2014-12-23 15:55 GMT+01:00 Federico Bruni fedel...@gmail.com:
it's worth adding it to the LSR?
Done: http://lsr.di.unimi.it/LSR/Item?id=966
Cheers,
Pierre
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divisi lyrics is not in the Music Glossary:
http://lilypond.org/doc/v2.19/Documentation/music-glossary/index.html
I'm not sure what it means. Alternate lyrics is a synonim?
How would you translate it in other languages?
If any italian here can suggest a translation, it's much appreciated.
2014-12-23 23:24 GMT+01:00 Johan Vromans jvrom...@squirrel.nl:
Maybe google 'VPN' ?
Sorry, don't understand how that helps anbody that is the exclusive club
of long lear readers of this list.
And VPN wouldn't help when I am off home. (I am one of the humans that save
power by switching PCs
2014-12-10 15:02 GMT+01:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
2014-12-10 14:47 GMT+01:00 Jacques Menu imj-...@bluewin.ch:
IMHO, it could be in the notation manual.
Added to the LSR with a docs tag : http://lsr.di.unimi.it/LSR/Item?id=964
Cheers,
Pierre
Hi
2014-12-24 12:27 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2014-12-10 15:02 GMT+01:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
2014-12-10 14:47 GMT+01:00 Jacques Menu imj-...@bluewin.ch:
IMHO, it could be in the notation manual.
Added to the LSR with a docs tag :
Hi Johan, Federico, et al.,
As far as I know, coda en segno are often (mostly?) used to break the
structure of a piece of music beyond the capabilities of repetition loops.
No… it's precisely the same structure as a “regular” long repeat.
The only difference is how the break is handled from an
2014-12-24 13:48 GMT+01:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
I'd love to see some use cases of this hypothetical coda and fine
\repeats.
Did you even look at the previously-linked issue page?
https://code.google.com/p/lilypond/issues/detail?id=3752
David K helpfully provided
Ok Harm.
Thanks for pointing that out.
Cheers,
Pierre
2014-12-24 13:04 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2014-12-24 12:27 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2014-12-10 15:02 GMT+01:00 Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
2014-12-10 14:47
Maybe something like 'testi alternativi', but I'm sure you could find
something better.
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Sent from the User mailing list archive at Nabble.com.
Hi Federico,
I don't understand why coda sign and fine sign are in first alternative. I'd
expect to see them at the end.
The \repeat function needs to know two things:
(1) where to put the various visual bits; and
(2) how to unfold the repeats if the part (or midi) is being written out.
Phil Holmes-2 wrote
According to typesetting rules (see Behind Bars by Elaine Gould, for
example) rests should remain consistently placed with respect to staff
lines.
I don't know if it is mentioned by Gould or others but the placement of
rests sometimes is not just a matter of design
2014-12-24 15:17 GMT+01:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
Hi Federico,
I don't understand why coda sign and fine sign are in first alternative.
I'd expect to see them at the end.
The \repeat function needs to know two things:
(1) where to put the various visual bits;
This is an interesting discussion. From the point of view of
functionality, I agree with the Stack Overflow approach. I find it hard
to agree that one really can get as much out of the content that's been
posted if it's shared in email digest form. Certainly we have many
powerful tools at our
- Original Message -
From: Urs Liska u...@openlilylib.org
Is there a way to transpose the underlying lilypond codes?
Yes: using Frescobaldi
Tools - pitches
Nice! I hadn't realised that Frescobaldi transposed the code. However, it
also transposes string tunings.
\set
Il 24/12/14 15.17, Kieren MacMillan ha scritto:
{ 1m } { § + 3m + ’to Coda ø’ } { 2m + ‘D.S. al coda’ + || } { 'ø coda’ + 2m
+ .| }
[...]
\repeat segnocoda { 1m } \alternatives { { 3m } { 2m } { 2m } }
Maybe you meant to write this:
{ 1m } \repeat segnocoda { 3m } \alternatives { {
Hi Davide,
Maybe you meant to write this:
{ 1m } \repeat segnocoda { 3m } \alternatives { { 2m } { 2m } }
No… I wrote what I meant.
But your version would work fine, too!
Cheers,
Kieren.
___
Kieren MacMillan, composer
www: http://www.kierenmacmillan.info
email:
Please ask that on Frescobaldi's issue tracker.
Am 24. Dezember 2014 16:21:49 MEZ, schrieb Phil Burfitt
phil.burf...@talktalk.net:
- Original Message -
From: Urs Liska u...@openlilylib.org
Is there a way to transpose the underlying lilypond codes?
Yes: using Frescobaldi
Tools -
Not that I have a lot to add on the subject, but it seems like stack
overflow type forums are really concerned with providing definitive
answers to questions. LilyPond is certainly not a static apparatus.
Things are in a constant state of flux, and maybe in most areas
minimal at this point, it is
Ted Lemon wrote
Yeah, so, this is intensely frustrating for anybody who tries to google
for help with lilypond, because there are several dozen archives of the
lilypond mailing list, each slightly different, so that if you do
virtually any google search for help with lilypond, it returns a
On Dec 24, 2014, at 12:52 PM, Paul Morris p...@paulwmorris.com wrote:
I wonder... Why are there so many different archives of the lilypond mailing
list? Would there be a way to prevent some of them from showing up in
google search results? (e.g. by having them indicate no index in
robots.txt)
Hi there,
For the following snippet,I want the ottavation duplicates text after
\break to be (8va), how to get that?
\version 2.19.15
\relative c'' {
c4 \ottava #1
\set Staff.ottavation = #octave
c4 c4 c4 \break
c4 c4 c4 c4
}
Thanks in advance.
Best regards,
Jinsong
/archive/html/lilypond-user/attachments/20141224/7107c060/attachment.html
--
Message: 5
Date: Wed, 24 Dec 2014 14:11:16 +0100
From: Pierre Perol-Schneider pierre.schneider.pa...@gmail.com
To: Thomas Morley thomasmorle...@gmail.com
Cc: Jacques Menu imj-...@bluewin.ch
://lists.gnu.org/archive/html/lilypond-user/attachments/20141224/7107c060/attachment.html
--
Message: 5
Date: Wed, 24 Dec 2014 14:11:16 +0100
From: Pierre Perol-Schneider pierre.schneider.pa...@gmail.com
To: Thomas Morley thomasmorle...@gmail.com
Cc: Jacques Menu imj
2014-12-24 21:48 GMT+01:00 Jinsong Zhao jsz...@yeah.net:
Hi there,
For the following snippet,I want the ottavation duplicates text after \break
to be (8va), how to get that?
\version 2.19.15
\relative c'' {
c4 \ottava #1
\set Staff.ottavation = #octave
c4 c4 c4 \break
On 2014/12/24 17:31, Thomas Morley wrote:
2014-12-24 21:48 GMT+01:00 Jinsong Zhao jsz...@yeah.net:
Hi there,
For the following snippet,I want the ottavation duplicates text after \break
to be (8va), how to get that?
\version 2.19.15
\relative c'' {
c4 \ottava #1
\set
Hello all!
I’m about to dive in to [re]engraving a choral piece.
Like many choral works, it regularly alternates between “choral unison” (which
can effectively be displayed using a single staff), homophonic sections (which
require two staves), and polyphonic stuff (which require more than two
Hi,
I believe that this understates the amount of complexity of how large-scale
repeats are used in practice.
Repeat structures can certainly be complex.
I am wondering how these could be implemented using the suggested functional
syntax.
If we’re serious about implementing a simple(r)
On 12/21/2014 04:29 AM, Thomas Morley wrote:
it's due to the changes for 'EventChord. Until 2.15.x (don't
remember the exact version) every single note was wrapped into an
'EventChord.
Thanks, Harm! That’s the clue I needed.
A quick fix would be to wrap the music into EventChords again.
I
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