Hi Calixte,
thanks but this is not what I am looking for. The general beaming should
be 4 times four 1/16 notes. Just in case one 8th and two 16ths are in
one group the 8th should be separated from the 16ths.
Cheers,
Joram
Am 21.04.2015 um 09:16 schrieb Calixte Faure:
Hi Joram,
You can either use brackets : { a8 a16[ a] a a a a }
But I guess you want it automated in every measure, so you have to override
the beatSturcutre:
{
\overrideTimeSignatureSettings
#'(4 . 8) % timeSignatureFraction
#'(1 . 16)% baseMomentFraction
Hi,
I'd like to have a few people who are interested in testing and
discussing a new way to select music and text fonts in LilyPond. When
finishing the infrastructure in openLilyLib it turned out that it's
better to include (major) parts in LilyPond itself. As a teaser I
attach the test file
Am 21.04.2015 um 14:44 schrieb Mattes:
Am Dienstag, 21. April 2015 14:23 CEST, Simon Albrecht simon.albre...@mail.de schrieb:
... Yet I have taken inspiration from there to create the
attached tool for making nice margins, which I’ve been using ever since.
Hmm, maybe I miss the obvious,
You guys are awesome! Took me a little bit to piece everything together, but
here's what I wound up with. It's almost exactly what I want - I still need to
figure out how to highlight clef changes in the first bar without highlighting
the initial clef indicator, and how to deal with clef
Attached (for ease of reading this post, code not embedded) is a simple
project that has a staff for C Major and all Major flat keys. Above each
7th chord is the chord name.
I want to add below the chord, treble clef, the associated Roman numeral
description of each chord.
I.E. on the C Major I
On 2015-04-21 09:51, Urs Liska wrote:
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
My musical intuition prefers the second line but the original score
reads the first.
The first version isn't
Hi Trevor,
I think the standard response to this is patches welcome ;)
Touché! ;)
No doubt it could - but only if someone was prepared to put the effort into
coding it.
My question *was*, ultimately, more of a technical inquiry than a feature
request: I never use MIDI, or anything
Hi Gilles,
As the question was asked on this forum, I felt I could provide
my opinion that some effort might be misplaced if its sole purpose
was towards improving the publishing business.
My opinion is that the future should not be that.
Hopefully, this thread will get wide input, so we can
Hi Gilles (et al.),
Whether or not funds will be obtained is a question that comes only
after people at various levels are made aware that LilyPond exists.
I totally agree. We should be pushing for Lilypond to be taken up by as many
educational and commercial [!!] institutions as possible,
Hi,
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
My musical intuition prefers the second line but the original score
reads the first.
Cheers,
Joram
___
Hi,
I can load a font with ly:system-font-load, providing the name to it, e.g.
(ly:system-font-load Beethoven-11).
I can also specify the full path to that file to load a font that is
installed in a known location outside the LilyPond installation.
What I would like to know is: Do I have to
On 20 Apr 2015 5:27 pm, Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de wrote:
Hi,
for the orchestra parts I used B4 portrait. Orchestra musicians love
this format as this fits well on a music stand (A3 is too big) and
fits more music than A4 (less page turns). I also used thicker
Am 21.04.2015 um 09:49 schrieb Noeck:
Hi,
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
My musical intuition prefers the second line but the original score
reads the first.
The first version isn't
Hi all,
Everybody who might consider a trip to Berlin should read this post:
http://lilypondblog.org/2015/04/der-rosenkavalier-chamber-version-with-berlin-philharmonic-orchestra/
Well, everybody else too ;-)
I have seen the production in Baden-Baden, and I can wholeheartedly
recommend
Hi Joram,
The people working on Mutopia are open for any good proposals.
You want to make a huge splash, and get more Lilypond awareness than you can
probably handle? ;)
Crowd-engrave something big (i.e., very popular) and daring (i.e., still under
copyright somewhere like the U.S.A., but
Hi Trevor,
Sure you did, but the point of the example the OP submitted from the NR was
to show how to allow lyrics to be unfolded along with the music.
Ah. Sorry for the noise.
1. Shouldn’t we be [heavily] promoting, even in tiny snippets, the use of
global variables to hold \repeat
Hi all,
concrete version of a previous question:
if I have Scheme expressions like the following
#(display (ly:get-option 'datadir)
#(let ((fontdir
(opendir
(string-append
(ly:get-option 'datadir)
/fonts
(display fontdir))
how will path names be
Am 20.04.2015 um 08:45 schrieb Andrew Bernard:
So Ponders,
What size paper do you print scores on?
I haven’t yet tried to use any other format than A4 (except for printing
brochures on folded A3), although I learned from
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (only in German,
Am 21.04.2015 um 09:49 schrieb Noeck:
Hi,
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
This was rather common in the 18th and 19th centuries I think and in
tight vertical spacing it helps.
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
That’s
Am Dienstag, 21. April 2015 14:23 CEST, Simon Albrecht simon.albre...@mail.de
schrieb:
... Yet I have taken inspiration from there to create the
attached tool for making nice margins, which I’ve been using ever since.
Hmm, maybe I miss the obvious, but in your code:
(define
Am 21.04.2015 um 14:27 schrieb Simon Albrecht:
Am 21.04.2015 um 09:49 schrieb Noeck:
Hi,
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
This was rather common in the 18th and 19th centuries I think and in
tight vertical spacing it helps.
How is it different from:
actually if
i like
I = ^\markup \raise #2 \pad-around #.2 \halign #-2 \concat{\italic {I
\lower #.5 \super 7}}
ii =
etc.
then add
roman = { \I s1 \ii s1 \iii s1 ... }
then in each just add
\roman
fmajortreble = {
\keychangevisual
\key f \major \break
\roman
f a c e1 g bes d f1 a
Wow, thanks Stephen. That is wicked cool. You extended a great deal of
help and I really appreciate it.
I need some time to work through the alignment, markup, padding, etc that
you have employed to get my head around it. As well, I need to find the
definition of and other characters that are
8.5 x 11 sometimes other sizes when printing orchestral scores. What
is the point of this survey?
Shane
On Tue, Apr 21, 2015 at 3:46 PM, Simon Albrecht simon.albre...@mail.de wrote:
Am 21.04.2015 um 14:44 schrieb Mattes:
Am Dienstag, 21. April 2015 14:23 CEST, Simon Albrecht
Hello,
I am doing work for a client involving fretboard diagrams. He does not
like that the default barred chords show the dots in between the
outermost strings involved.
Is there a way to turn off the dots in the middle of a barred fret? I
can do it when I create a fretboard markup
I changed the line:
vii = ^\markup \concat{\italic {vii \lower #.5 \pad-around #.2 \combine
\super\draw-line #'(.7 . .9)\super o super 7}}
To
vii = ^\markup \concat{\italic {vii \lower #.5 \pad-around #.2 \combine
\super\draw-line #'(.7 . .9)\super o \super \lower #.5 7}}
I lowered the last
add something like this at top
I = ^\markup \pad-around #1 \halign #-2 \concat{\italic {I \lower #.5
\pad-around #.2 \super 7}}
ii = ^\markup \pad-markup #1 \halign #-2 \concat{\italic {ii \lower #.5
\pad-around #.2 \super 7}}
iii = ^\markup \pad-markup #1 \halign #-2 \concat{\italic {iii
Message: 5
Date: Tue, 21 Apr 2015 19:43:02 +0200
From: Urs Liska u...@openlilylib.org
To: lilypond-user lilypond-user@gnu.org
Subject: Font access testers needed
Hi,
I'd like to have a few people who are interested in testing and
discussing a new way to select music and text fonts in
Hello,
this becomes much less cumbersome by using \transpose. Also I’d suggest
splitting it into individual scores. And there were some code style
issues here also – I attach a much cleaner version (attaching is
preferrable since nothing may be messed up on the way).
HTH, Simon
Am
On 20/04/15 15:54, Kieren MacMillan wrote:
Some say that Microsoft obtained its original OS dominance (which at one
point was approaching 95%) specifically by giving the priority to non-users:
it wilfully allowed (or even secretly supported) the proliferation of pirated
copies of early
All,
I realize that I was just keeping this information to myself, so I decided,
particularly with the recent discussions about the future of LilyPond in
and out of the commercial world, I thought I'd publish some of the results
of the survey I launched last July. Here are the results of the
On Tue, Apr 21, 2015 at 11:39:00PM +0200, Pierre Perol-Schneider wrote:
Hi Abraham,
Thanks for sharing the results.
And I'm surprised too : 5a persons, that's roughly 20% of the member's list
(I'd bet on 100 persons at least).
Too bad.
I missed this survey...
But FWIW, what is my
I didn't do it just the markup but thanks anway
stephen
On Tuesday, April 21, 2015, Simon Albrecht simon.albre...@mail.de wrote:
Hello,
this becomes much less cumbersome by using \transpose. Also I’d suggest
splitting it into individual scores. And there were some code style issues
here also
On 4/21/15 10:34 AM, SonusProj . sonusproject...@gmail.com wrote:
I want to add below the chord, treble clef, the associated Roman numeral
description of each chord.
I.E. on the C Major I would have I, the Dm7 would have ii7 with the 7 in
superscript, the Em7 would have iii7 with the 7 in
Hi Abraham,
Thanks for sharing the results.
And I'm surprised too : 5a persons, that's roughly 20% of the member's list
(I'd bet on 100 persons at least).
Too bad.
Cheers,
Pierre
2015-04-21 23:21 GMT+02:00 Abraham Lee tisimst.lilyp...@gmail.com:
All,
I realize that I was just keeping this
here you go
CUT
\version 2.18.2
\header {
title = Root Position 7th Chords
composer = Lance James
}
harmonies = \chordmode {
c1:maj7 d:m7 e:m7 f:maj7 g:7 a:m7 b:m7.5- \break
f1:maj7 g:m7 a:m7 bes:maj7 c:7 d:m7 e:m7.5- \break
bes1:maj7 c:m7 d:m7 ees:maj7 f:7 g:m7 a:m7.5- \break
On 4/21/15 1:38 PM, James Worlton jworl...@gmail.com wrote:
Hello,
I am doing work for a client involving fretboard diagrams. He does not
like that the default barred chords show the dots in between the
outermost strings involved.
Is there a way to turn off the dots in the middle of a barred
That solution is also quite elegant. I need to spend some time
understanding what you have created.
Your chosen syntax is beyond my current understanding.
Thanks for your input.
Respectfully,
Lance
On Tue, Apr 21, 2015 at 6:32 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
2015-04-21
Simon, I have several questions now that I have had a chance to review you
code.
1) I wish to show the key for each staff line in lieu of showing all the
accidentals relative to c. Is this possible with your current strategy?
2) If I wish to change the octave of either bass or treble clef on any
i have received many responses to my question.
i responded to each email using the lilypond-user address but do not
receive notice of my reply as i would expect.
am i responding correctly?
i assumed, though possibly incorrectly, that a reply to this email address
would send notice to all
It's a bit of a side topic, but the the thread has touched on
questions of usability, so I think it's related.
I think there's one command in Finale that demonstrates a major obstacle to
widespread adoption of LilyPond: Delete Measure Stack. This is an extremely
common need when editing scores,
At 21:38 21/04/2015 -0500, Lance James wrote:
i responded to each email using the lilypond-user address but do not
receive notice of my reply as i would expect. am i responding correctly?
Yes.
i assumed, though possibly incorrectly, that a reply to this email
address would send notice to all
thanks Carl.
Lance
On Tue, Apr 21, 2015 at 5:27 PM, Carl Sorensen c_soren...@byu.edu wrote:
On 4/21/15 10:34 AM, SonusProj . sonusproject...@gmail.com wrote:
I want to add below the chord, treble clef, the associated Roman numeral
description of each chord.
I.E. on the C Major I would
Lilypond is not a terribly great tool for composition purposes. Not
that I don't use it for that but when I do the whole piece is already
in my head and I am not usually prone to making large changes in
structure. As noted previously that tends to be a cumbersome process.
Also somewhat cumbersome
Thanks, Carl. This does what I'm looking for. Is this in the documentation? I
couldn't (and still can't) find it.
James Worlton
On Apr 21, 2015, at 17:17 , Carl Sorensen wrote:
On 4/21/15 1:38 PM, James Worlton jworl...@gmail.com wrote:
Hello,
I am doing work for a client involving
Dear lilipond Group! My name Kond éltes I just want to know how I can use
the program to midi2ly after my own music scores to print ask steps midi2ly
aplication eltesk...@gmail.com yours kond Éltes
Éltes Kond /n.d.n.s.l./lilipon
___
lilypond-user
2015-04-21 19:34 GMT+02:00 SonusProj . sonusproject...@gmail.com:
Attached (for ease of reading this post, code not embedded) is a simple
project that has a staff for C Major and all Major flat keys. Above each
7th chord is the chord name.
I want to add below the chord, treble clef, the
Hi Harm,
very impressive, but don’t you also think that it’s a little overkill to
launch such big efforts on this small task? If it were on a larger
scale, the automation would be more efficient, but with myself I observe
that I tend to invest far more time into using as much automation as
2015-04-22 1:32 GMT+02:00 Thomas Morley thomasmorle...@gmail.com:
2015-04-21 19:34 GMT+02:00 SonusProj . sonusproject...@gmail.com:
Attached (for ease of reading this post, code not embedded) is a simple
project that has a staff for C Major and all Major flat keys. Above each
7th chord is the
2015-04-22 2:20 GMT+02:00 Simon Albrecht simon.albre...@mail.de:
Hi Harm,
very impressive, but don’t you also think that it’s a little overkill to
launch such big efforts on this small task? If it were on a larger scale,
the automation would be more efficient, but with myself I observe that I
On Mon, 20 Apr 2015 20:19:37 -0700, Jim Long wrote:
On Fri, Apr 17, 2015 at 04:45:20PM +0200, Gilles wrote:
If and when big publishers use LilyPond, the result will be more
restricted access (through cost) to culture (because they won't
release
their proprietary contents).
Forgive me if
Urs and Joram
not sure about how you intend this excerpt to be personal etc. However in
the past composers often indicated ideas through different ways - different
groups of sixteen notes etc. to show phrasing, articulation etc. again i
don't know the piece or the context so a rule of thumb is
python27.dll is flagged up as a vunerability by Kaspersky can I update to a
later version without upsetting Lily or Fresco?
regards
Peter Gentry
___
lilypond-user mailing list
lilypond-user@gnu.org
54 matches
Mail list logo
