ience is that \partcombine is mainly useful for piano
extracts (or to some degree partitura mashing): boiling down material
without much of a view for voice relations. For choral music (and even
polyphonic piano music) I tend to prefer fixed voice relations.
--
David Kastrup
Aaron Hill writes:
> On 2020-06-29 2:17 pm, David Kastrup wrote:
>> \voices 1,3,4,2 << \soprano \\ \alto \\ \tenor \\ \bass >>
>> which is ugly enough as it is [...]
>
> Does not seem that ugly to me, but I suppose one could encapsulate it
> via the ever-han
Pierre Perol-Schneider writes:
> Le lun. 29 juin 2020 à 22:31, David Kastrup a écrit :
>
>>
>> Just keep most stuff in the main voice, like
>>
> ...
>
>> \voices "main", 2 << { g4 f\) } \\ a,2 >>
>
> ...
> WTF???
> 'jus
d result.
>
> If it matters, I'm using version 2.20.
Just keep most stuff in the main voice, like
\fixed c' \new Voice = "main"
{
\key g \major
8.( 16)
\voiceOne
2\( 4~ |
\voices "main", 2 << { g4 f\) } \\ a,2 >>
\oneVoice
c4( d)
}
--
David Kastrup
on 4
>
> does.)
So let it expect a music expression only. 4 is a pitchless note event.
Interestingly,
zing =
#(define-void-function (x) (ly:music?)
#f)
\fixed c' { c1 \zing c4 c \zing 2 c c }
does not actually work. But that arguably is a bug that should get
fixed. If a duration is accepted as a note, it should affect the
default note duration.
--
David Kastrup
n () ()
> (let* ((tempmusic #{ {a} #})
> (els (ly:music-property tempmusic 'elements)))
> (ly:music-property (car els) 'duration)))
>
> But it does not seem to be possible to _set_ this "current duration"
> from scheme, does it?
Why would that be a good idea?
--
David Kastrup
ace, does not appear to be exposed to Scheme
> as far as I can tell.
Well, it's more a bug like anything else I guess, but
(ly:music-property #{ q #} 'duration)
at the current point of time would appear to do the trick.
--
David Kastrup
w?
>
>
> Preferred syntax: r/g or s/g
Try . You'll still need to fiddle with the chord naming function.
> Because a rest with a bass is only bass.
>
> E.g.
> \chordmode {
> a2:m r4/g r/f |
> g2 a:m |
> a:m r4/f r/g |
> g2 f |
> d:m f |
> g r4/g r8/c r/b |
> a2:m a:m |
> }
>
>
> Best regards,
> Hraban
>
>
>
--
David Kastrup
David Kastrup writes:
> Paul Scott writes:
>
>> On 6/23/20 4:01 PM, David Kastrup wrote:
>>> Paul Scott writes:
>>>
>>>> On 6/23/20 2:23 PM, David Kastrup wrote:
>>>>> Paul Scott writes:
>>>>>
>>>>>>
Paul Scott writes:
> On 6/23/20 4:01 PM, David Kastrup wrote:
>> Paul Scott writes:
>>
>>> On 6/23/20 2:23 PM, David Kastrup wrote:
>>>> Paul Scott writes:
>>>>
>>>>> The 1st argument for note is now a duration rather than
David Kastrup writes:
> Paul Scott writes:
>
>> On 6/23/20 2:23 PM, David Kastrup wrote:
>>> Paul Scott writes:
>>>
>>>> The 1st argument for note is now a duration rather than a string.
>>>>
>>>> I had some scheme def
Paul Scott writes:
> On 6/23/20 2:23 PM, David Kastrup wrote:
>> Paul Scott writes:
>>
>>> The 1st argument for note is now a duration rather than a string.
>>>
>>> I had some scheme definitions which were variations on \tempo.
>>>
>>&
I have been searching the LilyPond docs and scheme code without
> success so far.
The appendices of the Notation Reference contain lists of predicates.
--
David Kastrup
ces "first", 2
<<
{ \voiceOne c'2 g \oneVoice } \\
{ g f }
>>
c4 d e f |
\voices "first", 2
<<
{ \voiceOne c'2 g \oneVoice } \\
{ g f }
>>
}
}
\new Lyrics = "firstVoice" {
side of which you can attach ) to a
particular note. < > can even be used inside of << >> if you really
need that parallel music construct, like
< >>
By the way, that does not look like the most readable formatting.
--
David Kastrup
a-. r a-.] r a16 (as b c \bar "||"|%m4-7
>
> }
\mp has to come after notes. So has the [ you write after it. And your
last line contains a ( which is not followed by a ) possibly because you
abbreviated your example.
>
>
> \score {
> <<
>
> \new Staff { \melody }
>
> >>
> \layout { }
> \midi { }
> }
>
>
>
--
David Kastrup
elated properties to
> use "bounds" as opposed to "size".
Minimum bounds? Frankly, the description is rather useless. Without
looking up the actual code, I would have no idea what the two numbers
here are supposed to signify, respectively.
--
David Kastrup
;http://lilypond.org/doc/v2.20/Documentation/notation/displaying-rhythms#polymetric-notation>
--
David Kastrup
and the bass voice has two
bars. You don't explain how the two bars should fit the three bars.
--
David Kastrup
ee rhythm, the last few
>>> notes may need to coincide with an accompaniment. The \cadenza
>>> keywords don't seem to handle this. Would you like an example or have
>>> I explained it well enough now?
>
>> You posted an example. What in the bass of the example should
>> synchronise where?
--
David Kastrup
h an accompaniment. The \cadenza
> keywords don't seem to handle this. Would you like an example or have
> I explained it well enough now?
You posted an example. What in the bass of the example should
synchronise where?
--
David Kastrup
ronised.
You can insert \skip 8*14 (for example) in the bass but I have no idea
whatsoever what you actually want.
--
David Kastrup
> Thanks in advance,
Switch off before the last note of the cadenza. That's not particularly
great but works.
\language "english"
\version "2.19.83"
\score {
<<
\new Staff {
\time 4/4
{
c'4 4 4 4 |
4 4 \cadenzaOn 8 8 8 8 8 8 8 8 8 \cadenzaOff \partial 8 8 |
R1
}
}
>>
}
--
David Kastrup
t;
> No, I'm not sure.
> I have no experience; in my particular case it just looked better. If you
> advise against it I will avoid it .
It may look better but it means playing an octave higher rather than an
octave lower.
--
David Kastrup
6*3 instead of 3/16.
But for the usage you want, one can do
proportionalNotationDur =
#(define-music-function (parser location frac) (fraction?)
#{ \set Score.proportionalNotationDuration = #(fraction->moment frac) #})
{
\proportionalNotationDur 1/16
c' c' c' c'
}
--
David Kastrup
Павел writes:
> 07.06.2020 14:16, Павел пишет:
>> Thank you for deep explanation!
>>
>> Yes, this is complicated way but it can be useful in some cases.
>>
>> 07.06.2020 12:25, David Kastrup пишет:
>>> Павел writes:
>>>
>>>> See
uot; { g'8 f'( 4 }
\new Voice = "second" { g'8 f'( 4) }
}
<< >> places constructs in parallel, here into the same Voice. The
first line uses an in-chord slur ending which is drawn to a specific
note head, the second line uses a per-Voice slur ending which is drawn
to the whole chord. e'4) is essentially the same as 4) .
--
David Kastrup
ould be unnecessary and it is
%% \set baseMoment = #(ly:make-moment 1/8)
%% \set beatStructure = 3,3,3
c,8^"Just as good" d e e f g g a b |
\bar "||"
}
\layout {}
}
--
David Kastrup
\time 3/4 c' c' c' }
Note that for \time to take tweaks, its containing Staff context needs
to exist before \time is called, so this will not work without the \new
Staff or anything else before \time that would cause a Staff to exist.
--
David Kastrup
would you even start with a string then instead of reading a list in
the first place?
You can use something like
(with-input-from-string (string-append "( " "-3 31 A -6 B -8" " )") read)
but it looks like you are doing something fundamentally backwards if you
don't read what is supposed to be a list in as a list in the first
place.
--
David Kastrup
"")) Y))
>
> but as I said, that’s not necessary.
Also it will not backslash-escape quote marks or newlines or, well,
backslashes. If you want a rendition that can be read back by Scheme,
«write» really is the saner option.
--
David Kastrup
lilypond.org/tiny-examples> for diagnosis.
Lacking that information, it would be my guess that you have your \score
inside of a \book section, and those don't allow assignments inside.
But since you neither include an example nor even mention \book, this is
a mere guess.
--
David Kastrup
; #(display Y) #(newline)
>
> % Gives me this: (-3 A -6 1 -B), string-split => list, I do want a list but
> % I need: ("-3" "A" "-6" "1" "-B"), how do I get this? A list of strings.
This is a list of strings. You just need to use "write" instead of "display".
--
David Kastrup
ot;
>
> {
> \override Fingering.staff-padding = #'()
> \stemDown
> c'-1
> }
Well, the rather artless way of writing
{
\override Fingering.staff-padding = #'()
\stemDown
c'-\tweak text "Some text" -1
}
actually works.
--
David Kastrup
t now I'm too tired ...
You don't need something like git-cl: the basic setup is really quite
simple. The most efficient way to organise continuous ongoing work is
something we are still figuring out, but you are talking about entry
hurdles here. Those are not really high.
--
David Kastrup
"John Schlomann" writes:
> define-macro works perfectly for me, even though the Guile manual seems to
> somewhat disparage its use.
Well, it's not the modern Scheme way but at the current point of time
LilyPond works best with Guile 1.8.
--
David Kastrup
"John Schlomann" writes:
> Thank you, David, for your quick response. I'm not sure what you mean by
> "stick to macros". I thought define-syntax was the way to define a macro.
> What am I missing?
define-macro and defmacro apparently.
--
David Kastrup
to # (arg)>>
>
>
>
> Huh? I also tried define-syntax-rule, which came up unbound. Any insights
> into what I'm doing wrong would be welcome.
syntax-case doesn't work in LilyPond since LilyPond defines \void as a
music function and the Guile 1.8 implementation of syntax-case falls
apart if 'void has a value.
You are not doing anything wrong other than expecting syntax-case to
work. Stick to macros instead of define-syntax. Sorry for that.
--
David Kastrup
digitisation.
--
David Kastrup
antlists writes:
> So you don't understand the difference between the story, and the book?
You are working from the premise that everybody except you is an idiot.
That does not make a backdrop for a discussion but monologueing. I am
not interested in that.
--
David Kastrup
law
> pedanticism matters :-)
>
> (GPL v2 contains some bugs, and some people actively exploit those bugs
> as features ...)
A license does not contain "bugs". Pedanticism does not mean using
words with a different meaning than anybody else. It means using them
more carefully according to their agreed-upon meaning.
--
David Kastrup
arge scale.
> But CC doesn't forbid commercial activity by default, and GNU permits
> charging for services, such as supplying the software, supporting the
> software, and anything like that.
And selling CDs at arbitrary price point with GPLed GNU software on
them.
--
David Kastrup
r free from the app store or from
> github (https://github.com/microsoft/terminal/releases) - yes, that's
> right. Microsft software as an open-source download from github :-)
The cynic (or is that cyanidic?) in me says that there is no point in
poisoning a dry well. Let's reevaluate our sur
atic inline: do not even need to be identical, are per-unit.
c) static data definitions, are per-unit.
d) template function definitions
I don't think that .ly/.ily is all that comparable here...
--
David Kastrup
David Kastrup writes:
> Pierre Perol-Schneider writes:
>
>> Hi Frédéric,
>> If you want to get a custom style, see Simon's here:
>> http://lilypond.1069038.n5.nabble.com/Custom-accidental-styles-td190776.html#a190788
>>
>> Otherwise you could do:
&g
property grob 'glyph-name)))
>(cond
> ((equal? glyph "accidentals.natural")
>(ly:stencil? #f))
>(else (ly:accidental-interface::print grob)
> }
> }
Seems easier to just do
\key d\major
\set Staff.keyAlterations = #'()
\accidentalStyle dodecaphonic
Namely lie about the printed key signature.
--
David Kastrup
tyle dodecaphonic
c' d' e' f'
cis' dis' eis' fis'
ces' des' es' fes'
}
--
David Kastrup
r r \grace { s16 s s } 4.~ %123
> }
> }
> >>
> }
>
> Thank you so much.
Ties have two ends. You need a half-tie instead. Those are available
under the name \laissezVibrer for the ongoing half-tie (what you want
here) and \repeatTie for the arriving half-tie.
--
David Kastrup
"Fr. Samuel Springuel" writes:
>> On 20 May, 2020, at 10:22 AM, David Kastrup wrote:
>>
>> myNames = \language-pitch-names.english
>> myNames.do = c
>> myNames.re = d
>> myNames.mi = e
>> myNames.fa = f
>> myNames.sol = g
>>
t; {
> a' \toneCluster a' \toneCluster
> }
>
>
>
> Now, there must be a way of doing that with \tweak, but I couldn’t find it.
If nothing else, \single \toneCluster of course.
--
David Kastrup
myNames = \language-pitch-names.english
myNames.do = c
myNames.re = d
myNames.mi = e
myNames.fa = f
myNames.sol = g
myNames.la = a
myNames.ta = bes
myNames.ti = b
language-pitch-names.solfegenglish = \myNames
\language "solfegenglish"
{ c' d' ta' ti' }
> You should be able to adapt this for any particular set of note names you
> want.
One problem is that programs like Frescobaldi will stop knowing what
you are talking about.
--
David Kastrup
me
arbitrary syntax but something conveying a meaning also represented in
Scheme.
I wonder for how many other old users of LilyPond these changes in
meaning that have become the natural view for me (and hopefully new
users) just did not happen since a whole lot of the old syntax of
LilyPond continues to work well enough without viewing it in terms of
structuring concepts that came after the fact.
--
David Kastrup
tly broken
and in requirement of much more complex implementations.
All because people think "it's not difficult to figure out how to make
it work" when actually it is once you aim for more than a "mostly
working" determination and keep shuffling around just which 10% you are
willing to let fall apart.
--
David Kastrup
terms of whole note fractions,
typically -1/2, 0, or 1/2). It is one of the two basic constituents of
a note, the other constituent being a duration.
--
David Kastrup
Otherwise you end up fixing stuff back and forth directed by
what feels "right" and "wrong" when actually there is no consistent rule
that could distinguish right from wrong and do only what is right.
--
David Kastrup
et would get its final pitch. And how this is
supposed to behave with regard to transposition: transposing half a step
up and down again should be a do-nothing, so you'd actually also need a
cis-unkeyed-yet . Do we have a headache yet?
--
David Kastrup
Urs Liska writes:
> Am Montag, den 18.05.2020, 18:11 +0200 schrieb David Kastrup:
>> Gianmaria Lari writes:
>>
>> > I don't know "how much Frescobaldi knows" of the lilypond code the
>> > user is editing. If it has a logical representation of t
hinking is a recipe for trouble, and the more second-thinking
there is, the harder it is to reliably get results without the
corresponding visual feedback.
--
David Kastrup
hierarchy of different input files that only refer to each other by
name: for the purpose of Make, those are independent and equivalent.
But the _output_ file(s) generated from them are dependent on all of the
respective input files in use, and tracking those and generating the
dependencies was what Fr. Samuel was asking about in the first place.
--
David Kastrup
"Fr. Samuel Springuel" writes:
>> On 16 May, 2020, at 5:31 PM, David Kastrup wrote:
>>
>> The problem is that there are quite a few things in there that make no
>> overwhelming sense for the task you want to solve. In order to allow
>> for "
antlists writes:
> On 17/05/2020 00:04, David Kastrup wrote:
>> antlists writes:
>>
>>> On 16/05/2020 23:19, David Kastrup wrote:
>>>>> As I say, I think this function or something similar has made its way
>>>>> into lilypond proper
antlists writes:
> On 16/05/2020 23:19, David Kastrup wrote:
>>> As I say, I think this function or something similar has made its way
>>> into lilypond proper.
>
>> What advantage over the solution using make-relative that I posted do
>> you see here
it eats the first note after it - the f - and
> treats it as an absolute pitch of zero length so the subsequent phrase
> is at the right pitch regardless of what went in front of it.
>
> As I say, I think this function or something similar has made its way
> into lilypond proper.
What advantage over the solution using make-relative that I posted do
you see here?
--
David Kastrup
test.ly` results in a black and white image.
>
> Why is this? Why are the color statements being ignored?
Like the warning LilyPond prints out indicates, the X11 #rrggbb
convention is not supported for specifying colors. x11-color instead
supports _named_ colors like "green".
--
David Kastrup
"Fr. Samuel Springuel" writes:
>> On 15 May, 2020, at 5:04 PM, David Kastrup wrote:
>>
>> "Fr. Samuel Springuel" writes:
>>
>>> Before I start writing a script to do this, is there an existing tool
>>> which will identify all t
pitch and changing a key signature
will consequently add/remove/change accidentals of the covered music.
When this is not the case (and if I remember correctly, it wasn't even
in the text-based input of ancient "SCORE"), automated transposition of
motives is not really feasible, nor is changing of accidental notation
conventions (like LilyPond's \accidentalStyle does).
--
David Kastrup
ished by just specifying each of the ones you pass to your
> function.
>
>
> \version "2.19.81"
> %
> highlight =
> #(define-music-function (mus)
> (ly:music?)
> (make-relative (mus) mus
>#{
> <<
>$mus
>\makeClusters $mus
> >>
>#}))
You are aware that make-relative here fixes the problem? Did you just
copy the fixed version by accident from my reply?
--
David Kastrup
ot;~{~a\n~^~}" (ly:source-files))
and call it with
lilypond --init parse-only.ly actual-file-name.ly 2> /dev/null
and it should be pretty fast. Of course the file list includes
parse-only.ly...
--
David Kastrup
if they had appeared only in #{ #a #b #c #} .
--
David Kastrup
relative c' {
c1 \highlight { c8 d e f g f e d }
c1 \highlight { c8 d e f g a b c }
c1 \highlight { f,4 e d c }
c1
}
}
%
--
David Kastrup
uot;Is David David Nalesnik?". Basically the question
is not asking for what kind of F is there but whether mistakenly F had
been written instead of F sharp.
--
David Kastrup
t that you are not the first to
make this kind of proposal.
I will not rule out that at some point of time LilyPond's notename
implementation will be flexible enough that one could implement one
basic version of that idea on top of it. It would not make it less of a
bad idea, however.
--
David Kastrup
ipts successfully (though they are partly working for the online HTML
docs), we probably should put out a belated announcement pointing out
what recently appeared.
--
David Kastrup
use case.
> https://sourceforge.net/p/testlilyissues/issues/5964/
> Since it got broken recently, that should be fairly easy to bisect.
Uh, there are several years of development between 2.20.0 and 2.21.1.
Unfortunately. But at least few version changes...
--
David Kastrup
I lost track of when which syntax
> simplification was added (probably by David K.),
I may be mistaken, but I think it was the comparatively vaguely
described and actually rather small commit
commit d8ee829c73452cc35ef17c6c22abf5b47c754c15
Author: David Kastrup
Date: Sat Aug 27 22:23:44 2011 +
; doesn't produce an error?
Only a rather unspecial way.
myScore = \score { \new Staff [etc.] }
Like with () parens in Scheme, {} braces in LilyPond are not redundant
but carry meaning. You cannot just add additional layers and expect
things to behave the same.
--
David Kastrup
Paul Scott writes:
> David,
>
> Thank you for all that you do!!
>
> On 5/3/20 5:40 AM, David Kastrup wrote:
>> Paul Scott writes:
>>
>>> I installed 2.19.84 and I believe I just answered the first question
>>> below: Apparently \compressFullBarRe
OTOH I may be able to get the old definition of \compressFullBarRests
> and put in my several \include files.
Or you could let convert-ly replace it with \compressEmptyMeasures .
--
David Kastrup
Aaron Hill writes:
> On 2020-04-26 10:01 am, David Kastrup wrote:
>> Predicates used in argument parsing have to be "primary" in that they
>> have to deliver a result for anything thrown at them.
>> positive? only delivers results for numbers but throws an error
does not provide
> the whole building environment, does it? So the fact that GUB runs with
> python2 should not result a Debian or Ubuntu deb which requires python2,
> should it?
lilypond-book is a regular part of the LilyPond distribution, not a mere
build dependency.
--
David Kastrup
ed in argument parsing have to be "primary" in that they
have to deliver a result for anything thrown at them.
positive? only delivers results for numbers but throws an error for
anything else.
--
David Kastrup
s and 1/4... A greater duration usually takes more
>>> space, while I need always the same... Thanks!
>>>
>>>
>
> Lily's proportional notation should be what you're looking for; check out
> http://lilypond.org/doc/v2.18/Documentation/notation/proportional-notation
Uh, that's exactly the opposite of what was desired.
--
David Kastrup
nto a markup function of
its own, then calling \finger with that.
In short, \etc is acting less greedy than expected here. In order to
allow for less greediness in some applications (like with \markupMap)
one would likely want something explicit, but I don't have a definite
idea for that right now.
--
David Kastrup
Marnen Laibow-Koser writes:
> On Fri, Apr 3, 2020 at 1:17 PM David Kastrup wrote:
> [...]
>
>>
>> The Guile team won't bother about Guile 1.8,
>
>
> In fact, they said they’d try to help, though I don’t expect much.
>
> and Guile 2.x (apart from
>>
gt; anything. It worries me that these builds fail for a few people, but I
> don’t yet know how to fix it.
The Guile team won't bother about Guile 1.8, and Guile 2.x (apart from
the command line executable) does not run reliably with 2.20.0 (and with
awful performance) and still has significant problems with 2.21.0 to
come.
So which version of libguile are you building with?
--
David Kastrup
final voice, as in
<https://youtu.be/9kHxQTB59bQ>. Those two videos also showcase a bit of
advancement in the used equipment (starting from a EUR5 Ebay purchase of
a camera looking like a plastic toy and having "Full HD" at 15fps).
Multitrackers are usually advised to lay down the rhythmic section
first, then take the lead voices and afterwards the rest.
--
David Kastrup
Start with people just seeing the conductor, then
give everyone a mix without their own track and rerecord. After a few
iterations, it's becoming pretty close to playing together.
--
David Kastrup
layout props str)
(string?)
(let* ((strings (string-split str #\,)))
(interpret-markup layout props
(make-function-A-taking-markup-list-markup strings)
)))
\markup {
\function-A-taking-markup-list { a b c }
\feed-split-string-into-A "d,e,f"
}
--
David Kastrup
Simon Albrecht writes:
> Let's be honest, they really had to get their stuff together to keep
> any ground all against Dorico.
I think they may still have the higher ground. But Dorico is moving
much faster.
LilyPond is like Switzerland. High ground, but nobody goes there.
--
David K
t behaviour?
A rhythm can contain rests. If rests would be part of the system, you
could not write an unpitched rhythm that takes its pitch once you
precede it with something else.
Like
rhythm = { 4. r8 8 8 r4 }
\new Staff
<<
{ e''1 \rhythm } \\
{ c''1 \rhythm }
>>
--
David Kastrup
for me. I'd expect this kind of choice to be similarly
orthogonal to feature sets for those deciding against using LilyPond
because of its text-based input.
--
David Kastrup
m July 2007, suggesting version 2.11.28 or earlier. A
lot changed since then.
Running the snippet through
convert-ly -ed -f 2.11.28
should help.
--
David Kastrup
y important. (Fedora is another.)
For what it's worth, Ubuntu "Focal" seems to have no "python" and you
need to be explicit about whether you want "python2" or "python3".
--
David Kastrup
\melody
> \\
> \harm
> >>
> }
In your case, you could probably write this as
\version "2.20.0"
\language "english"
melody = {
af'2. af4 |
af c g4. f8 |
}
harm = {
\voices 4,2 << { 1 } \\ { bf2 af} >> |
s |
}
\score {
\relative c'
<<
\melody
\\
\harm
>>
}
This relies on the knowledge that the harmony will take the lower voices
(and thus even voice numbers).
--
David Kastrup
David Kastrup writes:
> Zone Dremik writes:
>
>> Thank you David, Marnen, David and Carl for your excellent
>> suggestions and helpful examples. (I will definitely be using more
>> variables in the future.)
>> For the convert.ly issue, your recommendations i
ides and reverts are properly converted. It's the naked
assignments that seemed too indistinctive to warrant a generic rule for
the conversion (there was one used for one-shot conversion of LilyPond's
own documentation where one can keep the effects in check).
I have it on my to-do list to do something here for the sake of 2.20.1,
but I'm currently laboring on getting 2.21.0 out first: that's also
urgent.
--
David Kastrup
David Kastrup writes:
> Marnen Laibow-Koser writes:
>
>> On Wed, Mar 18, 2020 at 12:18 PM Zone Dremik wrote:
>>
>>> It was quite a few years ago that copied this code sample from the
>>> LilyPond Notation Reference v2.18.2 webpage:
>>>
>>>
D’oh! So I guess this is under the
> category of “known issues in convert-ly” rather than “broken build”. Sorry
> for the inconvenience!
More like "should have known issues in convert-ly". Analysis of what
decisions have led there just came up yesterday. There likely is going
to be a fix in 2.20.1 but I cannot yet vouch what.
--
David Kastrup
Marnen Laibow-Koser writes:
> On Wed, Mar 18, 2020 at 6:49 AM David Kastrup wrote:
>
>> Marnen Laibow-Koser writes:
>
> [...]
>
>>
>>
>> > AFAIK this was never proper syntax to begin with. Does it compile with
>> > LilyPond 2.18? I'd
Davide Liessi writes:
> Il giorno mer 18 mar 2020 alle ore 13:07 David Kastrup ha
> scritto:
>> It doesn't make sense to have convert-ly produce non-working code for
>> version 2.19.40 . And convert-ly cannot promise to fix code that never
>> worked due to its combinat
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