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"
> #'lin
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 Li
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
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 getti
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
> My point was that it is impossible to play 8 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 - let
On Sun, Jun 3, 2012 at 11:12 AM, Stefan Thomas
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 thinks, this wouldn't be too
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 c
Joseph Rushton Wakeling 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, and tie together
>>
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 misinterpret
2012/6/3 Federico Bruni :
(...)
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
(...)
Well, the
Il 03/06/2012 18:37, Eluze ha scritto:
Am 03.06.2012 17:18, schrieb Thomas Morley:
2012/6/3 Eluze:
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
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". =)
Joseph Rushton Wakeling 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 migrate individual
Am 03.06.2012 17:18, schrieb Thomas Morley:
2012/6/3 Eluze:
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.
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
Don't
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 Bru
2012/6/3 Eluze :
>
>
> 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
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 -
Janek Warchoł writes:
> On Sun, Jun 3, 2012 at 4:45 PM, Thomas Morley
> wrote:
>> 2012/6/3 Janek Warchoł :
>>> 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. (first
On Sun, Jun 3, 2012 at 4:45 PM, Thomas Morley
wrote:
> 2012/6/3 Janek Warchoł :
>> 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. (first beat of the bar)
indeed - i overlo
David Kastrup 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, articulatio
2012/6/3 Federico Bruni :
> 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 what's to b
David Nalesnik 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
more than a binary tone-o
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 specif
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 comp
On Sun, Jun 3, 2012 at 3:51 PM, Federico Bruni wrote:
> I'm referring to the third beat of the bar.
> I'm wondering what the author means with that stem which connects the F in
> second voice to the beam in first voice.
>
> Yes, you are right: they are sharing the same notehead.
> But I think it's
Hi Federico,
On Sun, Jun 3, 2012 at 8:51 AM, Federico Bruni wrote:
> Il 03/06/2012 15:20, David Kastrup ha scritto:
>
> Federico Bruni 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 at
Il 03/06/2012 15:20, David Kastrup ha scritto:
Federico Bruni 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.
Federico Bruni 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 between two no
Joseph Rushton Wakeling writes:
> 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 m
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?
Thanks,
Federico
<>___
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. C/C
Hoping lilybin author read this.
>
> From: Martin Tarenskeen
>To: MING TSANG
>Sent: Sunday, June 3, 2012 5:13:49 AM
>Subject: Re: Lilybin editor
>
>
>
>On Sat, 2 Jun 2012, MING TSANG wrote:
>
>>
>> Hi Trevor,
>>
>> Just want to know is lilybin.com is perm
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
> On Sat, Jun 2, 2012 at 11:20 AM, Stefan Thomas
> wrote:
> > Dear community,
> > is it
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