1 \input texinfo @c -*-texinfo-*-
3 @settitle FAQ - GNU LilyPond FAQs
8 * Miscellaneous:: Miscellaneous
9 * Installing:: Installing
10 * Documentation:: Documentation
11 * Language- mudela:: Language- mudela
12 * Do you support -:: Do you support -
13 * How do I -:: How do I -
14 * Development:: Development
16 * Copyright:: Copyright
17 * Windows32:: Windows32
19 @chapter FAQ - GNU LilyPond FAQs
22 @node Miscellaneous, ,,top
23 @section Miscellaneous
25 @subsubsection HELP! I'm stuck!
27 Please read this document carefully. If you are still at loss, send
28 your questions to the @strong{mailing list}, and not to authors
31 Note: relative paths are meant to be relative to the source directory
33 @node Installing,, ,top
37 @subsubsection If I install the .exe file on my DOS/windows 3.11 machine, it doesn't work
39 The NT port is done with the Cygnus GNU/Windows32 port of the GNU utils.
40 It does @emph{not} work with windows 3.x; you need Windows-NT (95/98?).
42 @subsubsection Where is guile-config
44 Old RedHat RPMS don't include guile-config. You need guile-config as it
45 was produced during the RPM build run. Build the RPM from source
46 (@file{.src.rpm}), and use the guile-config that is in
47 @file{/usr/src/redhat/BUILD/guile-1.3/guile-config/}.
49 @subsubsection I get all kinds of errors while compiling @file{parser.cc}
51 LilyPond uses features of bison version 1.25. Please confirm that
52 you are using a version 1.25 or better, that is @strong{GNU} bison
53 @strong{1.25}. Don't forget to do "make clean" after installing it. Don't
54 forget to remove the stale @file{bison.simple} as well.
56 If the problem persists, then please send a bug report to the mailing list.
58 @subsubsection I upgraded by applying a patch, and now my configure/build breaks.
60 Patches don't include automatically generated files, i.e.
61 @file{configure} and files generated by @file{configure}. Regenerate them
71 @subsubsection Is there an emacs mode?
73 Yes. It is included with the source archive as @file{lilypond-mode.el}.
74 If you have an RPM it is in @file{/usr/doc/lilypond-X/}. You have to
77 @subsubsection How do I create the @file{.tfm} files?
79 You don't. The @file{.tfm} files should be generated automatically by
80 Metafont when you run TeX. Check your TeX installation, or ask
81 your local TeX guru. The supplied @file{.afm} files are intended to
82 be used by LilyPond, not by any other programs.
84 @node Documentation,, ,top
85 @section Documentation
87 @subsubsection What a sober website/manual you have there!
89 LilyPond development is moving fast, so the documentation will often be out
90 of date. But don't hesitate to point out inaccuracies. Whip up your
91 mail reader and write to the mailing list.
93 @subsubsection Please take me off your mailing list, I get so much mail!
95 Don't ask Han-wen, don't ask David. Instead, read about
96 @uref{../../index.html#mailing-lists, the mailing lists} here.
100 @node Language- mudela,, ,top
101 @section Language: mudela
103 @subsubsection Why do I have to type the accidentals to the note if I
104 specified them in the keysignature?
113 Independently of how it was written and what the current key was, you
114 would say that you are playing and reading "two C-sharp" notes, so you
115 have to enter C-sharp twice.
117 @subsubsection What is @code{cis} anyway
119 @code{cis} is the dutch naming for C-sharp. The notes are named
120 a, b,.., g. The suffix -is means sharp, and -es flat. This system is
121 common in a number of languages (such as swedish, dutch, german.)
122 Certain other languages (such as English, French and Italian) just add
123 the word for "sharp" to the notename.
125 We chose the Dutch system, because we're dutch. You are free to chose
126 whatever names you like; they are user definable.
128 @subsubsection Why are [] around the notes, and () inbetween?
130 [] designate beams, a note can only be in one beam at the same
131 time. () is a slur, which connects notes. You need to be able to
139 @subsubsection I want to insert some TeX commands.
141 You shouldn't: it's against LilyPond philosophy to have typesetting
142 commands in the mudela source. Moreover, this would be difficult.
143 LilyPond uses TeX like a glorified output engine: the output consists
144 of (x,y) positions and symbols. You can only sensibly do TeX stuff in
145 the symbol string. You can access the symbol string easily for some
146 symbols (notably lyrics and @code{^"text"} commands).
148 @node Do you support -,, ,top
149 @section Do you support ...
151 @subsubsection Do you support pop songs (chords, single staff, lyrics)?
153 Yes, see the @file{twinkle-pop} example.
155 @subsubsection Do you support guitar chord diagrams?
157 No. We ourselves don't play guitar, and don't know the fine points of
158 this notation. We would welcome anyone who could give this a try.
160 @subsubsection Do you support TAB notation?
162 No. The same as for the previous question goes.
165 @subsubsection Do you support multiple staff-sizes?
167 Yes. At this time you can choose between 11, 13, 16, 19, 20, 23 and 20
168 pt staff-size. Use the @code{staffSpace} property for setting the
169 size of the staff, and @code{fontSize} for setting the size of the
172 @subsubsection Do you support Gregorian chant notation?
177 @subsubsection Do you support grace notes?
179 Yes. See @file{input/test/grace.ly}.
181 @node How do I -,, ,top
182 @section How do I ....
184 @subsubsection How do I change the page layout?
186 The height and width of the music on each page is set
187 using the paper variables @code{textheight} and @code{linewidth} in
189 If you want to change the placement of the page number or the
190 layout of the title, you could run @code{lilypond infile.ly} and
191 include the generated @file{infile.tex} file in your own LaTeX
192 wrapper file. The easiest way is to start from the ly2dvi default
193 layout, using the following steps (assuming that the input file
198 @item @code{ly2dvi -kK infile.ly}
200 @item Edit the generated LaTeX file @file{infile_lyN.tex} (@code{N} is
201 some number) to get the desired layout. Some aspects are determined in
202 the file titledefs.tex.
204 @item Run @code{latex infile_lyN.tex}
206 @item If you update the Mudela file, run @code{lilypond infile.ly}
207 and then @code{latex infile_lyN.tex}.
209 Another alternative is to use @command{mudela-book}, where smaller or
210 larger music examples can be included in a LaTeX or Texinfo file.
212 @subsubsection The tagline is visible in the .dvi file but is not printed on paper.
214 The default page size is A4. If you use letter sized papers,
215 add the following at the top of your Mudela file.
220 \include "paper20.ly"
222 (Note that setting the papersize in the ordinary paper section inside
223 a score declaration will not have the desired effect.)
224 The default paper size can be set globally for the installation
225 in the file @file{declarations.ly}.
227 @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!
229 You change the order lyrics and staves. You have to name all
230 staves (lyric and melodic), otherwise they will end up in the same
234 < \melodic \type Staff = "treble" \trebleMelody
235 \lyric \type Lyrics = "tlyrics" \trebtext
236 \type Staff = "bass" \melodic \bassMelody
237 \lyric \type Lyrics = "blyrics" \basstext
244 @subsubsection How do I put more than one marking on a note.
253 or use spacing-notes to put markings at different horizontal positions
257 @{ s4\ff s4^"text" s4-\marcato s4 @}
262 This also works for crescendi, eg,
271 @subsubsection How do I combine multiple pieces into one document
273 There are several solutions:
283 produces one combined @file{foo.dvi}
284 @item make a toplevel @file{.ly} file that contains al pieces:
294 @item make a hybrid TeX/LilyPond @file{.doc} document (see the
295 @file{Documentation/tex} directory).
298 For the first two solutions, you will need to move @code{\header} info
299 in each individual piece from toplevel into the @code{\paper} block.
301 There are several examples in the @file{mutopia} directory.
303 @subsubsection How do I get bar numbers?
305 See @file{input/test/bar-scripts.ly}.
307 @subsubsection How do I change the tagline 'Lily was here'?
309 In the @code{\header} field, add a @code{tagline} entry, e.g.
312 tagline="Typeset by GNU LilyPond"
316 @subsubsection Can I make blank manuscript paper with LilyPond?
318 Theoretically, yes but it is easier to do with (La)TeX. This LaTeX file
319 will do the trick for you:
323 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
325 % Mats Bengtsson, 18/5 2000
326 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
327 \documentclass[a4paper]@{article@}
329 \usepackage@{ifthen@}
330 \usepackage[noheadfoot,hmargin=15mm,vmargin=20mm]@{geometry@}
334 \newcounter@{staffnumber@}
335 \newlength@{\interstaffline@}
337 \newcommand@{\drawline@}@{\hbox@{\rule@{\textwidth@}@{0.5pt@}@}
338 \nointerlineskip\vskip\interstaffline\nointerlineskip@}
340 \newcommand@{\printstaff@}@{\vfill
341 \vbox@{\drawline\drawline\drawline\drawline\drawline@}
345 \typeout@{@}\typeout@{@}
346 \typein[\staffsize]@{Type in the staff size (20pt is a common value):@}
347 \setlength@{\interstaffline@}@{\staffsize@}
348 \setlength@{\interstaffline@}@{.25\interstaffline@}
350 \typein[\num]@{Type in the number of staffs:@}
351 \setcounter@{staffnumber@}@{\num@}
353 \mbox@{@} % To get a starting point for the \vfill
354 \whiledo@{\value@{staffnumber@}>0@}@{%
355 \printstaff \addtocounter@{staffnumber@}@{-1@}@}
361 @node Development,, ,top
364 @subsubsection Could you implement feature XXXX? It is really easy, just extend the syntax to allow YYYY!
366 In general finding a cute syntax (such as YYYY) isn't very hard. The
367 complicated issue how to adapt the internals to do XXXX. The parser is
368 really a simple front end to the complicated internals.
370 @subsubsection Can I join in on LilyPond development? How do I do this?
372 Yes, we do frequent releases, you are welcome to send in a patch or do
373 suggestions. Join the list @email{gnu-music-discuss@@gnu.org} to
377 @subsubsection Is there a GUI frontend? Should I start building one?
379 LilyPond currently has no graphical interface. We (LilyPond authors)
380 don't feel the need to write a GUI, but several others do:
382 Matthew Hiller has extended Midiscore and Koobase to handle mudela.
383 Check out @uref{http://zoo.cs.yale.edu/~meh25/}. He is now working on
384 `Denemo', a GTK based notation program (which is still being developed).
386 Federico Mena-Quintero and Elliot Lee of RedHat Advanced Development
387 labs have plans to write a GNOME based Music notation program. However,
388 there is no code, only plans.
390 Chris Cannam is working a rewrite of Rosegarden. The new design should
391 be more modular, and could conceivably be used to output
392 mudela. However, the not much seems to have happened the past year. See
393 @uref{http://www.all-day-breakfast.com/rosegarden/development.html}.
396 @subsubsection I want to implement XXXX! How should I do this?
398 Your best bet of getting us to include code, is to present it as a
399 "fait accompli", i.e., to send a patch to the mailing list.
401 Please use the diff command to generate a patch, and don't send complete
402 files, even if the diff is larger than the whole file.
404 Don't forget to put your name and e-mail address in the file
405 @file{Documentation/topdocs/AUTHORS.texi}, or you won't get credits
409 @subsubsection Your make system does not adhere to GNU coding standards, could you please fix it?
411 No. We have evaluated the standard GNU combination for compiling
412 programs (autoconf, automake, libtool) and found to be inadequate for
415 @subsubsection How do I inspect @code{String}s and @code{SCM} values in GDB?
417 Use the following command definitions, which can be put in
422 print $arg0->strh_.data->data_byte_p_
426 call gh_display($arg0)
431 @subsubsection GDB crashes when I debug!
433 Upgrade/downgrade to 4.17.
438 @subsubsection Correcting errors is so tedious. Is there a better way?
440 As of 1.3.73, lilypond provides support for the xdvi @code{src:}
441 special. This can be used with Xdvik (22.16 or better) and xdvi (22.28
442 or better) to go to the place in the input that corresponds to a symbol
443 in the output: click on the note, and your editor jumps to the place
448 Decide if you want column positioning, and edit @file{lily.scm}
449 according to the comments at the function @code{define-origin}.
453 Put this in @file{~/.emacs}:
458 For column positioning, apply
459 @uref{http://www.cs.uu.nl/~hanwen/software/emacsclient-column, this
460 patch} to @code{emacsclient.c} and @code{server.el}. Stick the compiled
461 emacsclient into a bin directory, and put @code{server.el} into a elisp
462 directory (eg. @file{~/usr/share/emacs/}). Add the following to your
463 @file{.emacs} init file, before invoking server-start.
465 (setq load-path (cons (concat (getenv "HOME") "/usr/share/emacs")
471 Warning: @uref{Xdvik,ftp://ftp.cs.uu.nl/pub/tex-archive/dviware/xdvik/},
472 which is shipped with most TeX distributions, doesn't work very well for
473 src specials. You're better off using plain xdvi.
475 xdvi -srcmode -srcvisibility output.dvi
478 Click control-mouse button 2 for making emacs jump to the appropriate place.
480 For column positioning you must install
481 @uref{http://www.cs.uu.nl/~hanwen/software/xdvik-src, this patch} to
482 make Xdvik emit column numbers. Add the command line option
483 @code{-srceditorcommand "emacsclient --no-wait +%l:%c %f"}
487 @uref{Xdvi,ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz} has
488 better support for src specials. Apply
489 @uref{http://www.cs.uu.nl/~hanwen/software/xdvi-src, this patch}. Before
490 starting, set the environment variable @code{XEDITOR} to
491 @code{"emacsclient --no-wait +%d %s"}. When viewing,
492 control-mousebutton 1 will take you to the correct
493 line/column. Control-mousebutton 2 will show all clickable boxes.
497 dvips will complain about the specials, but the complaints are harmless.
500 @subsubsection I use dvilj4, and there are lots of warning messages for the printing
502 You should use dvips and ghostscript to print the @code{dvi} output: the
503 slurs and beams are PS @code{\special} commands.
506 @subsubsection My symbols are all messed up after I upgraded, I get the wrong symbols and dvi-checksum errors!
508 We obviously mucked with the fonts in the upgrade. Remove @emph{all}
509 previous fonts, including the @file{.pk} and @file{.tfm} fonts in
510 @file{/var/lib/texmf}. A script automating this has been included, see
511 @file{buildscripts/clean-fonts.sh}.
513 @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.
515 Mats Bengtsson <mats.bengtsson@@s3.kth.se> writes:
517 The simple solution used by Anthony Fok in the Debian distribution of
518 Lilypond is to link the mf/ directory to
519 /usr/lib/texmf/fonts/source/public/lilypond Depending on what
520 distribution of teTeX and Linux you have installed, there might also
521 be other places like /usr/local/lib/texmf/fonts/source/public/lilypond
522 or /var/spool/texmf//fonts/source/public/lilypond
524 Wherever you put it, don't forget to run mktexlsr (or texhash for
525 older installations) afterwards, so that TeX will find the files.
526 Also, don't forget to remove all old .tfm and .*pk files when the font
527 is updated (as it will be in version 1.1.40, for example).
529 @subsubsection Are there scalable versions of the font?
531 Yes, they are type-3 fonts. In the @file{mf/}
538 in the mf/ subdirectory. This will also make @file{mfplain} for metapost.
539 The @file{pfa}s will be in the subdirectory @file{out/}.
541 @subsubsection How does PS output work?
545 Generate the PostScript Type-3 fonts.
547 Run lilypond with option @code{-f ps}:
554 @item To view the @file{.ps} output with GhostView, set GS_FONTPATH to the
555 directory containing the @file{pfa}s. In the source tree, this is @file{mf/out/}.
557 i.e. do something like:
560 export GS_FONTPATH=$HOME/usr/src/lilypond/mf/out
567 Direct PS output is still experimental. For creating nice looking ps
568 output, use TeX and @code{dvips}.
571 @subsubsection The beams and slurs are gone when using the XDvi magnifying glass!?
573 Various dynamic symbols, such as beams, crescendi, slurs are done in
574 PostScript. XDvi doesn't show PostScript in the magnifying glass.
575 Complain to the XDvi maintainers.
578 @subsubsection Beams, slurs and crescendi are not displayed at all!
580 See previous answer. XDvi uses GhostScript for displaying PostScript,
581 check that you have GhostScript installed. If you use a different
582 DVI viewer, check if it will display embedded PostScript. Don't worry,
583 the symbols should appear on the printout.
585 @subsubsection A lot of musical stuff doesn't make it to the MIDI file, eg. dynamics, articulation, etc.
587 The MIDI output was originally put in as a proof that MIDI could be
588 done, and as a method of proof"reading" the input. The MIDI support
589 is by no means finished. Patches appreciated.
591 @node Copyright,, ,top
594 @subsubsection What is Urtext? Critical Edition?
598 It may be translated best as `that what the composer intended to tell
601 Peter Chubb <peterc@@aurema.com> writes:
603 An Urtext is a reconstruction of the earliest form of a text,
604 including mistakes the original author wrote. Where there is no
605 available facsimile of the original, creating this can involve some
606 inspired detective work (in comparing various later editions and
607 trying to deduce what the original form was). As far as copyright
608 goes, my guess is that, for works that are otherwise out of copyright,
609 an Urtext is copyright to the person who reconstructed it, as a
610 derived work from the editions s/he consulted. If the edition is
611 created directly from a facsimile, as would be the case for most
612 Urtext editions of music, then the amount of new (copyright) material
615 A critical edition is an edition that is designed for critical
616 study of a text. It'll usually have lots of footnotes, alternative
617 readings, possible realisations of bass parts and harmonies, etc. It
618 aims to elucidate the author's original intentions, as opposed to
619 reproduce exactly what was written. The critical apparatus will be
620 copyright to its author.
622 A playing edition is one that has been edited for modern usage.
623 It'll have fewer or no alternative readings, it'll be in modern
624 notation, it may have additional editorial marks (phrase marks, slurs,
625 etc.) will often have a fully realised basso continuo part (if oone
626 was present in the original) and may have had key changes, time
627 signature changes, time compression (original in 4/1, playing edition
628 in 4/4, for example, with all semibreves replaced with crotchets)
629 Copyright is in the arranger/editor.
631 @subsubsection How does copyright for sheet music work? Can I enter and spread my newly bought Bach urtext?
633 Silas S. Brown <ssb22@@hermes.cam.ac.uk>:
637 There are several aspects to sheet music copyright:
639 1. The music itself - copyright for the composer's life plus 70 years (so
640 not applicable to Bach).
642 2. If the music is an arrangement, then the arranger holds copyright on
643 that arrangement. However, you can produce your own arrangement using
644 that arrangement as a reference point. Obviously your arrangement must be
645 sufficently different to be called your own arrangement - you need to do
646 more than change one note!
648 3. In some countries, the same applies for editions. This could be
649 relevant to the Bach example. If a modern person has edited the music,
650 then they hold the copyright on the edition. This does not stop you from
651 removing the editorial features - remove all editorial slurs, phrasemarks,
652 ornaments etc and only leave those that you know to be original. You can
653 then add some of your own if you want to be your own editor.
655 4. If there are lyrics, then the lyricist also holds copyright. This
656 does not stop you from using the music without the lyrics if it is
657 otherwise out of copyright.
659 5. The copyright of the printed page is held by the publisher for 30
660 years after printing (25 in some countries). This stops you from
661 photocopying (unless it's "fair use" eg. you're partially sighted and need
662 to enlarge the music) or otherwise reproducing the typesetting that is
663 used on it. But the copyright is only held over the typesetting work, not
664 the music itself. Since Mudela specifies the notes, independently of any
665 typesetting work that went into your reference copy, you are not
666 duplicating any of the publisher's work.
668 6. If you want to violate copyright, there are two main cases where you
669 may do so: fair use, and with permission. The former is rather fuzzily
670 defined, but it includes such things as including small extracts of a
671 score in a critique, and making a large print or Braille copy for a blind
672 or partially-sighted performer (many people argue that in this case it
673 should always be kept with the original copy and/or destroyed after it is
674 no longer needed). The latter is obvious: You can always write to the
675 composer, arranger, editor, lyricist or publisher in subsubsection and ask if
676 you can do whatever it is you're trying to do. Some will respond more
677 readily than others, but anything that they say will override any copying
678 restrictions imposed on you.
680 References - best one I know is the UK-based Performing Right Society,
681 @uref{http://www.prs.co.uk/} (especially "membership") and their links to other
682 international equivalents.
685 Werner Lemberg @email{wl@@gnu.org} writes:
689 Typesetting [at least in Austria or Germany, but not in France] [..]
690 isn't copyrighted -- typesetting is a handcraft, not an
693 What's copyrighted in an Urtext edition is the editor's comment or
694 the revision remarks, cadenzas added by the editor, etc.
696 Urtext editions per se are @emph{not} copyrighted -- if you print
697 exactly what the composer has written, how can there some copyright be
698 added? Copyrighted are usually only the `Critical notes', the foreword,
699 and the cadenzas some editors have added.
701 This means that the `Photocopying forbidden' sign in many scores is not
702 always correct for e.g. J.S. Bach -- you are allowed to copy the pages
703 which don't contain editorial stuff which is probably copyrighted.
705 A very unfortunate situation for the publishers.
710 Glen Prideaux, @email{glenprideaux@@MailAndNews.com}:
713 One has to be careful. In Australia typesetting IS covered by copyright, but
714 only for 25 years (as opposed to 50 years from the death of the
715 author/composer/artist for virtually any other copyright). If the
716 typesetting originates in a country that does not protect typesetting then
717 there may indeed be no copyright protection available to control the use of
721 Juergen Reuter @email{reuterj@@ira.uka.de}
723 [More information can be had at: ]
725 @uref{http://lcweb.loc.gov/copyright/}
728 @uref{http://fairuse.stanford.edu/}
729 (meta site about copyright with many links to other resources)
731 @uref{http://host.mpa.org/crc.html}
732 (copyright from the viewpoint of the USA music publishers' association)
734 @uref{http://www.wipo.int}
735 (World Intellectual Property Organization (a UNO agency); with
736 information about international copyright)
740 See @uref{http://www.geocities.com/Vienna/Studio/1714/harpsichord.html}
741 for a summary of copyright relative to old music, also for the
742 expert forum for such subsubsections.
745 @node Windows32,, ,top
748 @subsubsection I downloaded the windows32 port, and it doesn't match the website!
750 The website is usually made from the latest snapshots. Binary releases,
751 in particular the windows32 binaries, are only made every once in a while.
752 They may lag several versions behind the latest version.
754 @subsubsection But i want a native DOS/Windows-NT/95 port
756 Reconsider. Try Linux. It's fun!