c8 g' ees' g, c,4 < g'' bes, > |%m69
> }
What you want is called a "courtesy accidental" or "cautionary
accidental". You can get that using the bang symbol: bes,!
Usually, this would only be done if the most recent previous B had been
a B natur
Tim Roberts wrote:
> "Dr. Bernhard Kleine" wrote:
>>
>> I am very astonished that a full pause in a 3/4 measure is four
>> quarters long. How to note then a full pause?
>>
>
> You can't think of it as a "full pause". You have to think of
rite "r2.", but the best way to write a
full measure rest is to use "R1". In that case, the "1" means "1
measure", not "whole note".
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;
> "g g g e♭" would be easier to write and read then "g g g ef "
It would be easier to read, but I disagree that it would be easier to
write. I don't have a ♭ key on my keyboard.
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x27;t have all of the Windows error codes memorized,
-1073741819 is hex C0000005, which is STATUS_ACCESS_VIOLATION That's
usually a bad pointer dereference.
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ef is exactly the right notation. If they don't sound
an octave below what is written, then your transposition is not correct.
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s,
although many programs can't deal with them. I don't know how
LilyPond handles them.
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The G and A stems are 1 pixel, and the rest are 2 pixels.
Is that an acceptable trade-off for you?
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eble
clef, which sounds the Bb a ninth below that on a bass clarinet, is
notated as second space C in bass clef, sounding a whole tone lower.
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ptions in the much
misunderstood and often misapplied "fair use" clause in American
copyright law.
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into
argc/argv. Different compiler run-time libraries do that slightly
differently, but even the Microsoft run-time library handles = correctly.
Now, if you were actually saying that "getopt_long mishandles = on
Windows", that's so
ion has been
> set to c:\Python27\python.exe.
The file association lets you type
myscript.py
If you want to be able to type "myscript", you need to add .py to the
list of "automatic" extensions. That is stored in the PATHEXT
environment variable:
set PATHEXT=%PATHE
David Kastrup wrote:
> How does it make it harder? As I said, replying to a digest makes no
> sense with regard to message threading anyway.
Of course it makes sense. I just did it, and your mailer is almost
certainly showing you the proper threading, isn't it?
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e of us who have learned the
lesson, just because someone does something inappropriate once every few
months.
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y "this is not possible in Lilypond." Lilypond does not, in
general, provide access to arbitrary sysex features in MIDI.
There are certainly tools that allow you post-process a MIDI file to set
the panning positions.
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_
Janek Warchoł wrote:
> 2013/9/4 Tim Roberts :
>> Simon Bailey wrote:
>>> publication quality (i think): http://nota.bailey.at/achtsamkeit.pdf
>> In Acrobat, this is lovely.
> Except that it probably suffers from
> http://code.google.com/p/lilypond/issues/detail?id
n reader does as good a job as it
does, considering it is written entirely in Javascript.
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/4
g4 f e d | c4 d e f | g1
}
\new PianoStaff <<
\new Staff \upper
\new Staff \lower
>>
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g another look, I decided it
would be more efficient simply to retype it, and I completed that task
yesterday.
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the printed score?
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o? As a frequent choral accompanist, I can tell you
there are a number of choral competitions that require proof of legal
ownership for accompanist material.
You may be right -- I'm just curious to know if you have a reference.
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Provide
, I have a c:\bin in the path, then I
add a file called lilypond.bat to that directory with
@echo off
"C:\Apps\Lilypond\usr\bin\lilypond.exe" %*
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gt; is this actually the "approved way" of getting my result?
For the most part, it doesn't really matter. Both of the images you
showed us are acceptable musically, so there's no real "right" or
"wrong". The only difference is how they appeal to your aesth
spose one section, you can certainly do that.
organPart = {
\transpose a g { ... section 1... }
\transpose a f { ... section 2... }
}
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s of you. Most of the rental license agreements one
has to sign for a musical today prohibit cuts or additions of any kind.
Of course, that prohibition is almost universally ignored.
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I had it in my brain that Lilypond had a simple switch to enable the
pseudo-handwritten font and engraving style that one often sees in jazz
and stage band music, but after a lengthy search last night, I now
wonder if I was hallucinating. Am I remembering some different package?
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not productive.
Here's another example. Python works great on Windows. It's increased
my productivity measurably. There is nothing shameful about me
admitting that. If you want to tell me that it would work better on
Linux, that's perfectly fine, but it is completely unreasona
f
> the confusion here.
I have seen this as well. Officially, MIDI just refers to the notes by
number (0 to 127), but I have seen charts that try to label MIDI note
number 0 as "C0", whereas it should be "C-1".
This chart does it right: http://www.phys.unsw.edu.au/jw/n
;
> #(ly:score-music #{ \score { \include "jesus-love-me-this-i-know.ly" } #})
Are you SURE that's the file name? Note that the actual title of the
song has "loves" not "love, which would make the file name
"jesus-loves-me-
would
put at the beginning, with the \time signature and the \key signature.
The \arpeggio command modifies the chord to which it was attached. Any
time you have a chord that needs to be arpeggiated, you add \arpeggio
after the end of the chord.
ssing the line in the other staves, but that seems immoral. There
must be a way to do a single line as a markup, but how do I place it
properly on the staff?
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(let* ...
(scalestep (modulo
(- (ly:pitch-notename pitch) (...base of key
signature...)) 7))
(name (format #f "~a~a"
(string-ref "1234567" (scalestep))...
assuming someone can point out what to substitute for my unk
ry typing, etc.
And that's why Excel is around today and Quattro Pro is irrelevant.
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ucci
fis\breve ~
\revert NoteHead #'style
fis1
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r
EPS or MIDI or whatever. Even that would only be possible if the
internal representation did not change fundamentally after it was
created. When I see status messages that say, for example "fitting
music onto 4 or 5 pages", that leads me to believe that there is "global
optimization&
onally move notes away
from their strictly time-based position. Further, notes are sometimes
spread out to fill out a staff that would otherwise be too short.
My apologies if I have misunderstood, but I'd like to know more about
what you're doing.
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7;s a philosophical statement, not a legal statement.
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27;s the way it
is. As long as you know that, there's no problem.
Most folks with Unix command-line experience, when noticing that the
output wasn't caught in stdout, would automatically try stderr (2>) next.
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Providen
e must embrace what has already been
done. That virtually guarantees there are going to be multiple ways to
specify things.
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erman origin, "Clarinet in B"
refers the usual clarinet in Bb. There were clarinets in B natural in
somewhat common use in previous centuries, but in a German score, those
would be notated "Clarinet in H".
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be precise, all of the Windows APIs accept
either \ or / as a path separator. However, the command-line shell does
not, because they idiotically chose to use / as the command switch
introducer in MS-DOS, and that's carried forward to today. That's a big
problem.
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, at least, a language, and an embeddable one at that. VB brings
with it the .NET Common Language Runtime, which IS more or less directly
comparable to Qt. It is cross-platform (via Mono), although not to the
same degree that Qt is.
However, this debate is now taking a nasty side-trip into r
very small] subset of
> a [very small] subset of all people.
That is a completely accurate assessment. Given that, isn't it a
wonder, when looking at this mailing list, that we can be so vocal and
opinionated?
;)
The reason arguments in academia are so violent is that the stakes ar
ead forever, and folks can write
automated tools to update old versions to new formats.
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d stretching the overall spacing in that bar?
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ugh technology...
> You mean like
> http://lilypond.org/doc/v2.15/Documentation/notation/changing-multiple-pitches#octave-checks>?
Yes, yet another good habit I should learn. Hmm; perhaps I should write
up an article on "good habits of successful Lilypond coders", and open
it up
entry,
but that problem is unlikely to be solved through technology...
My compliments to the long-timers on this list for your patience. It is
only through your repeated explanations that newcomers can pick up the
hints and idioms that make this very large package manageable.
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eing charged double for every ledger
line, and used crook changes and clef changes to avoid them. The
trumpet part has as many changes as the horn part.
I do have to say that I don't intuitively understand why no key
signatures were used. I understand it is tradition, but I don't see why
a
Vaughan McAlley wrote:
> On 19 April 2012 03:08, Tim Roberts wrote:
>> This is a hand-drawn score. I'm thinking that they probably meant snap
>> pizzicato, and it was easier to draw the line all the way through than to
>> stop part way through. Snap pizzicato would
-Eluze wrote:
> Tim Roberts wrote:
>> This is a hand-drawn score. I'm thinking that they probably meant snap
>> pizzicato, and it was easier to draw the line all the way through than
>> to stop part way through. Snap pizzicato would fit in the context, and
>> I
any of
you string players seen that notation?
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ting. If you want a double bar, you use \bar "||".
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good way to line up the PDF with the MIDI.
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d I found that LilyPond
> doesn't support it yet. Is there any timeline for supporting Lion OS?
The list will know that.
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ht
sn't tell you anything about the notes.
You could find out that there is a half-note glyph positioned at 4.25
inches across and 7.162 inches down, but what good would that do you?
LilyPond can also output MIDI. If you are hoping to extract musical
meaning, that might be more useful.
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at the beginning of the volta to indicate "forte first time, piano
second time".
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yboard, entering LilyPond data could not be more efficient.
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David Kastrup wrote:
> Tim Roberts writes:
>
>> ...LilyPond
>> can print music with quartertones, but it won't be in the MIDI files
>> it produces.
> Not? http://code.google.com/p/lilypond/issues/detail?id=2234>
> would not exactly make all that much sense
non-integer note
numbers. Some keyboards have non-standard extensions using pitch bend
or sysex messages to do it, but it's not standardized. LilyPond can
print music with quartertones, but it won't be in the MIDI files it
produces.
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Providenza & Boek
files as a side effect, but that's not
their primary purpose.
If you want a sophisticated sequencer that also happens to be able to
produce printed music, then Brett's suggestions are excellent.
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_
at you are doing. Please take the time to learn about
what LilyPond does. You are trying to use it for something it was not
designed to do. Several people have tried patiently to explain this to
you and offer other alternatives, but are not listening.
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w MUSIC works.
> Unfortunately I don't have a lot of knowledge of programming... Any
> suggest?
Yes. Learn the note names.
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ve music for others to read, you need to know and
work with the note names.
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etween B#
and C (or Dbb, for that matter). All three map to MIDI note number 48,
middle of the bass clef.
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s
that consume half a quarter note?" The answer to THAT is to use 16th notes:
\times 2/3 { c16 d16 e16 }
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ay music". Convert the "to" to "2", add an
exclamation, and you might get "Il2pm!". That's easy to remember but
not easy to guess.
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l players really can't make assumptions. A
survey of orchestral clarinet parts done a decade or so ago showed a
distribution of about 40% clarinet in A, 40% clarinet in Bb, and 20%
clarinet in C, with a smattering of other oddities.
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Markus W. Kropp wrote:
> What a pity! No Wuala.
I'm not sure I could ever use a service whose name was based on a
mispronounced word.
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lilypond-
tation for asking off-topic questions that don't
need to be asked, but I'm confused by this. There's no such thing as a
24th note. Why wouldn't you notate this in 5/8 with triplets? What do
you gain by using the confusing notation 15/24, besides aura?
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xpect to see both staves, with 19
whole rests in the right hand.
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zzle.
May I ask why? Is this one part of a multi-movement piece that follows
a section in C minor?
As a musician, I would certainly be startled to see a key signature with
three naturals at the top of a piece.
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Providenza &
aveforms in the
synthesizer. The conversion will be entirely different with different
software and hardware synthesizers. The MIDI file says "clarinet plays
an Ab quarter note here", but it does not dictate what a clarinet sounds
like, or what its attack/decay envelope sounds like.
I sus
Thomas Morley wrote:
> BTW, you marked some lines with "NB". What does this means? I don't
> know the abbreviation.
NB = "nota bene", Latin for "note well". Basically, "remember this!"
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t ran
on machines that did have segmented memory. Today, that error code
means the application used an invalid address, or memory that had
already been released, or a null pointer, something like that.
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Providenza &
us was reached. The
root issue, as I see it, is that these two rather different sequences
render indistinguishably:
ces'1~ | ces'
ces'1( | c')
Is the upshot of this that the writer simply needs to get in the habit
of watching
David Bobroff wrote:
On 11/10/2011 6:19 PM, Tim Roberts wrote:
I am a little confused by capital R rests.
The syntax 'r1' is *not* a "whole measure rest." It is as whole
*note* rest.
True. I suppose I am expecting the renderer to see that the rest is
measure-alig
bad to have a fermata on
an uncentered rest.
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the
second part of a polyphonic set pick up from the end of the first part?
Yes, I can (and do) look this up, but if you have a quick mental rule,
that would be a big help to me.
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MING TSANG wrote:
> Thank you.
>
> How about lilypond v2.14.2 or v2.15.14?
The architecture has not changed.
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https://
switch brands.
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rns and trumpets. I completely agree that a piece in G, written
for a horn in G, requires no key signature. That's not the case here.
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saying
doesn't explain the issues I pointed out. If a piece is in concert D
and I am asked to play it on my Bb clarinet, my music should have a key
signature of E. If I am asked to shift to an A clarinet, the key
signature of the music should shift to F. That rule has not been
followe
t in written Eb instead of
written E, and stays there when it switches to Bb clarinet 10 bars later.
Is that the way Dvořák wrote it? Certainly, all the notes are here.
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Urs Liska wrote:
> Am 23.09.2011 01:53, schrieb Tim Roberts:
>>
>> From a publishing perspective, that's impressive on a nearly magical
>> scale. As a musician, please forgive my parochial and archaic attitude,
>> but that's nuts.
> Did you take the time to
tude,
but that's nuts.
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