I notice that the type1 fonts in the Lilypond distribution have the .PFB
files but no .PFM files. Are those downloadable somewhere? Windows
needs both to install them. I want to edit my pdf output in Illustrator
but some elements are getting messed up due to font issues. I found an
old 2005
> The piece I am trying to typeset at the moment starts with a 5 note scale
> pattern as an anacrusis on the soprano line:
>
> \relative c'' {
> \time 6/8
> \partial 8*5
> \key e \minor
> \stemUp
> b8 c d e fis |
> }
>
> The original score has that pickup as a big group of five 8th note
Hi! I'm new to lilypond and I have my first doubt about the using it.
The tutorial has been very helpful and I've been able to do most of my first
project without problems.
What I am unable to do so far is change the grouping of flags.
in 6/8 time for example, is there a way to change the grouping
> > To make sure that I don't misunderstand, does "#'(2 . 2.5)" mean
> > that the hight of the start and end points of the slur should be
> > set manually (in some units) for every slur?
>
> Afraid so.
Han-Wen? Any chance to improve the slur algorithm to fix this?
Werner
_
Le Tue, 7 Oct 2008 22:32:09 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
> Jonathan
>
> There is no need to do any more of the Beethoven quartet. The two bars you
> have done already would be quite sufficient and would have been ideal, but
> as you say, David's offering does display r
On Tue, Oct 7, 2008 at 2:12 PM, Reinhold Kainhofer
<[EMAIL PROTECTED]> wrote:
>
> (define-public (format-metronome-markup text dur count . context)
> (let* ((ctx (and (pair? context) (car context)))
> (hide-note (and ctx (eq? #t (ly:context-property
> ctx 'tempoHideNote
> (note
ma, 2008-10-06 kello 23:51 -0700, James E. Bailey kirjoitti:
> I'm guessing you're talking about D.2.3, Piano Centered Lyrics. What
> have you tried? If you take away everything but the \new statements,
> and just look at the \score block, what you'll see is
> \new Staff
> \new Lyrics
> \new Staf
On Mon, Oct 6, 2008 at 2:54 PM, Reinhold Kainhofer
<[EMAIL PROTECTED]> wrote:
>
> I thought about the different pros and cons of the colors, but I think the
> pros far outweight the cons. The pros are in particular:
> - -) You see which sections you have already visited, so you can either go to
>
ti, 2008-10-07 kello 18:55 -0500, Jonathan Kulp kirjoitti:
> I understand. It "is" possible to run Finale on Linux under Wine,
> though, so if he really can't manage Lilypond but does o.k. with Linux
> in general, then perhaps he could just run the occasional proprietary
> piece of software un
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 8. Oktober 2008 schrieb Alexander Kobel:
> [EMAIL PROTECTED] wrote:
> >> "Patrick" == Patrick McCarty <[EMAIL PROTECTED]> writes:
> >>>
> >>> also offer a safe-and-sound version, and have this
> >>> "ugly-but-efficient" narrow-TOC solu
ke, 2008-10-08 kello 02:34 +0300, Ari Torhamo kirjoitti:
> ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
> > Here's a quick test of Kieren's suggestion, showing first the overridden
> > slur and then one without the override. Not too hard to do as long as
> > there aren't too many.
Ari Torhamo wrote:
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many.
This slur setting would be the norm. If it's
> A List Apart explains how to implement this with cookies, but we would
> rather not use JavaScript:
And yes, I'm against JavaScript, too. This doesn't count as a real
client-side solution from my point of view.
Simplest solution, server-sided, efficient and secure, but clearly not
nice: Keep a v
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
> Here's a quick test of Kieren's suggestion, showing first the overridden
> slur and then one without the override. Not too hard to do as long as
> there aren't too many.
This slur setting would be the norm. If it's too much work,
Patrick McCarty wrote:
>> Besides, I'm not completely sure if this idea can be easily added, since
>> you use the absolute positioning and do not really apply a width, but
>> set the margins s.t. the width constraints follow; correct?
>
> I was having trouble implementing a solution that works in
[EMAIL PROTECTED] wrote:
>> "Patrick" == Patrick McCarty <[EMAIL PROTECTED]> writes:
>
>>> also offer a safe-and-sound version, and have this
>>> "ugly-but-efficient" narrow-TOC solution as a "large screen
>>> optimized version"?
>
> Patrick> Good idea. I'll start experimenting with this.
>
On Tue, Oct 7, 2008 at 4:06 PM, Alexander Kobel <[EMAIL PROTECTED]> wrote:
> Patrick McCarty wrote:
>>
>> Hmm. I didn't consider the {min,max}-width rules. I think using a
>> max-width for the TOC pane would be more appropriate though.
>
> Yup, true.
>
> Besides, I'm not completely sure if this i
Patrick McCarty wrote:
>> I just looked at the manual at different sizes, and I agree that we
>> should not decrease the size of the navigation bar too far - it makes
>> things too worse for smaller screens.
>> But, couldn't we try a minimum-width in absolute values, say 240px (or
>> about 16em, to
On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote:
> Do you know why the postscript files produced by lilypond (2.10.33,
> cygwin) are not compatible with psbook and psnup?
I don't know. I'm using 2.10.33 on Debian/sid, and I've just tested
running one of my lilypond scores through p
On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote:
> Do you know why the postscript files produced by lilypond (2.10.33,
> cygwin) are not compatible with psbook and psnup?
>
> To prepare the printing on A3 paper, I used to do the following with
> lilypond 2.6.0:
>
> psbook score.ps
> "Patrick" == Patrick McCarty <[EMAIL PROTECTED]> writes:
>> also offer a safe-and-sound version, and have this
>> "ugly-but-efficient" narrow-TOC solution as a "large screen
>> optimized version"?
Patrick> Good idea. I'll start experimenting with this.
Please make sure it still works on
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many. This is a good trick to know. Thanks Kieren :)
\version "2.11.61"
\relative c' {
\once \override Slur #'positions = #'(2 .
On Tue, Oct 07, 2008 at 02:51:45PM -0700, Patrick McCarty wrote:
> On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote:
> > Do you know why the postscript files produced by lilypond (2.10.33,
> > cygwin) are not compatible with psbook and psnup?
> >
> > To prepare the printing on A3 pap
Dear Aaron,
maybee this could help You:
http://lsr.dsi.unimi.it/LSR/Item?id=390
You can make somerhing like:
melody =\relative { c d e f g }
\rhythmA{ \melody }
\rhythmB{ \melody }
2008/10/7 Aaron Dalton <[EMAIL PROTECTED]>
> Is there a way to tell Lilypond to automatically incr
On Tue, Oct 07, 2008 at 11:38:36PM +0200, =?ISO-8859-1?Q?Fr=E9d=E9ric_Bron_
wrote:
> Do you know why the postscript files produced by lilypond (2.10.33,
> cygwin) are not compatible with psbook and psnup?
>
> To prepare the printing on A3 paper, I used to do the following with
> lilypond 2.6.0
Ah. I see the problem now. I guess Kieren's suggestion is probably the
way to go. It might be possible to store the override in a variable
instead of having to do it repeatedly in the code. I've never used this
override, though, so I don't know. Good luck!
Jon
Ari Torhamo wrote:
ti, 200
Certainly this is fine with me. David's piece looks really cool and
could serve as an example for much more than just bowed-string
techniques. It'll be better to use his example. Best,
Jonathan
Trevor Daniels wrote:
Jonathan
There is no need to do any more of the Beethoven quartet. The t
Do you know why the postscript files produced by lilypond (2.10.33,
cygwin) are not compatible with psbook and psnup?
To prepare the printing on A3 paper, I used to do the following with
lilypond 2.6.0:
psbook score.ps | psnup -2 > score.2.ps
With the output of 2.10.33, the output of psbook
Jonathan
There is no need to do any more of the Beethoven quartet. The two bars you
have done already would be quite sufficient and would have been ideal, but
as you say, David's offering does display rather more of Lily's
capabilities. Can we put this on ice while we check out David's offer
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
I forgot to add, that my Lilypond version is 2.10.33.
Ari
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
On Mon, Oct 6, 2008 at 2:44 PM, Robin Bannister <[EMAIL PROTECTED]> wrote:
> Kurt Kroon wrote:
>
>> the CSS "quasi-frames" already provide the affordance of a fixed
>> navigation frame, so it isn't necessary to make their backgrounds
>> "matchy-matchy".
>
> I don't understand which background areas
ti, 2008-10-07 kello 15:42 -0400, Kieren MacMillan kirjoitti:
> Hi Ari,
>
> > What I'd like to see is to have the slur start from the other end
> > of the
> > stem - the end where there's no note.
>
> There used to be a functions that allowed you to set the slur to
> begin at the stem — it wa
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
> Hmm. I thought the code I put there gave what you're describing. See
> image attached. The slur is on the stem side, nowhere near the
> notehead. Is this not what you meant? I'm using version 2.11.61 if
> that makes a difference.
On Mon, Oct 6, 2008 at 4:58 PM, Alexander Kobel <[EMAIL PROTECTED]> wrote:
> Sebastian Menge wrote:
>> Am Fri, 26 Sep 2008 17:47:56 +0200
>> schrieb Alexander Kobel <[EMAIL PROTECTED]>:
>>
>>> However, one suggestion: Have you talked about the size of the
>>> navigation sidebar? On my 13" MacBook (
On Mon, Oct 6, 2008 at 3:39 PM, Robin Bannister <[EMAIL PROTECTED]> wrote:
> Reinhold Kainhofer wrote:
>>
>> This is always a good argument (similar things should look similar),
>> however, I think in our case we can afford to use a "nicer" color in the
>> sidebar, since it is already spacially sep
Hmm. I thought the code I put there gave what you're describing. See
image attached. The slur is on the stem side, nowhere near the
notehead. Is this not what you meant? I'm using version 2.11.61 if
that makes a difference.
Here's the code used for attached image, only slightly different
Hi Ari,
What I'd like to see is to have the slur start from the other end
of the
stem - the end where there's no note.
There used to be a functions that allowed you to set the slur to
begin at the stem — it was deprecated/eliminated several versions ago.
Now, you must use \override Slur #'
ma, 2008-10-06 kello 23:19 -0500, Jonathan Kulp kirjoitti:
> I know you can make the slurs attach to the stem side if you use
> phrasing slurs and use either ^ or _ to tell it which direction to go:
>
> \relative c' { fis2^\( ~ fis4 g c,\) }
>
> Is that what you mean?
>
> Hope that helps!
Tha
That's a nice-looking piece and would certainly show off more of
Lilypond's capabilities than the Beethoven passage I'm working on. If
y'all would rather use David's piece that'd be fine with me. I've
finished 2 bars of the Beethoven (there would only be 2 more) so I could
bail out now or kee
Is there a way to tell Lilypond to automatically increase or decrease
the note values by a certain ratio? I have a number of transcriptions
done at a fixed ratio but in the modern edition some will need their
note values doubled. I'm hoping this is as simple as adding some
directive at the top o
2008/10/7 Grammostola Rosea <[EMAIL PROTECTED]>:
> Wouldn't it be a good idea to have an embedded search engine on the website?
> It would searching for a specific term a bit more easy...
As it happens, I have hired a web-dev to work on it (well, my little
brother actually, but he's still chargin
I thought about using something from one of my own works when doing the
fretted-strings headword, but all of my coolest stuff is published and I
don't own the copyright anymore. I do have some unpublished guitar
music, but it wouldn't have displayed as many features of Lilypond as
the Mertz ex
Thanks again, Jonathan - that seems the best
approach. I'll replace it straight after
breakfast tomorrow, which means people can see
the Ravel headword for just one day! Make the
most of it!
I hate to say this, but the Keyboards headword
is also by Ravel ...
The most interesting comment in thi
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 7. Oktober 2008 schrieb Reinhold Kainhofer:
> Am Dienstag, 7. Oktober 2008 schrieb Han-Wen Nienhuys:
> > You can't do this; the format-metronome-markup is run during
> > interpreting, from Metronome_mark_engraver, which will pass the
> > c
On Tue, Oct 7, 2008 at 1:04 PM, Graham Percival <[EMAIL PROTECTED]> wrote:
> On Tue, 7 Oct 2008 10:43:28 -0400
> Kieren MacMillan <[EMAIL PROTECTED]> wrote:
>
>> Graham,
>>
>> > waste time on this garbage
>>
>> I find is baffling ___ and, frankly, more than a little sad ___ that
>> you think discus
On Tue, 7 Oct 2008 10:43:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> Graham,
>
> > waste time on this garbage
>
> I find is baffling ___ and, frankly, more than a little sad ___ that
> you think discussing copyright issues is a "waste of time" for
>
> > professors, composers, program
Graham's right. Too much time on copyright. I've selected a very nice
passage from Beethoven's Op. 127 and will begin setting it later today.
With any luck I'll send it out by the late owl and it'll be waiting
with Trevor's breakfast tomorrow ;-)
Jon
Graham Percival wrote:
complicated en
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 7. Oktober 2008 schrieb Han-Wen Nienhuys:
> You can't do this; the format-metronome-markup is run during
> interpreting, from Metronome_mark_engraver, which will pass the
> context object by doing context()->self_scm() in C++.
Actually, a
On Tue, Oct 7, 2008 at 4:20 AM, Valentin Villenave
<[EMAIL PROTECTED]> wrote:
> 2008/10/7 Kieren MacMillan <[EMAIL PROTECTED]>:
>
>> Ravel and Debussy are both PD, as are the early Webern that were published
>> in the U.S. before the 1920s.
>
> All of these are unfortunately still held hostages by
On Tue, 7 Oct 2008 10:43:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> Graham,
>
> > waste time on this garbage
>
> I find is baffling ___ and, frankly, more than a little sad ___ that
> you think discussing copyright issues is a "waste of time" for
>
> > professors, composers, programm
You can't do this; the format-metronome-markup is run during
interpreting, from Metronome_mark_engraver, which will pass the
context object by doing context()->self_scm() in C++.
I suggest you refactor the code a bit, so your call and
format-metronome-markup use the same code.
On Mon, Oct 6, 2008
Graham,
waste time on this garbage
I find is baffling — and, frankly, more than a little sad — that you
think discussing copyright issues is a "waste of time" for
professors, composers, programmers, musicians...
But that's your issue, I guess.
Not-so-cheers also,
Kieren.
_
New headword will be coming soon. Probably a late Beethoven quartet.
We don't need copyright headaches.
Jon
Graham Percival wrote:
Find a different headword.
You don't want to screw around with "fair use". Is "fair use"
under US law? Is it "fair dealing" under Canadian law? IIRC the
last t
On 10/6/08 5:32 PM, "David Hatherly" <[EMAIL PROTECTED]> wrote:
> Section 3.4 of the lilypond manual describes how to produce a multi-part
> score,
> and it also talks about condensing multibar rests.
>
> It would be useful if it was made clear here that the << and >> commands are
> needed in t
Sorry - I just found out a (the?) solution:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat "volta" 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
g4 r4 c8 b4 a8~ | a4 r8 d, f d f g\laissezVibrer % here was the problem!
}
{
g8\repeatTie c8 b4 a8 as~ as4 | g es8 d~ d2
\bar "|."
}
}
}
}
Hi,
I made some score for my mama for practicing vocals How do I get
those dynamics in the midi output?
staffSoprano = \new Staff {
\time 4/4
\set Staff.instrumentName="Soprano"
\set Staff.midiInstrument="choir aahs"
\key d \major
\clef treble
\relative c'
James E. Bailey wrote:
You know, you can use the "one big page" option, and use yourbrowser
to search the documentation.
ok, so no need for a search engine?
Alternativeley, you can search the documentation with the google
search engine.
Scroogle or ixquick is what you supposed to say? ;)
Am
Find a different headword.
You don't want to screw around with "fair use". Is "fair use"
under US law? Is it "fair dealing" under Canadian law? IIRC the
last time we looked at this, my not-a-lawyer reading of the
Canadian copyright law was that, since we weren't quoting a small
exerpt *for the
Hi
In the following example the \mark collides with chords and notes.
<<
\chords { c1 c }
\new PianoStaff <<
\new Staff = "upper" {
\relative c'' {
c16 \mark \markup \bold "Test" g a b r2.
\mark \markup \bold "LongTest" c16 g a b r2.
}
\addlyrics { la l
The problem of a tie, which connects the last note in a volta with its first
note, seems to be without solution still (?)
Any hints?
(The repeatTie-command doesn't help.)
example:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat "volta" 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
So, do I need to do a different headword, or can this small excerpt be
considered "fair use"? (Or does the concept of fair use apply in French
copyright law?)
Jon
Reinhold Kainhofer wrote:
It's true that in most of the European countries (and many other countries
around the world) Ravel's w
Am Tue, 7 Oct 2008 09:20:41 +0200
schrieb "Valentin Villenave" <[EMAIL PROTECTED]>:
> But six bars of Ravel won't hurt.
What would hurt? Does anyone have experiences with publishing
leadsheets of jazz standards? E.g. like the famous realbooks?
Would that hurt the copyright owners?
Seb.
__
Hi Valentin,
All of these are unfortunately still held hostages by the French
publishers :-(
Those damn French… they always take their own sweet time! ;-)
But six bars of Ravel won't hurt.
Agreed.
Kieren.
___
lilypond-user mailing list
lilypon
2008/10/7 Nick Payne <[EMAIL PROTECTED]>:
> You can remove the time signature like so:
Or:
\override Score.TimeSignature #'stencil = ##f
t.
Risto
>> -Original Message-
>> From: [EMAIL PROTECTED]
>> [mailto:[EMAIL PROTECTED] On
>> Behalf Of Jonathan Kulp
>> Sent: Tuesday, 7 October 2008
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 7. Oktober 2008 schrieb Risto Vääräniemi:
> 2008/10/7 Jonathan Kulp <[EMAIL PROTECTED]>:
> > Oh man, I really don't know about the copyright. If it was published in
> > 1905, then it's in p.d. in the U.S.
>
> In Europe (European Economic
Hi,
Wouldn't it be a good idea to have an embedded search engine on the
website? It would searching for a specific term a bit more easy...
(ps. please not Google... there are not very privacy friendly...
maybe this are good options?
http://eu.ixquick.com/eng/link_instructions.html or
http://
You can remove the time signature like so:
\score {
.
.
.
\layout {
.
.
\context {
\Staff
\remove "Time_signature_engraver"
}
}
}
Nick Payne
> -
2008/10/7 Jonathan Kulp <[EMAIL PROTECTED]>:
> Oh man, I really don't know about the copyright. If it was published in
> 1905, then it's in p.d. in the U.S.
In Europe (European Economic Area) the term of copyright ends when the
author has been dead for more than 70 years. Ravel died in December
2
Thanks, Trevor. I hadn't even listened to the MIDI before. I'm sure
the strings sound much better. I'll have to check the tempo of this
passage and set it appropriately, though, b/c I don't think it's correct
right now. And I see now how easy it is to remove the time signature. :)
Jonathan
Ravel died in 1937. In almost all countries, copyright lasts 70 years
past the death of the author (I think Canada still has the 50-year rule,
as one of the very few exceptions; and exceptions never extend the
period of protection). Since Jan 1, 2008, Ravel's works are free of
copyright.
U.S.
Jonathan
Here's your score with my slight mods. Thanks again
for doing this so promptly. It should appear in the
2.11 docs tomorrow.
Trevor
- Original Message -
From: "Jonathan Kulp" <[EMAIL PROTECTED]>
To: "Trevor Daniels" <[EMAIL PROTECTED]>
Cc: "Kieren MacMillan" <[EMAIL PROTECTE
Oh man, I really don't know about the copyright. If it was published in
1905, then it's in p.d. in the U.S. If I'm not mistaken, the pdf I
downloaded from the International Music Library Score Project was made
from a Dover score, and I think those are always made from public domain
stuff. If
David
The documentation has been almost completely rewritten for the next release,
and can be seen as part of the 2.11 development branch now. The Learning
Manual in particular is new, and is almost equally applicable to 2.10. It
was designed to be read in the order the sections appear so as
Sebastian Menge wrote:
> [...]
>> For the long lines: I heard this stuff - 40 to 80 characters, best
>> between 50 and 60, serifs (although not on the screen, depending on
>> whom you ask), microtypographically fitted hyphens and dots at the
>
> Just looked up a research article on this. I dont un
Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM
Ok I've put together six bars of the Ravel quartet. File is attached so
you can see it looks like it'll be appropriate. It would be nice to
have a couple of fingerings and bowing indications, but this passage
didn't have any. There are
Please note that the solutions provided in the referenced email could
also have been obtained using
\score { {
\set Score.skipBars = ##t
\new Staff = bla <<
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt} >>
}
}
(The interpretation of this alternative solution is that th
2008/10/7 Kieren MacMillan <[EMAIL PROTECTED]>:
> Ravel and Debussy are both PD, as are the early Webern that were published
> in the U.S. before the 1920s.
All of these are unfortunately still held hostages by the French publishers :-(
But six bars of Ravel won't hurt.
Cheers,
Valentin
_
77 matches
Mail list logo
