Hi,
A reboot seemed to fix my issue... I have a working LilyPond now - so time to
do some reading of the manuals!
Mark
Tim Rowe wrote:
My case is like:
chorus = \relative c' {
c4 d e f |
g a b
}
verse = \relative c'' {
\partial 4 c4 |
d e d c |
}
\new Staff {
\new Voice = "mel" { \chorus } \new Voice = "vs" {\verse}
}
So actually
\bar "|"
does just what I needed all along!
Excellent, then it
2009/5/12 Carl D. Sorensen :
> To do this on double rows is not too hard. I made it easier by developing a
> parenthesizeAll function.
>
> (I haven't put in the instrument name or the instrument_name_engraver that
> was in the archives, but I think you can do that).
>
> parenthesizeAll =
> #(defi
On 5/12/09 4:44 AM, "Tim Rowe" wrote:
>
> Now on to my next exercise -- working out how to print capo chords in
> parentheses after the regular chord, so I get:
> (capo 3) C (A) G7 (E7)
> The nearest I can find is at
> http://www.mail-archive.com/lilypond-user@gnu.org/msg24850.html, but
2009/5/12 Mats Bengtsson :
>
>
> James E. Bailey wrote:
>>
>> I would just not use partial. You know that you can put in a bar line even
>> if the measure isn't complete.
>> James E. Bailey
>
> Yes, in situations like the following one:
> \relative c'{
> \partial 4 c4 | c d e f | g2. \bar "||" \br
James E. Bailey wrote:
I would just not use partial. You know that you can put in a bar line
even if the measure isn't complete.
James E. Bailey
Yes, in situations like the following one:
\relative c'{
\partial 4 c4 | c d e f | g2. \bar "||" \break
e4 | g f e d | c2. \bar "|."
}
but not
Am 11.05.2009 um 20:24 schrieb Tim Rowe:
The only thing wrong is that the verse starts with an anacrusis -- a
pickup beat, for which I've used \partial. The notes look perfect, but
the bar numbering is wrong because it's treating the incomplete bar at
the end of the chorus and the completion in
2009/5/11 Mats Bengtsson :
> Here, I would rather say
> \new Staff {
> \autoBeamOff \new Voice = "mel" { \chorus } \new Voice = "vs" {\verse} }
That is clearer, yes. I'm still a bit shaky about when I can cascade
things in sequence and when I can't. The rule so far seems to be that
when I try i
Quoting Tim Rowe :
Thanks. With that I've got something that is very nearly right.
Having given the music element pretty obvious names, I have in a
simultaneous section of the score:
\new Voice = "mel" { \autoBeamOff \chorus \new Voice = "vs" {\verse} }
Here, I would rather say
\new Staff {
2009/5/11 Jonathan Kulp :
> And maybe this is the snippet Kieren's thinking of?
>
> http://lsr.dsi.unimi.it/LSR/Item?id=333
Thanks. It looks as if "learn more scheme" is the answer ;-)
--
Tim Rowe
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lilypond-user mailing list
lilypond-user@gnu.org
Tim Rowe wrote:
2009/5/11 Kieren MacMillan :
If I recall correctly, there's a Scheme function in the LSR which allows you
to increment/decrement the bar number at any point -- search for "bar
number" or "increment".
Which is the LSR? I'd done that search in the learning manual,
notation refer
2009/5/11 Kieren MacMillan :
> If I recall correctly, there's a Scheme function in the LSR which allows you
> to increment/decrement the bar number at any point -- search for "bar
> number" or "increment".
Which is the LSR? I'd done that search in the learning manual,
notation reference, internal
Hi Tim,
I can kludge that by using:
\set Score.currentBarNumber = #9
but that involves me counting the bars, so I'd sooner do something
like
\set Score.currentBarNumber = #(- 'internalBarNumber 1)
except not that because it doesn't work. Drat. Am I going to have to
learn more scheme, or a
2009/5/11 Tim Rowe :
> but that involves me counting the bars, so I'd sooner do something like
> \set Score.currentBarNumber = #(- 'internalBarNumber 1)
> except not that because it doesn't work.
And neither does
\set Score.currentBarNumber = #(- 'Score.currentBarNumber 1)
nor
\set Score.cur
2009/5/11 Trevor Daniels :
> Tim, I think Mats meant the very last example in
> that section, which shows two ways of coding a
> solo verse followed by a 2-part harmonised refrain.
> You could use either technique to code verses
> and chorus. The second method right at the end
> is far easier.
T
2009/5/11 Graham Percival :
> (on the LR)
> "This book explains how to begin learning LilyPond, as well as
> explaining some key concepts in easy terms. You should read these
> chapters in a linear fashion.
Which I did.
> There is a paragraph See also at the end of each section, which
> contains
Am 11.05.2009 um 18:38 schrieb Graham Percival:
Something like LM 1.2 About the documentation?
(on the LR)
"This book explains how to begin learning LilyPond, as well as
explaining some key concepts in easy terms. You should read these
chapters in a linear fashion.
(on the NR)
"This book expl
2009/5/11 Graham Percival :
> The Learning Manual does ***NOT*** require any prior knowledge.
> If you find **any** lilypond material in the LM which does not
> follow from previous material, this is a bug.
> (we do not explain musical terminology, although we try to add
> links to the music glos
On Mon, May 11, 2009 at 05:32:29PM +0100, Tim Rowe wrote:
> 2009/5/11 James E. Bailey :
>
> > The lilypond documentation really isn't the kind of
> > documentation that you can go to when you want to know how to
> > do something. It's designed to teach you how to use the
> > software.
> >
> > Inci
2009/5/11 James E. Bailey :
> The lilypond documentation really isn't the kind of
> documentation that you can go to when you want to know how to do
> something. It's designed to teach you how to use the software.
>
> That's a beautiful quote. Valentin, could you include it in the
> next Report?
> Actually, the manuals are pretty good.
After a fashion, yes. What's there is clear and well written. But the
indexing and cross referencing is weak (too often it leads to where a
concept is just mentioned rather than explained) and there seem to be
gaps (although that might be because I can't fi
Am 11.05.2009 um 17:18 schrieb Graham Percival:
On Mon, May 11, 2009 at 05:11:53PM +0200, James E. Bailey wrote:
The lilypond documentation really isn't the kind of
documentation that you can go to when you want to know how to do
something. It's designed to teach you how to use the software.
On Mon, May 11, 2009 at 04:03:51PM +0100, Anthony W. Youngman wrote:
> Graham's quite cuddly when you get to know him - like a hedgehog
> you just have to be very careful how you cuddle him :-)
Aww, you're making me blush. :)
> The difficulty is that steep learning curve. Any decent lilypond pie
On Mon, May 11, 2009 at 05:11:53PM +0200, James E. Bailey wrote:
>
> The lilypond documentation really isn't the kind of
> documentation that you can go to when you want to know how to do
> something. It's designed to teach you how to use the software.
That's a beautiful quote. Valentin, could y
On Mon, May 11, 2009 at 11:59:12AM +0100, Tim Rowe wrote:
> In the case of every question I have asked, I have not only scoured
> the manuals -- not just the learning manual -- but also searched the
> snippets repository and the web in general for anything that might
> give me a clue.
Did you, or
Am 11.05.2009 um 12:59 schrieb Tim Rowe:
2009/5/11 Graham Percival :
RTF Learning Manual. It's written specifically for this purpose.
- Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
In t
In message
, Tim Rowe
writes
2009/5/11 Graham Percival :
RTF Learning Manual. It's written specifically for this purpose.
- Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
Graham's quite
2009/5/11 Graham Percival :
> RTF Learning Manual. It's written specifically for this purpose.
> - Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
In the case of every question I have asked, I h
On Mon, May 11, 2009 at 09:13:41AM +0100, Tim Rowe wrote:
> That looks like what I need, but I don't quite understand it --
> probably because I don't properly understand contexts -- the in
> documentation, all the index entries for contexts take me to sections
> that assume I already know what the
2009/5/11 Trevor Daniels :
> Tim, I think Mats meant the very last example in
> that section, which shows two ways of coding a
> solo verse followed by a 2-part harmonised refrain.
> You could use either technique to code verses
> and chorus. The second method right at the end
> is far easier.
A
2009/5/10 James E. Bailey :
> There are different ways of doing this. I prefer to have separate voice
> contexts for the verse and lyrics, i.e., music = { \context Voice = Verse
> \relative {} \context Voice = Chorus \relative {} } and then corresponding
> lyrics contexts: verse = \context Lyrics
From: "Tim Rowe" wrote Monday, May 11, 2009 12:29 AM
2009/5/10 Mats Bengtsson :
This is explained in Sect. "3.2.3 Voices and vocals" in the
Learning Manual
for LilyPond.
I can't see anything relating to it there -- it was the first
place I
looked! Perhaps you don't understand what I want, o
2009/5/10 Mats Bengtsson :
> This is explained in Sect. "3.2.3 Voices and vocals" in the Learning Manual
> for LilyPond.
I can't see anything relating to it there -- it was the first place I
looked! Perhaps you don't understand what I want, or perhaps I can't
see what't in front of my face (wouldn
James E. Bailey wrote:
Some prefer to use \skip1*32 (or appropriate).
I can't imagine that anybody prefers this option (at least not when
using \addlyrics or \lyricsto), since it doesn't work. This will not
skip 32 bars and not even 32 notes, but just a single note.
/Mats
___
This is explained in Sect. "3.2.3 Voices and vocals" in the Learning
Manual for LilyPond.
/Mats
Tim Rowe wrote:
Sorry for all the newbie questions -- I'm getting what I can from the
documentation and examples, but as you can tell a few things are
tripping me up.
This one is a song that has
Am 10.05.2009 um 22:54 schrieb Tim Rowe:
Sorry for all the newbie questions -- I'm getting what I can from the
documentation and examples, but as you can tell a few things are
tripping me up.
This one is a song that has verses and a chorus. I can't work out how
to set them all against the mus
aliteralmind wrote:
This is exactly what I'm looking for, thank you Jon.
Your example code taught me big time. Thanks for the help. I haven't tried
the following yet, but I think I also understand now, how to make this work
both with or without a second verse of lyrics. A combination of two vers
This is exactly what I'm looking for, thank you Jon.
Your example code taught me big time. Thanks for the help. I haven't tried
the following yet, but I think I also understand now, how to make this work
both with or without a second verse of lyrics. A combination of two versus,
and two VOICES, w
Jeff,
I responded to this last night, although I suppose it's possible my
response didn't answer all of your questions. Check the archives if
you're not subscribed to the list. :)
Jon
Jeff Epstein wrote:
How do you create lyrics for brief alternative notes, existing in repeated
sections (
Welcome to Lilypond, Jeff. :)
What you're trying to do I would approach with more than one set of
lyrics, coded as verseOne, verseTwo, etc., and with the voices separated
into variables that can be assembled in a separate \score block. I've
taken your code and made an example of how I would a
joel mellin wrote:
Hi Bert,
Yes, it's a dual core machine. With 4 GB of RAM. I guess it just
seems strange that it would limit itself at 50% when other processess
use as much as they need when they need it.
No, they do only if they are using parallel computing. If the process
only uses on
Hi Bert,
Yes, it's a dual core machine. With 4 GB of RAM. I guess it just seems
strange that it would limit itself at 50% when other processess use as much
as they need when they need it. If it needs more memory, and is generating
memory allocations errors as a result, doesn't it seems like it
Please keep the discussion on the list using "Reply All" to let others
fix my wrong thoughts. :-)
It has nothing to do with the CPU. I suppose you have a dual core or
hyperthreading processor.
Look for the memory consumption of lilypond.exe in task manager.
Use a value like 60.
It also may ha
I'm sure that LILYPOND_GC_YIELD is not ignored, I tried it. See
http://www.mail-archive.com/lilypond-user@gnu.org/msg38982.html
However, I don't know if 90 is really high or not.
I used to recommend a number below 70.
Bert
joel mellin wrote:
Hi Lilyponders.
newbie question - I'm entering t
2009/1/5 Werner LEMBERG :
> Actually, there is: { c-sharp ~ d-flat }.
>
> This is not (yet?) supported in lilypond.
Yep, and it should be:
http://code.google.com/p/lilypond/issues/detail?id=461
(I know you know about the tracker page, it's just a reminder for
myself when I browse the archive.)
> There's no such thing as a tie between two different notes.
Actually, there is: { c-sharp ~ d-flat }.
This is not (yet?) supported in lilypond.
Werner
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lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/
Am 05.01.2009 um 11:24 schrieb Gyula P. Szokoly:
Hi,
GNU LilyPond 2.10.33, input is at the end. The tie between the
two 'a's
works, but not between a and b. The problem seems to be related to the
orientation of the stem (i.e. tie between opposite stems) but forcing
the stem (\stemUp) does
Please check in a dictionary (and in the LilyPond documentation) about
the difference between
a tie and a slur. I'm afraid that the Music Glossary included in the
LilyPond documentation
does not yet include Hungarian, perhaps you would be interested in
helping out with that?
/Mats
Gyula P.
On Mon, Jan 05, 2009 at 11:24:44AM +0100, Gyula P. Szokoly wrote:
> Hi,
>
> GNU LilyPond 2.10.33, input is at the end. The tie between the two 'a's
> works, but not between a and b. The problem seems to be related to the
> orientation of the stem (i.e. tie between opposite stems) but forcing
> t
(going back on list)
Ben Fagin skrev:
I've revised my implementation to set up
variables using the make-pitch function instead of variables and it
works now. Thank you!
Now that I think about it, you do not have to use make-pitch. You can
extract the pitch information from a note, like this:
Op zaterdag 3 november 2007, schreef Ben:
> I thought I had this figured out, but now I'm stuck. My program generates
> midi notes and converts them to lily variables (ie noteone = {ees'} ). What
> I need to do next is add my durations onto them. It seems so simple but I
> get error after error.
Y
Ben skrev:
I thought I had this figured out, but now I'm stuck. My program generates midi
notes and converts them to lily variables (ie noteone = {ees'} ). What I need to
do next is add my durations onto them. It seems so simple but I get error after
error.
I don't understand what you are using
Did you search for "hidden note" in the index to the manual?
You may also want to use the feature described in the section on
"Scaling Durations".
/Mats
Silouan wrote:
Everything is just about perfect! Thank you again for your help. I have
(hopefully) one last question. I need to put in a nu
Everything is just about perfect! Thank you again for your help. I have
(hopefully) one last question. I need to put in a number between the verses
in the lyrics, but there won't be a note above the number. I tried to
enclose the number in a string with the last syllable of the verse, but the
Thank you thank you thank you thank you!
I had assumed (I know--bad idea) that the whichBar was associated with the
removal of the time signature. Shows what I know! It looks great!
Thanks again!
Silouan
Rick Hansen (aka RickH) wrote:
>
> Your example prints the bar lines if you simply co
I have not had the need to use whichBar yet, so I had to look it up too ;)
Silouan wrote:
>
> Thank you thank you thank you thank you!
>
> I had assumed (I know--bad idea) that the whichBar was associated with the
> removal of the time signature. Shows what I know! It looks great!
>
> Tha
Your example prints the bar lines if you simply comment out the line that
says:
whichBar = #""
at the layout staff scope level.
Setting whichBar at staff level seems to override your already correct \bar
"|" statements.
Silouan wrote:
>
> I've just started learning Lilypond and am very exc
Please always tell what LilyPond version you are using when you send
a question to the mailing list.
There has been some recent discussions about bugs and limitations
in abc2ly on the mailing list, check the mailing list archives
for lilypond-devel and bug-lilypond.
/Mats
Chuck Boody wrote:
Well
Nicolas Sceaux wrote:
In your input file, the module in which you work is
(*anonymous-ly-0*),
...
%% 3) switch back to (*anonymous-ly-0*)
#(define-module (*anonymous-ly-0*))
These were the missing points.
Thanks a lot for you kindness.
Happy new year.
Andrea
__
Andrea Rossato <[EMAIL PROTECTED]> writes:
> Nicolas Sceaux wrote:
>> You can do
>> #(define-module (lily))
>> #(export accidental->markup)
>> #(define-module (*anonymous-ly-0*))
>> at the beginning of your file, or alternatively, copy and paste the
>> `accidental->markup' definition from scm/acci
Nicolas Sceaux wrote:
You can do
#(define-module (lily))
#(export accidental->markup)
#(define-module (*anonymous-ly-0*))
at the beginning of your file, or alternatively, copy and paste the
`accidental->markup' definition from scm/accidental->markup to your
input file.
yes, both methods work perfec
Andrea Rossato <[EMAIL PROTECTED]> writes:
> I get:
>
> prova.ly:8:8: In expression (accidental->markup (ly:pitch-alteration
> pitch)):
> prova.ly:8:8: Unbound variable: accidental->markup
>
> The very same function in chord-name.scm works perfectly.
> I'm I missing something?
Ok sorry.
That's be
Nicolas Sceaux wrote:
Putting the sharp sign should really do it:
#(define-public (note-name->italian-markup pitch)
Thanks Nicolas for your kind attention.
But this does not actually work.
Ideed, when compiling this file:
%%%
\version "2.4.2"
#(define-public (note-name->itamarkup pitch)
Andrea Rossato <[EMAIL PROTECTED]> writes:
> I'm trying to find a cleaner solution: is it possible to define that
> function inside a .ly file?
>
> I tried, by adding a # before the definition, but I get an error message.
Putting the sharp sign should really do it:
#(define-public (note-name->i
Op zo 11-04-2004, om 06:17 schreef Brian Prunka:
> When trying to use Lilypond the first time, i went through your test
> page and get the following error when I try to run the test file:
>
> [Brian-Prunkas-Computer:~] brianprunka% lilypond test
> GNU LilyPond 1.6.9ERROR:
^
Thi
You should only apply the \autochange command to the voice that
you want to move between the staves, not to both the upper voices.
I've attached a version where the automatic stave change works.
Also, I declared an identifier for each of the voices to make
it easier to get an overview of the struct
AIL PROTECTED]
> Betreff: Re: Newbie question: Repeat bars
>
> > Take a look at
> > http://mail.gnu.org/archive/html/lilypond-user/2003-10/msg00234.htm
> >l to learn how to handle the accidental placement.
>
> Thank you.
>
> > I haven't checked any re
Datum: Wed, 05 Nov 2003 10:23:03 +0100
Von:Mats Bengtsson <[EMAIL PROTECTED]>
An: Thomas Scharkowski <[EMAIL PROTECTED]>
Kopie an: [EMAIL PROTECTED]
Betreff: Re: Newbie question: Repeat bars
> Take a
Take a look at
http://mail.gnu.org/archive/html/lilypond-user/2003-10/msg00234.html
to learn how to handle the accidental placement.
I haven't checked any references on music typesetting, but I'm
certain that the notation used in LilyPond for :||: repeats
corresponds to standard conventions. What
[EMAIL PROTECTED] wrote:
>
> Why not use \repeat volta 2 {...} instead of \bar ? daveA
>
Thank you for the hint, but this gave the same result.
The accidential in line 3 is on the wrong side of the repeat bar,
should be next to the clef!
Thomas
P.S: I forgot: "Lilypond 2.0.1, Cygwin, Win98SE
On Sunday 02 November 2003 11:28 am, Thomas Scharkowski wrote:
> Hi all,
>
> I have made my first try with lilypond. Here is my question (I found
> no
> solution in either manual or archive):
>
> The repeat bars in both versions of the little Bach Bourrée are
> different but both wrong:
>
> When I
Did you look at the section on "An orchestral part" in the Tutorial?
There's no right or wrong here, in addition to the tutorial, you could
also get some hints by looking at files at
http://www.mutopiaproject.org/
/Mats
Bernard Meylan wrote:
After a time of practice, I wish now to enter a bigge
On Saturday 20 September 2003 08:38 am, Bernard Meylan wrote:
> After a time of practice, I wish now to enter a bigger orchestral
> piece. I don't no exactly the right following order; firts the parts
> and after the score? Or otherwise? And what is the best way to make a
> .ly file so "clean" and
On Fri, 19 Sep 2003 20:57:16 -0300
Ricardo Kirkner <[EMAIL PROTECTED]> wrote:
> > Please provide an example and tell us what version you're using. Are you
> > setting the midiInstrument property instead of instrument?
>
> here is a part of my source file
Sorry, could you provide a complete examp
On Sat, 20 Sep 2003 14:49:11 +1200
Warren Stickney <[EMAIL PROTECTED]> wrote:
> I use two global sections, one for paper and one for midi (to give me tempo
> changes without getting warning messages about junking tempo request) as in
> a typical example below:
BTW, now that metronome markings have
\SopranoB
\Tenor
>
\midi { \tempo 2=108 }
}
Warren Stickney
Wellington,
New Zealand
Replying to your:
----------
Message: 7
Date: Fri, 19 Sep 2003 20:57:16 -0300
From: "Ricardo Kirkner" <[EMAIL PRO
> > | some notes | == 1 bracket
>
> Ah, I see. In North America, a "bracket" is normally called a "bar".
>
first of all, thank you for correcting my terminology. at least now I can
refer to this term correctly :-)
> Please provide an example and tell us what version you're using. Are you
> sett
Your Question 1:
Historically it has been considerd a bad idea to keep the bar spacing
the same between 'lines', presumably because it is wasy to lose track of
which 'line' you are reading. Most music publishers/typesetters I have
seen will actually go out their way to ensure the lengths are not
On Fri, 19 Sep 2003 09:14:45 -0300
Ricardo Kirkner <[EMAIL PROTECTED]> wrote:
> > > 1- How do you tell lilypond to typeset all brackets of equal lenghts
> > > (or at least not each bracket out of two on a different lenght).
> >
> > I don't know what you mean by this. Could you give an example?
>
Thank you for your quick answer
> On Thu, 18 Sep 2003 22:41:53 -0300
> Ricardo Kirkner <[EMAIL PROTECTED]> wrote:
> > 1- How do you tell lilypond to typeset all brackets of equal lenghts
> > (or at least not each bracket out of two on a different lenght).
>
> I don't know what you mean by this.
On Thu, 18 Sep 2003 22:41:53 -0300
Ricardo Kirkner <[EMAIL PROTECTED]> wrote:
> 1- How do you tell lilypond to typeset all brackets of equal lenghts
> (or at least not each bracket out of two on a different lenght).
I don't know what you mean by this. Could you give an example?
> 2- How do you p
On Sun, Jun 22, 2003 at 09:34:34PM +0200, Jeremy wrote:
>
> JS> I'd like to mark a note as unaccented using the symbol whose use I
> JS> associate with Schoenberg, the bottom half of a flattened circle
> JS> (there must be a name for this symbol, but I don't know what it is).
> JS> How can this be
JS> I'd like to mark a note as unaccented using the symbol whose use I
JS> associate with Schoenberg, the bottom half of a flattened circle
JS> (there must be a name for this symbol, but I don't know what it is).
JS> How can this be done?
Have you looked at the reference manual section on articul
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