thanks for sharing, dave.
wow, i imagine umeko must have been very beautiful... i had a japanese
girlfriend in the late 1980s, and i still remember her fondly.
i can't say i read your score with the attention it deserves, but the
first thing i noticed is that starting on m. 52 the rests in the
on 2013-09-08 at 16:56 Dave Phillips wrote:
Since you're a fellow Csounder, can you suggest ways to link that system
with LP ? IIRC Csound has some support for MusicXML, but I've never
tested it.
i did something very basic not long ago for a project, parsing the output
of the event-listener
on 2013-09-07 at 14:04 David Kastrup wrote:
You propose making life tough for a majority of people just to save file
space for a preferred use modus of yourself.
well, i guess no-one of us really knows offhand what the majority of
people think or prefer, so i'll speak for myself.
in my
on 2013-09-06 at 00:50 Karl Hammar wrote:
Trying rosegarden, immense abount of debug msg on the terminal,
lots of buttons I don't understand, yes I can see it connected to
jack, no sound, yes there a knob with pan labelled here, etc...
oops why does it abort?
ugh, i'm sorry you're having so
on 2013-08-08 at 14:16 Urs Liska wrote:
What could be useful however (I don't know _anything_ about it) would be
to add a chapter to the documentation talking about how to get
high-quality audio output from/through LilyPond, referencing useful free
soundfonts or whatever is useful to get
on 2013-06-27 at 11:56 Alexander Deubelbeiss wrote:
From: Philippe de Rochambeau phi...@free.fr
could someone please explain how to run Lilypond from Fraise?
In my experience Lilypond does not interact usefully with fruit; so
presumably you mean some sort of software product?
i
on 2013-06-01 at 07:37 Robert Schmaus wrote:
The Lilyponderer
hey, i like that one!
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on 2013-05-31 at 16:51 Phil Holmes wrote:
It's a bit of a faff, but you can fix this with selected reverts and
overrides in the voices:
... is your code actually working for you? i tried it here and the
output is not right...
i had this very same problem recently, and i solved it by
on 2013-05-30 at 06:38 Kieren MacMillan wrote:
1. It's not cross-staffing; and,
well, evidently i was not fast enough to finish the lilypond example and
post it to the list before you got a response from this great list.
anyway, the solution i came up with is below.
2. The eighth-note flags
on 2013-05-28 at 22:03 Andrew Bernard wrote:
I _know_ this cuts against all the principles of fine engraving,
well, i think you shouldn't _know_ that, because i don't think that's true,
really. it might be true in certain contexts, but definitely not in _all_.
so don't worry, equal distance
on 2013-05-26 at 15:49 Urs Liska wrote:
When my son was 2 1/2 he was already an enthusiastic soccer player. Once
he kicked too hard and sat on his bottom. His thrilled comment: Boah,
jetzt bin ich umgefallen, weil ich so stark geschissen habe (sorry,
untranslatable ...)
what can i say,
hello list,
in my score i have a series of markups all with the same format, for
example something like:
\markup { \hspace #-1.6 \lower #3 \sans 1 }
\markup { \hspace #-1.6 \lower #3 \sans 2 }
\markup { \hspace #-1.6 \lower #3 \sans 3 }
etc.
so i decided to create a function to save typing and
on 2013-05-24 at 17:51 David Kastrup wrote:
At top level?
no, attached to notes, as in my example.
now, that *does* work, but i don't understand why it does
Because an empty chord with a markup subscript is music.
OK, this part i get now...
on 2013-05-24 at 18:18 Janek Warchoł wrote:
I don't know how to explain this accurately, but maybe seeing this
variation will help you get an idea what's happening:
tiempo = #(define-music-function (parser location secs) (string?)
#{ _\markup { \hspace #-1.6 \lower #3 \sans #secs
on 2013-05-25 at 04:21 David Kastrup wrote:
Since tiempo will never return anything but a post-event, there is no
point in using define-music-function rather than define-event-function
here. With define-event-function, c''4\tiempo 1 will be acceptable as
well.
indeed. i'm still not clear
on 2013-05-21 at 07:02 Helge Kruse wrote:
At page 13 we read that letters are notes. At page 20 letters migrate to
pitches. I think the latter is correct.
i disagree. letters are notes, not pitches. in lilypond, letter c is note
C (do, ut, whatever), and letters cis are note C sharp. the
on 2013-05-21 at 13:18 David Kastrup wrote:
It would seem that you associate the term pitch with physical
frequency.
no, it's not me, it's the standard meaning of the term as used in music
theory, psychoacoustics, musical acoustics, music cognition, and all the
disciplines i know that deal
on 2013-05-21 at 09:26 PMA wrote:
I think a serious go at terminological precision
would note the distinction: pitch vs pitch-class.
indeed. that's why in my first mail i said that pitch involves a specific
octave. but i thought the intention was not covering the whole theory of
music, but
on 2013-05-21 at 17:04 David Kastrup wrote:
Sure, but I'm afraid that your perceived lack of precision is something
that it is hard to find Florian at fault for since he is working with
the terminology employed by LilyPond.
of course! it was not my intention to imply otherwise. what i was
hello list,
i wanted to include in my score a reference timeline with a tick at every
beat. the code below is the best i could come up with:
\version 2.17.18
\new Staff = timeline \with {
\remove Bar_number_engraver
\remove Time_signature_engraver
\remove Clef_engraver
\override
on 2013-05-20 at 21:04 David Nalesnik wrote:
The only way I know to do this is to create your own filled box to
replace the stem. You can incorporate the following override, which
specifies a rounded box with no rounding of the corners:
\override Stem.stencil = #(lambda (grob)
(let
on 2013-05-20 at 21:14 David Nalesnik wrote:
Just a thought: have you tried using grid lines?
http://www.lilypond.org/doc/v2.17/Documentation/notation/outside-the-staff#grid-lines
mmm... doesn't seem to be what i wanted to get (which is something like
the attached image).
now thanks to
on 2013-05-17 at 00:40 Thomas Morley wrote:
Meanwhile you may want to use the function below.
Comments in code, if something isn't clear, shout.
brilliant, as always...
thank you very much! i can't say i understand the code, but it works
flawlessly. it resulted to be a more complicated
on 2013-05-17 at 01:21 Thomas Morley wrote:
Rereading the code I'm not convinced about my brilliance:
well, i was referring to the results, which seem to be perfect indeed.
of course i can't evaluate the coding style...
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dear list,
the output of the following code is shown in the first attached image:
\version 2.17.17
\score {
\new Voice \with {
\remove Forbid_line_break_engraver
\override Beam.breakable = ##t
}
\relative c'' {
\repeat unfold 5 { c2. \repeat unfold 2 {
on 2013-05-12 at 21:49 Wilbert Berendsen wrote:
Frescobaldi 2.0.10 is out,
i'm glad to report that it compiled without problems and is running fine
here on gentoo linux.
thank you for developing frescobaldi, and congratulations for the new
release.
on 2013-05-12 at 16:45 Sarah k Alawami wrote:
Ok. can someone please go over the score and correct what I missed?
I found many errors when compiling of different kinds, mainly: lilypond
syntactic errors, bar check errors, and octave errors.
I don't know how to proceed. I could try to
on 2013-04-30 at 13:56 Carl Peterson wrote:
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
on 2013-04-13 at 02:23 Thomas Morley wrote:
Ok, I'll try, though, please remember I'm not a programmer. My
explanations may be not complete.
excellent tutorial, thank you. i found it very instructive.
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on 2013-04-05 at 00:50 Thomas Morley wrote:
Quoting script-interface.cc:
Stencil
Script_interface::get_stencil (Grob *me, Direction d)
{
SCM s = me-get_property (script-stencil);
assert (scm_is_pair (s));
SCM key = scm_car (s);
if (key == ly_symbol2scm (feta))
{
on 2013-04-05 at 00:58 ArnoldTheresius wrote:
in the LSR bold tenuto (http://lsr.dsi.unimi.it/LSR/Item?id=858) you
will find the exapmple of a global override of Script #stencil
great link, thank you, i hadn't checked the LSR.
i can't use this function in my case (at least i don't see how),
hello list,
with the help of the code provided by harm, i've been able to create my
own custom articulations, but i still have some problems i haven't been
able to solve on my own. the two more important right now are:
1.
studying script.scm i see that in the definition of each articulation
on 2013-04-01 at 08:20 Marc Hohl wrote:
the rest of the function remains unaffected.
ok, now i see. for the benefit of the archives, i confirm that the full
example below works to perfection with lilypond-2.17.15. no errors, and
the output is exactly what i wanted.
thank you all!
lj
hello list, i have yet another question regarding the definition of a
custom drumstaff, and it is how to add a custom articulation.
it's actually two questions, the first one is how to make custom
articulations available inside #define mydrums().
i managed to do that adding a custom
on 2013-04-01 at 14:33 Thomas Morley wrote:
Though, while compiling the code with this built I couldn't reproduce the
error Luis reported.
What am I missing?
i'm afraid i can't be of much help, i'm building lilypond on a gentoo
linux using an ebuild (a script used by gentoo to fetch sources,
on 2013-04-02 at 00:01 Thomas Morley wrote:
below my approach.
Several comments in code, file and png attached.
like wow, this is indeed terrific! thank you! it'll take a while before i
understand the code enough to adapt it to my needs, but this is a great
start.
Hope there are no
on 2013-03-31 at 13:05 Thomas Morley wrote:
I downloaded 2.17.15 this morning and tried to compile my code, again: no
problem.
Perhaps some copy/paste error?
To be sure, I've attached the file.
thanks for the trouble! i'm afraid i still get the same error (i had
double checked for possible
on 2013-03-31 at 16:50 Neil Puttock wrote:
This should just be `0'.
hi neil,
i'm sorry, but i don't quite understand how to modify the function
suggested by harm to address the problem you mention.
best,
lj
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on 2013-03-30 at 12:44 Federico Bruni wrote:
Apparently it has a very different meaning in spanish:
http://es.wikipedia.org/wiki/Semifusa
i don't know if the is relevant to the thread, but that's right, in
spanish fusa is 1/32 and semifusa 1/64.
1/128 is garrapatea and 1/256 is
hello list,
i created a custom drum staff, where the bass drum uses the laThin note
head (simplified example, not my actual staff):
\version 2.17.14
#(define mydrums '(
(bassdrum laThin #f -1)
))
\new DrumStaff \with {
\override StaffSymbol #'line-count = #2
drumStyleTable =
on 2013-03-31 at 03:04 Thomas Morley wrote:
It sets 'duration-log 0 if the NoteHead is 'laThin _and_ if it is caused
by using 'bassdrum.
hi, thank you very much for your code, this is a much more clever solution.
unfortunately, when i try to run it with LilyPond 2.17.14 i get this error
on 2013-03-27 at 14:13 Graham Percival wrote:
On Wed, Mar 27, 2013 at 08:21:53AM -0300, luis jure wrote:
BTW, i was quite curious myself about why the point-and-clik info was
included in the first place. i thought it was only useful for pdf
files. is this information used by your virtual
on 2013-03-28 at 20:09 Phil Hézaine wrote:
And what about the conversion of drum notes to midi pitches?
mmm... i wonder if that's strictly necessary? once you get the correct
text output, as you do now, it's trivial to convert the drum notes names to
pitches with whatever program you're using
on 2013-03-26 at 16:04 Graham Percival wrote:
I'm quite curious about this -- do drum events not have
point-and-click info?
BTW, i was quite curious myself about why the point-and-clik info was
included in the first place. i thought it was only useful for pdf files.
is this information used
on 2013-03-27 at 18:35 Phil Hézaine wrote:
@ Luis
In MY OWN PERSONAL...etc... I have added a context for a DrumVoice
which was absent.
wonderful, phil, it works to perfection now. a million thanks!
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on 2013-03-26 at 20:12 Phil Hézaine wrote:
You're right. Though it was not evident at starting it was not so
difficult to solve the problem. Thanks for your clarification.
I paste for Luis and others my solution.
this is great, phil, thank you.
i must be missing something, though, because
hello list,
i have just discovered that you can save music events to a file with
event-listener.ly. this is an incredible feature for what i'm trying to
do, that is generate csound scores from lilypond files. i managed to do
that from the midi file generated by lilypond, using a very simple
on 2013-03-25 at 09:29 Graham Percival wrote:
Unfortunately you'll need some scheme knowledge, but if you can
get the general idea of the below function then you should be
fine:
thanks for the thorough explanation, graham, you just ruined my easter
holidays... ;-)
first i need to finish
on 2013-03-25 at 22:05 Phil Hézaine wrote:
Today, after the same discovery I was wondering the same question than
Luis but for drum-types (in \drummode, ie: sna, wbl... )
funny, i was intending to use it for a drumstaff also...
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on 2013-03-24 at 23:56 Janek Warchoł wrote:
Could i ask you to write a function that would print a red dot on top
of a grob's refpoint? (the image i've attached was made with GIMP,
and it would be better to have it in lily code.
hey, i was trying to find somewhere in the docs how to get
on 2013-03-23 at 07:24 Wilbert Berendsen wrote:
Hi all,
Frescobaldi 2.0.9 has been released in the wild.
yay! right in time for my project... i was virtually waiting by the
computer for this new release, since i was badly hit by the problem with
PyQt-4.9.6. i can confirm that 2.0.9 compiled
on 2012-09-11 at 20:53 Patrick McCarty wrote:
Not in the current implementation. It would be a nice feature to have
added though...
i see.. it would certainly be a very welcome addition, but i guess there
are lots of things with higher priority...
as a last resort i'll edit the svg in
this looks like a bug to me, but i'd like to hear comments from people with
a better understanding of lilypond than me.
when writing two consecutive \repeat volta, the thin bar lines are
omitted, which i think is wrong. in any case, it's usual to use only one
thick line (here they are repeated).
thank you very much for your prompt answer.
on 2012-09-11 at 00:03 james wrote:
Do you mean like
\version 2.16.0
\relative c'' {
c1
\repeat volta 3 { c2 c } \bar :|.|:
\repeat volta 3 { c2 c } |
}
exactly. are we supposed to write the correct barlines explicitly?
on 2012-09-11 at 00:45 Thomas Morley wrote:
You may want to change that in file:
[...]
or in layout:
thank you! a global setting in the Score context suits me fine.
is there a rationale for the current default?
best,
lj
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on 2012-09-10 at 23:58 Phil Holmes wrote:
According to Gould, either the lilypond default may be used, or the one
you want.
well, i guess that answers the question in my previous mail...
i don't have gould, but i'm under the impression that the lilypond default
is less frequent today
hello list,
in the last few days i've been working notating a series of short
fragments including graphical elements like lines, boxes and brackets. i
created them using postscript code embedded in markups. it took a long
time, but finally everything looked great in the pdfs.
after finishing
on 2012-09-10 at 22:22 luis jure wrote:
here's a basic example. how can i get \path behave like \postscript, and
print *on* the staff, without extraneous displacements?
hmm... i kept on searching, and i found a piece of code using
\tweak #'Y-extent #'(0 . 0)
this seems to help in what i'm
on 2012-09-10 at 22:49 luis jure wrote:
\tweak #'Y-extent #'(0 . 0)
YES! i'm saved, now the translation from postscript code to \path code is
quite straightforward. sorry for the noise.
one problem remains, though: in the postscript code i used some dashed
lines, but i can't find
on 2012-09-06 at 07:41 m...@mikesolomon.org wrote:
not pretty, but effective...
thanks mike and robin for your suggestions, i need to study them to
properly understand how (and why) they work.
the truth is that, for the time being, i had solved my problem with
lots of \halign, \lower,
i've been asked to typeset in lilypond a couple of chords with some
non-standard notation (please see the attached image).
i wouldn't know how to tweak the chord mode in lilypond to achieve
this, so i was thinking of using \markup's. but elsewhere i'm using
\chords, and the results are very
hello list, this is a notation questions as well as about lilypond.
i have to notate a three note cluster on the guitar: d# on the third
string, e on the second (fifth fret) and e unison on the open first string.
i would notate the unison e-e with two heads sharing the same stem, but
i'm not
thanks to all who responded! i've been experimenting a bit with all the
suggestions, and i came up with this myself, although i'm not quite
convinced yet...
\new Staff \with {
\consists Horizontal_bracket_engraver
\override HorizontalBracket #'bracket-flare = #'(0.0 . 0.0)
\override
hello list,
in the essay, under Optical sizing, we can read:
At smaller sizes, LilyPond uses proportionally heavier lines so the music
will still read well.
is there a way to control this globally?
i'm using #(set-global-staff-size 13), and i find this compensation a
little bit excessive to
hello list,
after some time away from lilypond, i'm back...
the occasion: a friend will be publishing a book soon, and i volunteered
to prepare the (short) musical examples.
my problem: the publisher requires the graphics in eps, but when imported
into the DTP program they use, the eps files
hello list,
i have some code with two markups on a note (one of them postscript code),
and some tweaks including \once \override TextScript #'extra-offset and
\shapeSlur.
for some reason, the presence of the markups forces the lyrics down too far
away from the staff (see image).
i studied an
on 2012-04-05 at 16:36 m...@apollinemike.com wrote:
There's always extra-offset, but it's kludgy. Could you send an image of
the line you're talking about? It may be a bug if the markups force the
lyrics down too low.
hi mike, i sent a tiny image in my previous mail, here's attached the
whole
on 2012-04-05 at 16:36 m...@apollinemike.com wrote:
There's always extra-offset, but it's kludgy.
using
\override LyricText #'extra-offset = #'(0.0 . 2.0)
before that line of text, and
\revert LyricText #'extra-offset
after it, i got the correct spacing.
i don't know what
hello list,
my score is a short melody, where i defined three clips.
compiling with -dclip-systems i get the three clips in eps and pdf, and
the score in pdf. i have to import these files in another application, and
i'm having some problems with the output files.
my questions are:
1) is it
on 2012-03-19 at 10:59 Marc Hohl wrote:
I wrote an extension for lilypond some time ago, which provides bends
and stuff. I didn't manage to get this nicely into lilypond, but
meanwhile, have a look at the attached files.
like wow! what a fantastic set of tools! thank you very much, marc. in my
hello list,
i'm transcribing a fragment of a blues recording, and i'm trying to solve
how to notate all the pitch deviations present in the voice and guitar.
i'm combining the use of plain glissandi, bendAfter, and grace
notes with \hideNotes and glissando for a prebend (BTW, how useful it
sorry for the noise, just testing. i sent a message to the list yesterday
and i haven't seen it yet...
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hello list,
i have a problem with beaming when combining a sixteenth notes triplet
with straight 16ths.
without any kind of tweaks, the following code produces the output in the
attached image:
\relative c' {
\time 2/4
c16 c \times 2/3 { c8 c16 }
\times 2/3 { c8 c16 } c16 c }
as you see,
on 2012-03-15 at 08:02 luis jure wrote:
sorry for the noise, just testing. i sent a message to the list yesterday
and i haven't seen it yet...
ah... now i see it!
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on 2012-03-15 at 15:26 James wrote:
This actually worked in 2.12.3
So I have opened
http://code.google.com/p/lilypond/issues/detail?id=2408
great, thank you. i see, however, that 2.12.3 was not quite correct in the
second case: the beamlet belonging to the triplet sixteenth should be
pointing
on 2012-03-15 at 16:23 Carl Sorensen wrote:
What issues do you believe it is related to?
i thought that it might be related to issues like 11 and 2113, for
example:
http://code.google.com/p/lilypond/issues/detail?id=11
http://code.google.com/p/lilypond/issues/detail?id=2113
(not the same,
on 2012-03-15 at 16:22 Mark Knoop wrote:
\set baseMoment = #(ly:make-moment 1 8)
\set subdivideBeams = ##t
yes! thank you very much. (when the triplet is in the second half of the
quarter note, i still have to hard-code a manual beam, though. works great
when the triplet is in the first half).
on 2011-12-23 at 16:07 Jay Anderson wrote:
- Mark each beat in the audio (list of millisecond offsets from the
beginning of the audio).
* My method of doing this was pretty crude: listen to the file and
record the times when I hit the spacebar.
sonic visualiser has very handy tools for
hello list,
i'm trying to get systems without a system start delimiter, but with a bar
line at the beginning of each staff. like in figure 1 instead of figure 2.
i'm using \remove System_start_delimiter_engraver, but then i don't know
how to print a line at the beginning of each staff. i tried
on 2011-12-18 at 14:38 Thomas Morley wrote:
try:
\version 2.14.2
\new Staff { c'1 d' }
\new Staff { c'1 d' }
\new Staff { c'1 d' }
\new Staff { c'1 d' }
% or
\new StaffGroup \with { \override SystemStartBracket #'transparent = ##t }
\new Staff { c'1 d' }
\new Staff { c'1 d' }
\new Staff {
on 2011-12-18 at 14:39 David Kastrup wrote:
Can you include the source for the example that does not yet do what you
want? That way, it becomes much easier to be helpful.
again, i'm sorry i wasn't clear in the description of what i want. my
english is normally not very good, and it's even
on 2011-12-18 at 20:14 Marc Hohl wrote:
Here, LSR was my friend. Try
http://lsr.dsi.unimi.it/LSR/Snippet?id=579
in combination with the second example above:
\score {
\new StaffGroup \with { \override SystemStartBracket #'transparent
= ##t }
% Must be lower than the actual
on 2011-12-19 at 00:04 Thomas Morley wrote:
Or did I misunderstand you again?
not at all! your code works perfectly, and that's exactly what i wanted.
now i have to study it to see how and why it works, and how to adapt it to
my score.
thanks a lot, writing scheme functions is way above my
on 2011-10-31 at 09:02 Christ van Willegen wrote:
Perhaps using lyrics would stack up all the dots?
this seems to be a good idea, indeed. it never occurred to me becuase i
never used lyrics, and i never paid any attention at how it works (i never
write for voices). so i guess i have lots of
on 2011-10-31 at 13:18 Graham Percival wrote:
Why not use a grid? It's in the Editorial chapter of Notation.
from the description (Vertical lines can be drawn between staves
synchronized with the notes) and the examples, it's not obvious to me how
i could get anything remotely similar to what
on 2011-10-31 at 15:12 Graham Percival wrote:
well, of course you'd need to change the callback or stencil for
the grid lines. But you can definitely replace the lines with
dots if you're willing to spend some time with scheme.
here's another example.
i see, thanks for the clarification.
on 2011-10-31 at 14:11 luis jure wrote:
1) increase the font a little bit;
i solved this one... using \override LyricText #'font-size = #+4 globally
in the
\layout {
\context {
\Score
block;
3) decrease the separation between grid levels.
solved this one too, using
hello list, i'm trying to figure out the best way to include the metrical
grid analysis using dots like in the lerdahl and jackendoff book (see
image). i'm trying with \markup's, but how can i get all the dots
vertically aligned?
best,
lj
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thanks for your answer!
and play around with the numbers!
actually, this is exactly what i had been doing before asking in the list.
as you say, this is the method described in the section Spacing of
ungrouped staves. but somehow i get no results, no matter what numbers i
use. admittedly, i
on 2011-09-27 at 12:24 Peekay Ex wrote:
http://lsr.dsi.unimi.it/LSR/Item?id=701
What this shows you, is how to make a 'markup' using a score
construct, you could then use this and pad your markup accordingly
instead of using an ossia.
interesting approach, thanks for pointing this out to me.
on 2011-09-27 at 15:01 eluze wrote:
maybe you can send a small - but relevant - example of your code so we
can try to see why it doesn't work!?
i'll definitely do that!... next week.
i'm transcribing a whole series of solos, and things are spread in
different files (i include files with
on 2011-09-25 at 20:27 David Nalesnik wrote:
Good idea.
like wow, i couldn't expect that my original post would trigger all this
thread (most of it way over my head, i'm afraid...)
thank you all!
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hello list,
i'm making clean copies of transcriptions i made from recordings of a
traditional drum. it's only one instrument, and the notation is in one
two-line staff. i haven't tweaked the vertical spacing between systems,
and i'm happy with the default results.
but now i added an extra
on 2011-09-23 at 13:40 eluze wrote:
i think it's called tenuto in lilypond
of course! [in lilypond and elsewhere :-), i just had a lapsus...]
and it belongs to the Script objects. you could change the distance to
the notehead with
\once \override Script #'padding = #.75
this works! as
hello list, i'm here again after a long time without using lilypond
(meaning that i'm already forgetting the little i ever managed to learn
about it...)
i'm using the sostenuto sign (c--), but for my taste the default placement
is too close to the head of the note. i'm trying to include a global
on 2011-05-08 at 15:35 Heather W. Reichgott wrote:
1. Is the choice of soundfont a property of the MIDI file itself, or a
property of the playback software? (Or both?)
as far as i know, the midi file itself can only send program change
messages on a given channel: select a certain patch number
el 2010-06-15 a las 09:23 Stefan Thomas escribió:
this a great.
I think this should be mentioned in the documentation for percussion
instruments!
+1
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From: sib...@major2nd.com
mup (http://www.arkkra.com), which is my favorite notation program.
not knowing mup, i visited the site to learn something about it.
although it seems to be very basic compared to LP, i found this among
its features:
· Cross-staff stems.
on 2009-09-30 at 10:12 Carl Sorensen wrote:
There's actually another case that can lead to failure. That is when
the 16th notes come in the 2nd or 4th beat of the measure,
yes, i see. i think this has been reported by valentin more than a year
ago here:
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