On 16 Feb 2009, at 23:35, Kees van den Doel wrote:
If you look at the persian.ly file I sent, you will find the
symbol for that I think (a blank).
On the other hand if you meant not the glyph but the input suffix...
Perhaps an unfortunate choice of word: as a musical function,
regardless
If you look at the persian.ly file I sent, you will find the
symbol for that I think (a blank).
On the other hand if you meant not the glyph but the input suffix...
Perhaps an unfortunate choice of word: as a musical
function,
regardless whether it is notated.
...you're right
Error message -
Error running external command.
See the activity log about the problem.
Cannot run program c:\Program Files\LilyPond\user\bin\lilypond (in
directory D:\Lilypond Files): CreateProcess error=3, The system cannot
find the path specified.
Below is all the stuff from the activity
On 17 Feb 2009, at 00:32, Kees van den Doel wrote:
D# E#p F-raised - I just added a sharp to your example.
Oh, I see, but non-white key finalis is never used, yet for
completeness I'll add it too.
Though transposition is not used much now, if a program can do it for
you, perhaps.
chip wrote:
Error message -
Error running external command.
See the activity log about the problem.
Cannot run program c:\Program Files\LilyPond\user\bin\lilypond (in
directory D:\Lilypond Files): CreateProcess error=3, The system
cannot find the path specified.
Just an additional note: The
Michael Lauer mrlau...@yahoo.com wrote:
First, for those who are unfamiliar with shape-note tunebooks and would
like to see the sort of thing Tim is talking about, see for example
http://digital.lib.msu.edu/projects/ssb/display.cfm?
TitleID=610Format=jpgPageNum=26 .
That's a little different
I'm not top-posting
How do I get initial grace note after time and key signatures?
A short example:
%}
\version 2.12.0 % necessary for upgrading to future LilyPond versions.
\header{
title = Initial grace note test
}
global= {
\time 4/4
\key f \major
}
Flute =
Bill Moran wrote:
I'm not top-posting
How do I get initial grace note after time and key signatures?
A short example:
%}
\version 2.12.0 % necessary for upgrading to future LilyPond versions.
\header{
title = Initial grace note test
}
global= {
\time 4/4
\key f \major
Jonathan Kulp wrote:
If you remove the \new voice from your Flute variable and put it in
the \score block it will work:
Indeed, Jonathan's code works fine here with 2.12.2.
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http://linux.softpedia.com/get/Programming/UI-User-Interfaces-/Waterlily-7613.shtml
is there any way to build such a program to run under Windows OS?
- not a Lilypond GUI but simply a way to have the PDF output window as well as
the text editor window running simultaneously, so that changes made
I would like to import musicsheets in Scribus. The only way I found is
export a .png file with Lilypond, and import it in Scribus. But I think that
a .ps importation would be a better solution: less space and better quality.
I put in attachment an exemple of a .ps output (converted in .png by
jEdit and Lilypondtool will do this, or near enough. Get jEdit from
http://www.jedit.org/ and see
http://www.mail-archive.com/lilypond-user@gnu.org/msg41849.html for some
install instructions for Lilypondtool.
Nick
-Original Message-
From:
Hi,
I just noticed that the opening the generated PDF file in an external
viewer has a small flaw. On Windoze machines LPTool starts the default
PDF viewer (usually Acrobat) instead of the one the user specifies
(e.g Foxit). The viewer is started using a start command like this:
start path to the
I guess you need context more than resolution; here's a couple of
scanned pages:
http://www.cs.ubc.ca/~kvdoel/tmp/koronSori.pdf
Thanks.
Werner
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Tim Slattery-2 wrote:
There are four voice parts, the \repeat volta 2 is in each one at the
same place. I cannot figure out where the extra begin-repeat comes
from.
did you run each voice seperately? from there it should be easy to check if
all the voices have the repeat at the same
i forgot to ask why you would change the layout that Lilypond offers?
before tweaking around with line margins and width and others i would
definitely look at the natural results of Lilypond!
hth
Eluze
--
View this message in context:
Tim McNamara wrote:
Is there a correct way to do this that I haven't been able to figure out?
No. Not yet.
But see the recent thread at
http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00028.html
Cheers,
Robin
___
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On 16 Feb 2009, at 00:45, Graham Breed wrote:
You need to say what interval (as a fraction of a 200 cent whole
tone) you want each symbol to correspond to.
If one would use E53 (the Pythagorean tuning), how would it work now,
after your work of implementing microtonality into LilyPond? If
On 16 Feb 2009, at 03:48, Kees van den Doel wrote:
The note immediately following a koron is sometimes (when the
interval
defined by the note before the koron and after the koron is a
minor
third, and the note below the finalis in esfahan according to some
(but
not all) Persian
2009/2/16 Nick Payne njpa...@internode.on.net:
Here's the present function with the hard-coded Postscript:
If you have added the inline comments to the Scheme code after having
tested it, please test it again :-)
--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org
In the file you sent, there was no attempt to have a repeat in the
middle of a measure.
However, in the three upper parts you had inserted the \repeat command
at the beginning
of measure 9, whereas in the bass part you had inserted it at the
beginning of measure 12,
which means that the typeset
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Sonntag, 15. Februar 2009 schrieb Tim Slattery:
OK, I've switched to a more normal style (although I'd still like to
get the more traditional style). The input for the section is question
is:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4
Reinhold Kainhofer wrote:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e1. c1.} }
I suppose the last chord should have a duration of 2. rather than 1.? That
explains the empty
Nick Payne-4 wrote:
I have a barre function for guitar scores that I would like to enhance by
adding a vertical line indicating how far the barre should extend across
the
fretboard.
very usefull, indeed - and i wish you can do this automatical vertical
distance calculation very soon!
Tim == Tim Slattery slatter...@bls.gov writes:
Tim Mats Bengtsson mats.bengts...@ee.kth.se wrote:
I guess you have several voices or even several staves involved in your
piece. Note that the \repeat volta command should be inserted
in all voices of music and also have to
I have a barre function for guitar scores that I would like to enhance by
adding a vertical line indicating how far the barre should extend across the
fretboard. As a test I took the existing barre function and added some
hard-coded Postscript that draws a line of fixed vertical height. I can add
Reinhold Kainhofer reinh...@kainhofer.com wrote:
I suppose the last chord should have a duration of 2. rather than 1.? That
explains the empty measure at the end (since you enter a duration that
actually spans two measures!).
Yes, I found that. Fixing it made the extra measure at the end go
Mats Bengtsson mats.bengts...@ee.kth.se wrote:
However, in the three upper parts you had inserted the \repeat command
at the beginning of measure 9, whereas in the bass part you had inserted it at
the
beginning of measure 12,
Ugh! I knew it had to be something stupid that I did. Many thanks!
I still can't get my output to look the way I want it to.Maybe
Lilypond just doesn't do this.
Traditional Sacred Harp music uses four dots, one between each line,
for a repeat symbol. It looks just like what you get when you specify
\bar:. The beginning of a repeat often starts in the middle of a
Tim Slattery Slattery_T at bls.gov writes:
The \bar : gets me the repeat symbol I wanted. But the extra repeat
is still there, and I'm getting more errors from this syntax
alexander2.ly:25:20: warning: not a grob name, `Barline'
{ \partial 8*4 g2
\once \override
Tim Slattery Slattery_T at bls.gov writes:
I still can't get my output to look the way I want it to.Maybe
Lilypond just doesn't do this.
Traditional Sacred Harp music uses four dots, one between each line,
for a repeat symbol. It looks just like what you get when you specify
\bar:. The
On 16 Feb 2009, at 03:48, Kees van den Doel wrote:
The note immediately following a koron is sometimes (when the
interval
defined by the note before the koron and after the koron is a
minor
third, and the note below the finalis in esfahan according to some
(but
not all) Persian
- Original Message -
From: Hans Aberg hab...@math.su.se
Date: Monday, February 16, 2009 11:12 am
Subject: Re: Persian musical koron and sori
To: Kees van den Doel kvand...@shaw.ca
Cc: Behnam Rassi beh...@videotron.qc.ca, Graham Breed gbr...@gmail.com,
lilypond lilypond-user@gnu.org
On
Grammostola Rosea wrote:
Grammostola Rosea wrote:
Wilbert Berendsen wrote:
Op vrijdag 13 februari 2009, schreef Grammostola Rosea:
Wilbert Berendsen wrote:
Op vrijdag 13 februari 2009, schreef Grammostola Rosea:
When I use a template in Frescobaldi for electric bass it doesn't
I guess you need context more than resolution; here's a couple of scanned pages:
http://www.cs.ubc.ca/~kvdoel/tmp/koronSori.pdf
Kees
- Original Message -
From: Werner LEMBERG w...@gnu.org
Date: Sunday, February 15, 2009 10:54 pm
Subject: Re: Persian musical koron and sori
To:
Tim Slattery wrote:
I still can't get my output to look the way I want it to.Maybe
Lilypond just doesn't do this.
Traditional Sacred Harp music uses four dots, one between each line,
for a repeat symbol. It looks just like what you get when you specify
\bar:. The beginning of a repeat often
On 16 Feb 2009, at 21:43, Kees van den Doel wrote:
Might you give some examples of this (which written notes)?
E.g., D Ep F (F 20 cent flat, so actually D Ep and Ep F are the same
interval)
If the musical function or intent is that these intervals should be
equal, then the note is F#pp,
- Original Message -
From: Hans Aberg hab...@math.su.se
Date: Monday, February 16, 2009 1:52 pm
Subject: Re: Persian musical koron and sori
To: Kees van den Doel kvand...@shaw.ca
Cc: Behnam Rassi beh...@videotron.qc.ca, Graham Breed gbr...@gmail.com,
lilypond lilypond-user@gnu.org
On
On the other hand, if it is lowered an unspecified amount,
then
when
transposed, you will need another symbol that raises an
interval
so
that the sum is M-m.
If you look at the persian.ly file I sent, you will find the
symbol for that I think (a blank).
On the other hand
On 16 Feb 2009, at 23:14, Kees van den Doel wrote:
E.g., D Ep F (F 20 cent flat, so actually D Ep and Ep F are
the same
interval)
If the musical function or intent is that these intervals should
be
equal, then the note is F#pp, that is, a double koron.
Cute, I never thought of that!
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