Am 11.05.2009 um 23:58 schrieb Werner:
Unfortunately gs seems to be unable to deal with unicode-filenames...
Any hints?
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I just stopped using
Am 11.05.2009 um 20:24 schrieb Tim Rowe:
The only thing wrong is that the verse starts with an anacrusis -- a
pickup beat, for which I've used \partial. The notes look perfect, but
the bar numbering is wrong because it's treating the incomplete bar at
the end of the chorus and the completion in
2009/5/11 Mats Bengtsson :
> Here, I would rather say
> \new Staff {
> \autoBeamOff \new Voice = "mel" { \chorus } \new Voice = "vs" {\verse} }
That is clearer, yes. I'm still a bit shaky about when I can cascade
things in sequence and when I can't. The rule so far seems to be that
when I try i
Unfortunately gs seems to be unable to deal with unicode-filenames...
u...@suse10-3:~/noten/lilypond> lilypond Ča_ča_ča-in-B.ly GNU LilyPond 2.12.2
»Ča_ča_ča-in-B.ly« wird verarbeitet
Analysieren...
Interpretation der Musik...[8]
Vorverarbeitung der grafischen Elemente...
Ideale Seitenanzahl wird
>
> How can I make them be aligned vertically again?
>
no idea why it changed and where this happens, but
\override Score.RehearsalMark #'padding = #2.5
might help
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Quoting Tim Rowe :
Thanks. With that I've got something that is very nearly right.
Having given the music element pretty obvious names, I have in a
simultaneous section of the score:
\new Voice = "mel" { \autoBeamOff \chorus \new Voice = "vs" {\verse} }
Here, I would rather say
\new Staff {
2009/5/11 Jonathan Kulp :
> And maybe this is the snippet Kieren's thinking of?
>
> http://lsr.dsi.unimi.it/LSR/Item?id=333
Thanks. It looks as if "learn more scheme" is the answer ;-)
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Tim Rowe wrote:
2009/5/11 Kieren MacMillan :
If I recall correctly, there's a Scheme function in the LSR which allows you
to increment/decrement the bar number at any point -- search for "bar
number" or "increment".
Which is the LSR? I'd done that search in the learning manual,
notation refer
2009/5/11 Kieren MacMillan :
> If I recall correctly, there's a Scheme function in the LSR which allows you
> to increment/decrement the bar number at any point -- search for "bar
> number" or "increment".
Which is the LSR? I'd done that search in the learning manual,
notation reference, internal
Hi Tim,
I can kludge that by using:
\set Score.currentBarNumber = #9
but that involves me counting the bars, so I'd sooner do something
like
\set Score.currentBarNumber = #(- 'internalBarNumber 1)
except not that because it doesn't work. Drat. Am I going to have to
learn more scheme, or a
2009/5/11 Tim Rowe :
> but that involves me counting the bars, so I'd sooner do something like
> \set Score.currentBarNumber = #(- 'internalBarNumber 1)
> except not that because it doesn't work.
And neither does
\set Score.currentBarNumber = #(- 'Score.currentBarNumber 1)
nor
\set Score.cur
2009/5/11 Trevor Daniels :
> Tim, I think Mats meant the very last example in
> that section, which shows two ways of coding a
> solo verse followed by a 2-part harmonised refrain.
> You could use either technique to code verses
> and chorus. The second method right at the end
> is far easier.
T
I forgot to include the list in my last reply to Valentin:
2009/5/11 Valentin Villenave :
> 2009/5/9 Francisco Vila :
>> It was typeset by the pianist and composer Pascual Marchante. As for
>> the license of the score: well thougth, if it is not published at all,
>> how can it be licensed anyway?
2009/5/11 Graham Percival :
> (on the LR)
> "This book explains how to begin learning LilyPond, as well as
> explaining some key concepts in easy terms. You should read these
> chapters in a linear fashion.
Which I did.
> There is a paragraph See also at the end of each section, which
> contains
Am 11.05.2009 um 18:38 schrieb Graham Percival:
Something like LM 1.2 About the documentation?
(on the LR)
"This book explains how to begin learning LilyPond, as well as
explaining some key concepts in easy terms. You should read these
chapters in a linear fashion.
(on the NR)
"This book expl
2009/5/11 Graham Percival :
> The Learning Manual does ***NOT*** require any prior knowledge.
> If you find **any** lilypond material in the LM which does not
> follow from previous material, this is a bug.
> (we do not explain musical terminology, although we try to add
> links to the music glos
On Mon, May 11, 2009 at 05:32:29PM +0100, Tim Rowe wrote:
> 2009/5/11 James E. Bailey :
>
> > The lilypond documentation really isn't the kind of
> > documentation that you can go to when you want to know how to
> > do something. It's designed to teach you how to use the
> > software.
> >
> > Inci
2009/5/11 James E. Bailey :
> The lilypond documentation really isn't the kind of
> documentation that you can go to when you want to know how to do
> something. It's designed to teach you how to use the software.
>
> That's a beautiful quote. Valentin, could you include it in the
> next Report?
> Actually, the manuals are pretty good.
After a fashion, yes. What's there is clear and well written. But the
indexing and cross referencing is weak (too often it leads to where a
concept is just mentioned rather than explained) and there seem to be
gaps (although that might be because I can't fi
Am 11.05.2009 um 17:18 schrieb Graham Percival:
On Mon, May 11, 2009 at 05:11:53PM +0200, James E. Bailey wrote:
The lilypond documentation really isn't the kind of
documentation that you can go to when you want to know how to do
something. It's designed to teach you how to use the software.
On Mon, May 11, 2009 at 04:03:51PM +0100, Anthony W. Youngman wrote:
> Graham's quite cuddly when you get to know him - like a hedgehog
> you just have to be very careful how you cuddle him :-)
Aww, you're making me blush. :)
> The difficulty is that steep learning curve. Any decent lilypond pie
In data lunedì 11 maggio 2009 13:30:46, -Eluze ha scritto:
: > oiram73 wrote:
> > Ciao a tutti!
> > Vorrei sapere se c'è un modo per rendere "costante" la distanza delle
> > corde
>
> use
> \override StringNumber #'staff-padding = #'()
> to allow string numbers to be written inside the staff
> sal
On Mon, May 11, 2009 at 05:11:53PM +0200, James E. Bailey wrote:
>
> The lilypond documentation really isn't the kind of
> documentation that you can go to when you want to know how to do
> something. It's designed to teach you how to use the software.
That's a beautiful quote. Valentin, could y
On Mon, May 11, 2009 at 11:59:12AM +0100, Tim Rowe wrote:
> In the case of every question I have asked, I have not only scoured
> the manuals -- not just the learning manual -- but also searched the
> snippets repository and the web in general for anything that might
> give me a clue.
Did you, or
Am 11.05.2009 um 12:59 schrieb Tim Rowe:
2009/5/11 Graham Percival :
RTF Learning Manual. It's written specifically for this purpose.
- Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
In t
In message
, Tim Rowe
writes
2009/5/11 Graham Percival :
RTF Learning Manual. It's written specifically for this purpose.
- Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
Graham's quite
In message
, Valentin
Villenave writes
2009/5/9 Francisco Vila :
It was typeset by the pianist and composer Pascual Marchante. As for
the license of the score: well thougth, if it is not published at all,
how can it be licensed anyway? It is a copyrighted work, period. IIRC
it was commissioned
2009/5/9 Francisco Vila :
> It was typeset by the pianist and composer Pascual Marchante. As for
> the license of the score: well thougth, if it is not published at all,
> how can it be licensed anyway? It is a copyrighted work, period. IIRC
> it was commissioned by the Madrid autonomous community
oiram73 wrote:
>
> Ciao a tutti!
> Vorrei sapere se c'è un modo per rendere "costante" la distanza delle
> corde
>
use
\override StringNumber #'staff-padding = #'()
to allow string numbers to be written inside the staff
saluti cordiali!
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2009/5/11 Graham Percival :
> RTF Learning Manual. It's written specifically for this purpose.
> - Graham
Really I find this attitude very aggressive, hostile and unwelcoming,
and quite unlike all of the other email groups for software that I
use.
In the case of every question I have asked, I h
On Mon, May 11, 2009 at 09:13:41AM +0100, Tim Rowe wrote:
> That looks like what I need, but I don't quite understand it --
> probably because I don't properly understand contexts -- the in
> documentation, all the index entries for contexts take me to sections
> that assume I already know what the
isaac schrieb:
Hi, i'm isaac
ive been recently composing my own music but i came to a problem. I cant find
where the rhythm dynamics are in the online manual.
im looking for the input names for ritenuto', 'a tempo' and the likes to put
into my composition.
Am i simply looking in the wrong place
Neil Puttock schrieb:
2009/5/10 Marc Hohl :
And here's my solution for tablature:
#(define (glissando::calc-tab-extra-dy grob)
(let* ((original (ly:grob-original grob))
(left-bound (ly:spanner-bound original LEFT))
(right-bound (ly:spanner-bound original RIGHT))
(le
Hi, i'm isaac
ive been recently composing my own music but i came to a problem. I cant find
where the rhythm dynamics are in the online manual.
im looking for the input names for ritenuto', 'a tempo' and the likes to put
into my composition.
Am i simply looking in the wrong place, not looking har
2009/5/11 Trevor Daniels :
> Tim, I think Mats meant the very last example in
> that section, which shows two ways of coding a
> solo verse followed by a 2-part harmonised refrain.
> You could use either technique to code verses
> and chorus. The second method right at the end
> is far easier.
A
Since upgrading from version 2.10 to 2.12, I can't manage to get
neighbouring \mark and \markup output to align properly. I have a \mark on
a barline, and a ^\markup over the 4-bar rest which follows the barline.
With version 2.10, the two items appeared at the same distance above the
stave, but wi
2009/5/10 James E. Bailey :
> There are different ways of doing this. I prefer to have separate voice
> contexts for the verse and lyrics, i.e., music = { \context Voice = Verse
> \relative {} \context Voice = Chorus \relative {} } and then corresponding
> lyrics contexts: verse = \context Lyrics
From: "Tim Rowe" wrote Monday, May 11, 2009 12:29 AM
2009/5/10 Mats Bengtsson :
This is explained in Sect. "3.2.3 Voices and vocals" in the
Learning Manual
for LilyPond.
I can't see anything relating to it there -- it was the first
place I
looked! Perhaps you don't understand what I want, o
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