Re: invisible slurs in tablature
Carl D. Sorensen schrieb:
If I understand correctly, you have a group of interested users who are
working on defining how Tablature should behave.
You also have a couple of tablature users who are interested in becoming
Frogs and thus joining the development team (Marc is one of them, IIRC).
When you have agreement as to what should be the default for tablature, then
it will be time to add the changes to the distribution (and Marc would be an
ideal person to do it).
Right now, as I understand it, there are some users who regularly have
TabStaffs without any other staff. These users need stems, beams, flags,
ties, slurs, etc.
There is also a group of users who regularly use TabStaff with Staff. These
users want only numbers, because the beams, stems, slurs, ties, etc. are all
in the regular music staff, and the TabStaff is only showing fret and string
information.
Yes, that's right. In songbooks you normally find regular music staves
with the additional
information about fret and string numbers, so the stems and stuff would
simply look too
complicated.
On the other hand, when I write down the intro of a song played by
guitar in tablature and the
rest of the song is simply the lyrics with some chords above, I want to
have the stems in the
tab to save space on the song sheet.
People who care strongly about tablature (of which I am *not* one) should be
the people who make the decision about what the default should be. In fact,
I don't think there's anybody on the core development team who is strongly
interested in tablature.
That being said, I don't think that the decision to make notes only or full
music the default is a very important decision, as long as there is a single
command to change to the other style.
Would it be easier to define two separate staff commands? In my files, I
define
noten = \relative c { c d e f }
and feed this into a Staff AND a TabStaff. So, why not create a compound
Staff (called \MusicTabStaff, for example),
which does exactly the same as
\Staff { \noten } \TabStaff { \numbersOnly \noten }
and uses only the numbers, whereas \TabStaff (as defined in lilypond) is
used in the cases where
no regular staves are needed and thus shows up everything (stems, slurs
etc.)?
When the decision is made, and it's ready for submission to LilyPond, the
defaults will be established in ly/engraver-init.ly
The commands for changing from one to the other will be established in
ly/property-init.ly.
Marc, once you've got consensus, you can make the changes and roll me a
patch, and I'll apply it.
Ok, but I think we are just at the beginning of the topic. The more I
think about tablature features/defaults,
the more complicated it gets ;-)
Marc
Thanks,
Carl
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Re: invisible slurs in tablature
I think you should also add: \override TabVoice.Tie #'transparent = ##t Yes, of course. But then another problem occurs: if the tie isn't visible, it looks as if there are two distinct notes. Therefore, I think strongly about a scheme function (which at the end should be hidden in the TabVoice-context) which translates, e.g. c4 d e2 ~ e4. e8 to c4 d e2 s4. e8 so the spurious tablature number disappears in the output. From earlier postings I knew that there are several functions about automatically calculating intervals etc., but I'm a scheme newbie. So I would be glad if someone out there would give me a hint how to start writing such a function. I'm in doubt about that modern TAB sign... (all though it's always good to have some choices) I know most of the software / books display it like that, but should we follow that or fits the default tab sign better in Lilypond? \r Hm, personally I don't like the standard LilyPond tab sign, but it should be easy to switch between the two and leave the desicion to the user. Marc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: download versie 2.12
2009/4/1 Christ van Willegen cvwille...@gmail.com: On Tue, Mar 31, 2009 at 11:55 PM, Trevor Daniels t.dani...@treda.co.uk wrote: They vary, but Firefox has a recognised certificate which identifies the publisher as Mozilla Corporation. The certificate was issued by Thawte Code Signing CA. ...and those certificates are $599. Ouch. If other GNU software is not paying this, I propose to treat LilyPond as such and never pay to avoid a click on an alert. IMHO -- Francisco Vila. Badajoz (Spain) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: invisible slurs in tablature
Marc Hohl wrote: I think you should also add: \override TabVoice.Tie #'transparent = ##t Yes, of course. But then another problem occurs: if the tie isn't visible, it looks as if there are two distinct notes. Therefore, I think strongly about a scheme function (which at the end should be hidden in the TabVoice-context) which translates, e.g. c4 d e2 ~ e4. e8 to c4 d e2 s4. e8 so the spurious tablature number disappears in the output. From earlier postings I knew that there are several functions about automatically calculating intervals etc., but I'm a scheme newbie. So I would be glad if someone out there would give me a hint how to start writing such a function. You're right, good point. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Multiple scores with common layout setup
Hello,
I have a Theme and Variations questions. I started notating a piece
what could be handled with (3.1.2 Multiple scores in a book, see also
http://lsr.dsi.unimi.it/LSR/Item?id=310). But I need a lot of layout
setup in the PianoStaff, that is bound to the \score. Further I would
like to write the Upper, Lower and Dynamics of the three variations in a
similar way as I did for the theme.
What is a convinient way to continue this notation work? I would like to
avoid duplicating text group by copy and paste.
Any other suggestions are welcome.
Best regards,
Helge
\version 2.10.4
\include deutsch.ly
\include pedal.ly
upperStaff = \relative c' {
\clef treble \key ces \major \time 2/4
\set Staff.midiInstrument = harp
\tempo 4=60
\repeat volta 2 {
\set fingeringOrientations = #'(left)
ces-4 es-3 ces'-14(^Andante_\markup \harp-pedal #^^^|^^^- ces es ces') |
{ ces'4\\arpeggio( b4-2) } \\ { des, fes2\arpeggio } |
des fes b4( des fes b) |
{ b'4\arpeggio( as) } \\ {
\set fingeringOrientations = #'(left)
\once \override Staff.Arpeggio #'padding = #-0.2
ces,-4 es-32\arpeggio } |
es as ces es4( es as ces es) |
{ es'4.\arpeggio des8 } \\ { fes, as b2\arpeggio } |
es as ces4 des g b |
ces as'2\accent |
}
\repeat volta 2 {
es ges ces es8.[\arpeggio des'16(-2 ces8.)-3 es16](-2 |
ges2) |
ces,, es as ces8.[\arpeggio b'16-2 as8.-3 ces16-2] |
es2 |
fes, as des fes4\arpeggio fes as des fes\arpeggio |
fes as des fes4\arpeggio fes as es'8.-1\arpeggio des'16-2 |
fes, as des4-1\arpeggio fes as ces8.-1 b16-2 |
des, g b4-1\arpeggio es-3 |
ces es ces'4( ces es ces') |
{ ces'4\arpeggio( b) } \\ { des, fes2\arpeggio } |
des fes b4( des fes b4) |
{
\set fingeringOrientations = #'(left)
b'\arpeggio( as)
} \\ { ces,-4 es-32\arpeggio } |
es as ces es4( es as ces es) |
{ ces' es4.\arpeggio b des8 } \\ { fes as2\arpeggio } |
es as ces4 des g b |
ces as'2
}
}
dynamic = {
% line 1
s4\p\ s\! s\ s\! |
s4\ s\! |
s4\ s\! |
s4\ s\! |
s2 |
% line 2
s4\ s | s2\! |
s2 | s2 | s2 | s2 |
% line 3
s2 | s2 | s4\ s | s4 s\! |
s4\p\ s\! | s4\ s\! |
% line 4
s4\ s\! |
s4\ s\! |
s4\ s\! |
s4 s\ | s s | s2\! |
}
lowerStaff = \relative c {
\clef bass \key ces \major \time 2/4
\set Staff.midiInstrument = harp
\repeat volta 2 {
as as,4 as as' |
g g'2 |
g g,4 g g'4 |
as as'2
ces ces,4 ces ces'4 |
des des'2
es4 es, |
as'4 as, |
}
\repeat volta 2 {
ces es ges ces4\arpeggio ces' es
ces ces,4 ces es |
as es ces as4\arpeggio as ces |
as as,4 as ces |
des, as fes des4\arpeggio des fes as des\arpeggio |
des as fes des4\arpeggio des fes as des\arpeggio |
des des,4 des des' |
es es,4 r |
as, as,4 as as' |
g g'2 |
g g,4 g g' |
as as'2 |
ces ces,4 ces ces' |
des des'2 |
es4 es, |
as'4 as, |
}
a b c
}
\book {
\header {
title = \markup { \italic Thema }
subtitle =
composer = \markup { John Thomas }
dedication = { }
tagline = \markup { }
}
\score {
\context PianoStaff
\set PianoStaff.connectArpeggios = ##t
\set PianoStaff.instrumentName = Harfe
\new Staff = upper \upperStaff
\new Dynamics = Dynamics_pf \dynamic
\new Staff = lower \lowerStaff
\layout {
% define Dynamics context
\context {
\type Engraver_group
\name Dynamics
\alias Voice
\consists Output_property_engraver
\consists Piano_pedal_engraver
\consists Script_engraver
\consists New_dynamic_engraver
\consists Dynamic_align_engraver
\consists Text_engraver
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
pedalSustainStrings = #'(Ped. *Ped. *)
pedalUnaCordaStrings = #'(una corda tre corde)
\override DynamicLineSpanner #'Y-offset = #0
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
}
% modify PianoStaff context to accept Dynamics context
\context {
\PianoStaff
\accepts Dynamics
}
}
}
\score {
\unfoldRepeats {
\context PianoStaff
\context Staff = upper \upperStaff
\context Staff = lower \lowerStaff { a b c d e f g }
}
\midi { }
}
}
% The following defines a new markup command
% \harp-pedal #^-v|--v^
% for harp pedal diagrams. Possible values in the string are:
% ^ ... pedal is up
% - ... pedal is neutral
% v ... pedal is down
% | ... vertical divider line
% The function does not check if the string has the typical form of three
% pedals, then the divider and then the remaining four pedals. Instead it
% simply prints each symbol in the order as given. This means you can place
% the divider (even multiple dividers) anywhere you want.
%
% There is also a \harp-pedal-verbose version, which
% takes a list of directions and a possible |. Unfortunately, it has some
% caveats:
% 1) the | cannot be given as a string |, but as a
Re: Multiple scores with common layout setup
In message 49d32d78.8070...@gmx.net, Helge Kruse
helge.kruse-nos...@gmx.net writes
Hello,
I have a Theme and Variations questions. I started notating a piece
what could be handled with (3.1.2 Multiple scores in a book, see also
http://lsr.dsi.unimi.it/LSR/Item?id=310). But I need a lot of layout setup in
the PianoStaff, that is bound to the \score. Further I would like to write
the Upper, Lower and Dynamics of the three variations in a similar way as
I did for the theme.
What is a convinient way to continue this notation work? I would like to
avoid duplicating text group by copy and paste.
Any other suggestions are welcome.
If it's all the same code, just bung it in a \include!
If it's similar code, look at using tags.
I create parts as separate files and an awful lot of my stuff is in
includes. For example, all the piece information for the header is in an
include and the part file contains
\header {
instrument = ...
\include header.ly
}
Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk
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Re: Review of Valentin's Opera
2009/4/1 Francisco Vila paconet@gmail.com: At the same time, you all know what's the relation between the article and LilyPond: although not mentioned in the text, the first opera by Valentin Villenave is licensed as free software, and it has been fully typeset using Lily. It has been a remarkable absolute première and the article gives a very good value to the work and the performance. Thanks a lot for sharing this; I had met with this journalist a few months ago, and as I told him about alternate licencing choices, about publishing the score on my own using a Free-software tool, I noticed that he was less than convinced. I met him again after a performance of my opera, and he confessed he hadn't been expecting to see something as professional (his word) as what he'd just seen. I take this opportunity to say Kudos! to all the great lilyponders who are using, developing and promoting this great piece of software. As I said, LilyPond's job was remarkably appreciated by the musicians and by the orchestra's librarist. Besides, writing and editing the score was made way easier and more pleasant than anything I could have expected. No matter the value of this project itself (or possibly lack thereof, time will tell), what makes me proud is that I've been able to pursue the path opened by people like Nicolas Sceaux, Kieren, Trevor B., Jose Padovani and several others, and to demonstrate that LilyPond is definitely ready for prime-time: composers, publishers everywhere CAN use, SHOULD use, WILL use LilyPond. And not only LilyPond, but the Freedom that come with it: alternate licences, ability to read, copy and modify the source code, etc. Hopefully we will have, in the future, more and more works published this way; we musicians and citizens of the world certainly do need such a repertoire. So say we all :-) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: invisible slurs in tablature
Marc Hohl wrote: I think you should also add: \override TabVoice.Tie #'transparent = ##t Yes, of course. But then another problem occurs: if the tie isn't visible, it looks as if there are two distinct notes. Therefore, I think strongly about a scheme function (which at the end should be hidden in the TabVoice-context) which translates, e.g. c4 d e2 ~ e4. e8 to c4 d e2 s4. e8 so the spurious tablature number disappears in the output. From earlier postings I knew that there are several functions about automatically calculating intervals etc., but I'm a scheme newbie. So I would be glad if someone out there would give me a hint how to start writing such a function. It should be noted that a publishing standard is when there is a Note Staff + Tab Staff, tied notes (that is, the notes that are 'held') in the Tab Staff are indicated by parenthesizing the tab number(s). There are several conventions that are related to tied notes in a Notes+Tab situation: * Tab numbers that are 'tied to' are sometimes parenthesized, sometimes hidden. * In the case that 'tied to' notes are hidden, a parenthesized tab number is usually forced if the 'tied to' note is at the beginning of a line (i.e., the note is tied over a system break). * Likewise, parenthesized tab numbers are forced when a 'tied to' note begins a 2nd ending or Coda section. * A parenthesized chord in the Tab Staff are indicated with a single pair of parentheses surrounding all of the notes in the chord (as opposed to as single pair of parentheses around each individual note in the chord). Additionally, parenthesized tab numbers figure in released bends. Incidentally, I'm about to submit to the LilyPond-Tab community the first few entries in the catalog of desired tab features and they deal with some simple bends. I was going to try to make a comprehensive list of all 'finger-bend' situations, but that is turning out to be more work than I realized. So, instead I'm doing a short set of the most common bend situations so that this can get rolling sooner. Cheers, David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: invisible slurs in tablature
On 4/1/09 1:09 AM, Marc Hohl m...@hohlart.de wrote:
Carl D. Sorensen schrieb:
Would it be easier to define two separate staff commands? In my files, I
define
noten = \relative c { c d e f }
and feed this into a Staff AND a TabStaff. So, why not create a compound
Staff (called \MusicTabStaff, for example),
which does exactly the same as
\Staff { \noten } \TabStaff { \numbersOnly \noten }
and uses only the numbers, whereas \TabStaff (as defined in lilypond) is
used in the cases where
no regular staves are needed and thus shows up everything (stems, slurs
etc.)?
There are at least two ways to go with this.
The first is to have a StaffGroup that includes a Staff and a TabStaff. It
would be something like a PianoStaff. I don't know the details of how that
would word, but I suspect it could be done.
The second would be to write a simple music function with one argument (call
it myMusic) that expands to
\new Staff { myMusic} \new TabStaff {\numbersOnly \myMusic
\undoNumbersOnly}
This music function would be a simple substitution function. You can use
those in Notation Reference 6.1.2 as examples.
When the decision is made, and it's ready for submission to LilyPond, the
defaults will be established in ly/engraver-init.ly
The commands for changing from one to the other will be established in
ly/property-init.ly.
Marc, once you've got consensus, you can make the changes and roll me a
patch, and I'll apply it.
Ok, but I think we are just at the beginning of the topic. The more I
think about tablature features/defaults,
the more complicated it gets ;-)
Oh, absolutely. But it's not necessary to add everything all at once.
While we're in a development cycle (2.13), we can add features a little bit
at a time, and hopefully be close to done by the time we release 2.14.
Carl
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Re: invisible slurs in tablature
David Stocker wrote: Marc Hohl wrote: I think you should also add: \override TabVoice.Tie #'transparent = ##t Yes, of course. But then another problem occurs: if the tie isn't visible, it looks as if there are two distinct notes. Therefore, I think strongly about a scheme function (which at the end should be hidden in the TabVoice-context) which translates, e.g. c4 d e2 ~ e4. e8 to c4 d e2 s4. e8 so the spurious tablature number disappears in the output. From earlier postings I knew that there are several functions about automatically calculating intervals etc., but I'm a scheme newbie. So I would be glad if someone out there would give me a hint how to start writing such a function. It should be noted that a publishing standard is when there is a Note Staff + Tab Staff, tied notes (that is, the notes that are 'held') in the Tab Staff are indicated by parenthesizing the tab number(s). There are several conventions that are related to tied notes in a Notes+Tab situation: * Tab numbers that are 'tied to' are sometimes parenthesized, sometimes hidden. * In the case that 'tied to' notes are hidden, a parenthesized tab number is usually forced if the 'tied to' note is at the beginning of a line (i.e., the note is tied over a system break). * Likewise, parenthesized tab numbers are forced when a 'tied to' note begins a 2nd ending or Coda section. * A parenthesized chord in the Tab Staff are indicated with a single pair of parentheses surrounding all of the notes in the chord (as opposed to as single pair of parentheses around each individual note in the chord). Additionally, parenthesized tab numbers figure in released bends. Incidentally, I'm about to submit to the LilyPond-Tab community the first few entries in the catalog of desired tab features and they deal with some simple bends. I was going to try to make a comprehensive list of all 'finger-bend' situations, but that is turning out to be more work than I realized. So, instead I'm doing a short set of the most common bend situations so that this can get rolling sooner. Great to have an tablature expert amongst us. We 're looking forward to your list David! \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Le 1 avr. 09 à 13:41, Valentin Villenave a écrit : No matter the value of this project itself (or possibly lack thereof, time will tell), what makes me proud is that I've been able to pursue the path opened by people like Nicolas Sceaux, Kieren, Trevor B., Jose Padovani and several others, and to demonstrate that LilyPond is definitely ready for prime-time: composers, publishers everywhere CAN use, SHOULD use, WILL use LilyPond. Sure it is! The première of Haendel's Giulio Cesare in Romania was perfomed using a LilyPond score, as will be the première of Lully's Armide in Houston, or instrumental pieces from Rameau's Hippolyte et Aricie next month in New York, and the full opera next year in England. LilyPond scores are used for real, serious stuff. Nicolas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Hello, all! LilyPond scores are used for real, serious stuff. This gets me to thinking... the website should have a section listing recent productions performances which used Lilypond scores! What does everyone think? Regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
2009/4/1 Kieren MacMillan kieren_macmil...@sympatico.ca: This gets me to thinking... the website should have a section listing recent productions performances which used Lilypond scores! What does everyone think? Sure! Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Kieren MacMillan wrote: Hello, all! LilyPond scores are used for real, serious stuff. This gets me to thinking... the website should have a section listing recent productions performances which used Lilypond scores! What does everyone think? Genius idea. Nicolas, are they using your engraving for Armide? Houston is about a four-hour drive from my house. Maybe I'll go over there for it. :) Tickets will be expensive, though, if it's the Houston Grand Opera. :( Who's doing the production? Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
2009/4/1 Nicolas Sceaux nicolas.sce...@free.fr: The première of Haendel's Giulio Cesare in Romania was perfomed using a LilyPond score, as will be the première of Lully's Armide in Houston, or instrumental pieces from Rameau's Hippolyte et Aricie next month in New York, and the full opera next year in England. LilyPond scores are used for real, serious stuff. Nicolas Bravo. Just curious, how do you manage to get informed of this? -- Francisco Vila. Badajoz (Spain) www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
2009/4/1 Kieren MacMillan kieren_macmil...@sympatico.ca: Hello, all! LilyPond scores are used for real, serious stuff. This gets me to thinking... the website should have a section listing recent productions performances which used Lilypond scores! What does everyone think? Definitely, it should. -- Francisco Vila. Badajoz (Spain) www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Le 1 avr. 09 à 19:55, Jonathan Kulp a écrit : Kieren MacMillan wrote: Hello, all! LilyPond scores are used for real, serious stuff. This gets me to thinking... the website should have a section listing recent productions performances which used Lilypond scores! What does everyone think? Genius idea. Nicolas, are they using your engraving for Armide? Yes they are. I had no feedback on the score (typos, layout problems...), nor from the Swedish ensemble that used it two years ago, so I don't know what the score is really worth, but it seems to serve them well. Houston is about a four-hour drive from my house. Maybe I'll go over there for it. :) Tickets will be expensive, though, if it's the Houston Grand Opera. :( Who's doing the production? It's in the Cullen Theatre of Wortham Center, the ensemble is called Mercury Baroque: http://www.mercurybaroque.org/02/02109.aspx Oh boy, I see what you meant about the price with Houston Grand Opera... do people at least get Champagne and caviar for a 250$ seat? nicolas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
Le 1 avr. 09 à 20:17, Francisco Vila a écrit : 2009/4/1 Nicolas Sceaux nicolas.sce...@free.fr: The première of Haendel's Giulio Cesare in Romania was perfomed using a LilyPond score, as will be the première of Lully's Armide in Houston, or instrumental pieces from Rameau's Hippolyte et Aricie next month in New York, and the full opera next year in England. LilyPond scores are used for real, serious stuff. Nicolas Bravo. Just curious, how do you manage to get informed of this? Because the people told me :-) Typically, a musician asks, say, if I plan to make the performing material for the opera which lead sheet I've typeset, because they'd like to play it for a concert. Oh, parasiting a thread dedicated to Valentin's opera, I'm not showing good manners, pardon. nicolas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond crashing with cue notes
I have been entering a seven part piece by Schutz; 2 voice + 5 instrumental. To help the performers I have been making extensive use of cue notes between all seven parts. I have been using Lilypond 2.12.2 with the latest jedit/Lilypond tool. Currently it is a clean, new install since I uninstalled/reinstalled to see if that solved the problem, - it hasn't! All the parts seem to work perfectly as stand-alone, un-cued but as I added the cue notes, building up with a series of \include statements at the head of the file, \cueDuring in the notes and \addQuote before the \score statement it all seemed to go pear shaped and hang - seemingly in some indefinite loop. The problem seemed to arise once I was about half way through with some files that had worked perfectly - including the cues throwing a wobbly, and with others which were being worked on. The only way to get out of it is to kill everything Is it me, the program, bugs, lilypond tool or whatever? More importantly, has anyone any ideas how to fix it please? -- View this message in context: http://www.nabble.com/Lilypond-crashing-with-cue-notes-tp22834749p22834749.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Review of Valentin's Opera
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On Mittwoch, 1. April 2009 19:25:02 Nicolas Sceaux wrote: Le 1 avr. 09 à 13:41, Valentin Villenave a écrit : No matter the value of this project itself (or possibly lack thereof, time will tell), what makes me proud is that I've been able to pursue the path opened by people like Nicolas Sceaux, Kieren, Trevor B., Jose Padovani and several others, and to demonstrate that LilyPond is definitely ready for prime-time: composers, publishers everywhere CAN use, SHOULD use, WILL use LilyPond. Sure it is! I can only confirm this. A performance of Schubert's German Stabat Mater (D383) last year here in Vienna was also done using LilyPond orchestra material. The musicians really liked the good look of the score. The only problems appear when trying to create good-looking full scores for the conductor (part combining is unusable and vertical stretching and page layout is also quit bad). But the orchestra material with only one-staff systems can really be done in a quality superior to most commercial scores. The only problem I had with individual instrumental scores were cue notes to vocal voices, where you can't easily attach lyrics. Cheers, Reinhold - -- - -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iD8DBQFJ09UBTqjEwhXvPN0RAjvLAJwP94R8ocuoV5vC2/Zq2NA8BsG7xwCffxu+ kLS3llbINNfMP5A6Xa1dH5A= =fyXW -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: download versie 2.12
On Wed, Apr 01, 2009 at 07:38:30AM +0200, Christ van Willegen wrote: On Tue, Mar 31, 2009 at 11:55 PM, Trevor Daniels t.dani...@treda.co.uk wrote: They vary, but Firefox has a recognised certificate which identifies the publisher as Mozilla Corporation. The certificate was issued by Thawte Code Signing CA. ...and those certificates are $599. Ouch. And, speaking from experience, the cash price of the thing is nothing compared to the organisational faff required to get one and sign binaries with it. You pretty much need a dedicated Windows box to store it on and do signing with, and one or two designated people to have the passphrase of the key. And if by some mishap you lose the key or the passphrase they charge even more money to send you a new one. It has no security benefit anyway. There are plenty of malwares around there with valid signatures; you just need the dough and some headed notepaper to convince the certificate authorities to sign your key. Signing the downloadable binaries (for all platforms) with OpenPGP means that users who want to can verify their integrity; if enough Vista users care enough about having to click through the security warning then there might be a good business model of selling signed installers (including the source code, of course, as per GPL). -- Trends on the internet are larger than they appear. http://surreal.istic.org/ Act your age, not your disk size. signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
