2011/7/6 Hans Aberg haber...@telia.com:
Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top tip
and the lowest crossing aligned pretty much vertically. A book by Hindemith,
though smaller in type, typeset by Scott, has slanting to the left. So there
is some variation.
2011/7/7 James Lowe james.l...@datacore.com:
From: Janek Warchoł [lemniskata.bernoull...@gmail.com]
2011-07-06 22:21 james.l...@datacore.com wrote:
Can we have some sharps and flats and perhaps some numeric signatures?
There is no context for the
Google let me down on this one -- I'm looking for some advice on notating
aleatoric materials. The piece is for the Chinese instrument sheng and live
electronics (computer running SuperCollider). Many of the computer materials
will start at a specific point in the score, but the exact notes and
2011/7/7 Hans Aberg haber...@telia.com:
On 7 Jul 2011, at 08:14, Janek Warchoł wrote:
Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
tip and the lowest crossing aligned pretty much vertically. A book by
Hindemith, though smaller in type, typeset by Scott, has
On 7 Jul 2011, at 08:14, Janek Warchoł wrote:
Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
tip and the lowest crossing aligned pretty much vertically. A book by
Hindemith, though smaller in type, typeset by Scott, has slanting to the
left. So there is some
Karim Barkati karimbark...@gmail.com is currently typesetting a score not
unlike this for viola electronics. I'm ccing him to this e-mail: his
approach also uses glissandi and looks really nice.
For the arrow:
\relative c' {\override Glissando #'bound-details #'right #'arrow = ##t c1
On Thu 07 Jul 2011, 10:16 Janek Warchoł wrote:
I guess our G-clef is curved partly to distinguish itself from other
software' clefs. Default Finale clef has very straight vertical line
for example.
I would rather not take into account other software' clefs..
(Probably, I simply do not like
On 7 Jul 2011, at 10:16, Janek Warchoł wrote:
Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
tip and the lowest crossing aligned pretty much vertically. A book by
Hindemith, though smaller in type, typeset by Scott, has slanting to the
left. So there is some
2011/7/7 Janek Warchoł lemniskata.bernoull...@gmail.com:
I guess our G-clef is curved partly to distinguish itself from other
software' clefs. Default Finale clef has very straight vertical line
for example.
Maybe I’ve missed some discussions, but what’s the purpose of this
survey ? Do you
Which one of the clefs in the attachment do you like best?
The first. IMHO, the other two are too small or should be used for
special situations only, like tight full scores.
Werner
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lilypond-user mailing list
lilypond-user@gnu.org
Hans Aberg haber...@telia.com writes:
At another place in Edition Peters, there is a slant to the right -
these are hand drawn, I think.
More likely hand-engraved. Of course an engraver can tilt the type
before committing to the hammer.
--
David Kastrup
2011/7/7 Werner LEMBERG w...@gnu.org:
Which one of the clefs in the attachment do you like best?
The first. IMHO, the other two are too small or should be used for
special situations only, like tight full scores.
I've looked on IMSLP and many scores use clefs smaller than left one,
not only
The first. IMHO, the other two are too small or should be used for
special situations only, like tight full scores.
I've looked on IMSLP and many scores use clefs smaller than left
one, not only when staves are crowded.
Yes, especially non-German editions use very small clefs. It's a
Am 07.07.2011 11:37, schrieb Xavier Scheuer:
2011/7/7 Janek Warchołlemniskata.bernoull...@gmail.com:
I guess our G-clef is curved partly to distinguish itself from other
software' clefs. Default Finale clef has very straight vertical line
for example.
Maybe I’ve missed some discussions, but
Hello,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of James Harkins
)Sent: 07 July 2011 04:43
)To: lily-users
)Subject: Cues + ties/LV
)
)Was just playing around with cues, and
Hello
---
From: lilypond-user-bounces+james.lowe=datacore@gnu.org
[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On Behalf Of
Marc Mouries
Sent: 07 July 2011 03:36
To: lilypond-user
Subject: Re: Lilypond making my Macbook Pro run slow
What exactly does 'keep
Is it possible to (1) allow the page-turn-breaker to behave normally
but, if the first page number is 2, decrement all of the printed page
numbers by 1, (2) place the odd page numbers in the top left corner of a
page and the even numbers in the top right corner? This is for a case
where a part
At Thu, 7 Jul 2011 10:21:01 +0200,
m...@apollinemike.com wrote:
Karim Barkati karimbark...@gmail.com is currently typesetting a score not
unlike this for viola electronics. I'm ccing him to this e-mail: his
approach also uses glissandi and looks really nice.
For the arrow:
\relative
On Jul 7, 2011, at 2:16 PM, James Harkins wrote:
At Thu, 7 Jul 2011 10:21:01 +0200,
m...@apollinemike.com wrote:
Karim Barkati karimbark...@gmail.com is currently typesetting a score not
unlike this for viola electronics. I'm ccing him to this e-mail: his
approach also uses glissandi
I'm sure this has been discussed before, but I've been having a heck
of a time finding previous threads that go into any depth. I see one
from 2008 (revived in 2010) that references a part of the Learning
Manual that seems to have moved from section 5 but doesn't really
contain all that much
Hello Andrew,
What is frustrating to me is that doing something that
seems to be standard in music notation (such as writing multiple
parts) takes so much manual effort and so many hacks to look good.
And there is much more documentation for strange things (like printing
notes with colored
Hi Hilary,
Is it possible to (1) allow the page-turn-breaker to behave normally but, if
the first page number is 2, decrement all of the printed page numbers by 1,
(2) place the odd page numbers in the top left corner of a page and the even
numbers in the top right corner? This is for a
Hello.
I'm sure this has been discussed before, but I've been having a heck
of a time finding previous threads that go into any depth. I see one
from 2008 (revived in 2010) that references a part of the Learning
Manual that seems to have moved from section 5 but doesn't really
contain all
Am Donnerstag, 7. Juli 2011, 15:25:43 schrieb couch...@gmail.com:
I would like to set a large piece with multiple parts, with the option
of producing single-part scores (e.g. an orchestral piece). I have
found that very quickly my source files get out of control. What are
the best practices
On 5 July 2011 23:34, Andrea La Rose andrea.lar...@gmail.com wrote:
This snippet seems to do the trick:
global = { \repeat unfold 3 { \time 4/4 \once \override Staff.TimeSignature
#'stencil = ##f { s1*4 } \bar \break { s1*4 }
The override of the stencil removes the extra time signatures;
Am Donnerstag, 7. Juli 2011, 16:06:17 schrieb Kieren MacMillan:
Hi Hilary,
Is it possible to (1) allow the page-turn-breaker to behave normally but,
if the first page number is 2, decrement all of the printed page numbers
by 1, (2) place the odd page numbers in the top left corner of a
On 7 July 2011 04:36, Jay Lee jkl...@mac.com wrote:
Anybody? Or is it really not possible?
The easiest method is to define the markup first, then insert it into
the verbose list:
flatSeven = \markup { \concat { \flat 7 } }
\markup {
\override #'(fret-diagram-details . ((finger-code .
A lot of this is beyond me, Andrew, but :
On Thu, Jul 7, 2011 at 9:25 AM, couch...@gmail.com couch...@gmail.comwrote:
- Short lived divisi - is there a better method than using on
every note? What about a passage with rhythmic differences? Must
this be separated into yet another part?
2011/7/7 Bill Mooney mooney...@aim.com:
Greetings all,
I prefer 2 or 3 before 1.
Putting them in context - see the attached files, where I have superimposed
pairs to show the differences as precisely as I could.
Good idea, thanks!
Janek
___
2011/7/7 Xavier Scheuer x.sche...@gmail.com:
Maybe I’ve missed some discussions,
nope :)
but what’s the purpose of this survey ?
Do you plan to modify LilyPond’s G-clef ?
Yes.
It's been irking me since i began using Lily; I don't like it for
similar reasons as some of you (see attachment).
Hello,
From: lilypond-user-bounces+james.lowe=datacore@gnu.org
[lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Janek
Warchoł [lemniskata.bernoull...@gmail.com]
Sent: 07 July 2011 22:09
To: Xavier Scheuer
Cc: lilypond-user
Subject:
I have an orchestral score and I am trying to suppress empty staves
from printing in systems, using \RemoveEmptyStaffContext and
\RemoveEmptyRhythmicStaffContext. Going by a previous thread I found,
I have tried this:
\layout {
\context {
\RemoveEmptyStaffContext
}
}
\layout {
Sorry email got sent before I finished!
I meant to say:
I tried this:
\layout {
\context {
\RemoveEmptyStaffContext
}
}
\layout {
\context {
\RemoveEmptyRhythmicStaffContext
}
}
and I tried
\layout {
\context {
\RemoveEmptyStaffContext
}
Interesting... I changed my percussion staff to a drum staff and then
used \RemoveEmptyDrumStaffContext and it worked correctly. *shrug*
On Thu, Jul 7, 2011 at 9:52 PM, Brett McCoy idragos...@gmail.com wrote:
Sorry email got sent before I finished!
I meant to say:
I tried this:
\layout {
Date: Thu, 7 Jul 2011 09:25:43 -0400
From: couch...@gmail.com couch...@gmail.com
Subject: Best Practices for Multiple Part Scores
I'm also relatively new to ly so I don't have detailed answers.
I am specifically looking for advice on the following subjects:
- Time, key, and tempo changes
At Thu, 7 Jul 2011 14:20:15 +0200,
m...@apollinemike.com wrote:
Not bad, though the glisses don't always join exactly. I won't be too fussy
at this stage.
That's odd...they should. Could you send an example of them not joining up?
Add this to your example and you'll see it.
\override
Neil Puttock n.puttock at gmail.com writes:
snip
The easiest method is to define the markup first, then insert it into
the verbose list:
flatSeven = \markup { \concat { \flat 7 } }
\markup {
\override #'(fret-diagram-details . ((finger-code . in-dot)))
\fret-diagram-verbose
On 7/7/11 10:21 PM, Jay Lee jkl...@mac.com wrote:
Neil Puttock n.puttock at gmail.com writes:
snip
The easiest method is to define the markup first, then insert it into
the verbose list:
flatSeven = \markup { \concat { \flat 7 } }
\markup {
\override #'(fret-diagram-details .
Jay Lee jkllee at mac.com writes:
snip
#'(
(place-fret 4 1 5)
(place-fret 3 4 ,flatThree)
(place-fret 2 4 5)
(place-fret 1 4 R)
couchand at gmail.com couchand at gmail.com writes:
I would like to set a large piece with multiple parts, with the option
of producing single-part scores (e.g. an orchestral piece). I have
found that very quickly my source files get out of control.
1) http://www.mutopiaproject.org/
Keith OHara k-ohara5a5a at oco.net writes:
file: horns.ly
[...]
\score {
\keepWithTag#'part \new Staff
\horns_mvt_I
\commonConductor_mvt_I
}
\score {
\keepWithTag#'part \new Staff
\horns_mvt_II
\commonConductor_mvt_II
I had
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