Re: [basic question] how to disable text spanners for the lower staff of a PianoStaff

On Fri, 10 May 2024 15:07:33 +0800 Mark Knoop wrote --- > Haven't tested, but I think Text_spanner_engraver lives in Voice, rather than > Staff. Try removing from the \global Voice, otherwise send a WME. Ah... indeed. That does take care of it. \new PianoStaff \with {

[basic question] how to disable text spanners for the lower staff of a PianoStaff

I've got a piano staff (for guzheng, just notating on two staves), and an "accel." text spanner in a \global var. The accel is printed in both staves of the piano staff. I'd thought this would hide it from the lower staff: \new PianoStaff \with { instrumentName = "古筝"

Re: Suppressing TextSpanner right boundary text at a system break

On Thu, 20 Sep 2018 01:17:57 +0800 wrote > From: foxfanfare > > James Harkins-4 wrote > > I have many text spanners with text for both the left and right bounds. > > > > If a spanner crosses a system break, I would like the right-hand text t

Suppressing TextSpanner right boundary text at a system break

Apologies if this is a basic question. I've searched but I didn't find the answer. I have many text spanners with text for both the left and right bounds. If a spanner crosses a system break, I would like the right-hand text to be hidden at the end of the first system. The spanner represents

Re: TextSpanner: Change text at automatic line break?

On May 22, 2018 10:51:12 Kieren MacMillan wrote: You should look at David N's incredible spanner-with-inner-texts (or similarly named) — I'm pretty sure it’ll do all that (and more). Aha -- that just might be the droid I'm looking for. Will search. Thanks!

Re: TextSpanner: Change text at automatic line break?

On Mon, 21 May 2018 19:12:56 +0800 Thomas Morley wrote > \relative c' { > \override TextSpanner.bound-details.left.text = "abc" > \override TextSpanner.bound-details.left-broken.text = "foo" > c1 \startTextSpan > \repeat unfold 20 { c1 } >

TextSpanner: Change text at automatic line break?

Hi, Using a TextSpanner, is there a way to change the text in the middle, so that the new text appears at the next system break (whichever bar that is)? \version "2.19.80" \language "english" \relative c' { \override TextSpanner.bound-details.left.text = "abc" c1 \startTextSpan \repeat

Re:Vintage Jazz Chords post in 2011 - Howto get it to display on Fresco?

> I pasted this into Frescabaldi... you have to paste it to where lilypond can find it. That is not necessarily the font directory of lilypond, but I think that is not a wrong place. lilypond does not have frescobaldi in the search path. As I read the original post, it's quite plausible that

Re: Required font for simplified Chinese characters?

On Sat, 09 Dec 2017 14:23:46 +0800 Andrew Bernard wrote > With the release of stable version 2.20 coming out in the forseeable future, > and with 2.19.80 being really stable and excellent, could you considering > moving up? No crash occurs at 2.19.80, and there are dozens of really

Re: Required font for simplified Chinese characters?

Thanks to all for the advice. And, now with a little spare time, I checked the font list: $ lilypond -dshow-available-fonts 2>&1 | grep 'CJK SC' family Noto Sans CJK SC Noto Sans CJK SC,Noto Sans CJK SC Bold:style=Bold,Regular ... and many other style variants Unfortunately, the crash

Re: Required font for simplified Chinese characters?

On December 8, 2017 12:33:21 Andrew Bernard wrote: Hi James, What platform are you on? Do you want simplified or traditional characters? Oh right, I forgot the OS. I'm on Ubuntu Studio 16.04. I'm based in mainland China, so, simplified characters. Btw my

Required font for simplified Chinese characters?

I have: \header { dedication = "为星海音乐学院的电脑乐团，2017年秋天" . } (Roughly, "For the Xinghai Conservatory Fall 2017 Laptop Orchestra" with no assurance of absolute correctness in the Chinese.) I get: Converting to `./test.pdf'... warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28

Re:[OT] Linux Users

FWIW, Emacs org-mode is a really nice way to integrate LaTeX and LilyPond for articles. org-mode exports to LaTeX. org-babel can automatically run LilyPond source blocks embedded in the org document, generating EPS and dropping it seamlessly into the LaTeX document. If you wrap the source

Rhythmic clusters (i.e. *not* \makeClusters)

That other question... I would like to notate some clusters, but articulated: blocks instead of notes, but showing repeated, re-articulated blocks. \makeClusters doesn't do it. Even if I put a "s"kip in between, it still connects them into one massive gesture. Plus, I need rhythmic notation.

Re: "Text spanner"-ish thing with text in the middle

On Sat, 28 Oct 2017 13:55:49 +0800 Nathan Ho <nat...@snappizz.com> wrote > On 2017-10-27 21:37, James Harkins wrote: > > I couldn't find this quickly: for an unmetered section, I'd like to > > indicate duration by tuplet-style brackets, only not a tuplet (n

"Text spanner"-ish thing with text in the middle

I couldn't find this quickly: for an unmetered section, I'd like to indicate duration by tuplet-style brackets, only not a tuplet (no change to note durations) and with arbitrary text markup in the middle, e.g. if a tuplet goes :- 3 -: I'd like :--- 10" ---:

Re: Piano Left Hand Alone

It's perhaps one of the confusing things in LilyPond that it engraves only the staves that you create. By convention, a piano staff has two staves, *but those staves don't exist unless you make them*. A PianoStaff is a staff group (container for staves) with specific properties: left brace,

Markup + fermataMarkup over a note?

Hi all, In an unmetered section, the soloist has some longish rests that I would like to notate this way, e.g.: 9-10" fermata full-bar rest (within the staff) I know how to do the duration as a markup, and I know how to do \fermataMarkup, but I don't know how to combine them and center them.

Re: Markup + fermataMarkup over a note?

> I also looked for the \musicglyph identifier for a fermata, but this seems > not to be documented in the Notation Reference's page on the Feta font. > (Searching the page text for "fermata" failed.) To be more precise, I used Frescobaldi's doc browser search-in-page feature, and *this*

Re: Reducing staff numbers in LilyPond

> On 16 Oct 2017 20:38, "Ken Williams" wrote: > I honestly did not expect this kind of response, and I'm getting it from > multiple people. I asked a technical question and got a whole bunch of > "answers" saying I'm stupid to try to achieve that effect. Except for >

Re: "Creating MIDI Files" doc is wrong

On Sun, 15 Oct 2017 18:32:29 +0800 David Kastrup wrote > > Never mind, I see my mistake now. I had extrapolated from \new Staff > > and \new Voice to \new Score. LilyPond accepts \new Score > > (!). Possible improvement might be to reject that wrong syntax with an > >

Re: "Creating MIDI Files" doc is wrong

On Sun, 15 Oct 2017 17:39:18 +0800 James Harkins <jamshar...@zoho.com> wrote > However, the LP version installed from Ubuntu 16.04 packages requires this: > > \layout { } > \midi { } > \score { > …music… > } > > \layo

Re: "Creating MIDI Files" doc is wrong

> 1. If I write it as specified in the manual, I get a syntax error. > > 2. If I write it as above, I get no syntax error, and no MIDI file. Never mind, I see my mistake now. I had extrapolated from \new Staff and \new Voice to \new Score. LilyPond accepts \new Score (!). Possible

"Creating MIDI Files" doc is wrong

I suppose this must have been reported at some point, but, LP 2.18.2 (stable): http://lilypond.org/doc/v2.18/Documentation/notation/creating-midi-files ``` To create a MIDI output file from a LilyPond file, insert a \midi block inside a \score block; \score { …music… \layout {

Re: Ties between voices?

On Sat, 07 Oct 2017 23:15:17 +0800 Thomas Morley wrote > > You could do \override TieColumn.positioning-done = ##t, but be aware, > > using it means you are now responsible yourself for the Tie's > > directions. > > You tell LilyPond "Don't bother placing

Re: Ties between voices?

On Sat, 07 Oct 2017 20:49:31 +0800 Simon Albrecht <simon.albre...@mail.de> wrote > On 07.10.2017 13:55, James Harkins wrote: > > But, it's a chord where I want the lower tie to go down, and > > the upper one to go up... > > Put the ties inside th

Re: Ties between voices?

On October 7, 2017 20:49:38 Simon Albrecht <simon.albre...@mail.de> wrote: On 07.10.2017 13:55, James Harkins wrote: But, it's a chord where I want the lower tie to go down, and the upper one to go up... Put the ties inside the chord: <b_~ b'^~> I'm binge watching Rick &

Re: Ties between voices?

On October 7, 2017 14:52:06 Werner LEMBERG wrote: Without looking at your example: Use `_~' and `^~' instead of `~' to immediately specify a tie's direction. Crikey, I knew about that for slurs, didn't think of it for ties. But, it's a chord where I want the lower tie to go

Re: Ties between voices?

Continuing with this neat "\context Voice" trick -- quite powerful. I see how it works: you have two expressions stuffing events into the same Voice context, and LP merges them into one timed list and does the best it can to make sense out of the tie properties. I've got one I can't quite get

Re: Ties between voices?

A-ha, got it, it was a combination of Harm's trick plus a hidden note: \new Score { \new Staff { \numericTimeSignature << \new Voice = "a" \relative c' { \voiceOne \set tieWaitForNote = ##t c16 g' ~ 8 ~ q2. ~ q2 ~ 2 } \context Voice =

Re: Ties between voices?

> Probably: > > \new Score { > \new Staff { > \numericTimeSignature \time 2/4 % barline, so E must be tied > << > \new Voice = "xy" \relative c' { > \set tieWaitForNote = ##t > 2~ > } > \context Voice = "xy" \relative c' { > s4 \voiceTwo f4 ~ 2

Ties between voices?

Hi, been away for awhile. I'm now writing for khaen, a Thai mouth organ. Fascinating instrument. Notation is usually single-staff and heavily multi-voiced. One nut I never cracked in LilyPond: how to tie a note from one Voice to another, e.g. \new Score { \new Staff <<

TextSpanner + \mark?

Is there a way to use a textspanner with a \mark? Rationale: accel. and rit. directions are frequently text spanners, but in the score, they aren't printed in every part (as \mark items are not printed in every part). Of course, in the parts, they must appear (as \mark's do). Currently (as far

Re: TextSpanner + \mark?

Simon Albrecht simon.albrecht at mail.de writes: Unfortunately no. See https://code.google.com/p/lilypond/issues/detail?id=3176. I had a feeling that was the answer. :( It's not a huge deal for my current project, but it's certainly a weakness. hjh

\afterGrace control over stem length

Hi, I have a couple of \afterGrace's in close proximity. One has normal-looking stems on the grace notes (attached, first bar). The other's stems are too long (third bar). I'm not tweaking, overriding or setting anything at that point in the input code: g4 ~ \ g8 ) af4. ~ ( af g8 ~ g4 )

Re: \afterGrace control over stem length

Pierre Perol-Schneider pierre.schneider.paris at gmail.com writes: I was not able to reproduce the stem length shown on your picture. Please be so kind to send compilable example including the version you're using. That might be awhile... time is short at the moment and I have a feeling that it

Re: Do we really offer the future?

On April 22, 2015 7:43:10 PM Trevor Daniels t.dani...@treda.co.uk wrote: Although not well-publicised there is a way of entering multi-voice or multi-staff music complete bar by complete bar. There is a restriction that bars must be all the same length, but at least all the notes of a bar

Re: Do we really offer the future?

On April 22, 2015 12:30:18 PM Shane Brandes sh...@grayskies.net wrote: 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

Re: Do we really offer the future?

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,

ChordNames vs. \numericTimeSignature: used to be OK, not now

*sigh* Most of the time, LilyPond is amazing. Other times... I have an old document, a lead sheet, following basically the form an excerpt [A]. This prints out as I would expect: a single staff with melody, lyrics below and chord names above the staff. I have a new document, following almost

Re: Jianpu Notation

Super-User david290 at qq.com writes: I am a Java developer and music amateur from China who is familiar with both 5-staff notation and Jianpu (aka numberic) notation used for all pitched Chinese instruments. I have seen post discussed about displaying Jianpu notation in Lilypond years ago,

Re: Using lilypond examples in an essay or text document

:prologue \header{tagline=##f} #+TITLE: Org-mode, LaTeX, LilyPond #+DATE: 2015-04-05 Sun #+AUTHOR: James Harkins #+LATEX_CLASS: article #+DATE: \today If you're into What You See Is What You Mean, org-mode supports LilyPond code blocks: #+BEGIN_SRC lilypond :file demo.eps :exports results \relative

Manual gotcha: beatStructure

I just got slightly confused trying to use beatStructure, and a small edit to the manual might help. \version 2.18.2 \language english five = { \set Timing.beatStructure = #'(3 2) \time 5/8 } seven = { \set Timing.beatStructure = #'(3 2 2) \time 7/8 } \new RhythmicStaff { % \set

Re: Manual gotcha: beatStructure

On March 22, 2015 12:00:05 AM Trevor Daniels t.dani...@treda.co.uk wrote: I think it must be that the variable implicitly creates a separate voice, and the beatStructure applies only within the voice. No, that's not the reason. The reason is that there is a separate beatStructure for each

[OT] We need LilyPond office space...

... if only so that Brian Ferneyhough can visit: http://www.finalemusic.com/blog/brian-ferneyhough-visits-makemusic/ I can take the rhythmic notation and, using OpenMusic Syntax, port it to Finale. I clean it up in Finale... That last one... I think there's a step that we can make less

Multiple spaces disappear in SVG rendering

Interesting little discrepancy -- I just found that consecutive spaces in markup strings render correctly using the PDF backend, but get collapsed down to one space in SVG. I'm documenting a live-coding library, mainly using Emacs org-mode + LaTeX, but I threw in a bit of LilyPond to make a

Re: Demo: Score and parts template

Johan Vromans jvromans at squirrel.nl writes: In fact, this is separation of content and structure. It works for many structure-related items but unfortunately not for repeats. For example, in the following snippet the score looks right, but in the midi the repeats are not unfolded. Do you

Re: Score and parts template

On January 11, 2015 8:06:55 PM Phil Holmes m...@philholmes.net wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet,

Re: Score and parts template

Phil Holmes mail at philholmes.net writes: I believe that, as a tutorial template, it would be more useful to illustrate how to accommodate key signature indications with transposing instruments, since this remains the norm for most music. Ah, OK -- that makes perfect sense. It sounded at

Re: Score and parts template

From: Phil Holmes Since the question came up about organizing LilyPond code for score and parts, I thought I would make a quick demo of what I believe to be the standard way to do it. Somehow I pieced these ideas together from LP code that I found online (Mozart Horn Concerto, as I

Demo: Score and parts template

} composer = H. James Harkins copyright = Licensed under Creative Commons CC-BY-NC-SA 4.0 poet = Score in C } \score { \new StaffGroup \new Staff \with { instrumentName = Oboe shortInstrumentName = Ob. } % this expression runs global simultaneously with the oboe notes

Charpentier /Messe de minuit/ free score

I went trolling about the web this morning looking for public-domain scores of some of the pieces on the Boston Camerata's excellent album /A Baroque Christmas/. Most of them are too obscure to have made it onto IMSLP, except Marc-Antoine Charpentier's breezy and charming /Messe de minuit sur

Re: menu language of LilyPad

Jinsong Zhao jszhao at yeah.net writes: I am wondering if there is a way to change the menu language (interface) of LilyPad and/or LilyPad-ascii. I prefer English. I am running Windows 7 under locale: Chinese (Simplified)_People's Republic of China.936. The interface of LilyPad and

Re: First time Voices user

peter at chubb.wattle.id.au writes: As an aside, dutch note names and \relative make data entry MUCH faster. See below (part 2). FWIW, English note names are shorter if you use f for flat and s for sharp: cs vs cis is 33% more efficient. I understand why some prefer the Dutch names, as you

Re: Need multiple \mark entries over the same barline

On Wednesday, July 30, 2014 8:09:21 AM EDT, Thomas Morley wrote: This looks more like a MetronomeMark \mark \markup { \fontsize #-2 { \note #4. #1 = \note #2 #1 } } It should be possible to stack MetronomeMark and RehearsalMark in some manner. A... I had forgotten that \tempo can take

Re: cadenzaToMusic function, odd behavior causing barcheck failures

On Jul 29, 2014 7:29 AM, James pkx1...@gmail.com wrote: On 29/07/14 04:46, James Harkins wrote: Some time ago, a user here gave me a cadenzaToMusic function, which could stretch rests in non-cadenza parts to match the duration of a cadenza. (That's because I was having problems with compressing

Re: cadenzaToMusic function, odd behavior causing barcheck failures

On Tuesday, July 29, 2014 11:15:50 AM EDT, David Kastrup wrote: Uh, \unset Timing.measureLength? I don't think that LilyPond is going to be happy with an unset measure length. That makes sense, but does it apply to this case? There's a meter change just after the \cadenzaToMusic call;

Shortest duration by --verbose option?

http://lilypond.org/doc/v2.18/Documentation/notation/horizontal-spacing-overview says: ~~ The most common shortest duration is determined as follows: in every measure, the shortest duration is determined. The most common shortest duration is taken as the basis for the spacing, with the

Need multiple \mark entries over the same barline

In some places, I have a \markup-style mark over the same barline, and at the same barline, I also want a rehearsal mark (produced by \mark \default). Unfortunately it seems only one \mark is allowed at any given moment. This is a type of markup-style marking I mean: \mark \markup {

cadenzaToMusic function, odd behavior causing barcheck failures

Hi, Some time ago, a user here gave me a cadenzaToMusic function, which could stretch rests in non-cadenza parts to match the duration of a cadenza. (That's because I was having problems with compressing the cadenza music to fit in a normal-length bar.) I've used it in a couple of pieces

Optical spacing -- no more?

Something I've been wondering about for awhile... lilypond.org boasts of optical spacing for notes with alternating up and down stems, but it seems this feature has been lost somewhere (or disabled by default). In this example, it's quite plain to my eyes that the stems are not equally spaced

Nifty trick with tags and \shape

If you ever need the score and a transposed part to have a different slur shape in places... this does it :) Just had to share -- actually I wasn't entirely sure this would work, but it's perfect! hjh \version 2.18.2 \language english music = \relative c' { \tupletSpan 1*6/8 \tuplet 4/3

Custom accidental style (for cadenza)?

TL;DR version of the question: How could I define an accidental style that behaves mostly like neo-modern, but also avoids repeating accidentals within a beamed group? Full explanation why -- I have a cadenza which, according to Frescobaldi's duration counter, spans 59 quarter notes. It's in

Re: Custom accidental style (for cadenza)?

On Tuesday, June 17, 2014 8:21:10 AM HKT, David Nalesnik wrote: Here's a variation which incorporates my little discovery :) This is great! Thanks! I can safely say, it probably would have taken me half a year to figure this out on my own... In the second example, the ! forces the natural.

\cadenzaOff resets accidentals too late

This smells like a bug to me: \version 2.18.2 \language english \relative c' { \cadenzaOn a4 b cs d% accidental is printed \cadenzaOff \bar || % \time 4/4 e d cs b% accidental is NOT printed -- huh?? a b cs d% accidental is printed } I'm aware that \cadenzaOn will remember

Slur crossing through accidental

I am at a complete loss what to do about this slur. It collides with the b-flat's accidental in a way that makes it hard to see what the slur is supposed to be. \version 2.18.2 \language english \relative c { \clef bass \time 6/8 bf8 ( d' ) r8 bf,16 ( bf' ) d ( bf d bf ) } I tried

Re: Slur crossing through accidental

On Thursday, June 12, 2014 11:16:27 PM HKT, Karol Majewski wrote: Hi, James How about: \override Slur.details.accidental-collision = #1000 ? No difference here: \version 2.18.2 \language english \relative c { \clef bass \time 6/8 bf8 ( d' ) r8 \override Accidental.avoid-slur =

Re: Odp: Slur crossing through accidental

On Thursday, June 12, 2014 11:22:57 PM HKT, Karol Majewski wrote: And of course you have to increase region size. So it should be: \override Slur.details.region-size = #5 \override Slur.details.accidental-collision = #1000 Thanks, all, for the suggestions. Increasing the slur region ended up

Re: SystemStartBracket/Brace

Matthew Collett m_collett at ihug.co.nz writes: On 10/06/2014, at 4:28 am, David Kastrup dak at gnu.org wrote: Please *never* take the mailing list off the cc without announcement. Please *never* blame ordinary list users for the idiosyncratic behaviour of the lilypond-user mailing

[bug?] Unnecessary avoid-slur warning

It appears that LilyPond 2.18.2 prints a warning if a trill pitch occurs under a slur, regardless of the chance of collision. \relative c' { % OK \pitchedTrill d2\startTrillSpan ~ e d4. r8\stopTrillSpan % warning: Ignoring grob for slur: TrillPitchAccidental. avoid-slur not set? % But

\mark and text spanners?

Is it possible to use a text spanner in a \mark? That is, accel... is about tempo, so it makes sense -- as with other tempo marks -- to print it just once in the score (especially this score: 3 players, 3 staves). But it seems this is not possible with a text spanner. hjh Sent with

articulate.ly: command to start trills on the lower note?

I was just toying with articulate.ly, to hear some trills, when I noticed that it's starting the trill on the upper note. This is appropriate for older music but dead wrong for contemporary music. (If not dead wrong, then certainly generally wrong.) How to configure this? \include

Re: articulate.ly: command to start trills on the lower note?

On Sunday, May 18, 2014 3:38:43 PM HKT, James Harkins wrote: I was just toying with articulate.ly, to hear some trills, when I noticed that it's starting the trill on the upper note. This is appropriate for older music but dead wrong for contemporary music. (If not dead wrong, then certainly

Beams not drawn after \unHideNotes

I'm making that exercise for my students now** and found... the first group of eighths after \unHideNotes is missing its beam. It omits 8th-note flags, and it draws the stems as if it's going to beam them, but... no beam. ** Thanks, Pierre, for reminding me about \hideNotes! \version 2.18.2

Re: Beams not drawn after \unHideNotes

On Thursday, May 15, 2014 8:42:56 PM HKT, James Harkins wrote: I think I see why... it's trying to beam a group of four 8ths, where the first two are hidden. It'd be nicer if LilyPond could detect the situation and just Do The Right Thing. Just occurred to me -- a simple solution would

Typesetting exercises with blank space

I want to create an exercise for some beginning composition students, where I will provide some short melody fragments sprinkled through a longer score. Most measures will be empty, but I want LilyPond to leave enough space for the students to write in their own notes. I looked in the notation

Re: frescobaldi vs. org-babel-lilypond

Steven Arntson steven at stevenarntson.com writes: I may be getting in over my head with this question. I'm a new user of Lilypond, transitioning away from Musescore. I've been using Frescobaldi a bit, and am impressed with it so far. However, I see there's an Emacs mode available through

Re: Collision between tuplet bracket and accidental

On Friday, 25 April 2014 15:59:16 HKT, Pierre Perol-Schneider wrote: 2014-04-25 7:29 GMT+02:00 James Harkins jamshar...@gmail.com: I have a case (attached) where LilyPond doesn't leave enough space for an accidental. Try : \once\override NoteColumn.X-offset = #1 Perfect, thanks! hjh

Collision between tuplet bracket and accidental

I have a case (attached) where LilyPond doesn't leave enough space for an accidental. This minimal example *almost* reproduces it. There's not an actual collision here, but the space is uncomfortably small. If anything forces narrower spacing (as in my full piece), they will crash into each

Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!

Mark Mathias d8valily at gmail.com writes:  I also used to be managing editor of a music publisher in the days when engraving was done with a re-built Olympia typewriter and hand-drawn slurs. I would like to nominate this as the single most insane sentence to be posted on this mailing list all

Symbol to indicate an unmetered (cadenza) bar

I'm writing a piece that will have a few cadenzas. In the cadenza pseudo-bars, I want to print some kind of glyph where the time signature would normally go, to indicate that this bar is unmetered. My first thought was a 0, and I found in the manual that I can actually get the 0 to appear in

Re: Symbol to indicate an unmetered (cadenza) bar

On Apr 17, 2014 6:11 PM, David Stephen Grant da...@davidgrant.no wrote: Gould recommends a cross together with a tempo marking senza misura. Kurt Stone however recommends a zero. Thanks. I had used a zero with a vertical bar through it back in school. Hm, a choice then: - Zero: Use a (perhaps

Re: Generative music and Algorithmic composition

Philip Rhoades phil at pricom.com.au writes: People, David took this discussion off-list and then accused me of not having the guts to respond on-list . . In an ideal world, I'd suppose that if one needs to preface an email with grade-school playground ethics, one *might* take that as a

Re: Survey: Git (G)UIs

Urs Liska ul at openlilylib.org writes: Hi all Git users, I'd like to make a survey on how you are working with Git. Do you use the command line exclusively, or a GUI (which one(s))? Or a GUI for certain tasks and the command line for others? I don't have an opinion on git pedagogy. In

Re: Weirdness With Fonts and Font Tree Snippet

Joshua Nichols josh.d.nichols at gmail.com writes: see attached. It was lengthy. For future reference, probably you needed this, for case-insensitive searching. fc-list | grep -i libertine hjh ___ lilypond-user mailing list

Re: [Feature Request] \compressFullBarRests improvement(s)

On Sunday, December 22, 2013 5:07:11 PM HKT, Simon Bailey wrote: I also support this request. Another reason is that in many parts of percussion instruments, say, there is `tacet' for a very long time, e.g. from rehearsal number 20 to 76. A potential new implementation of \compressFullBarRests

Re: [Feature Request] \compressFullBarRests improvement(s)

Kieren MacMillan kieren_macmillan at sympatico.ca writes: I don't understand why, if you want a four measure rest you would write 2+2. For the vast majority of cases, if there are 48 bars between two rehearsal marks I'm happy to see |=48=| between them. So, why write anything but R1*48 in

musicxml2ly bug: Fails on empty work-title / node

In case anybody is working on musicxml2ly: I just found that it doesn't handle the case of an XML document where the title node exists, but is empty. I've uploaded a zip archive of two musicxml documents. http://ubuntuone.com/0iNRBh17UxPJWlVJikFYVD ** 13-1220-li-xuanyi.xml -- The original

Re: musicxml2ly bug: Fails on empty work-title / node

On Dec 21, 2013 5:56 PM, pls p.l.schm...@gmx.de wrote: On 21.12.2013, at 09:14, James Harkins jamshar...@gmail.com wrote: I just found that it doesn't handle the case of an XML document where the title node exists, but is empty. I've uploaded a zip archive of two musicxml documents. we fixed

Re: [Feature Request] \compressFullBarRests improvement(s)

Kieren MacMillan kieren_macmillan at sympatico.ca writes: Hello all, Consider this snippet: \version 2.17.97 theMusic = { \compressFullBarRests R1*2 R1*2 } \score { \theMusic } Here’s my request: I would love it if \compressFullBarRests actually did what it says it

Re: [Feature Request] \compressFullBarRests improvement(s)

James Harkins jamshark70 at gmail.com writes: FWIW, I agree with Kieren. If I saw a part with some multimeasure rests broken for no obvious reason, e.g. { \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 } I would think the publisher was insane or incompetent. I'm

MIDI output: Possible to change PPQ?

I was just searching, without success, for a way to change the number of pulses-per-quarter in MIDI output. The default, 384, handles double divisions and triplets, but quintuplets are inexact. I would rather use 480 for this particular file. The section in the notation reference on the \midi

Re: A thought on Windows Experience

On Monday, December 9, 2013 4:52:08 PM HKT, David Kastrup wrote: James Harkins jamshar...@gmail.com writes: Carl's two-column approach is pretty much what I had in mind. Although, he suggests this would be only a slight improvement. I think it could be more than that. Suppose we introduce

Re: A thought on Windows Experience

Mark Stephen Mrotek carsonmark at ca.rr.com writes: The Lilypond website presents “Manuals” that when clicked displays a page that starts with “Text Input … Read this first.” That hot link goes to a page that has a section titled “Easier editing environments.” A hot link takes one to a list

RE: A thought on Windows Experience

On Dec 9, 2013 11:52 AM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Mr. Harkins, Two or three hops are not too much for anyone that reads and follows directions. Then you have more faith than I in general usage patterns on the internet. (As in, you still think people read and follow

Re: A thought on Windows Experience

On Monday, December 9, 2013 12:02:31 PM HKT, James Harkins wrote: On Dec 9, 2013 11:52 AM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Mr. Harkins, Two or three hops are not too much for anyone that reads and follows directions. Then you have more faith than I in general usage patterns

Re: LilyPond Website Work (was: A thought on Windows Experience)

A side comment, picking up on a comment in the Windows experience thread: I hope the new site will avoid any hooks to Google analytics or other APIs. I'm behind the Great Firewall of China, and I see frequently how Google dependencies cause page loading times to balloon, while the browser waits

Another time model (related to the usability thread)

Picking up on a comment of Kieren's, which I think doesn't need to hijack David's financial support thread... I find LilyPond's model of time to be the most inconvenient aspect of the input format -- so inconvenient that it alone may be enough to drive people away. Time is represented

Re: promoting LilyPond

David Kastrup dak at gnu.org writes: LilyPond's strengths are what it is able to do automatically: transpositions, partial partitures, catering to different page formats, fast adaption to different orchestras... Your score is _malleable_. LilyPond excels at *vertical* malleability, but it's

Re: Another time model (related to the usability thread)

Keith OHara k-ohara5a5a at oco.net writes: Of course specifying time in terms of durations is more convenient than specifying absolute time, or we would need to change every following note when we insert a few measures. Assuming that durations and absolute time are the only two options. I'm

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