On Thu, Apr 09, 2009 at 10:22:57PM -0700, Mark Polesky wrote:
Perhaps it was a coincidence that both Kieren
and Maestraccio requested slur-hiding solutions
recently:
http://lists.gnu.org/archive/html/bug-lilypond/2009-03/msg00106.html
Questions and comments are welcome. If anyone
wants to add it to the LSR, that's fine by me.
Change the function name too, if you want, I
couldn't think of anything better.
Very awesome! It's definitely LSR worthy.
+1
___
Eluze
There's a paragraph in section 5.5.1 which may (nor may not!) help.
It says:
All graphical objects have a reference point, a horizontal extent
and a vertical extent. The horizontal extent is a pair of numbers
giving the displacements from the reference point of the left and
right
As an example - the preferences file here
colors noteheads red. The \layout blocks
cascade, so even though the \layout block
in the preferences file is outside of the
\score blocks, it still works as if it were
inside of them.
Exactly what I need to know, in your example, Mark. Very
Mark Polesky wrote:
Here's another solution. The only issue is that
I don't know how to configure it so that you
can modify extra-x-padding and extra-y-padding
on-the-fly. Anyone?
moved to new thread:
http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00383.html
Mark Polesky wrote:
Regarding snippet candidacy, I was thinking it would be
better to allow the padding to be modified on-the-fly,
but it's not a big priority.
moved to new thread:
http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00383.html
Nick Payne wrote:
the laissezVibrer tie specified in the bass voice also appears
on the two simultaneous notes in the treble voice.
This is because of the names you gave your voices.
They happen to be the same as those automatically chosen by
the { } \\ { } construct.
So at this point
Marc Hohl wrote:
Carl D. Sorensen schrieb:
On 3/23/09 5:02 AM, Marc Hohl m...@hohlart.de wrote:
I assume that this will happen when tablature is updated. As far
as I know,
nobody is yet planning to do the work on tablature. They are only
planning
to put in the requests.
I'd
Hello,
I wonder why I (and, as I can imagine, 99% of users out there) have always
to put \unfoldRepeats in a different \score block just for correct MIDI
output, thus having to put in a variable all the \score content and use it
in both \score blocks.
It's not -till now - a problem for me, but I
On Fri, Apr 10, 2009 at 01:57:12AM -0700, MonAmiPierrot wrote:
I wonder why I (and, as I can imagine, 99% of users out there) have always
to put \unfoldRepeats in a different \score block just for correct MIDI
output, thus having to put in a variable all the \score content and use it
in both
On Fri, Apr 10, 2009 at 05:25:01PM +0800, Graham Percival wrote:
Fortunately, there's a simple way for both of us to be happy: the
status pro.
*facepalms*
I cannot believe I just wrote that.
In dubio prosecco.
Werner
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On Fri, Apr 10, 2009 at 05:25:01PM +0800, Graham Percival wrote:
Fortunately, there's a simple way for both of us to be happy: the
status pro.
*facepalms*
I cannot believe I just wrote that.
Cheers,
- Graham I'm a writer! Percival
___
Graham Percival-3 wrote:
I *never* put \unfoldRepeats. If you want real music, listen to
musicians.
Uhm... so, why don't we abolish \midi output?
I undestand what you said. It's because you mostly use \repeat for just
\repeats volta, which I can understand is THE most used \repeat
Hello,
I tried without success writing piano music in which 2 different voices
(e.g. simply left and right hand) change staff automatically. I don't know
if \autochange is the right tool.
If there's no manner to achieve this, can I manually change staff in a
voice? In other words: how can I
On Fri, Apr 10, 2009 at 03:08:32AM -0700, MonAmiPierrot wrote:
Graham Percival-3 wrote:
I *never* put \unfoldRepeats. If you want real music, listen to
musicians.
Uhm... so, why don't we abolish \midi output?
Because you cut out the relevant part of the quote. \midi is
useful
M Watts wrote:
Questions and comments are welcome. If anyone
wants to add it to the LSR, that's fine by me.
Change the function name too, if you want, I couldn't think of
anything better.
Very awesome! It's definitely LSR worthy.
+1
Wow! Nice, Mark!!
Jon
--
Jonathan Kulp
Am 10.04.2009 um 12:44 schrieb MonAmiPierrot:
Hello,
I tried without success writing piano music in which 2 different
voices
(e.g. simply left and right hand) change staff automatically. I
don't know
if \autochange is the right tool.
If there's no manner to achieve this, can I manually
Am 09.04.2009, 23:18 Uhr, schrieb M Watts zwy648...@gmail.com:
I think I've seen music where the breve (2 whole notes) was printed with
two bars on each side.
Indeed, in most hymn books I've seen, the breves have 2 lines each side,
As you can see here
Hi Henning (et al.),
Indeed, in most hymn books I've seen, the breves have 2 lines each
side,
As you can see here (http://en.wikipedia.org/wiki/
Double_whole_note), too.
Ah... I wasn't aware that the two-sideline breve and one-sideline
breve were the same duration.
so huzzah for
Graham, list,
On Thu, Apr 9, 2009 at 2:04 PM, Graham Percival
gra...@percival-music.ca wrote:
On Tue, Apr 07, 2009 at 11:56:16AM +0200, Christ van Willegen wrote:
Are there any people out there that would be willing to help make this
possible?
Are you? The best way to get this started is to
MonAmiPierrot pierofaustini at hotmail.com writes:
P.S. Perhaps, the \unfoldRepeats behaviour should be the default behaviour
in case of \repeat percent/tremolo, and not for \repeat volta (or
additionally in voltas also in case of different alternative endings). I
would like to know your (and
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two /transposes, is that right? Can someone help
me? Here's how I lay
Hi, I need to draw several superimposed -- although not nested --
brackets in order to evidence two
melodic overlapping structures for teaching purposes. Does
anyone knows how to do it?
I've tried Analysis brackets but the groupings are presumed nested
and so, the group openings and
closings
Jay Anderson wrote:
It wouldn't be hard to have this also unfold percent repeats.
Of course, tremolos were the most important.
I'm with Hu: double tremolo notes are a must. They take the 90% of tremolos
I find in my work.
But if your \tremolos code works you'll save a huge amount
Hi.
[...]
realized that the notes are one step too high.
[...]
If I understood correctly, you just need to use \transpose:
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
On 4/10/09 9:28 AM, Chip c...@wiegand.org wrote:
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two /transposes,
MonAmiPierrot wrote:
On unfoldTremolo, I'll give a try, but if you
confirm it works, I don't see a reason not to
implement it in next Lilypond version. What I
suggest is to having it work BY DEFAULT, cause
99,9% of tremolo users would switch it on if
they use MIDI output.
I don't typeset
One refinement I'd like to make to the macro is
in this block:
#(if (or ;; append to this list if you get the warning:
;; Ignoring grob for slur: grob. avoid-slur not set?
(equal? $top-grob Fingering)
(equal? $top-grob Accidental)
)
Thanks Carl,
That's what I needed. Has this been simplified in the last year or two?
Seems I recall there was a need to use two /transposes in the past.
--
chip
Carl D. Sorensen wrote:
On 4/10/09 9:28 AM, Chip c...@wiegand.org wrote:
I have two trombone parts written in concert key - F
Trevor Daniels wrote:
Eluze
There's a paragraph in section 5.5.1 which may (nor may not!) help.
Trevor
thanks, yes it does - in a way…
one part of the confusion raised with the not very specific mention of
something like generally negative numbers for the 1st number, whereas in
fact
Hello,
I tried to download
http://lilypondtool.organum.hu/fileadmin/lilypondtool/LiliPondTool.zip
but got HTTP response 404: not found.
Is there any mirror of this tool?
Regards,
Helge
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I wonder why I (and, as I can imagine, 99% of users out there)
have always
to put \unfoldRepeats in a different \score block just for
correct MIDI
output, thus having to put in a variable all the \score
content and use it
in both \score blocks.
I would also prefer \unfoldRepeats to
Kees == Kees van den Doel kvand...@shaw.ca writes:
Kees I would also prefer \unfoldRepeats to be the default. I
Kees frequently use the midi as practice material for the
Kees musicians. It's also good to have the repeats in the midi
Kees for listening checks to make sure you
In message c604d912.882c%c_soren...@byu.edu, Carl D. Sorensen
c_soren...@byu.edu writes
On 4/10/09 10:54 AM, Chip c...@wiegand.org wrote:
Thanks Carl,
You're welcome.
That's what I needed. Has this been simplified in the last year or two? Seems
I recall there was a need to use two
Claudia wrote:
Hi, I need to draw several superimposed -- although not nested --
brackets in order to evidence two
melodic overlapping structures for teaching purposes. Does
anyone knows how to do it?
I've tried Analysis brackets but the groupings are presumed nested
and so, the group openings
I was attempting to shorten the entry required for indicating
strokefingering:
\version 2.12.2
i = #(define-music-function (parser location) () #{
\rightHandFinger #2
#})
\relative c' { a-1-\i }
This causes Lilypond to crash (2.12.2, Windows). The entry in the
application event log
On Fri, Apr 10, 2009 at 08:28:47AM -0700, Chip wrote:
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two
2009/4/10 Graham Percival gra...@percival-music.ca:
On Fri, Apr 10, 2009 at 03:08:32AM -0700, MonAmiPierrot wrote:
For me, I only use \repeat percent and most of all \repeat
tremolo. In both cases, audio output is important. At least
for tremolos, you'll perfectly agree that there's no point
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Is this more what you are looking for?
It is not all that easy to use:
- you have to work out the position, e.g. -9, by yourself
- and it won't move when you transpose.
See IR 3.2.84.
On Sonntag, 22. Februar 2009 09:25:57 Frédéric Bron wrote:
I am in charge of the question of (de)crescendo syntax issue in 2.12.2.
Okay, sorry if I'm working on the same issue as you now, but I simply got too
frustrated with hundreds of pages of old scores suddenly changing
cresc/hairpin
Thanks. What I did in the end was to create a third voice with \hideNotes
turned on and attach the laissezVibrer tie to a note in that voice. I also used
the hidden voice for some ties and slurs across the visible voices.
Nick
-Original Message-
From: Robin Bannister
could u plz send me ur email address (send to: dooksucks4e...@gmail.com) i gotta
question.
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On 4/10/09 5:54 PM, Reinhold Kainhofer reinh...@kainhofer.com wrote:
On Sonntag, 22. Februar 2009 09:25:57 Frédéric Bron wrote:
I am in charge of the question of (de)crescendo syntax issue in 2.12.2.
Okay, sorry if I'm working on the same issue as you now, but I simply got too
frustrated
On Sat, Apr 11, 2009 at 01:54:22AM +0200, Reinhold Kainhofer wrote:
I know that it is not possible to implement this only with scheme and
lily code but I am sure it is possible in C++.
Yes, some simple lines of C++ were required.
Attached is a sample file to show how the definition of
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