For what's it worth, I'm interested in musicXML output from lilypond as well.
And to help centralizing the information, here is the link
(http://www.nabble.com/MusicXML-backend-for-lilypond--to17957920.html#a17957920)
to a previous discussion about ly to musicxml conversion.
Valentin Villenave w
Dominic Neumann wrote:
> Good point!
>
> But if I have a score with three ore more verses and one refrain at
> the beginning, I define a command refrSkip which I add at the
> beginning of verses 2, 3, ...
>
> refrSkip = \repeat unfold 42 { _ }
>
> doesn´t work then.
>
> I use it that way:
>
> \
My apologies, Yota. One of the things I said below wasn't correct.
Your script *did* change my file from absolute to relative pitch
correctly. I only realized later that I needed to add the "\relative
do" indication for the changes to work properly. I still did have to
fix a few other things
Hi Neil,
I tried setting it to Nederlands just now but the output didn't change.
It was still Italiano. Did I use the option correctly? Here's the
format I tried:
cat file.ly | python lilymusic.py --out_style="nederlands" > file-new.ly
When I looked at the script that's what it looked lik
Yota,
I will definitely have to have a close look at this, since I've attempted
the same thing in Python. But like the comment above, I gave up after
trying to deal with all the various syntactical rules. This might encourage
me to keep working at the effort, seeing you've gotten this far.
Jonat
This is a good idea, Yota. I was going through some of my first
Lilypond files today and found that I had written them in absolute mode
and wished I'd had a script to convert them to relative. I did them by
hand since they were very short, but for anything longer, a script like
yours would be
Hugo,
In March, you sent a request for beam subdividing help.
We've just written a patch to the autobeaming code that now makes things
work well.
Here's your test code, modified to work properly:
\version "2.10.57"
% Header
\header {
title = "Quarter beams with subdivision, minimal test"
ta
Good evening everybody,
Being unable to find a nice tool to handle lilypond sources, I designed
mine.
I worked on this little script which (even if its buggy) should perform
some essential tasks:
- convert absolute music to relative music
- transpose the source (from bes to c for example)
-
Andrew Hawryluk wrote Thursday, August 21, 2008 2:10 AM
On Tue, Aug 19, 2008 at 4:03 AM, Valentin Villenave
<[EMAIL PROTECTED]> wrote:
2008/8/12 Martin Klejch <[EMAIL PROTECTED]>:
%% the "Lyrics independent of notes" example (chapter 7.3.7.5 of the
manual)
%% gives errors: warning: Lyric sy
I was looking up cadenza and the second video on this page
made it all clear. You should all see it.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Hi, I get the same result as in the examples shown at EZ play. But what Im
looking for is the full name (like F#) inside the notehead, instead of the
usual accidental followed by a single letter (like F).
> Date: Thu, 21 Aug 2008 13:15:03 +0200
> From: [EMAIL PROTECTED]
> To: [EMAIL PROTECTED]
2008/8/21 Dmytro O. Redchuk <[EMAIL PROTECTED]>:
> Minimal example may look like this:
> % -- snip
> \relative c'' {
>c d b a
>\repeat volta 1 {
>c d e f
>}
BTW, the following example produces correct output, too
And can not produce correct midi outpu
2008/8/21 Ralph Palmer <[EMAIL PROTECTED]>:
> Neat! Could either of you please provide a minimal snippet and submit
> it to Valentin for inclusion in the repeats section of the Snippet
> Repository? That would be greatly appreciated.
Minimal example may look like this:
% -- snip
\relative
Neat! Could either of you please provide a minimal snippet and submit
it to Valentin for inclusion in the repeats section of the Snippet
Repository? That would be greatly appreciated.
Peace,
Ralph
On Thu, Aug 21, 2008 at 3:24 AM, Dmytro O. Redchuk
<[EMAIL PROTECTED]> wrote:
> 2008/8/20 fiëé visu
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Hi Simon,
While musicxml2ly does a good job with simple files, your file contains
several features, which are not (yet?) properly handled, thus the output
degrades as musicxml2ly traverses through the file. Below is a detailled list
of issues I fou
On 8/20/08, Tom Cloyd <[EMAIL PROTECTED]> wrote:
> \paper {
> #(set-default-paper-size "letter" 'portrait)
> ragged-last-bottom = ##t % turns off vertical justify
> left-margin = 0.6\in
> line-width = 7\in % works better than specifying R-margin
> bottom-margin = .7\in
>
2008/8/21 Hajo Dezelski <[EMAIL PROTECTED]>:
> Of course Lilyponds target is to produce highly readable musical notation.
> And it does this job perfectly wonderful. But it would be really a pitty if
> this would be the end of the road. We have all the tools to use the score to
> make real audible
Hello,
knowing that it has been discussed before, I want nevertheless express my
interest in another exchange format than midi: ly to musicxml
I have been working more than 6 years with Finale and switched to Lilypond
several months ago. (See my contributions to Mutopia). There is really one
thin
2008/8/21 Francisco Vila <[EMAIL PROTECTED]>:
> 2008/8/21 Tom Cloyd <[EMAIL PROTECTED]>:
>> \header {
>> title = "Prelude #1 for classical guitar"
>> subtitle = "An etude for walking with angels (2007.06.04)"
>> composer = "Tom Cloyd"
>> tagline = \markup { \small "score set by Tom Cloyd -
2008/8/21 Tom Cloyd <[EMAIL PROTECTED]>:
> \header {
> title = "Prelude #1 for classical guitar"
> subtitle = "An etude for walking with angels (2007.06.04)"
> composer = "Tom Cloyd"
> tagline = \markup { \small "score set by Tom Cloyd - with Lilipond -
> [EMAIL PROTECTED]"} % this is the c
A couple of comments on your code:
#(set-global-staff-size 20) % 20 this is said to be standard for most scores
This is also the default in LilyPond, so the line is redundant (I'm sure
you already
know that and only keep the line in case you want to change the size later).
tagline = \mar
> 2. The last two lines in the code are identical, except that the
> last one has right hand fingering notated. Uncomment that last line
> and the same sort of right hand fingering notation that works in
> measure one suddenly makes the compliler nuts.
It's a simple syntax clash -- you have to ad
Werner,
I still cannot believe what an amazing list this is. It fully matches
the Ruby (programming language) list I'm on, for sheer helpfulness and
rapid response, and that's saying a LOT, believe me. Wow. So, why is
this? In both cases, I think it's because the basic tool involved is so
ver
> It's a simple syntax clash -- you have to add a few more spaces to
> tell lilypond where your scheme expression (this is the stuff starting
> with `#' ends). I've prettified your code a bit, and it compiles
> fine.
Oops. I missed that some fingering notation only works in chords
(which you ha
The cadenza section, by the way, is really one measure with an invisible
time signature change. The right hand 16th notes have been rebeamed,
and the space in the left hand are simply some hidden rests. What
really alarms me is the left hand at measure 87 of the first movement --
there's supp
There are many problems associated with playing the classic guitar, and
now I have another: Lilypond! (but it's a rather nice one, all in all).
[Running on Kubuntu Linux 8.04.1]
In the score code below, I'm trying to notate a lot of things: right
hand fingering, the specific strings notes are
2008/8/20 fiëé visuëlle <[EMAIL PROTECTED]>:
> Hello,
> I get (1.-2.) and (3.) alternatives, but I need (1.) and (2.-3.).
> How can I achieve that?
>
> I found the docs on "manual repeat marks"
> (http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Manual-repeat-marks),
> but I'd like to avo
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