Re: Feathered Beam Timing

Hi Steph, I'm not an expert with the \featherDurations interface, but this: On Sat, May 11, 2024 at 3:53 PM Steph Phillips wrote: > > \once \override Beam.grow-direction = #LEFT > \featherDurations 6/4 { d16[-. d-. d-. d-. d-. d]-. } | > seems to disagree with how the tutorial describes it:

Re: Frescobaldi?

Hi Kieren, On Mon, Apr 29, 2024 at 3:12 PM Kieren MacMillan < kie...@kierenmacmillan.info> wrote: > > 1. Any thoughts about what the optimal package is? > I use TexStudio for all my TeX work, and it's excellent. Here: https://texstudio.sourceforge.net (shoutout to extremely old-skool

Re: Frescobaldi?

so that worked. I do indeed lose point-and-click, but it's good to know that if frescobaldi stops working I at least have a backup. Thanks for the help! N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin

Re: Frescobaldi?

to use it. How do you integrate lilypond-book into a LaTeX toolchain? Cheers, N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin On Mon, Apr 29, 2024 at 12:35 PM Jean Abou Samra wrote: > > > It gets a bit more complicated now. See this bug: > > https://bugs.freebsd.org/bugzil

Re: Frescobaldi?

OK, so maybe I should just move lilypond work into my LaTeX IDE for the time being. Since my lilypond installation isn't on the system PATH, how do I include it as part of a .tex document to get access to the lilypond-book commands? Cheers, N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin

Re: Frescobaldi?

league of mine who does python and UI development, and they're going to have a look at the code and see what needs updating to work with Qt6. Cheers, N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin On Mon, Apr 29, 2024 at 10:49 AM Hajo Baess wrote: > Would it maybe make things a bi

Re: Frescobaldi?

ust testing). > > Cheers, > Kieren. > __ > ah, whoops, my mistake. I missed the context. Sorry about that. N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin

Re: Frescobaldi?

y of where the sticking points are? Cheers, N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin On Sun, Apr 28, 2024 at 4:08 PM Kieren MacMillan < kie...@kierenmacmillan.info> wrote: > Hi all, > > >> If there is busy work that needs to be done on the project, I can do > that, but

Frescobaldi?

, N. Andrew Walsh er/ihn/ihm/sein | he/him/his Berlin

Re: using partcombine with different clefs, repeats, text

! A er/ihn/ihm/sein | he/him/his Berlin On Sun, Nov 12, 2023 at 10:30 AM N. Andrew Walsh wrote: > Hi List, > > sigh … here we go again. I apologize in advance for my client, a hobbyist > composer who thinks entirely in terms of cutting and pasting, moving things > around manually, a

using partcombine with different clefs, repeats, text

atory text cluttering up the score? Thanks for the help, N. Andrew Walsh, PhD, Dr. phil. Komponist, Musikwissenschaftler | Composer, Musicologist er/ihn/ihm/sein | he/him/his Berlin

Re: Score structure with alternate endings

Thu, Nov 2, 2023 at 9:43 AM N. Andrew Walsh > wrote: > >> Another question: is it possible to set the key signature for the two >> "alternate" sections to be different? I know I can hide one, but is it >> possible for different voices to have/display key sign

Re: Score structure with alternate endings

r? Cheers, Andrew er/ihn/ihm/sein | he/him/his Berlin On Thu, Nov 2, 2023 at 1:30 PM Michael Werner wrote: > On Thu, Nov 2, 2023 at 7:11 AM N. Andrew Walsh > wrote: > >> One question: you add some extra padding between the two variants with an >> \override; is t

Re: Score structure with alternate endings

PianoStaff groups (but not change the staff-staff spacing within each of them)? Thanks again! Andrew er/ihn/ihm/sein | he/him/his Berlin On Wed, Nov 1, 2023 at 4:51 PM Michael Werner wrote: > On Wed, Nov 1, 2023 at 10:59 AM N. Andrew Walsh > wrote: > >> Hi List, >> > &g

Score structure with alternate endings

Hi List, I have a client who's written a piece where he wants the last 16 bars to have two different variations, to be freely chosen by the performer. Sort of a choose-your-own-adventure score. It's scored for two voices and piano, but the ending(s) would only be the piano. So, grossly

Re: Beams over rests

Hi Paul, I'm sure you know of the override pair: \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.75) ( music with beamed rests here ) \revert Stem.stemlet-length \revert Stem.details.beamed-lengths I'm not aware of any way to set this globally. Well, the first

Re: Stems for rests under quaver beam

Hi Paul, This is fairly common in new music. I've found the most consistent way to get it to look good is by using overrides. Here's how I code it: - \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(4.75) f16->[ f r f] f-> f f f \revert

Re: Question about Lilypond and meterless/free time music

Hello Ariel, please also see the section in the Notation Reference regarding writing cadenzas and other unmetered music: https://lilypond.org/doc/v2.23/Documentation/notation/displaying-rhythms#unmetered-music . You could just treat this passage as a sort of cadenza, and control the barlines

Forcing display of a time signature

Hi List, I have the following: \version "2.20.0" textStencil = #(define-music-function (grob text) (key-list? markup?) #{ \override #grob . stencil = #ly:text-interface::print \override #grob . text = #text #}) timeStencil = \textStencil Staff.TimeSignature \etc { \once

Re: creating "null" time signature for unmetered cadenzas

Hi Pierre, On Sun, Oct 4, 2020 at 1:04 PM Pierre Perol-Schneider < pierre.schneider.pa...@gmail.com> wrote: > Hi Andrew, > How about: > > \version "2.20.0" > { > \time 6/1 > \override Staff.TimeSignature.stencil = #(lambda (grob) > (grob-interpret-markup grob #{ \markup\compound-meter

creating "null" time signature for unmetered cadenzas

Hi List, I have a piece (not mine) for solo violin, with multiple sections of effectively unmetered music (into which the client wants to draw free "graphic" figures, thus requiring empty space). I don't want to show the time signature I'm using to create the empty space (they're usually

Re: compressing full-bar rests

Hi Aaron, On Mon, Sep 28, 2020 at 11:34 AM Aaron Hill wrote: > > See [1] and [2]. It's \compressEmptyMeasures now. That was it! Thank you. I wonder why that doesn't show up in the auto-complete popup. Cheers, A

Re: compressing full-bar rests

Hi Francesco, On Mon, Sep 28, 2020 at 11:20 AM Francesco Intrieri < francesco.intrieri...@gmail.com> wrote: > Hi Andrew ! > > Is it possible that you forgot to write \compressFullBarRests before R2*12 > ? > When I do that, I get an error about an "unrecognized escape string" (even though it

compressing full-bar rests

Hi List, I have a general question. Has compression of full-bar rests been somehow disabled? I have the following score: \version "2.21.1" global= { \time 4/8 } %% (and whatever other settings I want) oDAMusic = \relative c'' { \key f \minor R2*12 | %13 r4 bes } \score {

Re: 2.21.3 and Frescobaldi and documentation

Hi List, I also notice that the HTML interface for the Notation Reference (here: http://lilypond.org/doc/v2.21/Documentation/notation/index.html) seems almost completely broken. It's no longer split-column, and the layout is extremely … text-y. Did something go wrong with the website? Cheers, A

Re: Gentoo python-poppler phaseout

Hi Davide, On Fri, Jan 24, 2020 at 10:32 AM Davide Liessi wrote: > > they are right: indeed python-poppler-qt5 (Python bindings for the Qt5 > frontend of poppler) does not depend on python-poppler (Python > bindings for the glib frontend of poppler). > > thanks for the clarification. I'm using

Gentoo python-poppler phaseout

Hi List, Hi Wilbert, I just want to check something. According to this bug: https://bugs.gentoo.org/706030 gentoo will be removing python-poppler from its tree. The dev there asserts that python-poppler-qt5 does not require python-poppler, and the version in the gentoo repo does not. Wilbert,

Re: transpositions within a global key setting.

Hi Rick, On Mon, Dec 9, 2019 at 4:54 PM Rick Kimpel wrote: > Andrew, > Try this: > What I ended up having to do was this, inside the \score block: \new Staff = "Staff_oboeDA" << \transposition a \transpose a c << \global \oDAMusic \keyandtempo >> >> (\keyandtempo is another

transpositions within a global key setting.

Hi List, let us say I have a piece where I want to specify the key signature once for all instruments. I have something like the following: \version = 2.19.82 global= { \key f \minor \time 4/8 } %% (and whatever other settings I want) oDAMusic = \transpose a c { \relative c''' { \key

Re: Copyright, was [Re: Musicology with Lilypond (and now correct attachments ;-)]

though I generally loathe such usage terms, wouldn't some clause in the list's ToS to the effect that use of the list grants some nonexclusive but unrestricted right to copy/use that material alleviate these concerns? Those kinds of clauses are part of every online email service, for example

Re: \editorialMarkup correction with null value

Hi Urs, On Tue, Oct 15, 2019 at 4:30 PM Urs Liska wrote: > I can't test right now, but I'd first try with these variants > correction { s1*0 } > correction { <>1*0 } > correction { {} } > > The first of these worked fine, but it turns out my problem wasn't exactly that. From what I can tell, in

\editorialMarkup correction with null value

Hi List, I'm copying an old manuscript that has erroneously put a ten-bar rest at the end of two voice parts. I want to use the ScholarLY interface to add an annotation to address this in the source. From what I understand of the documentation, the syntax is the following: ---

Re: \partial and measure numbers

Hi fff, On Fri, Oct 11, 2019 at 2:25 PM foxfanfare wrote: > > Hi, > > The traditional behavior is to not count a partial measure in the total, so > yes it should be counted as "0". If you want to count it, you should just > add \set Score.currentBarNumber = #2 before your first measure. >

\partial and measure numbers

Hi List, I haven't used Lily in about a year, and I'm confused about the way it handles the \partial command and measure numbers at the beginning of the score. I have the following: - \version "2.19.47" music = \relative c'' { %1 \partial 8 r8 | %2 r2 bes4 r }

Re: divisi music for one measure

hyphens or unterminated phrasing slurs. Thanks for the help, A On Thu, Apr 4, 2019 at 9:55 PM N. Andrew Walsh wrote: > Hi Valentin, > > On Thu, Apr 4, 2019 at 6:10 PM Valentin Villenave > wrote: > >> On 4/4/19, N. Andrew Walsh wrote: >> > how do I ensure that only t

Re: divisi music for one measure

Hi Valentin, On Thu, Apr 4, 2019 at 6:10 PM Valentin Villenave wrote: > On 4/4/19, N. Andrew Walsh wrote: > > how do I ensure that only the lyrics in \altvocoLyricsSop get > > attached to it, then resume following \voceMusicSop afterwards? > > You can \set the ass

divisi music for one measure

Hi List, I have the following MWE: \version "2.19.82" \layout { \context { \Lyrics \name AltLyrics \alias Lyrics \override LyricText.font-shape = #'italic } \context { \StaffGroup \accepts AltLyrics } } %% Doesn't do a lot, apart from avoid warnings when

Re: \markup on "topmost" voice in a Frenched score?

Hi Aaron, On Thu, Mar 14, 2019 at 4:36 PM Aaron Hill wrote: > > Seems like \mark would work. RehearsalMarks belong to the Score and are > by default placed above the entire system regardless of any staves. > > This does seem like it wold work well. Is there a way to have a \mark that includes

\markup on "topmost" voice in a Frenched score?

Hi List, I have a small chamber setting that includes section titles that the client wants at the top of systems (stuff like "Interlude," "Finale," etc.). The problem I'm having is, as this is a "Frenched" score the topmost voice isn't always the same one. So I can't attach a \markup to a

Re: weird error with \repeat tremolo

Hi Aaron On Wed, Mar 6, 2019 at 4:11 PM Aaron Hill wrote: > > The bug would seem to be that LilyPond is not allowed to increase the > length of a stem to accommodate StemTremolo grobs with notes that are > beamed. Or perhaps, it is allowed but is failing to do so. Either way, > the code that

Re: weird error with \repeat tremolo

. 2019 um 11:02 Uhr schrieb N. Andrew Walsh > > : > >> > >> Hi Aaron, > >> > >> On Mon, Feb 25, 2019 at 10:50 AM Aaron Hill > >> wrote: > >>You could try manually lengthening > >>> > >>> the stem to see if it

Re: Roman Numeral rehearsal marks?

Hi Aaron On Wed, Mar 6, 2019 at 11:51 AM Aaron Hill wrote: > > > > \mark produces RehearsalMark grobs. These are usually at the \Score > > level, so you can either \override where you use \mark, or you can do > > it within \layout: > > > > > > \version "2.19.82" > > \layout { \context {

Re: Roman Numeral rehearsal marks?

ed, Oct 24, 2018 at 6:48 PM N. Andrew Walsh wrote: > PS- update: I figured out the problem, so now it's resolved (and in the > process dropped an \include that was loading a whole bunch of libraries I > turned out not to need, saving on compile time as well). > > Thanks again! > &g

Re: weird error with \repeat tremolo

Hi Aaron, On Mon, Feb 25, 2019 at 10:50 AM Aaron Hill wrote: You could try manually lengthening > the stem to see if it helps as a possible workaround. > I've gone all the way out to \once \override Beam.positions = #'(-20 . -24) and still get the error, so I don't think tweaking stem

weird error with \repeat tremolo

Hi List, I have the following passage: \version "2.19.82" \relative c'' { \time 4/8 | %45 d32\( b g d \repeat tremolo 4 { b32 } \repeat tremolo 8 { g32 } | %46 \repeat tremolo 8 { d'32 } \repeat tremolo 8 { g,32\) } } -- It compiles

Re: \repeat volta question

Hi Jacques, On Thu, Feb 21, 2019 at 6:42 PM Jacques Menu wrote: > Hello folks, > > What does the ‘5’ mean in: > [SNIP] as I understand it, the number after the volta function doesn't do much on its own, but it enables you to specify alternate endings, as described here:

Trill spanner on pitched trills collision avoidance

Hi List, another issue I'm running into: According to NR 1.3.3, "consecutive trill spans will work without explicit \stopTrillSpan commands, since successive trill spanners will automatically become the right bound of the previous trill." However, in this example: \version "2.19.82" \relative

Compact clusters

Hi List, I have the following for an electronics part in a short example for chamber ensemble: \version "2.19.82" \makeClusters \relative c' { \clef varpercussion \override Staff.StaffSymbol.line-count = #1 \omit Staff.Rest %1 \time 3/4 r8. < a d >64. r r64 r < a d >64. r < a d > r

Re: Harmonics with ottava

PS- also, I've made use of http://lsr.di.unimi.it/LSR/Item?id=875, which gets the notes in the correct positions. My example now looks like this: --- \version "2.19.82" \relative c, { \clef "bass_8" \textLengthOn \override Staff.NoteColumn.ignore-collision = ##t \override

Re: Harmonics with ottava

Hi Andrew On Thu, Feb 7, 2019 at 11:51 AM Andrew Bernard wrote: > Hello Andrew, > > Why are quartertones technically wrong? > Quartertones are wrong for harmonics (especially "natural" ones), because neither the finger position nor the resultant pitch are equivalent to equal-tempered

Harmonics with ottava

Hi List, I have the following construction: -- \version "2.19.82" \relative c, { \clef "bass_8" \textLengthOn \override Staff.NoteColumn.ignore-collision = ##t \override NoteHead.style = #'harmonic-mixed << { \oneVoice eih^\markup { \right-align "Sul D"

Re: harp basic muffle

Hi Rachel, thanks for the muffle glyphs, they look really nice. A question: is there a way to get the stem_engraver to accept these glyphs? If it could, it would be possible to notate string-specific muffling (something called for by some contemporary scores). Thanks for the help, A On Fri,

Re: Rotated StaffGroup InstrumentName?

PS- d'oh, nevermind that last. I discovered "\override Staff.InstrumentName.X-offset" -A ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Rotated StaffGroup InstrumentName?

Hi Jan-Peter, On Mon, Jan 28, 2019 at 4:39 PM Jan-Peter Voigt wrote: [stuff] Yes, that is exactly what I was looking for, thanks very much! My next problem is that this now overlaps the staff instrument names. I could fix this with a bigger indent in the \paper block, but changing the

Rotated StaffGroup InstrumentName?

Hi List, quick general question: if I have a StaffGroup, like this in my score: -- \new StaffGroup = "Staff_soloists" << \new Staff = "Staff_oboe_solo" << \global \exTwoOboeMusic >> \new Staff = "Staff_guitar_solo" <<

Re: harp basic muffle

Hi Valentin, On Thu, Jan 24, 2019 at 9:05 AM Valentin Villenave wrote: > > Greetings everybody, > I’ve just added a LSR snippet for harp muffle notation, feel free to > let me know if there’s any way I can improve it… > > http://lsr.di.unimi.it/LSR/Item?id=1085 thank you very much for posting

Re: harp basic muffle

PS- it turns out that Gould, p. 365, has a recommended notation for damping individual strings, and it's less cluttered: she uses small notes with damping symbols on their stems, and has other notation for damping a specific range. That's probably easier than a spanner.

Re: setting one \book to landscape

Hi List, On Sat, Jan 19, 2019 at 12:39 PM N. Andrew Walsh wrote: > > I have an input file with the following structure: > > \paper { > #(set-default-paper-size "a3" ) > } > > \include "file 1 - content.ly" > \include "file 2 - c

setting one \book to landscape

Hi List, I have an input file with the following structure: \paper { #(set-default-paper-size "a3" ) } \include "file 1 - content.ly" \include "file 2 - content.ly" \book { \include "file 1 - score.ly" } \book { \include "file 2 - score.ly" } The second file has its own paper block as

Re: Problem with german umlauts and with mapping text to notes

Hi Klaus, On Sun, Jan 13, 2019 at 2:50 PM Klaus Ethgen wrote: > > - First there is the German umlauts. As you can see in the example, it > is correct encoded in UTF-8 but the umlauts are encoded as "??". > I did already try to use no bomb or even in latin1 encoding. But > nothing helped.

Re: garbage-collection/trampoline error with beams and accidentals

Hi David, On Fri, Jan 11, 2019 at 5:58 PM David Kastrup wrote: > > Just put the whole path in "double quote marks". > thanks. OK, now I must confess I don't really know what was going wrong exactly, but I resolved the error. My main file had a bunch of variables defining each instrument, and

Re: garbage-collection/trampoline error with beams and accidentals

On Fri, Jan 11, 2019 at 5:21 PM David Kastrup wrote: > > You have to start gdb with the name of your LilyPond executable. > > -- > David Kastrup > Ugh, OK, now it's getting confusing. Since gdb can't handle whitespaces in the path, I copied the whole project directory into a new folder, and

Re: garbage-collection/trampoline error with beams and accidentals

On Fri, Jan 11, 2019 at 4:36 PM David Kastrup wrote: > > I cannot really find the location where this error would get triggered, > so indeed a backtrace in gdb would be helpful. > > When I get to the (gdb) prompt, I try this: (gdb) run /[PATH]/plus-minus\ example\ 1.ly -file Starting program:

Re: garbage-collection/trampoline error with beams and accidentals

Hi David, On Fri, Jan 11, 2019 at 4:06 PM David Kastrup wrote: > With the given example, I get no problem with either one or both of > those changes. > > How about actually posting the full error message? > Like I said: it works fine on its own; but within a larger orchestral piece, under

garbage-collection/trampoline error with beams and accidentals

I have the following code: \version "2.19.82" \relative c' { \clef alto \override Score.Stem.stemlet-length = #0.75 deh,2\f~ deh | %2 deh2 %\once \override Beam.positions = #'(2.5 . 1.5) c'16\rest[ deh,8.] } That compiles fine on its own. However, in the context of a full orchestra

Re: lilypond.org blocked by OpenDNS?

Hi Sasha, Likewise, happy New Year. On Sun, Jan 6, 2019 at 8:12 PM SashaO wrote: > Hello and Happy New Year! > > I have something installed on my computer that uses OpenDNS and it blocks > lilypond.org with the message: > Not sure what that's about. My VPN uses OpenDNS for name resolution,

Re: <>

On Fri, Jan 4, 2019 at 1:45 PM Thomas Morley wrote: > > A dot is missing. > That's because the two dots are of the two aes2. are joined into one > single dot. Which is hidden by \hideNotes. > > Cheers, > Harm > holy moly, this way of notating is so wrong I had no idea what was actually going

Re: <>

But maybe also as an aside: On Fri, Jan 4, 2019 at 10:34 AM Thomas Morley wrote: > Am Fr., 4. Jan. 2019 um 10:20 Uhr schrieb Gianmaria Lari > : > > > > The attached image shows a measure of a accordion piece from Bogdan > Precz. > I'm not sure why you're coding this with spacer rests anyway.

"as fast as possible" pseudo-tuplets

Hi List, I'm working on a realization of Stockhausen's "Plus Minus", and one of its frequent features is the instruction to play a group of notes "as fast as possible". In contemporary music notation there is a common practice of notating rapid passages with a single slashed beam and irregular

Re: lilypond-book→latex

On Fri, Dec 21, 2018 at 7:24 PM Urs Liska wrote: > > Why do you want this? Is there any specific reason not to use lualatex? I > know you already run lyluatex in the Kayser project. > Well, because in this case it's in a chapter in my dissertation, the whole of which is in Lyx. I'd rather avoid

Re: lilypond-book→latex

users who got this working? Cheers, A On Fri, Dec 21, 2018 at 7:14 PM Federico Bruni wrote: > > > Il giorno ven 21 dic 2018 alle 11:24, "N. Andrew Walsh" > ha scritto: > > Hi List, > > > > dumb question: I'm trying to integrate lilypond into my Lyx docum

lilypond-book→latex

Hi List, dumb question: I'm trying to integrate lilypond into my Lyx document, and while it has the lilypond-book module, it says it can't find the "lilypond-book→(pdf)latex" package. Where do I find this package? I have lilypond installed in its own subdirectory, as well as my texlive

Re: feathered beam calculations

something Lily could do really well, but I don't think the tool has been really developed. Cheers, A On Sat, Dec 15, 2018 at 8:02 PM Reggie wrote: > N. Andrew Walsh wrote > > Hi List, > > > > I'm trying to use the \featherDurations command on a brief passage: > &g

Re: using Lilypond as a graphical drawing app

ohmygod, is anybody still working on this? The idea to somebody re-doing Treatise in Lily *as vector graphics* literally made me gasp. That's some next-level insanity. Kudos to you, to whoever coded that, and to everybody. I … I need to go sit down for a while. Cheers, A On Sat, Dec 8, 2018 at

Re: Roman Numeral rehearsal marks?

PS- update: I figured out the problem, so now it's resolved (and in the process dropped an \include that was loading a whole bunch of libraries I turned out not to need, saving on compile time as well). Thanks again! On Wed, Oct 24, 2018 at 6:39 PM N. Andrew Walsh wrote: > Hi Thomas,

Re: Roman Numeral rehearsal marks?

Hi Thomas, Ben for some reason, neither of your codes seem to work: I always get arabic numerals in a box if I use \mark \default. I think something is overriding that setting elsewhere in my config files; I'll try to track it down. The MWE Ben sent works just as I want it to on its own, but not

Roman Numeral rehearsal marks?

Hi List, is there any other available format for rehearsal marks? My client wants Roman numerals, and the workaround I've been using: <>^\markup { \raise #4 \right-align \abs-fontsize #16 \bold { "IV" } } doesn't work if the voice containing it is resting at that point (or, conversely, I don't

Re: adding footnote to markup on invisible measures

arrgh, yes, you are correct, and I am absent-minded. Thanks Thomas! On Mon, Aug 27, 2018 at 3:02 PM Pierre Perol-Schneider < pierre.schneider.pa...@gmail.com> wrote: > ... Thanks to Thomas Morley-Harm... > Cheers, > Pierre > > Le lun. 27 août 2018 à 11:47, N. Andrew Walsh

Re: adding footnote to markup on invisible measures

! A On Tue, Aug 21, 2018 at 6:32 PM Thomas Morley wrote: > 2018-08-21 15:52 GMT+02:00 N. Andrew Walsh : > > Hi Pierre, > > On Mon, Aug 20, 2018 at 9:44 PM Pierre Perol-Schneider > > wrote: > >> > >> Here's a workaround: > >>> > >>&g

Re: adding footnote to markup on invisible measures

Hi Pierre, On Mon, Aug 20, 2018 at 9:44 PM Pierre Perol-Schneider < pierre.schneider.pa...@gmail.com> wrote: > Here's a workaround: > >> >> Thank you for the tip, but as this is one of several footnotes, and I want them to be numbered in sequence, it doesn't work for me. Is there some

adding footnote to markup on invisible measures

Hi List, for "reasons" I have a passage that should have blank staves with no barlines, rests, clefs, etc. However, at the start of the section is an expressive mark, which should itself have a footnote. What I have thus far is as follows: \version "2.19.80" \relative c { \time 2/4

Re: Opinions requested on deprecating "annotation" commands

Hi Urs, List On Sun, 1 Jul 2018, 00:08 Urs Liska wrote: > Hi Simon and Craig, > > I think it's a good point. And since maybe I'll have to suffer more than > anyone else ;-) I shouldn't wring my hands too much and just go for that. > I'll consent to slogging through all our Kayser project to

Re: weird de-beaming behavior

Hi Phil, On Wed, Jun 20, 2018 at 2:26 PM Phil Holmes wrote: > > You could keep making odd examples of undefined beaming until the cows > come home, but surely it would be a lot quicker just to beam manually??? > I suppose, actually (and I'll talk to Urs about this) that since the sources I'm

Re: weird de-beaming behavior

Hi Phil, On Wed, Jun 20, 2018 at 1:18 PM Phil Holmes wrote: > I'm no expert on lily's beaming system. However, in your second example > you don't break an existing beam with a bar/line break, so it's rather > different from the first where the "correct" beaming was broken. > > Not knowing

Re: weird de-beaming behavior

Hi David On Wed, Jun 20, 2018 at 12:33 PM David Kastrup wrote: > > In this case you have 3 beats before the break. The bar is complete. > In your first example you had only two. > Both MWEs are complete in themselves, thus the latter, with no \time statement, is in the default 4/4. Sorry, I

Re: weird de-beaming behavior

Hi Phil, thanks for your message. The thing is, here's another example: \version "2.19.80" \relative c'' { c e, g16 a b8 \bar "" \break r e, g16 a b8 } The 'g16 a b8' in the first line is beamed correctly. Is this something peculiar to 3/4 time? Cheers, A >

weird de-beaming behavior

Hi List, I have the following MWE: \version "2.19.80" \relative c'' { \time 3/4 e8 d16 c d8 d \bar "" \break g, f'~ } Notice that the last two eighth-notes in that first line, in this case, are un-beamed. However, when I comment out the next line (starting with the

Re: \consists terminology

Hi David, On Fri, Jun 15, 2018 at 6:37 PM David Kastrup wrote: > > "consists of" and "will include the following as one of many > constituents upon instantiation to be part of its translator group" is > not the same. > > Well, if the latter of these is what "\consists" is intended to mean in

Re: Advice on naming and structuring scholarLY commands

Pedantry Corner: the *active* verb that Elaine is seeking is actually "comprise." As in, "the committee comprises representatives from various disciplines." The verb in the opposite direction is "compose:" "representatives of various disciplines compose the committee." "Composed" can be used in

Re: lyluatex can't execute Lilypond

Hi David, On Wed, Apr 25, 2018 at 12:21 PM, David Kastrup wrote: > > > I suspect /path/to/lily/wrapper/lilypond . Can you show the actual > input? It may contain special characters (such as spaces) causing > problems. > > After noticing that the script is referring to my system

lyluatex can't execute Lilypond

Hi List, Urs and I are having trouble figuring out why my version of lyluatex isn't working. I have the following MWE: \documentclass{scrartcl} \usepackage[program=/path/to/lily/wrapper/lilypond]{lyluatex} \begin{document} \begin{lilypond} c' \end{lilypond} \end{document} but the command

Re: Is lilypond really suitable for composing?

Pfft. Amateurs. Ahem: ". . . But later, an unmusical anarchy was led by poets who had natural talent, but were ignorant of the laws of music...Through foolishness they deceived themselves into thinking that there was no right or wrong way in music, that it was to be judged good or bad by the

Re: Is lilypond really suitable for composing?

On Sat, Mar 24, 2018 at 6:03 AM, Vaughan McAlley wrote: If it isn’t hard, you can probably do better. +1 >From my own (admittedly pretty out-there) view on how and what one composes, I can also say that *not* having immediate acoustic feedback of the work you're doing

Re: Frescobaldi sudden failures on all machines

Hi Peter, I'm not at all an expert on any of this (or even really competent) but some quick googling returns this thread: http://lilypond.1069038.n5.nabble.com/Strange-return-code-and-compilation-fail-td145362.html where they say that error is an access violation from within Lilypond (ie, it's

Re: Fermatas with tremolos

Late to the party, but you asked: On Mon, Feb 19, 2018 at 11:47 PM, Thomas Morley wrote: > > https://forums.makemusic.com/viewtopic.php?f=12=2065= > 70206c7b17c9cd8107c4ad1250073f0c > But not discussing how it _should_ be done. > I don't have Gould at hand, does she

Re: Gis major key signature; Lily's key signature algorithm

; Andrew > > > On 8 February 2018 at 21:26, N. Andrew Walsh <n.andrew.wa...@gmail.com> > wrote: > >> >> . In fact, there is a mammoth study on 19th century temperaments (with >> the equally gargantuan title "Tuning: Containing the Perfection of >>

Re: Gis major key signature; Lily's key signature algorithm

t; thought of it. -A On Thu, Feb 8, 2018 at 11:21 AM, Hans Åberg <hans.aber...@telia.com> wrote: > > > > On 8 Feb 2018, at 10:39, David Kastrup <d...@gnu.org> wrote: > > > > "N. Andrew Walsh" <n.andrew.wa...@gmail.com> writes: > > > &

Re: Gis major key signature; Lily's key signature algorithm

Hi David, On Thu, Feb 8, 2018 at 10:39 AM, David Kastrup wrote: > > Don't be silly. Equal temperament most certainly is not > "technologically impossible". please note the qualifier "in the 18th century." The technological means to tune *exact* equal temperament weren't

Re: Gis major key signature; Lily's key signature algorithm

On Thu, Feb 8, 2018 at 9:38 AM, Blöchl Bernhard < b_120902342...@telecolumbus.net> wrote: > > Not in equally tempered scale. All that feelings of keys refer to the > historic tunings. And by the way, do you know that Bachs "Wohltemperierte > Klavier" was written just to show how awfull that

Re: duration longer than meter?

Bernhard, I'm not sure to what your first statement refers, but regarding the second, the issue here is that Vivyan is reading the measure wrong. There are two parallel voices in the linked image: On Sat, Feb 3, 2018 at 8:14 PM, Vivyan wrote: > > This excerpt is

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