Hello,
I sent this mail yesterday with the graphics attached, but it did not
appear in the mailing list. I resend it with an link to the graphic at a
web server. Hope this passes the moderation.
I write a piece with where are a lot of triplets in one variation. It
looks nice to have the
This looks like a syntactic nightmare. You are suggesting
c4 c 4 - c4 c4 c4
i.e. making white space syntactically significant.
Honestly, this would be OK with me. How many users are aware that
`c 4' is the same as `c4' (I wasn't, BTW)? Is this ever documented?
Do we have a single
On Sun, Apr 05, 2009 at 08:42:43AM +0200, Werner LEMBERG wrote:
This looks like a syntactic nightmare. You are suggesting
c4 c 4 - c4 c4 c4
i.e. making white space syntactically significant.
Honestly, this would be OK with me. How many users are aware that
`c 4' is the same
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM
I write a piece with where are a lot of triplets in one variation.
It
looks nice to have the beaming in the same length as the triplets
as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that I can manually set
Hello,
I have a variation of a piece, where the first lines are played single
voice over two staves and the other lines are normal upper/lower staves.
To avoid a lot of silent rests I want to use the \autochange in the
PianoStaff for the first lines and append the other in the same score.
Trevor Daniels wrote:
Helge Kruse wrote Sunday, April 05, 2009 7:22 AM
I write a piece with where are a lot of triplets in one variation. It
looks nice to have the beaming in the same length as the triplets as it
is done in the hand writing original.
I found in the manual (1.2.4 Beams) that
Helge
This works with 2.11.65:
% real score, automatic beaming, does NOT work
% Works with added revert -td
\score {
\relative c'' {
\clef treble \key as \minor \time 2/4
#(revert-auto-beam-setting '(end * * 2 4) 1 4 'Staff)
\set Staff.beatLength = #(ly:make-moment 1 8)
%\set
2009/4/5 Werner LEMBERG w...@gnu.org:
Honestly, this would be OK with me. How many users are aware that
`c 4' is the same as `c4' (I wasn't, BTW)? Is this ever documented?
Do we have a single example which makes use of this syntactic
possibility?
Not that I know of (I wasn't aware either
On Sun, Apr 05, 2009 at 12:27:36PM +0200, Werner LEMBERG wrote:
PS: besides, what's with you guys and this c4 obsession; have you
been playing terrorist video games lately or what? :-)
Interesting. I've no idea what you are talking about, but I conclude
that you like to play terrorist
Hi all,
How many users are aware that `c 4' is the same as `c4'
I am -- I use whitespace quite consciously/critically.
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
How many users are aware that `c 4' is the same as `c4'
I am -- I use whitespace quite consciously/critically.
Congrats :-) Do you actually use `c 4'? Or would you object to such a
syntax change?
Werner
___
lilypond-user mailing list
Werner (et al.)
Do you actually use `c 4'?
I don't use that exact construct.
Or would you object to such a syntax change?
Only if it (adversely) affected the flexibility of whitespace
elsewhere -- for example,
g~ versus g ~
g( versus g (
etc.
If the parser is smart
Or would you object to such a syntax change?
Only if it (adversely) affected the flexibility of whitespace
elsewhere -- for example,
g~ versus g ~
g( versus g (
etc.
I use `g ~' also
If the parser is smart enough to isolate the duration-whitespace
from
Thanks,
this doesnt work with lilypond 2.11.63 at all. The beams dont end at the
triplet boundaries. I try to update to a newer version
Yep, 2.11.65 fixed this behavior. Still trying versions 2.13.0-0
does it too.
Many thanks,
Helge
Trevor Daniels wrote:
Helge
This works with
Hello all,
One of the delights to see in the News for 2.12 was the new material on
quarter-tone and other microtonal notation. However, I have one problem...
The standard Lilypond quarter-tone notation uses pitches -is and -es
(sharp and flat), -ih and -eh (quarter-tone sharp and flat) and
2009/4/5 Werner LEMBERG w...@gnu.org:
This looks very artificial...
Yes it does; however, it's the only non-breaking way I can see
(besides using a new symbol such as ). Granted, it is far-fetched.
c4 c 2
seems probably more natural (to me) than
c4 c 2
or even
c4 4 2
however, the cool part of
Hello,
with help by Trevor I got forward a lot with my scores. Currently I
still have a little issue with slurs. The original score, that I want to
mimic, has slurs _above_ the noteheads: http://dj1na.gmxhome.de/pg-0009.JPG
Lilypond puts the slurs below the beams per default. This can be
Forgotten sample file attached...
Helge
Helge Kruse wrote:
Hello,
with help by Trevor I got forward a lot with my scores. Currently I
still have a little issue with slurs. The original score, that I want to
mimic, has slurs _above_ the noteheads: http://dj1na.gmxhome.de/pg-0009.JPG
To get the output by the sample, I would conceptualise this slightly
differently. First, there's no need to keep on writing \times 2/3 {}
every time. Lilypond can make that easier for you. Secondly, since a)
in the orginal it's done this way and b) it's clear by the musical
pattern, I
Helge
The 'slurs' in the hand-written score look as if they are
really triplet indicators, with the '3' omitted from the
later ones. If so, I don't think Lily can do this very well
automatically. The closest I can get is to make the tuplet
brackets transparent and use slurs, as shown below.
Hi all,
does anybody know a way to get LilyPond to automatically draw extender
lines after the last syllable of each word, if the melisma reaches a
specified minimal length? Such a behaviour would save large time in
entering some kinds of music.
Cheers,
Michael
Dear all,
I'm writing a extension for Sphinx, with which I can write music learning notes.
I need to show those clifs, keys, notes, and so on with out staff and other
things.
My solution is using
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove
On 5 Apr 2009, at 14:20, Joseph Wakeling wrote:
One of the delights to see in the News for 2.12 was the new material
on
quarter-tone and other microtonal notation. However, I have one
problem...
Perhaps Graham Breed can help - I cc him.
Hans
I would like to have chord names nearer to the staff... How can I do that ?
thank you for your help,
François
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
- Original Message -
From: Joseph Wakeling joseph.wakel...@webdrake.net
Date: Sunday, April 5, 2009 5:21 am
Subject: Quarter-tone notation with arrows
To: lilypond-user@gnu.org
Hello all,
One of the delights to see in the News for 2.12 was the new
material on
quarter-tone and
Valentin Villenave wrote:
Another solution would be to say that numbers-only entry is only
possible after having used an explicite duration: e.g.
c4 4 4 - c4 c4 c4
but
c4 c 4 - c4 c4
This way we wouldn't break any existing code (but good luck for
documenting that...)
Ugly! Isn't this
If you just want a clef, for example, and nothing else, the easiest is
to use a stand-alone markup command:
\markup{ \musicglyph #clefs.G }
For the white border, I seem to remember that some solutions have been
posted on the mailing list.
/Mats
Wei-Wei Guo wrote:
Dear all,
I'm writing
On 4/5/09 10:01 AM, Wei-Wei Guo wwgu...@gmail.com wrote:
Dear all,
I'm writing a extension for Sphinx, with which I can write music learning
notes.
I need to show those clifs, keys, notes, and so on with out staff and other
things.
I'm not sure exactly what you want to show. You say
Hi all,
Is there a way to have the TimeSignature stencil output with a thin
white border?
That way, you could stack Slur, TimeSignature, and StaffSymbol grobs,
and the Slur would look like it disappeared behind the TimeSignature.
Thanks,
Kieren.
From: Kieren MacMillan
Is there a way to have the TimeSignature stencil
output with a thin white border? That way, you
could stack Slur, TimeSignature, and StaffSymbol
grobs, and the Slur would look like it
disappeared behind the TimeSignature.
Will using markup suffice?
\version 2.13.0
On Sun, Apr 05, 2009 at 10:37:08PM +0200, Martin Tarenskeen wrote:
Just some thoughts about MIDI.
Now let's make beautiful scores again using Lilypond.
If you want a default velocity of 90 instead of 127: patch attached.
Ooops. I forgot to attach my patch.
--
Martin Tarenskeen
Carl D. Sorensen wrote:
Yes, it's probably a good idea. In scm/midi.scm, there is the following:
;; 90 == 90/127 == 0.71 is supposed to be the default value
;; urg: we should set this at start of track
(define-public dynamic-default-volume 0.71)
As far as I can see, this setting isn't
( My mail client is doing strange things ... this is another attempt to
send my message to the mailing list )
On Sat, Apr 04, 2009 at 08:05:17PM -0600, Carl D. Sorensen wrote:
Anybody willing to take this on as a patch? It shouldn't be too
hard, but I imagine it'll take some time grepping
On Sun, Apr 5, 2009 at 8:23 AM, Werner LEMBERG w...@gnu.org wrote:
How many users are aware that `c 4' is the same as `c4'
I am -- I use whitespace quite consciously/critically.
Congrats :-) Do you actually use `c 4'? Or would you object to such a
syntax change?
as long as I have anything
Kees van den Doel wrote:
A given alteration results in one specific glyph.
:-(
Of course a -1/4 flat can be presented by numerous glyphs,
anything you like, really, but you'll have to decide which one is the default
and if you want another symbol
at some point in the score (I can't imagine
as long as I have anything to do with LilyPond, I will veto changes
like this that introduce inconsistent whitespace handling in the
syntax. Please come up with something different. I think the idea
to use (for example) as a place holder is much more sane.
OK. Then I vote for a letter
Hi Mark,
Will using markup suffice?
I've been doing something similar...
However, I'd like an automated way of outlining any #'stencil --
maybe it's a task I can accomplish as a Frog?
Cheers,
Kieren.
\version 2.13.0
\markup \combine
\musicglyph #clefs.G
\whiteout \pad-markup #0.75
On 4/5/09 2:42 PM, Mats Bengtsson mats.bengts...@ee.kth.se wrote:
Carl D. Sorensen wrote:
Yes, it's probably a good idea. In scm/midi.scm, there is the following:
;; 90 == 90/127 == 0.71 is supposed to be the default value
;; urg: we should set this at start of track
(define-public
2009/4/5 Han-Wen Nienhuys hanw...@gmail.com:
Please come up with something different. I think the idea to
use (for example) as a place holder is much more sane.
As I suggested, if we forbid such standalone durations after anything
else than an explicit duration, it would not break anything
Hi all,
O.K here goes, I've pruned some bits out where we were getting into
acoustics, and tweaked a few bits.
Cheer
Ian Hulin
Anthony W. Youngman wrote:
1.64 Concert pitch
The convention (standardised by ISO 16) states that A above middle C represents
the note at 440 Hertz. This is
From: Kieren MacMillan
However, I'd like an automated way of outlining any #'stencil --
maybe it's a task I can accomplish as a Frog?
Kieren,
Here's something to fiddle with.
Just a start, but you could develop
it more if you're interested.
Hope it helps
- Mark
\version 2.13.0
#(define
- Original Message -
From: Joseph Wakeling joseph.wakel...@webdrake.net
Date: Sunday, April 5, 2009 2:41 pm
Subject: Re: Quarter-tone notation with arrows
To: Kees van den Doel kvand...@shaw.ca
Cc: lilypond-user@gnu.org
Kees van den Doel wrote:
A given alteration results in one
Hi Mats,
If you just want a clef, for example, and nothing else, the easiest is to use
a stand-alone markup command:
\markup{ \musicglyph #clefs.G }
Stand-alone markup is right what I need. The \markup command works for me.
I have a further question. Is there a list of musicglyph? I still
Hi Carl,
Mats has answered my first question. Thanks for your reply.
Which version of LilyPond are you using? I couldn't find a section 14.11 in
any of the current documentation.
I'm using version 2.12.1. I only find section 14.11 in user document of version
2.10.
Here is the link:
#(load myfile.scm)
HTH,
Carl
On 4/5/09 5:19 PM, Mark Polesky markpole...@yahoo.com wrote:
How do I include a scheme file from within a .ly file?
I see the source uses (define-module) and (use-modules).
I looked at the guile docs, but I couldn't figure it out.
Thanks
- Mark
On 4/5/09 4:59 PM, Valentin Villenave v.villen...@gmail.com wrote:
2009/4/5 Han-Wen Nienhuys hanw...@gmail.com:
Please come up with something different. I think the idea to
use (for example) as a place holder is much more sane.
As I suggested, if we forbid such standalone durations
On Sun, Apr 5, 2009 at 2:43 PM, Werner LEMBERG w...@gnu.org wrote:
as long as I have anything to do with LilyPond, I will veto changes
like this that introduce inconsistent whitespace handling in the
syntax. Please come up with something different. I think the idea
to use (for example) as
Joseph Wakeling wrote:
Another reason could be that if your quarter-tones are _approximate_
rather than precise, it can be helpful to know which of the 12 standard
notes you are bending.
If there's some intuitive reason for choosing different
logical equivalents, perhaps that should be
Ian Hulin wrote:
Hi all,
O.K here goes, I've pruned some bits out where we were getting into
acoustics, and tweaked a few bits.
Cheer
Ian Hulin
(snip)
Transposing instruments are named according to the fundamental
(known on some brass instruments as the pedal) note.
On a
49 matches
Mail list logo
