The package is available at [1], with an example file demonstrating some of the
more basic features.
1.
https://secure2.storegate.com/Shares/Home.aspx?ShareID=e2dd813c-7686-4d40-b0eb-b2b8c8d61502
Click on folder Regular.
___
lilypond-devel mailing
I have implemented the formerly described model for intervals and pitches in
C++11.
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lilypond-devel@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-devel
On 10 Nov 2014, at 00:31, Peter Chubb peter.ch...@nicta.com.au wrote:
nine.fierce.ball...@gmail.com writes:
It's a bit presumptuous of me to comment on code I know little
about, but it occurs to me that if it were that simple, it probably
would have been done that way in the first
On 10 Nov 2014, at 16:50, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 10 Nov 2014, at 00:31, Peter Chubb peter.ch...@nicta.com.au wrote:
nine.fierce.ball...@gmail.com writes:
It's a bit presumptuous of me to comment on code I know little
about
On 10 Nov 2014, at 20:46, Peter Chubb peter.ch...@nicta.com.au wrote:
David == David Kastrup d...@gnu.org writes:
David Hans Aberg haber...@telia.com writes:
David articulate does not work using engravers. It transforms a
David music expression. It has no idea whether you will use
On 7 Nov 2014, at 10:08, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 6 Nov 2014, at 21:42, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
You wanted \compoundMeter to be numeric, so I gave a possible
algorithmic structure
On 7 Nov 2014, at 00:37, Dan Eble d...@faithful.be wrote:
On Nov 6, 2014, at 08:46 , David Kastrup d...@gnu.org wrote:
I lean towards not consulting the style here. \compoundMeter to me
feels like it should just be numeric.
Of course, to allow for full laziness, it might make sense to
On 7 Nov 2014, at 11:38, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 7 Nov 2014, at 10:08, David Kastrup d...@gnu.org wrote:
The question was when to use 4/4 and when to use C in a time
signature. This is not related to the accent structure of the music
On 7 Nov 2014, at 13:45, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 7 Nov 2014, at 11:38, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 7 Nov 2014, at 10:08, David Kastrup d...@gnu.org wrote:
The question was when to use
On 7 Nov 2014, at 13:55, Dan Eble d...@faithful.be wrote:
On Nov 7, 2014, at 01:46 , David Kastrup d...@gnu.org wrote:
Dan Eble d...@faithful.be writes:
If both \compoundMeter #(2 3 8) and \compoundMeter 4/4 could be made
to work, why bother keeping both \compoundMeter and \time? Why
On 7 Nov 2014, at 14:39, David Kastrup d...@gnu.org wrote:
Dan Eble d...@faithful.be writes:
On Nov 7, 2014, at 01:46 , David Kastrup d...@gnu.org wrote:
Dan Eble d...@faithful.be writes:
If both \compoundMeter #(2 3 8) and \compoundMeter 4/4 could be made
to work, why bother
On 6 Nov 2014, at 14:46, David Kastrup d...@gnu.org wrote:
Dan Eble d...@faithful.be writes:
Am 04.11.2014 um 07:48 schrieb David Kastrup:
Dan Eble d...@faithful.be writes:
If the simple-fraction components of a compound time signature respected
the time signature style, would that
On 6 Nov 2014, at 20:49, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 6 Nov 2014, at 14:46, David Kastrup d...@gnu.org wrote:
Dan Eble d...@faithful.be writes:
Am 04.11.2014 um 07:48 schrieb David Kastrup:
Dan Eble d...@faithful.be writes
On 6 Nov 2014, at 21:42, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
You wanted \compoundMeter to be numeric, so I gave a possible
algorithmic structure, reiterating discussions of the past on LilyPond
lists. Once one has that, the time signature derives from
On 4 Nov 2014, at 10:49, Marc Hohl m...@hohlart.de wrote:
Am 04.11.2014 um 07:48 schrieb David Kastrup:
Dan Eble d...@faithful.be writes:
If the simple-fraction components of a compound time signature respected
the time signature style, would that qualify as useful or as undesirable?
On 4 Nov 2014, at 19:52, Marc Hohl m...@hohlart.de wrote:
Am 04.11.2014 um 15:18 schrieb Hans Aberg:
On 4 Nov 2014, at 10:49, Marc Hohl m...@hohlart.de wrote:
Am 04.11.2014 um 07:48 schrieb David Kastrup:
Dan Eble d...@faithful.be writes:
If the simple-fraction components
On 1 Nov 2014, at 13:53, Dan Eble d...@faithful.be wrote:
On Oct 29, 2014, at 13:01 , Hans Aberg haber...@telia.com wrote:
On 26 Oct 2014, at 14:02, Trevor Daniels t.dani...@treda.co.uk wrote:
Dan Eble wrote Sunday, October 26, 2014 12:34 AM
time-signature.cc http://time-signature.cc
On 26 Oct 2014, at 14:02, Trevor Daniels t.dani...@treda.co.uk wrote:
Dan Eble wrote Sunday, October 26, 2014 12:34 AM
time-signature.cc http://time-signature.cc/ has a comment at the top
saying, “This file should go; the formatting can completely be done with
markups.” Can anyone
On 7 Oct 2014, at 09:33, Richard Shann rich...@rshann.plus.com wrote:
On Tue, 2014-10-07 at 11:04 +0900, Graham Percival wrote:
On Mon, Oct 06, 2014 at 01:41:30PM +0200, David Kastrup wrote:
Richard Shann rich...@rshann.plus.com writes:
Here, instead of ees, is written es.
I read
[Moved to the thread to lilypond-devel, where it might be more visible.]
On 21 Nov 2013, at 09:55, Philippe Ploquin philippeploq...@neuf.fr wrote:
The accidental called eksik bakiye is missing in lilypond. It is mentioned
in the manual, but does not appear in the makam.ly file or by searching
On 8 Nov 2013, at 01:47, Keith OHara k-ohara5...@oco.net wrote:
On Thu, 07 Nov 2013 13:26:04 -0800, Hans Aberg haber...@telia.com wrote:
On 7 Nov 2013, at 21:47, Keith OHara k-ohara5...@oco.net wrote:
Hans, I am late, but can I persuade you to try this with sharp and flat
representing 4
On 8 Nov 2013, at 19:10, Keith OHara k-ohara5...@oco.net wrote:
On Fri, 08 Nov 2013 01:30:02 -0800, Hans Aberg haber...@telia.com wrote:
On 8 Nov 2013, at 01:47, Keith OHara k-ohara5...@oco.net wrote:
On Thu, 07 Nov 2013 13:26:04 -0800, Hans Aberg haber...@telia.com wrote:
On 7 Nov 2013
On 7 Nov 2013, at 21:47, Keith OHara k-ohara5...@oco.net wrote:
Hans Aberg haberg-1 at telia.com writes:
I have just defined pitch names for E53 note c with accidentals, using
Graham’s file regular.ly:
cff cffu cffuu cfdd | cfd cf cfu cfuu | cdd cd c cu |
cuu csdd csd cs | csu
Microtonal key signatures seem to work: I have updated the file regularE53.ly
[1] with a keyAlterationOrder. Typeset the file regularE53test.ly for an
example. Requires the include file [2].
The rule I set, as it turns out, can be used for any set of microtonal
accidentals, though currently
On 3 Nov 2013, at 11:42, Joseph Rushton Wakeling joseph.wakel...@webdrake.net
wrote:
On 03/11/13 11:20, Hans Aberg wrote:
FYI, some Extended Helmholtz-Ellis JI” accidentals [1-2], in fact designed
quite recently, but a nice input. There is also a Unicode font at [3].
Notation also
On 3 Nov 2013, at 11:49, Joseph Rushton Wakeling joseph.wakel...@webdrake.net
wrote:
On 03/11/13 11:42, Joseph Rushton Wakeling wrote:
For Lilypond in particular, the problem of supporting microtonal notation is
less about symbols per se and more about the underlying representation of
On 27 Sep 2013, at 08:45, David Kastrup d...@gnu.org wrote:
Well, today's xkcd, at the surface more being about LilyPond's choice of
extension language, still seems somewhat on-topic here:
http://xkcd.com/1270/ (mark the mouse-over text)
Perhaps some mathematical abstractions can help:
The
On 3 Nov 2013, at 13:53, David Kastrup d...@gnu.org wrote:
Joseph Rushton Wakeling joseph.wakel...@webdrake.net writes:
On 03/11/13 12:34, Hans Aberg wrote:
I know how to do it from the theoretical point of view, but somebody
who knows the internals of LilyPond must do it.
Of course
On 3 Nov 2013, at 13:17, Joseph Rushton Wakeling joseph.wakel...@webdrake.net
wrote:
On 03/11/13 12:34, Hans Aberg wrote:
I know how to do it from the theoretical point of view, but somebody who
knows the internals of LilyPond must do it.
Of course. I'm just raising it as pertinent
On 3 Nov 2013, at 18:15, Joseph Rushton Wakeling joseph.wakel...@webdrake.net
wrote:
On 03/11/13 17:55, Hans Aberg wrote:
As a preparation, LilyPond might get intervals: it is going to be too
complicated to write out names for all pitch combinations.
A pitch is defined by a written pitch
On 3 Nov 2013, at 18:25, Graham Breed gbr...@gmail.com wrote:
On 11/03/2013 05:15 PM, Joseph Rushton Wakeling wrote:
So, there needs to be a way of saying: these are the staff pitches and
the staff positions they correspond to (define c, d, e, f, g, a, b) and
these are the alterations and
On 3 Nov 2013, at 18:15, Joseph Rushton Wakeling joseph.wakel...@webdrake.net
wrote:
The current method where (using English names) c, cf, cs, d, df, ds, e, ef,
es, f, ff, fs, g, gf, gs, a, af, as and b, bf, bs are all defined, just
doesn't scale when you are dealing with many different
On 3 Nov 2013, at 19:08, I wrote:
For E53 microtonal accidentals, I just made [1] a file regularE53.ly relying
on Graham’s regular.ly, which must be present as input file. (There is also
example on using Unicode input in LilyPond.)
1.
On 27 Sep 2013, at 00:05, Janek Warchoł janek.lilyp...@gmail.com wrote:
Hi,
2013/9/26 Hans Aberg haber...@telia.com:
On 26 Sep 2013, at 17:16, Phil Holmes m...@philholmes.net wrote:
Joseph Wakeling wrote:
I was also rather discouraged by the fact that the quarter-tone arrow
notation
On 27 Sep 2013, at 08:45, David Kastrup d...@gnu.org wrote:
Hans Aberg haber...@telia.com writes:
On 26 Sep 2013, at 17:16, Phil Holmes m...@philholmes.net wrote:
The section originates with me but I got diverted into trying to
create a more elegant solution for how to rewrite accidentals
On 26 Sep 2013, at 17:16, Phil Holmes m...@philholmes.net wrote:
On 26/09/13 16:37, Trevor Daniels wrote:
Almost exactly what I was about to reply, but Phil beat me to it! In fact I
think I remember helping you add the Contemporary music headings some
time ago, or was it someone else?
The
On 26 Sep 2013, at 17:16, Phil Holmes m...@philholmes.net wrote:
The section originates with me but I got diverted into trying to create a
more elegant solution for how to rewrite accidentals in transposed music. It
was all related to the need for an effective chromatic transposition
On 13 Jan 2013, at 14:13, David Kastrup d...@gnu.org wrote:
Hans Åberg hans.aber...@telia.com writes:
On 12 Jan 2013, at 12:53, David Kastrup d...@gnu.org wrote:
Phil Holmes m...@philholmes.net writes:
I have a hard time considering the output of
\version 2.16.0
\relative c' {
On 12 Jan 2013, at 12:53, David Kastrup d...@gnu.org wrote:
Phil Holmes m...@philholmes.net writes:
I have a hard time considering the output of
\version 2.16.0
\relative c' {
\set tupletSpannerDuration = #(ly:make-moment 1 2)
\times 2/3 { c8 d e f g a g f e d c d }
\set
On 12 Oct 2012, at 09:01, Graham Percival wrote:
... After I'm finished my phd, I'll do the thing
which every computer science student should do at least once in
their life: I'll make my own language. I'm not comfortable with
the level of abstractions that lilypond offers. Just like
On 14 Oct 2012, at 10:51, David Kastrup wrote:
Hans Aberg haber...@telia.com writes:
On 12 Oct 2012, at 09:01, Graham Percival wrote:
... After I'm finished my phd, I'll do the thing
which every computer science student should do at least once in
their life: I'll make my own language
On 14 Oct 2012, at 13:25, David Kastrup wrote:
Hans Aberg haber...@telia.com writes:
On 14 Oct 2012, at 10:51, David Kastrup wrote:
Hans Aberg haber...@telia.com writes:
On 12 Oct 2012, at 09:01, Graham Percival wrote:
... After I'm finished my phd, I'll do the thing
which every
On 16 Jul 2012, at 02:02, David Kastrup wrote:
I am currently in the process of moving parsing of durations and pitches
into the lexer instead of the parser (because parser lookahead causes
tricky problems, and things like c and c4 can't be parsed
without lookahead: any number of '
On 4 Jul 2012, at 09:35, Marc Hohl wrote:
Alternatively, I have a scheme function returning a boolean. This function has
to be called from inside some c++-routines, but this doesn't work yet (see
below).
...
I'll have a look in the train today and write you a more detailed response.
In
On 19 Mar 2012, at 15:50, Colin Hall wrote:
You may have seen the announcement that version 2.15.34 of Lilypond has been
released. It would be great to hear if it works for you on your respective
platforms so that I can update the table below.
Typesetting a small example in the GUI works on
On 19 Mar 2012, at 23:36, Colin Hall wrote:
On Mon, Mar 19, 2012 at 04:03:29PM +0100, Hans Aberg wrote:
On 19 Mar 2012, at 15:50, Colin Hall wrote:
You may have seen the announcement that version 2.15.34 of Lilypond has
been released. It would be great to hear if it works for you on your
On 26 Dec 2011, at 18:46, James wrote:
On 24 December 2011 20:38, Michael Walker mjwal...@me.com wrote:
First of all, thank you so so much for creating such an innovative way to
create sheet music. I love that the more you use LilyPond, the easier and
faster it starts getting results. The
On 20 Dec 2011, at 20:00, James wrote:
If someone else could verify this (nice to get a second or third
opinion) then perhaps this could be added to
Documentation/web/download.itexi until we fix it or maybe added to the
tracker - I don't want to make more noise on that if I can help it.
On 20 Dec 2011, at 20:49, Alberto Simões wrote:
If someone else could verify this (nice to get a second or third
opinion) then perhaps this could be added to
Documentation/web/download.itexi until we fix it or maybe added to the
tracker - I don't want to make more noise on that if I can help
On 20 Dec 2011, at 21:01, Graham Percival wrote:
On Tue, Dec 20, 2011 at 08:54:04PM +0100, Hans Aberg wrote:
LilyPond 2.15.22 works in the OS X 10.7.2 GUI. From Terminal, I use a
script ~/bin/lilypond:
exec /Applications/LilyPond.app/Contents/Resources/bin/lilypond $@
On OS X 10.7 /usr
On 7 Sep 2011, at 17:24, Reinhold Kainhofer wrote:
Every now and then you need empty music sheets to write a score or
arrangement
manually. To automate this, I have created a small online creator for empty
music sheets, which uses lilypond as the backend to produce the nice sheets:
On 8 Aug 2011, at 23:11, James Lowe wrote:
For some reason Hans won't email the group ;)
So then don't forward my mail to the lists! - The reason is that I can't verify
it, so I do not want unreliable information spread around. Wait until you find
someone who can do it.
Hans
On 22 Jun 2011, at 01:30, Graham Percival wrote:
** Eliminate tabs
I’m going to make the bold step of assuming that we will eliminate
tabs in all C++ files. I personally like the idea of tabs, but
from an examination of source code styles (both official and
unofficial) in various projects,
On 14 Jan 2011, at 21:22, Reinhold Kainhofer wrote:
Here is a patch to create complex time signatures:
http://codereview.appspot.com/3992042/
Create compound time signatures with the \compoundMeter function.
The argument
is a Scheme list of lists. Each list describes one fraction, with
the
On 13 Jan 2011, at 16:50, David Kastrup wrote:
Doesn't C++ have some more useful
idiom for iterators or so?
Then you'd have to write a function to apply. Below is an example; I
let you decide if it is more useful. :-)
Something like
for (d=UP;;d=DOWN) {
...
if (d == DOWN)
On 12 Jan 2011, at 22:18, Mike Solomon wrote:
The only change I can see is in collision heads, which adds
breathing room between the stem and the flag (I've attached old and
new).
I am not an expert on how much room should be in there - I leave it
to someone else to fiddle with the magic
On 30 Dec 2010, at 23:16, Felipe Gonçalves Assis wrote:
1. How should we represent alterations?
It is clear to me that the most general representation would be as
a list of integers of arbitrary length (see sections 1 and 2 of the
attachment).
I made a proposal for a representation, and
On 31 Dec 2010, at 10:59, Felipe Gonçalves Assis wrote:
I made a proposal for a representation, and there is Haskell code
available
if you are interested.
Hi Hans. I would very much appreciate that code.
I have put it up here.
On 31 Dec 2010, at 16:19, Felipe Gonçalves Assis wrote:
Thanks for the code, Hans!
There are many things I am curious about. Now that I have the sources,
I will spend some time analysing them, and then contact you.
While I need some time to study your considerations, what I can say
now is:
On 11 Nov 2010, at 18:47, Erich Enke wrote:
Thank you for the pointers. Since translation to Western notation
remains a goal of mine, it would make sense to develop the staff
notation. The responses were encouraging enough that I'll begin
looking into implementing this in lilypond.
I have
On 6 Nov 2010, at 03:33, Erich Enke wrote:
I just happened across a Sept 2010 post on lilypond-devel regarding
microtones. It reminded me how I've been wanting to work on Byzantine
notation support for lilypond. I would love to have a tool that could
actually transcribe between western and
On 11 Nov 2010, at 18:47, Erich Enke wrote:
If you like, you might start using staff notation alone: there are
similar
scales in oriental (Persian/Arab/Turkish) music. One then
introduces some
microtonal accidentals.
I have looked through some Byzantine scales, and can see more or
less
On 6 Nov 2010, at 03:33, Erich Enke wrote:
I just happened across a Sept 2010 post on lilypond-devel regarding
microtones. It reminded me how I've been wanting to work on Byzantine
notation support for lilypond. I would love to have a tool that could
actually transcribe between western and
On 28 Oct 2010, at 01:01, tdanielsmu...@googlemail.com wrote:
http://codereview.appspot.com/2755041/diff/22001/Documentation/notation/pitches.itely
File Documentation/notation/pitches.itely (right):
On 28 Oct 2010, at 06:03, percival.music...@gmail.com wrote:
http://codereview.appspot.com/2755041/diff/22001/Documentation/notation/pitches.itely#newcode41
Documentation/notation/pitches.itely:41: * Non-Western notations and
tunings::
WTM is notations ?
You might use notation and tuning
On 27 Oct 2010, at 14:53, v.villen...@gmail.com wrote:
I think it's best if we treat non-Western stuff as notations and
tunings rather than just note names. Here's a new patch set,
please
have a look.
As it now stands in the manual, it looks out of context to me. So it
should be
On 27 Oct 2010, at 19:41, tdanielsmu...@googlemail.com wrote:
A few editorial suggestions ... some apply to other similar instances,
which I've not marked.
The description of Turkish music is rather cursory: there are several
descriptions. See for example Ozan Yarman, A Comparative
On 28 Oct 2010, at 00:20, Valentin Villenave wrote:
Just mentioning it. When LilyPond expand being capable of handling
more
music outside CPP, there might be more such details [popping] up.
(no comment)
Sorry, a typo. :-)
Hans, you always have very interesting things to say on these
On 22 Sep 2010, at 08:18, Benkő Pál wrote:
In algebraic terms, choose a neutral n between m and M. The total
pitch
system will be i m + j M + k n, where i, j, k are integers. But
the staff
system only has the pitches i' m + j' M. When taking the
difference with
the
staff note, reducing
On 22 Sep 2010, at 08:18, Benkő Pál wrote:
I didn't mean to replace the whole of your system
by d and a, only M and m. similarly to your P5-P8 example,
(1 0)(d) = (M)
(1 -1)(a) (m)
But it becomes complicated when adding pitches. If one has seconds
s_1, ...,
s_k, then there is an
On 21 Sep 2010, at 11:46, Joseph Wakeling wrote:
A sharp is M-m and a flat m-M.
If I understand right, this is a key trick of your system, since
such
representations allow you to raise or lower the pitch without
affecting
the degree.
Yes - accidentals do not affect the degree: they are
On 21 Sep 2010, at 14:16, Carl Sorensen wrote:
A sharp is M-m and a flat m-M.
If I understand right, this is a key trick of your system, since
such
representations allow you to raise or lower the pitch without
affecting
the degree.
So by extension, if we say that q is a quarter-tone, to
On 21 Sep 2010, at 16:05, Joseph Wakeling wrote:
Yes - accidentals do not affect the degree: they are of degree
zero. One
can add notes and intervals on this abstract level, and the degrees
add
as well. In mathematics, a function f is called a homomorphism (of
abelian groups) when f(0) = 0,
On 21 Sep 2010, at 14:16, Carl Sorensen wrote:
It seems to me that the pitches natural+1/4 and sharp - 1/4 are the
same
pitch (i.e. enharmonic equivalents) and that it is appropriate to have
either one represent the same pitch.
Arab music uses E24 quarter-tone accidentals, though the actual
On 21 Sep 2010, at 16:52, Carl Sorensen wrote:
Here are scans from the relevant section of Stone's book. It
explicitly
*says* that natural+1/4 and sharp-1/4 are enharmonic equivalents,
and that
the notation for those pitches must be chosen with care.
Another interpretation might be
On 21 Sep 2010, at 21:31, Benkő Pál wrote:
In algebraic terms, choose a neutral n between m and M. The total
pitch
system will be i m + j M + k n, where i, j, k are integers. But the
staff
system only has the pitches i' m + j' M. When taking the difference
with the
staff note, reducing the
On 20 Sep 2010, at 00:50, Joseph Wakeling wrote:
Hence why I say that the issue of effective microtonal support still
requires action at the code level, and is not simply a matter of
better
documentation ... :-(
I made a post about this issue last week, but there were no responses.
On 20 Sep 2010, at 12:08, Joseph Wakeling wrote:
Hence why I say that the issue of effective microtonal support still
requires action at the code level, and is not simply a matter of
better
documentation ... :-(
I made a post about this issue last week, but there were no
responses.
On 20 Sep 2010, at 14:48, Joseph Wakeling wrote:
I saw the post but was not sure quite how to interpret it.
I expected someone to ask for details. In the past, I discussed
part of
it with Graham Breed, who did some LilyPond microtonal
implementation,
but perhaps he is not working on it
On 20 Sep 2010, at 18:08, Joseph Wakeling wrote:
One scan should be fine. The first step is to convince people that
the representation needs to be extended, and Stone should be
sufficient for that. The next step is for somebody actually code it.
Sure. I'll try and follow up with Hans
On 20 Sep 2010, at 18:00, Wols Lists wrote:
As a related issue, have you considered how (different kinds of)
transposition would be handled in your pitch scheme?
This is much simpler: the linear combinations are vectors that you
just add. For example, if a, b, c, ... are represented by 0, M,
I made an algorithm that computes accidentals on the algebraic level:
the notes of the scales of staff and music are defined by linear
combinations from a set of formal seconds. The typesetting is
independent of the tuning system: the pitches are found by plugging
values into these
On 9 Jul 2010, at 06:24, Carl Sorensen wrote:
I've got a draft of accordion push and pull symbols. Please let me
know
what you think of them.
There is a variation of symbols. Blatter suggests using arrows: -
above a notehead for open, - for close, and - with the arrowheads
above two
On 3 Jul 2010, at 01:04, Carl Sorensen wrote:
If I throw in tuplets in this AST, setting them to 1:1, I get:
+
|
(1:1, [(2, 1/8), (3, 1/8), +, (3, 1/8)])
|
(1:1, [(2, 1/8), ((3, 1/8), (2, 1/8)])
That is, the tuplet p:q just appears
On 3 Jul 2010, at 12:37, Carl Sorensen wrote:
If I throw in tuplets in this AST, setting them to 1:1, I get:
+
|
(1:1, [(2, 1/8), (3, 1/8), +, (3, 1/8)])
|
(1:1, [(2, 1/8), ((3, 1/8), (2, 1/8)])
That is, the tuplet p:q just appears as a
On 3 Jul 2010, at 12:37, Carl Sorensen wrote:
Can you give me a specific example of beaming where the tuplets
would be
necessary?
The meter mentioned before, 12 = 3+2+2+3+2 with quadruplets, is very
popular in the historical region of Macedonia, on both the Macedonian
and the Greek side
On 3 Jul 2010, at 20:20, Carl Sorensen wrote:
The meter mentioned before, 12 = 3+2+2+3+2 with quadruplets, is very
popular in the historical region of Macedonia, on both the Macedonian
and the Greek side (though a lot seems to play it in 16 = 4+2+3+4+3).
There is a music example here, listening
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
In your earlier email (which I didn't understand before, but I think I
figured it out now), you proposed a working notation with '
indicating in
one. But then every specific proposal you wrote used ', so I
wasn't able
to understand the
On 3 Jul 2010, at 00:55, Hans Aberg wrote:
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
In your earlier email (which I didn't understand before, but I
think I
figured it out now), you proposed a working notation with '
indicating in
one. But then every specific proposal you wrote used
On 2 Jul 2010, at 16:22, Carl Sorensen wrote:
I'm trying to redo auto-beaming so that it matches better with what
I read
in the literature. When I get it done, I hope to have it set up so
that the
default properties do the right thing, and all we have to do is define
exceptions. Working
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
By CPP, do you mean Common Practice Period, i.e. western European
Baroque,
Classical, and Romantic?
Yes, it is sort of practical when discussing music; used a lot in
rec.music.theory.
For other types of music, one would like to depart from
On 15 Mar 2010, at 19:50, Trevor Daniels wrote:
... your emails with unicode
included don't render properly on my email client.
Nor mine. ...
Might a Unicode font be amiss, like Code2001, Euterpe or Musical
Symbols?
Hans
___
On 9 Mar 2010, at 11:59, James Lowe wrote:
Currently, the instructions on getting LilyPond up and running in
a terminal on mac osx have the user create a script which calls
the lilypond application, and then add the location of the script
to the $PATH. Is there any advantage of this over
On 9 Mar 2010, at 22:23, Graham Percival wrote:
Among the resources the LilyPond Application adds are some UNIX
programs
it uses. The idea is to get the right versions. In fact it doesn't:
guile
will call the stuff /usr/local/ even if LilyPond has its own stuff.
That's a bug.
I don't
On 7 Mar 2010, at 08:12, James Bailey wrote:
Currently, the instructions on getting LilyPond up and running in a
terminal on mac osx have the user create a script which calls the
lilypond application, and then add the location of the script to the
$PATH. Is there any advantage of this over
On 7 Mar 2010, at 12:30, Graham Percival wrote:
But one could add /usr/local/bin/ before the
Lilypond directory. In addition, I have paths to MacPorts /opt/, Fink
/sw/, and TeX-Live /usr/local/texlive/ TeX.
LilyPond seems fairly up-to-date, so it might be added after before
or
after
On 23 Feb 2010, at 02:15, Graham Percival wrote:
You have the law here:
http://laws.justice.gc.ca/eng/C-42/page-3.html#anchorbo-ga:l_III-
gb:s_29
...
How seriously have you read the act?
So I have at least checked the relevant section.
Unless the government of Canada webservers are
On 23 Feb 2010, at 03:08, Reinhold Kainhofer wrote:
Sorry, guys, but isn't this discussion drifting into the wrong
direction? The
original post was about the GERMAN wikipedia example, so I don't see
where
Canadian copyright law comes into play.
He is worrying about what happens when he
RMS says he thinks it is better using artificial examples, not risking
a lawsuit when it is so easy to avoid and still have good results.
Hans
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On 22 Feb 2010, at 04:26, Graham Percival wrote:
see the german wikipedia
http://de.wikipedia.org/wiki/LilyPond
too bad it's under dispute.
Is it? I don't see such a remark. It is only stated that the
picture
shows copyrighted material which can only be cited legally as a very
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