It's a pitty.
I thinks it would be useful to have a feature allowing to type in directly
midi-commands in Lilypond source-code.
I thinks, this wouldn't be too complicated to implement.
2012/6/2 Janek Warchoł janek.lilyp...@gmail.com
On Sat, Jun 2, 2012 at 11:20 AM, Stefan Thomas
On 30/05/12 02:12, Han-Wen Nienhuys wrote:
One of the problems of LilyPond is that C++ had very poor support for
things we desperately need: reflection, automatic memory management
and callbacks.
How about D?
http://dlang.org/
This seems to me to be a great choice for much of LP's needs.
Federico Bruni fedel...@gmail.com writes:
Hi,
can you tell me what's the meaning of a stem which connects a note
in a voice to a rest (?) in another voice?
See image attached.
There is no rest to be seen. There are just two voices which share some
noteheads. Also there is one glissando
Il 03/06/2012 15:20, David Kastrup ha scritto:
Federico Brunifedel...@gmail.com writes:
Hi,
can you tell me what's the meaning of a stem which connects a note
in a voice to a rest (?) in another voice?
See image attached.
There is no rest to be seen. There are just two voices which share
Hi Federico,
On Sun, Jun 3, 2012 at 8:51 AM, Federico Bruni fedel...@gmail.com wrote:
Il 03/06/2012 15:20, David Kastrup ha scritto:
Federico Brunifedel...@gmail.com writes:
Hi,
can you tell me what's the meaning of a stem which connects a note
in a voice to a rest (?) in another
Il 03/06/2012 16:04, David Nalesnik ha scritto:
This sort of notation is very common. Rather than notating only what is
physically possible for the player, the notator tries to show the
musical sense of the passage. So, here, we have two voices, and the
notator is trying to show each voice
This question is related to a bug report I sent some hours ago:
http://lists.gnu.org/archive/html/bug-lilypond/2012-06/msg00022.html
Try to compile the attached file with 2.14.2 and 2.15.39 or git version.
You'll see that in latest version the slurs connect noteheads, even if
\voiceOne is
David Nalesnik david.nales...@gmail.com writes:
This sort of notation is very common. Rather than notating only what
is physically possible for the player, the notator tries to show the
musical sense of the passage.
It's not actually even physically impossible: most instruments allow you
2012/6/3 Federico Bruni fedel...@gmail.com:
Il 03/06/2012 16:04, David Nalesnik ha scritto:
This sort of notation is very common. Rather than notating only what is
physically possible for the player, the notator tries to show the
musical sense of the passage.
If you'd try to notate exactly
David Kastrup d...@gnu.org writes:
voicing is an important and advanced skill for most instruments:
guitar, violin, pianoforte (much more so than with plucked keyboards
like harpsichord and spinett), accordion: the important thing is to
lend each _voice_ a consistent character (loudness,
On Sun, Jun 3, 2012 at 4:45 PM, Thomas Morley
thomasmorle...@googlemail.com wrote:
2012/6/3 Janek Warchoł janek.lilyp...@gmail.com:
This is a correct engraving.
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8 { e,8 [f] } \\ { e4} }
on a common six-string guitar.
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sun, Jun 3, 2012 at 4:45 PM, Thomas Morley
thomasmorle...@googlemail.com wrote:
2012/6/3 Janek Warchoł janek.lilyp...@gmail.com:
This is a correct engraving.
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8 { e,8
Am 03.06.2012 16:45, schrieb Thomas Morley:
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8{ e,8 [f] } \\ { e4} }
on a common six-string guitar. (first beat of the bar)
-Harm
it took me approx. 3 seconds to change the tuning of the 6-th string
down to d - then
2012/6/3 Eluze elu...@gmail.com:
Am 03.06.2012 16:45, schrieb Thomas Morley:
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8{ e,8 [f] } \\ { e4} }
on a common six-string guitar. (first beat of the bar)
-Harm
it took me approx. 3 seconds to change the tuning
on it will always result in:
Not Found
The requested URL
/archive/html/lilypond-user/attachments/20120603/66923ef3/attachment.jpg was
not found on this server.
How do people deal with this? Is there something I can do to get Digests with
valid URLs?
(Reply not sent to Federico Bruni as it is not really
On 03/06/12 14:17, David Kastrup wrote:
How about first getting C++/Scheme right? As I already explained,
cleaning up the mess of layers and control flow will
a) give a better basis for judging that approach
b) make it easier to migrate individual layers to something else if
desired
Am 03.06.2012 17:18, schrieb Thomas Morley:
2012/6/3 Eluzeelu...@gmail.com:
Am 03.06.2012 16:45, schrieb Thomas Morley:
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8{ e,8 [f] } \\ { e4} }
on a common six-string guitar. (first beat of the bar)
-Harm
it took
Joseph Rushton Wakeling joseph.wakel...@webdrake.net writes:
On 03/06/12 14:17, David Kastrup wrote:
How about first getting C++/Scheme right? As I already explained,
cleaning up the mess of layers and control flow will
a) give a better basis for judging that approach
b) make it easier to
Hi all,
As a composer, I can say that I often use incorrect notation in order to
highlight voice-leading and intentions regarding articulation/stress/etc.
In particular, my Chaconne for unaccompanied violin has many unplayable
passages, which sound quite lovely when played correctly. =)
Il 03/06/2012 18:37, Eluze ha scritto:
Am 03.06.2012 17:18, schrieb Thomas Morley:
2012/6/3 Eluzeelu...@gmail.com:
Am 03.06.2012 16:45, schrieb Thomas Morley:
Not really.
It is physically _impossible_ to play
\relative c { \clef G_8{ e,8 [f] } \\ { e4} }
on a common six-string guitar.
2012/6/3 Federico Bruni fedel...@gmail.com:
(...)
Am 03.06.2012 16:45, schrieb Thomas Morley:
But you can't hold the e on the 6th string as a crotchet.
you mean it should be e4. instead of e8~ e4?
this is just a notational issue, it is playable
I guess I'm missing what you mean
(...)
On 03/06/12 17:44, David Kastrup wrote:
I don't want to remove as much C++ as possible. That's about as
useful as to remove as much C as possible from Emacs. The point is to
consider C++ as the building language for primitives, and tie together
the primitives in Scheme.
OK, I misinterpreted
Joseph Rushton Wakeling joseph.wakel...@webdrake.net writes:
On 03/06/12 17:44, David Kastrup wrote:
I don't want to remove as much C++ as possible. That's about as
useful as to remove as much C as possible from Emacs. The point is to
consider C++ as the building language for primitives,
Am 03.06.2012 16:42, schrieb Federico Bruni:
This question is related to a bug report I sent some hours ago:
http://lists.gnu.org/archive/html/bug-lilypond/2012-06/msg00022.html
Try to compile the attached file with 2.14.2 and 2.15.39 or git version.
You'll see that in latest version the slurs
On Sun, Jun 3, 2012 at 11:12 AM, Stefan Thomas
kontrapunktste...@googlemail.com wrote:
It's a pitty.
I thinks it would be useful to have a feature allowing to type in directly
midi-commands in Lilypond source-code.
It would be better to have Lily commands for things like panorama, i think.
I
My point was that it is impossible to play e f8 only on the 6th
string of a guitar.
But that should sound at the second quaver of the example following
_exactly_ the notation of your example.
just another thought - if these notes have originally been written for
another instrument -
Thank you so much! This code worked perfectly. You were of course absolutely
right about the context for \numericTimeSignature...I can't believe I didn't
spot that myself!
I have not worked with Scheme before and I would like to start learning how
to write advanced tweaks for Lilypond as well as
Dear fellow users,
I have managed to design some simple music functions, but I haven't
succeeded with this one.
The score (SATB choral) is short but has a certain complexity (a number of
repeated passages, pronunciation notes under lyrics, large markup text
appearing mid-score, etc.). After
On 12-06-03 04:29 PM, diekunstderfuge wrote:
Thank you so much! This code worked perfectly. You were of course absolutely
right about the context for \numericTimeSignature...I can't believe I didn't
spot that myself!
I have not worked with Scheme before and I would like to start learning how
to
On Sun, 2012-06-03 at 15:15 +0200, Federico Bruni wrote:
Hi,
can you tell me what's the meaning of a stem which connects a note in
a voice to a rest (?) in another voice?
See image attached.
Is it good output? (I think it's been engraved in Finale)
If so, how can I get it in LilyPond?
Hi Philip,
I tried to write a function along the following lines, but it didn't work:
SATBVert = #(define-music-function
(parser location sysvert StoA AtoT TtoB)
(number? number? number? number?)
#{
\overrideProperty #Score.NonMusicalPaperColumn
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