1 \input texinfo @c -*-texinfo-*-
3 @settitle FAQ - GNU LilyPond FAQs
5 @node Top, , Windows32, (dir)
8 * FAQ - GNU LilyPond FAQs:: FAQ - GNU LilyPond FAQs
13 @node FAQ - GNU LilyPond FAQs, Miscellaneous, , Top
15 * Miscellaneous:: Miscellaneous
16 * Installing:: Installing
17 * Documentation:: Documentation
18 * Language- mudela:: Language- mudela
19 * Do you support -:: Do you support -
20 * How do I -:: How do I -
21 * Development:: Development
23 * Copyright:: Copyright
24 * Windows32:: Windows32
26 @chapter FAQ - GNU LilyPond FAQs
29 @node Miscellaneous, Installing, FAQ - GNU LilyPond FAQs, FAQ - GNU LilyPond FAQs
30 @section Miscellaneous
32 @subsubsection HELP! I'm stuck!
34 Please read this document carefully. If you are still at loss, send
35 your questions to the @strong{mailing list}, and not to authors
38 Note: relative paths are meant to be relative to the source directory
40 @node Installing, Documentation, Miscellaneous, FAQ - GNU LilyPond FAQs
44 @subsubsection If I install the .exe file on my DOS/windows 3.11 machine, it doesn't work
46 The NT port is done with the Cygnus GNU/Windows32 port of the GNU utils.
47 It does @emph{not} work with windows 3.x; you need Windows-NT (95/98?).
49 @subsubsection Where is guile-config
51 Old RedHat RPMS don't include guile-config. You need guile-config as it
52 was produced during the RPM build run. Build the RPM from source
53 (@file{.src.rpm}), and use the guile-config that is in
54 @file{/usr/src/redhat/BUILD/guile-1.3/guile-config/}.
56 @subsubsection I get all kinds of errors while compiling @file{parser.cc}
58 LilyPond uses features of bison version 1.25. Please confirm that
59 you are using a version 1.25 or better, that is @strong{GNU} bison
60 @strong{1.25}. Don't forget to do "make clean" after installing it. Don't
61 forget to remove the stale @file{bison.simple} as well.
63 If the problem persists, then please send a bug report to the mailing list.
65 @subsubsection I upgraded by applying a patch, and now my configure/build breaks.
67 Patches don't include automatically generated files, i.e.
68 @file{configure} and files generated by @file{configure}. Regenerate them
78 @subsubsection Some of your neat scripts fail, what directories do you use:
80 [This only applies if you don't do @code{make install}, and run out
81 of the source directory]
83 I have a directory which contains all our development projects
90 which looks like @file{/usr/}
103 @file{~/usr/bin/} is in the variable PATH, and contains symbolic links
104 to the compiled executables. Unpacked sources, releases and patches are
105 in subdirectories under @file{~/usr/src/}.
107 @subsubsection Is there an emacs mode?
109 Yes. It is included with the source archive as @file{lilypond-mode.el}.
110 If you have an RPM it is in @file{/usr/doc/lilypond-X/}. You have to
113 @subsubsection How do I create the @file{.tfm} files?
115 You don't. The @file{.tfm} files should be generated automatically by
116 Metafont when you run TeX. Check your TeX installation, or ask
117 your local TeX guru. The supplied @file{.afm} files are intended to
118 be used by LilyPond, not by any other programs.
120 @node Documentation, Language- mudela, Installing, FAQ - GNU LilyPond FAQs
121 @section Documentation
123 @subsubsection What a sober website/manual you have there!
125 LilyPond development is moving quite fast, documentation will often lag
126 a bit behind. But don't hesitate to point out inaccuracies. Whip up
127 your mail reader and write to the mailing list.
129 @node Language- mudela, Do you support -, Documentation, FAQ - GNU LilyPond FAQs
130 @section Language: mudela
132 @subsubsection Why do I have to type the accidentals to the note if I
133 specified them in the keysignature?
142 Independently of how it was written and what the current key was, you
143 would say that you are playing and reading "two C-sharp" notes, so you
144 have to enter C-sharp twice.
146 @subsubsection What is @code{cis} anyway
148 @code{cis} is the dutch naming for C-sharp. The notes are named
149 a, b,.., g. The suffix -is means sharp, and -es flat. This system is
150 common in a number of languages (such as swedish, dutch, german.)
151 Certain other languages (such as English, French and Italian) just add
152 the word for "sharp" to the notename.
154 We chose the Dutch system, because we're dutch. You are free to chose
155 whatever names you like; they are user definable.
157 @subsubsection Why are [] around the notes, and () inbetween?
159 [] designate beams, a note can only be in one beam at the same
160 time. () is a slur, which connects notes. You need to be able to
168 @subsubsection I want to insert some TeX commands.
170 You shouldn't: it's against LilyPond philosophy to have typesetting
171 commands in the mudela source. Moreover, this would be difficult.
172 LilyPond uses TeX like a glorified output engine: the output consists
173 of (x,y) positions and symbols. You can only sensibly do TeX stuff in
174 the symbol string. You can access the symbol string easily for some
175 symbols (notably lyrics and @code{^"text"} commands).
177 @node Do you support -, How do I -, Language- mudela, FAQ - GNU LilyPond FAQs
178 @section Do you support ...
180 @subsubsection Do you support pop songs (chords, single staff, lyrics)?
182 Yes, see the @file{twinkle-pop} example.
184 @subsubsection Do you support guitar chord diagrams?
186 No. We ourselves don't play guitar, and don't know the fine points of
187 this notation. We would welcome anyone who could give this a try.
189 @subsubsection Do you support TAB notation?
191 No. The same as for the previous question goes.
194 @subsubsection Do you support multiple staff-sizes?
196 Yes. At this time you can choose between 11, 13, 16, 19, 20, 23 and 20
197 pt staff-size. Use the @code{staffSpace} property for setting the
198 size of the staff, and @code{fontSize} for setting the size of the
201 @subsubsection Do you support Gregorian chant notation?
206 @subsubsection Do you support grace notes?
208 Yes. See @file{input/test/grace.ly}.
210 @node How do I -, Development, Do you support -, FAQ - GNU LilyPond FAQs
211 @section How do I ....
213 @subsubsection How do I change the TeX layout?
215 See @file{lilyponddefs.tex}, it has some comments. Or use @file{ly2dvi}.
217 @subsubsection How do I place lyrics under @emph{each} of the staves in a score, as choral music. I can work out how to put lyrics for each line all under the top line, or at the bottom but not between!
219 You change the order lyrics and staves. You have to name all
220 staves (lyric and melodic), otherwise they will end up in the same
224 < \melodic \type Staff = "treble" \trebleMelody
225 \lyric \type Lyrics = "tlyrics" \trebtext
226 \type Staff = "bass" \melodic \bassMelody
227 \lyric \type Lyrics = "blyrics" \basstext
234 @subsubsection How do I put more than one marking on a note.
243 or use spacing-notes to put markings at different horizontal positions
247 @{ s4\ff s4^"text" s4-\marcato s4 @}
252 This also works for crescendi, eg,
261 @subsubsection How do I combine multiple pieces into one document
263 There are several solutions:
273 produces one combined @file{foo.dvi}
274 @item make a toplevel @file{.ly} file that contains al pieces:
284 @item make a hybrid TeX/LilyPond @file{.doc} document (see the
285 @file{Documentation/tex} directory).
288 For the first two solutions, you will need to move @code{\header} info
289 in each individual piece from toplevel into the @code{\paper} block.
291 There are several examples in the @file{mutopia} directory.
293 @subsubsection How do I get bar numbers?
295 See @file{input/test/bar-scripts.ly}.
297 @subsubsection How do I change the tagline 'Lily was here'?
299 In the @code{\header} field, add a @code{tagline} entry, e.g.
302 tagline="Typeset by GNU LilyPond"
306 @node Development, Running, How do I -, FAQ - GNU LilyPond FAQs
309 @subsubsection Could you implement feature XXXX? It is really easy, just extend the syntax to allow YYYY!
311 In general finding a cute syntax (such as YYYY) isn't very hard. The
312 complicated issue how to adapt the internals to do XXXX. The parser is
313 really a simple front end to the complicated internals.
315 @subsubsection Can I join in on LilyPond development? How do I do this?
317 Yes, we do frequent releases, you are welcome to send in a patch or do
318 suggestions. Join the list @email{gnu-music-discuss@@gnu.org} to
322 @subsubsection Is there a GUI frontend? Should I start building one?
324 LilyPond currently has no graphical interface. We (LilyPond authors)
325 don't feel the need to write a GUI, but several others do:
327 Matthew Hiller has extended Midiscore and Koobase to handle mudela.
328 Check out @uref{http://zoo.cs.yale.edu/~meh25/}. He is now working on
329 `Denemo', a GTK based notation program (which is still being developed).
331 Federico Mena-Quintero and Elliot Lee of RedHat Advanced Development
332 labs have plans to write a GNOME based Music notation program. However,
333 there is no code, only plans.
335 Chris Cannam is working a rewrite of Rosegarden. The new design should
336 be more modular, and could conceivably be used to output
337 mudela. However, the not much seems to have happened the past year. See
338 @uref{http://www.all-day-breakfast.com/rosegarden/development.html}.
341 @subsubsection I want to implement XXXX! How should I do this?
343 Your best bet of getting us to include code, is to present it as a
344 "fait accompli", i.e., to send a patch to the mailing list.
346 Please use the diff command to generate a patch, and don't send complete
347 files, even if the diff is larger than the whole file.
349 Don't forget to put your name and e-mail address in the file
350 @file{Documentation/topdocs/AUTHORS.texi}, or you won't get credits
354 @subsubsection Your make system does not adhere to GNU coding standards, could you please fix it?
356 No. We have evaluated the standard GNU combination for compiling
357 programs (autoconf, automake, libtool) and found to be inadequate for
360 @subsubsection gdb crashes when I debug!
362 Upgrade/downgrade to 4.17.
364 @node Running, Copyright, Development, FAQ - GNU LilyPond FAQs
367 @subsubsection I use dvilj4, and there are lots of warning messages for the printing
369 You should use dvips and ghostscript to print the @code{dvi} output: the
370 slurs and beams are PS @code{\special} commands.
373 subsubsection My symbols are all messed up after I upgraded, I get the wrong symbols and dvi-checksum errors!
375 We obviously mucked with the fonts in the upgrade. Remove @emph{all}
376 previous fonts, including the @file{.pk} and @file{.tfm} fonts in
377 @file{/var/lib/texmf}. A script automating this has been included, see
378 @file{buildscripts/clean-fonts.sh}.
380 @subsubsection all the pk and tfm fonts are created in the directory where the mudela file is, not in "/var/spool/texmf" where I think they should be.
382 Mats Bengtsson <mats.bengtsson@@s3.kth.se> writes:
384 The simple solution used by Anthony Fok in the Debian distribution of
385 Lilypond is to link the mf/ directory to
386 /usr/lib/texmf/fonts/source/public/lilypond Depending on what
387 distribution of teTeX and Linux you have installed, there might also
388 be other places like /usr/local/lib/texmf/fonts/source/public/lilypond
389 or /var/spool/texmf//fonts/source/public/lilypond
391 Wherever you put it, don't forget to run mktexlsr (or texhash for
392 older installations) afterwards, so that TeX will find the files.
393 Also, don't forget to remove all old .tfm and .*pk files when the font
394 is updated (as it will be in version 1.1.40, for example).
396 @subsubsection Are there scalable versions of the font?
398 Yes, they are type-3 fonts. In the @file{mf/}
405 in the mf/ subdirectory. This will also make @file{mfplain} for metapost.
406 The @file{pfa}s will be in the subdirectory @file{out/}.
408 @subsubsection How does PS output work?
412 Generate the PostScript Type-3 fonts.
414 Run lilypond with option @code{-f ps}:
421 @item To view the @file{.ps} output with GhostView, set GS_FONTPATH to the
422 directory containing the @file{pfa}s. In the source tree, this is @file{mf/out/}.
424 i.e. do something like:
427 export GS_FONTPATH=$HOME/usr/src/lilypond/mf/out
434 Direct PS output is still experimental. For creating nice looking ps
435 output, use TeX and @code{dvips}.
438 @subsubsection The beams and slurs are gone if use the XDvi magnifying glass!?
440 The beams and slurs are done in PostScript. XDvi doesn't show
441 PostScript in the magnifying glass. Complain to the XDvi maintainers.
444 @subsubsection A lot of musical stuff doesn't make it to the MIDI file, eg. dynamics, articulation, etc.
446 The MIDI output was originally put in as a proof that MIDI could be
447 done, and as a method of proof"reading" the input. The MIDI support
448 is by no means finished. Patches appreciated.
450 @node Copyright, Windows32, Running, FAQ - GNU LilyPond FAQs
453 @subsubsection What is Urtext? Critical Edition?
457 It may be translated best as `that what the composer intended to tell
460 Peter Chubb <peterc@@aurema.com> writes:
462 An Urtext is a reconstruction of the earliest form of a text,
463 including mistakes the original author wrote. Where there is no
464 available facsimile of the original, creating this can involve some
465 inspired detective work (in comparing various later editions and
466 trying to deduce what the original form was). As far as copyright
467 goes, my guess is that, for works that are otherwise out of copyright,
468 an Urtext is copyright to the person who reconstructed it, as a
469 derived work from the editions s/he consulted. If the edition is
470 created directly from a facsimile, as would be the case for most
471 Urtext editions of music, then the amount of new (copyright) material
474 A critical edition is an edition that is designed for critical
475 study of a text. It'll usually have lots of footnotes, alternative
476 readings, possible realisations of bass parts and harmonies, etc. It
477 aims to elucidate the author's original intentions, as opposed to
478 reproduce exactly what was written. The critical apparatus will be
479 copyright to its author.
481 A playing edition is one that has been edited for modern usage.
482 It'll have fewer or no alternative readings, it'll be in modern
483 notation, it may have additional editorial marks (phrase marks, slurs,
484 etc.) will often have a fully realised basso continuo part (if oone
485 was present in the original) and may have had key changes, time
486 signature changes, time compression (original in 4/1, playing edition
487 in 4/4, for example, with all semibreves replaced with crotchets)
488 Copyright is in the arranger/editor.
490 @subsubsection How does copyright for sheet music work? Can I enter and spread my newly bought Bach urtext?
492 Silas S. Brown <ssb22@@hermes.cam.ac.uk>:
496 There are several aspects to sheet music copyright:
498 1. The music itself - copyright for the composer's life plus 70 years (so
499 not applicable to Bach).
501 2. If the music is an arrangement, then the arranger holds copyright on
502 that arrangement. However, you can produce your own arrangement using
503 that arrangement as a reference point. Obviously your arrangement must be
504 sufficently different to be called your own arrangement - you need to do
505 more than change one note!
507 3. In some countries, the same applies for editions. This could be
508 relevant to the Bach example. If a modern person has edited the music,
509 then they hold the copyright on the edition. This does not stop you from
510 removing the editorial features - remove all editorial slurs, phrasemarks,
511 ornaments etc and only leave those that you know to be original. You can
512 then add some of your own if you want to be your own editor.
514 4. If there are lyrics, then the lyricist also holds copyright. This
515 does not stop you from using the music without the lyrics if it is
516 otherwise out of copyright.
518 5. The copyright of the printed page is held by the publisher for 30
519 years after printing (25 in some countries). This stops you from
520 photocopying (unless it's "fair use" eg. you're partially sighted and need
521 to enlarge the music) or otherwise reproducing the typesetting that is
522 used on it. But the copyright is only held over the typesetting work, not
523 the music itself. Since Mudela specifies the notes, independently of any
524 typesetting work that went into your reference copy, you are not
525 duplicating any of the publisher's work.
527 6. If you want to violate copyright, there are two main cases where you
528 may do so: fair use, and with permission. The former is rather fuzzily
529 defined, but it includes such things as including small extracts of a
530 score in a critique, and making a large print or Braille copy for a blind
531 or partially-sighted performer (many people argue that in this case it
532 should always be kept with the original copy and/or destroyed after it is
533 no longer needed). The latter is obvious: You can always write to the
534 composer, arranger, editor, lyricist or publisher in subsubsection and ask if
535 you can do whatever it is you're trying to do. Some will respond more
536 readily than others, but anything that they say will override any copying
537 restrictions imposed on you.
539 References - best one I know is the UK-based Performing Right Society,
540 @uref{http://www.prs.co.uk/} (especially "membership") and their links to other
541 international equivalents.
544 Werner Lemberg @email{wl@@gnu.org} writes:
548 Typesetting [at least in Austria or Germany, but not in France] [..]
549 isn't copyrighted -- typesetting is a handcraft, not an
552 What's copyrighted in an Urtext edition is the editor's comment or
553 the revision remarks, cadenzas added by the editor, etc.
555 Urtext editions per se are @emph{not} copyrighted -- if you print
556 exactly what the composer has written, how can there some copyright be
557 added? Copyrighted are usually only the `Critical notes', the foreword,
558 and the cadenzas some editors have added.
560 This means that the `Photocopying forbidden' sign in many scores is not
561 always correct for e.g. J.S. Bach -- you are allowed to copy the pages
562 which don't contain editorial stuff which is probably copyrighted.
564 A very unfortunate situation for the publishers.
569 Glen Prideaux, @email{glenprideaux@@MailAndNews.com}:
572 One has to be careful. In Australia typesetting IS covered by copyright, but
573 only for 25 years (as opposed to 50 years from the death of the
574 author/composer/artist for virtually any other copyright). If the
575 typesetting originates in a country that does not protect typesetting then
576 there may indeed be no copyright protection available to control the use of
580 Juergen Reuter @email{reuterj@@ira.uka.de}
582 [More information can be had at: ]
584 @uref{http://lcweb.loc.gov/copyright/}
587 @uref{http://fairuse.stanford.edu/}
588 (meta site about copyright with many links to other resources)
590 @uref{http://host.mpa.org/crc.html}
591 (copyright from the viewpoint of the USA music publishers' association)
593 @uref{http://www.wipo.int}
594 (World Intellectual Property Organization (a UNO agency); with
595 information about international copyright)
599 See @uref{http://www.geocities.com/Vienna/Studio/1714/harpsichord.html}
600 for a summary of copyright relative to old music, also for the
601 expert forum for such subsubsections.
604 @node Windows32, Top, Copyright, FAQ - GNU LilyPond FAQs
607 @subsubsection I downloaded the windows32 port, and it doesn't match the website!
609 The website is usually made from the latest snapshots. Binary releases,
610 in particular the windows32 binaries, are only made every once in a while.
611 They may lag several versions behind the latest version.
613 @subsubsection But i want a native DOS/Windows-NT/95 port
615 Reconsider. Try Linux. It's fun!