Thanks David -- This is great, I can almost start with the score now.
I was (am still a bit) unclear about how the grob gets passed to the callback
function.
interesting that the grob is still available within the callback without
passing it -- I had thought that the stencil assignment was pass
What is the recommended way to align a whole-note chord over a
whole-measure rest? The rest gets centered in the bar, whereas
the chord gets placed above where beat 1 of the measure would be.
Thanks!
Jim
\version "2.16.1"
\paper {
ragged-last = ##f
}
\score {
<<
\new ChordNames \chord
Hi Rama,
On Sun, Mar 10, 2013 at 8:33 PM, Rama Gottfried wrote:
> Hi guys,
>
> I'm making progress, but now am stuck and wondering if you have any advice
> or see anything I'm doing wrong here (code below).
>
> What I would like to be able to do is specify the handle coordinates for
> the curve f
On 11/03/13 08:57, Sarah k Alawami wrote:
Is there a way to memorize or through pattern recognition how many ' and ,
symbols it takes to jump octaves?
Think of it in terms of staff lines or spaces: a note within a fifth of
the previous note doesn't need ' or , to get the correct pitch, with
ac
2013/3/8 Klaus Föhl :
> Hello,
>
> Some German lyrics from before the times of Neue Deutsche Rechtschreibung
> feature ck between two syllables. Without Hyphen it is "lecker", with hyphen
> it is "lek-ker". Using lec -- ker or lek -- ker ( on purpose not le -- cker)
> the hyphen may or may not appe
Hi guys,
I'm making progress, but now am stuck and wondering if you have any advice or
see anything I'm doing wrong here (code below).
What I would like to be able to do is specify the handle coordinates for the
curve for each glissando.
The problem I'm having is that it seems that all glissan
On Sun, 2013-03-10 at 16:17 +0100, Johan Vromans wrote:
> Martin Tarenskeen writes:
>
> > ... but without using uppercase to make parsing by the computer
> > easier.
>
> Actually, it makes typing music easier.
>
> -- Johan
I made an editing script which used capitals in exactly
that way, and n
Well I'm used to writing numbers as my theory person had us do for our key
board tests so I see c4 and think, Oh middle c on the piano. so that's how I
interpreted it in the docs as a middle c not a quarter note. I also
misinterpreted the ' symbol to mean a single quote so it literally did mean
Sarah k Alawami writes:
> Oh the docs messed up. lol! It was in the notes reference guide at the octave
> checks section.
>
> Here is the example they gave.
>
> \relative c'' {
> c2 d='4 d
> e2 f
> }
>
>
> so I followed the directions unless I just red it wrong. lol! whichI
> probably did
On Mar 10, 2013, at 4:08 PM, flup2 wrote:
> The "opt/" etc. path and the frescobaldi command must be on the same line.
> They seem to be on 2 different lines in your command.
Ah, right. The email formatting made it seem like they were on separate lines.
I also realized that the cd /Library/...
On 10/03/2013 17:35, David Kastrup wrote:
I have a hard time imagining what you'd be writing after \relative if
you can't even remember the name of middle C.
Without knowing at least_one_ absolute pitch, anchoring \relative will
be a challenge.
I simply crib the start of everything from previou
>
> > The problem with that approach is that it does not adapt to LilyPond
> > choosing to use wider or narrower spacing depending on the page layout.
>
> The problem with the other approach is that it involves more (and more
> complex) code.
>
> Would an "\afterGrace-like" command for delayed turn
Oh the docs messed up. lol! It was in the notes reference guide at the octave
checks section.
Here is the example they gave.
\relative c'' {
c2 d='4 d
e2 f
}
so I followed the directions unless I just red it wrong. lol! whichI probably
did as I was rushing to get the assignment done. lo
Xavier Scheuer writes:
> On 10 March 2013 17:27, David Kastrup wrote:
>>
>> The problem with that approach is that it does not adapt to LilyPond
>> choosing to use wider or narrower spacing depending on the page layout.
>
> The problem with the other approach is that it involves more (and more
>
The "opt/" etc. path and the frescobaldi command must be on the same line.
They seem to be on 2 different lines in your command.
If the problem doesn't lie there, I'll try to modify my launcher to make it
work with your path.
Philippe
--
View this message in context:
http://lilypond.1069038.n
On Mar 10, 2013, at 1:23 PM, flup2 wrote:
> #!/bin/sh
>
> cd /Applications/frescobaldi
> /opt/local/Library/Frameworks/Python.framework/Versions/2.7/bin/python2.7
> frescobaldi
Thank you for the instructions! When I installed frescobaldi, I just did the
default install from the command lin
On 10 March 2013 17:27, David Kastrup wrote:
>
> The problem with that approach is that it does not adapt to LilyPond
> choosing to use wider or narrower spacing depending on the page layout.
The problem with the other approach is that it involves more (and more
complex) code.
Would an "\afterGr
Hi David (et al.),
> a) you can stay with your current usage easily enough
Excellent!
> b) letting convert-ly change all of your existing files without explicit
> instruction would seem inappropriate
+1
> c) in \relative { c'' ..., the pitch might not actually be c''. If you
> are wired t
Jacques Menu writes:
> Hello Folks,
>
> I'm rather new to Lily, and I don't have any cons/pro arguments about
> this change.
>
> After reading the various reactions, a question : why not augment the
> language with a new keyword?
> Could be \relativeanchored or something, and would avoid the need
Hello Folks,
I'm rather new to Lily, and I don't have any cons/pro arguments about this
change.
After reading the various reactions, a question : why not augment the language
with a new keyword?
Could be \relativeanchored or something, and would avoid the need for doc,
snippets and existing us
Wols Lists writes:
> On 10/03/13 02:40, Jim Long wrote:
>
>> Why is "a" A 220, and not A 440?
>
> It isn't :-)
It is.
> Read up on "concert pitch" - the wikipedia article is interesting, not
> only in the fact that concert pitch has a single-digit ISO standard to
> its credit!
>
> And oh, I thi
On 10/03/13 03:47, Sarah k Alawami wrote:
> 'd rather enter in the pitches like they are on a piano starting with c1
> being low c and c8 being very high c all the way to the right of the
> keyboard.
I assume you're a pianist? I'm not. So a piano-centric naming scheme
would be of no use to me
On 10/03/13 02:40, Jim Long wrote:
> 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-c
Hello,
I though I posted it here or on the Frescobaldi Google group, but it seems I
only posted it on the French user list. So here it is:
Creation of a launcher :
-
* download "Platypus", that allows to integrate a script into a
double-clickable Mac application
* run
On Mar 10, 2013, at 3:39 AM, flup2 wrote:
> But as soon as the macports installation is done (between 1 and 4 hours
> depending the computer age), anyone can create an .app bundle (I posted the
> way to do it) that only includes a launch script.
Hi Philippe, Can you point me to where you posted
Evan Driscoll writes:
> On 03/10/2013 03:50 AM, David Kastrup wrote:
>
> The problem I have with talking much about \relative f is that f seems
> arbitrary. However, maybe an explanation linking both of these concepts
> and explaining how f is arrived at will allow both views to coexist.
>
>
On Mar 10, 2013, at 10:22 AM, David Kastrup wrote:
> The proposed convert-ly rule of issue 2329 converts everything it can
> interpret (which is the majority) to argumentless \relative. This
> conversion is needed for converting the LilyPond code base, and it
> should be available to the user as
On 03/10/2013 03:50 AM, David Kastrup wrote:
The problem I have with talking much about \relative f is that f seems
arbitrary. However, maybe an explanation linking both of these concepts
and explaining how f is arrived at will allow both views to coexist.
That's what I was trying to get at with
Kevin Patrick Barry writes:
> My preferred method for placing a turn between notes is to tweak the
> X-offset, viz.
>
> c -\tweak #'X-offset #2 \turn
>
> and modify the value accordingly. Seems a bit simpler than the snippet
> solution (which seems to produce a smaller turn than the default
> art
Kieren MacMillan writes:
> Hello all,
>
> Just thought I'd put my 2¢ in here…
>
> In the last year alone, I have Lilypounded two stage musicals, a
> chamber opera, and about a dozen smaller pieces, with a range of
> styles from Alan Menken to Arnold Schoenberg. So I believe I can
> qualify as som
On Mar 10, 2013, at 4:45 AM, Janek Warchoł wrote:
> On Sun, Mar 10, 2013 at 12:38 AM, Tim McNamara wrote:
>> My last attempt to install it on my Mac to run in an X11 window resulted in
>> literally hundreds of things being downloaded by MacPorts- dependencies for
>> the dependencies for the depe
Martin Tarenskeen writes:
> ... but without using uppercase to make parsing by the computer
> easier.
Actually, it makes typing music easier.
-- Johan
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypon
My preferred method for placing a turn between notes is to tweak the
X-offset, viz.
c -\tweak #'X-offset #2 \turn
and modify the value accordingly. Seems a bit simpler than the snippet
solution (which seems to produce a smaller turn than the default
articulation?).
Kevin
___
Keith OHara writes:
> David Kastrup 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 oco.net> writes:
>>
>> > David Kastrup
Jim Long writes:
> I think 'recommended' is going too far. At least, I can't see
> that one is always or nearly always better than the other. David
> made some examples of when the proposal could be better,
Not really. I just went into the Learning manual (intended for
beginners) without look
Hello all,
Just thought I'd put my 2¢ in here…
In the last year alone, I have Lilypounded two stage musicals, a chamber opera,
and about a dozen smaller pieces, with a range of styles from Alan Menken to
Arnold Schoenberg. So I believe I can qualify as someone who has entered
"complicated musi
Paul Morris writes:
>> b) should convert-ly make user code walk through that door once?
>
> Hmmm... If people have been using an explicit reference pitch,
> nothing changes in that case.
The proposed convert-ly rule of issue 2329 converts everything it can
interpret (which is the majority) to a
Colin Hall writes:
> Keith OHara writes:
>
>> 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
>
Keith OHara writes:
> 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 inter
Hi,
On Sun, Mar 10, 2013 at 10:45 AM, Janek Warchoł
wrote:
> I'm sorry that you have such problems. If i were you, i'd just
> install some Linux in a Virtual Machine (it's not difficult) and
> install Frescobaldi there. I conisder Frescobaldi to be much too
> useful not to have it - in fact, i
Jim Long:
> Just curious, how did the absolute notation system come about?
Do you mean in the program Lilypond, I don't know.
> My main observations are that it is piano-centric, with
It's the other way around, the notes are music-centric and the
piano is a reasonable simplification of the scal
On 2013-03-09 13:56, Urs Liska wrote:
Am 09.03.2013 12:50, schrieb David Kastrup:
james writes:
On Mar 8, 2013, at 6:33 PM, Tim Slattery wrote:
Mike Blackstock wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://paper
:)
On Sun, Mar 10, 2013 at 11:10 AM, David Kastrup wrote:
> Janek Warchoł writes:
>
>> On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen wrote:
>>> Compared with the \clef behaviour, I see this variant:
>>> melody = { \relative c='4 d e f g f e d c \absolute c,, d,, e,, f,,
>>> g,, \relative c
Janek Warchoł writes:
> On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen wrote:
>
>> Compared with the \clef behaviour, I see this variant:
>>
>> melody = { \relative c='4 d e f g f e d c \absolute c,, d,, e,, f,,
>> g,, \relative c=' d e f }
>
> I think this may be technically impossible (or
Wim van Dommelen writes:
> melody = { \relative c='4 d e f g f e d c \absolute c,, d,, e,, f,,
> g,, \relative c=' d e f }
Executive summary: that's an unmaintainable nightmare. If you don't
care about reading technical rants, you might as well stop reading now.
> The { } only wrap the notes f
On Sun, Mar 10, 2013 at 1:08 AM, Alexander Kobel wrote:
> On a different side note, it'd also be really nice if one could specify that
> no additional space should be introduced if there is no hyphen. At least
> that's how hand-engraved scores seem to do if horizontal space is at a
> premium: writ
On Sun, Mar 10, 2013 at 12:38 AM, Tim McNamara wrote:
> My last attempt to install it on my Mac to run in an X11 window resulted in
> literally hundreds of things being downloaded by MacPorts- dependencies for
> the dependencies for the dependencies in what seemed to be nearly infinite
> recurs
On Sun, Mar 10, 2013 at 10:33 AM, Wim van Dommelen wrote:
>
> On 10 Mar 2013, at 10:06 , David Kastrup wrote:
>> Barely tongue-in-cheek:
>>
>> absolute =
>> #(define-music-function (parser location music) (ly:music?)
>> (make-music 'TransposedMusic 'element music))
>>
>> When placed inside of a
On Sat, 9 Mar 2013, Jim Long wrote:
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,
On Sat, 9 Mar 2013, Paul Morris wrote:
On Mar 9, 2013, at 10:05 PM, Jim Long 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
On 10 Mar 2013, at 10:06 , David Kastrup wrote:
Wim van Dommelen writes:
Agree, we should have an easy way to switch from absolute to relative
(Yes, everthing inside \relative { } is relative, all other is
absolute, I know), like: \absolute: from here on everything is
absolute like \clef bas
Jim Long 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 refe
Wim van Dommelen writes:
> Agree, we should have an easy way to switch from absolute to relative
> (Yes, everthing inside \relative { } is relative, all other is
> absolute, I know), like: \absolute: from here on everything is
> absolute like \clef bass tells me: from here on display everything i
Sarah k Alawami writes:
> 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
Evan Driscoll writes:
> 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
Regards,
Wim.
On 9 Mar 2013, at 05:45 , Keith OHara wrote:
Colin Hall 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.
Not if y
On Sat, 9 Mar 2013, SoundsFromSound wrote:
"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! :)
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