Sorry Flaming Hakama by Elaine,
> Very unclear what the original issue is. If by "workarounds" you mean the
> context definitions that remove various engravers, then it is unclear what
> you expect to print if you remove everything.
I was making a dumb assumption that the history of this
Hi Peter,
> The following MWE shows that the full bar rests are not shifted as I would
> have expected in the parallel voices. Bars 5 and 6 print the rests at
> different heights. Have I missed a property somewhere?
Well, rests are Rest, and full-bar rests are MultiMeasureRest… ;)
>
-- Forwarded message --
> From: David Bellows
> To:
> Cc: lilypond-user Mailinglist
> Bcc:
> Date: Sat, 30 Nov 2019 14:18:48 -0800
> Subject: Re: Unconventional score and unwanted stray staff lines
>
> As I was playing around with my software (summary: a program that
>
Hello,
for me proofreading line by line as Wol described is the most helpfull
method, and I use it as the top method beside reading the original in
combination with hearing the midi-output.
Best Regards Roland
On 30/11/2019 15:35, Jinsong Zhao wrote:
Hi there,
It's may be some off topic. After a long struggle, I have nearly done
the input of a sheet music. Then, I need to proofread it.
Generally, I split the screen into left and right frames, and put the
score that Lilypond output and the
Hi Jinsong,
I found that proofreading visually does not really work for me, I just
overlook too many errors.
But I can recommend listening to MIDI output. I usually take single
voices (or sometimes one voice for checking and e.g. bass for reference)
while reading the original. Listening to
Michael Käppler writes:
> Am 29.11.2019 um 23:27 schrieb David Kastrup:
>> Michael Käppler writes:
>>
>>> Hi all,
>>> I would like to color all successive notes in a voice that span a
>>> certain interval, like e.g. a perfect fifth upwards.
>>> Seems to me the most straightforward and
Am 29.11.2019 um 23:27 schrieb David Kastrup:
Michael Käppler writes:
Hi all,
I would like to color all successive notes in a voice that span a
certain interval, like e.g. a perfect fifth upwards.
Seems to me the most straightforward and extensible way would be to
write a scheme engraver for
Hello,
given a note/rest/chord/skip-event is there a way to display the name of its
staff? I need to check if it belongs to staff "UP" or "DOWN" of a
piano-staff.What if I use map-some-music() function?
(map-some-music (lambda (evt) (let ((name
David,
Insigtful!
I shall change my proofing.
Mark
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of David Nalesnik
Sent: Saturday, November 30, 2019 7:46 AM
To: Jinsong Zhao
Cc: lilypond-user
Subject: Re: How to
On 11/30, Jinsong Zhao wrote:
> Hi there,
>
> It's may be some off topic. After a long struggle, I have nearly done
> the input of a sheet music. Then, I need to proofread it.
>
> Generally, I split the screen into left and right frames, and put the
> score that Lilypond output and the original
On Sat, Nov 30, 2019 at 7:36 AM Jinsong Zhao wrote:
>
> Hi there,
>
> It's may be some off topic. After a long struggle, I have nearly done
> the input of a sheet music. Then, I need to proofread it.
>
> Generally, I split the screen into left and right frames, and put the
> score that Lilypond
Am Fr., 29. Nov. 2019 um 12:11 Uhr schrieb Sandro Santilli :
>
> When using \partcombine I'm getting 3 of these errors:
>
> programming error: note column without heads and stem
> continuing, cross fingers
>
> The errors doesn't tell which line/column they come from.
> How can I debug it ?
>
>
"Jinsong Zhao" wrote 30/11/2019 15:35:23
It's may be some off topic. After a long struggle, I have nearly done the input
of a sheet music. Then, I need to proofread it.
Generally, I split the screen into left and right frames, and put the score
that Lilypond output and the original one
The following MWE shows that the full bar rests are not shifted as I would have
expected in the parallel voices. Bars 5 and 6 print the rests at different
heights. Have I missed a property somewhere? I experimented with
voiced-position but that didn't affect the full-bar rests.
Alternatively,
Hi Jinsong,
On Sat, Nov 30, 2019 at 9:36 AM Jinsong Zhao wrote:
>
> Hi there,
>
> It's may be some off topic. After a long struggle, I have nearly done
> the input of a sheet music. Then, I need to proofread it.
>
> Generally, I split the screen into left and right frames, and put the
> score
Hi there,
It's may be some off topic. After a long struggle, I have nearly done
the input of a sheet music. Then, I need to proofread it.
Generally, I split the screen into left and right frames, and put the
score that Lilypond output and the original one into each frame, and
read/compare
Peter Toye writes:
> David,
>
> Thanks for this. My comments are below. My mind is much clearer now.
>
> -
> Friday, November 29, 2019, 10:25:36 PM, David Kastrup wrote:
>
>> Peter Toye writes:
>
>>> I'm a bit confused by he documentation concerning \override. In most
On Sat, Nov 30, 2019 at 7:40 AM Kieren MacMillan
wrote:
>
> Hi Phil,
>
> > What on earth does a gradual piano pedal release achieve? Either the
> > dampers are touching the strings or they're not, so it's in effect a binary
> > choice.
>
> That’s not true: the amount of pressure applied by the
Hi Phil,
> What on earth does a gradual piano pedal release achieve? Either the dampers
> are touching the strings or they're not, so it's in effect a binary choice.
That’s not true: the amount of pressure applied by the dampers — from 100% to
0% — is graduated (based on how much gravity is
On 2019/11/30 18:56, Thomas Morley wrote:
Am Sa., 30. Nov. 2019 um 02:19 Uhr schrieb Jinsong Zhao
:
On 2019/11/30 2:23, Thomas Morley wrote:
\ottava works for Staff. You told LilyPond to write your entered
Staff-input one octave below. Thus the OttavaBracket _needs_ to span
the upper
Carl,
Thanks for this. My comments are below.
Peter
-
Friday, November 29, 2019, 7:25:59 PM, Carl Sorensen wrote:
Peter,
Thank you for asking this question. It is good for us to have relatively new
users let us know what things are confusing, so we can try to
David,
Thanks for this. My comments are below. My mind is much clearer now.
-
Friday, November 29, 2019, 10:25:36 PM, David Kastrup wrote:
> Peter Toye writes:
>> I'm a bit confused by he documentation concerning \override. In most
>> of the LR and NR it is described
Am Sa., 30. Nov. 2019 um 11:50 Uhr schrieb Andrew Bernard
:
> I don't write this stuff, I am merely the harmless drudge that tries to
> engrave it!
[...]
> I have seen other composers write the same thing also. I think
> it's a type of modernist composer shared delusion.
>
> The things we
Am Sa., 30. Nov. 2019 um 01:20 Uhr schrieb Andrew Bernard
:
>
> I wonder if it is possible to indicate piano pedal gradual release off,
> and gradual on, using curves? Please refer to attached shots of MS.
>
> We have been able to do great things with pedal lines before in response
> my requests,
Am Samstag, 30 Nov 2019 10:24:30 - schrieb Phil Holmes:
> What on earth does a gradual piano pedal release achieve? Either the
> dampers are touching the strings or they're not, so it's in effect a
> binary choice. So a gradual release simply makes the time the sustain
> ends somewhat
Am Sa., 30. Nov. 2019 um 02:19 Uhr schrieb Jinsong Zhao
:
>
> On 2019/11/30 2:23, Thomas Morley wrote:
> >
> > \ottava works for Staff. You told LilyPond to write your entered
> > Staff-input one octave below. Thus the OttavaBracket _needs_ to span
> > the upper Voice (although you tweaked it's
Hello Phil,
I don't write this stuff, I am merely the harmless drudge that tries to
engrave it!
Although I think it's somewhat stupid, I will say, speaking as somebody
who has made harpsichords most of my life, and messed around with many
keyboard instruments, it is possible to hear very,
- Original Message -
From: "Andrew Bernard"
To:
Sent: Saturday, November 30, 2019 12:20 AM
Subject: Piano pedal gradual release
I wonder if it is possible to indicate piano pedal gradual release off,
and gradual on, using curves? Please refer to attached shots of MS.
We have been
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