On Sat, 9 Mar 2013, SoundsFromSound wrote:
In GNU/Linux it is a small nightmare to install
Really? Wow...not for me, it must have been a fluke or something. Ubuntu
and Mint all download Frescobaldi from the repo with one click. Sorry you
had problems! Hope it's all fixed for you now! :)
Regards,
Wim.
On 9 Mar 2013, at 05:45 , Keith OHara wrote:
Colin Hall colinghall at gmail.com writes:
In my early days with Lilypond I learned this to my cost. I've never
used \relative since then.
I stopped using \relative about a year ago, because absolute note
entry is
vastly
Evan Driscoll edrisc...@wisc.edu writes:
On 3/9/2013 7:31 PM, Jim Long wrote:
So if somehow I've made two consecutive correct postulates,
wouldn't a user who used the mnemonic:
If no reference pitch is given, then the first pitch after
\relative is relative to f
...
So, addressing
Sarah k Alawami marri...@gmail.com writes:
I actually tried the let's say e='t or how ever the docs were
written. I don't have them up at the moment and it failed with unknown
rhythm. Iactually meant e5 on the piano. so how would have I fixed
this if I had if I remember
[relative c'' for
Wim van Dommelen m...@wimvd.nl writes:
Agree, we should have an easy way to switch from absolute to relative
(Yes, everthing inside \relative { } is relative, all other is
absolute, I know), like: \absolute: from here on everything is
absolute like \clef bass tells me: from here on display
Jim Long lilyp...@umpquanet.com writes:
On Sat, Mar 09, 2013 at 11:40:14AM +0100, David Kastrup wrote:
Well, the new mnemonic would be first pitch after \relative is
absolute
I'm not sure whether this is profound or profane, so please
excuse, but
For just the case of \relative
On 10 Mar 2013, at 10:06 , David Kastrup wrote:
Wim van Dommelen m...@wimvd.nl writes:
Agree, we should have an easy way to switch from absolute to relative
(Yes, everthing inside \relative { } is relative, all other is
absolute, I know), like: \absolute: from here on everything is
absolute
On Sat, 9 Mar 2013, Paul Morris wrote:
On Mar 9, 2013, at 10:05 PM, Jim Long lilyp...@umpquanet.com wrote:
I would rather not have convert-ly change any use of \relative with an explicit
reference pitch.
That was my thought too. Of course it would be possible, but since there would
be
On Sat, 9 Mar 2013, Jim Long wrote:
Just curious, how did the absolute notation system come about?
My main observations are that it is piano-centric, with
{ c d e f g a b c' } being an intuitive sequence, while { a b c d
e f g a' } is less logical. Mmm, well, maybe that's not
On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen m...@wimvd.nl wrote:
On 10 Mar 2013, at 10:06 , David Kastrup wrote:
Barely tongue-in-cheek:
absolute =
#(define-music-function (parser location music) (ly:music?)
(make-music 'TransposedMusic 'element music))
When placed inside of a
On Sun, Mar 10, 2013 at 12:38 AM, Tim McNamara tim...@bitstream.net wrote:
My last attempt to install it on my Mac to run in an X11 window resulted in
literally hundreds of things being downloaded by MacPorts- dependencies for
the dependencies for the dependencies in what seemed to be nearly
On Sun, Mar 10, 2013 at 1:08 AM, Alexander Kobel n...@a-kobel.de wrote:
On a different side note, it'd also be really nice if one could specify that
no additional space should be introduced if there is no hyphen. At least
that's how hand-engraved scores seem to do if horizontal space is at a
Wim van Dommelen m...@wimvd.nl writes:
melody = { \relative c='4 d e f g f e d c \absolute c,, d,, e,, f,,
g,, \relative c=' d e f }
Executive summary: that's an unmaintainable nightmare. If you don't
care about reading technical rants, you might as well stop reading now.
The { } only wrap
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen m...@wimvd.nl wrote:
Compared with the \clef behaviour, I see this variant:
melody = { \relative c='4 d e f g f e d c \absolute c,, d,, e,, f,,
g,, \relative c=' d e f }
I think this may be
:)
On Sun, Mar 10, 2013 at 11:10 AM, David Kastrup d...@gnu.org wrote:
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen m...@wimvd.nl wrote:
Compared with the \clef behaviour, I see this variant:
melody = { \relative c='4 d e f g f e d c
On 2013-03-09 13:56, Urs Liska wrote:
Am 09.03.2013 12:50, schrieb David Kastrup:
james james.lilyp...@googlemail.com writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public
Jim Long:
Just curious, how did the absolute notation system come about?
Do you mean in the program Lilypond, I don't know.
My main observations are that it is piano-centric, with
It's the other way around, the notes are music-centric and the
piano is a reasonable simplification of the
Hi,
On Sun, Mar 10, 2013 at 10:45 AM, Janek Warchoł
janek.lilyp...@gmail.com wrote:
I'm sorry that you have such problems. If i were you, i'd just
install some Linux in a Virtual Machine (it's not difficult) and
install Frescobaldi there. I conisder Frescobaldi to be much too
useful not to
Keith OHara writes:
It took me years to realize that \relative was making LilyPond more difficult
for me. I very often forget what was the last pitch I typed, especially when
working on a few music expressions in parallel, and even when I do remember
the
burden of deciding if the interval
Colin Hall colingh...@gmail.com writes:
Keith OHara writes:
It took me years to realize that \relative was making LilyPond more
difficult
for me. I very often forget what was the last pitch I typed,
especially when
working on a few music expressions in parallel, and even when I do
Paul Morris p...@paulwmorris.com writes:
b) should convert-ly make user code walk through that door once?
Hmmm... If people have been using an explicit reference pitch,
nothing changes in that case.
The proposed convert-ly rule of issue 2329 converts everything it can
interpret (which is
Hello all,
Just thought I'd put my 2¢ in here…
In the last year alone, I have Lilypounded two stage musicals, a chamber opera,
and about a dozen smaller pieces, with a range of styles from Alan Menken to
Arnold Schoenberg. So I believe I can qualify as someone who has entered
complicated
Jim Long lilyp...@umpquanet.com writes:
I think 'recommended' is going too far. At least, I can't see
that one is always or nearly always better than the other. David
made some examples of when the proposal could be better,
Not really. I just went into the Learning manual (intended for
Keith OHara k-ohara5...@oco.net writes:
David Kastrup dak at gnu.org writes:
I don't think I get your point.
It was that \once\hideNotes works fine.
We do not need the complexities of \tweak or the new \single until we start
digging into chords.
Keith OHara k-ohara5a5a at oco.net
My preferred method for placing a turn between notes is to tweak the
X-offset, viz.
c -\tweak #'X-offset #2 \turn
and modify the value accordingly. Seems a bit simpler than the snippet
solution (which seems to produce a smaller turn than the default
articulation?).
Kevin
Martin Tarenskeen m.tarensk...@zonnet.nl writes:
... but without using uppercase to make parsing by the computer
easier.
Actually, it makes typing music easier.
-- Johan
___
lilypond-user mailing list
lilypond-user@gnu.org
On Mar 10, 2013, at 4:45 AM, Janek Warchoł wrote:
On Sun, Mar 10, 2013 at 12:38 AM, Tim McNamara tim...@bitstream.net wrote:
My last attempt to install it on my Mac to run in an X11 window resulted in
literally hundreds of things being downloaded by MacPorts- dependencies for
the
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hello all,
Just thought I'd put my 2¢ in here…
In the last year alone, I have Lilypounded two stage musicals, a
chamber opera, and about a dozen smaller pieces, with a range of
styles from Alan Menken to Arnold Schoenberg. So I believe
Kevin Patrick Barry barr...@tcd.ie writes:
My preferred method for placing a turn between notes is to tweak the
X-offset, viz.
c -\tweak #'X-offset #2 \turn
and modify the value accordingly. Seems a bit simpler than the snippet
solution (which seems to produce a smaller turn than the
On 03/10/2013 03:50 AM, David Kastrup wrote:
The problem I have with talking much about \relative f is that f seems
arbitrary. However, maybe an explanation linking both of these concepts
and explaining how f is arrived at will allow both views to coexist.
That's what I was trying to get at
On Mar 10, 2013, at 10:22 AM, David Kastrup d...@gnu.org wrote:
The proposed convert-ly rule of issue 2329 converts everything it can
interpret (which is the majority) to argumentless \relative. This
conversion is needed for converting the LilyPond code base, and it
should be available to
Evan Driscoll drisc...@cs.wisc.edu writes:
On 03/10/2013 03:50 AM, David Kastrup wrote:
The problem I have with talking much about \relative f is that f seems
arbitrary. However, maybe an explanation linking both of these concepts
and explaining how f is arrived at will allow both views
On Mar 10, 2013, at 3:39 AM, flup2 phili...@philmassart.net wrote:
But as soon as the macports installation is done (between 1 and 4 hours
depending the computer age), anyone can create an .app bundle (I posted the
way to do it) that only includes a launch script.
Hi Philippe, Can you point
Hello,
I though I posted it here or on the Frescobaldi Google group, but it seems I
only posted it on the French user list. So here it is:
Creation of a launcher :
-
* download Platypus, that allows to integrate a script into a
double-clickable Mac application
* run
On 10/03/13 02:40, Jim Long wrote:
Just curious, how did the absolute notation system come about?
My main observations are that it is piano-centric, with
{ c d e f g a b c' } being an intuitive sequence, while { a b c d
e f g a' } is less logical. Mmm, well, maybe that's not
On 10/03/13 03:47, Sarah k Alawami wrote:
'd rather enter in the pitches like they are on a piano starting with c1
being low c and c8 being very high c all the way to the right of the
keyboard.
I assume you're a pianist? I'm not. So a piano-centric naming scheme
would be of no use to me at
Wols Lists antli...@youngman.org.uk writes:
On 10/03/13 02:40, Jim Long wrote:
Why is a A 220, and not A 440?
It isn't :-)
It is.
Read up on concert pitch - the wikipedia article is interesting, not
only in the fact that concert pitch has a single-digit ISO standard to
its credit!
And
Hello Folks,
I'm rather new to Lily, and I don't have any cons/pro arguments about this
change.
After reading the various reactions, a question : why not augment the language
with a new keyword?
Could be \relativeanchored or something, and would avoid the need for doc,
snippets and existing
Jacques Menu jacques.m...@tvtmail.ch writes:
Hello Folks,
I'm rather new to Lily, and I don't have any cons/pro arguments about
this change.
After reading the various reactions, a question : why not augment the
language with a new keyword?
Could be \relativeanchored or something, and
Hi David (et al.),
a) you can stay with your current usage easily enough
Excellent!
b) letting convert-ly change all of your existing files without explicit
instruction would seem inappropriate
+1
c) in \relative { c'' ..., the pitch might not actually be c''. If you
are wired to
On 10 March 2013 17:27, David Kastrup d...@gnu.org wrote:
The problem with that approach is that it does not adapt to LilyPond
choosing to use wider or narrower spacing depending on the page layout.
The problem with the other approach is that it involves more (and more
complex) code.
Would an
On Mar 10, 2013, at 1:23 PM, flup2 phili...@philmassart.net wrote:
#!/bin/sh
cd /Applications/frescobaldi
/opt/local/Library/Frameworks/Python.framework/Versions/2.7/bin/python2.7
frescobaldi
Thank you for the instructions! When I installed frescobaldi, I just did the
default install
The opt/ etc. path and the frescobaldi command must be on the same line.
They seem to be on 2 different lines in your command.
If the problem doesn't lie there, I'll try to modify my launcher to make it
work with your path.
Philippe
--
View this message in context:
Xavier Scheuer x.sche...@gmail.com writes:
On 10 March 2013 17:27, David Kastrup d...@gnu.org wrote:
The problem with that approach is that it does not adapt to LilyPond
choosing to use wider or narrower spacing depending on the page layout.
The problem with the other approach is that it
Oh the docs messed up. lol! It was in the notes reference guide at the octave
checks section.
Here is the example they gave.
\relative c'' {
c2 d='4 d
e2 f
}
so I followed the directions unless I just red it wrong. lol! whichI probably
did as I was rushing to get the assignment done.
The problem with that approach is that it does not adapt to LilyPond
choosing to use wider or narrower spacing depending on the page layout.
The problem with the other approach is that it involves more (and more
complex) code.
Would an \afterGrace-like command for delayed turn be a good
On 10/03/2013 17:35, David Kastrup wrote:
I have a hard time imagining what you'd be writing after \relative if
you can't even remember the name of middle C.
Without knowing at least_one_ absolute pitch, anchoring \relative will
be a challenge.
I simply crib the start of everything from
On Mar 10, 2013, at 4:08 PM, flup2 phili...@philmassart.net wrote:
The opt/ etc. path and the frescobaldi command must be on the same line.
They seem to be on 2 different lines in your command.
Ah, right. The email formatting made it seem like they were on separate lines.
I also realized
Sarah k Alawami marri...@gmail.com writes:
Oh the docs messed up. lol! It was in the notes reference guide at the octave
checks section.
Here is the example they gave.
\relative c'' {
c2 d='4 d
e2 f
}
so I followed the directions unless I just red it wrong. lol! whichI
Well I'm used to writing numbers as my theory person had us do for our key
board tests so I see c4 and think, Oh middle c on the piano. so that's how I
interpreted it in the docs as a middle c not a quarter note. I also
misinterpreted the ' symbol to mean a single quote so it literally did mean
2013/3/8 Klaus Föhl klaus.fo...@uni-giessen.de:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with hyphen
it is lek-ker. Using lec -- ker or lek -- ker ( on purpose not le -- cker)
the hyphen
On 11/03/13 08:57, Sarah k Alawami wrote:
Is there a way to memorize or through pattern recognition how many ' and ,
symbols it takes to jump octaves?
Think of it in terms of staff lines or spaces: a note within a fifth of
the previous note doesn't need ' or , to get the correct pitch, with
Hi Rama,
On Sun, Mar 10, 2013 at 8:33 PM, Rama Gottfried rama.gottfr...@gmail.comwrote:
Hi guys,
I'm making progress, but now am stuck and wondering if you have any advice
or see anything I'm doing wrong here (code below).
What I would like to be able to do is specify the handle
What is the recommended way to align a whole-note chord over a
whole-measure rest? The rest gets centered in the bar, whereas
the chord gets placed above where beat 1 of the measure would be.
Thanks!
Jim
\version 2.16.1
\paper {
ragged-last = ##f
}
\score {
\new ChordNames
Thanks David -- This is great, I can almost start with the score now.
I was (am still a bit) unclear about how the grob gets passed to the callback
function.
interesting that the grob is still available within the callback without
passing it -- I had thought that the stencil assignment was
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