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 >

Re: bookparts

On 05/03/18 17:55, Kieren MacMillan wrote: > Hi Knut, > >> Because the definition of testing is invalid at that point of the main >> source file. If tempTest.ly would contain e.g. a score or a \paper block >> no error would occur. > > No, it still throws an error because you can't define a

Re: bookparts

On 04/03/18 19:11, Kieren MacMillan wrote: > Hi David, > >>> book = file >>> bookpart = portion of file with forced page break >>> >>> No? >> >> No. One input file can have several books (and there is one implicit >> book where scores and bookparts outside of books end up). >> > >> There might

Re: Interesting glitch when using tags ...

On 04/02/18 19:20, David Kastrup wrote: > Wol's lists writes: > >> Okay. You wanted a minimal example ... >> >> But surely, "f4. ~ f4" is clearly something wrong if it's complaining >> about an unterminated tie? Yes you might need a bit more information >> to debug it,

Re: Interesting glitch when using tags ...

On 04/02/18 00:33, David Kastrup wrote: > Wol's lists writes: > >> I suspect the cause is that I'm mixing slurs and ties, but I'm getting >> the following error ... >> >> voiceTrombone.ily:30:59: warning: unterminated tie >> \repeat percent 4 { f,8[ r f] f[ r f] } |

Re: Weirdo code?

On 28/01/18 20:09, David Kastrup wrote: > Wol's lists writes: > >> I've just tried to do a cut-n-paste into a piece of music, from >> http://lilypond.org/doc/v2.19/Documentation/notation/bars >> >> At the very bottom you'll find >> >> \relative c' { >> c1 \mark

Re: Character for plural Latin, "ae"

On 24/01/18 22:50, Karlin High wrote: > Pick your favorite method, any of them can do the job. And you can even > just copy and past the thing from here: æ I just tried this in konsole and it worked ... A Cheers, Wol ___ lilypond-user mailing list

Re: Change the text within a volta

On 30/12/17 18:48, nokel81 wrote: > Thank you very much however, my text comes out really weird. I have set my > font- name to "sans" but that doesn't seem to help. > > I think the problem(s) I had were 1) the default font was only

Re: Change the text within a volta

On 29/12/17 22:32, nokel81 wrote: > Yes, I tried using the raw tag, I guess it didn't work. > > \omit Score.BarLine > \repeat volta 3 {} > \alternative { > {} > { > \undo \omit Score.BarLine > \bar "|" > f2 > \bar "|" > } >

Re: Two short questions

On 28/12/17 16:07, Malte Meyn wrote: > Have a look at the PDF in the post linked above: The function can do > both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)). Sorry, I did look, but obviously missed it ... :-( Cheers, Wol ___

Re: Two short questions

On 28/12/17 15:37, Malte Meyn wrote: > > > Am 28.12.2017 um 16:34 schrieb Malte Meyn: >> >> >> Am 28.12.2017 um 16:03 schrieb Jérôme Plût: >>> 1. I am typesetting some music which is in 2/1, and mark using a cut >>> time signature. How is it possible with Lilypond to put a ℂ symbol for >>> a 2/1

Re: Two short questions

On 28/12/17 15:03, Jérôme Plût wrote: > 2. In virtually all orchestra scores I play the alphabetic marks skip > the letter J. However format-mark-box-letters skips the letter I. So > at each rehearsal this confuses all my colleagues. Since they are > obviously slow to learn that I == J, does there

Re: Auto-transposition

On 15/12/17 17:48, Flaming Hakama by Elaine wrote: > > Actually, I think it had to do with midi output for bass > clarinet. The > > sample I used was not transposed the octave, and I had to > compensate by > > transposing the music down. > > According to Wikipedia, bass

Re: Auto-transposition

On 15/12/17 13:45, David Wright wrote: > On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote: >> On 15/12/17 06:20, Saul Tobin wrote: >>> Relative mode makes perfect sense if you're entering music that cares >>> mainly about the relationship between notes within a

Re: Auto-transposition

On 15/12/17 06:20, Saul Tobin wrote: > Relative mode makes perfect sense if you're entering music that cares > mainly about the relationship between notes within a phrase (i.e. most > music). IMO absolute mode might be easier from the perspective of the > software, but it's not how most musicians

Re: Windows 10

On 01/12/17 14:15, peter.gen...@sunscales.co.uk wrote: > Everything worked fine but after one fateful OS update I found to extra > folders in C:\windows\users\ , PETERDESKTOP and PETERDESKTOP.000. Did this update do a "clean install" of Windows? That sounds to me like you've done a fresh

Re: Markings on a percent bar

On 23/11/17 16:53, SoundsFromSound wrote: > Wols Lists wrote >> This is actually very common in my sort of music. As you can see, I have >> a "\repeat percent 4 {}", and I have both a crescendo starting on the >> fourth bar, plus the number "4" abov

Markings on a percent bar

This is actually very common in my sort of music. As you can see, I have a "\repeat percent 4 {}", and I have both a crescendo starting on the fourth bar, plus the number "4" above it. And I don't know where to start trying to enter this ... :-) That "4" is actually a simple example of a common

Re: [OT] Grammatic gender

On 18/11/17 18:18, Karlin High wrote: > On 11/18/2017 11:33 AM, David Wright wrote: >> You might find yourself being >> misunderstood in more serious circumstances, if you don't allow >> for the same words to mean different things, or even the opposite. > > Reminds me of my cousin on a business

Re: [OT] Grammatic gender

On 16/11/17 13:58, Karlin High wrote: > On 11/16/2017 7:45 AM, David Kastrup wrote: >> Personally, I don't think that micromanaging gender identities is going >> to help anybody deal better with who and what they and/or others are. > > "Shifts in terms have an unfortunate side effect. Many people

Re: [OT] Grammatic gender

On 15/11/17 01:13, Andrew Bernard wrote: > Often people refer to boats as 'she', but that's not a part of grammar. And the same boat is, so I understand, usually referred to BY THE CREW, as "he". So your own boat is "he", others are "she". Cheers, Wol

Re: double time signature problem

On 15/11/17 10:51, Knut Petersen wrote: > Am 15.11.2017 um 00:26 schrieb Noeck: >> >>> The diminutive of „Magd“ is „Mägdelein“ or maybe „Mägdchen“ (nobody >>> would use the latter), but not „Mädchen“. >> But still "Mädchen" seems to be derived from "Magd": >>

Re: double time signature problem

On 14/11/17 16:50, Karlin High wrote: > And I just learned something there: > > "Der Hund hat den Mann gebissen" and > "Den Mann hat der Hund gebissen" > both mean "The dog has bitten the man". > > I knew the Russian language had that word-order feature/bug, but didn't > realize German did too.

Re: Transposing an entire score

On 08/11/17 19:38, Flaming Hakama by Elaine wrote: > > Subject: Re: Transposing an entire score > On 08/11/17 11:42, Francisco Vila wrote: > > Transposing every definition does work indeed, but it is a potential > > source of problems for reusing that music (maybe in another >

Re: Transposing an entire score

On 08/11/17 11:42, Francisco Vila wrote: > Transposing every definition does work indeed, but it is a potential > source of problems for reusing that music (maybe in another > transposition) unless you want the music definitions transposed at > origin once and forever, for some reason. When I'm

Re: Transposing an entire score

On 07/11/17 19:13, Flaming Hakama by Elaine wrote: > > -- Forwarded message -- > From: peter.gam...@homecall.co.uk > To: lilypond-user@gnu.org > Cc: > Bcc: > Date: Tue, 07 Nov 2017

Re: Any other Thunderbird users have messages never post? (WAS: Hide slur?)

On 19/10/17 12:33, Bernhard Kleine wrote: > > > As I started this, I would like to comment: > > 1. I read this list using Thunderbird, my mail server sits with > gmx.net. When I didnot see my mail for several hours arriving on the > list I started to worry. Has gmx sat on the mail

Re: Header

On 28/09/17 12:35, Mario Moles wrote: > I would like, in small format, the title of the song on every page! > This sounds like you want to do what I've done. In my case, the default headers are wrong because they centre the instrument name under the title - I want them left-justified on the page.

Re: Problem with Codas

On 25/09/17 18:22, Phil Holmes wrote: > There's no requirement for that blank space. Gould says that it may be > used, but does not state it should or must be. Personally, I've never > seen music set like that. Most of the music I've seen is set like that ... (not that codas are common in what

Re: Seeking LilyPond Engravers for Paid Work

On 16/09/17 23:26, Ben wrote: > PS. Whoa! I just noticed that somehow there were a bunch of duplicates > of my drafts/messages sent to the list - apologies! > My Thunderbird has really been acting strange recently. Sorry! No clue > what happened... So has mine ... I think it was a dud message

Re: The proper way to change time signature in the middle of a bar?

On 14/09/17 18:30, David Kastrup wrote: > Wols Lists <antli...@youngman.org.uk> writes: > >> I've got a piece of music where I'm doing the following .. >> >> \time 2/4 c2 | c4. >> \time 6/8 \partial 8 c8 | c2. >> >> This gives me the warning &

The proper way to change time signature in the middle of a bar?

I've got a piece of music where I'm doing the following .. \time 2/4 c2 | c4. \time 6/8 \partial 8 c8 | c2. This gives me the warning voiceStaff.ily:38:2: warning: trying to use \partial after the start of a piece but it works fine. Without the \partial, though, lilypond gets confused over the

Re: Variable systems-per-page only on last page?

On 10/09/17 05:20, David F. wrote: > That doesn’t work for me. (Lilypond 2.19.58) I’ve got 3 bars at the end of > a piece that would comfortably fit on a single line, but they are stretched > to fill two lines. > Is there a ragged-last-staff as well? Something like that, anyway, that means

Re: showing TimeSignatures on each line?

On 29/08/17 22:02, Evan Laforge wrote: > On Tue, Aug 29, 2017 at 1:46 PM, Simon Albrecht > wrote: >> Hi Evan, >> >> >> On 29.08.2017 22:26, Evan Laforge wrote: >>> >>> In music where the time signature changes a lot, it's nice to show the >>> time signature on each line

Re: Moving a tempo mark to the right

On 19/08/17 15:11, Kieren MacMillan wrote: > Hi Wol, > >> My usual moan about colliding markups :-) > > Given how usual your moans are… ;) > Can I ask why you don't just write a custom function to deal with the various > markups automatically? > It really wouldn't be that difficult, and would

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 13/07/17 20:55, David Wright wrote: > On Tue 11 Jul 2017 at 09:08:07 (-0400), Kieren MacMillan wrote: >> Hi Wol, >> >>> I've seen music - not much admittedly - that actually writes crotchets >>> as tied to a semi-quaver or something on the next beat in order to say >>> "this one-beat note is

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 10/07/17 21:18, Kieren MacMillan wrote: >> a tempo mark always belongs *after* a rehearsal mark if they collide > In my opinion, a tempo mark belongs exactly over the moment it affects, and > all other marks need to move (horizontally, vertically, or both) around it. > It struck me, actually,

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 10/07/17 18:35, Simon Albrecht wrote: > On 10.07.2017 15:41, Wols Lists wrote: >> On 09/07/17 21:20, Simon Albrecht wrote: >>> On 09.07.2017 21:21, Wols Lists wrote: >>>> Maybe, but placing all related marks one after the other is just as >>>> seman

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 10/07/17 14:58, Karlin High wrote: > On 7/10/2017 8:41 AM, Wols Lists wrote: >> given that they typically go up to a rehearsal mark somewhere near S or P, >> and I've known AA and beyond > > This sounds like over 26 rehearsal marks. And elsewhere this thread says > th

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 10/07/17 14:28, Karlin High wrote: > On 7/9/2017 2:16 PM, Wols Lists wrote: >> But out in the park, it was hard to stop the music blowing everywhere > That DOES sound like a problem. I've read of people using electronic > displays such as tablets or e-readers for display

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 21:20, Simon Albrecht wrote: > On 09.07.2017 21:21, Wols Lists wrote: >> On 09/07/17 20:06, Flaming Hakama by Elaine wrote: >>> > How can I move the texts to be next to the rehearsal mark >>> (without >>> manual adjustments)? >>&

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 20:06, Flaming Hakama by Elaine wrote: > > > Le 9 juil. 2017 à 18:24, caag...@gmail.com > a écrit : > > > > As you can see on the screenshot, both texts are misaligned. The > first one, a \tempo, is placed *under* the rehearsal mark

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 19:28, Simon Albrecht wrote: > On 09.07.2017 20:01, Wols Lists wrote: >> On 09/07/17 18:38, Simon Albrecht wrote: >>> On 09.07.2017 18:24, caag...@gmail.com wrote: >>>> As you can see on the screenshot, both texts are misaligned. >>> That’s you

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 18:38, Simon Albrecht wrote: > On 09.07.2017 18:24, caag...@gmail.com wrote: >> As you can see on the screenshot, both texts are misaligned. > > That’s your opinion. See below. The result can EASILY be unplayable music ... > >> The first one, a \tempo, is placed *under* the

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 17:24, caag...@gmail.com wrote: > As you can see on the screenshot, both texts are misaligned. The first > one, a \tempo, is placed *under* the rehearsal mark instead of next to > it. The second one, the name of a song, is too far too the right, since > it's attached to the note

Re: old f-clef

On 29/06/17 02:34, Stan Sanderson wrote: > I did not attempt to duplicate it since it most of the intended audience > wouldn’t recognize it _and_ it isn’t a standard Lilypond clef. Not knowing your intended audience, I can't speak for them, but for anybody who is interested in music notation it

Re: Chords in LilyPond

On 29/05/17 06:04, Carl Sorensen wrote: > Charles's project is not to solve all three of these. In fact, his > project is not to completely solve any one of them. Rather, his problem > is to determine how best to save the semantics, so that assuming the > semantics are properly entered in

Re: Chords in LilyPond

On 28/05/17 17:54, Kieren MacMillan wrote: >> the contexts that need the semantic information shouldn’t need note >> information, and the contexts that need note information don’t need semantic >> information. > As someone who uses chords both for their note and semantic information >

Re: Chords in LilyPond

On 25/05/17 05:52, msk...@ansuz.sooke.bc.ca wrote: > The natural way for typesetting of chord > names to occur is by a direct mapping from input chord names to output > chord names without going through the current "music" data struture > consisting of notes, at all. Until you want to transpose

Re: Chords in LilyPond

On 25/05/17 02:39, msk...@ansuz.sooke.bc.ca wrote: > What I think is most needed is a chord-naming mode that *just prints what > the user typed*, formatted with the fonts, spacing, and so on that we > expect for chord names - not translating it to an "internal > representation" of notes plus extra

Re: Mark formatting problem

On 05/05/17 13:28, Jacques Menu Muzhic wrote: > Hello Malte, > > I hadn’t thought of an explictit \box, thanks for the hint! What's ?obviously? happening is that when you ask for a default mark, it calculates the mark for you (same thing when you ask for the n'th mark). But if you explicitly ask

Re: Key signatures repeated on every staff

On 16/04/17 02:36, David Wright wrote: > Quite understandable though. No page turns, so every inch of real > estate is precious. You lose the clef too. Which explains my occasional :-) moans on this list about trying to get rid of wasted space and pack everything in on one page with lilypond.

Re: Key signatures repeated on every staff

On 15/04/17 21:55, Kieren MacMillan wrote: > Hi Wol, > >> > most of the music I see from the turn of last century does NOT. > Does not repeat the key signature? Fascinating! What field/genre are you > working in? Mostly published by either Boosey, or Hawkes. They merged about 1920 ... :-) I

Re: No R in input! (Proposal for discussion)

On 02/04/17 21:24, David Kastrup wrote: >> But does it actually demand too much of an engraver to take an r4*7 >> > event, check whether and how many full or partial measures are in its >> > duration, write full-bar or multi-measure rests for all parts spanning >> > full measures and normal rests

Re: An 'interpreter' for lilypond

On 02/04/17 16:41, Cynthia Karl wrote: >> Either way, instead of clicking on "Reply", first click on "More v" and you >> > should see the option "Reply to author". Click that one instead and it will >> > automatically add the quoted text from the post you're going to comment on, >> > then you can

Re: Partial

On 19/03/17 07:20, Engraver wrote: > Op 18 maart 2017 21:49:17 schreef Joseph Austin : > >> >> But thinking about it, I'm wondering why one would want to notate a > different duration than is actually played, >> > > > A reason can be to make room in the bar for something

Re: 13th chord?

On 26/02/17 16:04, msk...@ansuz.sooke.bc.ca wrote: > I've said it clearly enough times already, but I'll say it again: I think > there should be a feature to print what was typed, in the visual format of > chord names, without interpreting it as music. No more or less. And this > is proposed as

Re: 13th chord?

On 26/02/17 14:47, msk...@ansuz.sooke.bc.ca wrote: > On Sun, 26 Feb 2017, Wols Lists wrote: >>> I don't know what that refers to. Are you confusing me with someone else? >>> >> "I imagine it would make sense for most of its code to derive from the >> code cu

Re: 13th chord?

On 26/02/17 14:05, Thomas Morley wrote: > 2017-02-26 14:34 GMT+01:00 Anthony Youngman : >> >> >> On 26/02/17 11:32, Thomas Morley wrote: >>> >>> 2017-02-26 12:12 GMT+01:00 Anthony Youngman : > I wrote some code which I submitted to lilypond

Re: 13th chord?

On 26/02/17 14:21, msk...@ansuz.sooke.bc.ca wrote: > On Sun, 26 Feb 2017, Anthony Youngman wrote: >> Replying to myself - remember, you said the user shouldn't notice any >> difference. With my code, if you want to change the capo key, it's a > > I don't know what that refers to. Are you

Re: 13th chord?

On 25/02/17 23:47, Thomas Morley wrote: > Obviously it's _me_ not understanding the issue. As a complete outsider, I read it extremely simply ... The OP asked lilypond to print the chord name as "C 13". Lilypond ignored him and printed the name as "C 9 13". Everybody seems to have got fixated

Re: Making the Dedication field align left

On 25/02/17 20:59, Simon Albrecht wrote: > Am 25.02.2017 um 21:02 schrieb Chad Linsley: >> Hi all, >> >> I'm a Lilypond noob and am trying to customize the header. How do I >> override the "Dedication" so that it aligns left and not centre? > > The way I understand it you want the dedication

Re: ghostscript fails on pdf generation

On 13/02/17 15:23, David Wright wrote: >> It seems daft to me that you need "w" permissions, and I haven't >> > experimented deeply with it, but if I have access to a file, why >> > shouldn't I be able to create a link to it? > Because it's a security risk. Geriatric unixers might wonder why their

Re: ghostscript fails on pdf generation

On 12/02/17 19:59, David Wright wrote: > In the case cited from June, the OP was using an odd system (eg it > used # as a *user* prompt) whose tar couldn't create symlinks when > it unpacked an archive (permissions messages); they had to be > created manually. I don't know when it started

Re: Multiple markings

On 07/02/17 14:33, Kieren MacMillan wrote: > Hi Wols, > >> Before then :-) - some time last century :-) > > Is there anyone on the list who can verify when this was a problem? i.e., > which version it stopped being a problem. > I’m seriously curious! > >> I started using lily with 2.4, and I

Re: Multiple markings

On 07/02/17 13:39, Kieren MacMillan wrote: > Hi Wols, > >> I mean that the code for RehearsalMark was just a wrapper round an >> ordinary mark. So if you tried to put both on the same barline, the >> underlying engine just saw two ordinary marks, and threw one away. That >> was very frustrating

Re: Multiple markings

On 06/02/17 11:07, David Sumbler wrote: > I am unclear about what you mean by an "ordinary mark". The > implication of what you say seems to be that a RehearsalMark and an > "ordinary mark" can be anchored to the same barline - which sounds just > like what I am trying to do. I mean that the

Re: Multiple markings

On 04/02/17 14:10, David Sumbler wrote: > So my question is: is there any good reason why Lilypond still does not > allow multiple marks or tempo markings? Probably because the underlying code makes it very tricky. > > If the answer to that question really is "yes", then perhaps we could > have

Re: avoiding collisions between markup, tempo, and \mark

On 21/01/17 02:18, Andrew Bernard wrote: > Hi Andrew, > > The manual is not well written concerning this matter. A \tempo is a > metronome mark (I don't think that is entirely obvious). > > { > \mark \default > > \once \override Score.MetronomeMark.extra-offset = #'(8 . 0) > \tempo "A

Re: OOoLilyPond

On 02/01/17 13:41, Urs Liska wrote: > > > Am 02.01.2017 um 14:38 schrieb Klaus Blum: >> Urs Liska wrote >>> Am 02.01.2017 um 14:07 schrieb Klaus Blum: Hmmm... I just installed LibreOffice 5.2.4.2 and had no luck with .eps graphics. In OpenOffice 4.1.2 and 4.1.3 it works. That's what

Re: OOoLilyPond

On 01/01/17 23:34, Henning Hraban Ramm wrote: > > Am 2017-01-01 um 21:07 schrieb Wols Lists <antli...@youngman.org.uk>: > >> On 01/01/17 19:56, Urs Liska wrote: >>>> I think that has changed years ago already, but the last time I looked, >>>>>

Re: OOoLilyPond

On 01/01/17 19:56, Urs Liska wrote: >> I think that has changed years ago already, but the last time I looked, >> >Oolilypond did not make any use of it. > Oh, then it would definitely be worth looking into again. Being able to > maintain vector quality examples in a word processor like this

Re: Which Linux distro for Lilypond

On 30/12/16 22:10, David Wright wrote: > I don't know whether the OP likes change or not, except that they are > certainly making a big change going from to linux. > It just seemed to me that your posts were expressing negative prejudices > about OSes you don't get on with. I guess I couldn't see

Re: Which Linux distro for Lilypond

On 30/12/16 04:49, David Wright wrote: >>> I don't know what the happy medium is, though! >> > >> > Start with something easy? Ubuntu or Kubuntu sounds a good choice BUT. I >> > just cannot get on with Debian-based distros or Gnome. > Could you explain that a bit? I can't see why the OP would

Re: Which Linux distro for Lilypond

On 29/12/16 03:51, Alasdair McAndrew wrote: > My concern with "easy" distros - and maybe I'm wrong here - is that if > something goes wrong (and it invariably will) you will need the ability > to fix it, which will require digging into the file system, editing > configuration files, etc. > > I

Re: Which Linux distro for Lilypond

On 24/12/16 09:11, Knut Petersen wrote: > Am 24.12.2016 um 04:06 schrieb Craig Dabelstein: >> Hi Lilyponders, >> >> Just a quick question. I'm taking the plunge and moving to Linux. >> Which distro would you recommend for running Lilypond and Frescobaldi? > > OpenSuSE, I'd recommend to use the

Re: Chords in choral music(Re: Fixing LSR 888: center-on-words ignoring punctuation)

On 07/12/16 23:37, Alexander Kobel wrote: > On 2016-12-07 22:05, Simon Albrecht wrote: >> On 07.12.2016 01:07, Alexander Kobel wrote: >>> chords with two adjacent notes (shifting one note). I know that this >>> should be a forbidden situation for vocal music >> >> Why should it? I hardly think

Re: Stepping down and moving on

On 19/11/16 00:14, Francisco Vila wrote: > 2016-11-18 18:27 GMT+01:00 David Kastrup : >> > Francisco Vila writes: >> > >>> >> David: I don't know what to say. I am very grateful to you for your >>> >> huge, unvaluable work and I wish you luck. >> > >> > In

Re: Trolling and unacceptable behaviour on the list

On 18/11/16 13:11, msk...@ansuz.sooke.bc.ca wrote: > On Fri, 18 Nov 2016, Andrew Bernard wrote: >> when asked politely refuses to give his name, refuses to provide minimal > > This "real name" business is completely irrelevant and the people trying > to make it a big deal lose credibility on the

Re: Question for a FLOSS licensing session

On 02/11/16 15:14, David Kastrup wrote: > Wols Lists <antli...@youngman.org.uk> writes: > >> On 31/10/16 10:08, David Kastrup wrote: >>>>> The repository contains among others >>>>> - encoded music >>>>> - Scheme functions created

Re: Question for a FLOSS licensing session

On 31/10/16 09:04, Thomas Morley wrote: > 2016-10-31 9:48 GMT+01:00 David Kastrup : >> Thomas Morley writes: >> >>> When entering a new snippet first thing you read is: >>> >>> "Important: By entering your snippet, you are placing it in the public >>>

Re: Question for a FLOSS licensing session

On 31/10/16 10:08, David Kastrup wrote: >> > The repository contains among others >> > - encoded music >> > - Scheme functions created for the project >> > - Scheme functions created using included code from LilyPond and GPLed >> > openLilyLib >> > - Scheme functions created by modifying functions

Re: Evince/Adobe printing adds margins and scales down the score

On 17/08/16 10:43, Urs Liska wrote: > > > Am 17.08.2016 um 11:33 schrieb Federico Bruni: >> Hi folks >> >> I've tried printing a score with Evince and I see that it adds margins >> on left, right, top and bottom and scales down the score size to fit >> it on the page (line-width=17,40 cm). Is it

Re: LilyPond logo?

On 07/08/16 20:44, Simon Albrecht wrote: > Or do I have too little faith in crowd intelligence and the aesthetic > reckoning of everybody who likes working with Lilypond? I think you might. It's amazing how everybody seems to be targetting in on just a few possibilities - which are all very

Re: LilyPond logo?

On 06/08/16 19:38, Pierre Perol-Schneider wrote: > Tests update attached. > I'm still a fan of 6 or 9. But 9 feels better because it's simpler. Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org

Re: LilyPond logo?

On 07/08/16 16:17, Kieren MacMillan wrote: > Hello all, > > What about a perspective-sheared bass clef as the leaf? > Just a thought, trying to tie it all together. > +1 Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org

Re: LilyPond logo?

On 05/08/16 05:15, tyronicus wrote: > The vectorized image looks very good. It'd be nice, though, to have some sort > of "icon" logo in true black and white. Maybe something like the attached? > It's an Inkscape svg if anyone wants to mess with it. > > lp.png

Re: Adding a tempo indication in the middle of multiple voices mode

On 30/07/16 10:36, Stephen Cox wrote: > I want to add a tempo indication in the middle of some code that is in > multiple voices mode. > > For instance, using the example on page 48 of the “Learning” document, I > might want to add the indication “Faster” at the beginning of bar 2. The > code

Re: PDF author metadata

On 10/07/16 17:47, David Wright wrote: > On Sun 10 Jul 2016 at 15:57:59 (+0100), J Martin Rushton wrote: >> On 10/07/16 15:09, David Kastrup wrote: >>> J Martin Rushton writes: On 10/07/16 00:29, Anthony Youngman wrote: > On 07/07/16 19:02, David Wright

Re: Small flageolet

On 11/06/16 13:43, Andrew Bernard wrote: > There’s an interesting philosophical point here about lilypond. Quite > often in these complex scores I need to do things that are not Common > Era period ‘rules’. Lilypond is so rule bound that it is often hard to > override it. To that extent, it is

Re: invisible note for expressive marks

On 28/05/16 19:03, Marc Hohl wrote: > Am 28.05.2016 um 19:47 schrieb Gianmaria Lari: >> The expressive marks must be attached to a note. I was wondering if it >> exists any void/invisible note that it is possible to use to avoid >> this constraint, something like: "voidelement" \p > > That's

Re: OT: high-precision tuner app

On 26/05/16 10:43, Olivier Biot wrote: > > > On Thursday, 26 May 2016, Michael Hendry > wrote: > > I seem to have struck an interesting chord, here! > > > Definitely! > > > Another phenomenon about which I have doubts

Re: OT: high-precision tuner app

On 26/05/16 08:34, Werner LEMBERG wrote: >> > "Perfect pitch" is a sham. [...] > It seems that you don't know the facts very well. Absolute pitch is > *not* related to being a `better' musician. In fact, it's not even > related to music. Have a look at the Wikipedia article; it gives a > nice

Re: OT: high-precision tuner app

On 25/05/16 07:05, Johan Vromans wrote: > Since we're OT anyhow... > > On Tue, 24 May 2016 13:58:48 +0100 > Anthonys Lists wrote: > >> Not a modern phenomenon. A lot of Baroque parts are almost unsingable in >> the original pitch because they were written for A=400 or

Re: Placing a section name at the start of a staff

On 08/05/16 21:30, David Wright wrote: > On Sun 08 May 2016 at 19:06:27 (+0100), Anthonys Lists wrote: >> Basically, I want to do pretty much what "instrument name" does in a >> score - I want to put the name of the section in front of the start >> of the staff. The problem is, as always, when you

Re: Some help with music theory

On 05/05/16 23:22, Carl Sorensen wrote: > Thanks to all who replied. I have several people who have volunteered to > answer my questions. I'll probably pass them around to different people > so nobody gets too much work. > > Thanks for being part of a great community! > > Carl > Some more

Re: London-Heathrow

On 04/05/16 16:01, Phil Holmes wrote: > - Original Message - From: "Wols Lists" <antli...@youngman.org.uk> > To: "Phil Holmes" <m...@philholmes.net>; "lilypond-user" > <lilypond-user@gnu.org>; "Urs Liska" <u...@openlily

Re: London-Heathrow

On 04/05/16 14:58, Phil Holmes wrote: > Depending on how much your budget is, you can easily get to London and > back in that time: > > https://www.heathrowexpress.com/ > Or the Picadilly line on the tube. Where do you want to go? If you know where you want to go, go to tfl.gov.uk and it'll give

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