Hi all
I was typesetting some stuff and I put in a whole bar rest:
%%
R2.^\fermataMarkup |
%%
Instead of hanging from the second line as the full-bar rest should, it
hangs from the top line of the staff. So, what's going on?
Thanks
George
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t; perhaps you used the
> <<{...} \\ {...} >> construct? Or maybe you inserted a \voiceOne
> somewhere?
>
> /Mats
>
> George_ wrote:
>> Hi all
>>
>> I was typesetting some stuff and I put in a whole bar rest:
>>
>> %%
>>
>>
Hi,
I was wondering if it were possible to create a normal metronome marking for
a piece of music, but instead of having only a concrete tempo, if it were
possible to create a mark that signified a range, for example, crotchet =
84-112. Whenever I try this with the normal % \tempo = % thing the d
Hi, I just stumbled upon this since I have a similar problem. A temporary
solution could be to add another voice for below and one for above, but that
is obviously quite messy in the long run. Has this been fixed in any of the
2.11 releases?
Mats Bengtsson-4 wrote:
>
> That's not supported in L
Hi guys,
I'm typesetting some music, and instead of looking through the output pdf to
check if it's all correct, I'd rather use MIDI and listen, see if there's
anything that sounds out of place (as you do).
I've added the \midi { } block. Tick.
I've put a \layout { } block above it, to get me p
\version "2.11.49"
\score {
one =
^\markup
\combine
\musicglyph #"accordion.accDiscant"
\combine
\raise #1.5 \musicglyph #"accordion.accDot"
\raise #2.5 \musicglyph #"accordion.accDot"
two =
^\markup
\combine
\musicglyph #"accordion.accDiscant"
This bar is what I'm aiming for:
http://www.nabble.com/file/p18167038/Bar.jpg
I was thinking of doing this by writing the arpeggio and the first five
notes of the semiquaver run on the treble staff, and then doing the quaver
at the bottom, as well as the rest of the semiquavers, on the bass sta
Basically, my problem is this - I want to typeset this chord:
4.
And this is what I get:
http://www.nabble.com/file/p18251902/1.jpg
Because the notes of the chord are so close together and there are so many
of them, the dots all queue up. Surely there must be a way to eliminate all
the extra
I recently (i.e. about twenty minutes ago) downloaded the 2.11.50-1 version
of Lilypond, uninstalled 2.11.49, and installed the 2.11.50 version.
However, after I had done this, none of my .ly files worked in regards to
compilation; the traditional MS Windows Error Report window comes up saying
Lil
Hi guys,
http://www.nabble.com/file/p18330018/1.jpg
Is there a way to get the tie to connect with the notes, when the staff has
changed clef in the tie?
Thanks
George
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hi guys
I was wondering if there were a way to make articulation 'stick' to a
notehead, no matter where it is? I use 2.11.49 on XP, and I have a two-part
melody, the lower voice is to be played staccato, like so:
http://www.nabble.com/file/p18501666/1.jpg
Except in the lily output, the staccat
Hi,
I was wondering whether it was feasible to split the code of the discant
symbols section for Accordion into two or maybe four little chunks, as this
would make it easier to read and reference; alternatively, numbering the
bars both on the output and the code would do that as well, or naming e
Hi,
This problem isn't major, as in it doesn't stop me from doing anything
important in Lilypond, but its really annoying nonetheless.
I created a lilypond file on my Desktop, called, say, Test.ly. I go to the
terminal and type in
lilypond --pdf /home/george/Desktop/Test.ly
Then all the normal
Thanks for the help guys. The script works perfectly, really nice idea.
George
Patrick Horgan wrote:
>
> Jonathan Kulp wrote:
>> Ah. It never occurred to me to try to allow for anything but the
>> standard "lilypond filename.ly" command. That's a good idea. I don't
>> use anything but the
Me too, I think it is too long. A musical equivalent of "Hello World" (maybe
Mary had a little lamb or something similar?) would be good.
An alternative is to have what is already in the online docs and the LSR,
where clicking the image of the output gives you the code. Maybe that isn't
actually
Hi guys
I moved to Ubuntu 8.04 a few months ago, and I've been typesetting my music
there since then, with Lilypond 2.11.55. One problem I've noticed is that
since I restarted using Lily, after a gap of a few weeks, the method used to
typeset dotted notes have changed. Now, instead of putting the
Hi guys (again...)
I tried to fix the augmentation-dots-on-lines problem by upgrading lilypond,
a la http://www.archivum.info/lilypond-user@gnu.org/2008-08/msg00725.html. I
uninstalled Lilypond ok, but when I go to execute the .sh script and type in
"sudo sh lilypond-2.11.59-1.linux-x86.sh", the
For some reason, about 15 bars into typesetting a piece, whenever I use and
\< to typeset crescendi, Lilypond outputs this with the word 'cresc.' This
doesn't happen with \>, the decrescendo prints normally, and it only started
occurring, as I said, about 15 bars in - so the first few crescendi I
I didn't change anything in between the times when the crescendi came out as
hairpins and when they came out as text. In any event, the crescendi don't
revert to hairpins when I put in \crescHairpin. So, now I'm just confused...
George
Valentin Villenave wrote:
>
> 2008/
I did some tests and they came out perfectly fine, so it has to be something
wrong with my ly file, right? Except I can't find anything in there that I
did differently between the crescendo that came out right and the ones that
started coming out wrong. The file includes one crescendo done correct
Valentin Villenave wrote:
>
>
> cresc = {
>#(ly:export (make-event-chord (list cr)))
>\set crescendoText = \markup { \italic "cresc." }
>\set crescendoSpanner = #'text
> }
>
> I don't know why George used \cresc in the first place though.
>
>
Well, shouldn't the file be changed
Mats Bengtsson-4 wrote:
>
>
> This is exactly what happens if you use the command in version
> 2.10 or earlier, so the current behaviour in 2.11 is a regression
> bug.
>
> I have modified the definitions in the GIT source code repository so
> that \cresc and \dim only give one-time text dynam
When I try to generate my .ly file, I get the following error message in the
log:
# -*-compilation-*-
Changing working directory to `C:/Documents and Settings/George/Desktop'
Processing `C:/Documents and Settings/George/Desktop/Derbenko Scherzo.ly'
Parsing...
E:/Temp/Lilypond/usr/bin/../share/li
I just don't get how to make a file into a MIDI file.
For example, I have my input:
\relative c' {
\new PianoStaff \with {
\override VerticalAlignment #'forced-distance = #12
\override DynamicLineSpanner #'staff-padding = #2.8 }
<<
\time 6/8
\new Staff {
\key d \major
\tempo 4.= 84
I know that you can move dynamics up and down, but is there a way to move it
left or right?
http://www.nabble.com/file/p16048629/1.jpg
The note is obviously obscuring part of the 'f', and instead of moving it
above the note, I wish it moved to the left. Is there a way to do this? Or
is it impo
It's possible to make a .ly file into a MIDI file, but is it possible to have
a midi file and convert it back to a .ly file, or even better, a .pdf file?
Thanks
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I play the accordion, and sometimes receive hand-written music, which for
purposes of legibility and to provide additional copies to scribble all over
when I am learning, I would like typeset onto a computer and stored
electronically. This is all well and good, except I can't find out how to do
tw
Valentin Villenave wrote:
>
>
> Hi George,
>
> Several solutions have been provided on this list over the past few
> years, but LilyPond's syntax has changed since then and it might be a
> problem.
>
> However, the LilyPond Snippet Repository (LSR) provides some useful
> tricks for accordion
Ledocq-Boccart wrote:
>
> with the following snippet you should got the missing circle around the
> dots:
>
> %start snippet
>
> accFB =
> _\markup
> \combine
>\musicglyph #"accordion.accDiscant"
>\combine
>\raise #0.5 \musicglyph #"accordion.accDot"
>
Hi,
I was typesetting some music with Lilypond when I got to a bar that looked
like this:
http://www.nabble.com/file/p16821318/1.jpg
Two things:
1) Is it possible to make the phrasing slur arch lower?
2) At the end of the bar, is it possible to make the slur and the phrasing
slur converge to t
I can't get autochange to work with polyphonic notation. I've tried all sorts
of stuff, and everything gives results in four broad categories: 1) the
voices engrave on top of each other like they should, but autochange doesn't
work, 2) the voices are engraved after, not on top of, each other, 3) I
Could you post a reminder, please, when the voting begins? I know it's on the
Sourceforge website, but i'll probably have forgotten by then
Thanks
George
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I have a part of my score that looks a bit like this:
<< { \grace { \times 2/3 { d32[ ees f] } } ees8-3( d-2) d4-1 r8 bes'16-4 aes
g f-1 ees-3 d-2 }
\new Staff \with {
\remove "Time_signature_engraver"
\remove "Bar_engraver"
alignAboveContext = #"main"
fontSize = #-3
\override StaffSymbol #'staff
Gilles THIBAULT wrote:
>
>
> The line : alignAboveContext = #"main" in the \with section, means that
> you
> have to call your main staff "main", if you want that the command has an
> effect.
> That seems to work :
>
> %%
> \new Staff = "main" \relative {
> <<
> { \grace \times 2/3
I'm using the pianoforte template with centered dynamics, and I'm concerned
that the staves are too big. Specifically, when there are dynamics in the
staff, the space between the two staves (whatever it's called) is really
big, and it looks kind of awkward. I think this is made worse by some notes
Neil Puttock wrote:
>
>
> If you're using version 2.13.4 or later, the Dynamics context is
> built-in and has slightly different code which corrects this bad
> spacing, so you should remove the explicit context definition from
> your file.
>
>
So...erm...how would I go about doing that?
--
Neil Puttock wrote:
>
>
> Simply remove the \context block (inside \layout { }) which defines
> the Dynamics context; it should look similar to this:
>
> \context {
> \type "Engraver_group"
> \name Dynamics
> \alias Voice
> \consists "Output_property_engraver"
>
I'm using autochange to try change staves for an organ fugue I'm
transcribing, except when I try to manually change the staff using \change
Staff = "up" I get this:
warning: cannot change `Staff' to `up': none of these in my family
Update: if I put \change Staff = "up" after the rest, the b goes onto the
right staff. However, the rest still stays on the bottom staff, and I get
this in the log:
D:/Music Work/Sheet Music/BWV 533/BWV533.ly:24:52: warning: cannot find
context to switch to
Hey, guys, could I please get some help for this? I really need to get this
music transcribed for a competition in April, help would be greatly
appreciated. Thanks!
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>Why are you using *both* \autochange (i.e. _automatic_ staff changing)
>and \change Staff = "up" (i.e. _manual_ staff changing) ?
>
>To my opinion either you let LilyPond change automatically at a certain
>note, either you decide yourself when to change, and you say LilyPond
>when (using the \cha
>Actually I'm not a pianist, nor some kind of "LilyPond-genius", so my
>answer was only based on my knowledge of LilyPond (little with
>keyboard-related stuffs) and also based on your minimal code, which had
>only one (zero) staff change...
>
>Pardon my bloody stupid answer.
I'm sorry.
>Indeed,
Is there any particular format I need to conform to for bug reports, or do I
just write 'freestyle'?
Patrick McCarty-3 wrote:
>
> On 2010-02-27, George_ wrote:
>>
>> So where can I report this?
>
> If you run LilyPond without arguments, you'll see
Okay, I've put the snippet in the quote. Basically the first change shows the
\change not working; the second one shows the \change working. Regardless,
both produce errors in the log.
> \version "2.13.7"
>
> \new PianoStaff {
> <<
> \new Staff = "up" {
>
le,
> csu = \change Staff = "up",
> and then using that variable when you want to have a staff change, \csu.
> On 27.02.2010, at 23:08, George_ wrote:
>
>>
>> Okay, I've put the snippet in the quote. Basically the first change
>> shows the
>> \chan
James Bailey-4 wrote:
>
> I'm still not convinced that the autochanger was ever meant to be
> mixed with the manual changer. It seems that, if anything, the bug is
> that it's possible to have manual staff changes whilst using the
> autochanger.
>
I disagree. Once again citing my hypo
Mats Bengtsson-4 wrote:
>
>
> Well, if you manage to describe how that should work. If you imagine
> yourself in the role of the autochanger, how would you react if somebody
> else did some extra staff changes every now and then. When should you
> start doing your ordinary job after such a
I'm transcribing Bach's Fugue No. 20 in A minor from the Well-Tempered
Clavier Bk. 1, and I've run into a bit of a problem:
% Created on Tue Nov 30 08:26:15 NZDT 2010
\version "2.13.40"
\header {
title = "Fugue XX"
subtitle = "A Minor, BWV 865"
composer = "J. S. Bach"
}
st
I'm not sure whether this is the right place to post this.
I've got an issue with the pdf previewer that comes with LilypondTool. When
I open jEdit and start typing, it looks fine. However, as soon as I use
jEdit to compile the text, the viewer starts doing weird things:
http://img696.imageshack
uments bolded)
@echo off
start "jEdit startup" "C:\Windows\SysWOW64\javaw.exe" -Xmx1024M
-Dsun.java2d.noddraw=true -jar "C:\Program Files\jEdit\jedit.jar" -reuseview
%*
Valentin Villenave wrote:
>
> On Fri, Dec 10, 2010 at 8:49 PM, George_ wrote:
>>
>
I seem to be having a problem with \change Staff screwing up my barchecks.
For example:
e16 d c d e8 f
\change Staff = "LH"
gis, e r a |
for me produces a barcheck of 9/8.
bes8. a16 g f e d
\change Staff = "LH"
cis4 f8 \rest cis |
gives a barcheck of 17/16, and
\change Staff = "LH"
r8 a16 gis
Phil Holmes-2 wrote:
>
> - Original Message -
> From: "George_"
> To:
> Sent: Monday, December 13, 2010 10:26 PM
> Subject: \change Staff and barchecks in LilyPondTool
>
> Could you post a tiny, complete example that shows t
Cheers. I didn't know where to put this, but I thought here was best, seeing
as I seem to see many people here seem to work on LilypondTool as well.
Thanks
George
Valentin Villenave wrote:
>
> On Mon, Dec 13, 2010 at 11:26 PM, George_ wrote:
>> I seem to be having a pro
I know through the docs that using \markup { \dynamic f } will print a forte
symbol. How do I get the markup to print a mordent symbol, or a trill
symbol?
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f unexpected MARKUP_FUNCTION and unexpected STRING errors
elsewhere in the music.
harm6 wrote:
>
>
> George_ wrote:
>>
>> I know through the docs that using \markup { \dynamic f } will print a
>> forte symbol. How do I get the markup to print a mordent symbol, or a
>&
I'm confused by what the notation reference has to say about footnotes:
http://lilypond.org/doc/v2.15/Documentation/notation/other
Regarding the example for \auto-footnote and \footnote (they are identical -
why?), where do the 'b' and 'd' go? The text says that \auto-footnote means
"The footnot
I'd appreciate some feedback on how to implement a new ornament:
http://old.nabble.com/file/p32910828/Untitled.png
It's a Bach ornament known as a slide, and is normally played by playing the
2 consecutive notes below and leading up to the ornamented note. So for the
given example, you would pl
That schleifer snippet looks promising, though editing it to fit what I need
is far out of my depth; I managed to move it in front of the note, but
tweaking the slur to even get close to what I want is not working at the
moment.
Thanks
George
David Nalesnik-2 wrote:
>
> Hi George,
>
>>
>>
>>>
For a piece I'm writing out, this is what I have at the moment:
% Created on Sun Aug 28 18:32:17 NZST 2011
\version "2.15.20-1"
\header {
%{ headers }%
}
#(set-default-paper-size "a4" 'landscape)
#(set-global-staff-size 18)
\book {
\paper {
ragged-last-bottom =
he
lines on the last page are not spread vertically, AND so that the bars on
the last line are not spread horizontally.
The thing is, that setting ragged-last-bottom = ##t doesn't do anything to
the layout of the score, but setting ragged-bottom = ##t does.
-Eluze wrote:
>
>
> Geor
Oh, and I should also say that with the parts added in, there are no errors
in the log. According to the program, everything is working as it
should...except that it isn't.
George_ wrote:
>
> It shouldn't compile, I left the parts out to keep it reasonably short. As
> far as
Xavier Scheuer wrote:
>
> I think the \pageBreak at the end of the score *is* interfering (I did
> not check, maybe I would have if the code was self-compilable without
> I have to "imagine" a way to complete the missing variables).
>
> Why are you using \pageBreak at the end of the score and n
pkx166h-2 wrote:
>
> George,
>
> On 30 November 2011 22:16, George Xu wrote:
>
>> Oops, sorry. 2.14.2. I guess that explains why \auto-footnote doesn't
>> work, but it doesn't help much...
>>
>>
> In the latest 'development' version
>
> http://lilypond.org/doc/v2.15/Documentation/notation/cr
The snippet that David linked to was too complicated for me to edit
effectively, so what I've done as a temporary solution is I've combined a
couple other snippets and used the mensural custos as a fill-in glyph:
http://lsr.dsi.unimi.it/LSR/Item?id=4
http://lsr.dsi.unimi.it/LSR/Item?id=378
to ma
http://old.nabble.com/file/p32957263/Untitled.jpg
What I want is for the appoggiatura to be on the same side of the double bar
line as the D#. What I wrote looks something like what is below (at the
end). As you can see I've put the volta repeats only into the top part. Up
until now it's worked
Damn. Really should have seen that. Thanks.
Xavier Scheuer wrote:
>
> On 12 December 2011 00:30, George_ wrote:
>>
>> http://old.nabble.com/file/p32957263/Untitled.jpg
>>
>> What I want is for the appoggiatura to be on the same side of the double
>> bar
&
Thanks for the reply!
-Eluze wrote:
>
> please try to structure your code - the machine can read this code, but
> for humans this is very hard (and the result of the compilation doesn't
> change if it's written on one or more line(s) !
Sorry, I thought markups all had to be one line...
it cou
m...@mikesolomon.org wrote:
>
> On 5 août 2012, at 12:37, Joseph Rushton Wakeling
> wrote:
>
>> On 02/08/12 17:51, Graham Percival wrote:
>>> In short: if there is a concerted effort to create a "quick
>>> render" output, I would be absolutely shocked if it wasn't at
>>> least 10 times faster
Tim Roberts wrote:
>
> George_ wrote:
>> WRT (1): Someone in this thread suggested using individual threads to
>> render
>> a bar at a time. The end result would be messy, but what if one or two
>> threads were dedicated to running 'behind' the main thr
Han-Wen Nienhuys-5 wrote:
>
> On Mon, Aug 6, 2012 at 6:53 PM, Joseph Rushton Wakeling
> wrote:
>> On 06/08/12 20:26, Han-Wen Nienhuys wrote:
>>>
>>> Also, going MT will give you a max 8x speedup (assuming perfect
>>> parallelization on an 8 core machine). That is not going to bring down
>>> pro
Han-Wen Nienhuys-5 wrote:
>
> On Mon, Aug 6, 2012 at 9:56 PM, George_ wrote:
>> The reason this is important is because while IPC goes up incrementally
>> and
>> relatively slowly (IPC has done little more than double between 2005 [P4
>> 660] and now [i7 3930X])
Han-Wen Nienhuys-5 wrote:
>
> On Tue, Aug 7, 2012 at 1:50 AM, George_ wrote:
>
>>> I'm trying to explain that the constant factor (namely 8-fold) comes
>>> at a tremendous cost. Writing multithreaded code without getting stuck
>>> in race-conditions
Capital letters underneath the chords denote the tonic of the chord.
Lower-case notation above the chord indicate the type of chord: just the
note itself is the major chord (e.g. d denotes a D-major chord), note
followed by m is minor, and note followed by 7 is either dominant or
diminished 7th (I
I've noticed, especially with dynamics like \ff and \pp, that a small amount
of the dynamic collides with bar lines in a PianoStaff if it is attached to
a note at the beginning of the bar. The problem is worse with longer
dynamics like \p. This is not an issue if the note is at the beginning
of
http://lilypond.1069038.n5.nabble.com/dynamic-barline-collisions-td20928.html
I notice that this has been reported before , though I'm not sure what's
been done with it in the last 5 years.
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