Keith OHara k-ohara5...@oco.net writes:
Colin Hall colinghall at gmail.com writes:
In my early days with Lilypond I learned this to my cost. I've
never used \relative since then.
I stopped using \relative about a year ago, because absolute note
entry is vastly easier.
Well, then both
Shane Brandes sh...@grayskies.net writes:
It's funny. I think i have used \absolute maybe three times. It is too
much extra typing.
We don't even _have_ \absolute... And you'll be hard put to specify the
reference pitch for \relative in anything but absolute mode.
--
David Kastrup
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi,
Just saw http://code.google.com/p/lilypond/issues/detail?id=3203.
I think that Phil's schedule will likely get 2.17.14 out this weekend if
I remember correctly. Then this embarrassing problem of mine should be
gone. We also made one
Keith OHara k-ohara5...@oco.net writes:
Nick Payne nick.payne at internode.on.net writes:
have to fiddle with the value of halign each time to get
the turn centred between the notes. Is there a more automated way of
positioning the turn?
Parallel music. Then I can think in terms of
Olivier Biot olivier.b...@gmail.com writes:
I have mixed feelings regarding the proposed syntax update of
\relative.
Treating the first pitch of \music in \relative \music differently is
not intuitive and will likely result in octave errors.
Treating the first pitch of \music in \relative
Il 07/03/2013 20:06, David Kastrup ha scritto:
The idea is that \relative { ... } (namely \relative used without an
explicit reference pitch) uses the first note inside as the reference
pitch.
I like this idea, as it makes the input a bit cleaner.
For those of us who are used to the old way,
Hi,
this suggestion might take the crown of the most discussed change away
from the treble clef touchup - i'm impressed :)
Anyway, i see the situation as follows:
- most of us consider changing the behaviour of \relative {} (without
explicit reference pitch) a good idea,
- we (i.e. user
Federico Bruni fedel...@gmail.com writes:
Il 07/03/2013 20:06, David Kastrup ha scritto:
The idea is that \relative { ... } (namely \relative used without an
explicit reference pitch) uses the first note inside as the reference
pitch.
I like this idea, as it makes the input a bit cleaner.
- Original Message -
From: David Kastrup d...@gnu.org
To: lilypond-user@gnu.org
Cc: bug-lilyp...@gnu.org
Sent: Saturday, March 09, 2013 9:52 AM
Subject: Re: span bar not working any more?
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi,
Just saw
Janek Warchoł janek.lilyp...@gmail.com writes:
this suggestion might take the crown of the most discussed change away
from the treble clef touchup - i'm impressed :)
Well, easy if it's an extensive change proposed by a quarrelsome
blockhead having nothing to do with his time except working on
On Sat, Mar 9, 2013 at 7:02 AM, Nick Payne nick.pa...@internode.on.net wrote:
See attached graphic. Quite a number of these in the score (Brahms Sextet Op
18).
you can use a clever function written by David K. While it results in
different (i'd say a bit worse) spacing, it makes input code
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sat, Mar 9, 2013 at 7:02 AM, Nick Payne
nick.pa...@internode.on.net wrote:
See attached graphic. Quite a number of these in the score (Brahms
Sextet Op
18).
you can use a clever function written by David K. While it results in
different
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=787244
Excellent article, even
james james.lilyp...@googlemail.com writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
Nick,
Creating a delayed turn is at
http://www.lilypond.org/doc/v2.16/Documentation/snippets/expressive-marks.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent:
Am 2013-03-09 um 12:50 schrieb David Kastrup:
It's exactly these things: articulations, editorial annotations,
expressive marks, that are under frequently copyright.
Also the actual image.
Only in some legislations, e.g. not in Germany, Switzerland and Austria (DACH),
but e.g. in the UK,
I don't really have a good idea how some kind of voting process would
look like where we get relevant feedback from a substantial number of
non-specialists.
FWIW, speaking as a Lilypond user with some programming experience (but who
is not a LP developer) -- I was skeptical of the change at
Am 09.03.2013 12:50, schrieb David Kastrup:
james james.lilyp...@googlemail.com writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted
Am 09.03.2013 07:04, schrieb Matthew Collett:
On 9/03/2013, at 12:22 am, Francisco Vila paconet@gmail.com wrote:
2013/3/8 Jan Nieuwenhuizen jann...@gnu.org:
David Kastrup writes:
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
+1
+1 , I was
Urs Liska li...@ursliska.de writes:
Am 09.03.2013 12:50, schrieb David Kastrup:
james james.lilyp...@googlemail.com writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
David Kastrup d...@gnu.org writes:
Also see
URL:http://de.wikisource.org/wiki/Bundesgerichtshof_-_Apfel-Madonna
It's probably ironic that this Apple Madonna verdict is _totally_
relevant regarding Apple's conduct in the smartphone wars:
e) Die Klägerin hat ferner die Ansicht vertreten, daß
Am 09.03.2013 15:25, schrieb David Kastrup:
Urs Liska li...@ursliska.de writes:
Am 09.03.2013 12:50, schrieb David Kastrup:
james james.lilyp...@googlemail.com writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of
David Kastrup wrote Saturday, March 09, 2013 10:40 AM
So far, the response has been quite a mixed bag. So here is how I think
we may proceed on this.
a) stop any further use of the current \relative { ... }
That's issue 3231.
b) Implement new proposed behavior for \relative { ... }.
On Sat, Mar 9, 2013 at 12:20 AM, David Kastrup d...@gnu.org wrote:
Olivier Biot olivier.b...@gmail.com writes:
I have mixed feelings regarding the proposed syntax update of
\relative.
Treating the first pitch of \music in \relative \music differently is
not intuitive and will likely
On Sat, Mar 9, 2013 at 4:10 PM, Olivier Biot olivier.b...@gmail.com wrote:
Thinking of which, I believe I am struggling with music entry notation
versus music storage: writing in relative pitch is often easier for note
entry, but absolute pitches are IMHO better suited for storing music. I may
Olivier Biot olivier.b...@gmail.com writes:
On Sat, Mar 9, 2013 at 12:20 AM, David Kastrup d...@gnu.org wrote:
[...]
Personally I think that
c'' \relative { ... }
is more intuitive than
\relative c'' { ... }
music functions don't look
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sat, Mar 9, 2013 at 4:10 PM, Olivier Biot olivier.b...@gmail.com wrote:
Thinking of which, I believe I am struggling with music entry notation
versus music storage: writing in relative pitch is often easier for note
entry, but absolute pitches
On 03/09/2013 06:26 AM, James Harkins wrote:
I don't really have a good idea how some kind of voting process would
look like where we get relevant feedback from a substantial number of
non-specialists.
FWIW, speaking as a Lilypond user with some programming experience (but who
is not a LP
On Sat, 9 Mar 2013, Paul Scott wrote:
On 03/09/2013 06:26 AM, James Harkins wrote:
I don't really have a good idea how some kind of voting process would
look like where we get relevant feedback from a substantial number of
non-specialists.
FWIW, speaking as a Lilypond user with some
Am 08.03.2013 14:18, schrieb Mike Blackstock:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=787244
Abstract:
Copyfraud is everywhere. False copyright notices appear on modern
On Mar 9, 2013, at 4:47 AM, David Kastrup d...@gnu.org wrote:
So that's the next step: opening the door on \relative { } again, or rather a
different door with the same door handle.
Interesting discussion. I like the new/proposed behavior for \relative { ... }
(without reference pitch),
On Mar 8, 2013, at 1:21 AM, Janek Warchoł janek.lilyp...@gmail.com wrote:
To be absolutely clear: i want both an 'end-bar' property and the
thing mentioned above.
To put it differently: i suggest to have an 'end-bar' property and set
its default value to a function which returns |. for longer
On Sat, Mar 9, 2013 at 4:35 PM, David Kastrup d...@gnu.org wrote:
Janek Warchoł janek.lilyp...@gmail.com writes:
On Sat, Mar 9, 2013 at 4:10 PM, Olivier Biot olivier.b...@gmail.com
wrote:
Thinking of which, I believe I am struggling with music entry notation
versus music storage: writing
This thread is extremely interesting.
However, I think we're mixing two things here:
1. Defining semantically disjoint and intuitive bar line types (e.g., final
measure ending bar line, start of repeat, end and start of repeat...)
2. Describing how a bar line type should be displayed
The
On Sat, Mar 9, 2013 at 6:31 PM, Urs Liska li...@ursliska.de wrote:
May I suggest a concrete example for consideration (because it's a tricky
constellation and I'd appreciate any opinion)?
Given a musical work that is clearly in the public domain (1820s).
The autograph score is in private
El 04/03/2013 13:18, Francisco Vila paconet@gmail.com escribió:
In GNU/Linux it is a small nightmare to install. In Windows it is a
matter of next-next-next-done.
I must say it's not so hard in Ubuntu 12.10, all needed libraries (esp.
Python poppler qt4) are now in packages available in
On Fri, Mar 8, 2013 at 6:09 PM, Alexander Kobel n...@a-kobel.de wrote:
On 03/08/2013 10:19 AM, Mats Bengtsson wrote:
On 03/08/2013 03:52 PM, lilypond-user-requ...@gnu.org wrote:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two
On Mar 9, 2013, at 5:16 PM, Francisco Vila wrote:
El 04/03/2013 13:18, Francisco Vila paconet@gmail.com escribió:
In GNU/Linux it is a small nightmare to install. In Windows it is a
matter of next-next-next-done.
I must say it's not so hard in Ubuntu 12.10, all needed libraries
David Kastrup dak at gnu.org writes:
Keith OHara k-ohara5a5a at oco.net writes:
\new Voice \relative c'' {
f4. {s4 \once\hideNotes f8\turn\noBeam } g16-. a-. }
\once\hideNotes makes me a bit queasy here since it will affect all
notes at the same timestep.
No cause for nausea.
On 03/09/2013 06:37 PM, Olivier Biot wrote:
On Fri, Mar 8, 2013 at 6:09 PM, Alexander Kobel n...@a-kobel.de
mailto:n...@a-kobel.de wrote:
On 03/08/2013 10:19 AM, Mats Bengtsson wrote:
On 03/08/2013 03:52 PM, lilypond-user-requ...@gnu.org
Keith OHara k-ohara5...@oco.net writes:
David Kastrup dak at gnu.org writes:
Keith OHara k-ohara5a5a at oco.net writes:
\new Voice \relative c'' {
f4. {s4 \once\hideNotes f8\turn\noBeam } g16-. a-. }
\once\hideNotes makes me a bit queasy here since it will affect all
notes at the
It took me years to realize that \relative was making LilyPond more difficult
for me. I very often forget what was the last pitch I typed, especially when
working on a few music expressions in parallel, and even when I do remember the
burden of deciding if the interval is a fourth or fifth is
David Kastrup dak at gnu.org writes:
I don't think I get your point.
It was that \once\hideNotes works fine.
We do not need the complexities of \tweak or the new \single until we start
digging into chords.
Keith OHara k-ohara5a5a at oco.net writes:
David Kastrup dak at gnu.org writes:
On Sat, Mar 09, 2013 at 11:40:14AM +0100, David Kastrup wrote:
Well, the new mnemonic would be first pitch after \relative is
absolute
I'm not sure whether this is profound or profane, so please
excuse, but
For just the case of \relative WITHOUT a reference pitch:
I. Am I correct that
On Fri, Mar 08, 2013 at 12:22:59PM +0100, Francisco Vila wrote:
I was currently using \relative f { } anyway, so this would
allow removing the f, leaving the {...} intact, which for me would
imply a smooth transition to the new behavior.
I had a feeling my observation wasn't original. Also,
On 10/03/13 10:16, Francisco Vila wrote:
El 04/03/2013 13:18, Francisco Vila paconet@gmail.com
mailto:paconet@gmail.com escribió:
In GNU/Linux it is a small nightmare to install. In Windows it is a
matter of next-next-next-done.
I must say it's not so hard in Ubuntu 12.10, all
Just curious, how did the absolute notation system come about?
My main observations are that it is piano-centric, with
{ c d e f g a b c' } being an intuitive sequence, while { a b c d
e f g a' } is less logical. Mmm, well, maybe that's not
piano-centric, that's just music theory, C is the
re. If I now would want to make an edition of that work...
According to Mazzone Two basic features of copyright law are that (1)
copyright belongs
to the creator of an original work, and (2) copyright protection is
limited in duration. Copyright notices appear today, however, on
virtually
On Sat, Mar 09, 2013 at 12:49:31PM -0500, Paul Morris wrote:
As someone mentioned, it might be helpful to explain things in
the docs something like the following: If there is no explicit
reference pitch, the first note defaults to being relative to f
Yet another death knell to my earlier
Jim Long lilypond at umpquanet.com writes:
Just curious, how did the absolute notation system come about?
It is very similar to Helmholtz notation, from his book of 1863
On the Sensations of Tone as a Physiological Basis for the Theory of Music
The difference being that Hermann von Helmholtz
I actually tried the let's say e='t or how ever the docs were written. I don't
have them up at the moment and it failed with unknown rhythm. Iactually meant
e5 on the piano. so how would have I fixed this if I had if I remember
[relative c'' for middle c if I remember that to and i place an
On 3/9/2013 7:31 PM, Jim Long wrote:
So if somehow I've made two consecutive correct postulates,
wouldn't a user who used the mnemonic:
If no reference pitch is given, then the first pitch after
\relative is relative to f
...
So, addressing those who are put off by a perceived mixing
On Mar 9, 2013, at 10:05 PM, Jim Long lilyp...@umpquanet.com wrote:
I would rather not have convert-ly change any use of \relative with an
explicit reference pitch.
That was my thought too. Of course it would be possible, but since there would
be no change to the usage of explicit reference
In GNU/Linux it is a small nightmare to install
Really? Wow...not for me, it must have been a fluke or something. Ubuntu
and Mint all download Frescobaldi from the repo with one click. Sorry you
had problems! Hope it's all fixed for you now! :)
-
composer | sound designer
--
View
2013/3/10 SoundsFromSound soundsfromso...@gmail.com:
In GNU/Linux it is a small nightmare to install
Really? Wow...not for me, it must have been a fluke or something. Ubuntu
and Mint all download Frescobaldi from the repo with one click. Sorry you
had problems! Hope it's all fixed for you
Mac installation is long, but it doesn't make so much problem now.
The .app mentionned was only a test for including the dependencies in the
app, not meant to be usable in production.
But as soon as the macports installation is done (between 1 and 4 hours
depending the computer age), anyone can
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