Message transféré
Sujet : Re: Problem RemoveEmptyStaves
Date : Thu, 23 Apr 2015 17:05:00 +0200
De :Les Éditions Valmajour - pg p...@editions-valmajour.fr
Pour : tisimst tisimst.lilyp...@gmail.com
Hello, thanks for your answer, I actually just found out a few
2015-04-23 17:37 GMT+02:00 SonusProj . sonusproject...@gmail.com:
I see a method, though cumbersome, to post to this e-mail group without
being a subscriber. How does one stop being a subscriber if I choose that
path?
You must be subscribed to the list to be able to post a mesage from your
SonusProj . wrote
I am a new user and really have no big plans on being a developer or power
user. I just want to get my projects, analysis, practice lessons, etc to
paper with some modicum of control.
I have Notion and it works well and quick but the limitations prevent me
from getting
+ I do think that your efforts are important for the future of LilyPond.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
On Thu, Apr 23, 2015 at 01:55:57PM +0200, Gilles wrote:
[...]
Of course, if you are used to it, nobody forces you to change. The
suggestion was certainly that LilyPond should forbid all input other
than the standard (best practice) layout.
[Yet I want to stress that what you seem to
Subscribing to this e-mail list is overwhelming me with e-mail posts
that are beyond me and outside of my scope of interest. Is it
possible to throttle the e-mail so I don't receive 70 e-mails a day?
You should activate `thread view' in your e-mail reader. Then you can
simply ignore all
Nabble does have its own account login, so you'd need to create that with
them in order to *write* a post on their site. Reading is always open
without an account.
Your mailing list subscription is managed here:
https://lists.gnu.org/mailman/listinfo/lilypond-user
On 4/23/15 7:55 AM, H. S. Teoh hst...@quickfur.ath.cx wrote:
On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote:
On 4/22/15 10:57 PM, Super-User david...@qq.com wrote:
Seheme, as a dialect of Lisp, can be annotated with ;; so that our
Scheme codes implementing Jianpu can be
Hello.
On Thu, 23 Apr 2015 12:09:29 +0200, Urs Liska wrote:
Hi all,
I had to leave this alone for a while, otherwise I wouldn't have been
able to reply calmly to a number of the first responses on this
thread. It's only lately that the discussion has reached a level of
constructivity that may
On 2015-04-23 16:59, SonusProj . wrote:
Subscribing to this e-mail list is overwhelming me with e-mail posts
that are beyond me and outside of my scope of interest. Is it
possible to throttle the e-mail so I don't receive 70 e-mails a day?
I guess I am seeing if there is a forum type
Hi Urs,
thanks a lot for all your efforts. I think you see the situation very
clearly and I hope you continue this way. I can't see what I could
contribute to that but in general you have my support for what you do.
Best,
Joram
___
lilypond-user
This is curious, but it can be taken care of. If the solo part is *always*
visible, then you can do:
\new Dynamics \with { \override VerticalAxisGroup.remove-empty = ##f }
{ ... }
in _just_ the solo staff. This, of course, will not be effective if there
are times when it is appropriate for it to
Hi Federico,
I see the first as less cluttered than the second (and another example of
music can appear much more cluttered than above example).
I see the second as containing more information encoded directly in the input,
and requiring less to be added by the user.
I don't like trying to
On Thu, Apr 23, 2015 at 07:11:27AM -0700, Knute Snortum wrote:
LilyPond has a great glossary, but I'd like to see cross-references
back to the Notation manual. For instance, I might lookup grace
note which gives me acciaccatura
On the piano I can play/think in voices or not.
Sorry, I've lost track as to who wrote that.
But just in case -- one might consider the
(single-musician) pianist accompanying a
(4-voiced) sunday school hymn.
Pete
___
lilypond-user mailing list
On Thu, Apr 23, 2015 at 09:32:56AM +0200, Simon Albrecht wrote:
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under passage
labels, and within each passage label groups of R1*4 or
Lance,
On the other hand, all correspondence is archived according to these
threads using the free Nabble service. You can find it here:
lilypond.1069038.n5.nabble.com
It keeps the conversations in a more familiar forum-like format, so you
can go whenever you need without feeling like you have
On Thu, Apr 23, 2015 at 11:07 AM, Carl Sorensen c_soren...@byu.edu wrote:
On 4/23/15 7:55 AM, H. S. Teoh hst...@quickfur.ath.cx wrote:
On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote:
On 4/22/15 10:57 PM, Super-User david...@qq.com wrote:
Seheme, as a dialect of Lisp,
Ming Tsang: I also expected it for long, and went for collage for a CS degree,
and work in startups for two years, and try to write my own implementation.
Note that I don't say that the output of a1soft program is optimal
compared to manually printed jianpu scores. But lilypond's output is
Am 23.04.2015 um 16:13 schrieb ArnoldTheresius:
Federico Bruni wrote
...
personally I find lilypond code in \relative mode easier to read.
Perhaps, it's only a problem because the editors we use are not able
to translate automatically between relative and absolute octave notation.
Well,
Thanks Abraham and also thanks Werner.
I try both suggestions.
I see a method, though cumbersome, to post to this e-mail group without
being a subscriber. How does one stop being a subscriber if I choose that
path?
Also, I see nabble has a login. Does this site allow replies to the posts
it
Two small thoughts also from me:
– I think the preference one will take also depends on musical style: a
piece of renaissance vocal music uses so few leaps greater than a fourth
that the advantage of relative in typing is huge and it’s
‘error-pronity’ small. On the other extreme, a piano
On Thu, 2015-04-23 at 19:36 +0200, Eyolf Østrem wrote:
On 23.04.2015 (10:04), H. S. Teoh wrote:
Besides, only powers of 2 are valid for durations, which wastes all the
other numbers in between. Unfortunately I don't have a good idea on how
to write durations without using digits
Am 23.04.2015 um 18:37 schrieb Carl Sorensen:
On 4/23/15 12:02 AM, Urs Liska u...@openlilylib.org wrote:
Am 23.04.2015 um 06:07 schrieb Carl Sorensen:
So now I'm going to jump in on what I think a Voice context is.
A Voice context is a context, which means it can contain engravers,
B4 paper is readily available in Japan (Japan has an amazing riches of
paper!).
You can purchase it online through Rakuten Global Market:
http://global.rakuten.com/en/category/303151
It's not cheap per sheet, but its certainly cheaper than buying 19 tonnes.
HTH,
Carl
On Thu, Apr 23, 2015 at 11:09 AM, David Nalesnik david.nales...@gmail.com
wrote:
On Thu, Apr 23, 2015 at 11:07 AM, Carl Sorensen c_soren...@byu.edu
wrote:
On 4/23/15 7:55 AM, H. S. Teoh hst...@quickfur.ath.cx wrote:
On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote:
On
Hi,
a bit late, but my memories from when starting with LilyPond:
1. What is the thing you (especially new users) like the least about
LilyPond's documentation structure?
- documentation
The sheer amount of pages to read was daunting. But I wanted to
understand it (not being a programmer
On Wed, Apr 22, 2015 at 4:16 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
2015-04-22 22:38 GMT+02:00 tisimst tisimst.lilyp...@gmail.com:
All,
On Wed, Apr 22, 2015 at 2:21 PM, Noeck [via Lilypond] [hidden email]
wrote:
this is a triviality for most of you and it does not solve
On 23.04.2015 (10:04), H. S. Teoh wrote:
Besides, only powers of 2 are valid for durations, which wastes all the
other numbers in between. Unfortunately I don't have a good idea on how
to write durations without using digits either.
I started on a vim script to remap the keyboard as
On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote:
On 4/22/15 10:57 PM, Super-User david...@qq.com wrote:
Seheme, as a dialect of Lisp, can be annotated with ;; so that our
Scheme codes implementing Jianpu can be documented as well.
Comments in the code are not the
Depends on how you type your files and read music, I guess. As a singer I
learned reading music relatively so it is more natural for me and i
exclusively use \relative mode. But I agree there are limitation like
Kieren second example with split voices: I always expect the note before
the split to
I am a new user and really have no big plans on being a developer or power
user. I just want to get my projects, analysis, practice lessons, etc to
paper with some modicum of control.
I have Notion and it works well and quick but the limitations prevent me
from getting what I want onto the
On Thu, Apr 23, 2015 at 9:55 AM, H. S. Teoh hst...@quickfur.ath.cx wrote:
On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote:
On 4/22/15 10:57 PM, Super-User david...@qq.com wrote:
Seheme, as a dialect of Lisp, can be annotated with ;; so that our
Scheme codes implementing
On 4/23/15 12:02 AM, Urs Liska u...@openlilylib.org wrote:
Am 23.04.2015 um 06:07 schrieb Carl Sorensen:
So now I'm going to jump in on what I think a Voice context is.
A Voice context is a context, which means it can contain engravers,
performers, and music expressions.
...
I'd be
On Thu, Apr 23, 2015 at 03:35:59PM +0200, Federico Bruni wrote:
Hi Kieren
2015-04-23 14:40 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
personally I find lilypond code in \relative mode easier to read.
Really? I look at
\relative c,, { c4 g' a b e f' g' a, b,, c’
- Original Message -
From: Calixte Faure calixte.fa...@gmail.com
To: Noeck noeck.marb...@gmx.de
Cc: LilyPond Users lilypond-user@gnu.org
Sent: Thursday, April 23, 2015 7:35:18 PM
Subject: Re: What is the problem with \relative? (Was: Do we really offer
the future?)
I learned
c5 d5 e5 f5 g5 f5 e5 d5 c5
All other things being equal, that *would* have been great.
That would save typing in some cases and would follow American and other
conventions. But c' etc. is just the natural way of calling the notes in
Dutch, German and many northern and eastern European
Hi Ming,
On Apr 23, 2015, at 7:41 AM, MING TSANG tsan...@rogers.com wrote:
Good morning Paul,
Thank you very much for you jianpu4.ly.
I run your jianpu-test.ly and sportted one note not the same in key C and key
D. The 2nd note on third measure - a dot below the horizontal bar is
On 23.04.2015 (19:40), Richard Shann wrote:
Well, if you set up that mapping for Denemo you could get LilyPond's
beautiful typesetting too :)
The last time I tried, it wasn't possible in denemo, I think because the
keyboard shortcuts were tied to specific octaves, or something like that.
I've
Hi Joram,
c' etc. is just the natural way of calling the notes in
Dutch, German and many northern and eastern European languages
So here in Germany it is an advantage when teaching LilyPond to newcomes:
You write the notes just by their name: d' fis' a' d'' – as easy as that.
Interesting.
I learned music in French (native French) and was at the beginning a little
bit confused with 2 4 8 16 etc. because we say white, black, hooked,
double-hooked, triple-, etc. but after all it is logical with the
numbers.
I understood the choice of 2 4 8 16 during an exchange semester in Germany
Calixte Faure wrote:
I learned music in French (native French) and was at the beginning a little
bit confused with 2 4 8 16 etc. because we say white, black, hooked,
double-hooked, triple-, etc. .
At least you weren't trapped in hemi-demi-semi-quavers!
- Pete
Filters work perfectly.
I can now review, ignore, or delete the email as it fills my new Lilypond
folder on the email server. Inbox is always bypassed. No more phone
blowing-up all day. :)
Great suggestions from everyone.
Thanks,
Lance
On Thu, Apr 23, 2015 at 11:35 AM, SoundsFromSound
On 23/04/15 00:00, Kieren MacMillan wrote:
Hi Wol,
Hi Kieren
(NB, I've read Thomas' response)
What I'd like to see is worked, documented examples.
I’m happy to supply a few… But there are so many questions:
1. Where would they be kept?
Actually, the thought just struck me, maybe
We call it massicot in French, I just found out it comes from its inventor
Guillaume Massiquot: seems that French people like creating cutting
machines! :D
2015-04-23 14:42 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
Hi Karl,
a good paper cutter (what's the right word?)
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Erm, the French like adopting and boasting about cutting devices. See
https://en.wikipedia.org/wiki/Halifax_Gibbet for an earlier example.
There is a discussion at
https://en.wikipedia.org/wiki/Guillotine#Precursors about earlier
designs. ;-)
On
On 23 Apr 2015, at 16:59, SonusProj . sonusproject...@gmail.com wrote:
Subscribing to this e-mail list is overwhelming me with e-mail posts that are
beyond me and outside of my scope of interest. Is it possible to throttle
the e-mail so I don't receive 70 e-mails a day?
One option is a
Hi,
It makes me think that it was a wrong design decision in lilypond to use
' and , for octave indications and digits 1, 2, 4, 8, ... for durations.
If we had used digits for octave designations instead, absolute mode
would be much less painful to write, e.g.:
c5 d5 e5 f5 g5 f5 e5
In the context of the long discussions of what does lilypond need to do, I'm
predisposed
to try to think about it in terms of what (I think I) know about TeX/LaTeX.
So the first question is: how much of lilypond's goals and design are based on
TeX/LaTeX?
Along these lines comes a series of
Am 23.04.2015 um 09:38 schrieb Urs Liska:
Am 23. April 2015 09:32:56 MESZ, schrieb Simon Albrecht
simon.albre...@mail.de:
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under
Hi Simon,
– I think the preference one will take also depends on musical style: a piece
of renaissance vocal music uses so few leaps greater than a fourth that the
advantage of relative in typing is huge and it’s ‘error-pronity’ small. On
the other extreme, a piano piece by George Crumb
Am 24.04.2015 um 01:26 schrieb Kieren MacMillan:
Hi Gilles,
I have _not_ asked the LilyPond team to spend any resources for whatever.
First of all, nobody wrote that you did.
You wrote
What's for the LilyPond team in spending resources
trying to work around those self-inflicted
Hi Gilles,
I have _not_ asked the LilyPond team to spend any resources for whatever.
First of all, nobody wrote that you did.
You wrote
What's for the LilyPond team in spending resources
trying to work around those self-inflicted limitations?
That response fairly strongly implies that you
On Fri, 24 Apr 2015 01:59:40 +0200, Urs Liska wrote:
Am 24.04.2015 um 01:26 schrieb Kieren MacMillan:
Hi Gilles,
I have _not_ asked the LilyPond team to spend any resources for
whatever.
First of all, nobody wrote that you did.
You wrote
What's for the LilyPond team in spending resources
Hi Carl,
I never use the word music object for LilyPond entities.
That’s wise. As I said, I think we shouldn’t let new and potentially confusing
nomenclature creep in.
If we are missing structures needed to capture music the way musicians and
composers think about it, it may be desirable to
LilyPond has a great glossary, but I'd like to see cross-references back to
the Notation manual. For instance, I might lookup grace note which gives
me acciaccatura
http://www.lilypond.org/doc/v2.19/Documentation/music-glossary/acciaccatura,
but there is no link to the Notation manual.
Knute
Federico Bruni wrote
...
personally I find lilypond code in \relative mode easier to read.
Perhaps, it's only a problem because the editors we use are not able
to translate automatically between relative and absolute octave notation.
Well, back to the original question, what may professional
Hi Urs,
If, as a musician, I get confused by thinking of a voice context I can't
use any technology of notating, including pen and paper.
But if I can abstract my instrument - the piano - away and realize it uses
multiple voices, I can use that concept for all notation programs. I think
What I'd like to see is worked, documented examples.
I’m happy to supply a few… But there are so many questions:
1. Where would they be kept?
I think best is very prominent in the documentation. I remember my first
steps with Lilypond, I wanted to make a score for Guitar with tab but I
do
Am 23.04.2015 um 01:29 schrieb Carl Sorensen:
David Elaine Alt finds that a major obstacle to understanding lilypond is
the lack of a comprehensive (and/or comprehensible) object model. The
question was asked: Does anyone really understand what a Voice is?
I think there are two levels at which
Am 23.04.2015 um 06:07 schrieb Carl Sorensen:
So now I'm going to jump in on what I think a Voice context is.
A Voice context is a context, which means it can contain engravers,
performers, and music expressions.
...
I'd be happy to try to answer any questions others might have about a
Hi,
I never had a problem with that. Score, Staff and Voice were musically
clear to me right from the start. Then I read the learning manual and
didn’t find it hard to understand how this is represented in LilyPond
after reading this:
2015-04-23 9:21 GMT+02:00 Martin Tarenskeen m.tarensk...@zonnet.nl:
I often use LilyPond to quickly enter a very simple tune or small
pianosheet needing just a simple texteditor (Vim). I use \relative all the
time. c g c e g is soo much faster and easier than c''' g'' c''' e''' g'''
g'''.
On Thu, 23 Apr 2015, Hwaen Ch'uqi wrote:
Greetings,
The reasons for one not using relative mode are clear, but it hardly
justifies calling for its deprecation. As a composer of primarily
piano music, it is an absolute lifesaver. And all to whom I have
introduced LilyPond, primarily pianists
Of course, it still doesn’t help one find a global variable
To be more precise: One can’t click on time signatures, spacer rests,
barlines, etc. If your global variable contains tempo marks, etc.
point-and-click finds it.
Joram
___
lilypond-user
Am 23.04.2015 um 05:47 schrieb Carl Sorensen:
On 4/22/15 7:17 PM, Flaming Hakama by Elaine ela...@flaminghakama.com
wrote:
Since I understand programming languages rather well, if I understanding
how something is organized, then I can code it 100% of the time.
Surely, I will have to refer
On 4/23/15 3:26 AM, Urs Liska u...@openlilylib.org wrote:
I think this is an excellent approach. Actually this is exactly one kind
of information that is lacking in the documentation (or at least not
accessible to the user). If one has the chance to get such a model it is
much more easy to
Hi Urs,
Thank you again for your excellent efforts in this regard.
So finally I'm back at the beginning, namely my original post's question,
preparing a convincing set of facts, arguments and promises that help to
overcome the reservations with regard to b) and c) of the above list. I have
Hi Carl,
Flexibility is also a Good Thing. And standardization and flexibility are
always at odds with one another.
Similarly, brevity is a Good Thing. And obviousness is a good thing. And
brevity and obviousness are often at odds with one another.
The tradeoffs between these
Am 23.04.2015 um 14:50 schrieb Kieren MacMillan:
Hi Urs,
On the piano I can play/think in voices or not.
But that’s exactly my point: you’re a single “musician”.
(I think everyone would agree on that semantic.)
But you can play multiple “voices”.
Hence “musician” != “voice”, and to try to
Hi Carl,
I'd be happy to have a Best Practices guide as part of the LilyPond
documentation. I'd be happy to review your proposals for appearance,
organization, and content.
Alright! I’ll put together a proposal and forward it to you off-list.
Thanks,
Kieren.
Hi Thomas (et al.),
I wanted to make a score for Guitar with tab but I do not find
an example in the documentation that is for an newbie readable
[…]
one file so that people can copy and past it, press engrave button and it
works
Sounds to me like you’re asking for a well-commented
On 4/23/15 1:25 AM, Johannes Rohrer s...@johannesrohrer.de wrote:
* 2015-04-23 01:29 +0200:
Translators are program elements that convert music expressions to
output.
Engravers are translators that create printed output. Performers are
translators that create midi output.
Translators
Hi Xavier,
Actually there is the \addInstrumentDefinition command (used in
combination with \instrumentSwitch) which does *part* of that.
See NR 1.6.3 Writing parts Instrument names
http://lilypond.org/doc/v2.18/Documentation/notation/writing-parts#instrument-names
Yes… But if we’re
Hi Urs,
Hence “musician” != “voice”, and to try to conflate the two ideas (as one of
the replies did) is potentially confusing.
Yes, but that's a confusion that is not related to LilyPond at all.
That confusion immediately becomes related to Lilypond if, as was
suggested/implied, her
Am 23. April 2015 09:32:56 MESZ, schrieb Simon Albrecht
simon.albre...@mail.de:
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under passage
labels, and within each passage
On Thu, 23 Apr 2015, Simon Albrecht wrote:
Perhaps it boils down to this: Using a conventional typesetting software may
be learned through trial and error, using lilypond can’t. You have to be
willing to get a grip of it from the basic, and for me this involved to delve
into a completely
2015-04-23 9:42 GMT+02:00 Martin Tarenskeen m.tarensk...@zonnet.nl:
But if I want to do things beyond the LM basics the almost endless
possibilities that LilyPond offers and the many many pages of the NR and
other manuals can be quite overwhelming.
What I would like: A tool that allows me to
On Thu, 23 Apr 2015, Federico Bruni wrote:
2015-04-23 9:42 GMT+02:00 Martin Tarenskeen m.tarensk...@zonnet.nl:
But if I want to do things beyond the LM basics the almost endless
possibilities that LilyPond offers and the many many pages of the
NR and other manuals can be quite
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under passage
labels, and within each passage label groups of R1*4 or R1*8 or some
multiple thereof, separated by blank lines.
Just a
Am 22.04.2015 um 23:25 schrieb Flaming Hakama by Elaine:
My problem is that too much of it is written like the following
response
from Elaine, which looks like Pprogrammers Only Need Apply.
There is no getting around the fact that lilypond is a programming
language. I don't
Am 23.04.2015 um 04:59 schrieb Carl Sorensen:
On 4/22/15 6:53 PM, Kieren MacMillan kieren_macmil...@sympatico.ca
wrote:
Hi Gilles,
Yet you long for some_tool that would know how to remove a set of
bars from That Production project. :-P
A tool could do that *if* it knew what structure to
On 23 April 2015 at 04:28, Gilles gil...@harfang.homelinux.org wrote:
On Wed, 22 Apr 2015 19:17:53 -0700, Flaming Hakama by Elaine wrote:
[...]
Without getting too technical, objects are things that you can create,
have
properties and relationships with other well-defined objects.
This is
* 2015-04-23 01:29 +0200:
Translators are program elements that convert music expressions to output.
Engravers are translators that create printed output. Performers are
translators that create midi output.
Translators examine the music expressions that are contained in the
context, and
2015-04-23 10:19 GMT+02:00 Martin Tarenskeen m.tarensk...@zonnet.nl:
Do you know that you can download the documentation with the --doc option
of the installer?
I am using Linux Fedora and simply installed the lilypond-doc rpm package
using my package manager.
I'm also using the
On 23 Apr 2015, at 01:48, Kieren MacMillan kieren_macmil...@sympatico.ca
wrote:
Hi Stephen (et al.)
anyway I tried a few examples and used %1a %2a etc for measures and used the
bar check (|) as an end
eg.
%1a
music |
This would be reliant on meticulous use of of the “%NNNa and
Am 2015-04-23 um 12:05 schrieb k...@aspodata.se:
I staple the A3's in the middle with an ordinary stapler (without
using it's anvil(?)) on a medium soft board (so the staples gets
through) and fold the staple? pins on the inside flat,
For this, I can really recommend a special long arm
Am 23.04.2015 um 02:05 schrieb Kieren MacMillan:
Hi Harm,
Speaking as a user, I always thought about a Voice like a
_musician_, never had problems with that thinking.
But (he says, taking on the role of the average newbie user) a pianist is a
musician.
So why can’t I write all of the piano
Reinhold:
Am 2015-04-23 um 12:05 schrieb k...@aspodata.se:
I staple the A3's in the middle with an ordinary stapler (without
using it's anvil(?)) on a medium soft board (so the staples gets
through) and fold the staple? pins on the inside flat,
For this, I can really recommend a
Andrew:
What size paper do you print scores on?
I usually use (for the choir)
paper-width = 190 \mm
paper-height = 270 \mm
(I got that size from a Bärenreiter choirbook), I print it out
as folded A3 and cut it down to the right size.
Yes, an A3 printer and a good paper cutter (what's
Hi all,
I had to leave this alone for a while, otherwise I wouldn't have been
able to reply calmly to a number of the first responses on this thread.
It's only lately that the discussion has reached a level of
constructivity that may be helpful. In the meantime the discussion has
split up to
Am 23.04.2015 um 01:29 schrieb Carl Sorensen:
David Elaine Alt finds that a major obstacle to understanding lilypond is
the lack of a comprehensive (and/or comprehensible) object model. The
question was asked: Does anyone really understand what a Voice is?
I think there are two levels at
Am 22.04.2015 um 22:58 schrieb Thomas Morley:
The main objective of openLilyLib (old and new) is providing a platform for
extending LilyPond without having to integrate everything in the core. This
is a) because not every extension should bloat the core and b) even when
something would fit
Hi Andrew,
If it happens only once, simply add:
%% suppress warning :
#(ly:set-option 'warning-as-error #f)
#(ly:expect-warning (_ weird stem size, check for narrow beams))
before the score bloc.
Hope I understood you well, HTH too,
Cheers,
Pierre
2015-04-23 6:41 GMT+02:00 Andrew Bernard
Hi Abraham,
Thank you very much for your work.
I'll take a closer look to the new font tonight.
Cheers,
Pierre
2015-04-22 23:02 GMT+02:00 tisimst tisimst.lilyp...@gmail.com:
On Wed, Apr 22, 2015 at 2:46 PM, David Bellows [via Lilypond] [hidden
email]
Calixte:
...
Or have a script/feature/tool that automatically counts measures : it would
be able to put bar numbers in comment,
...
You can try:
http://turkos.aspodata.se/git/musik/bin/addnum.pl
it works for me...
You're welcome to suggest changes.
Regards,
/Karl Hammar
On Thu, 23 Apr 2015 09:50:05 +0200, Xavier Scheuer wrote:
On 23 April 2015 at 04:28, Gilles gil...@harfang.homelinux.org
wrote:
On Wed, 22 Apr 2015 19:17:53 -0700, Flaming Hakama by Elaine wrote:
[...]
Without getting too technical, objects are things that you can
create,
have
properties
Hi Carl (et al.),
It doesn't help that many things are implicit and based on contexts which
are invisible and undocumented
Hmm. I have a bit more trouble understanding this.
I infer that he (correctly) means how
\version 2.19.18
\score { \new Voice c' }
\score { \new Staff c’ }
On 4/22/15 10:57 PM, Super-User david...@qq.com wrote:
Seheme, as a dialect of Lisp, can be annotated with ;; so that our Scheme
codes implementing Jianpu can be documented as well.
Comments in the code are not the documentation I am talking about. The
JianpuStaff should be added to the
Hi Federico,
If you structure your files in a way that causes relative mode to produce
side-effects, you can still enter in relative mode and then convert in
absolute mode when you've finished (Frescobaldi can do it).
I find it just as easy to enter code in absolute mode, so why should I go
1 - 100 of 125 matches
Mail list logo
