Re: Paper size survey

On Mon, 2015-04-20 at 08:50 +0200, Urs Liska wrote: > Am 20.04.2015 um 08:45 schrieb Andrew Bernard: > > So Ponders, > > What size paper do you print scores on? > > I use A4 exclusively, only because that's my printer's capacity (and its cheap locally). I'm primarily creating stuff for my own use,

Re: Paper size survey

Am 20.04.2015 um 09:17 schrieb Richard Shann: On Mon, 2015-04-20 at 08:50 +0200, Urs Liska wrote: Am 20.04.2015 um 08:45 schrieb Andrew Bernard: So Ponders, What size paper do you print scores on? I use A4 exclusively, only because that's my printer's capacity (and its cheap locally). I'm pri

Re: Paper size survey

Hi, for the orchestra parts I used B4 portrait. Orchestra musicians love this format as this fits well on a music stand (A3 is too big) and fits more music than A4 (less page turns). I also used thicker paper (120 g/m2) and a special binding method (glue and tape) to make the pages stay open and

Re: B Series paper

On 20/04/2015 16:44, Andrew Bernard wrote: Hi Brian, We could go halves in a shipping container. For Oz users, I've just found that Officeworks sell Fuji Xerox A3+ copy paper in various weights: 90gsm, 100gsm, 120gsm, 140gsm, etc. Go to their web site at https://www.officeworks.com.au/ and s

Re: Do we really offer the future?

On Fri, 17 Apr 2015 15:03:19 +0200 Urs Liska wrote: > The questions came in various variants of "why should a publishing house > use LilyPond?" And despite all the reasoning and writing I have produced > over the last years I didn't always find "the" striking key features > that were convincin

Re: Do we really offer the future?

On 2015-04-17 15:03, Urs Liska wrote: - most people in the business have moved away from taken the status quo with Finale and Sibelius for granted. - they know that they *have* to find new answers. - many (except a few die-hard reactionists) see that LilyPond and friends *can* offer answers

Re: Do we really offer the future?

2015-04-17 16:45 GMT+02:00 Gilles : > A FLOSS like LilyPond is a great opportunity to share (musical) > culture, at the lowest possible cost. > A project like Mutopia is a promising future: digital scores (of public > domain music) that are free of publishers' rights. > If and when "big" publisher

Re: Do we really offer the future?

2015-04-20 4:33 GMT+02:00 Andrew Bernard : > So I don’t quite understand the need to help out these companies. What > exactly is the motivation? What would they put back to the lilypond > development effort? Maybe nothing, but never say never... Possible advantages: - you, as a typesetter, may

Re: Do we really offer the future?

Am 20.04.2015 um 12:00 schrieb Federico Bruni: 2015-04-20 4:33 GMT+02:00 Andrew Bernard >: So I don’t quite understand the need to help out these companies. What exactly is the motivation? What would they put back to the lilypond development effort?

Re: Do we really offer the future?

On Mon, 20 Apr 2015 12:00:19 +0200 Federico Bruni wrote: > - you, as a typesetter, may be allowed to submit lilypond projects to > them. I don't know this market but I guess that a publishing company > wants to own the source files (they can understand and edit) and not just > the PDF. I don't k

Re: Pango Update in new binaries

2015-04-07 19:47 GMT+02:00 Joshua Nichols : > Hello all, > > I apologize if this question has already been asked. > > Has the new version of pango been ported to the binaries on > mac/windows/linux? I noticed here > that there has > since

Re: Pango Update in new binaries

Federico Bruni writes: > 2015-04-07 19:47 GMT+02:00 Joshua Nichols : > >> Hello all, >> >> I apologize if this question has already been asked. >> >> Has the new version of pango been ported to the binaries on >> mac/windows/linux? I noticed here >>

lilypond fedora 22

Hi, I am giving Fedora 22 (alpha release) a try - just curiosity. It seems it currently has lilypond-2.19.18 in updates-testing. I am not sure having "unstable development versions" in official distributions repo is a good idea, is it? -- MT ___

Re: Pango Update in new binaries

- Original Message - From: "Federico Bruni" To: "Joshua Nichols" Cc: "lilypond-devel" ; "Mailinglist lilypond-user" Sent: Monday, April 20, 2015 12:14 PM Subject: Re: Pango Update in new binaries 2015-04-07 19:47 GMT+02:00 Joshua Nichols : Hello all, I apologize if this questio

Re: Survey: Large scores

Hi, > This is not hard to implement at all, you just have to set things up > appropriately. You give a perfect example of why we need to improve Lilypond’s implementation. The method > clarinetIPart = \relative c'' { > ... % clarinet music here > } > > clarinetI

Re: Do we really offer the future?

Hi Johan, > Why should serious businesses use Unix? > Outcome: they didn’t. Actually, they do, on quite a large scale: UNIX and UNIX-like servers have a ~68% market share for public servers. And the share of internal (corporate) servers is not insignificant (though not nearly 2/3, of course).

Re: Do we really offer the future?

Hi Peter (et al.), > As someone who has made the journey from (one of) the two established > notation programs to LilyPond, I'm convinced it was the right decision for me > but it would honestly be hard for me to recommend it for anyone else - > composer or editor - at this point. Unfortunatel

Re: Do we really offer the future?

Hi Federico (et al.), >> I've thought for a long time that the right way to go is to seek >> public funds for engraving public domain contents > Me too. I think it’s telling that most of the non-publishing music world is going in exactly the opposite direction: schools are adding “musical entre

Re: Do we really offer the future?

Hi Federico (et al.), > Possible advantages: > - you, as a typesetter, may be allowed to submit lilypond projects to them. I > don't know this market but I guess that a publishing company wants to own the > source files (they can understand and edit) and not just the PDF. The smaller and/or you

Re: Do we really offer the future?

Hello. On Sun, 19 Apr 2015 21:39:29 -0400, Kieren MacMillan wrote: Hi Gilles (et al.), To whom LilyPond should strive to "offer the future”? To everyone it possibly can. ;) Yes, but we are all aware of the limited resources, and I doubt that focusing on how to please established editing h

Re: Paper size survey

Wow, so far the replies have all been fairly similar. Maybe it's not so interesting, but here's my answer: Most of the time I am printing choral scores. The ideal size for a choral octavo I think is about 174 x 260mm; I could probably make folded B4s work if I were living outside the US. Since I'm

Re: Survey: Large scores

Hi, this is the way how I finally had to do it in my piece, but unfortunately this method doesn't work very well in orchestra parts where instruments are changed (like Clarinets changing between Eb, Bb and Bassclarinet, or French Horns changing from G-Clef to F-Clef) as you either have to compens

Re: Do we really offer the future?

Hi Andrew (et al.), > I would have thought that, like the invention of desktop publishing in the > 1980’s, which allowed small scale companies and individuals to produce > professional publications, lilypond frees composers, musicians, and engravers > from the tyranny - and rejections - of the

Re: Do we really offer the future?

Hi. On Mon, 20 Apr 2015 09:52:54 -0400, Kieren MacMillan wrote: Hi Federico (et al.), I've thought for a long time that the right way to go is to seek public funds for engraving public domain contents Me too. I think it’s telling that most of the non-publishing music world is going in exa

Re: Do we really offer the future?

Hi Gilles (et al.), > we are all aware of the limited resources, and I doubt that > focusing on how to please established editing houses will lead us > closer to the principles and goals of free software. Now *that* I totally agree with. And perhaps this discussion will always split along the li

Re: Do we really offer the future?

Hi Gilles, > This cannot be the overall guiding rule, if "progress" has any value at all. > Is the sole expectation, of students attending music schools, to be > hired by a publishing company? Of course not — I neither said nor even implied that. However, right now schools have the choice betwee

best practices for volta (was Re: Problem with repeat alternative endings that contain lyrics andleading rests)

Hi all, On Apr 19, 2015, at 6:11 AM, Trevor Daniels wrote: > \score { > << >\new Staff { > \time 2/4 > \new Voice = "melody" { >\relative c'' { > a4 a a a > \repeat volta 2 { b4 b } > \alternative { { \vrest b } { \vrest c } } >} > }

Re: Do we really offer the future?

Hi Urs, > this seems a good idea, but not for my original question. Fair point. > If you could find the time to put together a list of arguments (or maybe a > nice blog post) why a *composer* should use LilyPond this would also be very > helpful. I would *love* to do that — a blog post sounds

Re: Paper size survey

Hi Andrew, > What size paper do you print scores on? Full orchestra scores: U.S. tabloid (11x17) portrait Choral octavo scores: U.S. tabloid (11x17) landscape, folded/stapled and trimmed to octavo booklet-face dimension (7x10.5) Organ scores: usually U.S. tabloid (11x17) landscape, trimmed to st

auto force accidentals

Hi all, I have a question: do you know any command in Lilypond to automatically force those accidentals which have been changed in the preceding measure? Let me give you an example: \score { \relative c' { \clef "G" \key c \major \time 4/4 a8 b c d e f gis a a g f e d c b a } } Because it i

Re: Do we really offer the future?

On Mon, 20 Apr 2015 10:22:23 -0400, Kieren MacMillan wrote: Hi Andrew (et al.), I would have thought that, like the invention of desktop publishing in the 1980’s, which allowed small scale companies and individuals to produce professional publications, lilypond frees composers, musicians, and

Re: auto force accidentals

At 19:16 on 20 Apr 2015, Mátyás Seress wrote: >Hi all, > >I have a question: do you know any command in Lilypond to automatically >force those accidentals which have been changed in the preceding >measure? Let me give you an example: See Documentation: Notation Reference 1.1.3 Displaying pitches -

Re:Do we really offer the future?

Well after reading many responses to this question I thought I would give my own. I think first one must answer Why do publishers use other programs? Who submits to publishers? Why do users use other programs? Why do publishers use other programs? Obviously there was typesetting before compu

RE:auto force accidentals

take a look here http://fritz.rmi.de/dokumentation/lilypond/Documentation/user/lilypond/Automatic-accidentals.html HTH Stephen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

[OT] Re: Do we really offer the future?

Hi Gilles, On Apr 20, 2015, at 1:19 PM, Gilles wrote: > When people put convenience above all, they start giving up their freedom. My experience — this thread being no different so far — is that such discussions always end up in absolutist terms (moral and otherwise). It’s almost a defining qu

Re: Survey: Large scores

On Mon, Apr 20, 2015 at 09:18:39AM -0400, Kieren MacMillan wrote: > Hi, > > > This is not hard to implement at all, you just have to set things up > > appropriately. > > You give a perfect example of why we need to improve Lilypond’s > implementation. The method > > > clarinetIPart = \relati

Re: auto force accidentals

Hi guys, thank you for the support! I got the answer! :) Best regards, Mat 2015-04-20 20:17 GMT+02:00 Stephen MacNeil : > take a look here > > > http://fritz.rmi.de/dokumentation/lilypond/Documentation/user/lilypond/Automatic-accidentals.html > > HTH > Stephen > ___

Re: best practices for volta (was Re: Problem with repeat, alternative endings that contain lyrics andleading rests)

On 04/20/2015 08:01 PM, Kieren MacMillan wrote: 1. Shouldn?t we be [heavily] promoting, even in tiny snippets, the use of global variables to hold \repeat structures that are used in multiple places? No, that's asking for trouble! The code should primarily reflect the musical interpretation

Re: Survey: Large scores

Hi, >> Rather, one should simply be able to say [something >> like] >> >> clarinets = { >>\takeInstrument #”clar.Bf” >>%% Bb clarinet music here >>\takeInstrument #“clar.A” >>%% A clarinet music here >> } >> >> and all scores (transposing and concert-pitch) should Do The Rig

Re: best practices for volta (was Re: Problem with repeat, alternative endings that contain lyrics andleading rests)

Hi Mats, > No, that's asking for trouble! The code should primarily reflect the musical > interpretation, not just the notation. In know that it works to do as you > propose in many examples, but it clearly does not work if you use > \unfoldRepeats (in MIDI), for example. Can \repeat not be de

Override KeySignature end-of-line-invisible

I am quite sure that I am improperly applying the method to make invisible the key signature at the end of a line when the key changes beginning on the next staff. The code below shows my attempt to use the method in two different manners at several points. I have commented out the non-working co

mutopia's shortcomings

In another thread, it seemed like common knowledge that Mutopia has some serious flaws. Could someone fill me on on what the (most important if there's a whole slew) problems are? Dave ___ lilypond-user mailing list lilypond-user@gnu.org https://lis

Re: Override KeySignature end-of-line-invisible

As explained in the docs: http://www.lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects#special-considerations the syntax \override Staff.KeySignature.break-visibility = #... only affects the key signature at the *beginning* of the line (not sure why, but that's what it says). T

Re: (hypothetical) Availability of LilyPond engravers

Urs: ... > If I should be asked to engrave a big score (as fast as possible) in a > commercial context and wouldn't want to reply "well, I will ask around > and see how many people I can get together", what could I say? Would it > be realistic to say that we could (at any time) provide a team of

Can you determine why a grob is being typeset in scheme?

Since I always highlight clef changes in my music and I have access to a color printer, I thought it'd be more efficient to let Lilypond do the highlighting for me. I wrote a handy function that places a filled-box behind the clef grob, and it works great, as long as I add it manually for every cl

Re: mutopia's shortcomings

> On Apr 20, 2015, at 4:29 PM, dl.mcnam...@comcast.net wrote: > > In another thread, it seemed like common knowledge that Mutopia has some > serious flaws. Indeed, I’m thinking sheesh, why’s everybody gotta be pickin on the mutopia project? Seems to me it has been quite successful in its goa

Re: Can you determine why a grob is being typeset in scheme?

> On Apr 20, 2015, at 4:40 PM, Steven Weber wrote: > > Is there a way in scheme to say “is this grob being typeset because of an > explicit command (\clef bass), or implicitly (because of a line break)”? Hmmm… maybe try this clef-interface property (I haven’t tried it yet): non-default (boolea

Re: Can you determine why a grob is being typeset in scheme?

Hi Steven, On Mon, Apr 20, 2015 at 3:40 PM, Steven Weber wrote: > Since I always highlight clef changes in my music and I have access to a > color printer, I thought it’d be more efficient to let Lilypond do the > highlighting for me. I wrote a handy function that places a filled-box > behind t

Re: best practices for volta (was Re: Problem with repeat alternative endings that contain lyrics andleading rests)

Kieren MacMillan wrote Monday, April 20, 2015 5:05 PM > On Apr 19, 2015, at 6:11 AM, Trevor Daniels wrote: > >> [snip incomplete example] > > Is it really a best practice to put \repeat volta structures in multiple > locations? I just responded to a post a few days ago where (I believe, though

Re: Can you determine why a grob is being typeset in scheme?

> On Mon, Apr 20, 2015 at 3:40 PM, Steven Weber wrote: > > Is there a way in scheme to say “is this grob being typeset because of an >> explicit command (\clef bass), or implicitly (because of a line break)”? >> >> >> > > To highlight based on an "explicit command" you will need to analyze and a

Re: best practices for volta (was Re: Problem with repeat, alternative endings that contain lyrics andleading rests)

Kieren MacMillan wrote Monday, April 20, 2015 9:00 PM > Can \repeat not be defined so that — possibly with parameters/switches — it > will Do The Right Thing™ in all engraved (e.g., PDF), expressed (e.g., MIDI), > and other (e.g., MusicXML) output streams without requiring poor or > inefficien

Re: mutopia's shortcomings

Am 20.04.2015 um 22:29 schrieb dl.mcnam...@comcast.net: In another thread, it seemed like common knowledge that Mutopia has some serious flaws. Could someone fill me on on what the (most important if there's a whole slew) problems are? I think it’s mainly three problems: – Lilypond versions, as

Re: Can you determine why a grob is being typeset in scheme?

On Mon, Apr 20, 2015 at 4:55 PM, David Nalesnik wrote: > > > >> On Mon, Apr 20, 2015 at 3:40 PM, Steven Weber >> wrote: >> > > >> Is there a way in scheme to say “is this grob being typeset because of an >>> explicit command (\clef bass), or implicitly (because of a line break)”? >>> >>> >>> >>

Re: Can you determine why a grob is being typeset in scheme?

2015-04-20 23:45 GMT+02:00 David Nalesnik : > Hi Steven, > > On Mon, Apr 20, 2015 at 3:40 PM, Steven Weber wrote: >> >> Since I always highlight clef changes in my music and I have access to a >> color printer, I thought it’d be more efficient to let Lilypond do the >> highlighting for me. I wrot

Re: Can you determine why a grob is being typeset in scheme?

2015-04-21 0:21 GMT+02:00 Thomas Morley : > 2015-04-20 23:45 GMT+02:00 David Nalesnik : >> Hi Steven, >> >> On Mon, Apr 20, 2015 at 3:40 PM, Steven Weber wrote: >>> >>> Since I always highlight clef changes in my music and I have access to a >>> color printer, I thought it’d be more efficient to l

Re: mutopia's shortcomings

Hi all, > Seems to me it has been quite successful in its goals of making sheet music > easily available for free, all works in the public domain or under creative > commons licenses, in (user-editable, user-improvable) LilyPond format, pdf, > and midi — all with volunteer labor. Looks like th

Re: Pango Update in new binaries

On Mon, Apr 20, 2015 at 01:14:55PM +0200, Federico Bruni wrote: > 2015-04-07 19:47 GMT+02:00 Joshua Nichols : > > > Hello all, > > > > I apologize if this question has already been asked. > > > > Has the new version of pango been ported to the binaries on > > mac/windows/linux? I noticed here > >

Re: [OT] Re: Do we really offer the future?

Hi. On Mon, 20 Apr 2015 14:18:19 -0400, Kieren MacMillan wrote: Hi Gilles, On Apr 20, 2015, at 1:19 PM, Gilles wrote: When people put convenience above all, they start giving up their freedom. My experience — this thread being no different so far — is that such discussions always end up in

Re: mutopia's shortcomings

Hi, > IMSLP (with 310,000 scores) and Mutopia (with 1,900) I don’t think that it should be put this way. IMSLP looks nicer, has much more scores and thus the chances to find what you are looking for is much better. But Mutopia’s focus is on editable LilyPond scores while IMSLP is mostly scanned s

No mixing of different beams

Hi, is there a general setting to avoid the beaming of the first note here: { a8 a16 a a a a a } such that it looks like: { a8\noBeam a16 a a a a a } Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/li

Re: Pango Update in new binaries

Is there not a procedure for builds that use the same version number but import newer (fixed) library? Or is the issue about packagers? I am currently using a MacPorts build of 2.18.2, which gives the desired output. I also downloaded the 2.19.18 version and am getting great results. I'm just thin

Re: mutopia's shortcomings

On Mon, 20 Apr 2015 19:07:46 -0400, Kieren MacMillan wrote: Hi all, Seems to me it has been quite successful in its goals of making sheet music easily available for free, all works in the public domain or under creative commons licenses, in (user-editable, user-improvable) LilyPond format, pd

Re: Do we really offer the future?

On Mon, 20 Apr 2015 11:50:24 +0200, Federico Bruni wrote: 2015-04-17 16:45 GMT+02:00 Gilles : A FLOSS like LilyPond is a great opportunity to share (musical) culture, at the lowest possible cost. A project like Mutopia is a promising future: digital scores (of public domain music) that are fr

Re: Do we really offer the future?

On Fri, Apr 17, 2015 at 04:45:20PM +0200, Gilles wrote: > If and when "big" publishers use LilyPond, the result will be more > restricted access (through cost) to culture (because they won't release > their proprietary contents). Forgive me if I've missed important bits of this conversation, but I

Re: Do we really offer the future?

On Mon, Apr 20, 2015 at 08:19:37PM -0700, Jim Long wrote: ... > I'm not I understand ... I'm not *sure that* I understand ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Jianpu Notation

Hi David, > On Apr 19, 2015, at 7:28 PM, Super-User wrote: > > I am impressed by your code! You have really made things automated! Thanks! I am attaching the next revision to this email. > To note about improvement, accidentals in jianpu look identical to those in > standard notation, but th

Re: Jianpu Notation

Hi Ming, > On Apr 19, 2015, at 8:22 PM, MING TSANG wrote: > > It is terrific. Now only one input of notes is generating Voice Staff for > jianpu notation and new Staff for music score. Thank you. > > I try to put r8 r16 r32 and I got the following error: > Starting lilypond-windows.exe 2.