Kirill writes:
> Update for sib2ly released (v1.01, 2 Feb 2010)
>
> * Chord symbols now supported.
Confirmed.
> * sib2lydump.plg updated to work with Sibelius 5.
Confirmed.
I'm very impressed!
> Johan,
> When you reported that chords do not work, I misunderstood you at first.
> The chords a
After seeing that output, I'm curious: has anybody
played around in Lilypond with making the staff curve
around (like forming a circle, or
just bending down the page or something)? I'd like to
be able to do that.
Best,
Jonathan
This is exactly why I 'm so glad that Lilypond can
produce S
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On Monday 01 February 2010 22:41:36 you wrote:
> On 31 January 2010 20:01, Reinhold Kainhofer wrote:
> > You can write your own engraver that listens to the note-event rather
> > than the created NoteHead grobs. There, you can easily extract the
> > p
I have a score where I need to indicate Drop D tuning for the guitar
(6th string is tuned down to D). The typical way this is indicated in
guitar music is a (6) = D (circle with a 6 in it = D), placed at the
top left of page 1 under the title, but above a tempo mark. I am
relatively new to Lilypond
Hi Brett,
> I have a score where I need to indicate Drop D tuning for the guitar
> (6th string is tuned down to D). The typical way this is indicated in
> guitar music is a (6) = D (circle with a 6 in it = D), placed at the
> top left of page 1 under the title, but above a tempo mark. I am
> relat
On Wed, Feb 3, 2010 at 2:39 PM, Kieren MacMillan
wrote:
> \version "2.13.11"
>
> dropD = \markup \line { \circle 6 "= D" }
>
> \header {
> title = "Drip, Drip, Drop-D"
> piece = \dropD
> }
>
> \score {
> \relative d { \clef "treble_8" d1 }
> }
>
> Hope this helps!
It sure did, exactly what I
Brett,
This is a modification of the code I use to draw this mark. Maybe you
can put this in the \header block somewhere where it will appear in the
appropriate place. I place this mark below the first system's clef by
attaching it to the first note an then using an \tweak or an offset
script
Hello,
I'm trying to define music function, a note with baroque descriptions.
So it boils down to achieving (simplified example):
c'_\markup{s}
via:
fun = #(define-music-function
(parser location note)
(ly:music?)
#{
$note \mark \markup{ s }
#})
{
\fun c'
}
-
On 03.02.2010, at 20:45, David Stocker wrote:
Brett,
This is a modification of the code I use to draw this mark. Maybe
you can put this in the \header block somewhere where it will
appear in the appropriate place.
Sorry, I'm having difficulty visualizing this. Where in the \header
bloc
I want to write without time, with no bars and - with no key-signature (or
C-major), but the behavior should be: every accidental holds only for one note,
so naturals aren't necessary (can be forced like always with ! or ?) but for
repeated fis e.g. it is printed always a sharp.
Is there already a
Kieren suggested piece.
James Bailey wrote:
On 03.02.2010, at 20:45, David Stocker wrote:
Brett,
This is a modification of the code I use to draw this mark. Maybe you
can put this in the \header block somewhere where it will appear in
the appropriate place.
Sorry, I'm having difficulty v
Yes, David, I put your markup in piece and it worked fine, just like
Kieren's version.
On Wed, Feb 3, 2010 at 3:22 PM, David Stocker
wrote:
> Kieren suggested piece.
>
> James Bailey wrote:
>>
>> On 03.02.2010, at 20:45, David Stocker wrote:
>>
>>> Brett,
>>>
>>> This is a modification of the cod
I prefer to have the indication just to the left of the first stave, and
for this I set the instrument name, as it automatically gets placed
correctly:
\relative c' {
\clef "treble_8"
\set Staff.instrumentName = \markup \bold { \circle {6} "= D " }
c1
}
Nick
On 04/02/10 06:28, Bre
That looks nice, too. In many guitar books, though, I see it placed at
the top, especially if other strings need to be downtuned also, like a
lot of metal guitarists do.
On Wed, Feb 3, 2010 at 3:30 PM, Nick Payne wrote:
> I prefer to have the indication just to the left of the first stave, and fo
Oh yeah, that makes total sense. Thanks. I haven't seen Kieren's
email yet.
On 03.02.2010, at 21:22, David Stocker wrote:
Kieren suggested piece.
James Bailey wrote:
On 03.02.2010, at 20:45, David Stocker wrote:
Brett,
This is a modification of the code I use to draw this mark. Maybe
y
Oh yeah, that makes total sense. Thanks. I haven't seen Kieren's
email yet.
On 03.02.2010, at 21:22, David Stocker wrote:
Kieren suggested piece.
James Bailey wrote:
On 03.02.2010, at 20:45, David Stocker wrote:
Brett,
This is a modification of the code I use to draw this mark. Maybe
y
That can be accomodated too:-) e.g.
\relative c' {
\clef "treble_8"
\set Staff.instrumentName = \markup \column {
\bold \line { \circle {3} "= F# " }
\bold \line { \circle {6} "= D " }
}
c1
}
Nick
On 04/02/10 07:32, Brett McCoy wrote:
That looks nice, too. In ma
And for a piece like Koyunbaba, where five of the six strings are
retuned, something like this:
%==
\version "2.13.11"
\include "english.ly"
\pointAndClickOff
actual = \markup {
\lower #1.9
\score {
\new Staff \with {
\remove "Time_signature_eng
I guess you just use c major and for accidentals See Notation Reference -
Automatic accidentals. One of those will do what you want ('dodecaphonic' or
possibly 'forget').
I don't know about no time but you can also remove the bar engraver
See same document
Visibility and color of objects
It's
how to achieve
$note_\markup{ s }
in define-music-function definition.. because $note_ can't be parsed
correctly.
Well, you can try this work-around with a \skip and a <<>> construct.
%
fun = #(define-music-function (parser location note)(ly:music?)
#{
<< $note s1*0_\markup { s }
That's an interesting way to do it.
On Wed, Feb 3, 2010 at 4:05 PM, Nick Payne wrote:
> And for a piece like Koyunbaba, where five of the six strings are retuned,
> something like this:
>
> %==
> \version "2.13.11"
>
> \include "english.ly"
>
> \pointAndClickOff
>
> actual = \
>> how to achieve
>> $note_\markup{ s }
> << $note s1*0_\markup { s } >>
Ahh of course :) a zero length skip
In my example it works better without << >>
I just s1*0_\markup { s} $note, so it enters markup in place, and add
note thereafter.
> For a more advanced function, you'll have to use scheme
Hi Kirill,
This is an interesting approach to Sibelius to LilyPond conversion. However, I
do agree with Carl's earlier message. It seems that a more generally useful
approach would be to improve MusicXML to LilyPond conversion.
The Dolet 5 for Sibelius and Dolet 5 for Finale converters both con
David Stocker wrote:
Greetings.
Your example works as is in 2.13.11, with the string number
indications appearing above the beams of the notes.
I'm using the 2.12 stable branch. Is 2.13.11 mostly usable?
--
Bob Wooldridge
Blog: http://kc0dxf.net/blog/
_
On Wed, Feb 03, 2010 at 07:42:18PM -0600, Bobber wrote:
> David Stocker wrote:
>>
>> Your example works as is in 2.13.11, with the string number
>> indications appearing above the beams of the notes.
> I'm using the 2.12 stable branch. Is 2.13.11 mostly usable?
2.13.12 (not yet released) has 17
Hi,
I include a file, on which I tried to show a probblem.
When major, a triangle is put up the name of the chord, when minor, a "m" is
written on the same level as the chord.
Is it possible to have the triangle and the "m"at the chord level, and keep
the rest as it is?
With thanks and regards,
Eri
I would like to have more control over where string numbers, left hand
fingerings and right hand fingers are placed. I mean putting them below
a note, to the side or above. Is this possible?
--
Bob Wooldridge
Blog: http://kc0dxf.net/blog/
___
li
Bob,
Not only is it possible, but it is probable that doing so will increase
your fun quotient with LilyPond.
You'll be interested in
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Inside-the-staff#Fingering-instructions
In particular, be aware that modifications like \set
finge
Michael Good wrote:
Obviously one can do much better than Dolet 1 with Sibelius 6, but I don't
think this extends to Dolet 5.
Hi Michael,
Granted, your Dolet 5 is perhaps much more advanced than the earlier
versions. I'm sure you are doing a wonderful job there, and a very
useful one too.
Tried it but nothing happens:
% measure 2:
<<
{ r8 c'8 e8 c8 e4 } \\
{ \set fingeringOrientations = #'(right) c,2.-4 }
>>
David Stocker wrote:
Bob,
Not only is it possible, but it is probable that doing so will
increase your fun quotient with LilyPond.
You'l
On 1/2/10 10:06 AM, "Michael J. O'Donnell" wrote:
> In the hope that I had overlooked
> something (I've read the whole notation manual, but there are clearly
> things that haven't made it in yet---I've found some of them in the
> *.scm and *.ly sources but there are bound to be others that I've
>
BODY { font-family:Arial, Helvetica, sans-serif;font-size:12px; }Try
2 in the 2nd voice.
Nick
On Thu 04/02/10 2:09 PM , Bobber bob...@kc0dxf.net sent:
Tried it but nothing happens:
> % measure 2:
> { r8 c'8 e8 c8 e4 } \
> { set fingeringOrientations = #
On Thu, 4 Feb 2010, Michael Good wrote:
There will definitely be lossiness going from Sibelius to an intermediate
format, and from that intermediate format to LilyPond. But I think the
lossiness will be minimized if that intermediate format is MusicXML produced
by our latest Dolet plug-ins. Th
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