g][a-g]*[^>a-g]*[a-g][a-g]*[^>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g'
>part3.ly
c=0
while read -r line; do
line1[$c]="$line"
echo "${line1[$c]}" "$line"
c=$(($c+1))
done <part1.ly
c=0; while [[ $c -lt ${#line2[*]} ]]; do echo ${line2[$c]}; c=$(($c+1)); done
>part2.ly
c=0; while [[ $c -lt ${#line3[*]} ]]; do echo ${line3[$c]}; c=$(($c+1)); done
>part3.ly
exit 0
--
God said, "div D = rho, div B = 0, curl E = - @B/@t, curl H = J + @D/@t,"
and there was light.
http://www.woodall.me.uk/
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Re: splitting chords entered as <>^"with stuff" \etc
And, of course, I found some bugs as soon as I'd posted.
Quick breakdown of how it works incase anyone really wants to hack on
it.
First it splits the three parts out into three files. Basically all it
does is remove the other two notes from inside <>. It does depend on the
chord all being on one line to do this. It also makes sure each chord on a
separate line in the output files. Note that line n in one file
corresponds to line n in the other files as well.
Next it reads in what it has written into three arrays.
For each chord it then calculates the number of notes from the first
note in the previous chord to the first note in this chord (d1) and from
the first note in this chord to the other two notes in this chord (d2
and d3)
It subtracts the distance from the first note of the previous chord to
the other notes in that chord (od1 and od2). Then it calculates how many
octave changes are needed for each step. v1, v2 and v3.
It replaces any existing ', in the chord with the values in v1,
v2 and v3 (note that replacing v1 should be a no-op)
And finally it writes the arrays back into the files it read them from.
Tim.
#!/bin/bash
cat test.ly | sed
's/<[^<>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g' >part1.ly
cat test.ly | sed
's/<[^<>a-g]*[a-g][a-g]*[^>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g'
>part2.ly
cat test.ly | sed
's/<[^<>a-g]*[a-g][a-g]*[^>a-g]*[a-g][a-g]*[^>a-g]*\([a-g][a-g]*[^a-g>]*\)[^>]*>\([^<]*\)/\n<\1>\n\2/g'
>part3.ly
c=0
while read -r line; do
line1[$c]="$line"
c=$(($c+1))
done <}" == "" && "${line1[$c]%<*}" =
"" ]]; then
nc1=$( note_cannonical "${line1[$c]}" )
nc2=$( note_cannonical "${line2[$c]}" )
nc3=$( note_cannonical "${line3[$c]}" )
echo $nc1 $nc2 $nc3
d1=$( calc_delta $n1 $nc1 )
d2=$(($d1 + $( calc_delta $nc1 $nc2 ) ))
d3=$(($d2 + $( calc_delta $nc2 $nc3 ) ))
echo $d1 $d2 $d3
v1=$( calcoctave $d1 )
v2=$( calcoctave $(($d2-$od2)) )
v3=$( calcoctave $(($d3-$od3)) )
echo $v1 $v2 $v3
out1="$(note $nc1)$v1"
out2="$(note $nc2)$v2"
out3="$(note $nc3)$v3"
od2=$( calc_delta $nc1 $nc2 )
od3=$(($od2 + $( calc_delta $nc2 $nc3 ) ))
echo $od2 $od3
line1[$c]=$( replace_note "${line1[$c]}" $out1 )
line2[$c]=$( replace_note "${line2[$c]}" $out2 )
line3[$c]=$( replace_note "${line3[$c]}" $out3 )
n1=${nc1%%:*}
fi
c=$(($c+1))
done
c=0; while [[ $c -lt ${#line1[*]} ]]; do echo ${line1[$c]}; c=$(($c+1)); done
>part1.ly
c=0; while [[ $c -lt ${#line2[*]} ]]; do echo ${line2[$c]}; c=$(($c+1)); done
>part2.ly
c=0; while [[ $c -lt ${#line3[*]} ]]; do echo ${line3[$c]}; c=$(($c+1)); done
>part3.ly
exit 0
--
God said, "div D = rho, div B = 0, curl E = - @B/@t, curl H = J + @D/@t,"
and there was light.
http://www.woodall.me.uk/
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Re: splitting chords entered as <>^"with stuff" \etc
On Mon, 19 Jan 2009, Carl D. Sorensen wrote: I find \relative to work quite nicely for chords, once I understood that the first note in a chord gets its octave from the first note of the previous chord. I use \relative mode virtually exclusively for note entry, regardless of whether it's in single notes or using the chord construct < >. I do use absolute when I'm in chordmode. I learned quite a lot writing the script. I had assumed that it was the interval that was important in deciding whether a note was higher or lower than the previous note but I now know that it's based on the note names and ignores accidentals. So ceses->fisis will go up while cisis->geses will go down. It's obvious once you've worked it out but I'd been getting away with fifth (7 semitones)=down, fourth(5 semitones)=up which works in almost all cases in classical music. A six semitone interval is fairly unusual and I had guessed that there would be a setting to decide which way it want \augfourdown, \augfourup or something like that. (That explains some of the apparently odd ways I've done some things in the script. Initially I was converting notes to numbers 0..11 but that's no use when you need to distinguish between Gb and F# to calculate whether a ' or , is required.) Tim. -- God said, "div D = rho, div B = 0, curl E = - @B/@t, curl H = J + @D/@t," and there was light. http://www.woodall.me.uk/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 74, Issue 101
> > On Fri, 16 Jan 2009 11:59:47 -0700 > Andrew Hawryluk wrote: > > > Evince has a problem with the barlines (it's a bug). On Ubuntu, I work > > in Evince while I'm writing, but I print the final PDF from Adobe > > Acrobat. > > xpdf also does a good job and is lighter than Acroread. It's in the repos. > > -- > Nicholas WASTELL > France > > Ha. Microsoft Office and Open Office are "lighter" than Adobe Reader 9! (At least on WinXP) It boggles the mind. I installed Adobe Reader the other day, and when I saw how big it was, I promptly uninstalled it and found a free and more functional replacement. Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar 23 missing 1/16th
Tao, The previous bar (22) has 9/16ths in it. That is why the last sixteenth of bar 23 shifts to bar 24. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tim Reeves is out of the office.
I will be out of the office starting 06/15/2007 and will not return until 07/02/2007. I will have e-mail access and will respond when I am able. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tim Reeves is out of the office.
I will be out of the office starting 07/20/2007 and will not return until 07/24/2007. I will have e-mail access and will respond when I am able. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Four Single Semiquavers In A Row
Hi, I've just migrated to 2.10 under Ubuntu. With 2.6, this used to produce a line of four single quavers, with tails - not joined together. e16[] e[] e[] e[] How do I achieve the same effect in 2.10? Thanks, Tim. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Four Single Semiquavers In A Row
Works a treat, thank you very much. Tim. On Thursday 02 Aug 2007, Dominic Neumann wrote: > Hi Tim, > > try the switch \autoBeamOff: > > \autoBeamOff > e16 e e e > > > Dominic > > 2007/8/2, Tim Sawyer <[EMAIL PROTECTED]>: > > Hi, > > > > I've just migrated to 2.10 under Ubuntu. With 2.6, this used to produce > > a line of four single quavers, with tails - not joined together. > > > > e16[] e[] e[] e[] > > > > How do I achieve the same effect in 2.10? > > > > Thanks, > > > > Tim. > > > > > > ___ > > 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
Another upgrade/beaming question
Folks,
In4/4 time, \times 4/6 { sn16 sn sn sn sn sn } creates a six, with six notes,
semiquaver lines joining them together. Perfect.
However, \times 4/6 { sn8 sn16 sn sn sn } in lilypond 2.6, produced a quaver
joined to a group of four semiquavers, whilst in 2.10 I get a quaver, a
semiquaver, and then a group of three semiquavers. The odd semiquaver's
lower beam line is pointing left rather than right.
Can someone point me towards a fix for this please? Can I tell the time
signature how I want it to beam things like this?
Thanks,
Tim.
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Removing bar numbers with lilypond-book
I have a section of a tex file, used with lilypond book, that looks something
like this:
\begin[staffsize=20]{lilypond}
\score
{
\version "2.10.0"
{
\time 4/4
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
\override Staff.TimeSignature #'style = #'()
\clef bass
\stemUp
e4 e4 e4 e4 e8 e e8 e e8 e e8 e e16 e e e e16 e e e e16 e e e e16 e e e e1
}
}
\end{lilypond}
I can't work out where to put \remove "Bar_number_engraver" to get bar numbers
turned off. Everywhere I put it seems to create an error when running
lilypond-book.
Can someone point me in the right direction please?
ta,
Tim.
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Re: Removing bar numbers with lilypond-book
Thanks for that, but I'm still having trouble. Putting that \layout block in
either place results in this error:
volume1.lytex:2145:2: error: syntax error, unexpected STRING, expecting '='
\context {
volume1.lytex:2146:2: error: syntax error, unexpected STRING, expecting '='
\Score
My code is now like this:
\begin[staffsize=20]{lilypond}
\score
{
\version "2.10.0"
{
\time 4/4
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
\override Staff.TimeSignature #'style = #'()
\clef bass
<<
{ \stemUp e4 e4 e4 e4 e8 e8 e8 e8 e8 e8 e8 e8 e16 e e e e16 e e e e16 e e
e e16 e e e e1 \bar "|." }
\addlyrics { blah }
>>
}
\layout {
\context {
\score
\remove "Bar_number_engraver"
}
}
}
\end{lilypond}
ta,
Tim.
> Quoting Tim Sawyer <[EMAIL PROTECTED]>:
> > I have a section of a tex file, used with lilypond book, that looks
> > something like this:
> >
> > \begin[staffsize=20]{lilypond}
> > \score
> > {
> > \version "2.10.0"
> > {
> >\time 4/4
> >\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
> >\override Staff.TimeSignature #'style = #'()
> >\clef bass
> >\stemUp
> >e4 e4 e4 e4 e8 e e8 e e8 e e8 e e16 e e e e16 e e e e16 e e e e16 e e
> > e e1 }
> > }
> > \end{lilypond}
> >
> > I can't work out where to put \remove "Bar_number_engraver" to get
> > bar numbers
> > turned off. Everywhere I put it seems to create an error when running
> > lilypond-book.
> >
> > Can someone point me in the right direction please?
> >
> > ta,
> >
> > Tim.
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > http://lists.gnu.org/mailman/listinfo/lilypond-user
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Re: Removing bar numbers with lilypond-book
Thanks folks.
I tried it with a Capital S first - that's when the error message is from,
hence that has \Score in, must have copied a later trial in the source,
sorry!
volume1.lytex:2158:2: error: syntax error, unexpected STRING, expecting '='
\context {
volume1.lytex:2159:2: error: syntax error, unexpected STRING, expecting '='
\Score
error: failed files: "lily-2637de181e"
> \override Score.BarNumber #'transparent = ##t
That's a LOT simpler, and works a treat! Thanks :-)
Tim.
On Sunday 12 Aug 2007, Kieren MacMillan wrote:
> Hi Tim,
>
> >\context {
> > \score
> > \remove "Bar_number_engraver"
> >}
>
> Shouldn't that be a capital S (i.e., \Score)?
>
> Regardless, you can also use
>
> \override Score.BarNumber #'transparent = ##t
>
> and avoid all the engraver trouble.
>
> Hope this helps,
> Kieren.
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Re: Removing bar numbers with lilypond-book
I'm happy with making it invisible, the extra space isn't an issue for me.
Just to be clear with the \remove solution - it is *not* working for me, even
with the capital S corrected. I'm using lilypond 2.10.5, on Ubuntu. Anyone
got any clues as to why?
This code (copied and pasted from my source):
\begin[staffsize=20]{lilypond}
\score
{
\version "2.10.0"
{
\time 4/4
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
\override Staff.TimeSignature #'style = #'()
\clef bass
<<
{ \stemUp e4 e4 e4 e4 e8[ e8] e8[ e8] e8[ e8] e8[ e8] e16 e e e e16 e e e
e16 e e e e16 e e e e1 \bar "|." }
\addlyrics { blah }
>>
}
\layout {
\context {
\Score
\remove "Bar_number_engraver"
}
}
}
\end{lilypond}
Results in this error:
Parsing...
volume1.lytex:2158:3: error: syntax error, unexpected STRING, expecting '='
\context {
volume1.lytex:2159:3: error: syntax error, unexpected STRING, expecting '='
\Score
error: failed files: "lily-c91153c955"
As I said, I'm not bothered about getting this to work, but it would be useful
to understand why I'm getting a problem with it when I shouldn't.
Tim.
On Monday 13 Aug 2007, Mats Bengtsson wrote:
> Your example below works like a charm, if you just fix the
> capital "S" that others already have pointed out.
> I always write the \version statement outside the \score{...} block, but
> it seems that it works to place it where you have it as well.
>
> The alternative solution
> \override Score.BarNumber #'transparent = ##t
> has a disadvantage, namely that LilyPond still will allocate space for the
> bar number, even though it's not printed, so the spacing between the score
> lines may get unnecessarily wide (though the inter-score line spacing
> isn't handled
> the same way when you use lilypond-book as when you use pure lilypond).
>
>/Mats
>
> Tim Sawyer wrote:
> > Thanks for that, but I'm still having trouble. Putting that \layout
> > block in either place results in this error:
> >
> > volume1.lytex:2145:2: error: syntax error, unexpected STRING, expecting
> > '='
> >
> > \context {
> > volume1.lytex:2146:2: error: syntax error, unexpected STRING, expecting
> > '='
> >
> > \Score
> >
> > My code is now like this:
> >
> > \begin[staffsize=20]{lilypond}
> > \score
> > {
> > \version "2.10.0"
> > {
> > \time 4/4
> > \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
> > \override Staff.TimeSignature #'style = #'()
> > \clef bass
> > <<
> > { \stemUp e4 e4 e4 e4 e8 e8 e8 e8 e8 e8 e8 e8 e16 e e e e16 e e e e16
> > e e e e16 e e e e1 \bar "|." }
> > \addlyrics { blah }
> >
> > }
> > \layout {
> >\context {
> > \score
> > \remove "Bar_number_engraver"
> >}
> > }
> > }
> > \end{lilypond}
> >
> > ta,
> >
> > Tim.
> >
> >> Quoting Tim Sawyer <[EMAIL PROTECTED]>:
> >>> I have a section of a tex file, used with lilypond book, that looks
> >>> something like this:
> >>>
> >>> \begin[staffsize=20]{lilypond}
> >>> \score
> >>> {
> >>> \version "2.10.0"
> >>> {
> >>>\time 4/4
> >>>\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 7)
> >>>\override Staff.TimeSignature #'style = #'()
> >>>\clef bass
> >>>\stemUp
> >>>e4 e4 e4 e4 e8 e e8 e e8 e e8 e e16 e e e e16 e e e e16 e e e e16 e
> >>> e e e1 }
> >>> }
> >>> \end{lilypond}
> >>>
> >>> I can't work out where to put \remove "Bar_number_engraver" to get
> >>> bar numbers
> >>> turned off. Everywhere I put it seems to create an error when running
> >>> lilypond-book.
> >>>
> >>> Can someone point me in the right direction please?
> >>>
> >>> ta,
> >>>
> >>> Tim.
> >>>
> >>>
> >>> ___
> >>> lilypond-user mailing list
> >>> lilypond-user@gnu.org
> >>> http://lists.gnu.org/mailman/listinfo/lilypond-user
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
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test to list
I've tried sending my question 2 times already and I didn't ever get it back. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
sunday school songs
I have a bunch on sunday school songs like this that I need to put into lilypond so we can make clean nice prints. I have been playing with it for a week now and going thru the manual and tutorial, downloading samples and layout tools like Jedit and the pspad plug ins and canorus. I haven't been able yet to make it look like I want. I need to have all the stanza's between the music I need to combine the flags on all notes that where the head don't colide so far I've been able to either have lyrics or combine notes - but not both. then where notes collide I need to have a flag go each direction. I've circled examples in the attachment. Also lilypond is adding naturals in the printout and I haven't yet found a way to make it not do that. I'm not very music literate and we can't afford a commercial music program for our sunday school. But I found lilypond and it looked like it should do everything we need to have good looking music sheets. So far it has been quite a learning curve but I need help to get past these obstacles. since I can't attach a file here is a link to an example http://www.litwiller.net/images/fishers.gif ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school songs
I have my .ly file at home. I'll have to wait till I get there this
evening to send you an example.
Ralph Little wrote:
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It uses chords instead of \partcombine which would make note entry a
lot easier.
If someone knows how to tweak the operation of \partcombine so that
some notes could separate with different "flags" (where you have
indicated) that would make it a lot easier to do I think.
Hope this helps... P.S. I did this using 2.11.32 which is the version
I'm using at the moment.
BTW, do you have an example of the natural sign problem that you were
having?
Cheers,
Ralph
\version "2.11.32"
\include "english.ly"
\header {
title="Fishers Of Men"
poet="Harry D. Clark"
composer="H.D.C"
}
\layout {
indent = #0
}
PartsTop = {
\key f \major
\clef treble
\relative c' {
4
8 4 <> 2
8 4 8 2
8 4 8 << c2 \\ c2 >>
}
}
PartsBottom = {
\key f \major
\clef bass
\relative c' {
4
8 4 8 2
8 4 8 2
8 4 8 2
}
}
\score {
<<
\new Staff = top
{ \new Voice = "1"
\override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsTop
}
\new Lyrics \lyricsto "1" { \set stanza = "1. " I will make you
fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto "1" { \set stanza = "2. " Hear Christ call--
ing Come un-- to me Come un-- to me Come un-- to me }
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\aikenHeads
\PartsBottom
}
>>
}
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Re: sunday school songs
I updated the link to contain the whole scan.
this song only has 4 or 5 but I need something flexible enough for 60 -
100 songs.
\partcombine {f4 f f g a8 a4 } {c4 c c c f8 f4} <>
\partcombine {a2} {f2}...
I'm not sure that that is much better, though - it depends on how many
of the split flag instances there are.
Regards,
Ralph
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Re: sunday school songs
Ralph Little wrote: Hi Tim, OK, it is a bit of a frig if you fancy giving it a try, but I think I can make it happen and it depends on what version of Lilypond you are using. Find the file part-combiner.scm - it should be in the scm directory of your Lilpond installation. Search for the string ";; voice crossings:" - should be about line 300. This should be before it: (< chord-threshold (ly:pitch-steps (ly:pitch-diff (car pitches1) (car pitches2 Add the following *after* the above snippet: (= 1 (ly:pitch-steps (ly:pitch-diff (car pitches1) (car pitches2 (= 0 (ly:pitch-steps (ly:pitch-diff (car pitches1) (car pitches2 You should be able to just use \partcombine. The code above decides that if the pitch difference is 1 or 0 then separate the notes. I will try to get something more official added to the distribution that is configurable to make this happen optionally. Let me know how you get on. Regards, Ralph Thanks Ralph, I'll get the latest version first. and then see if I can do this. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
partcombine
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Vocal-ensembles#Vocal-ensembles on this page section D.4.2 SATB vocal score and automatic piano reduction if you look at the piano reduction part it gets it right. or at least in this sample. so if I could just make it do the same thing with aikenheads and the words in the same staff I'd be pretty close. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sunday School songs
I'm playing with it. The notes are slightly different from my copy
I changed to the head style we use - I haven't got the part combine
working yet.
and the tenor and bass repeating words I haven't figured out yet.
Father Gordon Gilbert wrote:
Hi Tim,
Attached is a copy of a hymn I have done, both PDF and .ly file.
Compile that with your version of Lilypond to make sure it works
(convert-ly if necessary). Then remove my notes and insert your own.
Recompile. Then remove my words and insert your own. Recompile.
Then remove my chords and insert your own. Recompile. Then remove my
titles, etc, and insert your own ... you get the idea.
You should be able to make it work by doing that successively with
each song you do.
Let me know how you get along.
Gordon+
--
Father Gordon Gilbert
Penetanguishene, ON
\header {
filename = "PowerInTheBlood.ly"
enteredby = "Gordon Gilbert"
composer = "Lewis E. Jones, 1865-1936"
poet = "Lewis E. Jones, 1865-1936"
date =""
title = "There is Power In The Blood"
subtitle = "They overcame him by the blood of the Lamb. -Rev. 12:11"
metre = "There is Power In The Blood 10.9.10.8. with Refrain"
meter = \metre
copyright = "Public Domain"
style = "Hymn"
mutopiacomposer = \composer
mutopiapoet=\poet
maintainer = "Gordon Gilbert"
maintainerEmail = "[EMAIL PROTECTED]"
lastupdated = "2005/Dec/14"
}
\version "2.11.32"
\paper {
#(set-paper-size "letter")
line-width = 170\mm
line-width = #(- line-width (* mm 3.00))
between-system-space = 48\mm
force-assignment = #""
%between-system-padding = #1
% ragged-bottom=##f
% ragged-last-bottom=##f
}
global= {
\time 4/4
\key bes \major
#(set-global-staff-size 17)
%\set Staff.minimumVerticalExtent = #'(-4 . 4)
%\partial 4
% \skip 1 * 20 \bar "||"
}
sop = \context Voice = "sop"{
\voiceOne
\aikenHeads
\autoBeamOff
f'4 f'8 f' f'4 f'8 f' g'4 g'8 g' f'4. bes'8 a'4 c''8. b'16 c''2 bes'4 d''8. cis''16 d''2 \bar "||"
f'4 f'8 f' f'4 f'8 f' g'4 g'8 g' f'4. \bar "||"
bes'8 \bar "|" a'4 a'8. a'16 c''4 bes'8 a' bes'2. \bar "||"
f'8 ^ \markup { \large \italic "Refrain"} bes' \bar "|" d''2 d'' c''8 bes' bes' g' f'4
a'8. bes'16 c''2.( c''8.) bes'16 d''2. d''8( f') b'2
d'' c''8 bes' bes' g' f'4 \bar "||"
a'8. bes'16 c''4. ees''8 d''4 c''8. c''16 bes'2. r4 \bar "||"
}
alto=\context Voice = "alto" {
\voiceTwo
\aikenHeads
\autoBeamOff
d'4 d'8 d'8 d'4 d'8 d' ees'4 ees'8 ees' d'4.
f'8 f'4 f'8. f'16 f'4( ees')
d' f'8. e'16 f'2
d'4 d'8 d'8 d'4 d'8 d' ees'4 ees'8 ees' d'4.
f'8 f'4 f'8. f'16 ees'4 d'8 c' d'2.
d'8 d' f'2 f' g'8 g' g' ees' d'4
c'8. d'16 ees'2.( d'8.) ees'16 f'2.
f'8( d') f'2 f' g'8 g' g' ees' d'4
c'8. d'16 ees'4. f'8 f'4 ees'8. ees'16 d'2. s4
}
tenor = \context Voice = "tenor" {
\voiceOne
\aikenHeads
\autoBeamOff
bes4 bes8 bes bes4 bes8 bes bes4 bes8 bes
bes4. d'8 c'4 a8. gis16 a2 f4 bes8. bes16 bes2
bes4 bes8 bes bes4 bes8 bes bes4 bes8 bes8 bes4.
d'8 c'4 c'8. c'16 a4 f8 f f2.
bes8 bes bes4 bes8 bes bes2 bes8 bes bes bes bes4
r r a8. a16 a4 r r
bes8. bes16 bes4 bes8 bes bes4 bes8 bes bes2
bes8 bes bes bes bes4 c'8. bes16 a4. c'8 bes4 a8. a16 2. r4
}
bass = \context Voice = "bass" {
\voiceTwo
\aikenHeads
\autoBeamOff
bes,4 bes,8 bes, bes,4 bes,8 bes, ees4 ees8 ees bes,4.
bes,8 f4 f8. f16 f2 bes,4 bes,8. bes,16 bes,2
bes,4 bes,8 bes, bes,4 bes,8 bes, ees4 ees8 ees bes,4.
bes,8 f4 f8. f16 f4 f8 f bes,2.
bes,8 bes, bes,4 d8f bes2 ees8 ees ees ees bes,4
r4 r f8. f16 f4 r r bes,8. bes,16 bes,4 bes,8 bes, bes,4 d8 f bes2
ees8 ees ees ees bes,4 f8. f16 f4. f8 f4 f8. f16 bes,2. s4
}
accomp=\chordmode {
}
stanzaa = \lyricmode {
Would you be free from the bur -- den of sin?
There's power in the Blood,
Power in the Blood;
Would you o'er e -- vil a vic -- to -
Re: sunday school music
Ok, that fixes something I hadn't noticed yet :)
Maybe that will help with a question I was saving for after I got the
flags problem fixed.
I have some songs that alto, tenor or bass have some repeating in the
chorus.
like the song that Gordon Gilbert sent.
in the chorus the soprono and alto sing line a abd tenor and bass sing
line b
hope fully this example comes thru - without word wrap ruining it.
if not, I can scan it so you can see what I mean when I get home.
a. there is powerpower wonder working power in the
blood of the Lamb
b. there is power there is power wonder working power
in the blood of the Lamb
a. there is power power wonder working power in the precious
blood of the Lamb
b. there is power there is power wonder working power in the precious
blood of the Lamb
Ralph Little wrote:
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented "one" and "two" voices only
contain the notes that are separated (not chords) so you only get
lyrics beneath the separate notes.
Looking at a dump of the stream event output, there are voices "one",
"two", "shared", and "solo". I think the notes are directed at
different voices depending on whether they are separate or not, so I
suspect linking the lyrics to a voice is a non-starter for the case of
\partcombine. My suspicion is that \partcombine was never intended to
be used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to go.
See "7.3.5.4 Lyrics independent of notes"
OK, enough of that moaning, using the above method, here is what I get
which seems to work with the previous "fix" for part-combine.scm.
The method involves using the top-most voice and creating a "pseudo"
DevNull voice context which the lyrics can track. It exists but there
is no output.
You get a big pile of warnings which I think is a bug because you get
the warnings with the example in the doc also.
---
\version "2.11.32"
\include "english.ly"
\header {
title="Fishers Of Men"
poet="Harry D. Clark"
composer="H.D.C"
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
<<
\new Staff = top
{ << \override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull="nowhere" \PartsOne
\new Lyrics \lyricsto "nowhere" { \set stanza = "1. " I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto "nowhere" { \set stanza = "2. " Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
>> }
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\PartsBottom
}
>>
}
Regards and have fun!
Ralph
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Re: sunday school music
here is a link to a scan of the original
http://www.litwiller.net/images/powerintheblood.jpg
Ralph Little wrote:
Hi,
It would be easier to look at an example I guess.
If you can scan it when you get home and send me a link, I'll have a
look!
Cheers,
Ralph
Tim Litwiller wrote:
Ok, that fixes something I hadn't noticed yet :)
Maybe that will help with a question I was saving for after I got the
flags problem fixed.
I have some songs that alto, tenor or bass have some repeating in the
chorus.
like the song that Gordon Gilbert sent. in the chorus the soprono and
alto sing line a abd tenor and bass sing line b
hope fully this example comes thru - without word wrap ruining it.
if not, I can scan it so you can see what I mean when I get home.
a. there is powerpower wonder working power in the
blood of the Lamb
b. there is power there is power wonder working
power in the blood of the Lamb
a. there is power power wonder working power in the
precious blood of the Lamb
b. there is power there is power wonder working power in the
precious blood of the Lamb
Ralph Little wrote:
Hi Tim,
OK I see the problems you are having with \partcombine and lyrics now.
AFAICS, \partcombine seems to mess with the parts to the extent that
there is no single Voice available that the lyrics can follow. The
example I tried shows that the documented "one" and "two" voices
only contain the notes that are separated (not chords) so you only
get lyrics beneath the separate notes.
Looking at a dump of the stream event output, there are voices
"one", "two", "shared", and "solo". I think the notes are directed
at different voices depending on whether they are separate or not,
so I suspect linking the lyrics to a voice is a non-starter for the
case of \partcombine. My suspicion is that \partcombine was never
intended to be used with lyrics, but I could be wrong.
There is an example in the Lilypond docs which show how to generate
lyrics independently of other voices and that might be the way to
go. See "7.3.5.4 Lyrics independent of notes"
OK, enough of that moaning, using the above method, here is what I
get which seems to work with the previous "fix" for part-combine.scm.
The method involves using the top-most voice and creating a "pseudo"
DevNull voice context which the lyrics can track. It exists but
there is no output.
You get a big pile of warnings which I think is a bug because you
get the warnings with the example in the doc also.
---
\version "2.11.32"
\include "english.ly"
\header {
title="Fishers Of Men"
poet="Harry D. Clark"
composer="H.D.C"
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine \PartsOne \PartsTwo
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine \PartsThree \PartsFour
}
\score {
<<
\new Staff = top
{ << \override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull="nowhere" \PartsOne
\new Lyrics \lyricsto "nowhere" { \set stanza = "1. " I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto "nowhere" { \set stanza = "2. " Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me }
>> }
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\PartsBottom
}
>>
}
Regards and have fun!
Ralph
___
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bars not getting placed correctly
I've been working on this piece, it is set in 4/4 time and rather than
start as I think it should with a whole measure it places a 1/4 note and
then the first bar. That throws the bars off for the whole song.
here is a scan of the music I am working from
http://www.litwiller.net/images/powerintheblood.jpg
\header {
filename = "PowerInTheBlood.ly"
enteredby = "Gordon Gilbert"
composer = "Lewis E. Jones, 1865-1936"
poet = "Lewis E. Jones, 1865-1936"
date =""
title = "There is Power In The Blood"
subsubtitle = "They overcame him by the blood of the Lamb. -Rev. 12:11"
metre = " "
meter = \metre
copyright = "Public Domain"
style = "Hymn"
mutopiacomposer = \composer
mutopiapoet=\poet
maintainer = "Gordon Gilbert"
maintainerEmail = "[EMAIL PROTECTED]"
lastupdated = "2005/Dec/14"
}
\version "2.11.32"
\paper {
#(set-paper-size "letter")
line-width = 180\mm
%line-width = #(- line-width (* mm 3.00))
between-system-space = 1\mm
force-assignment = #""
between-system-padding = #1
% ragged-bottom=##f
% ragged-last-bottom=##f
}
global= {
\time 4/4
\key bes \major
#(set-global-staff-size 17)
\set Staff.minimumVerticalExtent = #'(-4 . 4)
\partial 4
\skip 1 * 20 \bar "||"
}
sop = \context Voice = "sop"{
\relative c' {
\voiceOne
\aikenHeads
\autoBeamOff
%\set fontSize = #2.5
f4 f8 f f4 f8 f |
g4 g8 g f4. bes8 |
a4 c8. b16 c2 |
bes4 d8. cis16 d2 |
f,4 f8 f f4 f8 f |
g4 g8 g f4. bes8 |
a4 a8. a16 c4 bes8 a |
bes2. f8 ^ \markup { \large \italic "Refrain"} bes |
d2 d |
c8 bes bes g f4 a8. bes16 |
c2( c4) bes8. c16 |
d2( d4) f,8 bes8 |
d2 d2 |
c8 bes bes g f4 a8. bes16 |
c4. es8 d4 c8. c16 |
bes2. bes4\rest
}
}
alto=\context Voice = "alto" {
\relative c' {
\voiceTwo
\aikenHeads
\autoBeamOff
%\set fontSize = #2.5
d4 d8 d d4 d8 d |
ees4 ees8 ees d4. f8 |
f4 f8. f16 f4( ees) |
d f8. ees16 f2 |
d4 d8 d8 d4 d8 d |
ees4 ees8 ees d4. f8 |
f4 f8. f16 ees4 d8 c |
d2. d8 d |
f2 f |
g8 g g ees d4 c8. d16 |
ees2( d4) d8. e16 |
f2( f4) d8 d8 |
f2 f |
g8 g g ees d4 c8. d16 |
ees4. g8 f4 ees8. ees16 |
d2. bes'4\rest
}
}
tenor = \context Voice = "tenor" {
\relative c' {
\voiceOne
\aikenHeads
\autoBeamOff
%\set fontSize = #2.0
bes4 bes8 bes bes4 bes8 bes |
bes4 bes8 bes bes4. d8 |
c4 a8. gis16 a2 |
f4 bes8. bes16 bes2 |
bes4 bes8 bes bes4 bes8 bes |
bes4 bes8 bes8 bes4. d8 |
c4 c8. c16 a4 f8 f |
f2. bes8 bes |
bes4 bes8 bes bes2 |
bes8 bes bes bes bes4 c,4\rest |
c4\rest a'8. a16 a4 c,4\rest |
c4\rest bes'8. bes16 bes4 bes8 bes |
bes4 bes8 bes bes2 |
ees8 ees ees bes bes4 c8. bes16 |
a4. c8 bes4 a8. a16|
2. d,4\rest
}
}
bass = \context Voice = "bass" {
\relative c {
\voiceTwo
\aikenHeads
\autoBeamOff
%\set fontSize = #1.5
bes4 bes8 bes bes4 bes8 bes |
ees4 ees8 ees bes4. bes8 |
f'4 f8. f16 f2 |
bes,4 bes8. bes16 bes2 |
bes4 bes8 bes bes4 bes8 bes |
ees4 ees8 ees bes4. bes8 |
f'4 f8. f16 f4 f8 f |
bes,2. bes8 bes |
bes4 d8 f bes2 |
ees,8 ees ees ees bes4 c4\rest |
c4\rest f8. f16 f4 c4\rest |
c4\rest bes8. bes16 bes4 bes8 bes |
bes4 d8 f bes2 |
ees,8 ees ees ees bes4 f'8. f16 |
f4. f8 f4 f8. f16 |
bes,2. d4\rest
}
}
%accomp=\chordmode {}
stanzaa = \lyricmode {
Would you be free from the bur -- den of sin?
There's power in the Blood,
Power in the Blood;
Would you o'er e -- vil a vic -- to -- ry win?
There's won -- der -- ful power in the Blood.
There is power, power, won -- der work -- ing power
In the Blood of the Lamb;
There is power, power, won -- der work -- ing power
In the Pre -- cious Blood of the Lamb.
}
stanzab = \lyricmode {
Would you be free from your pas -- sion and pride?
_ _ _ _ _ _ _ _ _
Come for a clean -- sing to Cal -- va -- ry's tide?
_ _ _ _ _ _ _ _
}
stanzac = \lyricmode {
Would you be whit -- er, much whit -- er than snow?
_ _ _ _ _ _ _ _ _
Sin -- stains are lost in its life -- giv -- ing flow;
_ _ _ _ _ _ _ _
}
stanzad = \lyricmode {
Would you do serv -- ice for Je -- sus your King?
_ _ _ _ _ _ _ _ _
Would you live dai -- ly His prais -- es to sing?
_ _ _ _ _ _ _ _
}
stanzae = \lyricmode {
}
stanzaf = \lyricmode {
_ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ there is power
_ _ _ _ _ In the blood
of the Lamb;
_ _ _ there is power
}
\score { %\transpose bes g
\context ChoirStaff <<
%\context ChordNames \accomp
\unset ChoirStaff.melismaBusyProperties
\context Staff ="upper" {
\override Staff.TimeSignature #'style = #'()
\override Staff.Rest #'style = #'classical
\clef "G"
<< \global \sop \alto
\new Devnull="bass" \bass
>>}
\lyricsto "sop" \context Lyrics = "stanza-1" {
\set stanza = "1."
\stanzaa }
\lyricsto "sop" \context Lyrics = "stanza-2" {
\set stanza = "2."
\stanzab }
\lyricsto "sop" \context Lyrics = "stanza-3" {
\set stanza = "3."
\stanzac }
\lyricsto "sop" \context Lyric
Re: bars not getting placed correctly
Valentin Villenave wrote: 2007/9/8, Tim Litwiller <[EMAIL PROTECTED]>: I've been working on this piece, it is set in 4/4 time and rather than start as I think it should with a whole measure it places a 1/4 note and then the first bar. That throws the bars off for the whole song. Just remove the \partial 4 command in your "global" variable. Greetings, Valentin thanks, I didn't touch it because I didn't know what it meant. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school music
Thanks, with your help I'm getting there!
I had figured out having a second DevNull voice to space the repeating
last night.
I'm not sure I understand the second snippet tho.
also I'm sure that there is some kind of \markup that I can use to
vertically center the soprano lyrics section where all voices sing the
same works together, but I can't seem to find it in the manual.
the "lsr" has an example with a large bracket at the end of the separate
parts and then a common part.I'll have to see if I can figure that one
out. I didn't look very self explanatory to me.
Ralph Little wrote:
Hi Tim,
There are two snippets following.
The first is a bit of your "power" example with the lyrics spacing issue.
You can use the same techniques as before but introduce another
DevNull voice with one of the bottom parts which moves with the extra
line and it will follow that instead.
- If you use the _ character in lyrics it is like a silent word (or
skip in Lilypond terminology). Since we are using \lyricsto, you don't
need a duration e.g. _8 as they are ignored when following another voice.
- if a lyric line has no words in it, the space it would have taken
closes up.
The second snippet is a modification of the power example. I've
doubled up the notes to get enough for two lines of output music.
Hope it is clear enough!
Cheers,
Ralph
\version "2.11.32"
\include "english.ly"
\header {
title="Fishers Of Men"
poet="Harry D. Clark"
composer="H.D.C"
}
\layout {
indent = #0
}
PartsOne = {
\relative c' {
\aikenHeads
f4 f f g
a8 a4 gs8 a2
g8 g4 fs8 g2
f8 f4 d8 c2
}
}
PartsTwo = {
\relative c' {
\aikenHeads
c4 c c c
f8 f4 f8 f2
e8 e4 ds8 e2
c8 c4 bf8 c2
}
}
PartsTop = {
\key f \major
\clef treble
\partcombine {\PartsOne \PartsOne} { \PartsTwo \PartsTwo }
}
PartsThree = {
\relative c' {
\aikenHeads
a4 a a bf
c8 c4 b8 c2
c8 c4 c8 c2
a8 a4 bf8 a2
}
}
PartsFour = {
\relative c {
\aikenHeads
f4 f f f
f8 f4 f8 f2
c8 c4 c8 c2
f8 f4 f8 f2
}
}
PartsBottom = {
\key f \major
\clef bass
\partcombine {\PartsThree \PartsThree} { \PartsFour \PartsFour }
}
\score {
<<
\new Staff = top
{ << \override Staff.TimeSignature #'style = #'()
\PartsTop
\new Devnull="topfollow" { \PartsOne \PartsOne}
\new Lyrics \lyricsto "topfollow" { \set stanza = "1. " I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto "topfollow" { \set stanza = "1. " I will
make you fish-- ers of men fish-- ers of men fish-- ers of men }
\new Lyrics \lyricsto "topfollow" { \set stanza = "1. " I will
make you fish-- ers of men fish-- ers of men fish-- ers of men
_ _ _ _ _ _ _ _ _ _ _
fish-- ers of men }
\new Lyrics \lyricsto "topfollow" { \set stanza = "2. " Hear
Christ call-- ing Come un-- to me Come un-- to me Come un-- to me
_ _ _ _ _ _ _ _ Come un--
to me }
>> }
\new Staff = bottom
{ \override Staff.TimeSignature #'style = #'()
\PartsBottom
}
>>
}
--
\version "2.11.32"
\include "english.ly"
\header {
title="There Is Power in the Blood"
subtitle = "They overcame him by the blood of the Lamb.-Rev. 12:11"
poet="Lewis E. Jones, 1865-1936"
composer="Lewis E. Jones, 1865-1936"
}
\layout {
indent = #0
}
PartsOnea = {
\relative c'' {
\aikenHeads
\partial 8 bf8
a4 a8. a16 c4 bf8. a16
bf2. \bar "||" f8^"REFRAIN" bf
d2 d
}
}
PartsTwoa = {
\relative c' {
\aikenHeads
\partial 8 f8
f4 f8. f16 ef4 d8. c16
d2. \bar "||" d8 d
f2 f
}
}
PartsTopa = {
\key f \major
\clef treble
\partcombine \PartsOnea \PartsTwoa
}
PartsThreea = {
\relative c' {
\aikenHeads
\partial 8 d8
c4 c8. c16 a4 f8 f
f2. \bar "||" bf8 f8
bf4 bf8 bf bf2
}
}
PartsFoura = {
\relative c {
\aikenHeads
\partial 8 bf8
f'4 f8. f16 f4 f8 f
bf,2. \bar "||" bf8 bf
bf4 d8 f bf2
}
}
PartsBottoma = {
\key f \major
\clef bass
\partcombine \PartsThreea \PartsFoura
}
\score {
<<
\new Staff = top
{ << \override Staff.TimeSignature #'style = #'()
