Re: Can't get page breaks for 7 over square root of 71 meter

> A meter of 7/sqr(71) [...] > The problem comes from Lilypond's bizarre assumption that at some > point all the barlines in the score will line up. [...] > > That's a) insane, Mhmm. > b) stupid, Mhmm, mhmm. > c) unmusical, You are joking, aren't you? Show me *any* piece that uses this –

Spacing issue

This particular score has a peculiar spacing issue. I used the recommended proportional spacing code given in the Lilypond manual, and I've fiddled with the make-moment values, but notes that should be exactly evenly spaced are still distinctly crimped up. Unless I haven't understood the

RE: How to get proper barlines, and how to get page breaks, on this score

McLaren, Be prepared to be chastised about "minimal snippet!" Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of mclaren Sent: Thursday, November 03, 2016 8:57 PM To: lilypond-user@gnu.org Subject: How to get proper

Re: Are page breaks possible with this kind of score? If so, how?

Wow! That's fantastic! Thanks, Urs. You are a true Lilypond wizard. I abase myself before your excellence. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Are-page-breaks-possible-with-this-kind-of-score-If-so-how-tp196124p196129.html Sent from the User mailing list

How to get proper barlines, and how to get page breaks, on this score

This score is a transcription of a rhythm I generated in Jens Johansen's wonderful polyrthmic application Polymath. It's a pretty catchy rhythm. But Lilypond has trouble handling it. The barlines are obvious from the score, since this is nothing but a bunch of hypermeasures. Notice that in each

Re: Are page breaks possible with this kind of score? If so, how?

Am 04.11.2016 um 04:33 schrieb mclaren: > Here's the score. It's pretty self-explanatory. I recognize that at this > point we're stretching the bounds of Western music notation. It would be > nice to be able to get page breaks with a score like this that goes on for > several pages, but so far I

Another page-break problem, particularly fiendish

This score fragment follows up on Lilypond code originally posted by Hans Åberg and Malte Men back in June, 2014, on this forum. I've carried the notation a little bit farther. The question I have is: how the devil to generate a proper page break in a score like this? If there's a make-moment

Re: Lilypon error message: "Programming error -- bounds of the piece aren't breakable"

If you run that score with the current development version it will not crash but produce the attached result (for your reference). But the log shows that you have errors in it (you can ignore the warnings about strange time signatures but look for warning: mid-measure time signature without

Are page breaks possible with this kind of score? If so, how?

Here's the score. It's pretty self-explanatory. I recognize that at this point we're stretching the bounds of Western music notation. It would be nice to be able to get page breaks with a score like this that goes on for several pages, but so far I haven't figured out how to do it. Trying to

Lilypon error message: "Programming error -- bounds of the piece aren't breakable"

Now we get to the interesting Lilypond scores, the ones that cause Lilypond to crash or produce error messages. This simple score makes Lilypond die and stop engraving after a couple of measures with the error message "Programming error: bounds of this piece aren't breakable." Lilypond gives

Re: Can't get page breaks for 7 over square root of 71 meter

Am 04.11.2016 um 03:29 schrieb mclaren: > Hans; > > You mentioned: > "LilyPond doesn't require all the barlines to align in order to be able > to break a line, it only requires an arbitrary *moment* to align. If you > have such a moment you can break lines, and the manual tells you how to >

Re: compound time signature with non duple denominator

On Thu 03 Nov 2016 at 19:50:05 (-0700), mclaren wrote: > Well, the 3's indicate 3:2 broken tuplets. There seems to be some controversy > over whether Tobin Chodos really wanted a single 3:2 eighth note at the end > of every measure. If he does, then the 3's are correct. Well, I don't perform

Re: compound time signature with non duple denominator

Hi all, Thanks for all the helpful info. A teacher of mine called them "interruplets" (interrupted tuplets). I think the clearest solution for my purposes is just: \compoundMeter #'((3 4) (1 12)). David's suggestion of 13/8 is workable but leads to problems with the music in question. I

Re: compound time signature with non duple denominator

Yes, I realized that. Thanks for the correction. -- View this message in context: http://lilypond.1069038.n5.nabble.com/compound-time-signature-with-non-duple-denominator-tp195829p196119.html Sent from the User mailing list archive at Nabble.com.

Re: compound time signature with non duple denominator

On Fri 04 Nov 2016 at 02:44:56 (+0100), Urs Liska wrote: > > > Am 04.11.2016 um 02:39 schrieb Urs Liska: > > > > Am 02.11.2016 um 19:10 schrieb Chris Yate: > >> particularly as it utterly confuses those players that don't know how > >> to parse it. > > Any musical notation utterly confuses those

Re: compound time signature with non duple denominator

LOL! Well said, Urs. As a practical matter, the musicians who perform Michael Gordon's broken tuplets don't seem confused by the notation. You can examples of this in "Four Kings Fight Five," "Yo, Shakespeare!" and many other pieces by Gordon. -- View this message in context:

Re: compound time signature with non duple denominator

Well, the 3's indicate 3:2 broken tuplets. There seems to be some controversy over whether Tobin Chodos really wanted a single 3:2 eighth note at the end of every measure. If he does, then the 3's are correct. If he doesn't, then the question was unclear and we're answering something that wasn't

Re: compound time signature with non duple denominator

David remarked: >"One triplet eighth note" defines a duration of time (which the OP > appeared to get wrong in any case). One note cannot form a triplet. Sure it can. They're called broken tuplets, and lots of composers use 'em. Michael Gordon uses broken tuplets all the time. So does Mikel

Re: Can't get page breaks for 7 over square root of 71 meter

Hans; You mentioned: "LilyPond doesn't require all the barlines to align in order to be able to break a line, it only requires an arbitrary *moment* to align. If you have such a moment you can break lines, and the manual tells you how to achieve that." Sorry, no, the Lilypond manual does _not_

Re: compound time signature with non duple denominator

On Thu 03 Nov 2016 at 22:08:02 (+0100), Hans Åberg wrote: > > > On 3 Nov 2016, at 21:28, David Wright wrote: > > > > On Thu 03 Nov 2016 at 10:37:36 (+0100), Hans Åberg wrote: > >> > >>> On 3 Nov 2016, at 03:04, David Wright wrote: > >>> >

Re: compound time signature with non duple denominator

Am 04.11.2016 um 02:39 schrieb Urs Liska: > > Am 02.11.2016 um 19:10 schrieb Chris Yate: >> particularly as it utterly confuses those players that don't know how >> to parse it. > Any musical notation utterly confuses those players that don't know how > to parse it. Actually you could extend

Re: compound time signature with non duple denominator

Am 04.11.2016 um 01:56 schrieb mclaren: > Oops. Unless I'm mistaken, 4 + 1 triplet eighth note would be 4 + 1/6, not 4 > + 1/3. You *are* mistaken. 4 quarters + 1 triplet eight is 4/4 + 1/12. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: compound time signature with non duple denominator

On Thu 03 Nov 2016 at 18:00:59 (-0700), mclaren wrote: > "Wouldn't that rather be (4 + 2/3)/4?" > > Yes, I think you're right. 1/3 is presumably half of the value of a triplet > quarter note, so 1 triplet eighth note. I've corrected that in my second > Lilypond example. My bad. > > Change the

Re: compound time signature with non duple denominator

Am 02.11.2016 um 19:10 schrieb Chris Yate: > particularly as it utterly confuses those players that don't know how > to parse it. Any musical notation utterly confuses those players that don't know how to parse it. Actually you could extend that to written text as well.

Re: compound time signature with non duple denominator

On Thu 03 Nov 2016 at 17:13:14 (-0700), mclaren wrote: > I have an even more diabolical question, related to the one at the start of > this thread. > > But let me first answer the original question, which was: "Is there a way to > implement a non-binary time signature like 4 + 1/3?" I think I

Re: compound time signature with non duple denominator

Yes, Thomas Ades and Brian Ferneyhough and Kyle Gann and many others have written music in non-binary meters like 7/6 and 21/10 and so on. This is hardly unusual nowadays. In fact, these kinds of meters go all the way back to Henry Cowell's "New Musical Resources," written in 1930, though Cowell

Re: Can't get page breaks for 7 over square root of 71 meter

On 2016-11-03 17:36, mclaren wrote: The problem comes from Lilypond's bizarre assumption that at some point all the barlines in the score will line up. In this case, clearly the barlines in the 7/sqr(71) staff will never line up with any of the other barlines in the score. Therefore Lilypond

Re: Can't get page breaks for 7 over square root of 71 meter

Am 04.11.2016 um 01:36 schrieb mclaren: > A meter of 7/sqr(71) simply means that that there are 7 eighth notes each of > which has duration of square root of 71 = 1/8.426149 of a whole note, > whereas a standard eighth note has duration of 1/8 of a whole note. > Therefore each eighth note in

Re: compound time signature with non duple denominator

"Wouldn't that rather be (4 + 2/3)/4?" Yes, I think you're right. 1/3 is presumably half of the value of a triplet quarter note, so 1 triplet eighth note. I've corrected that in my second Lilypond example. My bad. Change the "6" denominator in my new Lilypond code to a 3 to get the meter to

Re: compound time signature with non duple denominator

Tobin Chodos mentioned: "That is, the measure is four quarter notes long plus one triplet eighth note." Oops. Unless I'm mistaken, 4 + 1 triplet eighth note would be 4 + 1/6, not 4 + 1/3. My Lilypond code was based on the assumption that you had 4 quarter notes + 1 triplet quarter note. Here's

Re: Can't get page breaks for 7 over square root of 71 meter

Am 04.11.2016 um 01:36 schrieb mclaren: > Therefore Lilypond can't ever break the page. > > That's a) insane, b) stupid, c) unmusical, d) all three (take your pick). Before I may try to understand the case (particularly as your questions so far indicated that you may not always have really

Re: compound time signature with non duple denominator

On 04/11/2016 01:13, mclaren wrote: > This seems like an entirely valid question. 1/3 would be a single triplet > note, right? That is, if we're dealing with (4 + 1/3)/4, then what we want > is 4 quarter notes + 1 triplet quarter note, correct? Wouldn't that be rather (4 + 2/3)/4? -- Not the

Lilypond page breaks work properly for non-binary meters like 7/5...

..But apparently Lilypond page breaks don't work at all for an irrational meter like 7/sqr(71). I'm baffled. Why do page breaks work for 7/5 but not for 7/sqr(71)? The basic metric pulse is non-binary in both cases, so why should it make any difference whether the basic metric pulse is 5 equal

Can't get page breaks for 7 over square root of 71 meter

A meter of 7/sqr(71) simply means that that there are 7 eighth notes each of which has duration of square root of 71 = 1/8.426149 of a whole note, whereas a standard eighth note has duration of 1/8 of a whole note. Therefore each eighth note in 7/sqr(71) meter has a duration of 8.426149/8 =

Re: compound time signature with non duple denominator

I have an even more diabolical question, related to the one at the start of this thread. But let me first answer the original question, which was: "Is there a way to implement a non-binary time signature like 4 + 1/3?" I think I know a way to do this. This seems like an entirely valid question.

Re: Changing voice order...

David, Am 04.11.2016 um 00:45 schrieb Flaming Hakama by Elaine: > due to the confusion between the intention of > vertical-order-in-the-staff and what the << // // // >> construct > actually does (there is no relationship), Actually I *do* think you are misunderstanding some things here, and I

Re: Changing voice order...

> >> > THE VERTICAL ORDER OF NOTES ON THE PAGE HAS NOTHING TO DO WITH THE > ORDER > >> OF > >> > THE VOICES WITHIN THE << // // // >> CONSTRUCT, OR WHAT THE VOICE > NAMES > >> ARE > >> > CALLED > >> > > >> > Do you agree with that? You should, since it is true. > >> > >> No, I don't agree with

Re: Tricky tweak

On Thu, 2016-11-03 at 23:49 +0100, Thomas Morley wrote: > 2016-11-03 23:37 GMT+01:00 David Sumbler : > > > > Well, it's proving tricky to me, anyway. > > > > I have a note which needs to have "pizz." printed above it, and > > "(non > > sf)" below. > > > > The code below, of

Re: A tricky example -- polyMETER against polyRHYTHM

2016-11-04 0:26 GMT+01:00 Thomas Morley : > 2016-11-04 0:03 GMT+01:00 Thomas Morley : >> 2016-11-04 0:00 GMT+01:00 mclaren : >>> Klaus; >>> Thanks! That fixed the landscape paper problem. You're my new hero. >>> I

Re: A tricky example -- polyMETER against polyRHYTHM

2016-11-04 0:03 GMT+01:00 Thomas Morley : > 2016-11-04 0:00 GMT+01:00 mclaren : >> Klaus; >> Thanks! That fixed the landscape paper problem. You're my new hero. >> I copied the \paper {landscape} thing from the Lilypond snippet >> repository.

Re: Changing voice order...

Flaming Hakama by Elaine writes: > On Thu, Nov 3, 2016 at 2:35 PM, David Kastrup wrote: > >> Flaming Hakama by Elaine writes: >> >> > I'm not sure if this is a language problem, or an attitude problem. >> > Because it seems like

Re: A tricky example -- polyMETER against polyRHYTHM

N. Andrew Walsh mentioned: > Maybe I'm misunderstanding mclaren's example, but the graphic he posted > has > a number of notational errors. To wit: > in the third voice, if the meter is 11/8, then an 11:9 tuplet will not > fill > the bar, as it will only cover 9 eighth-notes. Perhaps he meant

Re: A tricky example -- polyMETER against polyRHYTHM

2016-11-04 0:00 GMT+01:00 mclaren : > Klaus; > Thanks! That fixed the landscape paper problem. You're my new hero. > I copied the \paper {landscape} thing from the Lilypond snippet > repository. Evidently the snippets > have garbage code in 'em. Could you give

Re: Pitched trills

2016-11-03 23:27 GMT+01:00 astow...@gmail.com : > Oh, this one I've seen! But it uses "trill spans" (\startTrillSpan and > \stopTrillSpan). > As I was saying in my original message, I'm trying to show the trilled note > but I only want the indication "tr", not the extender

Re: Tricky tweak

What about something like: nonsf = #(make-dynamic-script (markup #:normal-text #:italic "(non " #:dynamic "sf" #:normal-text #:italic ")")) On 03/11/2016 23:37, David Sumbler wrote: > Well, it's proving tricky to me, anyway. > > I

Re: A tricky example -- polyMETER against polyRHYTHM

Klaus; Thanks! That fixed the landscape paper problem. You're my new hero. I copied the \paper {landscape} thing from the Lilypond snippet repository. Evidently the snippets have garbage code in 'em. Anyway, no matter, now it's clear what was wrong & how to fix it. Thanks again!

Re: Tricky tweak

2016-11-03 23:37 GMT+01:00 David Sumbler : > Well, it's proving tricky to me, anyway. > > I have a note which needs to have "pizz." printed above it, and "(non > sf)" below. > > The code below, of course, puts both markings with their left edges > aligned with the note. > >

Tricky tweak

Well, it's proving tricky to me, anyway. I have a note which needs to have "pizz." printed above it, and "(non sf)" below. The code below, of course, puts both markings with their left edges aligned with the note. \version "2.19.48" \language "english" nonsf = \markup

Re: Changing voice order...

On Thu, Nov 3, 2016 at 2:35 PM, David Kastrup wrote: > Flaming Hakama by Elaine writes: > > > I'm not sure if this is a language problem, or an attitude problem. > > Because it seems like you are coming to the opposite interpretation of > what > > I say,

Re: Pitched trills

> On 3 Nov 2016, at 23:21, Mark Stephen Mrotek wrote: > > Here is the complete link: > http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lin > es#trills Your link somehow gets broken in the mail. Check this:

Re: Pitched trills

Oh, this one I've seen! But it uses "trill spans" (\startTrillSpan and \stopTrillSpan). As I was saying in my original message, I'm trying to show the trilled note but I only want the indication "tr", not the extender line. I couldn't find anything in the docs but it should be possible, no? >

RE: Pitched trills

Here is the complete link: http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lin es#trills This is the code given: \pitchedTrill d2\startTrillSpan fis d2 c2\stopTrillSpan r2 Mark -Original Message- From: lilypond-user

Re: Pitched trills

> On 3 Nov 2016, at 23:13, astow...@gmail.com wrote: > > Thanks Mark, but it's not on the page you linked to, and it doesn't work! Try this and click on "Trills" or move to the end of the page: http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lines

Re: Pitched trills

Thanks Mark, but it's not on the page you linked to, and it doesn't work! > On Nov 3, 2016, at 5:59 PM, Mark Stephen Mrotek wrote: > > As Towney, > > According to 2.18 > http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lin > es#trills > the correct

RE: Pitched trills

As Towney, According to 2.18 http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lin es#trills the correct order is \pitchedTrill dis'2\trill g Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of As

Pitched trills

Hi all, I am having issues with trills. I am trying to indicate the trilled note for a simple (short) trill (no trillSpan). this doesn't work: dis'2 \pitchedTrill g gis'2 what am I doing wrong? Thanks! Martin ___ lilypond-user mailing list

Re: Changing voice order...

Flaming Hakama by Elaine writes: > I'm not sure if this is a language problem, or an attitude problem. > Because it seems like you are coming to the opposite interpretation of what > I say, despite me being very detailed in my explanation. > > > Let's start with the

Re: compound time signature with non duple denominator

> On 3 Nov 2016, at 21:28, David Wright wrote: > > On Thu 03 Nov 2016 at 10:37:36 (+0100), Hans Åberg wrote: >> >>> On 3 Nov 2016, at 03:04, David Wright wrote: >>> > The only 13/8 I can recall off-hand is an uncomplicated 6/4+1/8.

Re: Changing voice order...

I'm not sure if this is a language problem, or an attitude problem. Because it seems like you are coming to the opposite interpretation of what I say, despite me being very detailed in my explanation. Let's start with the main point: THE VERTICAL ORDER OF NOTES ON THE PAGE HAS NOTHING TO DO

Re: compound time signature with non duple denominator

On Thu 03 Nov 2016 at 10:37:36 (+0100), Hans Åberg wrote: > > > On 3 Nov 2016, at 03:04, David Wright wrote: > > > > On Wed 02 Nov 2016 at 22:13:54 (+0100), Hans Åberg wrote: > >> > >>> On 2 Nov 2016, at 21:08, David Wright wrote: > >>> >

Re: Changing voice order...

Flaming Hakama by Elaine writes: > On Nov 3, 2016 12:55 PM, "David Kastrup" wrote: >> >> Flaming Hakama by Elaine writes: >> >> > I wanted to jump in here because in this discussion, a lot of people > have >> > said or implied

Re: Changing voice order...

On Nov 3, 2016 12:55 PM, "David Kastrup" wrote: > > Flaming Hakama by Elaine writes: > > > I wanted to jump in here because in this discussion, a lot of people have > > said or implied things like (paraphrasing) "top to bottom in << // // // >> > > should

Re: Bad-Schemer syndrome

David Kastrup writes: > PMA writes: > >> Hi LP Gurus! >> >> I have a score (see "Original" below) full of note events >> like "gs 3", whose duration is MEANT always to be realized >> as *one triplet half-note*. >> >> Original = { gs 3 a 3g 2

Re: Bad-Schemer syndrome

PMA writes: > Hi LP Gurus! > > I have a score (see "Original" below) full of note events > like "gs 3", whose duration is MEANT always to be realized > as *one triplet half-note*. > > Original = { gs 3 a 3g 2 a 3 } > Replaced = { \TR gs\TR a g 2

Re: Changing voice order...

Flaming Hakama by Elaine writes: > I wanted to jump in here because in this discussion, a lot of people have > said or implied things like (paraphrasing) "top to bottom in << // // // >> > should correspond top to bottom in the score", and suggesting naming >

Bad-Schemer syndrome

Hi LP Gurus! I have a score (see "Original" below) full of note events like "gs 3", whose duration is MEANT always to be realized as *one triplet half-note*. Original = { gs 3 a 3g 2 a 3 } Replaced = { \TR gs\TR a g 2 \TR a } So, I'm trying to concoct a function

Re: Changing voice order...

On Thu, Nov 3, 2016 at 10:48 AM, Abraham Lee wrote: > > On Thu, Nov 3, 2016 at 9:00 AM, David Kastrup [via Lilypond] < > ml-node+s1069038n196051...@n5.nabble.com> wrote: > >> Werner LEMBERG <[hidden email] >> > writes: >>

Re: crop marks in PDF for printing

Il giorno gio 3 nov 2016 alle 18:46, Alexander Kobel ha scritto: On 2016-11-03 18:40, Federico Bruni wrote: Il giorno gio 3 nov 2016 alle 17:52, Urs Liska ha scritto: If you want to go the LaTeX way you can use the following boilerplate code: No,

Re: crop marks in PDF for printing

On 2016-11-03 18:40, Federico Bruni wrote: Il giorno gio 3 nov 2016 alle 17:52, Urs Liska ha scritto: If you want to go the LaTeX way you can use the following boilerplate code: No, I can't. I decided not to use lilypond-book because of its limitations. Thanks anyway

Re: crop marks in PDF for printing

Il giorno gio 3 nov 2016 alle 17:43, Alexander Kobel ha scritto: You can use some external application to create an empty one-page PDF with only the crop marks and use, e.g., pdftk with its "stamp" or "background" function to overlay the book and the crop marks. If you

Re: crop marks in PDF for printing

Il giorno gio 3 nov 2016 alle 17:52, Urs Liska ha scritto: If you want to go the LaTeX way you can use the following boilerplate code: No, I can't. I decided not to use lilypond-book because of its limitations. Thanks anyway

Re:Changing voice order...

I wanted to jump in here because in this discussion, a lot of people have said or implied things like (paraphrasing) "top to bottom in << // // // >> should correspond top to bottom in the score", and suggesting naming conventions based on this. These thoughts, while well-intentioned, are bad

Re: crop marks in PDF for printing

Am 03.11.2016 um 17:32 schrieb Pierre Perol-Schneider: > Hi Federico, > I've never succeeded to do that directly with LilyPond. I had to use > LaTeX.. > Cheers, > Pierre > If you want to go the LaTeX way you can use the following boilerplate code: \documentclass[a4paper]{article} \usepackage[ %

Re: Changing voice order...

On Thu, Nov 3, 2016 at 9:00 AM, David Kastrup [via Lilypond] < ml-node+s1069038n196051...@n5.nabble.com> wrote: > Werner LEMBERG <[hidden email] > > writes: > > >> So > >> \voiceOne \voiceTwo \voiceThree \voiceFour > >> becomes > >> \voiceUp

Re: crop marks in PDF for printing

On 2016-11-03 17:22, Federico Bruni wrote: Hi folks I have a urgent request. Tomorrow morning I need to print a book and I've just been asked to add "crop marks" (I think this is the right expression) to the final PDF. IIUC crop marks are not needed when printing with normal printers, but it's

Re: crop marks in PDF for printing

Hi Federico, I've never succeeded to do that directly with LilyPond. I had to use LaTeX.. Cheers, Pierre 2016-11-03 17:22 GMT+01:00 Federico Bruni : > Hi folks > > I have a urgent request. > Tomorrow morning I need to print a book and I've just been asked to add > "crop

crop marks in PDF for printing

Hi folks I have a urgent request. Tomorrow morning I need to print a book and I've just been asked to add "crop marks" (I think this is the right expression) to the final PDF. IIUC crop marks are not needed when printing with normal printers, but it's needed for serious digital and offset

Re: Changing voice order...

On 2016-11-03 16:32, David Wright wrote: On Tue 01 Nov 2016 at 15:36:56 (-), Phil Holmes wrote: I'm concerned by this. I don't believe I have ever used more than 2 voices in choral music: typically the sops/tenors get voice one, and the alto/basses get voice two. If any of these is

Re: Changing voice order...

On Tue 01 Nov 2016 at 15:36:56 (-), Phil Holmes wrote: > - Original Message - From: "David Kastrup" > To: "Trevor Daniels" > Cc: > Sent: Tuesday, November 01, 2016 2:42 PM > Subject: Re: Changing voice order... > > > >

Re: Changing voice order...

On Tue 01 Nov 2016 at 21:18:31 (+0100), David Kastrup wrote: > David Wright writes: > > > ¹ why not \voiceTop \voiceUp \voiceDown \voiceBottom ? Well, you could > > end up with \voiceUp having stems pointing down, > > Uh no? \voiceUp will always have stems pointing

Re: Changing voice order...

Werner LEMBERG writes: >> So >> \voiceOne \voiceTwo \voiceThree \voiceFour >> becomes >> \voiceUp \voiceDown \voiceUpTwo \voiceDownTwo > > I would make \voiceUp and \voiceDown be the same as \voiceUpOne and > \voiceUpTwo, respectively, so that we can write > > \voiceUpOne

Re: Lilypond meter bug?

On 03.11.2016 11:34, Klaus Blum wrote: - The/indent/ statement must be inside the /\paper/ block. indent can also be set in a layout block. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org

Re: Changing voice order...

> So > \voiceOne \voiceTwo \voiceThree \voiceFour > becomes > \voiceUp \voiceDown \voiceUpTwo \voiceDownTwo I would make \voiceUp and \voiceDown be the same as \voiceUpOne and \voiceUpTwo, respectively, so that we can write \voiceUpOne \voiceDownOne \voiceUpTwo \voiceDownTwo Werner

Re: A tricky example -- polyMETER against polyRHYTHM

On Wed 02 Nov 2016 at 22:52:12 (-0700), mclaren wrote: > Took some skull sweat to figure this one out. But someone may get a kick out > of it. > What I wanted to do was to set up two polymeters (different accent patterns) > with a shifting polymeter against 'em. > Here's a png image of the

Re: midi volume: default, crescendo, dynamic context, multiple staff

> > If I do this... > > \version "2.19.48" > { c' } > \midi { } > > ...and open the resulting MIDI file in SpeedyMidi ( > http://speedymidi.sourceforge.net/ ) it looks like LilyPond set the > volume to 100. (MIDI allows 0 - 128, right?) I tried to do the same with speedmidi and some other midi

Re: Changing voice order...

Kieren MacMillan writes: > Hi David (et al.), > >> Personally, I'd prefer a different number assignment: >> >> \implicitVoices 1,-1 >> \implicitVoices 1,2,-1 >> \implicitVoices 1,2,-2,-1 >> \implicitVoices 1,2,3,-2,-1 >> >> Stem direction is recognizable from the sign

Re: Changing voice order...

Hi David (et al.), > Personally, I'd prefer a different number assignment: > > \implicitVoices 1,-1 > \implicitVoices 1,2,-1 > \implicitVoices 1,2,-2,-1 > \implicitVoices 1,2,3,-2,-1 > > Stem direction is recognizable from the sign (0 would be \oneVoice), and > apart from the sign, increasing

Re: A tricky example -- polyMETER against polyRHYTHM

Maybe I'm misunderstanding mclaren's example, but the graphic he posted has a number of notational errors. To wit: in the third voice, if the meter is 11/8, then an 11:9 tuplet will not fill the bar, as it will only cover 9 eighth-notes. Perhaps he meant 9:11, in which case the meter needs to

Re: A tricky example -- polyMETER against polyRHYTHM

Hi mclaren, aaah, now I see what you wanted to achieve. Same problem here: different blocks got messed up. It should look like this: % - #(set-default-paper-size "a4" 'landscape) \paper { indent=0 } \layout {

Re: Lilypond meter bug?

Hi mclaren, your second issue is easy to solve: - Don't put the /\paper/ block into a /\layout/ block. - The /indent/ statement must be inside the /\paper/ block. - /set-default-paper-size/ must be before that block. I you don't want the time signatures outside the staves, it's much easier to

Re: compound time signature with non duple denominator

> On 3 Nov 2016, at 03:04, David Wright wrote: > > On Wed 02 Nov 2016 at 22:13:54 (+0100), Hans Åberg wrote: >> >>> On 2 Nov 2016, at 21:08, David Wright wrote: >>> >>> On Wed 02 Nov 2016 at 20:10:39 (+0100), Hans Åberg wrote: >

Re: Lilypond meter bug?

2016-11-03 7:03 GMT+01:00 mclaren : > I'm no Lilypond expert, so could be I'm just doing something wrong. Don't > want to call it a bug if it's a case of user error. > > Anyway, this is a dead-simple polyrhythm. Nothing special here, just 4 > simultaneous different meters

Re: Changing voice order...

Werner LEMBERG writes: >> I was thrilled and excited by your proposal. Having had some >> leisure time this afternoon (although without net-access) I played >> around with it. I've taken it as a local command, though. >> >> The result is a wrapper around simultaneous music, with

Re: Changing voice order...

> I was thrilled and excited by your proposal. Having had some > leisure time this afternoon (although without net-access) I played > around with it. I've taken it as a local command, though. > > The result is a wrapper around simultaneous music, with and without > "\\". You can input

Lilypond meter bug?

I'm no Lilypond expert, so could be I'm just doing something wrong. Don't want to call it a bug if it's a case of user error. Anyway, this is a dead-simple polyrhythm. Nothing special here, just 4 simultaneous different meters working at once in the duration of the same barlength. The