Apologies for the sloppy cut and paste on the URL. BTW, thanks to
all of you who helped me during the past couple weeks. I'm not sure
I'd have kept with it otherwise. And, of course, thanks to Jan and
Han-wen and the development team for LilyPond! There's no way this
could have been done so
philippe.heza...@free.fr wrote:
Le 31/12/2010 20:33, Michael Ellis a écrit :
Hi Phil,
The problem is pretty well solved. I'm just cleaning up a few things
in my scripts today.
I don't have all the answers yet regarding copyrights. Margaret
Greentree's site seems to claim copyrights only to the PDF
be great if we can
find a way to combine our efforts to produce the best possible editions.
Cheers,
Mike
On Sat, Jan 1, 2011 at 4:08 PM, Phil Hézaine philippe.heza...@free.frwrote:
Hi Michael and all,
Copy from the previous discussion:
Le 31/12/2010 20:33, Michael Ellis a écrit :
Hi Phil
Project site now has downloadable archives of PDF and MIDI files at
http://code.google.com/p/solfege-resources/downloads/list
Cheers,
Mike
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Hi Phil,
The problem is pretty well solved. I'm just cleaning up a few things
in my scripts today.
I don't have all the answers yet regarding copyrights. Margaret
Greentree's site seems to claim copyrights only to the PDF images and
those are freely shared for non-commercial use. So I'm not
I've just committed a first version of LilyPond sources for 404 Bach
chorales at https://solfege-resources.googlecode.com.
The voice notation is extracted from Margaret Greentree's musicXML
files of the chorales at jsbchorales.net. Each file creates PDF and
midi for the full score (typically
Hi Tobias,
This topic is also of interest to me, so I googled for lilypond piano
reduction and eventual found the vocal template with automatic piano
reduction, from which I derived the example below. It uses \partcombine
which, perhaps unfortunately, takes only two arguments. However, I found
Just a thought. Nikolay, does it make sense to add the underlines after the
fact with a PDF editor? Or do you hav e hundreds of items to underline?
Cheers,
Mike
On Thu, Dec 30, 2010 at 1:37 PM, Nikolay Kirov nkki...@gmail.com wrote:
Yes,
Reinhold explained more precisely the problem -
I want
I think I mentioned in a prior post that I'm creating LilyPond versions of
400 Bach chorales with moveable do solfege beneath the notes. I've now got
workable versions for the chorales with all parts together and hope to have
them up on a website soon with pdf and midi files available also. I'd
, which must be underlined following the
tradition from the books.
So, I need a tool (special engraver) to underline several syllables of
several notes.
Cheers,
Nikolay
On Thu, Dec 30, 2010 at 8:58 PM, Michael Ellis
michael.f.el...@gmail.com wrote:
Just a thought. Nikolay, does it make sense
-bounces+james.lowe=datacore@gnu.org
[lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Michael
Ellis [michael.f.el...@gmail.com]
Sent: 30 December 2010 19:11
To: LilyPond User Group
Subject: A small but vexing problem
I think I mentioned in a prior post that I'm creating
correctly in each one. This
would be structurally analogous to the use of TABs in a single line of typed
material, but it would not be associated with lines of music, rather with
entire scores.
Cheers,
Mike O'D.
On 12/30/2010 02:41 PM, Michael Ellis wrote:
From: Michael Ellismichael.f.el
The Dover Edition of the Beethoven Sonatas, a reproduction of the 1923
Universal Edition (H. Schenker, ed.) has the attached in opus 27, no 2,
second movement (Presto Agitato) mm 54,55.
In the left hand of mm 54, the clef changes 4 times (bass, treble, bass,
treble). The movement is in E major.
/23 Michael Ellis michael.f.el...@gmail.com:
Thanks, Jakob! I didn't understand that a music-filter acts recursively
on
containers and their contents. I had some vague notion that it simply
passed or rejected elements at the top level of a list. Your example is
what I needed. For my
Thanks, Jakob! I didn't understand that a music-filter acts recursively on
containers and their contents. I had some vague notion that it simply
passed or rejected elements at the top level of a list. Your example is
what I needed. For my purposes I needed to add RestEvent and
TransposedMusic
=True)
p.wait()
print Done
Cheers,
Mike
On Thu, Dec 23, 2010 at 10:28 AM, Phil Hézaine philippe.heza...@free.frwrote:
Le 22/12/2010 16:08, Michael Ellis a écrit :
Carl, thanks for taking the time to figure it out! I really appreciate
the
help. It's good to know there's
, Carl Sorensen c_soren...@byu.edu wrote:
On 12/21/10 5:14 PM, Michael Ellis michael.f.el...@gmail.com wrote:
On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis
michael.f.el...@gmail.com
wrote:
While working with a much larger version of the score below (BWV 206
chorale
in 4 voices), I
Thanks, Carl. This looks promising ...
Cheers,
Mike
On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen c_soren...@byu.edu wrote:
On 12/22/10 8:08 AM, Michael Ellis michael.f.el...@gmail.com wrote:
Putting this together with your workaround produces the code and output
shown
below
-carrying elements?
Cheers,
Mike
On Wed, Dec 22, 2010 at 2:14 PM, Michael Ellis michael.f.el...@gmail.comwrote:
Thanks, Carl. This looks promising ...
Cheers,
Mike
On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen c_soren...@byu.eduwrote:
On 12/22/10 8:08 AM, Michael Ellis michael.f.el
While working with a much larger version of the score below (BWV 206
chorale in 4 voices), I tried using the NoteNames engraver to put note
names under each voice. For some reason, invoking it twice causes the clef
and instrument name to change on the top staff. The notes (and the note
names)
Oops wrong image for ok.png in previous msg.
Cheers,
Mike
On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis michael.f.el...@gmail.comwrote:
While working with a much larger version of the score below (BWV 206
chorale in 4 voices), I tried using the NoteNames engraver to put note
names under
Oops forgot to attach one of the files to prior message. Here it is.
Cheers,
Mike
On Mon, Dec 20, 2010 at 11:01 AM, Michael Ellis
michael.f.el...@gmail.comwrote:
Hi Michael,
Took me a day longer than I thought to get around to this. Here are the
main scripts I'm currently using
On Sun, Dec 19, 2010 at 6:29 AM, Jan-Peter Voigt jp.vo...@gmx.de wrote:
Yes, Frescobaldi is a great tool! Also for advanced users!
It made me change my main working system from Mac to Ubuntu.
On my netbook, I sometimes use vim.
My wishlist this christmas would be ;-)
Frescobaldi or
Thanks Phil, I'm curious about the vocal part. Why is the stemming
different than the piano reduction? As written, it indicates SAA division
on the first chord and SSS (no Alto!) on the second. This may seem
trivial and skilled singers will generally do the right thing. OTOH, I've
frequently
Vim, also with some custom mappings and some python scripts that allow me to
mix lyrics conveniently with notation.
Cheers,
Mike
On Sat, Dec 18, 2010 at 6:09 PM, Jethro Van Thuyne
m...@jethrovanthuyne.bewrote:
Ludo Beckers:
Just wondering, has there ever been a poll about how many Lilypond
Sure. I'll send them out tomorrow afternoon. Need to clean them up a bit.
Cheers,
Mike
On Dec 18, 2010, at 10:18 PM, Michael Webster semiqua...@mac.com wrote:
@mike - would you be willing to share your Python scripts? I'd love to see
them... tia
+1 for option C
Cheers,
Mike
On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara k-ohara5...@oco.net wrote:
On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes m...@philholmes.net
wrote:
The version that Chappell uses in the Mikado is attached.
Nice.
It does break the usual rules about horizontal
Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of
Michael Ellis
Sent: Fri 12/17/2010 21:50
To: Keith OHara
Cc: lilypond-user@gnu.org
Subject: Re: Odd output
+1 for option C
Cheers,
Mike
On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara k-ohara5...@oco.net
in
a heartbeat, but it's an unappealing solution for obvious reasons. Hence
the query about how to do it with LilyPond and Scheme.
Cheers,
Mike
On Wed, Dec 15, 2010 at 1:52 AM, Jan Warchoł
lemniskata.bernoulli...@gmail.com wrote:
Hi,
2010/12/14 Michael Ellis michael.f.el...@gmail.com
% ...
}
\score {
\new Voice = Sop {
\autoBeamOn
\sopmelody
}
\new Lyrics \lyricsto Sop { \soplyrics }
}
Cheers,
Mike
On Wed, Dec 15, 2010 at 10:41 AM, Jan Warchoł
lemniskata.bernoulli...@gmail.com wrote:
2010/12/15 Michael Ellis michael.f.el...@gmail.com
Jan
' and telling my editor to
use lilypond syntax for that extension.
Hope someone finds this useful.
Cheers,
Mike
On Wed, Dec 15, 2010 at 3:40 PM, -Eluze elu...@gmail.com wrote:
Michael Ellis wrote:
Is there a clean way to enter a phrase followed by the corresponding
notes
in a \relative
Oops! You'll also need my english-solfa.ly file (attached) to run the
example as is.
Cheers,
Mike
On Wed, Dec 15, 2010 at 5:09 PM, Michael Ellis michael.f.el...@gmail.comwrote:
Thanks, Eluze. The spreadsheet idea is clever!
Since my last post, I've been playing with a python template
Is there a clean way to enter a phrase followed by the corresponding notes
in a \relative block? The example given in the docs,
{
\time 3/4
\relative c' { c2 e4 g2. }
\addlyrics { play the game }
}
is fine for a small example, but it gets messy for longer music. I
do a lot of
FWIW, Finale 2010 *does* support this if you put the notes in separate
layers (voices), add a courtesy accidental to the natural note, and fiddle
with the Accidental Mover and Note Position gui tools. It doesn't do the
right thing by default, though. Image attached.
So if pride in LilyPond's
Why not set one of the notes to a different enharmonic pitch? It's
certainly much kinder to the musician who's trying to play the composition.
\include english.ly
{
\clef treble
\time 4/4
{ fs'4 }
\\
{ es'4 }
}
Cheers,
Mike
On Fri, Dec 10, 2010 at 7:00 AM, Phil Holmes m...@philholmes.net
his final comment - could use a Gb but shouldn't.
--
Phil Holmes
- Original Message -
*From:* Michael Ellis michael.f.el...@gmail.com
*To:* LilyPond User Group lilypond-user@gnu.org
*Sent:* Friday, December 10, 2010 5:18 PM
*Subject:* Re: Odd output
Why not set one of the notes
spelling counts! D# and E♭may* sound* the same (on a tempered
instrument) but they are two very different notes. And an performer playing
an instrument that can distinguish between the two, should.
On Dec 10, 2010, at 6:18 PM, Michael Ellis wrote:
Why not set one of the notes to a different
It appears to be the opening Kyrie of the Josquin's Missa Beata Virgine, ca
1510.
http://en.wikipedia.org/wiki/File:Josquin_Missa_BV_Kyrie.jpg
I believe music printing was a thriving enterprise by then, so it's unlikely
to be (completely) hand scribed.
Cheers,
Mike
On Fri, Dec 10, 2010 at
mean Is there any downside to
using Scheme to solve problems like this?
Cheers,
Mike
On Thu, Dec 9, 2010 at 1:02 PM, Michael Ellis michael.f.el...@gmail.comwrote:
Putting the \midi block inside a separate \score block solved the audio
doubling issue. I could still use some suggestions regarding
vertically
minimumVerticalExtent = #'(0 . 0)
%% decrease lyric font size by 1 increment
\override LyricText #'font-size = #-1
}
Thanks,
Mike
On Tue, Dec 7, 2010 at 3:40 PM, Michael Ellis michael.f.el...@gmail.comwrote:
Thanks Valentin, that's quite helpful. I ended
I use LilyPond to create practice scores and etudes. I've figured out how to
allow note entry in Moveable Do solfege notation and have a template (see
below) that supports displaying the solfege symbols as lyrics beneath the
notes.
At present, I have to manually extract the lyrics from the
Villenave
valen...@villenave.netwrote:
On Tue, Dec 7, 2010 at 4:35 PM, Michael Ellis michael.f.el...@gmail.com
wrote:
It seems to me that the best solution would be to use LilyPond's built-in
Scheme interpreter to extract the pitch names while the file is being
processed. I've made some
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