Dear community,
I've seen that the paper-block in the following example, which I've used in
a latex-document, has no influence on the output.
How can I get more space between the systems?
\begin{lilypond}
\version 2.12.2
\paper {
2010/4/26 Francisco Vila paconet@gmail.com:
2010/4/26 Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu:
Send me a PDF file of the original problem please...
http://paconet.org/lilypond/duermeusted.pdf
In another (older) system this looks and prints correctly both in
jpedal and
2010/4/27 Stefan Thomas kontrapunktste...@googlemail.com:
Dear community,
I've seen that the paper-block in the following example, which I've used in
a latex-document, has no influence on the output.
How can I get more space between the systems?
\begin{lilypond}
Dear Francisco,
thanks for Your answer, it worked!
2010/4/27 Francisco Vila paconet@gmail.com
2010/4/27 Stefan Thomas kontrapunktste...@googlemail.com:
Dear community,
I've seen that the paper-block in the following example, which I've used
in
a latex-document, has no influence on
Francisco Vila wrote:
2010/4/26 Francisco Vila paconet@gmail.com:
2010/4/26 Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu:
Send me a PDF file of the original problem please...
http://paconet.org/lilypond/duermeusted.pdf
In another (older) system this looks
Hello,
New lilypond user, finally got rid of finale (thank god). My question is
kind of dumb but I'm really confused about this.
I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
need to extract parts from this (can you tell I was a finale user for 7
years?) Did I
On Tue, Apr 27, 2010 at 12:15 PM, Joshua Armenta josharme...@gmail.com wrote:
New lilypond user, finally got rid of finale (thank god). My question is
kind of dumb but I'm really confused about this.
I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
need to extract
New lilypond user, finally got rid of finale (thank god). My question is kind
of dumb but I'm really confused about this.
I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
need to extract parts from this (can you tell I was a finale user for 7 years?)
Did I create
Hi Joshua,
Have a look at
http://lilypond.org/doc/v2.13/Documentation/learning/scores-and-parts#Scores-and-parts
Part of LilyPond's flexibility is that it does most of the work for you.
This eliminates the need to fine tune the the appearance and layout of
the music in scores and parts, and
Hello all,
While browsing I came across the following article:
Kuuskankare, M (2009) ENP: a system for contemporary music notation.
Contemporary Music Review 28(2): 221--235
http://dx.doi.org/10.1080/07494460903322505
It's about a system developed at the Sibelius Academy and dedicated to
the
For the score I make a file called score.ly with all of the formatting
that I prefer for the full score and I do \include guitar-notes.ly and
\include horn-notes.ly and so forth.
One thing you can do is to open all the file as a project in Smultron or
TextMate or your favorite text editor. In
Hi,
Anyone using audiveris here? Looks interesting
http://audiveris.kenai.com/
\r
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lilypond-user@gnu.org
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On Tue, Apr 27, 2010 at 02:56:53PM +0200, Joseph Wakeling wrote:
Kuuskankare, M (2009) ENP: a system for contemporary music notation.
Contemporary Music Review 28(2): 221--235
http://dx.doi.org/10.1080/07494460903322505
That's not new -- or rather, that's just the latest version.
There's
On 27 April 2010 09:56, Joseph Wakeling joseph.wakel...@webdrake.netwrote:
It's about a system developed at the Sibelius Academy and dedicated to
the production of advanced contemporary notation, including LISP-esque
syntax for extensibility.
It comes with PWGL, that is a program for
Bernardo Barros wrote:
I wonder why not just work with Lilypond, or even modify Lilypond if
necessary to atend contemporary notation. It's easier to humans to
understad and it's already working ok :-) Maybe it has to do with the
render time
The 'Sibelius Academy' mention is probably the
2010/4/26 Reinhold Kainhofer reinh...@kainhofer.com:
Absolutely. You can't imagine how long i fought to find proper ways
to align pp and pp sempre properly with each other!
How interesting!
Do you use Graham's function or do you have something on your own?
I hoped normal markups to align
On Tue, Apr 27, 2010 at 07:11:22PM +0200, Joseph Wakeling wrote:
Bernardo Barros wrote:
I wonder why not just work with Lilypond, or even modify Lilypond if
necessary to atend contemporary notation. It's easier to humans to
understad and it's already working ok :-) Maybe it has to do with
Yes, for simbolic manipulation it makes a lot of sense to have this format.
I like very much the structure of the rhythmic trees of PW and Openmusic.
For my personal use as a composer I created other kinds of representation
that I work in SuperCollider and in the end I have some programs that
Dear all,
I thought I'd chime in since I'm the author of the program discussed in this
thread.
I started to work with ENP already in the early 90's. The idea at the time was
to update the music notational capabilities of a visual programming language
called PatchWork. So, ENP, at first,
Graham Percival wrote:
That's a rather large fail. Sibelius Academy is a university.
http://www.siba.fi/en/
Mea culpa. :-)
You might recall that Sibelius was a composer? A rather famous
composer from Finland? In fact, some people might say the *only*
famous composer from Finland? (no
Mika Kuuskankare wrote:
Dear all,
I thought I'd chime in since I'm the author of the program
discussed in this thread.
Already replied to this message once, but forgot to hit 'Reply All'.
Sincere apologies to Mika and other ENP developers (not to mention the
Sibelius Academy) for
Hi all,
I found a bug when working with tablature with a quarter-tone. See the third
string for example.
I can't do this:
\set TabStaff.stringTunings = #'(3 -1 -5.5 -11 -15 -21)
Because I get things like 0.5 in the score.
It's better to round to 6 rather then 5.
If I round to 6 it's better,
No, it's happening in other cases too. It's funny because the same note can
be one fret number and anoter with one step diference in the same measure.
Strange... Maybe I have to copy to another file and then check for all the
mistakes and try to compensate in the new file, but that's insane. :-(
I found a good example of the problem.
I get string 3 fret 6 If I type
geh'8\3\glissando \grace { cih'\3 }
AND:
geh'8\3\glissando \grace { bih\3 }
It's a semitone lower but I read 6 in both cases. I'm using the tuning:
\set TabStaff.stringTunings = #'(3 -1 -6 -11 -15 -21)
It's a bug, right?
On
On 27 April 2010 17:20, Bernardo Barros bernardobarr...@gmail.com wrote:
I found a good example of the problem.
I get string 3 fret 6 If I type
geh'8\3\glissando \grace { cih'\3 }
AND:
geh'8\3\glissando \grace { bih\3 }
I guess the problem has something to do with in which octave the
On 4/27/10 12:44 PM, Bernardo Barros bernardobarr...@gmail.com wrote:
Hi all,
I found a bug when working with tablature with a quarter-tone. See the third
string for example.
I can't do this:
\set TabStaff.stringTunings = #'(3 -1 -5.5 -11 -15 -21)
Because I get things like 0.5 in
Ok, Carl,
But I think it's 'almost' there, lilypond rounds sometimes inappropriately
up or down, but I have to say most of the time it is correct.
Is it that difficult to fix? If 'yes' I have to abandon the work I made so
far and make the final score using handwriting or Finale.
On 27/04/10 23:33, rosea.grammostola wrote:
Hi,
Anyone using audiveris here? Looks interesting
http://audiveris.kenai.com/
I had a brief look at it a while ago, but even with a high quality
printed score I found that the time involved in making corrections made
it slower than entering
On 28/04/10 03:26, Xavier Scheuer wrote:
[snip]
I hoped normal markups to align automatically beside dynamics if
presents, but John disagreed so I didn't open a discussion about that
on one of the international mailing lists.
c'4\mp-\markup \italic dolce
to produce the quite usual mp dolce.
On 4/27/10 3:56 PM, Bernardo Barros bernardobarr...@gmail.com wrote:
Ok, Carl,
But I think it's 'almost' there, lilypond rounds sometimes inappropriately up
or down, but I have to say most of the time it is correct.
Is it that difficult to fix? If 'yes' I have to abandon the work I made so
Hi Carl, marc and others,
Did you manage to use \chordGlissando with dynamics? It creates a lot of
dynamics, and if I try to create a hiden voice the score becomes a mess. I'm
not putting dynamics in those chords until I know what to do.
___
Am Mittwoch, 28. April 2010 00:11:24 schrieb Nick Payne:
On 28/04/10 03:26, Xavier Scheuer wrote:
[snip]
I hoped normal markups to align automatically beside dynamics if
presents, but John disagreed so I didn't open a discussion about that
on one of the international mailing lists.
You can use different music for the notes than for the tablature. I
realize
that this is not desirable, but it's one way around the problem.
You might also try redefining SEMI-SHARP. Look at scm/lily-library.scm,
and
find
(define-safe-public SEMI-SHARP 1/4)
Try changing it to
Carl Sorensen c_soren...@byu.edu writes:
On 4/27/10 3:56 PM, Bernardo Barros bernardobarr...@gmail.com wrote:
Ok, Carl,
But I think it's 'almost' there, lilypond rounds sometimes inappropriately up
or down, but I have to say most of the time it is correct.
Is it that difficult to fix? If
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