On Tue, Jul 30, 2013 at 12:58 PM, Eduardo Silva
eduardo.su...@hotmail.comwrote:
What I would be interested in is a WYSIWYG editor that would be able to
take down notes and output a basic ly file, perhaps to Dropbox.
Hi, I think there are some editors for Android/Ipad that will at least
On Tue, Jul 23, 2013 at 12:44 PM, Richard Shann richard.sh...@virgin.netwrote:
On Tue, 2013-07-23 at 17:23 +0200, pls wrote:
(both MusicXML and their corresponding PDF/PNG files) as reference
files: http://www.musicxml.com/music-in-musicxml/example-set/. They
cover quite a broad spectrum
I've started using the automatic part combiner as part of my SATB
hymnal/psalter work. It simplifies my life tremendously, and the default
works well except for two situations:
1) Where the voices are more than an octave apart (eg., between tenor and
bass), since it separates the voices
2) Where
On Tue, Jul 23, 2013 at 1:15 PM, Richard Shann richard.sh...@virgin.netwrote:
On Tue, 2013-07-23 at 13:01 -0400, Carl Peterson wrote:
This may be what you're getting at with the musicXML idea, but what
about doing what we usually do to demonstrate lilypond...take a
reference score, and set
On Sat, Jul 20, 2013 at 10:14 PM, Jun Wang wj1...@hotmail.com wrote:
Hi,
I couldn't figure out why I have 2 end bar, see attached lily code and
image file, extra end bar is marked with red color.
Do you have any clue?
Thanks
Jun
Jun,
You've specified the bars in all your voices. It
Sebastian,
So the issue is that in mm. 3-4, the alto lyrics are on a second line? I
think this is intentional...each Lyrics context is given a dedicated line
on a system. To do what you would want, you would need to combine the
Lyrics and set the associated voice (which, given the non-overlapping
Sebastian,
Can you provide an example of this and/or a sample of code?
Cheers,
Carl
On Wed, Jul 10, 2013 at 5:10 PM, Sebastian Canagaratna
s-canagara...@onu.edu wrote:
HI: I wonder if someone could help me with this.
All the examples I see in the documentation refers to Lyrics either above
I don't know that Urs was contemplating irrational in the mathematical
sense, but in the more logical sense of being something not governed by an
easily understood relationship, such as one measure generating two and the
next two generating one, and then maybe four develops to 10 and 9 to 5, or
So I know a hymnal publisher who is wanting to give churches the option of
setting a hymn text to different tunes with the same meter (and of creating
composite hymns with verses from different texts set to the same tune).
They used Finale for the actual hymnal (and that isn't likely to change),
\Some -- day,\ is grammatically correct. Commas and periods usually
go inside the quotation mark, but other punctuation marks only if they are
part of the actual quotation.
Cheers,
Carl
On Thu, Jun 20, 2013 at 4:33 AM, David Kastrup d...@gnu.org wrote:
Gerard McConnell gerine...@gmail.com
And I wrote the response before I'd had any caffeine for the day, so I
didn't pick up that Gerard specifically wanted Some-day, instead of
Some-day,
On Thu, Jun 20, 2013 at 10:23 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Carl,
\Some -- day,\ is grammatically correct.
I've noticed for awhile that the mi shaped notehead is wider than the other
shaped noteheads. This creates some rather unattractive misalignments when
stacked with the do notehead, for instance:
\relative c' { \key c \major \aikenHeads c e1 c e2 c e4 }
I don't really know much about Metafont or
The easy way is to use a regular whole note rest instead of a
whole-measure rest, i.e., r1 instead of R1. However, I recognize there are
times you either don't want to consider when another staff might only have
a single note (such as in orchestral scores) or when you need it to be a
whole-measure
Paul,
If I'm understanding your question correctly, there is no way I know of to
structurally define a Fine ending (i.e., to where you could unfold it
automatically like with volta repeats). All the documentation I've seen
says you cosmetically define it using rehearsal marks and a bit of
David,
This is amazing. I was able to drop this into my own project without any
trouble except changing the lyrics context command to reflect me using 2.16
instead of 2.17. Kudos.
Cheers,
Carl
On Wed, May 22, 2013 at 1:06 PM, David Nalesnik david.nales...@gmail.comwrote:
Well, comparing the
I'm not in a position to test this at the moment, but just for
confirmation, will this work with an arbitrary number of tagged syllables
through a Lyrics context?
ex:
tagIt = \once \override Lyrics.LyricText #'tagged = ##t
\new Lyrics \lyricsto A {
\tagIt This is the first phrase in my
Just thinking about some of the stuff I've been working on.
Would it be possible to pass the lyrics to Scheme as a list of lists (a
list of verses, with each verse a list of words), so that for each syllable
placement it could look at the nth item of each list and determine correct
placement.
This is somewhat the approach I'm taking with my Psalter project. each
selection/hymn/psalm setting has a lyric file and a tune file. Each contains
variables such as poet, scripture reference,copyright, etc. that are relevant
and unchanging with that file. This allows me to reuse tunes with
I think this is what you're looking for on staff position:
http://lilypond.org/doc/v2.16/Documentation/notation/explicit-staff-and-system-positioning
.
Regarding measure width, I looked here:
http://lilypond.org/doc/v2.16/Documentation/notation/horizontal-spacing-overview.
It says there's no
How would I go about forcing a page break after a score's header (before the
actual music)? In preparing slides for my psalter project, I want to generate
title cards before the first slide of each score. So far, everything I'be tried
either generates an error or leaves the first system on the
If I'm understanding your query correctly, you want to take a look at the
custom headers section of the notation manual and look at the markup for odd
and even page headers. See
http://lilypond.org/doc/v2.16/Documentation/notation/custom-titles-headers-and-footers,
right at the top The next
I think you need to include all your music notation in another set of
braces and add a layout block to get printed output, like this:
\score {
{
% music notation goes here
}
\midi { } % need this for midi
\layout { } % need this for pdf
}
On Tue, May 14, 2013 at 7:13 PM, Sarah k Alawami
I think I might have noticed this before, but in the example below, all the
re noteheads that are stem up that should be open (half note, dotted half
note) are filled. Whole notes are not affected.
\version 2.16.2
notation = { \aikenHeads \time 3/4
\key c \major
d2. d' d'' d'''
d'2 d'4
Acrobat
9.5.4.
On Mon, May 13, 2013 at 10:52 PM, Andrew Bernard
andrew.bern...@gmail.comwrote:
I can't reproduce that problem either in 2.16.2 or 2.17.14. Arch Linux. I
do see that the notes on lines are quite tight, with not much air, but they
are not solid.
Andrew
On 14/05/13 12:25 PM, Carl
Reposting a previous question with code example. Note that depending on how
the alignment is defined, about a notehead of space is added to one side of
the lyrics or the other.
Thanks,
Carl
\version 2.16.2
\score {
\new Staff = top { \new Voice = tester { c' e' g' c'' } }
\new Lyrics
the music just fine. However, when I add this, I
get guile errors. What am I missing here? I'm sure there's something
obvious that just isn't coming to mind.
Thanks,
Carl
On Wed, May 8, 2013 at 11:32 PM, Jay Anderson horndud...@gmail.com wrote:
On Wed, May 8, 2013 at 12:27 PM, Carl Peterson
)
)
)
On Fri, May 10, 2013 at 6:15 PM, Carl Peterson carlopeter...@gmail.comwrote:
Okay, so I've been fairly successful in implementing and tweaking. I'm
working on the complementary function, to output a regular score with
stacked verses for book layout. Here is my re-arrangement:
If I
, 2013 at 11:42 PM, Carl Peterson carlopeter...@gmail.comwrote:
I've made a little bit of progress: I've changed the code to:
#(define
(make-my-scores parser location lyrics)
(if (not (null? lyrics))
#{ $(car lyrics)
$(make-my-scores parser location (cdr lyrics))
#}
)
)
seqVerses
of choruses where there are multiple parts).
Thanks for the assistance. I think that gets everything I was looking for.
Cheers,
Carl
On Sat, May 11, 2013 at 1:31 AM, Jay Anderson horndud...@gmail.com wrote:
On Fri, May 10, 2013 at 8:44 PM, Carl Peterson carlopeter...@gmail.com
wrote
(Thinks back to orchestration class four years ago)
The timpani (technically this is a plural noun) will be notated on one
staff. If I remember correctly, there are standard-sized timpani, each with
its own range. The practice I was taught in orchestrating for timpani (by a
percussionist) was to
On Wed, May 8, 2013 at 8:54 AM, D'Arcy J.M. Cain da...@druid.net wrote:
On Wed, 8 May 2013 08:38:44 -0400
Carl Peterson carlopeter...@gmail.com wrote:
The end result would be two staves without grouping, one for timpani
and another for the bass/snare.
I think you are correct except
All,
I'm 95% sure the answer to my question is no, but I'll ask it anyway.
I'm working on a psalter, and one of the things I want to be able to do is
go from a standard book layout with all the verses arranged in parallel to
a screen layout for projection with each verse listed sequentially.
I could be wrong, but I would think that the primary motivation for
specifying the same time signature a second time is to have it displayed a
second time? The only time I can think of it not being intended this way is
that if someone has serial voices/parts/whatever on the same staff and the
time
In landscape orientation, the width of the iPad screen is about 7.75 inches
(don't have one personally, but using the Pythagorean theorem on a 9.7
diagonal), which is about a quarter-inch wider than a line of a US-Letter
size printing with 1/2 inch margins (7.5 line length, about 190 mm). So
you
Urs,
I've read through most of the document. It looks well-written, technically
speaking. I have a few suggestions to offer:
* Begin with the current reality for most people. You mentioned in this
thread your frustration with Finale. I had the same frustrations when I was
using it at university
* For the dynamics issues, see here:
http://lilypond.org/doc/v2.16/Documentation/notation/expressive-marks-attached-to-notes#dynamics
* For the honophonic/polyphonic writing, my usual approach to these kinds
of issues (in my case, Lyrics), is to keep as much writing (polyphonic or
homophonic) in a
On Tue, Apr 9, 2013 at 4:45 PM, David Kastrup d...@gnu.org wrote:
Carl Peterson carlopeter...@gmail.com writes:
I'm not an expert on GhostScript, but in practice it is nearly always
best to rasterize vector graphics at the intended output resolution.
Except when it isn't. What makes you
still end up with a ragged line.
Thanks,
Carl
On Tue, Apr 9, 2013 at 7:25 AM, Janek Warchoł janek.lilyp...@gmail.comwrote:
2013/4/9 Carl Peterson carlopeter...@gmail.com:
I know this question has been posed before on this list, but either there
wasn't a definitive answer that I could find
Kai,
I seem to remember looking in the documentation that you would refer to the
variable in Scheme as #(numbered-title t). Could be wrong.
Cheers,
Carl
On Tue, Apr 9, 2013 at 7:35 AM, Kai Lautenschläger
kai.lautenschlae...@me.com wrote:
Hi Jay,
that is a great function. Unfortunately I
9, 2013 at 12:33 PM, Janek Warchoł janek.lilyp...@gmail.comwrote:
2013/4/9 Carl Peterson carlopeter...@gmail.com:
As I mentioned in another thread, I'm working on a hymnal/psalter project
and ideally would like to justify both the left and right edges of each
line
of lyrics.
Interesting
The problem is that how a Lily output is rendered by a PDF reader is not
within the realm of control for Lilypond. The fact is that some PDF
features are handled differently by different viewers, if they are handled
at all. For example, in my graphic design work, I learned that transparency
is a
I'm not an expert on GhostScript, but in practice it is nearly always best
to rasterize vector graphics at the intended output resolution. The issue
is how that graphic is downsampled. For example, if I rasterize a two-pixel
wide black vertical line down to half the resolution, depending on where
Eduardo,
It's not so bad if you don't care where the system breaks are. For most
hymns, the default behavior does a decent job of producing output with a
reasonable density. The issue comes in if you want to lay your music out so
that the lyrics are laid out with the same line breaks as if they
Carlo,
Could you duplicate the part (call \myBass a second time), but turn off the
engravers that would display the notation itself? I don't have the code to
do this handy, but that is what comes to mind to make thing work
automatically.
Regards,
Carl
On Mon, Apr 8, 2013 at 12:28 PM, Carlo
I know this question has been posed before on this list, but either there
wasn't a definitive answer that I could find or I just couldn't understand
it. I know that I can manually trigger left-aligning syllables at the
beginning of lines, using
\once \override LyricText #'self-alignment-X = #LEFT
Is there a property or counter buried somewhere in Lilypond/Scheme for a
running count of score contexts? This is for a hymnal/psalter project where
I want to number the songs but don't want to deal with integrating lilypond
output into something else (like LaTeX).
Thanks,
Carl
...@gmail.com wrote:
On Mon, Apr 8, 2013 at 7:20 PM, Carl Peterson carlopeter...@gmail.com
wrote:
Is there a property or counter buried somewhere in Lilypond/Scheme for a
running count of score contexts? This is for a hymnal/psalter project
where
I want to number the songs but don't want to deal
(the diamond needs to be 83.5% of its current width). Or, if anyone's
already tweaked their font files to accommodate, that would be great, too.
Thanks,
Carl Peterson
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\bar .|.
}
Carl Peterson
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. An alternative is to do the same thing in software like Photoshop
or GIMP and export the result.
Carl Peterson
-- Forwarded message --
From: Trevor Daniels [EMAIL PROTECTED]
To: Gerry Prosser [EMAIL PROTECTED], lilypond-user@gnu.org
Date: Mon, 13 Oct 2008 18:22:00 +0100
Subject: Re
the part combiner to
output two stems for a due notes?
2) Is there a way to bind the lyrics to the original (uncombined) parts
without outputting the parts themselves?
Thanks,
Carl Peterson
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I do want to combine the parts. I want them to appear in chord form, except
when the voices are a 2nd apart or closer.
On Mon, Oct 13, 2008 at 4:54 PM, Mats Bengtsson [EMAIL PROTECTED]wrote:
Quoting Carl Peterson [EMAIL PROTECTED]:
I'm trying to take advantage of automatic part combining
ones I can think of.
Thanks for any help.
Carl Peterson
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