Is this a known problem? I don't see any prior reports online and
I've been seeing it since at least 2.12 but assumed it was because I
was doing some fairly complicated things. I took time to reduce it to
a minimal example today. It's still present in 2.15.33 as shown by the
example below.
On Tue, Mar 13, 2012 at 5:26 PM, Michael Ellis
michael.f.el...@gmail.com wrote:
Is this a known problem? I don't see any prior reports online and
I've been seeing it since at least 2.12 but assumed it was because I
was doing some fairly complicated things. I took time to reduce
On Wed, Mar 14, 2012 at 11:38 AM, Hans Aikema hans.aik...@aikebah.net wrote:
On 14-3-2012 14:30, Michael Ellis wrote:
On Tue, Mar 13, 2012 at 5:26 PM, Michael Ellis
michael.f.el...@gmail.com wrote:
Is this a known problem? I don't see any prior reports online and
I've been seeing it since
On Wed, Mar 14, 2012 at 2:50 PM, Hans Aikema hans.aik...@aikebah.net wrote:
On 14-3-2012 18:37, Hans Aikema wrote:
On 14-3-2012 18:01, Michael Ellis wrote:
On Wed, Mar 14, 2012 at 11:38 AM, Hans Aikemahans.aik...@aikebah.net
wrote:
On 14-3-2012 14:30, Michael Ellis wrote:
On Tue, Mar 13
The NR advises using \unfoldRepeats to produce a midi file that plays
all the repeats. I use a lot of \barNumberChecks in my work because
it saves time spotting errors. In pieces with repeats, this produces
many Barcheck failed warnings. Is there a way to suppress bar
checking within the midi
On Sat, Mar 24, 2012 at 10:51 PM, Nick Payne
nick.pa...@internode.on.net wrote:
On 25/03/12 10:31, Michael Ellis wrote:
mymusic = {
\time 4/4
\repeat volta 2 {
g'1
\barNumberCheck #2
}
c'1
\barNumberCheck #3
}
Use the | character instead for barchecks:
Ah
I've been collaborating with some other members of my choral group who've
decided to learn LilyPond (more converts, hooray!) to help with
transcribing individual parts. For the OS X users, it was very easy to set
up a folder in Dropbox that included the latest LilyPond.app bundle so I
don't have
On Tue, Mar 27, 2012 at 12:53 PM, Phil Holmes m...@philholmes.net wrote:
**
I've installed Lilypond 10s of times (must be pushing hundreds) on
Windows, and I just download the installer and double-click it. I'm
assuming dropbox makes it look like a local folder, so I reckon all you'd
need
Cheers,
Mike
On Tue, Mar 27, 2012 at 1:01 PM, James pkx1...@gmail.com wrote:
I cannot speak about Vista but Windows 7 works great.
Installing LilyPond in a dropbox folder is no different to say
installing it on the 'd' drive. What I am not sure of though is
You *might* need to set your
On Fri, Feb 11, 2011 at 8:53 AM, Phil Holmes m...@philholmes.net wrote:
Michael,
Did you make any progress with creating a Tiny example of this issue?
No. I tried for a while and then decided to let it sleep. It's not
impacting the things I'm currently doing with LilyPond. Thanks for
Hi Father,
It certainly looks like a path problem or maybe two problems. /python
seems unlikely, as does ?usr/.
Try opening up the Jedit Plugins/Plugin Options window and navigate to
LilyPondTool Commands. Check the entry for python. If it says /python
as shown in your error message, try
On Sun, Feb 13, 2011 at 6:05 PM, Father Gordon Gilbert fatherg...@gmail.com
wrote:
/usr/local/bin/python: can't open file '/usr/local/bin/convert-ly.py'
Is convert.ly present in /usr/local/bin? The error is claiming otherwise.
Cheers,
Mike
___
I'm currently transcribing parts from music with frequently changing
meters and segments where a part is resting. The sequence below is
typical.
\time 3/4 R1*3/4 |
\time 3/8 R1*3/8 |
\time 4/4 R1*8/4 | % 2 bars
\time 3/8 R1*3/8 |
Does anyone know how to write a music function
signatures in a
separate file from the notes. It's then simple to map time signatures
to keystrokes; entering time signatures can be very very fast. So I
hit the letter A and I get \time 1/4 s4.
Quick and maybe not helpful answer, but there you go.
On Wed, Feb 16, 2011 at 11:53 AM, Michael
On Sat, Feb 19, 2011 at 12:41 PM, Francisco Vila paconet@gmail.comwrote:
On 2/19/11 9:47 AM, Phil Holmes em...@philholmes.net wrote:
My wife has just asked and I don't know the answer. Why is LilyPond
called
LilyPond?
http://lilypond.org/web/about/name
Telling your wife
On Sat, Feb 19, 2011 at 6:24 PM, Graham Percival
gra...@percival-music.ca wrote:
Wow. Brilliant work here:
http://99-bottles-of-beer.net/language-lilypond-1351.html
Pretty cool! I wonder if the number lookups could be simplified with
the 'r' format spec?
(use-modules (ice-9 format))
On Fri, Feb 25, 2011 at 9:20 AM, Peter Buhr pab...@sympatico.ca wrote:
specialB = #(define-music-function (parser location suffix) (string?)
#{
\base (concat XXX $suffix) #$suffix % DOES NOT WORK
#})
Hi Peter,
I think the following does what you're looking for.
specialB =
Hi Tim,
I've been walking down this path during the past few months. So far,
the tutorial that helped me most is the online book at
http://icem-www.folkwang-hochschule.de/~finnendahl/cm_kurse/doc/schintro/schintro_4.html#SEC3
It's rather old, but the informal yet very concrete approach was just
On Thu, Mar 3, 2011 at 2:53 PM, Graham Percival
gra...@percival-music.ca wrote:
Hi all,
My PhD research has swept me into the direction of automatic music
performance. �In particular, generating realistic-sounding audio
from sheet music.
Thanks for sharing this, Graham. Vivi seems like nice
at 03:50:37PM -0500, Michael Ellis wrote:
I've been thinking for a while about broaching the subject of
LilyPond's midi output on this forum -- I feel that this is one area
where Lily is rather behind the curve compared to her commercial
sisters. I wonder if some of your work could be applicable
On Mon, Mar 7, 2011 at 10:10 AM, Tim Sheasby t...@sheafpublishing.co.za wrote:
I know that LilyPond does not currently support Tonic Sol-Fa notation.
However, in my work on African Hymn I found that many Africans are familiar
with this form of notation. Most of my source material was
On Mon, Mar 14, 2011 at 1:43 AM, David Rogers
davidandrewrog...@gmail.comwrote:
* Marc Weber marco-owe...@gmx.de [2011-03-14 04:01]:
-- O -- (O is the body of a note here)
-- O --
the interval between both pitches depends on the location.
Why?
Why should e-g be different from g - h ?
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila paconet@gmail.com wrote:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I did not mention
fretless instruments.
So please explain how you are would sort
On Mon, Mar 14, 2011 at 11:38 AM, Michael Ellis
michael.f.el...@gmail.com wrote:
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila paconet@gmail.com
wrote:
2011/3/14 David Kastrup d...@gnu.org:
Francisco Vila paconet@gmail.com writes:
Frets in a guitar are absolutely chromatic. I
On Mon, Mar 14, 2011 at 2:03 PM, i...@kristoflauwers.domainepublic.net wrote:
On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system
Is it possible to tell the NoteNames engraver to print the name for
only the first note of a sequence of tied notes?
mymusic = { c'4 c' ~ c'2 }
\score {
\new Voice \mymusic
\context NoteNames \mymusic
}
Thanks,
Mike
attachment:
I, for one, welcome our new computer overlords. -- Ken Jennings
:-,
Mike
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
On Thu, Mar 17, 2011 at 10:23 AM, Michael Ellis
michael.f.el...@gmail.com wrote:
Is it possible to tell the NoteNames engraver to print the name for
only the first note of a sequence of tied notes?
mymusic = { c'4 c' ~ c'2 }
\score {
\new Voice \mymusic
On Fri, Mar 18, 2011 at 6:24 PM, John Donovan mersey.vik...@gmail.com wrote:
\version 2.12.3
thechords = \chordmode {
c2 f
}
scale = \relative c' {
\clef treble
\key c \major
\time 4/4
c4 d e f g a b c \chordmode {\thechords}
}
\score {
\new Staff {
\scale
On Fri, Mar 18, 2011 at 11:42 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Dmytro,
our creativity can make other people more active or make them
watching just another idol. The lower the barrier --- the more crap.
The more crap --- the more just another idols and the less of
On Sun, Mar 20, 2011 at 6:56 AM, Phil Holmes m...@philholmes.net wrote:
- Original Message - From: Keith OHara k-ohara5...@oco.net
To: lilypond-user@gnu.org
Sent: Sunday, March 20, 2011 7:26 AM
Subject: Re: 2.13.54 breaks NoteNames vertical spacing
Michael Ellis michael.f.ellis
On Sun, Mar 20, 2011 at 9:42 AM, Gilles THIBAULT
gilles.thiba...@free.fr wrote:
#(define-music-function (parser location music) (ly:music?)
(let ((prev-was-tie? #f))
(define (tied-note-skip evt)
(let ((elt (ly:music-property evt 'element))
(elts (ly:music-property evt 'elements))
On Sun, Mar 20, 2011 at 2:53 PM, Michael Ellis
michael.f.el...@gmail.com wrote:
On Sun, Mar 20, 2011 at 9:42 AM, Gilles THIBAULT
gilles.thiba...@free.fr wrote:
#(define-music-function (parser location music) (ly:music?)
(let ((prev-was-tie? #f))
(define (tied-note-skip evt)
(let ((elt
On Thu, Mar 31, 2011 at 9:29 AM, Christopher R. Maden cr...@maden.org wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
On 03/31/2011 12:30 AM, Shane Brandes wrote:
Does anyone have any experience converting lilypond to finale type
files? I only ask this because I have had a run in
On Thu, Mar 31, 2011 at 6:04 PM, James Lowe james.l...@datacore.com wrote:
hello
James.
On 31 Mar 2011, at 22:25, Bernhard Ott bernhard@gmx.net wrote:
Dear all,
IMHO there should be a natural sign showing the f' after the clef-change: am
I wrong?
music = \relative c' {
c8 d e
One way would be to write a music function that produces converts
straight-eighths to swing values. Here's an outline of what's needed.
Perhaps someone has already solved this. You should be able to find some
code in LSR that can be modified to do what you want. Changing durations is
trivial,
On Tue, Apr 12, 2011 at 12:38 PM, Helge Hafting helge.haft...@hist.nowrote:
What I need, is to get the midi output for
\appoggiatura{e16 fis} e16
but the layout for
e16\prall
Hi Helge,
You could use tags. The following produced the desired results for me even
though LilyPond (2.13.54)
Count me in for US$100 toward the project. Not sure how much programming
time I can offer in addition, but I'll certainly be more than willing to
test the XML output with Finale 2010 as I have a full copy.
FWIW, If this is done well I think it will open LilyPond to more new users
than you
On Wed, Aug 24, 2011 at 5:14 PM, Jan Nieuwenhuizen jann...@gnu.org wrote:
Pierre THIERRY writes:
[cc lilypond-devel]
If memory serves, so far we have US$200, C$100 and €200. If I were to
work alone on this bounty, that would allow me to allocate
approximately 20hrs, which should clearly
On Wed, Aug 24, 2011 at 6:34 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi all,
In short, the only way to make it extendable for the future (so
that one day we can also export the layout) is to handle (MusicXML)
export
similar to MIDI generation, namely via translators
Nice job, Rheinhold! Good choices for what to include and what to leave
out.
Cheers,
Mike
Am 12.09.2011 14:39, schrieb Reinhold Kainhofer:
Dear all,
Sometimes it can be very useful -- in particular for new and not so
experienced users -- to have the basic LilyPond syntax available
I've written some music functions I use frequently to operate on lyrics.
For example, there's one call lacc that allows me to intermix lyrics and
notation by accumulating the lyrics into a list I can instantiate later in
the \score block. Very nice and convenient, but the usage is a little
On Thu, Sep 15, 2011 at 3:16 PM, David Kastrup d...@gnu.org wrote:
Michael Ellis michael.f.el...@gmail.com writes:
I've written some music functions I use frequently to operate on
lyrics. For example, there's one call lacc that allows me to
intermix lyrics and notation by accumulating
On Thu, Sep 15, 2011 at 4:46 PM, David Kastrup d...@gnu.org wrote:
Michael Ellis michael.f.el...@gmail.com writes:
Thanks, David. I figured it must be a parsing issue so it's nice to
have it clarified by someone knowledgable. I like the
ly:parser-parse-string idea. Does that function
If I define a music function to apply an arbitrary system command to a
file thusly,
sysinc =
#(define-music-function (p l cmd fname) (string? string?)
Run system command, cmd, and redirect output to fname.
then include fname in input.
(system (string-concatenate (list cmdfname)))
On Sat, Sep 24, 2011 at 4:28 PM, Graham Percival
gra...@percival-music.ca wrote:
On Sat, Sep 24, 2011 at 01:30:55PM -0400, Michael Ellis wrote:
Note: what I'm actually trying to do with the preprocessing, as
opposed to the trivial example above, is something that cannot be
done easily
On Sun, Sep 25, 2011 at 6:34 AM, Dmytro O. Redchuk
brownian@gmail.com wrote:
On Sat 24 Sep 2011, 23:52 Michael Ellis wrote:
On Sat, Sep 24, 2011 at 4:28 PM, Graham Percival
or m4 or python, I'd do this:
# mylily.sh
cp $1 /tmp
sed '...' /tmp/$1 /tmp/$1-processed.ly
lilypond /tmp/$1
On Sun, Sep 25, 2011 at 1:08 PM, Karl Hammar k...@aspodata.se wrote:
One does not really want macros nor preprocessors, since it munges
up error reporting.
Which one does not want them? :-)
Seriously, I understand and, to a great extent, sympathize with that
point of view -- especially
For anyone who wants to make use of it, I've attached a short python script
I wrote this morning for general purpose monitoring of files with given
extensions in an arbitrary list of directories. Should be self-explanatory
to python hackers and adaptable to any application where you need to
http://www.essej.net/slforum/viewtopic.php?f=17p=2666#p2666
The link above takes you to a short python script I shared on the
SooperLooper forum. SooperLooper is an open source audio loop application
that runs on Linux or OS-X. The script I posted provides a command line
interface that lets you
What's the right way to define a function that assigns string values
to LilyPond variables? I'm trying to create a function in an include
file that allows me to assign different values to variables used as
midi instrument specifiers.
%
On Thu, Nov 3, 2011 at 12:04 PM, David Kastrup d...@gnu.org wrote:
Michael Ellis michael.f.el...@gmail.com writes:
What's the right way to define a function that assigns string values
to LilyPond variables? I'm trying to create a function in an include
file that allows me to assign different
On Wed, Nov 9, 2011 at 8:41 AM, Urs Liska li...@ursliska.de wrote:
It does _not_ depend on the context the notes live in - it depends only on
the order in which they appear in the input file.
Thanks, that's an easy-to-remember rule. It deserves prominent placement
in the documentation.
On Wed, Nov 9, 2011 at 9:38 AM, David Kastrup d...@gnu.org wrote:
Michael Ellis michael.f.el...@gmail.com writes:
On Wed, Nov 9, 2011 at 8:41 AM, Urs Liska li...@ursliska.de wrote:
It does _not_ depend on the context the notes live in - it depends
only on the order in which
Is anyone successfully using point and click on OS X with mvim? If so, how
did you do it? The doc says the hyperlinks depend on $LYEDITOR, but that
seems to have no effect. The links created in the PDF are for textedit no
matter what I do.
I'm trying to get it to work with 2.14.2 on Snow
On Wed, Dec 7, 2011 at 7:07 AM, Hans Aberg haber...@telia.com wrote:
On 7 Dec 2011, at 10:22, Peter Jaques wrote:
Thanks Hans. You didn't quite understand my question, I think.
I understand that I *can* put files practically anywhere. The problem is
that I then have to use a really long
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
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
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
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
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
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
+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
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
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
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
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
, 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
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
/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
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.
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
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
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 Graham,
Thanks very much for the information and discussion. It's all
extremely useful. Let me see if I can paraphrase a few points that
are influencing my thinking:
We all seems to agree that:
1. The music of the chorales (the sequences of pitches and
rhythms notated in the
, 2011 at 12:59:39PM -0500, Michael Ellis wrote:
We all seems to agree that:
1. The music of the chorales (the sequences of pitches and
rhythms notated in the Breitkopf edition) is public domain.
2. The Breitkopf edition itself is also in the public domain.
I haven't checked it myself
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