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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terms you like.
Still, since we're working on the same chorales it would 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 wrote:
> Hi Michael and all,
>
> Copy from the previous d
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'
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 q
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 SAT
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 qui
will have the facility to mark temporal points in various parts so that they
> can be aligned without counting out the beats 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 mu
ote:
>
> Mike,
>
> From: lilypond-user-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: Lily
a refrain, 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
> wrote:
> > Just a thou
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 a
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 wrote:
> Yes,
> Reinhold explained more precisely the problem -
> I want to underline s
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
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. T
Hi Jakob,
I'm not having much luck reducing it down to a minimal example. I have
family visiting for the next few days, so I'll try to pick it back up after
Christmas.
Cheers and happy holidays to all!,
Mike
On Thu, Dec 23, 2010 at 4:28 PM, jakob lund wrote:
> 2010/12/23
os.path.splitext(x)[0] + ".ly"
cmd = "%(mscore)s %(x)s -o %(ly)s"%locals()
print cmd
p = Popen(cmd,shell=True)
p.wait()
print "Done"
Cheers,
Mike
On Thu, Dec 23, 2010 at 10:28 AM, Phil Hézaine wrote:
> Le 22/12/2010 16:08, Michael Ellis a é
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 t
at returns
only the pitch-carrying elements?
Cheers,
Mike
On Wed, Dec 22, 2010 at 2:14 PM, Michael Ellis wrote:
> Thanks, Carl. This looks promising ...
> Cheers,
> Mike
>
>
>
> On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen wrote:
>
>> On 12/22/10 8:08
Thanks, Carl. This looks promising ...
Cheers,
Mike
On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen wrote:
> On 12/22/10 8:08 AM, "Michael Ellis" wrote:
> >
> >
> > Putting this together with your workaround produces the code and output
> shown
> >
uot;
\clef treble
\key f \major
\Snotes
}
ABvoiceDA = {
\set Staff.instrumentName = #"Bass"
\clef bass
\key f \major
\Bnotes
}
\score {
<<
\new Voice = ASVoiceAA { \ASvoiceAA }
\new NoteNames = NNS \with {
\override NoteName #'stencil = #solfaNames
} {\tran
Oops wrong image for ok.png in previous msg.
Cheers,
Mike
On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis wrote:
> 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.
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 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
wrote:
> Hi Michael,
> Took me a day longer than I thought to get around to this. Here are the
> main scripts I'm currently using. They are he
On Sun, Dec 19, 2010 at 6:29 AM, Jan-Peter Voigt 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 something comparab
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 wrote:
> @mike - would you be willing to share your Python scripts? I'd love to see
> them... tia
>
> ___
> lilypond-
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
wrote:
> Ludo Beckers:
>
> > Just wondering, has there ever been a poll about how many Lilypond users
> > work with
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 s
>
> -Original 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
>
>
>
+1 for option C
Cheers,
Mike
On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara wrote:
> On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes
> wrote:
>
>>
>> The version that Chappell uses in the Mikado is attached.
>>
>> Nice.
> It does break the usual rules about horizontal placement, and about when
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 wrote:
> Thanks, Eluze. The spreadsheet idea is clever!
>
> Since my last post, I've been playing with a python template substitut
definition of runlily().
For me, this was a lot easier than outsmarting LilyPond's internals since I
can program in Python at least 10 times faster than in Scheme. Only
downsides so far are having to double backslash some lilypond commands and
the loss of syntax highlighting. The latter could
s = \lyricmode {
\lyrfirst \lyrnext % ...
}
\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..
ight? I can code that up in Python 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,
>
>
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 transcribin
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 capa
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 4:46
ause 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
could but shouldn't
> use a Gb not a F# as the first chordsis a G chord."
>
> Note his final comment - could use a Gb but shouldn't.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* Michael Ellis
> *To:* LilyPond User Group
> *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 wrote:
> Plea
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 wrote:
> Thanks Valentin, that's quite helpful. I ended up
estion, I think I really 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 wrote:
> Putting the \midi block inside a separate \score block solved the audio
> doubling issue. I could still use
aff_performer"
}
\context {
\Voice
\consists "Staff_performer"
}
}
Cheers,
Mike
On Tue, Dec 7, 2010 at 11:41 AM, Valentin Villenave
wrote:
> On Tue, Dec 7, 2010 at 4:35 PM, Michael Ellis
> wrote:
> > It seems to me that the best solu
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 notatio
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