Hi,
I'm managing converting a *.midi to a *-midi.ly
*-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of
triplets (f8 g a)
Purpose is: avoid manualy modifying the *-midi.ly code to get all of the
triplets!
No answer found in the forums about the use of convert-ly
Environment:
Hi,
I'm managing converting a *-midi.ly from 2.7.18 to 2.10.33
*-midi.ly is stored in C:\...\Lilypond\usr\bin.
No answer found in the forums about the use of convert-ly
Environment: is Lilypond 2.10.33 running on win XP.
Formerly produced files *-midi.pdf, *-midi.ps and *-midi.log are
Ledocq-Boccart wrote:
By the way...what are these skills precisely?
The Feta font has been made in METAFONT.
See the .mf-files in the source.
http://metafont.tutorial.free.fr/
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lilypond-user@gnu.org
francisco,
On Feb 17, 2008, at 9:18 PM, Francisco Vila wrote:
is there a proper way to place a given \mark such as segue coro,
DS.al fine etc under the staff, and right-aligned to the final
barline?
Doesn't it work if you just \override the direction property?
The problem is to have them
Reinhold Kainhofer wrote:
...
Also, how can I create a staff in scheme? A staff is no music expression, is
it?
Finally a question I can answer, or rather that LilyPond can answer for you.
Just use the \displayMusic function. For example, run LilyPond on the
following
example and look at
It sounds as if you have stumbled across some font related bug. See the
section
on Time Signature in the manual, for an example of what layout LilyPond
should give. What LilyPond version and what operating system do you use?
Werner wrote:
Hello,
I used 4/4 instead of C via
\override
Reinhold Kainhofer wrote:
My other problem comes from
the fact that if I give multiple piece names in the \header section, only
the last one is printed for all of them.
You need to add a separate score for each piece, and in each of these scores,
you can set the piece to something
Graham Percival wrote:
The advanced term is grobs, but I'd rather avoid that here. For
some reason I prefer controlling direction instead of
controlling placement, although I can't give any reason for
this.
I'm not fully convinced that everybody will understand what directions
refers to
Reinhold Kainhofer wrote:
Am Freitag, 15. Februar 2008 schrieb Victoria:
Is there a way to do a fermata? I've spent upwards of 2 hours looking in
the tutorial and just can't find it, if it's there.
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Articulations
Also, if
Ledocq-Boccart wrote:
Hi,
I'm managing converting a *-midi.ly from 2.7.18 to 2.10.33
*-midi.ly is stored in C:\...\Lilypond\usr\bin.
It's not a good idea to use this folder as your working directory!
Please see
http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00038.html
for an
Don't have too high expectations on what midi2ly can do with the
rhythm. As far as I know, it will only work reasonably well with
MIDI files generated from other notation programs.
/Mats
Ledocq-Boccart wrote:
Hi,
I'm managing converting a *.midi to a *-midi.ly
*-midi is stored in
Simon Dahlbacka wrote:
FWIW, it seems that Finnish is the only? language that includes the
note/rest part.
(http://kainhofer.com/~lilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests
-BEGIN PGP SIGNED MESSAGE-
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Am Montag, 18. Februar 2008 schrieb Simon Bailey:
that is what graham was suggesting. try the following snippet. all of
this information can be found in the NM, section 1.8.1.4 (Text Marks),
redirected from section1.2.5.4 (Rehearsal Marks) with the
Hi all,
The advanced term is grobs, but I'd rather avoid that here. For
some reason I prefer controlling direction instead of
controlling placement, although I can't give any reason for this.
I'm not fully convinced that everybody will understand what
directions
refers to (can't a
Reinhold Kainhofer wrote:
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Am Montag, 18. Februar 2008 schrieb Simon Bailey:
that is what graham was suggesting. try the following snippet. all of
this information can be found in the NM, section 1.8.1.4 (Text Marks),
redirected from
Kurt -
If I were actually speaking with another violinist about an actual piece
of music, I'd most likely say something like, It's an ottava passage.
If I got a blank stare, I'd probably add something like, You play the
music an octave higher (lower) than it's written. If I were looking up
how to
Damian leGassick damianlegassick at mac.com writes:
\version 2.11.38
{bes'! b'!}
is what i want except for the flat needs to be moved to the left
(it's a pain, but the 'two-stave' or 'forked stem' solutions aren't
appropriate here)
Sorry, I absolutely cannot imagine, what you want.
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Am Montag, 18. Februar 2008 schrieb Werner:
Damian leGassick damianlegassick at mac.com writes:
\version 2.11.38
{bes'! b'!}
is what i want except for the flat needs to be moved to the left
(it's a pain, but the 'two-stave' or 'forked
Hello:
I am typing a viola score aboyt 500 bars long? This score has 2 short stretches
were 2 bars appear foe the divisi to play ( the top in alto and the bottom in
treble and viceversa. How do I make this happen without calling for another
full, empty staff for most of the way?
Look for ossia in the LilyPond index, i.e. the index of the manual.
/Mats
Rafael A Gonzalez wrote:
Hello:
I am typing a viola score aboyt 500 bars long? This score has 2 short stretches
were 2 bars appear foe the divisi to play ( the top in alto and the bottom in
treble and viceversa. How
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same bar?
If not, please give a good reason for having both accidentals but no
split stem, so we can better help
Hi Damian,
it's for a webern reduction - so changing the b-flat to a-sharp
isn't really an option
A-ha!
Then how about
\once \override Accidental #'restore-first = ##t b' bes'!
HTH,
Kieren.
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Kieren MacMillan wrote:
Hi Damian,
Just to confirm... are you looking for
\version 2.11.38
{ \set Staff.extraNatural = ##t beses' bes' }
i.e., to correct a previous accidental on the same note in the same bar?
If not, please give a good reason for having both accidentals but no
split
almost!
if i could get the flat and the natural round the other way...
as it is, it implies 2 x b-flat after (say) a b-sharp (which is not
unlikely in this context)
thanks though - it's a useful function that i'd not noticed before
d
On 18 Feb 2008, at 17:00, Kieren MacMillan wrote:
Hi
hi kieren
what i need is this:
\version 2.11.38
{
\override Stem #'transparent = ##t
d'! ees'bes' b'!
}
to become:
inline: chord.jpg
which is a standard way to show that both b-flat and b-natural are
simultaneous
it's for a webern reduction - so changing the b-flat to
Thanks Mats!
I have made some trials with various options settings: and I got
something I could start with making manual corrections.
I do not understand the effect of options like:
--explicit-duration
--start-quant=DURI did not see much effect
--duration-quant=DUR
With DUR=16 I get
On Mon, 18 Feb 2008 07:26:25 -0500
Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi all,
The advanced term is grobs, but I'd rather avoid that here. For
some reason I prefer controlling direction instead of
controlling placement, although I can't give any reason for this.
I'm not fully
thanks mats
changing your markup to \markup {\flat \natural } gives me what i want
now i just need to bring the two accidentals closer together
cheers
d
On 18 Feb 2008, at 17:06, Mats Bengtsson wrote:
Kieren MacMillan wrote:
Hi Damian,
Just to confirm... are you looking for
\version
Since the section is going to describe the use of the
'direction property, why not call it that?
Choose one of:
Direction property
The direction property
Use of the direction property
As its use is so diverse we can't hope to capture all of
them in the heading.
Trevor D
-Original
2008/2/18, Graham Percival [EMAIL PROTECTED]:
What about controlling position?
If there's consensus about this, I'm happy with that.
The original title was Up and down, but I thought that was silly.
Calling it Controlling vertical {direction/position} might be
possible, but then it seems
Well, it's not *primarily* about the direction property. It's
primarily about
^ _ -
\fooUp \fooDown \fooNeutral
We'll mention #'direction as an afterthought.
Cheers,
- Graham
On Mon, 18 Feb 2008 18:14:07 -
Trevor Daniels [EMAIL PROTECTED] wrote:
Since the section is going to
Mats wrote:
I believe the LilyPond default layout agrees well with common
typesetting standard. However, LilyPond is a very flexible tool so
you can get another layout if you prefer. One method is to use the
trick described in Polymetric notation as a starting point, which
could result in
Le 18 févr. 08 à 00:17, Reinhold Kainhofer a écrit :
Am Sonntag, 17. Februar 2008 schrieb Han-Wen Nienhuys:
2008/2/13, Reinhold Kainhofer [EMAIL PROTECTED]:
In particular, what is the scheme equivalent, producing the same
as the
following lilypond code?
IChorObIScore = \score {
Hi,
Here is the first paragraph of my piece describing the great Three Gorges on
Yantze River. But the log file said tried to space systems on bad number of
pages. What does it mean?
Haipeng
\version 2.11.37
#(set-default-paper-size a4)
\header {
tagline = ##f
title = \markup
On Feb 18, 2008, at 5:17 PM, hhpmusic wrote:
Hi,
Here is the first paragraph of my piece describing the great
Three Gorges on Yantze River. But the log file said tried to space
systems on bad number of pages. What does it mean?
Haipeng
Haipeng-
I just processed your file using
I'm working on the balloon section of Editorial and in that section is this
statement
There are two music functions, balloonGrobText and balloonText; the former
takes the name of the grob to adorn, while the latter may be used as an
articulation on a note. The other arguments are the offset
2008/2/17, Reinhold Kainhofer [EMAIL PROTECTED]:
Thanks for the hint... Works so far (see attached example).
However, how can I define a function so that instead of scheme, i.e.
\score { #(createscore test) }
i can simply do:
% This does NOT work (syntax error)
\score {
2008/2/12, till [EMAIL PROTECTED]:
2. There is a lot of threads here on the list. You can play with all sorts
of spacing but nothing is yet really convincing. The most simple workaround
appears to be to scale all note durations to a singe duration, eg. 1/8,
which can be achieved by appending
I'm pretty sure this is already allowed. Maybe you have misalignment
of a rhythm somewhere? Can you post a bugreport?
2008/1/23, Greg Swinford [EMAIL PROTECTED]:
Is it possible to allow line breaking during ligatures (or at least ligature
brackets) as it is with horizontal (analysis) brackets?
2008/1/30, Risto Vääräniemi [EMAIL PROTECTED]:
On Jan 30, 2008 11:19 AM, Valentin Villenave wrote:
There's a much simpler solution: I could just make a patch against
lilypond's GUB NSIS script to call lilypond instead of
lilypond-windows when double-clicking on a .ly file.
Why are there
Hi,
Where can I find explanations about the effect of the options of midi2ly.py?
What is quantize?
What is the effect of explicit durations?
etc...
I mean I would like to understand the link between the options and its
action on the structure of a midi file.
As yet I feel to cut and try
Hello,
In Lilypond 2.10.33, I want to have four staves per system, connected by a
piano-style brace, with exactly enough space for two ledger lines between the
upper two staves, one ledger line between the middle two staves, and two ledger
lines between the lower two staves. (Measured from
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