Re: Box getting off-center
Michael Dykes wrote:
I am now in a project that is working to set, and upload the vast
repertoire
of Orthodox liturgical music that exists. I harmonize, and arrange some of
it, then send it along to a colleague to adds certain fields to my
Lilyponded arrangements. He is mainly adding a boxed in area at the bottom
of the last page that contains copyright info, and other pertinent stuff.
Attached is one file He did, and another that I submitted, and He added
the
copyright info, and etc. However, while the file He did completely himself
looks fine, mine has the box partly off the page. Can anyone help? Thanks.
hi
this seems due to the option #(set-global-staff-size 22)
if you don't want to reduce this size globally you can restrict this setting
to the musical score:
\score {
...
\layout {
#(layout-set-staff-size 22)
} }
the tagline then will not be affected!
cheers
Eluze
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RE: embedding external graphics to lilypond
Thanks a lot Francisco! Esa -Original Message- From: ext Francisco Vila [mailto:paconet@gmail.com] Sent: 24 March, 2011 12:28 To: Erola Esa (Nokia-MP/Espoo) Cc: lilypond-user@gnu.org Subject: Re: embedding external graphics to lilypond 2011/3/24 Esa Erola esa.er...@nokia.com: Hi, I am wandering if there is any way to embed graphics like scanned pictures, jpg, png etc. to be shown on Lilypond pdf output? Make an EPS and insert it inside of a markup with epsfile. See http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Graphic#index-inlining-an-Encapsulated-PostScript-image Also, the code for this snippet shows an example of using lilypond-book to make documents with images and music. http://lsr.dsi.unimi.it/LSR/Item?id=231 -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Rounds/catches with LilyPond
Hello lilypond-users. I'd like to engrave rounds with LilyPond 2.13 in a part-parallel format similar to this: http://www.archive.org/stream/nationalsongbook00stan#page/n255/mode/2up Although this looks simple compared to a lot of the crazy stuff in the snippet repository, there is a problem that I don't know how to solve: sometimes ties, slurs, or word hyphens/extenders have to stretch from the end of one staff to the beginning of the next, as though the staves were sequential instead of parallel. (See She Weepeth Sore, above, for an example). Logically they are sequential, of course, but I have to tell LilyPond they're parallel to make the notes line up. Is there any way to solve this? I don't want to turn on strict note spacing since it would uglify the score. The best idea I've had is to render three consecutive copies of the piece (with the parts rotating) and then somehow drop the first and third copies late in the rendering process. But that would introduce a bunch of gunk into the source file that's unrelated to the logical structure of the piece, it would generate spurious warnings for ties and dashes at the end of the third copy, LilyPond wouldn't know that the last system is really the last so ragged-last options probably wouldn't work, etc. Is there a more elegant solution? Thanks, -- Ben ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.12.3 and Fonts in Debian Squeeze
On Thu, 24 Mar 2011 18:45:44 +0100
Federico Bruni fedel...@gmail.com wrote:
2011/3/24 Tiresia Giuno tires...@gmail.com
I'm running LilyPond 2.12.3 on Debian Squeeze. I can compile my
files with no problems but if I change the font size I get an
almost empty PDF file. It does not happen with every font size. For
example setting #(set-global-staff-size 14) returns a PDF file
containing just stems, beams and slurs (no noteheads, no clef, no
dynamics)
I've tried the minimal example below and it compiles fine using
lilypond packaged in squeeze.
Does it work for you?
If it doesn't work, then there's definitely something wrong in your
installation.
\version 2.12.3
#(set-global-staff-size 14)
{ a b c d }
Thanks for your reply. Yes, you are right. I can compile that simple
code. Still, I'm sure that the problem is not in my code, otherwise I
couldn't compile it in MacOSX. But following your suggestion, I will
try to rebuild my own code step by step, in order to understand where
the problem comes out.
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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
On Friday 18 Mar 2011 08:14:48 Dmytro O. Redchuk wrote: Let's say, i love J. S. Bach very much (well, let's say), as much as my father and grandfather (etc). So, can i really be sure that i understand his music as good as my grandfather?.. I mean that every Beethoven's symphony contains a piece of information -- can i be sure that i can recognize it as good as my grandfather? Yes, i know this can not be measured at all. I'm not sure you can't measure that. You should see what MRI scanners can measure these days. Get yourself scanned now, then perhaps your great grandchildren really will be able to see if they respond in the same way (using the same mechanisms) as you. On Friday 18 Mar 2011 13:15:56 James Lowe wrote: Hello, ... When you are a 'grandfather' you will know the answer because the 'good' stuff of today will still be around or known and the 'bad' stuff will not (or rather it will be 'somewhere' but everyone will have forgotten about it). I am sure there are some exceptions but they won't be the rule, and of course things like distribution 'back in your grandfather's day' would have made some differences, but this frankly is not a consideration in our linked world today. We are exposed to more good and bad stuff than ever before. Hmmm, I'm not sure. The point you make about distribution may be the more significant. You might find there are petabyte disks in your watch with the whole of human culture on them, or else your phone will be quantum-entangled with the whole of the web giving instant access to absolutely everything :) The real problem will be categorising it. Two ways: what do people who listen to the stuff I like also listen to; and (this is another reason why work like Graham's is important) What is there that is played in the same manner as the the stuff I like. The second, I believe, is beyond the state of the art, because we don't know what in the same manner means. On Friday 18 Mar 2011 11:15:02 Kieren MacMillan wrote: Graham, ... I *do* think so -- and recent studies on youth support my belief with evidence. On the music side, consider the fact that recent studies have shown a majority of young people prefer the sound of compressed audio (e.g., low- to medium-bitrate MP3s) to uncompressed audio. [Pause here to fully appreciate the horror of that statement.] Independent of the content of the music itself -- the debate about which is far more subjective -- many listeners can no longer appreciate what music is physically supposed to sound like. Let's not confuse music with audio or sound. Everybody's hijacking the word Music these days. Music Industry (record industry), Music player (audio player). Music is a process and we make music. How do we make it? Let's experiment... reaches for source code A lower barrier of entry by definition allows people to get into the field with less experience, less training, less discipline, less persistence, and so on. Are there some benefits to this? Sure. Does it increase the amount of crap we have to wade through. Absolutely. I have yet to see any field -- athletics, art, construction, law, comedy, whatever -- where a lower barrier of entry doesn't increase the amount of crap. And, unfortunately, I also see in the audience for that field a concomitant decrease in discriminatory powers. True, I'm sure, but more disturbing is that hardly anybody (in the UK at least) benefits from a general musical education in the state sector. You have to buy your lessons privately pretty much everywhere. What goes on in schools is music appreciation or, worse, free improvisation (except that it's not, except in the literal sense). Lowering the barrier to making music might be a good thing. It's very different from lowering the barrier to people imposing their compositions on you in the local lift/supermarket/train etc etc. Perhaps exposing people to the process of making music might be a good defence against waning discrimination? Thank you, everybody, for a great thread! Nick/. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.12.3 and Fonts in Debian Squeeze
On Thu, 24 Mar 2011 18:45:44 +0100
Federico Bruni fedel...@gmail.com wrote:
2011/3/24 Tiresia Giuno tires...@gmail.com
I'm running LilyPond 2.12.3 on Debian Squeeze. I can compile my
files with no problems but if I change the font size I get an
almost empty PDF file. It does not happen with every font size. For
example setting #(set-global-staff-size 14) returns a PDF file
containing just stems, beams and slurs (no noteheads, no clef, no
dynamics)
I've tried the minimal example below and it compiles fine using
lilypond packaged in squeeze.
Does it work for you?
If it doesn't work, then there's definitely something wrong in your
installation.
\version 2.12.3
#(set-global-staff-size 14)
{ a b c d }
I think I found out where the problem is. I don't get any noteheads,
clef, dynamics if I use either \mp or mf.
Could you please try to compile your example like this:
\version 2.12.3
#(set-global-staff-size 14)
{ a\mp b c d }
Thanks a lot for your help.
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Re: LilyPond 2.12.3 and Fonts in Debian Squeeze
On Thu, 24 Mar 2011 16:49:24 + James Lowe james.l...@datacore.com wrote: Hello, )-Original Message- )From: lilypond-user-bounces+james.lowe=datacore@gnu.org )[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On )Behalf Of Tiresia Giuno )Sent: 24 March 2011 15:22 )To: lilypond-user@gnu.org )Subject: LilyPond 2.12.3 and Fonts in Debian Squeeze ) )Hello, ) )not sure this is the right place to ask the following question, but I hope )that someone knows more about this issue. ) )I'm running LilyPond 2.12.3 on Debian Squeeze. I can compile my files with )no problems but if I change the font size I get an almost empty PDF file. It )does not happen with every font size. For example setting #(set-global- )staff-size 14) returns a PDF file containing just stems, beams and slurs (no )noteheads, no clef, no dynamics) ) )Compiling the same file with LilyPond 2.12.3 in MacOSX works. ) Can you try a different PDF viewer just to be sure it isn't that? James Thanks for your reply. I did try a different PDF viewer (also Acrobat in MacOSX) with the same result. Tiresia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Dmytro O. Redchuk brownian@gmail.com writes: On Thu 17 Mar 2011, 18:08 Kieren MacMillan wrote: Unfortunately, lower barrier of entry almost always means more crap to sift through. The more crap -- the lower criteria barrier for what is `crap'?. The more crap will become normal and even good thing. Since the sieving is done in a distributed manner with manpower proportional to the manpower producing the crap, even mostly linear sieving will achieve letting the crap fall through. Ask Darwin. Let's say, i *love* J. S. Bach very much (well, let's say), as much as my father and grandfather (etc). So, can i really be sure that i understand his music as good as my grandfather?.. There is little to understand, like there is little to understand about why it hurts if you break your arm. The important thing is that it does, and the hurt is yours. Not your grandfather's. You can sympathize with your grandfather, but comparing the qualities and substance of your response seems a bit far-stretched. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Hi David, You can sympathize with your grandfather, but comparing the qualities and substance of your response seems a bit far-stretched. Not at all, I think… and very useful. Oliver Sacks, for one example, measures and reports on [extreme] sensory perceptive (dis)abilities -- and books like Musicophilia make for a very interesting read. it would be *very* informative to have a [very] long-term study of average perceptive functioning. Based on my intuition and experience (i.e., anecdotal at best, and fatally biased at worst), I predict such a study would prove a general dulling of the human perceptive senses -- hence the ever-accelerating need to overstimulate each successive generation. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Kieren MacMillan kieren_macmil...@sympatico.ca writes: Hi David, You can sympathize with your grandfather, but comparing the qualities and substance of your response seems a bit far-stretched. Not at all, I think… and very useful. Obviously I disagree. Oliver Sacks, for one example, measures and reports on [extreme] sensory perceptive (dis)abilities -- and books like Musicophilia make for a very interesting read. it would be *very* informative to have a [very] long-term study of average perceptive functioning. Based on my intuition and experience (i.e., anecdotal at best, and fatally biased at worst), I predict such a study would prove a general dulling of the human perceptive senses -- hence the ever-accelerating need to overstimulate each successive generation. I can't claim that popular music appears to me as exhibiting much of a trend to overstimulate harmonic receptors. Even in the rare case of four-part harmony (Beach Boys et al), they are mostly confined to basically homophonic chord progressions rather than complex polyphony. The trend seems more in the direction of understimulation to me. Not necessarily the worst thing considering the trend to have background music playing everywhere. Bach distracts from food and driving. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Hello )-Original Message- )From: lilypond-user-bounces+james.lowe=datacore@gnu.org )[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On )Behalf Of David Kastrup )Sent: 25 March 2011 16:31 )To: lilypond-user@gnu.org )Subject: Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music ) )Kieren MacMillan kieren_macmil...@sympatico.ca writes: ) Oliver Sacks, for one example, measures and reports on [extreme] ) sensory perceptive (dis)abilities -- and books like Musicophilia ) make for a very interesting read. it would be *very* informative to ) have a [very] long-term study of average perceptive functioning. ) Based on my intuition and experience (i.e., anecdotal at best, and ) fatally biased at worst), I predict such a study would prove a general ) dulling of the human perceptive senses -- hence the ever-accelerating ) need to overstimulate each successive generation. ) )I can't claim that popular music appears to me as exhibiting much of a )trend to overstimulate harmonic receptors. Even in the rare case of four- )part harmony (Beach Boys et al), they are mostly confined to basically )homophonic chord progressions rather than complex polyphony. ) )The trend seems more in the direction of understimulation to me. Not )necessarily the worst thing considering the trend to have background )music playing everywhere. Bach distracts from food and driving. ) That's funny because most 'classical' music period (esp. Mozart) drives me to distraction! James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Hi David, Not at all, I think… and very useful. Obviously I disagree. Obviously. =) The trend seems more in the direction of understimulation to me. Obviously, I disagree. =) Twenty (never mind fifty) years ago, we [apparently] didn't need: subwoofers at +10dB, and over-emphasized bass+drum hits, in order to feel the music; a visual cut every 4-5 seconds in a movie in order to stay focussed on the film; high levels of compression and limiting in order to feel like an audio recording was full; etc. etc. etc. These -- and other similar trends -- are a clear rebuke to your understimulation hypothesis. Of course, if you were referring to *mental* stimulation (i.e., higher than the limbic brain), I agree with you 100%. But I'm talking about sensory stimulation -- and the trend is clearly towards overstimulation. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Kieren MacMillan kieren_macmil...@sympatico.ca writes: Hi David, Not at all, I think… and very useful. Obviously I disagree. Obviously. =) The trend seems more in the direction of understimulation to me. Obviously, I disagree. =) Twenty (never mind fifty) years ago, we [apparently] didn't need: subwoofers at +10dB, and over-emphasized bass+drum hits, in order to feel the music; a visual cut every 4-5 seconds in a movie in order to stay focussed on the film; high levels of compression and limiting in order to feel like an audio recording was full; etc. etc. etc. Well, doesn't that speak towards understimulation to you? If you need to turn up the light, it is more a sign of too little than too much to see. Of course, if you were referring to *mental* stimulation (i.e., higher than the limbic brain), I agree with you 100%. But I'm talking about sensory stimulation -- and the trend is clearly towards overstimulation. Background is not stimulation. It is not taken into account by perception much. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Hi David, Well, doesn't that speak towards understimulation to you? Absolutely not: relative to past generations, today's youth apparently need to be overstimulated (*not* understimulated) in order to feel the same amount. In other words, more sensory stimulation needs to be present for them = overstimulation. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Am Freitag, 25. März 2011, um 19:03:20 schrieb David Kastrup: Kieren MacMillan kieren_macmil...@sympatico.ca writes: Twenty (never mind fifty) years ago, we [apparently] didn't need: subwoofers at +10dB, and over-emphasized bass+drum hits, in order to feel the music; a visual cut every 4-5 seconds in a movie in order to stay focussed on the film; high levels of compression and limiting in order to feel like an audio recording was full; etc. etc. etc. Well, doesn't that speak towards understimulation to you? If you need to turn up the light, it is more a sign of too little than too much to see. Or it simply means that you have stared into the sun / spotlight a bit too long, so now everything appears dark to you, no matter how bright it actually is... 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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rounds/catches with LilyPond
2011/3/24 Ben Rudiak-Gould benrud...@googlemail.com:
Hello lilypond-users.
I'd like to engrave rounds with LilyPond 2.13 in a part-parallel
format similar to this:
http://www.archive.org/stream/nationalsongbook00stan#page/n255/mode/2up
Although this looks simple compared to a lot of the crazy stuff in the
snippet repository, there is a problem that I don't know how to solve:
sometimes ties, slurs, or word hyphens/extenders have to stretch from
the end of one staff to the beginning of the next, as though the
staves were sequential instead of parallel. (See She Weepeth Sore,
above, for an example). Logically they are sequential, of course, but
I have to tell LilyPond they're parallel to make the notes line up.
Is there any way to solve this? I don't want to turn on strict note
spacing since it would uglify the score. The best idea I've had is to
render three consecutive copies of the piece (with the parts rotating)
and then somehow drop the first and third copies late in the rendering
process. But that would introduce a bunch of gunk into the source file
that's unrelated to the logical structure of the piece, it would
generate spurious warnings for ties and dashes at the end of the third
copy, LilyPond wouldn't know that the last system is really the last
so ragged-last options probably wouldn't work, etc. Is there a more
elegant solution?
I think canons are more usually typeset completely sequential in a
single staff with numbers indicating the time which voices appear at.
This way you'll never experience problems with ties. Just from my
little experience. See example attached which coincidentally I had in
my lilypond folder.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
% Canon Under This Stone a 3v. H.Purcell
\version 2.13.46
cesura = { \breathe }
\header { title = Under this Stone
subtitle = a 3 v.
composer = H. Purcell }
\relative a' {
\key f \minor
\time 3/4
%línea 1
%1
aes4.^1 g8 f4
e2 f4
des4. c8 des4
c2 \cesura c'8 bes
%línea 2
des4. c8 bes4
g2 aes4
f4. g8 e4
f2. \fermata
%2
f4.^2 g8 aes8( f)
%línea 3
c'2 c4
%aquí la ligadura punteada:
\slurDashed c4.( des8) \slurSolid bes4
c4. g8 aes4
f4. \cesura f8 des'4
bes4. bes8 es c
%línea 4
aes4. g8 aes4
f2. \fermata
%3
c'4.^3 bes8 aes4
g2 aes4
f4.( aes8) \slurDashed g( f) \slurSolid %ligadura punteada
%línea5
e4. e8 f4
bes,4. \cesura c8 des( bes)
es8.( f16 es8) des c4
des4. bes8 c4
f2. \bar :|
}
%{
convert-ly (GNU LilyPond) 2.13.48
Procesando «»...
Aplicando la conversión: 2.11.2, 2.11.3, 2.11.5, 2.11.6, 2.11.10, 2.11.11, 2.11.13, 2.11.15, 2.11.23, 2.11.35, 2.11.38, 2.11.46, 2.11.48, 2.11.50, 2.11.51, 2.11.52, 2.11.53, 2.11.55, 2.11.57, 2.11.60, 2.11.61, 2.11.62, 2.11.64, 2.12.0, 2.12.3, 2.13.0, 2.13.1, 2.13.4, 2.13.10, 2.13.16, 2.13.18, 2.13.20, 2.13.29, 2.13.31, 2.13.36, 2.13.39, 2.13.40, 2.13.42, 2.13.44, 2.13.46
%}
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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Hi Reinhold, Or it simply means that you have stared into the sun / spotlight a bit too long, so now everything appears dark to you, no matter how bright it actually is... +1 I'm glad *someone* gets me. ;) Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rounds/catches with LilyPond
2011/3/25 Francisco Vila paconet@gmail.com:
2011/3/24 Ben Rudiak-Gould benrud...@googlemail.com:
Hello lilypond-users.
I'd like to engrave rounds with LilyPond 2.13 in a part-parallel
format similar to this:
http://www.archive.org/stream/nationalsongbook00stan#page/n255/mode/2up
Although this looks simple compared to a lot of the crazy stuff in the
snippet repository, there is a problem that I don't know how to solve:
sometimes ties, slurs, or word hyphens/extenders have to stretch from
the end of one staff to the beginning of the next, as though the
staves were sequential instead of parallel. (See She Weepeth Sore,
above, for an example). Logically they are sequential, of course, but
I have to tell LilyPond they're parallel to make the notes line up.
Is there any way to solve this? I don't want to turn on strict note
spacing since it would uglify the score. The best idea I've had is to
render three consecutive copies of the piece (with the parts rotating)
and then somehow drop the first and third copies late in the rendering
process. But that would introduce a bunch of gunk into the source file
that's unrelated to the logical structure of the piece, it would
generate spurious warnings for ties and dashes at the end of the third
copy, LilyPond wouldn't know that the last system is really the last
so ragged-last options probably wouldn't work, etc. Is there a more
elegant solution?
I think canons are more usually typeset completely sequential in a
single staff with numbers indicating the time which voices appear at.
This way you'll never experience problems with ties. Just from my
little experience. See example attached which coincidentally I had in
my lilypond folder.
Alternatively, you can use this for ties:
\new Staff {
c' \repeatTie c' \laissezVibrer
}
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
Reinhold Kainhofer reinh...@kainhofer.com writes: Am Freitag, 25. März 2011, um 19:03:20 schrieb David Kastrup: Kieren MacMillan kieren_macmil...@sympatico.ca writes: Twenty (never mind fifty) years ago, we [apparently] didn't need: subwoofers at +10dB, and over-emphasized bass+drum hits, in order to feel the music; a visual cut every 4-5 seconds in a movie in order to stay focussed on the film; high levels of compression and limiting in order to feel like an audio recording was full; etc. etc. etc. Well, doesn't that speak towards understimulation to you? If you need to turn up the light, it is more a sign of too little than too much to see. Or it simply means that you have stared into the sun / spotlight a bit too long, so now everything appears dark to you, no matter how bright it actually is... Again: staring into the sun is not overstimulation since it is not overloading the sensors with content but rather blocking them. Looking into the sun can't be characterized as I am seeing too much. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
David, Again: staring into the sun is not overstimulation since it is not overloading the sensors with content but rather blocking them. Looking into the sun can't be characterized as I am seeing too much. There's clearly a semantic misunderstanding here, and it doesn't look like it's clearing up. Regardless of the word used -- or who's using it backwards -- the point is that kids today are apparently less sensitive to stimulus than they used to be. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
On 3/25/2011 5:17 PM, Kieren MacMillan wrote: David, Again: staring into the sun is not overstimulation since it is not overloading the sensors with content but rather blocking them. Looking into the sun can't be characterized as I am seeing too much. There's clearly a semantic misunderstanding here, and it doesn't look like it's clearing up. Regardless of the word used -- or who's using it backwards -- the point is that kids today are apparently less sensitive to stimulus than they used to be. Kieren. Of course. We are overstimulated so it becomes the norm. Then to get stimulated the level of stimulation has to be raised. Just think about a subject like nudity where the level of stimulation raised from seeing an ankle to a knee, ... or a neck, and shorten the length of skirts over time ;-) To come back to music, there is ton of crap music (rich internet sensation?) and Lilypond can help compose and interpret great music. I hope we can all agree on that one ;-) -Marc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
On Wed, Mar 23, 2011 at 02:58:39AM -0300, Pato Press wrote: And, if you want to, I have a not so good violin made in Blender, nearly with all it's pieces. I have never completely finish it. I make it just to start learning how to use Blender. but if you want it, I can sent it to you. Obviously absolutely for free :) Wow, that would be awesome! Are you willing to officially place it under GPLv3? It would be totally fantastic to render movies with something more than 4 cylinders + a rectangular prism + 1 moving cylinder. (that's my level of Blender skill :) Do you have a bow model as well? The paper deadline was extended by one week (it was going to be today), so I now have a chance to re-render the movies and include a nice-looking screenshot (with credit to your work on the model, of course!). Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notes lining up, and warnings
Father == Father Gordon Gilbert fatherg...@gmail.com writes:
Father Can someone help me here? On this Anglican chant , in the
Father tenth measure (end of the first section of verse two) the
Father melody notes are 1/2 notes and the harmony notes are whole
Father notes, yet in my pdf viewer, they are not lined up as I would
Father like them. I've tried in LilyPondTool to shift them a bit,
Father but it doesn't seem to be working for some reason. (It
Father introduces a horiz. shift expression into the line, but it
Father seems to have no effect.)
The problem is that the tenor and bass parts cross over here.
Lilypond offsets one of them to show this.
If you make the bass line stay below the tenor line all the way then
the line-up is perfect.
I found some of the formatting a bit strange --- but here's hwhat I
adjusted to get a result. you may want to change it!
\header {
filename = Psalm121.ly
enteredby = Gordon Gilbert
composer = Anglican Chant
date=2011
title = I Will Lift Up Mine Eyes
subtitle = Psalm 121
arranger = Gordon Gilbert
mutopiacomposer = \composer
maintainer = Gordon Gilbert
maintainerEmail = g...@angelsroost.ca
lastupdated = 2011 * March * 22
}
\version 2.13.29
\paper{
% #(set-paper-size letter)
}
global= {
\time 4/4 \key d \major
\override Staff.TimeSignature #'transparent = ##t
\skip 1*3 \bar ||
\skip 1*4 \bar ||
\skip 1*3 \bar ||
\skip 1*4 \bar ||
}
sop = \relative c' {
fis1 a2 b d1
fis,1 a2 b a a a1
a1 b2 d2 cis( b)
fis1 a2 b a e fis1
}
alto = \relative c' {
d1 e2 fis g1
d1 e2 d e e fis1
d1 fis2 fis e1
d1 cis2 d e cis d1
}
tenor = \relative c' {
a1 a2 b b1
b1 cis2 b d cis a1
a1 b2 b b1
b,1 a'2 b a a a1
}
bass = \relative c' {
d,1 cis2 b g1
b1 a2 g a2 a d1
d1 fis2 fis b,1
b1 a2 g a a d d,1
}
text = {
}
\score {
\context ChoirStaff
\context Staff =upper
{
\clef G
\global
\context Voice = sop {\voiceOne \sop}
\context Voice = alto {\voiceTwo \alto }
}
\context Staff = lower
{
\clef F
\global
\context Voice = tenor {\voiceOne \tenor}
\context Voice = bass {\voiceTwo \bass}
}
\layout{
indent = 0.0\pt
}
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
}
\markup{
\wordwrap-string #
1. I WILL lift up mine | eyes un . to the | hills: * O | whence -
cometh my | help?
2. My help cometh | even from the | LORD, * who | hath made heaven and | earth.
3. HE will not suffer thy | foot to be moved: * and he that |
keepeth thee will not | sleep.
4. Behold,| he that keep . eth | Israel * shall | neither slumber nor | sleep.
5. THE LORD him- | self is thy | keeper: * the LORD is thy de- |
fence upon thy right | hand;
6. So that the sun shall not | burn thee by | day, * nei- | ther the
moon by | night.
7. THE LORD shall pre - | serve thee from all | evil: * yea, it is
even | he that . shall keep thy | soul.
8. The LORD shall preserve thy going | out and thy coming | in, *
from this time | forth for ever- | more.
}
\markup { \wordwrap-string #
Glory be to the | Father, and to the Son, * and | to the Holy Ghost;
}
\markup {
\wordwrap-string #
As it was in the beginning, is | now, and ever | shall be, * world
without | end. A- | men.
}
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