Trevor Daniels wrote:
A PDF version of the IR was mooted at one point, but I've
lost track of where this stands. Anyone else know?
Probably just because it would be too long and contain lots of repeated
information (for example
the property descriptions are repeated for every grob where they
Graham Percival wrote:
In a few months, these will be second nature. There's no point
typing out "please see the Notation Reference 1.2.3" every time.
NR 1.2.3 is unambiguous, and saves time for people who spend time
answering rtfm questions.
But it may still cause lots of confusion to the
Valentin Villenave wrote:
LearnMan
NotRef
IntRef
MusGloss
SnipList
These don't provide any advantage. They are still incomprehensible for
newcomers and they are
longer to write and harder to remember for the rest of us.
/Mats
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Unfortunately, it seems that the LilyPond Snippet Repository (LSR) at
http://lsr.dsi.unimi.it/ doesn't work correctly for the moment, but as
soon as it does, you will be able to find an example file there that
does exactly what you want, if I recall correctly.
/Mats
Quoting Emil A <[EMAIL
Robin Bannister wrote:
Trevor Daniels wrote
I learned you can have digits in context names! --- as long as the
names are in quotation marks.
which I regard as slightly more confirmation of my fragile suspicion that
in (the current GDP) Learning Manual 3.1.1 - In summary there
shouldn't be
Trevor Daniels wrote:
I would use your first solution, Jonathan, and simply
insert a \stemDown:
Why not a \oneVoice, which gives the same result but lets LilyPond
automatically determine
the stem direction. Perhaps even better: don't use the \\ but explicitly
instantiate one of the voices
(
Robin Bannister wrote:
Robin Bannister wrote
A: 21 hits for "\context Staff"
B: 14 hits for "\context { \Staff"
I think I get it now. It must be that "\context" is overloaded, does
two quite different things. Upon meeting a "\context" you must
categorise it as A or B.
The uninitiated a
Graham Percival wrote:
convert-ly would translate \old-command to \new-command. Or at
least print a warning about "\old-command now means foo". And
we'll dump a warning about this in NEWS.
Also, for the people that have (mis-)used \center-align for a single
markup, they
won't even notice
4 e f g8 a4 b c8 c2 b4 a g16 f4 e d c8. c2 d8}
{ c4 c c c
d d d d
e e e e2
f4 f f
g g g g
a a a a2
b4 b b
}
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?
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Carl D. Sorensen wrote:
Thanks, Mats. That's the confirmation I was hoping to get, coming from
one who can speak definitively!
Not at all! Then you need to figure out what change in the code that
made the difference.
I just looked at the output from a single example.
/Mats
__
David Bobroff wrote:
This was all well and good until I found that I had two metronome
markings occurring at the same time. Lily doesn't like that any more
than two rehearsal mark appearing at the same time. The odd score I'm
working on has two time signatures going on at the same time.
James E. Bailey wrote:
Am 14.08.2008 um 13:58 schrieb Jonathan Kulp:
Perhaps even better: don't use the \\ but explicitly
instantiate one of the voices
(related to a recent email discussion).
When I removed the \\, I got errors about clashing columns. I'll
check into the explicit voice i
Did you try setting \override Score.SpacingSpanner
#'average-spacing-wishes = ##f
/Mats
Quoting Werner LEMBERG <[EMAIL PROTECTED]>:
I've just found a wonderful example which demonstrates what I want to
fix. Look at the fourth and fifth quarter: It's *really* ugly.
On the other hand I'm n
First observation: since the A.1 Single Staff templates are explicitly
named "Notes only", "Notes and lyrics", etc., I don't think there
should be a \midi{} block in the \score. That should be explained and
introduced in a separate section/template [with, perhaps, a small
explanatory note in
Kieren MacMillan wrote:
Am I the only one that thinks
upper = { BLAH }
\new Staff = "upper" \upper
is potentially confusing?
Definitely! Please change. I once get an instruction for the local
telephone exchange at the company where I worked, which said something
like "If you for ex
Kieren MacMillan wrote:
Hi all,
Any specific reason the (e.g.) String Quartet templates use
Violinone = \new Voice { \relative c'' { …
when we haven't explicitly instantiated Voice contexts in other
examples/templates?
I don't see any reason to keep it there.
/Mats
__
Kieren MacMillan wrote:
To take your argument to its (illogical) extreme, why don't we just
add *all Lilypond features* into one "simple" template and let the
Lilypond beginners "suddenly discover" everything that Lilypond can do
all at once? ;-)
For most LilyPond features, I certainly agree
Neil Puttock wrote:
2008/8/16 James E. Bailey <[EMAIL PROTECTED]>:
I think the names for the commands are great, but I'm still confused.
\hcenter and \column and duplicates of \center-align and \left-column
(currently \center-align and \left-align)? Umm, really?
Hmm, perhaps that wa
Trevor Daniels wrote:
As for \hcenter and \column, should I leave these as duplicates of
\center-align and \left-column (which would help minimize user
complaints), or remove them?
I just realized that \column and \left-column isn't the same thing
(or at least that it shouldn't be the same
Kieren MacMillan wrote:
Hi Jonathan,
I couldn't make it work b/c I couldn't figure out *where* to stick
the MIDI block.
I would offer that was a result of faulty MIDI documentation, not
faulty templates.
Rather, I think the main problem for most of the users asking the question,
was th
a previous example
exactly how \hcenter differs from \center-align.
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Patrick Horgan wrote:
As a compromise, how about leaving them in for now, but marking in the
documentation as duplicates of \center-align or \left-column and
/deprecated--users should migrate to the new syntax as the older will
eventually go away/.
No! A fairly large number of commands a
Neil Puttock wrote:
I notice that in the second example, "C" isn't perfectly centred on
"BB"; it's further right than you'd expect. Is this due to
letter-spacing?
Sorry, exactly which example do you refer to?
/Mats
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Neil Puttock wrote:
2008/8/19 Mats Bengtsson <[EMAIL PROTECTED]>:
Sorry, exactly which example do you refer to?
This one:
\markup{\concat \hcenter{ AAA BB C }}
I'm not sure exactly how the font metrics work, but the
following example shows more clearly where the r
Quoting Paul Scott <[EMAIL PROTECTED]>:
Lara Diamand wrote:
Hi Dominic,
Thanks, this realy helps, one thing is not yet solves though: The text
in the verses do not tek notice of the "volta", so the text in verse
two runs through under volta 1. It should skip volta1 and go straight
to volta 2.
It would be great if somebody went through the list of reserved
words in /lilypond/usr/share/emacs/site-lisp/lilypond-words.el
(for the Linux installer) and compare it to the indexes to see what's
missing. Since that file is more or less automatically generated from
the source code, it should be
Are you sure that your problem has anything to do with \setEasyHeads
and isn't caused by the fact that you use Swedish note naming conventions
but forgot to add the line
\include "svenska.ly"
at the top of the file?
The following example works excellently over here:
\version "2.10.33"
\relative c
A couple of comments on your code:
#(set-global-staff-size 20) % 20 this is said to be standard for most scores
This is also the default in LilyPond, so the line is redundant (I'm sure
you already
know that and only keep the line in case you want to change the size later).
tagline = \mar
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One of the first things I would try, would be to turn off the
point-and-click feature in LilyPond (see the manual for details).
However, if you're unlucky it's some font related issue that
causes the problems.
/Mats
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Dear
Read any general Linux instruction on how to set environment
variables. If you use bash as your shell, then it should work to
do
export LILYPOND_GC_YIELD=60
lilypond ...
/Mats
Stefan Thomas wrote:
Dear lilypondusers,
I have read the article in
http://lilypond.org/doc/v2.10/Documentation/user
Rob Canning wrote:
but at the moment we have found that lilypond pulls texlive as a
dependency
How come? This used to be true a very long time ago, but there
are requirements to have a TeX installation to be able to run
LilyPond. See http://lilypond.org/doc/v2.10/Documentation/topdocs/INSTALL
(f
Trevor Daniels wrote:
The warnings are not exactly errors. Another thread with the words
"durations needed" in which Mats explained very well some related
issues, can be of help.
I've now been able to check back to 2.10.34, and the
warnings were issued there too. Seems like they might
have b
#x27; d' e' f'}
\new Staff \new Voice {c'2 d'4 e'8 f'8}
\new Lyrics \lyricsto v \mylyrics
\new Lyrics \mylyrics
>>
/Mats
Mats Bengtsson wrote:
Trevor Daniels wrote:
The warnings are not exactly errors. Another thread with the words
"durations
Michael Käppler wrote:
... for this great piece of software. I'm using LilyPond for about one
year now, since I've finally dropped my laptop's Windoze partition.
Capella, which I former used doesn't work properly with Wine. Honestly
I have to admit that it took me sometimes hours to figure out
James E. Bailey wrote:
Speaking of which, how difficult would it be to collect a "known
issues" list? Something akin to the LSR, but for known issues for
which there are solutions. It would help tons when troubleshooting why
a particular output isn't what's expected.
Isn't the intention to
-
Mike Blackstock wrote:
Not being a singer, I assumed that vocal music never has beams -
wrong! I see that when notes are slurred, the slurred notes have
beams. Is there an easy way to indicate that if notes are within a
slur, they should be beamed, otherwise not?
No, there's no easy way, but
nyone give me a hint how to solve the problem using
Version 2.10.33?
Thanks,
Chris
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Thomas Bushnell BSG wrote:
are the consequences of not cleaning these files up significant compared
with the implications of relying on what should no longer be a dependency.
Yes. Because the files are still hanging around, failure to clean them
produces bugs. People will expect to get
This script hasn't been updated since 2006, whereas
LilyPond has kept changing improving significantly since then.
Why not read in the manual on how to use lilypond-book with
the --pdf option, which simplifies things a lot. If you still need
a script to simplify things even further, I'm sure you c
Francisco Vila wrote:
Isn't this exactly what the "recommends: " field in .deb files is
for? lilypond-book should recommend latex, docbook, texinfo, and
www-browser.
it does need latex, it does not need docbook (I wonder), it does not
need www-browser. So we have to levels of recommendn
What typesetting layout would you propose in these situations, where
the arpeggio is too short to fit in the zigzag or arrow head or ...?
Should the arpeggio be extended somewhat above and below the notes of
the chord, or ...?
As a workaround, you could add invisible note heads to the chord.
/
Quoting Ole Schmidt <[EMAIL PROTECTED]>:
I tried to follow your advice and read the lilypond-book section in
the lilypond-program file.
Even if you use LilyPond version 2.10.x, I strongly recommend you
to read the manual for the latest development version 2.11, which has
been significantly
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[EMAIL PROTECTED] wrote:
Maybe my jEdit plugin configuration is incorrect?
I have:
Path to LilyPond binary: /usr/local/lilypond/usr/bin
I guess this should rather be: /usr/local/bin/
If you check what path is used to the lilypond program on your command
line, I bet
that this is what's us
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Sweden
Phone: (+46) 8 790 8463
Quoting Daryna Baikadamova <[EMAIL PROTECTED]>:
Hi
I have received a symphony score, which parts are not typed in concert
pitch. This creates a problem when I want to create midi files for the
score. It also gives me some minor programming hassles when I want to
create parts with a different
ling list
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James E. Bailey wrote:
I've wondered that as well. Especially with piano fingerings for
chords, where I may want to specifically have 1 finger above the note
and another finger below.
See the section on Finger instructions in the Notation Reference.
/Mats
__
Anthony W. Youngman wrote:
Obviously, I can't (easily) tweak the placing of things like "Allegro"
if it's going to be inserted into lots of parts (nor do I want the
hassle). But, to give a current example, my trombone part has a top f
(in lily terms, an f' in bass clef) right where I want to
[EMAIL PROTECTED] wrote:
lilypond --pdf filename.ly
There's no need for the --pdf flag, you get a PDF by default.
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
ticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)")
Alan
P.S.: I am using lilypond version 2.10.33
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n:
\version "2.11.58"
#(ly:set-option 'backend 'tex)
{
b a g a b1
}
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a Staff and a Lyrics?
Thank you,
Alan
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You can find similar solutions in the mailing list archives, for
example in
http://lists.gnu.org/archive/html/lilypond-user/2007-05/msg00250.html
/Mats
Quoting Wilbert Berendsen <[EMAIL PROTECTED]>:
Op maandag 15 september 2008, schreef Aaron Dalton:
was later crossed out to be another. Wh
If you want a setting like \override Lyrics.BlaBlaBla #'something = #something
to apply to a specific Lyrics context, the setting has to be done within
that context. For example, you can say
\new Lyrics \lyricsto B { \override Lyrics.VerticalAxisGroup
#'minimum-Y-extent = #'(-3 . 0) \textBeins }
Quoting Werner LEMBERG <[EMAIL PROTECTED]>:
Folks,
if I need a `p espr.' mark, it's probably best (from a typographical
point of view) to write
c\markup { \dynamic "p" \italic " espr." }
No, this is not the best solution from a typographical point of view.
If you for example have a hairpi
Quoting Werner LEMBERG <[EMAIL PROTECTED]>:
> if I need a `p espr.' mark, it's probably best (from a typographical
> point of view) to write
>
> c\markup { \dynamic "p" \italic " espr." }
No, this is not the best solution from a typographical point of
view.
It *is*, since it is one (abbrevia
p" #:hspace -0.3 #:normal-text #:italic "espr." )))
theMusic = \relative
{
c'2 \dynX e4(\pEspr d) c1
}
\score
{
\theMusic
}
%%%
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t Score.Fingering #'font-encoding
/Mats
-Risto
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to work. Can
anyone help?
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Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7
Sebastian Menge wrote:
Am Mon, 22 Sep 2008 21:53:02 +0200
schrieb "Robin Bannister" <[EMAIL PROTECTED]>:
To see how, search (twice) for "Skips in lyric mode" in the vocal
snippets:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Vocal-music
Thanks, exactly what I was lookin
Quoting Sebastian Menge <[EMAIL PROTECTED]>:
Hello
Im writing a small songbook at the moment. It consists of multiple
\scores I include. Each has a header as follows:
\header {
title = ""
arranger = ""
subtitle = "title of the song"
}
The whole book has a "normal" header with title and arr
Trevor Daniels wrote:
Sebastian Menge wrote Monday, September 22, 2008 9:54 PM
I would suggest:
* a search engine field at the top of the main template (cf wikipedia)
It would be nice, and others are pressing for this, but it poses some
problems.
We have one on the main page of lilypond.
x-x86.sh"...
What do I do now? Seeing as I uninstalled my older version before trying to
install this one, until I get this fixed I don't actually have a working
version of Lilypond on my system.
Thanks
George
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SE-100 44 STOCKHOLM
Sweden
Phone: (+
For the cue notes, there's built-in support, see
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Writing-parts#Formatting-cue-notes
For the time signature changes, you would have to enter them into the
trumpet part even if you didn't have any cue notes, right? I guess the
part looks som
ed, which does not start a new Emacs
session but rather opens a new buffer in an existing Emacs session.
However, you have to make sure that the corresponding server is started
in Emacs, which you can do by adding (server-start)
in your .emacs file.
/Mats
2008/9/26 Mats Bengtsson <[EMAIL
Quoting Risto Vääräniemi <[EMAIL PROTECTED]>:
2008/9/29 Dmytro O. Redchuk <[EMAIL PROTECTED]>:
i guess: since dynamics are "parts" of Voice context,
and Lyrics is a separate context (of "the same level") --
it is impossible to place dynamics far from staff than lyrics
(to place lyrics between s
Have you, by chance, included a \book{...} block in your score.ly file?
If that's the case, then I can understand
that you get this problem. If you don't have any explicit
\book{...} block, then you can get a page break between
any score line (system), so you shouldn't get the problem
you describ
Hi,
I haven't had the time to read all the discussions related to the new
web layout of the 2.11 documentation, but wonder if I'm the only one
who miss the possibility to view the full table of contents with all
subsections expanded. I'm very used to search for some word in the
table of content
Quoting Reinhold Kainhofer <[EMAIL PROTECTED]>:
Ahm, sorry if I sound destructive, but: How hard is it to click
on "[Contents]", which is located in EVERY gray navigation bar on EVERY page?
Sorry! It's the eyes that get blind first, right?
/Mats
___
Quoting Sebastian Menge <[EMAIL PROTECTED]>:
Hi all
I have a piece with a written out piano intro directly followed by a
leadsheet with lyrics. The lower staff is only needed for the intro.
Now the chords appear below both staffs in the intro, but stay there,
when the leadsheet/with lyrics sta
ion for both problems?
Thanks,
Luca
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ppliedResources: font DejaVuSans
%%EndComments
/Mats
Risto Vääräniemi wrote:
Hi Mats,
2008/10/2 Mats Bengtsson <[EMAIL PROTECTED]>:
Have you read the warning about the font you need, in
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Entering-lyrics#Entering-lyrics
for \longa in my score.
Any solutions?
Thank you,
Alan
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o
closepath
fill
stroke
%%EndDocument
EndEPSF
grestore")
(cons -0.5 0.5)
(cons -0.5 0.5))
}
{ \squareNoteHeads c'' }
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e somewhere that lists the units of measurement
used by Lilypond?
Thanks in advance,
Jonathan
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Please note that the solutions provided in the referenced email could
also have been obtained using
\score { {
\set Score.skipBars = ##t
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
}
}
(The interpretation of this alternative solution is that th
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fSoprano
>>
\midi {
}
\layout {
}
}
\paper {
}
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me more tricks
are needed.
/Mats
Eyolf
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Quoting Graham Percival <[EMAIL PROTECTED]>:
Strings are so expressive they can never be properly
synthesized. I grant you that.
To be fair, I'd assume that this applies even more to vocal music
-- quite apart from the expressivity of voice, midi doesn't even
attempt to add lyrics.
Yes and n
Quoting Carl Peterson <[EMAIL PROTECTED]>:
I'm trying to take advantage of automatic part combining to make it easier
to set the songs for a hymnal. There are a couple of technical things I need
assistance on.
1) Whenever two parts on the same staff are on the same note, the part
combiner only
Your mistake is that you believe that the repeats can be separated from
the notes. Please always keep in mind that the input should
describe the musical meaning, not only the resulting layout.
In this case, the music that should be played is c g c a, right.
In notation, you can use repeats as a s
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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 ;-).
Thanks folks,
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ault if the size isn't
specified?
-Risto
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--
=====
Mats Bengtsson
Signal Processing
Checking a bit more carefully, I can confirm that it's \tiny (i.e.
font-size -2) that gives the
correct size.
/Mats
Mats Bengtsson wrote:
You are right, the markup should probably be
\markup {\tiny \number 6 \super (1) }
instead of
\markup {\number 6 \super (1) }
I didn't
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}
}
\paper {
}
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ricsto "StimmeI" \verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI" \verseIII
}
}
\midi {
}
\layout {
}
}
\paper {
}
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\key c \major
\clef "G_8"
<<
\context Voice = "StimmeI" { \StimmeI }
\context Voice = "StimmeII" { \StimmeII }
\addlyrics { \verseI \verseII \verseIII }
>>
r4 s4
\bar "|."
\context Lyrics = "StropheI&qu
\context Lyrics = "StropheII" \lyricmode { \lyricsto "StimmeI"
\verseII }
\context Lyrics = "StropheIII" \lyricmode { \lyricsto "StimmeI"
\verseIII }
Trevor
- Original Message - From: "Mats Bengtsson"
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