Am 21.08.2015 um 10:13 schrieb Sharon Rosner:
Hi all,
I have a question that is both general and specific. Is there a way to
automatically introduce a bit of randomness into the way different objects are
layed-out in Lilypond? Specifically, I’m trying to find a way to make slurs
look more
Le vendredi 21 août 2015, 04:13:03 Jack Taylor a écrit :
Thank you all very much for your help! I'm now spoiled for choice as to a
solution. :)
And one another ... -:)
%%
\layout {
ragged-last = ##t
% %{
\context {
\Score
\remove Timing_translator
\remove
Am 21.08.2015 um 12:55 schrieb Malte Meyn:
I think that it should be possible to redefine ( to tweak every slur
with some randomness.
Here you go:
%%%
\version 2.19.25
( =
#(define-event-function () ()
#{
\single \override Slur.eccentricity = #(* 0.5 (random:normal))
Hi Paul,
On Thu, Aug 20, 2015 at 9:26 PM, Paul Morris p...@paulwmorris.com wrote:
Hi David,
On Aug 19, 2015, at 10:27 PM, David Nalesnik david.nales...@gmail.com
wrote:
Thanks for doing this! (I should have thought to write it this way in
the first place!)
Glad to! Thanks for
Am 20.08.2015 um 22:46 schrieb Blöchl Bernhard:
That are the interesting cases where to outsmart the optimised
depiction of lilypond. Usually not an easy task!
First thee is an error, as
d8 d4. a16 c8. |
does not sum up to 2/4. Nay be that line should read
| e8 g a g | e c4. | d8 d4. | a8 c4.
I used to add a snippet to my Lilypond tablature files that would
automatically hide the tied-to note, but newer versions have broken the
snippet. Is there another (elegant) way to do this? I'm using '\hide' for
now, but I do a lot of ties, so I'd like it to be the default behavior. The
Am 21.08.2015 um 21:40 schrieb David Kastrup:
Malte Meyn lilyp...@maltemeyn.de writes:
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would
If Rachmaninoff would have used lilypond that would not have happened!
But may be he was a nice guy and did it just to give some brilliant
interprets a chance?
His No. 1 in F minor shifts unsteadily throughout in time signature from
2/4, 3/4, 4/4, 5/4, and 3/2. It is sayed Rachmaninoff
tisimst tisimst.lilyp...@gmail.com writes:
On 8/21/2015 5:40 AM, Andrew Bernard [via Lilypond] wrote:
...
I am sorry this is not the technical answer you require, but part of
your answer is that lilypond can't irregularise (I am going to make
this a new word) scores, out of the box, as it
Malte Meyn lilyp...@maltemeyn.de writes:
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.
Not every time
I have used (forced) tab only a few times when typesetting for people that
are slow or can't read. So i don't understand. Isn't the tied-to note
always hidden?
in fact I had to do a nasty trick just to get it to print. something like.
\version 2.18.2
\new Staff {
\relative c' {c2~c4 d~d e~e
I's not hidden by default for me. I use a Frescobaldi template for most of
my work and the result is that tied-to notes are not hidden by default.
I've never seen the expression, TabNoteHead.display-cautionary = ##t,
before. I'll load your example into Frescobaldi and see what happens.
Thanks
This demonstrates my problem:
\version 2.18.2
%\new Staff {
%\relative c' {c2~c4 d~d e~e f~\break f2 g}
%}
\new TabStaff{
\new TabVoice{
\tabFullNotation
c2~c4 d-4~|
d e~e f~|
\once \override TabStaff.TabNoteHead.transparent = ##t
f2 g|
}
}
--
View this message in context:
Am 21.08.2015 um 20:31 schrieb Nathan Ho:
On Fri, Aug 21, 2015 at 4:16 AM, Malte Meyn lilyp...@maltemeyn.de wrote:
Am 21.08.2015 um 12:55 schrieb Malte Meyn:
I think that it should be possible to redefine ( to tweak every slur
with some randomness.
Here you go:
You can also do
Interesting! New rules for basics of music.
Am 21.08.2015 17:46, schrieb Simon Albrecht:
Am 20.08.2015 um 22:46 schrieb Blöchl Bernhard:
That are the interesting cases where to outsmart the optimised
depiction of lilypond. Usually not an easy task!
First thee is an error, as
d8 d4. a16
Am 21.08.2015 um 20:56 schrieb Malte Meyn:
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.
Not every time
Sorry perhaps you mean on a line break. in that case you can do
\version 2.18.2
\new Staff {
\relative c' {c2~c4 d~d e~e f~\break f2 g}
}
\new TabStaff{
\new TabVoice{
c2~c4 d-4~|
d e~e f~|
\once \override TabStaff.TabNoteHead.transparent = ##t
f2 g|
}
}
Stephen
On 8/21/2015 5:40 AM, Andrew Bernard [via Lilypond] wrote:
...
I am sorry this is not the technical answer you require, but part of
your answer is that lilypond can't irregularise (I am going to make
this a new word) scores, out of the box, as it stands now.
Andrew and Sharon, et al,
To
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.
Not every time signature change is printed in every music.
I just tried your example and I see why you were confused. The tied-to note
is hidden when you combine standard standard notation with a tablature
staff. I use full-notation tablature without a standard notation staff.
The behavior is apparently different when you omit the standard notation
On Fri, Aug 21, 2015 at 4:16 AM, Malte Meyn lilyp...@maltemeyn.de wrote:
Am 21.08.2015 um 12:55 schrieb Malte Meyn:
I think that it should be possible to redefine ( to tweak every slur
with some randomness.
Here you go:
You can also do \relative { \override Slur.eccentricity = #(lambda
On 8/21/2015 4:14 PM, David Nalesnik-2 [via Lilypond] wrote:
Hi,
On Fri, Aug 21, 2015 at 2:37 PM, David Kastrup [hidden email]
/user/SendEmail.jtp?type=nodenode=179907i=0 wrote:
tisimst [hidden email]
/user/SendEmail.jtp?type=nodenode=179907i=1 writes:
On 8/21/2015 5:40
Hi all and thanks for your replies,
I’d just like to clarify that my intention is not to undo the excellent music
setting capabilities of lilypond, but rather to introduce a tiny amount of
irregularity, or “grain”, in order to try to reproduce that feel that you get
in old editions, or even
Hi,
On Fri, Aug 21, 2015 at 2:37 PM, David Kastrup d...@gnu.org wrote:
tisimst tisimst.lilyp...@gmail.com writes:
On 8/21/2015 5:40 AM, Andrew Bernard [via Lilypond] wrote:
There was one oddity I encountered in the process, though. When I
irregularized the flags, I noticed that a flag is
Hi,
So, I am in the key of B flat, and one melody line has in it a beh (B
quarter-flat). When it renders, I get a natural sign followed by a
quarter-flat sign - how can I have just the quarter flat? The natural
seems redundant in this context.
Thanks.
2015-08-21 21:37 GMT+02:00 David Kastrup d...@gnu.org:
tisimst tisimst.lilyp...@gmail.com writes:
On 8/21/2015 5:40 AM, Andrew Bernard [via Lilypond] wrote:
...
I am sorry this is not the technical answer you require, but part of
your answer is that lilypond can't irregularise (I am going to
Am 22.08.2015 um 00:35 schrieb Ian Rashkin:
Hi,
So, I am in the key of B flat, and one melody line has in it a beh (B
quarter-flat). When it renders, I get a natural sign followed by a
quarter-flat sign - how can I have just the quarter flat? The natural
seems redundant in this context.
Hello Sharon,
This opens up a topic of deep interest. I would have to say, as somebody
earnestly trying to come to terms with serious lilypond programming and the
scheme interfaces, you would be better off buying a dozen HB pencils. but all
joking aside, the beauty of tools like lilypond is
Hi Malte,
This is exactly what the OP requested. Although admirable technically,
aesthetically, to me, with the clash between the precision engraving and the
slurs, it looks disturbing, and erroneous. Just my two cents worth - it’s a
topic I have been musing on for a long time. And lilypond is
On Fri, Aug 21, 2015 at 5:18 PM, tisimst tisimst.lilyp...@gmail.com wrote:
On 8/21/2015 4:14 PM, David Nalesnik-2 [via Lilypond] wrote:
Hi,
On Fri, Aug 21, 2015 at 2:37 PM, David Kastrup [hidden email]
http:///user/SendEmail.jtp?type=nodenode=179907i=0 wrote:
tisimst [hidden email]
On Fri, Aug 21, 2015 at 6:56 PM, David Nalesnik david.nales...@gmail.com
wrote:
See attached patch.
(Try it out with Harm's function attached above.)
___
lilypond-user mailing list
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Can anybody kindly point me to code examples showing how to find the distance
of a grob to its nearest enclosing barlines, in Scheme?
From what I can gather, it’s not a simple function call, but involves some
processing of column arrays, which I can’t find documentation on.
Andrew
We have a full score for an ensemble of several instruments that has a top line
of extensive annotations. How does one go about creating this so that it
appears not only in the full score, but also in every individual part?
I have started to look at defining a custom context for a hidden staff
On Friday, August 21, 2015, Andrew Bernard [via Lilypond]
ml-node+s1069038n179866...@n5.nabble.com wrote:
We have a full score for an ensemble of several instruments that has a top
line of extensive annotations. How does one go about creating this so that
it appears not only in the full
Hi all,
I have a question that is both general and specific. Is there a way to
automatically introduce a bit of randomness into the way different objects are
layed-out in Lilypond? Specifically, I’m trying to find a way to make slurs
look more “hand-drawn” by slightly changing eccentricity,
On 2015-08-21 08:54, tisimst wrote:
We have a full score for an ensemble of several instruments that
has a top line of extensive annotations. How does one go about
creating this so that it appears not only in the full score, but
also in every individual part?
I have
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