>> Rests equal or longer than breves use a breve rest, and this is the
>> second of your examples. Gould agrees with this. The longer rests
>> appear to be longa rests - Gould does not mention them but it seems
>> appropriate to me.
>
> So, LilyPond's default seems to be correct.
I disagree.
Paul wrote:
> Hi Antonio, You might find this interesting:
> http://lilypond.org/schikkers-list/
>
> "The basic idea is to have LilyPond render only a small bit of the music:
> the bit that changed."
Excellent!!!
Antonio
--
View this message in context:
http://lilypond.1069038.n5.nabble.
2013/2/25 Phil Holmes :
> - Original Message - From: "Thomas Morley"
>
> To: "lilypond-user"
> Sent: Monday, February 25, 2013 12:48 AM
> Subject: Glyph for longer MultiMeasureRest
>
>
>
>> Hi,
>>
>> what's the common practice of setting MultiMeasureRest with longer bars?
>>
>> I.e. which
On Feb 25, 2013, at 2:48 PM, Antonio Gervasoni wrote:
> I wonder if a future version of Lilypond would be able to compile only
> the parts that change. Maybe with some kind of version control management
> incorporated into the software. Don't know why it wasn't included from the
> beginning but g
On Feb 25, 2013, at 10:37 AM, Derek wrote:
> Thanks for all the suggestions, I'll give this a go tomorrow. I guess I
> didn't really understand what the \\ thing did so I will have to do a bit
> more reading and perhaps clean up the code I have it is rife with \\. It is
> starting to make sense t
somewhere here
http://lists.gnu.org/archive/html/lilypond-user/2010-12/msg00425.html
2013/2/25, Francois Planiol :
> I had send a post about it.
> I would like also a solution.
>
> 2013/2/25, Urs Liska :
>> Hi,
>>
>> Yes, probably that's the way to go.
>> I'm just somewhat afraid of it, because it
I had send a post about it.
I would like also a solution.
2013/2/25, Urs Liska :
> Hi,
>
> Yes, probably that's the way to go.
> I'm just somewhat afraid of it, because it looks like it'll become quite
> complex. So I'd hoped someone else has already implemented something ...
>
> Best
> Urs
>
>
>
David wrote:
> No. Bar checks don't do any accounting of their own, they just check an
> existing counter for being on a bar boundary at a particular point of
> processing. I doubt that you would notice a significant difference if
> you had 100 bar checks every bar.
Thanks! Good to know!
Ja
Dont mind, let Sibelius die...
The question is: who writes music? Thats old fashionned. Use a
sequencer, or write lead sheets per hand or whatever, but why scores?
I bet most of people writing music would be happier to write score on
paper (with indications for copy-paste etc) and have mostly stud
On Thu, Feb 21, 2013 at 10:53 PM, Hilary Snaden
wrote:
> On 2013-02-21 19:58, Urs Liska wrote:
>>
>> http://blog.steinberg.net/2013/02/welcome/
>
>
> These from Daniel Spreadbury tell me most, I think, of what I need to know
> about the new project.
>
> "Our application will use a proprietary file
Noeck writes:
> Hi,
>
> while reading in old forum threads, I wondered:
> What happend to GLISS? Is there a summary somewhere?
Some things were done, others not. There was quite a heated discussion
about
a) designing syntax in advance and prescribing it
b) locking down syntax
I've been a majo
On 26/02/13 09:04, David Kastrup wrote:
Nick Payne writes:
\version "2.17.13"
Your question has already been answered, I believe, but just a short
note concerning some 2.17 syntax:
tboff = \override TupletBracket.stencil = ##f
tbon = \revert TupletBracket.stencil
You could have written thi
Hi,
Yes, probably that's the way to go.
I'm just somewhat afraid of it, because it looks like it'll become quite
complex. So I'd hoped someone else has already implemented something ...
Best
Urs
"Janek Warchoł" schrieb:
>Hi,
>
>On Mon, Feb 25, 2013 at 2:43 PM, Urs Liska wrote:
>> Hi,
>>
>>
Hi,
while reading in old forum threads, I wondered:
What happend to GLISS? Is there a summary somewhere?
I know that many proposals were actually included in LilyPond. Are there
ideas which are still worked on?
Just out of curiosity.
Joram
___
lilypond
Nick Payne writes:
> \version "2.17.13"
Your question has already been answered, I believe, but just a short
note concerning some 2.17 syntax:
> tboff = \override TupletBracket.stencil = ##f
> tbon = \revert TupletBracket.stencil
You could have written this a bit more concisely as
tboff = \om
Hi Nick,
I think this does the trick:
\override TupletBracket #'bracket-visibility = #'if-no-beam
Cheers,
Joram
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hi,
On Mon, Feb 25, 2013 at 2:43 PM, Urs Liska wrote:
> Hi,
>
> did anybody do some functional analysis with LilyPond (I'm talking about
> printing the results of course, not the act of analysis itself)?
> The attached image is done with an ancient version of Finale, where I had
> bought an analy
I'm trying to reproduce the layout in the attached png, which occurs in
quite a number of bars in the piece, but there doesn't seem to be an
automated way in Lilypond of suppressing the tuplet brackets on the
subdivided beams without also suppressing them on the non-beamed
tuplets. Is that the
Am 25.02.2013 21:42, schrieb Noeck:
> And it is a known bug:
> http://code.google.com/p/lilypond/issues/detail?id=3091
> and it will be corrected in a future version of LilyPond.
To be a bit more precise: It has been fixed in 2.17.12.
___
lilypond-user
Dear Ben,
No idea... I just begun to use the last realease of frescobaldi under
win8 and this is just fantastic.
Francois
2013/2/25, SoundsFromSound :
> Hi everyone,
>
> Just wanted to share with you all that the Insert menu "bug" has been
> completely fixed in Ubuntu 13.04 - Frescobaldi is look
Hi Helge,
this has been discussed recently:
http://lilypond.1069038.n5.nabble.com/bug-acciaccatura-breaks-a-preceding-tie-in-MIDI-td141206.html
And it is a known bug:
http://code.google.com/p/lilypond/issues/detail?id=3091
and it will be corrected in a future version of LilyPond.
Cheers,
Joram
Hello,
I want to generate a simple MIDI file. Unfortunately I found a problem
in context of an appogiatura. When it follows a tied note the MIDI
output doesn't include one tied note but two indiviual notes. Is there
any way to circumvent?
Regards
Helge
\version "2.16.0"
\score {
\relative c''
Hi everyone,
Just wanted to share with you all that the Insert menu "bug" has been
completely fixed in Ubuntu 13.04 - Frescobaldi is looking fantastic and now
faster than ever :)
So now when you hover over the Insert menu and whatnot, it doesn't
auto-expand & duplicate.
Thanks to all who made th
I give free web hosting accounts to lilyponders. You can have your own
drupal installation (or whatever), so if you just need a place to host
your files, that's an option.
M.
PS git and viewgit are installed as well
On Sat, Feb 23, 2013 at 11:58 AM, Noeck wrote:
> Hi,
>
> I have some pieces (voca
I find << { } \\ { } >> approach bit confusing when there are plenty of
multiple voices. Eluze have provided easiest alternative when multiple voices
span few bars.
For me the easiest and best approach is by separating voices in a staff and
combining them together. I find this easy to modify t
Hello all,
I have a score which changes time signatures a lot. I have a global variable
like this:
global = {
\key c \major
%% Stanza 1
\time 4/4 \tempoMUMM #"Flowing, rubato" #"4" "ca. 72–100" s1*2
\time 3/4 s4*3
\time 4/4 s1*3
\time 3/4 s4*3
\time 4/4 s1*2
\tem
OK I engraved my manuscript out in full (only words and melody), then I
checked that the bars lined up with both the version of the manuscript with
repeats and the drum machine. All good.
It was worth the effort to find out that it is not the most efficient
method as the drum machine allows me to
Hi,
did anybody do some functional analysis with LilyPond (I'm talking about
printing the results of course, not the act of analysis itself)?
The attached image is done with an ancient version of Finale, where I
had bought an analysis font extension then.
Any ideas how to approach this with L
"Peter Gentry" writes:
> Thanks David.
>
> The reference to SCM had me convinced the problem was in init.ly but
> as you pointed out it was simply a missing concluding closing
> brace in document.ly.
>
> Simple typos in the user.ly file often produce errors citing SCM - it
> is good practice to f
Kevin Patrick Barry wrote
> Dear LilyPond users,
>
> I am trying to add an analysis staff above a PianoStaff group to which
> its bar lines are connected with a dotted SpanBar. Since the SpanBar
> appears to only live in a context for staffgroups (PianoStaff,
> ChoirStaff etc) there appears to
Thanks David.
The reference to SCM had me convinced the problem was in init.ly but as you
pointed out it was simply a missing concluding closing
brace in document.ly.
Simple typos in the user.ly file often produce errors citing SCM - it is good
practice to first look for an error in the user.ly
Thanks I have not tried \unfoldRepeats. Let's see how it goesit appears
to be for midi output. But that may be ok as the drum machine does take
midiso many ways to do this. When you are used to reading the score it
might just be better to print it out once in full for creating a drum part
a
Am 25.02.2013 11:40, schrieb Marc Hohl:
Am 25.02.2013 11:37, schrieb Graham.Okely:
Thanks I can see that would work in rehearsals.
Working up a drum line is easier if each bar gets a number
sequentially. But writing up the drum sequence is only required once.
(Usually) So I do not think writi
Am 25.02.2013 11:37, schrieb Graham.Okely:
Thanks I can see that would work in rehearsals.
Working up a drum line is easier if each bar gets a number
sequentially. But writing up the drum sequence is only required once.
(Usually) So I do not think writing up a fully expanded manuscript for
th
Thanks I can see that would work in rehearsals.
Working up a drum line is easier if each bar gets a number sequentially.
But writing up the drum sequence is only required once. (Usually) So I do
not think writing up a fully expanded manuscript for that is worth it. I
found penciling in each repeat
This is supposed to be a reply to the posting about UTF-8 encoding
and/or lilypond problems. Unfortunately I deleted the original thread.
I want to reply to the message that had a test.zip attached including a
problematic(?) test.ly tiny example and a bad(?) test.pdf file.
I am running Fedo
Thanks for all the suggestions, I'll give this a go tomorrow. I guess I
didn't really understand what the \\ thing did so I will have to do a bit
more reading and perhaps clean up the code I have it is rife with \\. It is
starting to make sense though. Thank you for the help everyone
--
View thi
Derek wrote
> The first bes4|) is the tail end of a previous slur. I actually want the
> slur to start \context Voice = "1" { bes4\)~bes8 r8
*
> bes'2 \(
*
> } and continue until line 24 ending on the ees4 where the \) is placed.
> The attached image is where the slur should start on the high B
Derek shmerek.com> writes:
> The attached image is where the slur should start on the high Bb
> The stem down things are there because I am transcribing a score and that is
> how it is written but they are the part I want the slur to go over.
Slurs almost never cross voices (in the musical sen
- Original Message -
From: "Thomas Morley"
To: "lilypond-user"
Sent: Monday, February 25, 2013 12:48 AM
Subject: Glyph for longer MultiMeasureRest
Hi,
what's the common practice of setting MultiMeasureRest with longer bars?
I.e. which glyph should be used?
LilyPond chooses differen
Am 25.02.2013 07:37, schrieb Derek:
Hi there,
I was just wondering if there are any options for doing cross voice slurs
like in this silly example
The usual way to accomplish what you are looking for is adding a hidden
voice (where everything is hidden except the slur/tie/phrasingSlur).
I thin
Thank you for the help
The first bes4|) is the tail end of a previous slur. I actually want the
slur to start \context Voice = "1" { bes4\)~bes8 r8 *bes'2 \(* } and
continue until line 24 ending on the ees4 where the \) is placed. The
attached image is where the slur should start on the high Bb
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