I know this topic changed from Sibelius going belly up to parallelization,
but I don't know where else to put it...
I'm a current Sibelius user who found Lilypond after panicking a little and
a doing quick web search for open source notation software. I don't know how
many other users may check ou
Hi Daniel,
That topic has cropped up before (maybe more than once) - search for a thread
called "Lilypond lobbying" in the archive.
I have asked Schott Publishing about that, and here's what they replied (in my
own translation, German original below):
"Basically, we can handle all music fil
Hello,
I'm having problems using \partcombine:
1. I have 3 voices, how can I use \partcombine (or equivalent) with 3 or
more voices? (in this case 3)
2. Each of the voices have dynamics (on the same beats), using \partcombine
with 2 voices show them correctly but the dynamics are duplicated. Not
"Daniel E. Moctezuma" writes:
> Hello,
>
>
> I'm having problems using \partcombine:
>
> 1. I have 3 voices, how can I use \partcombine (or equivalent) with 3
> or more voices? (in this case 3)
Cf. http://code.google.com/p/lilypond/issues/detail?id=2610>
> 2. Each of the voices have dynamics (o
Hi list,
sorry if this is 'findable' somewhere. But I have searched for so many
new things recently that I may not be seeing the wood for the trees
anymore ;-)
I need to insert single music glyphs in LaTeX text and would definitely
prefer using the Emmentaler ones for this (not only, but als
Thanks very much for all the suggestions - I will try them out.
Yes, I am wanting to set a lower limit to how close notes are squeezed to meet
the "page-breaking = #ly:page-turn-breaking"
requirement so that ledger lines do not almost overlap producing something akin
to a moire pattern .
I n
OK, I found my way myself. Sorry for the noise (which might prove not to
be noise after all ...)
The "wrong" characters in my Ubuntu character map were obviously some
default glyphs for the Unicode glyphs at this point.
After trying out the codes from 00 to FF and finding only a few single
g
In the example below, Lilypond doesn't count the initial partial bar
when numbering the bars, but the partial bars at the end of the first
repeat and beginning of the second repeat each get their own bar number.
Commercial scores I have with this repeat structure treat these two bars
as though
Michael Rivers writes:
> I know this topic changed from Sibelius going belly up to
> parallelization, but I don't know where else to put it...
One needs to adapt the subject line...
> I'm a current Sibelius user who found Lilypond after panicking a
> little and a doing quick web search for open
The suggestions used verbatim did not seem to work in my file but after
fiddling about a bit the following seems to do the trick.
Thanks again.
%
% K388 Serenade Clarinet 1
% ---
\version "2.14.2"
date = #(strftime "%d
> "David" == David Kastrup writes:
David> I found it interesting that its text input form does not even
David> enter this story. I find that quite often this is what makes
David> a major difference to people (meaning that it is an important
David> factor for either choosing,
james writes:
> In the following:
> \version "2.14.2"
> \score {
>\relative c' {
> \time 2/4
> \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
> \clef treble
> c8 a c d
> %%% Commenting out the following line solves the problem %%%
> \clef bas
On 14 August 2012 13:34, Nick Payne wrote:
> In the example below, Lilypond doesn't count the initial partial bar when
> numbering the bars, but the partial bars at the end of the first repeat and
> beginning of the second repeat each get their own bar number. Commercial
> scores I have with this
David Kastrup gnu.org> writes:
> james googlemail.com> writes:
>
> > \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
>
> Ok, consider me annoyed now. Yes, we have some snippets documenting
> this sort of thing, but what is it even supposed to mean?
I suspect people r
> So now I know the Emmentaler Glyphs are located from E100 throughout
> E31C.
Don't rely on character code numbers! As soon as a new glyph gets
added to the Emmentaler font, they can change. The only reliable way
to access the glyphs is with glyph names.
Werner
_
Hi all
I'm using the following recommended code, which works properly with any
font I've tried:
\version "2.14.2"
\paper {
myStaffSize = #20
#(define fonts
(make-pango-font-tree "fontname-1"
"fontname-2"
I made the same switch and am happy about it. I'm not as fast with
Lilypond yet, but am getting there.
I especially like that that my scores won't become uneditable whenever
I stop buying upgrades from Sibelius.
On Tue, Aug 14, 2012 at 12:05 AM, Michael Rivers
> I'm a current Sibelius user who fo
Lucas Gonze writes:
> I made the same switch and am happy about it. I'm not as fast with
> Lilypond yet, but am getting there.
>
> I especially like that that my scores won't become uneditable whenever
> I stop buying upgrades from Sibelius.
How would that happen? I would imagine that if you ke
El 13/08/2012 21:55, "martinwguy" escribió:
>
> Is Lilypond capable of helping with exotic stuff like this,
> from Delia Dervyshire's notes for her, maybe lost, Radio Newsreel
signature tune
> e.g. the bottom of
> http://delia-derbyshire.net/papers/html/dd164139.html
> the top left and bottom left
Lo?c Chahine writes:
Hi all!
I am trying to find a function to simplify repeated rhythm writing. I
have a part with many bars like:
r8 c16( c? c c c c) r8 d16( d? d d d d)
and I think it would be easier to write something like:
\myRh { c d }
I found some Snippets, like this one:
http://lsr.
> Lucas Gonze writes:
>
>> I made the same switch and am happy about it. I'm not as fast with
>> Lilypond yet, but am getting there.
>>
>> I especially like that that my scores won't become uneditable whenever
>> I stop buying upgrades from Sibelius.
On Tue, Aug 14, 2012 at 12:00 PM, David Kastr
El 14/08/2012 21:21, "Lucas Gonze" escribió:
>
> > Lucas Gonze writes:
> >
> >> I made the same switch and am happy about it. I'm not as fast with
> >> Lilypond yet, but am getting there.
> >>
> >> I especially like that that my scores won't become uneditable whenever
> >> I stop buying upgrades
Hi,
If I have a newer \version in my lilypond score than the LilyPond I am
using I am getting a "Fatal Error" message, but my score compiles just
fine, giving a perfect PDF or MIDI.
I would expect a "Warning", not a "Fatal error" message ?
Using lilypond-2.15.95
In my testfile using:
\ver
Lucas Gonze writes:
>> Lucas Gonze writes:
>>
>>> I made the same switch and am happy about it. I'm not as fast with
>>> Lilypond yet, but am getting there.
>>>
>>> I especially like that that my scores won't become uneditable whenever
>>> I stop buying upgrades from Sibelius.
>
>
> On Tue, Aug
Am 14.08.2012 19:29, schrieb Werner LEMBERG:
So now I know the Emmentaler Glyphs are located from E100 throughout
E31C.
Don't rely on character code numbers! As soon as a new glyph gets
added to the Emmentaler font, they can change. The only reliable way
to access the glyphs is with glyph name
> Thanks for this info (although I'd prefer not having to have it :-( )
> Can you tell me how I can access a glyph by name from XeLaTeX /
> fontspec then?
Looking into XeTeX-reference.pdf, this works for me (assuming that you
have emmentaler-20.otf installed where XeTeX can find it):
The script
On Tue, Aug 14, 2012 at 12:40 PM, David Kastrup wrote:
> It is not really new, but I keep being surprised at the things
> proprietary/commercial software vendors are getting away with doing to
> their paying customers.
Vendors have your existing scores as hostages to keep you paying. It's
the opp
As a follow-up, you didn't mention the perhaps most powerful LSR snippet
of this form, namely http://lsr.dsi.unimi.it/LSR/Item?id=346. If you
want it to work with version 2.15.xx, replace the two lines
(pes (ly:music-property (list-ref pitches i) 'elements))
(pnew (
On Aug 14, 2012, at 5:00 PM, David Kastrup wrote:
> james writes:
>
> So I fail to make _any_ sense of your example. If I had to guess, I'd
> say the octave specifications are there for overriding the default
> octaves chosen by the key signature engraver, but without being fixed to
> a certai
On Tue, 14 Aug 2012 22:58:57 +0200
james wrote:
> Honestly, what's most important to me is where the sharps/flats in
> the key signature are placed.
Looking at the PDF example, I can't understand which line is supposed
to be the good one. They both look wrong to me.
When I read music, I want th
On Tue, 14 Aug 2012 23:47:52 +0200
Reinhold Kainhofer wrote:
> Some old handwritings have e.g. the f sharp in the keysignature not
> at the top line, but between the lowest and second-lowest line. If
> you want to create an authentic reprint of the autograph, you might
> also want to preserve the
David Rogers writes:
> On Tue, 14 Aug 2012 23:47:52 +0200
> Reinhold Kainhofer wrote:
>
>> Some old handwritings have e.g. the f sharp in the keysignature not
>> at the top line, but between the lowest and second-lowest line. If
>> you want to create an authentic reprint of the autograph, you mi
Thank you for this, which also worked for me.
As I wanted to have it the 'fontspec' way, I tried from there and came
up with
\newcommand*{\lilyGlyph}[2]{\fontspec[Scale=#1]{Emmentaler-11}
\XeTeXglyph\XeTeXglyphindex"#2" }
and then (for exmple)
\newcommand*{\flatflat}{\raisebox{0.2ex}{\lilyGly
On 15/08/12 01:36, Xavier Scheuer wrote:
On 14 August 2012 13:34, Nick Payne wrote:
In the example below, Lilypond doesn't count the initial partial bar when
numbering the bars, but the partial bars at the end of the first repeat and
beginning of the second repeat each get their own bar number.
james writes:
> Honestly, what's most important to me is where the sharps/flats in the
> key signature are placed. I attach the image of what I expect:
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still carry an accidental.
How do
David Kastrup gnu.org> writes:
> That image does not make sense to me at all. Notes appear in key
> signature (though in a different octave) and still carry an accidental.
> How do you distinguish a normal key signature (valid across all octaves)
> from a restricted-octave one (valid only in
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