\tempo 4 = 69 \tempo \markup \dir-column
{
\concat { Tenderly, with some rubato ( \fontsize #-2 \general-align #Y
#DOWN \note #4 #1 = ca. 66-72) }
VARIATION I
\vspace #0
\combine \fontsize #2 PART ONE \lower #0.7 \override #'(thickness . 1.5)
\draw-line #'(16 . 0)
}
OK,
[ok, the mail was too big, I removed the attached pdf output]
I attach the latest version of tablature.ly together with a test file.
Please have a look at it and reply any corrections/improvements/changes
/etc.
before I will send patches to Carl.
Remember that you have to add
(define-public
On Fri, Mar 20, 2009 at 3:56 PM, Chris Snyder csny...@adoromusicpub.comwrote:
Wilbert Berendsen wrote:
Frescobaldi 0.7.8 has been released. [...]
For Ubuntu users: Frescobaldi 0.7.8 has been posted to the Frescobaldi PPA:
Hi Josiah,
I guess I was hoping that I could just use the nice-and-easy-to-read
\tempo Slow 4 = 48
approach somewhere in there.
You can... just build a custom tempo function like
tempoCustom =
#(define-music-function (parser location textA textB notedur bpm) (string?
string? number?
Hello, first I saw these videos
http://www.youtube.com/watch?v=crfrKqFp0Zg
http://www.youtube.com/watch?v=IAioUkd1aSI
and then tried to do the same on lilypond, but it didn't work:
\new Staff {
{ c' d' e' f' } \\
\drummode { hh4 hh bd bd }
}
Just a joke :-)
--
Francisco Vila. Badajoz
On Thu, May 21, 2009 at 02:47:54PM -0400, Mike Blackstock wrote:
Of course, 'security' is relative - nothing will stop a commited
hacker who's targeted your system, so I'm a bit mystified by
some of the other responses here.
That's not true -- The only reason that computer security is a
joke
Graham Percival wrote:
On Thu, May 21, 2009 at 02:47:54PM -0400, Mike Blackstock wrote:
Of course, 'security' is relative - nothing will stop a commited
hacker who's targeted your system, so I'm a bit mystified by
some of the other responses here.
That's not true -- The only reason
On 22 May 2009, at 14:43, Graham Percival wrote:
Of course, 'security' is relative - nothing will stop a commited
hacker who's targeted your system, so I'm a bit mystified by
some of the other responses here.
That's not true -- The only reason that computer security is a
joke is that people
Hi all,
I have looked around, but I can't find anything about this in the pdf
documentation or snippets (v2.12.2):
At the start of my piece, I have \partial for an upbeat. However, I
wish to have a full bar (a semibreve in 2/2) at the end of the piece -
following my source. However, Lilypond
Am 22.05.2009 um 15:27 schrieb Paul Hodges:
Hi all,
I have looked around, but I can't find anything about this in the pdf
documentation or snippets (v2.12.2):
At the start of my piece, I have \partial for an upbeat. However, I
wish to have a full bar (a semibreve in 2/2) at the end of the
2009/5/22 Paul Hodges p...@cassland.org:
Hi all,
I have looked around, but I can't find anything about this in the pdf
documentation or snippets (v2.12.2):
At the start of my piece, I have \partial for an upbeat. However, I
wish to have a full bar (a semibreve in 2/2) at the end of the
--On 22 May 2009 18:02 +0200 James E. Bailey
derhindem...@googlemail.com wrote:
I've never seen this, in fact the opposite! How is lilypond
insisting? Can you make a two or three measure example that shows
what you mean?
Sorry, I missed out what turned out to be the key bit of information -
Am 22.05.2009 um 18:21 schrieb Paul Hodges:
--On 22 May 2009 18:02 +0200 James E. Bailey
derhindem...@googlemail.com wrote:
I've never seen this, in fact the opposite! How is lilypond
insisting? Can you make a two or three measure example that shows
what you mean?
Sorry, I missed out what
Hi James (et al),
I'm not sure if this is the same solution, but since I don't understand the
make-moment stuff
My solution (which I accidentally forgot to cc to the list) is equivalent to
putting \partial 4*3 in the first alternative, i.e.,
\alternative {
{ \set
On 5/22/09 7:27 AM, Paul Hodges p...@cassland.org wrote:
Hi all,
I have looked around, but I can't find anything about this in the pdf
documentation or snippets (v2.12.2):
At the start of my piece, I have \partial for an upbeat. However, I
wish to have a full bar (a semibreve in 2/2)
In message a9927dee74f64e0186f0b...@clph-d133.clinpharm.ox.ac.uk, Paul
Hodges p...@cassland.org writes
--On 22 May 2009 18:02 +0200 James E. Bailey
derhindem...@googlemail.com wrote:
I've never seen this, in fact the opposite! How is lilypond
insisting? Can you make a two or three measure
I'm trying to write a bar for fingerstyle guitar (I'm using the
tablature.ly file, I'd be glad to test it...but I'm at the beginnings
with lilypond, please help).
Could you please tell me what's wrong here?
melody = \relative c {
\time 4/4
\key g \major
{ d g4 d g8 e a f b4 g4
Actually we're in agreement; as you put it, a %100 secure system is beyond
the means of
most people.
So I'll 'rephrase what I wrote earlier : Although theoretically possible,
real world considerations
are such that a %100 secure publicly- accessible webserver that is within
the financial means of
Federico Bruni wrote:
I'm trying to write a bar for fingerstyle guitar (I'm using the
tablature.ly file, I'd be glad to test it...but I'm at the beginnings
with lilypond, please help).
Could you please tell me what's wrong here?
melody = \relative c {
\time 4/4
\key g \major
Jonathan Kulp schrieb:
Federico Bruni wrote:
I'm trying to write a bar for fingerstyle guitar (I'm using the
tablature.ly file, I'd be glad to test it...but I'm at the beginnings
with lilypond, please help).
Could you please tell me what's wrong here?
melody = \relative c {
\time 4/4
Hi everyone!
I am transcribing choir-music from the early 19th century; there the vocal
parts used the soprano/alto/tenore-clef for these voices; I transcribe them
into treble clef (as it is used in modern notation) but the original clefs
should be seen (the well known problem...)
I tried to use
Hallo,
I'm new to emacs and lilypond, but I managed
to set up lilypond mode successfully.
I'm still not able to use it ...
and I can't find any usefull explanation on how
to work with emacs lilypond mode in the pdf's
and not even on the web
(whats quite amazing).
Is there any source with
For example, on p.98 of the PDF version of the 2.12.2 NR the following
example appears about half way down the page:
\repeat volta 2 { c4 d e f }
c2 d
\repeat volta 2 { d4 e f g }
If you try to build this using 2.12.2 on Windows you get
error: syntax error, unexpected NOTENAME_PITCH
c2 d
and
Hi Marc,
thank you so much, the code you've suggested works fine.
Marc Hohl wrote:
As I have written some guitar music in lilypond, I find it easier to do
so with seperate
voices for upper and lower notes. It's easier to read and to correct,
and all the
{ } \\ { } stuff can get really
2009/5/22 Marc Hohl m...@hohlart.de:
Please have a look at it and reply any corrections/improvements/changes
/etc.
before I will send patches to Carl.
Well done Marc, this is very promising.
I still have a few reservations concerning some details (mostly
minor), which I'll comment on below.
On Sat, May 23, 2009 at 07:54:54AM +1000, Nick Payne wrote:
For example, on p.98 of the PDF version of the 2.12.2 NR the following
example appears about half way down the page:
\repeat volta 2 { c4 d e f }
c2 d
\repeat volta 2 { d4 e f g }
If you try to build this using 2.12.2 on Windows
-Original Message-
From: Patrick McCarty [mailto:pnor...@gmail.com]
Sent: Saturday, 23 May 2009 8:15 AM
To: Nick Payne
Cc: lilypond-user@gnu.org
Subject: Re: Should sample code in NR build correctly?
On Sat, May 23, 2009 at 07:54:54AM +1000, Nick Payne wrote:
For example, on
On 5/22/09 4:25 PM, Nick Payne nick.pa...@internode.on.net wrote:
-Original Message-
From: Patrick McCarty [mailto:pnor...@gmail.com]
Sent: Saturday, 23 May 2009 8:15 AM
To: Nick Payne
Cc: lilypond-user@gnu.org
Subject: Re: Should sample code in NR build correctly?
On Sat, May
Thomas == Thomas weissnicht...@hotmail.de writes:
Thomas Hallo, I'm new to emacs and lilypond, but I managed to set up
Thomas lilypond mode successfully.
Oh Good. Now when you edit a file with a .ly extension, do you see
`(LilyPond)' in the status line?
Then you can do: \C-Hm (control-H m)
On Fri, May 22, 2009 at 04:39:45PM -0600, Carl D. Sorensen wrote:
On 5/22/09 4:25 PM, Nick Payne nick.pa...@internode.on.net wrote:
-Original Message-
From: Patrick McCarty [mailto:pnor...@gmail.com]
Sent: Saturday, 23 May 2009 8:15 AM
To: Nick Payne
Cc:
On Sat, May 23, 2009 at 08:25:02AM +1000, Nick Payne wrote:
-Original Message-
From: Patrick McCarty [mailto:pnor...@gmail.com]
Sent: Saturday, 23 May 2009 8:15 AM
To: Nick Payne
Cc: lilypond-user@gnu.org
Subject: Re: Should sample code in NR build correctly?
On Sat, May
Is there a good workaround for issue 712:
http://code.google.com/p/lilypond/issues/detail?id=712?
The quickest solution is to just use '\override Score.MetronomeMark
#'X-offset = #-10', but this is fragile. Is there a way to tell the
MetronomeMark to align to the bar?
This same issue exists for
Come diavolo si fa a processare due files senza perdere il titolo e le varie
intestazioni?
Grazie
--
oiram/bin/selom
cofon ={\cadenzaOff \bar |\cadenzaOn}
cofn ={\cadenzaOff \bar |\cadenzaOn}
snu = { \set stringNumberOrientations = #'(up) }
snd = { \set stringNumberOrientations = #'(down) }
snl
Yes, now that I've come across it, it seems quite sufficient.
Nick
-Original Message-
From: Patrick McCarty [mailto:pnor...@gmail.com]
Sent: Saturday, 23 May 2009 9:53 AM
To: Nick Payne
Cc: lilypond-user@gnu.org
Subject: Re: Should sample code in NR build correctly?
Is the
Vedi questo:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles.
(Si
Al fondo di questo pagina spiega che si deve usare '\paper{
print-all-headers = ##t }' con diverse sezioni di '\score'. Anche ti
consiglo di usare variables per il music. Ho cambiato e attacato i
tuoi
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