" \soprano
\new Lyrics \lyricsto "aligner" \verse
>>
}
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One possible approach is to open and save MusicXML in MuseScore and
then use musicxml2ly on the saved file. I checked it quickly, the
chords are not lost, but I need to see if anything else is preserved.
I don't know how to persuade you that musicxml2ly could and should do better.
--
R
n't care how the faulty markup looks. But MuseScore got the
second measure right. It could recover and musicxml2ly could not.
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actual SharpEye 2 output.
musicxml2ly is from the current development version of Lilypond.
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http://www.musicxml.org/dtds/partwise.dtd";>
Part
12
D
4
48
1
whole
12
PAUSE -dBATCH
-r1200 -sDEVICE=pdfwrite -sOutputFile=./Mazurek D%85browskiego.pdf
-c.setpdfwrite -fMazurek D%85browskiego.ps)' failed (256)
fatal error: failed files: "Mazurek D%85browskiego.ly"
Percent signs in the input files (after -f) should not be duplicated.
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-engraving at its
best :)
(https://lilypondblog.wordpress.com/2013/06/04/crowd-engraving-whats-that-part-1/)
I like your repository and your blog. There is so much interesting
stuff there! I'll stop now as this thread is getting offtopic.
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Pavel R
Quoting Janek Warchoł :
2013/6/22 Pavel Roskin :
You forgot the source.
oops, sorry!
It looks like you created an alternative to partcombine! That's very
impressive! But I wonder what limitations your approach has compared
to partcombine.
It would be nice to have an &quo
simply have to use
other definitions of the \unisono and \divided functions.
You forgot the source.
It would be nice to have an "official" snippet for choral music that
could be improved. Any workaround needed in that template would
obviously have a high priority.
are misplaced. The
later might be hard to find during proofreading.
It might be especially hard to deal with rests with dots. I'm lucky I
haven't seen them in choral music yet. But it's better to be prepared.
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<>__
annot resolve rest collision: rest direction not set
\new Voice {
r4 }
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ted as a 40% slowdown
for the tempo, so it becomes 4=36.
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ely with different key signatures.
Thus KeySignature.c0-position can be renamed and made read-only.
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On Wed, 19 Jun 2013 18:00:09 +0200
David Kastrup wrote:
> Pavel Roskin writes:
>
> > Quoting David Kastrup :
> >
> >> Pavel Roskin writes:
> >>
> >>> I just hope you won't take away the ability to adjust the key
> >>> signa
ld be OK
if the bass clef wasn't there.
The bug is not limited to the beginning of score. In this example, the
change clef appears to have no horizontal extent.
\version "2.17.20"
{
c'4 c'4
\grace { s4 }
\clef bass c'4 c'4
}
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<&
Quoting David Kastrup :
Pavel Roskin writes:
I just hope you won't take away the ability to adjust the key
signature without placing the accidentals manually.
It would appear that you can adjust the key signature just fine by using
the _intended_ context variables for that.
If you
<<
\new Voice { 4. }
\new Voice {
\omit NoteHead \omit Stem \omit Dots
\override NoteColumn #'ignore-collision = ##t
b'4.
}
>>
>>
}
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<>_
Quoting David Kastrup :
Pavel Roskin writes:
By the way, setting KeySignature.c0-position with \override doesn't
work. I had to resort to setting it in Scheme:
Given the analysis in a longer mail, I revert my opinion that we need to
do something here. c0-position for the relevant
y signature to correspond to the staff
clef that is not in effect on the first note (the staff clef is bass,
and the first note is after the treble clef).
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= #6
converted.ly:3:40: warning: Ignoring non-music expression
\override KeySignature.c0-position =
#6
converted.ly:2:1: error: errors found, ignoring music expression
{
fatal error: failed files: "converted.ly"
--
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_
he notes separately.
partcombineChords would be needed to produce a chord.
The problems exists both in the current development version and 2.16.1.
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to
issue 1713. The collision is the same. What is different is the
reason for the half note to appear to the right of the whole note.
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it would look OK if there were no notes below
that are not tied.
It's tempting to call it a regression. However, I don't think Lilypond
has logic to make ties unambiguous, so the fix would be either to
revert collision avoidance and decrease quality of other scores, or to
add such lo
gards,
Pavel Roskin
diff --git a/lily/ledger-line-spanner.cc b/lily/ledger-line-spanner.cc
index 83304ac..1a0fc8f 100644
--- a/lily/ledger-line-spanner.cc
+++ b/lily/ledger-line-spanner.cc
@@ -316,6 +316,14 @@ Ledger_line_spanner::print (SCM smob)
ledger_line.translate_axis (
wide. It it could
be make flexible, the score could use less pages or use the default
staff size, which would means less page turns or less strain on eyes
for the performer.
> All if it is doable but difficult. If you can wait till the summer,
> i
On Tue, 31 Jan 2012 18:02:35 +0100
Francisco Vila wrote:
> 2012/1/31 Pavel Roskin :
> > In my opinion, Lilypond should be able to support chords with
> > noteheads on different staves. This is especially important within
> > staff groups for keyboard instruments.
>
&
}
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On Thu, 19 Jan 2012 18:12:59 -0800
"Keith OHara" wrote:
> On Thu, Jan 19, 2012 at 5:38 PM, Pavel Roskin gnu.org>
> wrote:
>
> > I have discovered that notes that use quarter tone sound bad before
> > rests or at the end of the melody. Here's an exampl
r cry from what it could be, but
it doesn't make MIDI an unsupported feature.
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ayer. However, I observed the effect in 3 configurations:
timidity as is (with fluid-soundfont-gm)
timidity with /etc/timidity++.cfg removed (fluid-soundfont-lite)
frescobaldi 2.0.2 player that used fluidsynth, not timidity
The effect is less pronounced with instruments other tha
.
Layout output to `detache.ps'...
Converting to `./detache.pdf'...
Success: compilation successfully completed
If there is no such warning for some users, I would consider it a bug
in Lilypond. But we haven't heard any details from the original
reporter yet.
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t be ignored
and the first clef eliminated?
At least there should be an option to suppress such annoying
optimization.
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Quoting Xavier Scheuer :
On 15 December 2011 22:58, Pavel Roskin wrote:
Hello!
For some reason, multiplication only works on full-measure rests
and silent rests.
It would be nice to make it work on notes, chords and all kinds of
rests. For short repetitions, \repeat unfold is an overkill
s.
*2
Here's an example that shows the inconsistency:
\version "2.15.22"
\score {
<<
\new Staff <<
\context Voice = "RightOne" { R1*2 b1*2 }
>>
>>
\layout {}
}
The rendered score is attached. There is no warning, but the result is
Quoting Keith OHara :
Pavel Roskin gnu.org> writes:
> But when using \pageBreak, the lowest dynamics line doesn't stay with
> the above staves. Instead, it's positioned in the middle between
> staff groups.
>
I'll post a bug report. The only work-around I
On Mon, 12 Dec 2011 14:35:14 -0500
Pavel Roskin wrote:
> Hello!
>
> I'm trying to use explicit dynamics contexts to align dynamics, avoid
> duplicates and position pedal marks as in the original score, as
> suggested here:
>
> http://lilypond.org/doc/v2.15/Do
consider it a bug. I'll appreciate if somebody suggests a workaround.
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e German B. So "B flat" is ambiguous
no matter how we write it :(
As for the universal notation for include files, it looks like it
should be done with "ly:make-pitch".
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A special "Unicode language" could be a stepping stone towards the
first goal. I'll try to implement that if I have time.
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tural
for musicians, not for programmers.
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♯ is shorter
and more readable than fsharp, let alone fis.
Maybe we could even allow writing chords by gluing notes together and
redefining angle brackets for some other task. Compare:
ce♭g vs
Unicode symbols for accidentals can be found at
http://en.wikipedia.org/wiki/Templa
reakage was committed
between 2.14.1 and 2.14.2. Likewise, 2.15.x is not affected.
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}
(gdb)
dad_con was introduced by the commit in question. It looks like
dad_con->implementation is of a wrong type. I hope it should be easy
to fix for somebody who knows C++.
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p \change Staff="lh" b8 }
\new Staff = "lh" { s4 }
>>
\midi { }
}
And following is an example of wrong volume in temporary voices:
\version "2.14.2"
\score {
\new Staff \with {
midiMaximumVolume = #0.1
} { g8 \p << g8 \\ c8 >> }
ness in
case of any difficulty.
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\version "2.14.2"
\header {
title = "Sure on this shining night"
composer = "Samuel Barber"
poet = "James Agee"
opus = "Op. 13, No. 3"
}
\paper {
#(set-paper-size "letter")
ragge
Quoting Carl Sorensen :
On 10/29/11 8:09 AM, "Pavel Roskin" wrote:
Quoting Keith OHara :
Pavel Roskin gnu.org> writes:
I'm trying to change relative loudness on the melody and the
accompaniment, by it turn out the MIDI dynamics doesn't apply to the
measures th
Quoting Keith OHara :
Pavel Roskin gnu.org> writes:
I'm trying to change relative loudness on the melody and the
accompaniment, by it turn out the MIDI dynamics doesn't apply to the
measures that have multiple voices.
You now need to put some dynamic mark at the start of eve
lypond, commit
4e8daaedf481c243fdb953e1b14717d20115c262.
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Pavel Roskin
\version "2.14.2"
\language "english"
\header {
title = "Sure on this shining night"
composer = "Samuel Barber"
poet = "James Agee"
opus = "Op. 13, No. 3&qu
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