Am 2011-03-13 um 22:43 schrieb James Lowe:
MacPorts is source based, so it will take longer to compile, maybe
less internet downloading? Since xcode4 is now paid, MacPort should
consider providing the devel base as binaries also?
Why do you think XCode4 would be paid? I found no information
2011/3/14 Hinrik Örn Sigurðsson hinrik@gmail.com:
2011/3/13 Janek Warchoł lemniskata.bernoull...@gmail.com:
Then I suppose that you have more than 16 voices.
This is the drawback of this method.
But it does work around the problem, thanks.
You're welcome :)
cheers,
Janek
Actually,
Attached is a function . . .
Wahoo. Seems to be a very powerfull function. I keep it in my favorites.
Thanks David.
Gilles
NB
If the user enters the value 2 for example as the dir parameter, the
function fails.
Using = and in the last cond expression avoids that.
On Mon, Mar 14, 2011 at 12:42:45AM -0300, Han-Wen Nienhuys wrote:
On Sun, Mar 6, 2011 at 8:17 AM, Mike Blackstock
blackstock.m...@gmail.com wrote:
This is F*G great! Especially the Bach BWV 1006 - I could have sworn it
really was a kid playing.
Han-wen,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Han-Wen Nienhuys
)Sent: 14 March 2011 03:43
)To: Mike Blackstock
)Cc: lilypond-user@gnu.org
)Subject: Re: [OT] Vivi, the
Han-Wen Nienhuys hanw...@gmail.com writes:
On Sun, Mar 6, 2011 at 8:17 AM, Mike Blackstock
blackstock.m...@gmail.com wrote:
This is F*G great! Especially the Bach BWV 1006 - I could have sworn it
really was a kid playing. http://percival-music.ca/audio/bwv-1006_1.wav.mp3
To my ears, the
On Mon, Mar 14, 2011 at 1:43 AM, David Rogers
davidandrewrog...@gmail.comwrote:
* Marc Weber marco-owe...@gmx.de [2011-03-14 04:01]:
-- O -- (O is the body of a note here)
-- O --
the interval between both pitches depends on the location.
Why?
Why should e-g be different from g - h ?
David Rogers davidandrewrog...@gmail.com writes:
* Marc Weber marco-owe...@gmx.de [2011-03-14 04:01]:
-- O -- (O is the body of a note here)
-- O --
the interval between both pitches depends on the location.
Why?
[...]
Sure, various people have come up with several interesting and useful
2011/3/14 David Kastrup d...@gnu.org:
The _only_ non-fringe (and you
might debate that) instrument I know that has controls _deliberately_
designed around a chromatic scale (note that string instruments have
their controls dictated by physics) is the chromatic button accordion.
Every _other_
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
2011/3/14 David Kastrup d...@gnu.org:
The _only_ non-fringe (and you
might debate that) instrument I know that has controls _deliberately_
designed around a chromatic scale (note that string instruments have
Francisco Vila paconet@gmail.com writes:
2011/3/14 David Kastrup d...@gnu.org:
The _only_ non-fringe (and you
might debate that) instrument I know that has controls _deliberately_
designed around a chromatic scale (note that string instruments have
their controls dictated by physics) is
Francisco Vila paconet@gmail.com writes:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
2011/3/14 David Kastrup d...@gnu.org:
The _only_ non-fringe (and you
might debate that) instrument I know that has controls _deliberately_
designed around a
I have tried to generate a PDF out of this here below file, but it does not
work. Any advise?
\version 2.10.3
violinoprincipale = {
\set Staff.instrumentName = \markup { \center-align { Violino principale.
} }
\set Staff.midiInstrument = violin
\clef treble
\key d \major
\time 4/4
R1 R1
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I did not mention
fretless instruments.
So please explain how you are would sort frets into a diatonic scale
arrangement corresponding to white keys on a piano,
On Mon 14 Mar 2011, 14:50 Gabriel Espelleta wrote:
I have tried to generate a PDF out of this here below file, but it does not
work. Any advise?
:-)
1) please, make it more readable! one measure per line is excellent rule,
indeed.
2) send error message?
\version 2.10.3
- Original Message -
From: Gabriel Espelleta gespell...@gmail.com
To: lilypond-user@gnu.org
Sent: Monday, March 14, 2011 2:50 PM
Subject: ly file giving error when trying to generate PDF
I have tried to generate a PDF out of this here below file, but it does not
work. Any advise?
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila paconet@gmail.com wrote:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I did not mention
fretless instruments.
So please explain how you are would sort
On Mon, Mar 14, 2011 at 11:38 AM, Michael Ellis
michael.f.el...@gmail.com wrote:
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila paconet@gmail.com
wrote:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I
* David Kastrup d...@gnu.org [2011-03-14 14:40]:
And 99% of all musical literature is _scale-oriented_ rather than
_interval_-oriented. So even singers tend to be better off with a
notation focusing on scales rather than intervals, unless they happen to
sing Schönberg.
Even if they sing
Gabriel Espelleta wrote:
I have tried to generate a PDF out of this here below file,
but it does not work.
The Lilypond code you supplied says what the lead violin should play.
This, by itself, is not enough for what you are expecting.
You must also have code which asks Lilypond to
Gabriel
Try adding
\score {
\violinoprincipale
}
to the bottom.
Trevor
- Original Message -
From: Gabriel Espelleta gespell...@gmail.com
To: lilypond-user@gnu.org
Sent: Monday, March 14, 2011 2:50 PM
Subject: ly file giving error when trying to generate PDF
I have tried to
2011/3/14 Michael Ellis michael.f.el...@gmail.com:
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila paconet@gmail.com
wrote:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I did not mention
fretless
Excerpts from David Rogers's message of Mon Mar 14 16:11:47 + 2011:
In my opinion, for starters, any new system that requires an explanation
of its features is out. If it isn't obvious without explanation, then
the advantages are probably not great enough to get anybody to switch.
:) Of
Marc Weber marco-owe...@gmx.de writes:
I feel that some people playing music only once a year would benefit
from equal appearance meaning equal intervals.
Only if they are playing an instrument where equal intervals are
represented by equal key distances.
Since that is not the case for most
Excerpts from David Kastrup's message of Mon Mar 14 16:32:56 + 2011:
Since that is not the case for most instruments (in particular not for
piano keyboards), they have nothing to gain from a notation matching
better what they hear rather than what they need to play.
First this could be
Marc Weber marco-owe...@gmx.de writes:
Excerpts from David Kastrup's message of Mon Mar 14 16:32:56 + 2011:
Since that is not the case for most instruments (in particular not for
piano keyboards), they have nothing to gain from a notation matching
better what they hear rather than what
2011/3/14 Marc Weber marco-owe...@gmx.de:
Second: You're wrong. By giving pitches numbers you'll naturally feel
than the distance 2-5 is the same as 8-11 and 27-30 and 45-48.
And how would you represent quarter-tones? 5.5? And other kinds of
tonal inflections?
Excerpts from David Kastrup's message of Mon Mar 14 16:58:39 + 2011:
You'll find that at the end of the day, they sit down at a keyboard
rather than just letting intervals play by numbers in their head.
*g*. I agree. The goal in all cases is: read a stream of music from
paper, hear it in
On Mon, March 14, 2011 6:02 pm, Bernardo Barros wrote:
2011/3/14 Marc Weber marco-owe...@gmx.de:
Second: You're wrong. By giving pitches numbers you'll naturally feel
than the distance 2-5 is the same as 8-11 and 27-30 and 45-48.
And how would you represent quarter-tones? 5.5? And other
Then you know that 6A is one octave above 5A, etc. Not that crazy
midinote notation..
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system base on 12 or 24 then.
In computer science they use the hexadecimal system because it fits
computer's bytes representation, if your object
On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system base on 12 or 24 then.
In computer science they use the hexadecimal system
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I need all of the beats on the page to take up the same
amount of space so that the rhythms can be clearly seen. What I need to do
now is to take away the time signature in the first line
On Mon, Mar 14, 2011 at 2:03 PM, i...@kristoflauwers.domainepublic.net wrote:
On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system
- Original Message -
From: cte...@wesleyan.edu
To: lilypond-user@gnu.org
Sent: Monday, March 14, 2011 6:23 PM
Subject: Removing Time Signature entirely (not just transparent)
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I
Hi,
I use \score blocks inside \markup in constructions like this one:
\markup {
\fill-line {
\score {
c'1
\layout {} % required!
}
\score {
d'1
\layout {}
}
}
}
but it is heavy.
I would like to define the \score blocks as variables or as music
Hi Carl,
I'm also trying to get as precise as possible proportional notation. I
see you also came up with the idea os positioning the beams in the
middle of the notehead. I got trouble to write a scheme function that
knows when the stem is up or down. You seem to have done this better!
How did
On 3/14/11, Gilles THIBAULT gilles.thiba...@free.fr wrote:
Attached is a function . . .
Wahoo. Seems to be a very powerfull function. I keep it in my favorites.
Thanks David.
Glad you can use it!
NB
If the user enters the value 2 for example as the dir parameter, the
function fails.
Am 14.03.2011 19:23, schrieb cte...@wesleyan.edu:
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I need all of the beats on the page to take up the same
amount of space so that the rhythms can be clearly seen. What I need to do
now is to
@Marc
I think we're offering too much discouragement here instead of helping
you figure out how to use LilyPond to experiment with your ideas. So
here's an adaptation of a script I use to generate solfege syllables
using the NoteNames engraver. By mapping numbers to the Dutch
notenames,
Hello Bernardo,
I created a custom notehead. Include this somewhere in your file and then
call it before your notation using \headCir
headCir = {
\override NoteHead #'(stem-attachment) = #'(0 . 0)
\override NoteHead #'stencil = #ly:text-interface::print
\override NoteHead #'text = \markup
Hi Marc,
Ahh yes, the custom clef. I have been having some fun with that. I am
copying some handwritten music and I'm trying to retain the character of
the music as much as possible. The clef is a design of someone else's so I
won't include how to do it. But here is the basic premise.
Here is a
i...@kristoflauwers.domainepublic.net writes:
On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system base on 12 or 24 then.
In
As a random aside on the whole electronic music effort. On the
one hand the technology and science is very interesting, but on the
other it is somehow disturbing. I suppose since I have spent so much
of my life attempting to master keyboard instruments and having watch
so many students
Hello
A simple example
---
\version 2.13.40
top = \relative c'' {
\clef treble
a b c d
}
bottom = \relative c {
\clef bass
a b c d
}
\score {
\new Staff { \top }
\new Staff { \bottom }
}
\score {
\new Staff { \top }
\new Staff { \bottom }
}
\score {
\new Staff { \top }
\new Staff {
Bernardo Barros
0,1,...,A,B (base 12)
Yes, you're right. Tell me one programmer who can count in Hex by heart. I can
do so on paper. But I can't tell you instantly what B*C gives. (11 * 13 = ..
back to hex? let me use a calculator).
You're right. Base 12 would be fun. But its not tought in
2011/3/14 James Lowe james.l...@datacore.com
A simple example
[...]
This prints 3 grouped staves underneath each other, how would one go about
getting them so the three scores are running left to right instead?
Perhaps inserting scores in a markup will work for you?
See Notation Reference
Marc Weber schreef op ma 14-03-2011 om 21:01 [+]:
I'm a programmer. I know many languages upside down (unfortunately not lisp)
Your brackets already match, I hear that's the hardest bit ;-)
Jan.
--
Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond http://lilypond.org
Freelance IT
Janek,
From: Janek Warchoł [lemniskata.bernoull...@gmail.com]
Sent: 14 March 2011 21:30
To: James Lowe
Cc: LilyPond User (lilypond-user@gnu.org)
Subject: Re: How to print to \score { } constructs next to each other instead
of underneath
2011/3/14 James
On 14 March 2011 19:11, Xavier Scheuer x.sche...@gmail.com wrote:
I would like to define the \score blocks as variables or as music
functions. Unfortunately it seems impossible.
I tried
scoreOne = \score {
c'1
\layout {} % required!
}
\markup {
\column {
On Sun, Mar 13, 2011 at 10:13 PM, Paul Scott waterho...@ultrasw.com wrote:
Hi,
2.13.54
Does it ever make sense for RemoveEmptyStaffContext to remove all staves?
Should not at least one be kept alive showing the rests?
Is there a way to force this behavior? I haven't gotten the following
On 03/14/2011 09:00 PM, Andrew Hawryluk wrote:
On Sun, Mar 13, 2011 at 10:13 PM, Paul Scottwaterho...@ultrasw.com wrote:
Hi,
2.13.54
Does it ever make sense for RemoveEmptyStaffContext to remove all staves?
Should not at least one be kept alive showing the rests?
Is there a way to
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