On Mon, 13 Oct 2008 22:50:54 +0200
Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> Quoting Graham Percival <[EMAIL PROTECTED]>:
> >> Strings are so expressive they can never be properly
> >> synthesized. I grant you that.
> >
> > To be fair, I'd assume that this applies even more to vocal music
> > -
Graham, you wrote Monday, October 13, 2008 7:35 PM
On Sat, 11 Oct 2008 08:33:37 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
Graham, you wrote Saturday, October 11, 2008 12:41 AM
> Not the MIDI version of string sounds, you don't. :)
Strings are so expressive they can never be proper
Quoting Graham Percival <[EMAIL PROTECTED]>:
Strings are so expressive they can never be properly
synthesized. I grant you that.
To be fair, I'd assume that this applies even more to vocal music
-- quite apart from the expressivity of voice, midi doesn't even
attempt to add lyrics.
Yes and n
On Sat, 11 Oct 2008 08:33:37 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
> Graham, you wrote Saturday, October 11, 2008 12:41 AM
>
> > Not the MIDI version of string sounds, you don't. :)
>
> Strings are so expressive they can never be properly
> synthesized. I grant you that.
To be fai
<[EMAIL PROTECTED]>;
Sent: Saturday, October 11, 2008 2:21 PM
Subject: Re: Headword for unfretted-strings
Finally,
I did some work to get it done properly in 3 lines, here is what it looks
like on my
box [with lily doc parameters]
What do you think ?
Cheers,
David
;; -
Le Sat, 11
EMAIL PROTECTED]>; "Graham Percival"
<[EMAIL PROTECTED]>;
Sent: Saturday, October 11, 2008 2:21 PM
Subject: Re: Headword for unfretted-strings
Finally,
I did some work to get it done properly in 3 lines, here is what it looks
like on my
box [with lily doc parameters]
What do
On Sat, 11 Oct 2008 09:36:38 -0300
David S__verin <[EMAIL PROTECTED]> wrote:
> - try reduce the staff line to 16 [or lower?]
It's supposed to be 15, anyway. Trevor: pitches-headword.ly
Cheers,
- Graham
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forgot to mention as weel, the file I sent you was utf8 encoded, as you
commented the line,
could you also replace the following accented characters:
David Séverin
épouse Lívia
;; --
Also, the line starting with 'measure' 5, suppress the third argument of the
first
3 calls to
Also, the line starting with 'measure' 5, suppress the third argument of the
first
3 calls to \colmark [ the " " arg], this will also save another vertical line
...
Cheers,
David
Le Sat, 11 Oct 2008 09:18:51 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
> David
>
> Your extract is no
Le Sat, 11 Oct 2008 09:18:51 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
>
> David
>
> Your extract is now visible on the kainhofer site. Unfortunately it takes
> up too
> much space, with the result that the small amount of following text is
> pushed
> off the bottom of the first s
I agree with you, Trevor. The MIDI block should go in for the sake of
the readers, not for the sake of those building docs. I'm a fairly
experienced user now, but when I was starting out it gave me fits trying
to get the MIDI block in the right place and I would definitely have
appreciated th
David
Your extract is now visible on the kainhofer site. Unfortunately it takes
up too
much space, with the result that the small amount of following text is
pushed
off the bottom of the first screen. I would prefer to reduce it to the
first two
lines, after the end of the first two triplet
Graham, you wrote Saturday, October 11, 2008 12:41 AM
On Fri, 10 Oct 2008 22:59:43 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
Graham, you wrote Friday, October 10, 2008 7:38 PM
> On Thu, 9 Oct 2008 10:08:00 +0100
> "Trevor Daniels" <[EMAIL PROTECTED]> wrote:
>
> Err, why midi? It
On Fri, 10 Oct 2008 22:59:43 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
>
> Graham, you wrote Friday, October 10, 2008 7:38 PM
>
> > On Thu, 9 Oct 2008 10:08:00 +0100
> > "Trevor Daniels" <[EMAIL PROTECTED]> wrote:
> >
> > Err, why midi? It doesn't help anything for the docs, and as
> >
Graham, you wrote Friday, October 10, 2008 7:38 PM
On Thu, 9 Oct 2008 10:08:00 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
Many thanks for this. The abbreviations are fine as they are - these
headwords are not intended to teach anything, they're just to show
what is possible. I adde
On Thu, 9 Oct 2008 10:08:00 +0100
"Trevor Daniels" <[EMAIL PROTECTED]> wrote:
> Many thanks for this. The abbreviations are fine as they are - these
> headwords are not intended to teach anything, they're just to show
> what is possible. I added midi output (hope that's OK with you -
> what tem
Le Thu, 9 Oct 2008 10:08:00 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
> Hi David
>
> Many thanks for this. The abbreviations are fine as they are - these
> headwords are not intended to teach anything, they're just to show what is
> possible. I added midi output (hope that's OK wi
uot; <[EMAIL PROTECTED]>
Cc: "Trevor Daniels" <[EMAIL PROTECTED]>; "Graham Percival"
<[EMAIL PROTECTED]>;
Sent: Thursday, October 09, 2008 5:50 AM
Subject: Re: Headword for unfretted-strings
Le Tue, 07 Oct 2008 16:40:24 -0500,
Jonathan Kulp <[EMAIL PROTECTED]&
Le Tue, 7 Oct 2008 22:32:09 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
> Jonathan
>
> There is no need to do any more of the Beethoven quartet. The two bars you
> have done already would be quite sufficient and would have been ideal, but
> as you say, David's offering does display r
Le Tue, 7 Oct 2008 22:32:09 +0100,
"Trevor Daniels" <[EMAIL PROTECTED]> a écrit :
> Jonathan
>
> There is no need to do any more of the Beethoven quartet. The two bars you
> have done already would be quite sufficient and would have been ideal, but
> as you say, David's offering does display r
Certainly this is fine with me. David's piece looks really cool and
could serve as an example for much more than just bowed-string
techniques. It'll be better to use his example. Best,
Jonathan
Trevor Daniels wrote:
Jonathan
There is no need to do any more of the Beethoven quartet. The t
t;
<[EMAIL PROTECTED]>;
Sent: Tuesday, October 07, 2008 7:58 PM
Subject: Re: Headword for unfretted-strings
That's a nice-looking piece and would certainly show off more of
Lilypond's capabilities than the Beethoven passage I'm working on. If
y'all would rather use
That's a nice-looking piece and would certainly show off more of
Lilypond's capabilities than the Beethoven passage I'm working on. If
y'all would rather use David's piece that'd be fine with me. I've
finished 2 bars of the Beethoven (there would only be 2 more) so I could
bail out now or kee
quot;Jonathan Kulp" <[EMAIL PROTECTED]>
To: "Graham Percival" <[EMAIL PROTECTED]>
Cc:
Sent: Tuesday, October 07, 2008 4:34 PM
Subject: Re: Headword for unfretted-strings
Graham's right. Too much time on copyright. I've selected a very
nice passage from B
From: "Jonathan Kulp" <[EMAIL PROTECTED]>
To: "Graham Percival" <[EMAIL PROTECTED]>
Cc:
Sent: Tuesday, October 07, 2008 4:34 PM
Subject: Re: Headword for unfretted-strings
Graham's right. Too much time on copyright. I've selected a very nice
passage from
On Tue, Oct 7, 2008 at 1:04 PM, Graham Percival <[EMAIL PROTECTED]> wrote:
> On Tue, 7 Oct 2008 10:43:28 -0400
> Kieren MacMillan <[EMAIL PROTECTED]> wrote:
>
>> Graham,
>>
>> > waste time on this garbage
>>
>> I find is baffling ___ and, frankly, more than a little sad ___ that
>> you think discus
On Tue, 7 Oct 2008 10:43:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> Graham,
>
> > waste time on this garbage
>
> I find is baffling ___ and, frankly, more than a little sad ___ that
> you think discussing copyright issues is a "waste of time" for
>
> > professors, composers, program
Graham's right. Too much time on copyright. I've selected a very nice
passage from Beethoven's Op. 127 and will begin setting it later today.
With any luck I'll send it out by the late owl and it'll be waiting
with Trevor's breakfast tomorrow ;-)
Jon
Graham Percival wrote:
complicated en
On Tue, Oct 7, 2008 at 4:20 AM, Valentin Villenave
<[EMAIL PROTECTED]> wrote:
> 2008/10/7 Kieren MacMillan <[EMAIL PROTECTED]>:
>
>> Ravel and Debussy are both PD, as are the early Webern that were published
>> in the U.S. before the 1920s.
>
> All of these are unfortunately still held hostages by
On Tue, 7 Oct 2008 10:43:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> Graham,
>
> > waste time on this garbage
>
> I find is baffling ___ and, frankly, more than a little sad ___ that
> you think discussing copyright issues is a "waste of time" for
>
> > professors, composers, programm
Graham,
waste time on this garbage
I find is baffling — and, frankly, more than a little sad — that you
think discussing copyright issues is a "waste of time" for
professors, composers, programmers, musicians...
But that's your issue, I guess.
Not-so-cheers also,
Kieren.
_
New headword will be coming soon. Probably a late Beethoven quartet.
We don't need copyright headaches.
Jon
Graham Percival wrote:
Find a different headword.
You don't want to screw around with "fair use". Is "fair use"
under US law? Is it "fair dealing" under Canadian law? IIRC the
last t
Find a different headword.
You don't want to screw around with "fair use". Is "fair use"
under US law? Is it "fair dealing" under Canadian law? IIRC the
last time we looked at this, my not-a-lawyer reading of the
Canadian copyright law was that, since we weren't quoting a small
exerpt *for the
So, do I need to do a different headword, or can this small excerpt be
considered "fair use"? (Or does the concept of fair use apply in French
copyright law?)
Jon
Reinhold Kainhofer wrote:
It's true that in most of the European countries (and many other countries
around the world) Ravel's w
Am Tue, 7 Oct 2008 09:20:41 +0200
schrieb "Valentin Villenave" <[EMAIL PROTECTED]>:
> But six bars of Ravel won't hurt.
What would hurt? Does anyone have experiences with publishing
leadsheets of jazz standards? E.g. like the famous realbooks?
Would that hurt the copyright owners?
Seb.
__
Hi Valentin,
All of these are unfortunately still held hostages by the French
publishers :-(
Those damn French… they always take their own sweet time! ;-)
But six bars of Ravel won't hurt.
Agreed.
Kieren.
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Kulp
>> Sent: Tuesday, 7 October 2008 22:04
>> To: Trevor Daniels
>> Cc: Lilypond-User List
>> Subject: Re: Headword for unfretted-strings
>>
>> Could you email me the code with
>> the time sig removed? I've never figured out how to do this except b
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 7. Oktober 2008 schrieb Risto Vääräniemi:
> 2008/10/7 Jonathan Kulp <[EMAIL PROTECTED]>:
> > Oh man, I really don't know about the copyright. If it was published in
> > 1905, then it's in p.d. in the U.S.
>
> In Europe (European Economic
Nick Payne
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On
> Behalf Of Jonathan Kulp
> Sent: Tuesday, 7 October 2008 22:04
> To: Trevor Daniels
> Cc: Lilypond-User List
> Subject: Re: Headword for unfretted-strings
>
> Could you email
2008/10/7 Jonathan Kulp <[EMAIL PROTECTED]>:
> Oh man, I really don't know about the copyright. If it was published in
> 1905, then it's in p.d. in the U.S.
In Europe (European Economic Area) the term of copyright ends when the
author has been dead for more than 70 years. Ravel died in December
2
Thanks, Trevor. I hadn't even listened to the MIDI before. I'm sure
the strings sound much better. I'll have to check the tempo of this
passage and set it appropriately, though, b/c I don't think it's correct
right now. And I see now how easy it is to remove the time signature. :)
Jonathan
Ravel died in 1937. In almost all countries, copyright lasts 70 years
past the death of the author (I think Canada still has the 50-year rule,
as one of the very few exceptions; and exceptions never extend the
period of protection). Since Jan 1, 2008, Ravel's works are free of
copyright.
U.S.
D]>
Cc: "Kieren MacMillan" <[EMAIL PROTECTED]>; "Lilypond-User List"
Sent: Tuesday, October 07, 2008 12:03 PM
Subject: Re: Headword for unfretted-strings
Oh man, I really don't know about the copyright. If it was published in
1905, then it's in p.d. in the U.S.
Oh man, I really don't know about the copyright. If it was published in
1905, then it's in p.d. in the U.S. If I'm not mistaken, the pdf I
downloaded from the International Music Library Score Project was made
from a Dover score, and I think those are always made from public domain
stuff. If
Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM
Ok I've put together six bars of the Ravel quartet. File is attached so
you can see it looks like it'll be appropriate. It would be nice to
have a couple of fingerings and bowing indications, but this passage
didn't have any. There are
2008/10/7 Kieren MacMillan <[EMAIL PROTECTED]>:
> Ravel and Debussy are both PD, as are the early Webern that were published
> in the U.S. before the 1920s.
All of these are unfortunately still held hostages by the French publishers :-(
But six bars of Ravel won't hurt.
Cheers,
Valentin
_
Ok I've put together six bars of the Ravel quartet. File is attached so
you can see it looks like it'll be appropriate. It would be nice to
have a couple of fingerings and bowing indications, but this passage
didn't have any. There are some pizz. and arco and up-bow on the next
system but it
Ah, good ideas. I was just looking at Bartok's First Quartet as well,
which was first published in 1911. The Ravel has always been a
favorite, though, so I'll go find that one and take a look.
Jon
Kieren MacMillan wrote:
Hi all,
It would be cool to do something more modern if it's in publ
Hi all,
It would be cool to do something more modern if it's in public domain.
Ravel and Debussy are both PD, as are the early Webern that were
published in the U.S. before the 1920s.
Best,
Kieren.
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I wouldn't mind doing that. I have some Beethoven quartet scores from
which I could choose something, perhaps? It would be cool to do
something more modern if it's in public domain.
Jon
Trevor Daniels wrote:
I'm ready for an inspiring example of string music as the headword for
NR 2.3 Unfre
I'm ready for an inspiring example of string music as the headword for NR
2.3 Unfretted string instruments. A fragment of a string quartet maybe?
Any suggestions or volunteers to produce one?
Trevor
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