Re: Scoop (jazz notation)

On 15/05/2024 18:54, Flaming Hakama by Elaine wrote: On the other hand, you could argue that many examples of scoop are not intended to convey specific shapes, so a one-size-fits-all glyph is sufficient, and it is not intended to solve the problem of expressive glissando. Which, is also a

Re: Glissandos into Note

On 14/04/2024 00:22, Wols Lists wrote: On 13/04/2024 10:34, Lukas-Fabian Moser via LilyPond user discussion wrote: Hi Ben, hi Greg, thanks for bringing this up - in fact I started this morning to dig up my old work, prompted by Greg's question. It seems I only developed the functions

Re: Glissandos into Note

On 13/04/2024 10:34, Lukas-Fabian Moser via LilyPond user discussion wrote: Hi Ben, hi Greg, thanks for bringing this up - in fact I started this morning to dig up my old work, prompted by Greg's question. It seems I only developed the functions a but further back then (unfortunately I

Re: Overriding default text of \f, \p, etc.

On 12/04/2024 08:21, YTG 1234 wrote: Hello List, I want to override the default text markup used with commands such as \f, \p, \mf, etc. However, trying to define f = #(make-dynamic-script ...) doesn't work because Lilypond interprets f as a note-name. Additionally, how would I be able to

Re: Installing 2.24.1

On 06/04/2024 22:46, Knute Snortum wrote: On Sat, Apr 6, 2024 at 2:23 PM Wol > wrote:  > The basic procedure is simple, assuming that you are using  > Frescobaldi: What if this assumption is wrong? I've NEVER used Frescobaldi (or rather, the

Re: Automatic annotation of slide positions/fingerings for brass instruments.

On 31/10/2023 01:36, Adam M. Griggs wrote: Your second recommendation is situational. I see you have a *.uk email address. I'm familiar with the British brass band context. I get it—almost everything is transposed for instruments pitched in Bb or Eb, and in the entire ensemble, only bass

Re: Automatic annotation of slide positions/fingerings for brass instruments.

On 29/08/2023 15:35, Adam M. Griggs wrote: Here's a little self-help reference I made a little while back. Maybe it will illustrate your point about different positions for different octaves more clearly than words can. Perhaps something in the tablature code can be adapted to this end.

Re: Separate dynamics from notes

On 27/04/2023 13:57, Gianmaria Lari wrote: Thank you Leo for your answers and help. you’ll probably need to be a little more specific about the use case, perhaps also supply example code. Regarding my second question, let me try to be more clear I have a score. I want to write the

Re: Discourse

On 27/02/2023 09:58, Andrew Bernard wrote: Not sure where my brain has been holidaying lately - I had the idea you can't import mbox format lists into Discourse and even gave what I thought were reasons you can't. This it totally wrong. Discourse does have an import mechanism for loading

Re: Discourse

On 25/02/2023 13:34, Jean Abou Samra wrote: Le samedi 25 février 2023 à 16:56 +0330, Omid Mo'menzadeh a écrit : Hi all, Speaking up as one of the silent majority on this topic, now that it's mentioned, as I think I have two cents to add. I personally wouldn't be against Discourse, as I find

Re: Discourse

On 24/02/2023 10:39, Frank Steinmetzger wrote: It’s actually not the printing dialog, but a print version of the website. The Print dialog opens on top of that. You can see this when you cancel the print dialog - the popup is still there. Apparently, the print version is constructed so

Re: Discourse

On 22/02/2023 12:39, Andrew Bernard wrote: My offer is open. For the main Discourse server I run, amusingly the majority of people use the email interface, no matter how much I encourage them to use the nice web interface. [It's a forum devoted to harpsichord.] The point is that it runs the

Re: Policy for posts from non-members

On 22/02/2023 06:05, Werner LEMBERG wrote: And joining is actually pretty serious friction for some people - the more lists I join, the more likely I am to abandon attempts to help if I'm required to register. I second that concern. Being the maintainer of the FreeType mailing lists, I face

Re: German notation

On 30/01/2023 12:37, Werner LEMBERG wrote: Strange transposition rules also exist for horns, where in the violin clef you transpose down, and in the bass clef you transpose up. Violin clef? Sorry, bad translation from German: I meant horn parts notated with a treble clef. That's fine :-)

Re: German notation

On 29/01/2023 20:39, Werner LEMBERG wrote: Strange transposition rules also exist for horns, where in the violin clef you transpose down, and in the bass clef you transpose up. Violin clef? A quick search tells me the violin plays in the treble clef, which I doubt is what you mean? I'm

Re: Duet part, rehearsal marks for both parts?

On 16/10/2022 00:02, Kenneth Wolcott wrote: Maybe I just should have kept my mouth shut  Nah. You just have to talk to the penguin. Talking to ANYTHING often helps you work your way through a problem, you just talked to the list (I sometimes do the same), and DON'T feel a fool for it.

Re: another 'wrong type argument' error

On 10/10/2022 06:43, Jean Abou Samra wrote: The problem isn’t LilyPond’s or its dependencies’ support for older macOS, which is better than even the system support. The real problem is Apple preventing you from upgrading your computer past a certain macOS version. Which is probably down to

Re: function to recognise voice crossings?

On 16/09/2022 12:53, Eef Weenink wrote: To check this, I transpose the double bass voice down an octave and manually check the boths voices. Wonder if there is a function in lilypond to do this fastly. Like the coloured noteheads when checking a voice against the ambitus of an instrument.

Re: Displaying bar numbers for repeats

On 28/08/2022 04:46, David Wright wrote: On Sun 28 Aug 2022 at 10:33:30 (+1000), Andrew Bernard wrote: I suppose there is a way to do this but the concept is strange. I have never seen any edition do this. Why? Speaking as an organist if I came across this I would have to spend time working out

Re: Prototype Frescobaldi in the browser

On 08/08/2022 08:49, Andrew Bernard wrote: Was just asking, not condemning the idea. Still interested to hear the OP. Sorry. But when people make assumptions about other people, it does tend to push my buttons ... My wife is disabled, my in-laws are elderly, and all too often I'm providing

Re: Prototype Frescobaldi in the browser

On 08/08/2022 06:30, Andrew Bernard wrote: How many people need that? Doesn't everybody have a laptop? WHY SHOULD THEY? You're making the classic - false - assumption that "everyone else is just like me". A lot of people ONLY have chromebooks, tablets, or (gasp) even just a mobile phone.

Re: arbitrary repeat counter

On 06/06/2022 14:10, David Kastrup wrote: Ah. So now if you do a relative repeat, the contents of the braces are converted to absolute before the unfold? That's neat. It never used to be like that, Han Wen wrote that "reset octave" thingy for me yonks ago (2.4?) because I ran in to that very

Re: arbitrary repeat counter

On 06/06/2022 11:46, Jean Abou Samra wrote: Le 06/06/2022 à 12:17, Wols Lists a écrit : On 01/06/2022 18:03, Simon Bailey wrote: Here's a weird one. Using this definition in the c,-octave, I get a really weird output. Each note in the music drops down an octave. In the c-octave, it works

Re: arbitrary repeat counter

On 01/06/2022 18:03, Simon Bailey wrote: Here's a weird one. Using this definition in the c,-octave, I get a really weird output. Each note in the music drops down an octave. In the c-octave, it works normally. Using the untagged version of \repeatCounting doesn't show this issue in either

Re: Problem with Repeats and Alternatives

On 21/04/2022 12:01, David Kastrup wrote: John Helly writes: Aloha. I've not used LP for a while but in coming back to it I've been struggling with repeats and find that this 'preferred syntax' does not seem to work in that it produces: Starting lilypond 2.20.0 [test2.ly]... Try matching

Re: can someone point me to complete documentation for the partial command argument syntax?

On 19/03/2022 20:01, David Kastrup wrote: Sam Roberts writes: I tried so hard to be accurate, but I missed something: On Sat, Mar 19, 2022 at 12:38 PM Sam Roberts wrote: After experimentation, I found this worked: \time 3/4 \partial 1 c4 | It "works" in that pdf output looks ok, c4 is

Re: Key change with clef after the bar line?

On 01/03/2022 22:51, Alasdair wrote: However, what happens is that the natural sign is printed on top of the double bar line.  So either I need to not print the natural (which would be my preference), or somehow push the entire new key signature (one natural and two flats) after the clef sign.

Re: Windows laptop

On 13/02/2022 17:36, David Zelinsky wrote: Wols Lists writes: Oh - and the other route to consider, there always used to be Ubuntu Virtualbox or Vmware images of lilypond. Virtualbox is a freebie, and I think you can get free Vmware. Why would you need that? Just run lilypond natively

Re: Windows laptop

On 12/02/2022 08:31, Jeremiah Reilly wrote: I have a current Mac setup with my audio, video, and graphics software. Terms like Celeron, Intel i3, S-Mode, Windows 10, Windows 11—these terms mean *nothing* to me, except that S-Mode seems to indicate that the user is locked into the Windows

Re: Setting relative pitch as a global declaration?

On 09/02/2022 08:00, Wols Lists wrote: On 09/02/2022 07:16, Alasdair McAndrew wrote: I'm sorry about all these damn-fool queries of mine; I promise to go back under my rock soon.  Anyway: In the current 18th century suite I'm typesetting (for two treble instruments without bass

Re: Setting relative pitch as a global declaration?

On 09/02/2022 07:16, Alasdair McAndrew wrote: I'm sorry about all these damn-fool queries of mine; I promise to go back under my rock soon.  Anyway: In the current 18th century suite I'm typesetting (for two treble instruments without bass), there is a separate variable (containing the notes)

Re: Lilypond's English Horn MIDI instrument is non-transposing?

On 13/01/2022 21:40, James B. Wilkinson wrote: If I make it with the English horn part correctly transposed, the MIDI sounds terrible. If I make it with the English horn part untransposed, it sounds fine. My conclusion is that the midiInstrument "english horn" reads its part in C rather than

Re: Lilypond's English Horn MIDI instrument is non-transposing?

On 15/01/2022 03:01, James B. Wilkinson wrote: 1) why do I need  "\transpose f c \tenor" instead of "\transpose f c' \tenor"? If I use c' it goes an octave too high. \transpose f c' is transposing UP a fifth, it will play a fifth higher than written. \transpose f c takes it down a fourth. I

Re: Transposing pitches in the lilypond file itself?

On 12/01/2022 04:26, Alasdair McAndrew wrote: I'm not quite sure how to search online for this, hence my asking here. I'm doing a little bit of arranging of some baroque pieces for specific instruments, which usually requires some transposition.  I can transpose within the lilypond file so

Re: Feedback wanted: syntax highlighting in the LilyPond documentation

On 04/01/2022 16:23, Aaron Hill wrote: On 2022-01-04 7:29 am, Erika Pirnes wrote: Would it be terribly difficult to have a color setting on the documentation page, so that people can choose between black and color? It is fairly straightforward with CSS and a little JavaScript: Is that on

Re: Feedback wanted: syntax highlighting in the LilyPond documentation

On 04/01/2022 15:14, J Martin Rushton wrote: OK, I'll admit I only skimmed it, hence "I've saved the paper to read later"! I've got Doob's "A Gentle Introduction to TeX" and Oetiker's "The Not So Short Introduction to LaTeX2e" both of which keep to the fixed width convention. Again, I'll be

Re: Feedback wanted: syntax highlighting in the LilyPond documentation

On 02/01/2022 16:32, Jean Abou Samra wrote: I am colorblind (which BTW means that it's hard to distinguish certain colors, not that everything is gray). Sorry if I gave a wrong impression. I didn't mean that everything actually looked gray, just that it was the extreme imaginary case

Re: Feedback wanted: syntax highlighting in the LilyPond documentation

On 02/01/2022 09:34, Marc Lanoiselée via LilyPond user discussion wrote: It will be necessary to keep an uncolored version for men (in principle women do not have this problem) who do not see well certain colors. In principle (and practice) women DO suffer this problem. It's caused by a

Re: point-and-click default

On 30/12/2021 17:22, David Zelinsky wrote: In evince on my Ubuntu system, clicking on the note elicits an error, because evince does not know what to do with a "textedit:..." link. Section 4.1 of the Usage Manual (under 4. External Programs) explains how to make it work. Nor does my Windows

Re: specifically: how to do "p-f" dynamics (first time, second time); generally: how to find this in the manuals

I have a little include area for all my standard stuff - I redefine the header block, for example. But one of those files in there contains a bunch of definitions for all the odd dynamics. So every time I need to add a new one, I've got all the others there as examples ... :-) Cheers, Wol On

Re: Cadenza -- I'm missing something

On 16/08/21 07:06, Mark Probert wrote: > > Hi. > > I don't understand why I am seeing the behaviour I have with the > snippet below. I would expect to see the section marked "G Phrygian" to > have the aes bes and ees marked, but they are not (obviously you are > meant to read them from the

Rainbow Bells

I've got a set of Rainbow Bells - https://www.amazon.co.uk/Percussion-Workshop-CB8-Coloured-Combi/dp/B007902JRG/ref=sr_1_4?dchild=1=rainbow+bells+cb8=1627984472=8-4 I've modified the coloured-noteheads code to be an approximate match, and I'm quite pleased with it, but does anybody just happen to

Re: AW: Custom Format

On 02/04/21 11:57, David Kastrup wrote: >> Apart from the organ (which I was shocked to discover, in its MODERN >> > form, first appeared about 600BC!!!), > Herr Gottlieb Silbermann would like to have a word with you. Because he > invested an awful lot of work to get organs to the state we call

Re: Point & Click with Atom

On 01/11/20 02:13, David Wright wrote: > If one > deals only with graphical applications, there is almost no scope > for a shell to make an appearance at all, so it seems strange, to > some, to involve the shell at login time. AIUI, the problem is made worse by the fact that - if you

Re: Note range of a score

On 08/10/20 01:47, Andrew Bernard wrote: > Thanks Aaron - that's perfect! > > Never had need of that before. A great function. This requirement is actually quite common for teaching material. It's been a long time ago, but I remember seeing plenty of pieces for wind where right at the start

Re: macro for \once\override

On 29/08/20 05:45, Werner LEMBERG wrote: > \once \override FretBoard.size = #'1.0 > \once \override FretBoard.fret-diagram-details.barre-type = #'straight > \once \override FretBoard.fret-diagram-details.dot-color = #'black > \once \override

Re: Naming RFC: Properties, property sets, presets

On 13/07/20 10:29, Urs Liska wrote: > Am Montag, den 13.07.2020, 19:02 +1000 schrieb Andrew Bernard: >> Property subset is good. >> > > In a way, yes, namely by keeping within the semantic domain. > However, while a property set actually defines the available properties > (along with predicates

Re: Naming RFC: Properties, property sets, presets

On 13/07/20 03:16, Andrew Bernard wrote: > Hi Urs, > > Great work. I have an issue with 'preset'. If you look at software > synths, for example, they can store and load 'presets' but these are > _all_ the parameters for a patch. I don't ever think the word preset > means a subset of a set of

Re: Identify included files

On 25/05/20 19:25, Fr. Samuel Springuel wrote: > I think this is where you’ve missed something. When using DK’s code as the > init file (or my later version, which make the output more make-friendly), > LilyPond **does not actually typeset the music.** All it does is read > through the files

Re: Identify included files

On 24/05/20 21:28, Fr. Samuel Springuel wrote: > It’s not quite as straight-forward as you seem to think: > > 1) You haven’t accounted for the possibility of multiple folders with varying > levels of hierarchy. The changed file might be in ../ relative to one file, > ../../ relative to

Re: registering a composition

On 24/05/20 14:18, Valentin Villenave wrote: > On 5/24/20, David Kastrup wrote: >> You are working from the premise that everybody except you is an idiot. > > Guys, stop bickering and veering off-topic. The original purpose of > this thread was to help Francesco gain some insight into the

Re: registering a composition

On 24/05/20 12:52, David Kastrup wrote: > 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

Re: registering a composition

On 24/05/20 01:08, Carl Sorensen wrote: > Actually, GNU allows charging for the software. From the Preamble to the GNU > GPL: > > "When we speak of free software, we are referring to freedom, not price. Our > General Public Licenses are designed to make sure that you have the freedom > to

Re: Identify included files

On 22/05/20 02:08, David Wright wrote: > On Thu 21 May 2020 at 17:54:38 (+0100), antlists wrote: >> On 21/05/2020 16:36, David Wright wrote: >>> On Thu 21 May 2020 at 13:57:00 (+0100), antlists wrote: > >> I have tried accidentally >> to do things like "lilypond voiceTrombone.ily" and it blew up

Re: Fonts for text

On 26/04/20 09:20, Noeck wrote: > > > Am 26.04.20 um 09:13 schrieb Thomas Morley: >> In "Times New Roman" the "Roman" is taken as font-family of font >> "Times New", which does not exists, thus a fall-back font is used. > > What? :) > > (Well, I think I know some background why, but that is

Re: notes in text

On 23/04/20 18:42, bobr...@centrum.is wrote: > I'm looking for a way to include some free standing notes in a line of text. > Specifically, I want a pair of beamed 16th, a '=' sign, and then three beamed > 16th notes, indicating that two 16ths equal three 16ths. I'd also like to > use it in a

Re: Remote Ensemble Playing

On 30/03/20 10:15, Dr Nicholas Bailey wrote: > I don't trust Zoom anyway. Why has it got more than 2 open file > descriptors? What's it doing with my files?? > > $ lsof | grep -i zoom | wc -l > 20811 I can't find what I was looking for, but this was mentioned recently on LWN. Apparently

Re: Chord options in leadsheets

On 22/02/20 09:11, hendry.mich...@gmail.com wrote: > > > > I use Lilypond to prepare jazz leadsheets. Most of the time, this is > straightforward, but the screenshot illustrates three additions I'd like to > be able

Re: QtWebEngine vs. Ubuntu 16.04

On 29/12/19 04:30, Simon Albrecht wrote: > thanks for the reply. I have learned from painful experience that it > seems better to just reinstall the OS completely, avoiding any issues > with the upgrade, and restore user data from backup. I have made all > preparations for that and am trying to do

Re: transpositions within a global key setting.

On 10/12/19 06:41, Urs Liska wrote: > > Am 09.12.19 um 15:24 schrieb N. Andrew Walsh: >> Hi List, >> >> let us say I have a piece where I want to specify the key signature >> once for all instruments. I have something like the following: >> >> \version = 2.19.82 >> global= { >> \key f \minor >>

Re: make text span a specified musical interval?

On 25/11/19 03:00, Jace Toronto wrote: >> Is this what you would like the output to look like or am I misunderstanding? > > Hi Ben, > > Yes, thank you, that is exactly the right look for this particular example. > Is there a way to tell the end of the text to align with the barline (or >

Re: Set a temporary tempo change

On 18/11/19 01:51, Paolo Prete wrote: > Aaron, > > that's great. > I propose to the ML to add the function to the official release. It's > very helpful when you want to make the midi output more realistic, with > frequent tempo changes A lot of music I play has "tempo primo". Personally I don't

Re: Polyrythmic Align Bars

On 16/09/19 14:38, sir.teddy.the.fi...@gmail.com wrote: > The 4/4-Bar needs to be played over the duration of the two 6/8-Bars and > I want it to realign afterwards to continue both voices with a 6/8 time. > > The 4/4-Part would need to have a different tempo, because if both play > at the same

Re: Proportional notation not working as expected.

On 15/09/19 01:51, Andrew Bernard wrote: > Hi Stefano, > > I work extensively with a New Complexity School composer whose work I > engrave. I disagree with one of his major concepts, which is that the > bars should be 3.0 cm wide and represent one second of music. He's > really insistent on this.

Re: Producing scores for visually impaired and blind people

On 14/09/19 10:50, David Kastrup wrote: > Also I would imagine that learning by ear is pretty tricky for ensemble > rather than solo work. Probably no harder than anything else ... I'm bad at remembering stuff, but years ago I was told I had to learn a piece by heart because we were playing on

Re: Detecting first and last pages of a score

On 06/09/19 17:00, David Kastrup wrote: > I am not saying "it never will be able to do" things like that but the > mechanisms are not there even in rudimentary form, so the manner in > which it may be done at some prospective future time is not clear. Is this the sort of thing the editions

Re: frescobaldi extensions [was: python-ly, ly.indent]

On 18/08/19 09:00, Urs Liska wrote: > Hi Mason, > > 18. August 2019 01:05, ma...@masonhock.com schrieb: > >> > On 08/17, Urs Liska wrote: >> > >>> >> ... >> > >> > Thanks. While I personally prefer command line tools, I would consider >> > turning this into a Frescobaldi extension if that

Re: Alternating text and music

On 26/07/19 12:23, Peter Toye wrote: > All, > > Thanks very much for all the suggestions. I had asked for an _easy_ way! > Also, I'm not 100% fussed about the exact layout as it's only for an > example. Just a thought ... can't lily chuck out png's? I've never used it, but if it can chuck out

Re: Bug with transpose in functions

On 12/07/19 19:04, Werner LEMBERG wrote: > >> Functions like transpose act destructively on their argument, so you >> need a copy or the original will get changed. [...] > > How can Joe User find out whether a function is acting destructively? > Computer pedant here :-) Functions do not have

Re: percent repeats (bug?)

On 04/07/19 00:59, Christopher Heckman wrote: > In a post/email sent out several months ago, Randy brought up some > issues about percent repeats over more than two measures. He cited two > issues, related to where the percent sign is placed and what it looks > like. > > I would like to add a

Re: Two simultaneous mark events

On 19/05/19 02:08, Andrew Bernard wrote: > Why not just use markup for 'fine'? Position it as you wiil. Because it doesn't make sense to use markup? It's a lot easier to position something, if it's attached to its reference object. Otherwise a minor change to the score will mess things up nicely!

Re: <>

On 05/01/19 20:40, Aaron Hill wrote: > But I don't think we ever lost a stand, so I can only imagine the > conditions you are forced to play in. Seaside bandstands :-) Where if the band calls it off they don't get paid. You need to find the organisers and get them to cancel it, and where do you

Re: <>

On 05/01/19 20:20, Aaron Hill wrote: > P.S. I would like to add that, as a performer who has great disdain for > annoying page turns, I will join you in the battle for promoting sane > typesetting. Slightly squished and/or "creative" notation is far better > than wrestling with (and wasting)

Re: <>

On 05/01/19 17:34, Aaron Hill wrote: > On 2019-01-05 2:40 am, Wols Lists wrote: >> On 04/01/19 18:41, Aaron Hill wrote: >>> I *H*A*T*E* about people who proclaim "This is >> correct". >> >> Take my case - which would you choose between "follow

Re: <>

On 04/01/19 18:41, Aaron Hill wrote: > >> Yeesh, that is terrible.This is why it's important to follow good >> notation >> practice: I was so confused by this bad typesetting that I thought the >> bar >> was 6/4 time, and now my day is ruined. > > Unless someone is doing academic work where it

Re: [OT] Variations in ordinals and building floor numbers

On 02/01/19 03:42, Andrew Bernard wrote: > Hi David, > > Never seen '*' in Australia. > Same here in the UK. QUITE often, the street level is either green, or noticeably raised, or both, but I've come across several where the street exit is on "1" and "G" takes you some place else ... (And

Re: Flat flared hairpins

ndrew Cheers, Wol > > > On Tue, 1 Jan 2019 at 00:07, Wols Lists <mailto:antli...@youngman.org.uk>> wrote: > > > American English floors: first second third fourth > English floors: ground first second third > > > > ___

Re: Flat flared hairpins

On 31/12/18 12:55, David Kastrup wrote: > > Natural language cardinals: zero onetwothree > Natural language ordinals: first second third > Scheme cardinals: 0 1 2 3 > Scheme ordinals: 0 1 2 American English floors:

Re: landscape printing and viewing

On 09/09/18 23:55, Simon Albrecht wrote: > On 09.09.2018 23:13, David Kastrup wrote: >> Kieren MacMillan writes: >>> Hi Martin, \paper { #(set-paper-size "a4" 'landscape) } >>> If I’m not mistaken, the correct incantation is >>> >>> \paper { >>> #(set-paper-size "a4landscape")

Re: Proprietary Software term

On 19/08/18 00:34, David Kastrup wrote: > As any theoretical physicist will tell you, anything that involves > actual hardware also is maths. Are you telling me that maths PREscribes reality? Are you telling me that Newton got it right? If hardware is maths, then how comes physicists aren't

Re: Proprietary Software term

On 18/08/18 23:28, David Kastrup wrote: > zip has been defined using patentable techniques (like > https://www.google.com/patents/US5051745) but the implementations are > usually unencumbered. Just because it has been patented does not mean it is patentable :-( Of course, the problem is

Re: Proprietary Software term

On 18/08/18 21:18, David Kastrup wrote: >> "Undocumented proprietary format" doesn't express the intent which >> > "lock-in" does. As David pointed out, patents can be used to protect >> > a proprietary format, only I don't think that, for example, the exFAT >> > filesystem is, in his words, a

Re: Proprietary Software term

On 18/08/18 12:51, David Kastrup wrote: >> Indeed, that wasn't expressed too well. What I meant is that >> > CodaMusic's policy to use binary non-released (for some time even >> > encrypted) file formats strongly discouraged anyone to make a program >> > use these files. > That's more than just

Re: an "odd" accidental problem...

On 27/07/18 14:10, David Kastrup wrote: > Torsten Hämmerle writes: > >> B~M wrote >>> It appeared in the "Fantasy Etudes for >>> Viola" written by >>> Lillian Fuchs who was a significant contributor to Viola in the USA. >> >> >> Hi Paul, >> >> Thanks for this background information. >> Lillian

Re: an "odd" accidental problem...

On 27/07/18 15:30, Torsten Hämmerle wrote: > Anthony Youngman-2 wrote >> Well, lilypond is about the only place I ever normally see it! :-) YMMV >> :-) > > Here's a non-LilyPond excerpt of Tchaikovsky's Nocturne op. 19 no. 4: > >

Re: lilypond-user Digest, Vol 186, Issue 108

On 22/05/18 21:11, Arle Lommel wrote: lmost right, but doesn’t function quite as Hindemith’s > notation does: > > * The Hindemith editions use time signatures /both/ above and in line, > but never at the same time. They serve different purposes. The > snipped removes the ability to do

Re: Several questions concerning scheme-music-function

On 27/05/18 11:50, Robert Schmaus wrote: > The analogy is probably not perfect because investing time in Scheme > would benefit my overall Lilypond abilities, I guess. Learning different ways to think is ALWAYS valuable. Scheme requires a different mindset from most languages, so learning it WILL

Re: Several questions concerning scheme-music-function

On 27/05/18 10:49, Robert Schmaus wrote: > From that thread, I take away the comfort that I'm not the only one with > Scheme-problems. > Now, I can live with that - most of the times I don't have to customise > anything anyway. It's just, that with Scheme, I know, I'll never get > into it, too. >

Re: Intervals enharmony question

On 04/05/18 17:14, Paul Scott wrote: > On Fri, May 04, 2018 at 11:00:59AM +0100, Wols Lists wrote: >> On 30/04/18 22:46, Torsten Hämmerle wrote: >>> Hans Åberg-2 wrote >>>> I suspect the least pitch-flexible instrument is the oboe, as one >>>> typica

Re: Tempo & Markup

On 04/05/18 12:34, foxfanfare wrote: > But I was wondering if I could be able to write a small function for it. > Is it possible to change the default command "2 = 76-84" so it will take > my own markup preferences? Almost certainly ... I do the same thing with the header block on my music.

Re: Intervals enharmony question

On 04/05/18 11:34, Aaron Hill wrote: > As a piano/keyboards/bass/guitar player here who has only played with an > "orchestra" for high school musicals many moons ago, you have me > wondering now: > > From what I thought happened, the oboist tunes to the piano if one is > used or to a tuner

Re: Intervals enharmony question

On 30/04/18 22:46, Torsten Hämmerle wrote: > Hans Åberg-2 wrote >> I suspect the least pitch-flexible instrument is the oboe, as one >> typically uses that for a tuning reference pitch. > > Yep, and just to keep up tradition, it's the oboe player who operates the > digital tuning device. ;D >

Re: Intervals enharmony question

On 04/05/18 00:48, Kieren MacMillan wrote: > I didn’t get that far into trumpet playing — I switched to trombone as soon > as I could, because it better suited my embouchure — but I got far enough to > realize that I could do a *lot* of "tuning" with those limited valves and > slides. Based on

Re: Intervals enharmony question

On 30/04/18 20:54, Malte Meyn wrote: > > > Am 30.04.2018 um 15:50 schrieb Hans Åberg: >> But orchestral instruments depart from Pythagorean tuning, not E12, so >> they are not equivalent, differing by a comma of about 20 cents. > > Which orchestral instruments do you refer to? All instruments

Re: Intervals enharmony question

On 30/04/18 20:32, Hans Åberg wrote: > >> On 30 Apr 2018, at 21:11, Wols Lists <antli...@youngman.org.uk> wrote: >> >> On 30/04/18 14:50, Hans Åberg wrote: >>> >>>> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic <imj-muz...@bluewin.ch> &

Re: Intervals enharmony question

On 30/04/18 14:50, Hans Åberg wrote: > >> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic wrote: >> >> OK, now everything is clear, it’s precisely on jazz chords I’m working. > > FYI, I recall the Mehegan books on jazz improvisation applying enharmonic > equivalents

Re: please direct to manual; different time signatures for different instruments

On 25/03/18 23:39, Ben wrote: > On 3/25/2018 6:24 PM, Colin Campbell wrote: >> On 2018-03-25 12:19 PM, Sam Frybyte wrote: >>> I don't even know what this is called so finding it in the manual has >>> me stymied. >>> I am using version 2.18.2 >>> Thanks in advance. >>> >> I believe someone has

Re: Variables and Repetition

On 25/03/18 04:13, John A wrote: > I am entering the notes in relative mode, and when I engrave the score, > if the ending notes of the figure are too high or low, on the second > repetition the whole figure will be an octave too high or too low. On > the next repetition, it goes an octave higher

Re: get current bar number

On 23/03/18 06:21, Jan-Peter Voigt wrote: > If you are going to write an engraver you can find some informations in > the archive. Also look at the rehearsal mark engraver. One of the options is to use the bar number as the rehearsal mark, so that might give you some ideas. Cheers, Wol

Re: Transposing Keyless Brass Parts

On 17/03/18 23:54, Glassmenagerie wrote: > By accident I came across another possible solution. > > \score { > > > \transpose c g { > \relative g' { > \time 2/4 > > g8[-.\p g ( aes ) aes] ( > g g4 ) g8 ( > f ) f4 f8 ( > g\<[ ) g ( f\> ees]\! ) > d4 ( c >

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