David Stocker schrieb:
Marc Hohl wrote:
I think you should also add:
\override TabVoice.Tie #'transparent = ##t
Yes, of course. But then another problem occurs: if the tie isn't
visible, it looks as if there are two distinct
notes. Therefore, I think strongly about a scheme function
Carl D. Sorensen schrieb:
On 4/1/09 1:09 AM, Marc Hohl m...@hohlart.de wrote:
Carl D. Sorensen schrieb:
Would it be easier to define two separate staff commands? In my files, I
define
noten = \relative c { c d e f }
and feed this into a Staff AND a TabStaff. So, why not
Hi,
I have created an arrangement for 4 pianos. My score does not contain
any dynamics markings. Now I have noticed that in the MIDI output all
notes have the maximum Note-On midi-velocity value of 127! With 4
piano's this gives a LOT of noise.
Another thing I have noticed: Lilypond uses
On 2 Apr 2009, at 09:52, Martin Tarenskeen wrote:
1. How can I change the default MIDI velocity from 127 to a more
modest
value, without adding dynamic marks in the printable score ?
2. Shouldn't it be a good idea to lower midi-velocity values for
lilypond's MIDI output by default ? In other
A bit more on the crash. It would seem to be a self reference problem that
gets into an unending loop. As a workaround I have managed to carry on by
making copies of all the files and using those as the reference for the
cues, so no longer having part 1 cue part 3 and part 3 cue part 1 etc but
On Thu, Apr 02, 2009 at 10:43:10AM +0200, Hans Aberg wrote:
On 2 Apr 2009, at 09:52, Martin Tarenskeen wrote:
1. How can I change the default MIDI velocity from 127 to a more
modest
value, without adding dynamic marks in the printable score ?
2. Shouldn't it be a good idea to lower
On 2 Apr 2009, at 11:21, Martin Tarenskeen wrote:
I think MIDI is underdeveloped in LilyPond, and part of the reason is
that it is not a suitable audio format.
(strictly speaking, I think MIDI is not an audio format.)
Audio generation format might be better.
I don't agree. For
On 4/2/09 1:14 AM, Marc Hohl m...@hohlart.de wrote:
Oh, absolutely. But it's not necessary to add everything all at once.
While we're in a development cycle (2.13), we can add features a little bit
at a time, and hopefully be close to done by the time we release 2.14.
Just curious:
Reinhold == Reinhold Kainhofer reinh...@kainhofer.com writes:
Reinhold The musicians really liked the good look of the score.
Reinhold The only problems appear when trying to create
Reinhold good-looking full scores for the conductor (part
Reinhold combining is unusable and
Hi Laura, Reinhold, etc.
Reinhold The only problems appear when trying to create
Reinhold good-looking full scores for the conductor (part
I agree.
I don't, actually...
While I think Lilypond could clearly do an even better job, I
regularly engrave my full scores, reduced
Kieren == Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Kieren Then again, I *never* use \partcombine, and I manually
Kieren tweak vertical spacing a fair bit, so that might be where
Kieren you are running into problems with your scores.
I've always assumed that with some
Reinhold The only problems appear when trying to create
Reinhold good-looking full scores for the conductor (part
I agree.
I don't, actually...
In my experience, LilyPond *is* capable of producing scores of the
highest caliber. However, I often spend so much time tweaking the
score
Neil Thornock wrote:
I am curious who out there is in a professional music-related position
that relies on Lilypond when Finale or Sibelius is also an option
provided by the employer. I'm one. Just curious who else.
Me too. I'm a music history professor and I have a school-provided copy
I offer LilyPond engraving alongside output from Finale and Sibelius.
None of my corporate clients ask for LilyPond, but I recommend it to
them for classical engraving (of which I do very little). I have a
handful of folks who take output from LilyPond.
David Stocker
http://notesettersinc.com
Hi all,
In my experience, LilyPond *is* capable of producing scores of the
highest caliber. However, I often spend so much time tweaking the
score to get it to look perfect that it really becomes a labor of
love.
I used Finale for over a decade, eventually becoming the computer
music lab
version 2,21,2
When creating a score and parts I have not found a reliable way to cause
markup like tempo indications to always appear at the left side of a
measure even when a particular part has a multimeasure rest at that
location.
s1*0^\markup and \tempo and left-align don't
On Wed, Apr 01, 2009 at 01:36:24PM -0700, northofscotland wrote:
All the parts seem to work perfectly as stand-alone, un-cued but as I added
the cue notes, building up with a series of \include statements at the head
of the file, \cueDuring in the notes and \addQuote before the \score
2009/4/2 Kieren MacMillan kieren_macmil...@sympatico.ca:
I used Finale for over a decade, eventually becoming the computer music lab
tutor/assistant at Shepherd School of Music (while doing my Master of Music
there) -- I was as nimble with Finale as anyone I knew (know). I estimate
that, for
On Thu, Apr 2, 2009 at 1:41 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi all,
In my experience, LilyPond *is* capable of producing scores of the
highest caliber. However, I often spend so much time tweaking the
score to get it to look perfect that it really becomes a labor of
Hi Han-Wen,
you can have the best of both worlds if you enter using finale and
then musicxml2ly to go to .ly and do the typesetting.
Now that I think about it, I was originally just talking about
slamming in the pitches/durations...
Once I factor in the slurs, articulations, dynamics, text,
Valentin Villenave wrote:
To me, note entry is much, much, much faster with LilyPond than with
Fin/Sib. (even using a MIDI keyboard -- which, by the way, is one of
the less enjoyable experiences I know of).
I concur here. I am much faster with Lily than I suspect I ever could be
with a
I will agree with many of the preceding posts that entry of notes,
slurs, etc, is faster for me in Lily than in Finale. However, with
every new piece I have to devise a new hack to accomplish a certain
advanced thing - even as simple a thing as a slanted hairpin or a
cross-staff slur, which I
2009/3/31 Stefan Thomas kontrapunktste...@googlemail.com:
Thanks! Great!
But I would like to ask one more question.
If the distance between two notes is larger, I think the amount of the
curve should be a little larger too. Can this be changed, generally if
possible, too?
I haven't tested
Hi all,
I am coming across a strange error when I compile a file on my Windoze box
with 2.13.0, using jEdit 4.3pre16. My compile looks like this:
LilyPond ready.
%lilypond %args C:\Documents and Settings\Fr Gorden
Gilbert\Desktop\LilyPond Files\TurnYourEyesUponJesusChords.ly
Processing
I think there are a couple of memorable quotes here for the website...
Do we now have a team that takes care of this?
On Thu, Apr 2, 2009 at 5:02 PM, Neil Thornock neilthorn...@gmail.com wrote:
The way that music is entered for LilyPond causes me to think in a more
musical way - there have
I got the same warning message, see
http://www.nabble.com/New-warning-msg-2.13-td22658865.html.
I didn't get any response on it. I went back to using 2.12.2.
Nick
From: lilypond-user-bounces+nick.payne=internode.on@gnu.org
2009/4/2 Han-Wen Nienhuys hanw...@gmail.com:
I think there are a couple of memorable quotes here for the website...
Do we now have a team that takes care of this?
I am tempted to translate the whole thread into Spanish for our list,
or large chunks at least. Wise, serious, experienced
I have a music function I use for barring indications in guitar scores, and
for a reason that I haven't been able to work out, if the TextSpanner used
for the barring indication wraps from the staff where it begins to the
following staff, and also terminates at the first note of that staff, then
David Stocker wrote:
I offer LilyPond engraving alongside output from Finale and Sibelius.
None of my corporate clients ask for LilyPond, but I recommend it to
them for classical engraving (of which I do very little). I have a
handful of folks who take output from LilyPond.
David Stocker
2009/4/2 Nick Payne nick.pa...@internode.on.net:
I have a music function I use for barring indications in guitar scores, and
for a reason that I haven't been able to work out, if the TextSpanner used
for the barring indication wraps from the staff where it begins to the
following staff, and
For sure, a musical jazz font will be very useful! There a couple of threads
in the mailing list about this.
rosea wrote:
Nice to read this thread.
I'm wondering what about more modern or 'light' music, like POP and
Jazz? How does it compare in this area? And what should be and can be
On Thu, Apr 2, 2009 at 1:44 PM, Chris Snyder csny...@adoromusicpub.com wrote:
Valentin Villenave wrote:
To me, note entry is much, much, much faster with LilyPond than with
Fin/Sib. (even using a MIDI keyboard -- which, by the way, is one of
the less enjoyable experiences I know of).
I
Martin Tarenskeen writes:
Questions:
1. How can I change the default MIDI velocity from 127 to a more modest
value, without adding dynamic marks in the printable score ?
How about this:
music = \relative c' {
c' d e f
}
\score {
\music
\layout{}
}
\score {
\new Score {
Anthony W. Youngman wrote:
Any other suggestions are welcome.
If it's all the same code, just bung it in a \include!
Ok, I placed the lines in the layout block into a .ly file and include
it wherever I would repeat the lines. I also tried to define an expression
dynamicsContext = {
%% all
Dear Neil,
I tried it with
\relative { c1 ~ c
\override Tie #'(details ratio 1.2) \override Tie #'(details heigth-limit 13)
c ~ c }
but without sucess!
2009/4/2 Neil Puttock n.putt...@gmail.com:
2009/3/31 Stefan Thomas kontrapunktste...@googlemail.com:
Thanks! Great!
But I would like to
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