Robert Schmaus robert.schm...@web.de writes:
Hi everyone,
I haven't read all posts on this subject, so sorry should I write
something that's already been written.
Why not keep the \relative pitch { music } syntax as one supported
way and simply change the \relative { music } syntax to what
Robert Schmaus robert.schm...@web.de writes:
Hi Arthur Timothy,
You've brought up a good question. Sounds like you may do Early Music,
too.
Thanks! Although I have to admit, that my music only goes as early as
the Swing Era - Big Bands usually are tuned to 442 as it fits the brass
On Fri, Mar 8, 2013, at 09:06 AM, David Kastrup wrote:
Robert Schmaus robert.schm...@web.de writes:
Hi everyone,
I haven't read all posts on this subject, so sorry should I write
something that's already been written.
Why not keep the \relative pitch { music } syntax as one
On Fri, 8 Mar 2013, David Kastrup wrote:
Midi, itself, is tuned in 440 and equal.
Midi, itself, is not tuned at all.
However, there's a function
known as pitch bend in midi parlance, that works on some, but not all,
That's one way to do it. Make sure to set this for each of the Midi
David Kastrup writes:
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
+1
--
Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl
Am 07.03.2013 20:21, schrieb Werner LEMBERG:
One rationale is to stop the distribution of the information for
the first pitch to potentially quite separate places, like being
able to write
\new Staff \relative {
\key aes \major
% Voice one
{ c''2 aes4. bes8 }
...
instead of
Robert Schmaus robert.schm...@web.de writes:
On Fri, Mar 8, 2013, at 09:06 AM, David Kastrup wrote:
Robert Schmaus robert.schm...@web.de writes:
Hi everyone,
I haven't read all posts on this subject, so sorry should I write
something that's already been written.
Why not keep the
Dear LilyPond users,
Am I right in saying that the proposed new \relative {}, where the first
pitch is absolute, is equivalent to simply writing \relative f {} in
current usage? That might make it easier to explain in documentation
than trying to explain that the first note is treated
Kevin Barry barr...@tcd.ie writes:
Dear LilyPond users,
Am I right in saying that the proposed new \relative {}, where the
first pitch is absolute, is equivalent to simply writing \relative f
{} in current usage?
Yes in Western scales.
That might make it easier to explain in documentation
David Kastrup d...@gnu.org writes:
What is the resulting pitch of
\relative c' { ces, } ?
Quick, without thinking? What is the resulting pitch of
\relative f { fes, } ?
Quick, without thinking? What is the proposed resulting pitch of
\relative { fes, } ?
Now there is not even an
David Kastrup writes:
Martin Tarenskeen m.tarensk...@zonnet.nl writes:
The idea is that \relative { ... } (namely \relative used without an
explicit reference pitch) uses the first note inside as the reference
pitch. That is, if the first note happens to be written as fis'' it
will sound
Colin Hall colingh...@gmail.com writes:
David Kastrup writes:
Martin Tarenskeen m.tarensk...@zonnet.nl writes:
The idea is that \relative { ... } (namely \relative used without an
explicit reference pitch) uses the first note inside as the reference
pitch. That is, if the first note
Well... if you just don't emit the warning if the first pitch in a
\relative {} block is incorrect, then it seems like you get exactly
the current proposal except that you have to spell \relative { c''
} as \relative { c='' } instead.
I like that idea!
Indeed, this has some benefits in
Werner LEMBERG w...@gnu.org writes:
Well... if you just don't emit the warning if the first pitch in a
\relative {} block is incorrect, then it seems like you get exactly
the current proposal except that you have to spell \relative { c''
} as \relative { c='' } instead.
I like that idea!
2013/3/8 Jan Nieuwenhuizen jann...@gnu.org:
David Kastrup writes:
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
+1
+1 , I was currently using \relative f { } anyway, so this would
allow removing the f, leaving the {...} intact, which for me would
--- ly2video.py.orig2013-03-07 09:40:54.675565398 +0100
+++ ly2video.py2013-03-07 09:52:19.787389048 +0100
@@ -1723,7 +1723,7 @@
fSanitisedLyFile.write(\\header {\n tagline = ##f composer =
##f\n}\n)
headerPart = True
-if
2013/3/8 David Kastrup d...@gnu.org:
What is the resulting pitch of
\relative c' { ces, } ?
Quick, without thinking?
Without thinking: I don't know. Good example.
What is the resulting pitch of
\relative f { fes, } ?
Quick, without thinking?
Without thinking, I know this is an
Francisco Vila paconet@gmail.com writes:
2013/3/8 Jan Nieuwenhuizen jann...@gnu.org:
David Kastrup writes:
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
+1
+1 , I was currently using \relative f { } anyway, so this would
allow removing the
To be absolutely clear: i want both an 'end-bar' property and the
thing mentioned above.
OK.
Is my explanation clear?
Yes, thanks. However, I still don't see the usefulness.
Werner
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Hi Rama,
On Fri, Mar 8, 2013 at 12:05 AM, Rama Gottfried rama.gottfr...@gmail.comwrote:
here is a working version of the bezier glissando (I just had too many
coordinates in my curveto command).
still trying to find some reference on the grob-interpret-markup function
-- it seems there are
Thomas Morley address@hidden writes:
2013/3/7 David Kastrup address@hidden:
Please take a look at
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
To be absolutely clear, am I right that this patch will not affect the
use of \relative with a given
Thanks for this intersting info Mike.
Pierre
2013/3/8 Mike Blackstock blackstock.m...@gmail.com
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=787244
Abstract:
Copyfraud is
yes, thanks for sharing it!
Am 08.03.2013 um 14:22 schrieb Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Thanks for this intersting info Mike.
Pierre
2013/3/8 Mike Blackstock blackstock.m...@gmail.com
This paper might be of interest to anyone typesetting public domain
music
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with hyphen
it is lek-ker. Using lec -- ker or lek -- ker ( on purpose not le -- cker)
the hyphen may or may not appear. Is there anything beyond trial
Hi,
On Fri, Mar 8, 2013 at 2:41 PM, Klaus Föhl klaus.fo...@uni-giessen.de wrote:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with hyphen
it is lek-ker. Using lec -- ker or lek -- ker ( on
- Original Message -
From: Laura Conrad lcon...@laymusic.org
If someone who understands this better than I do agrees with me that
this is a bug, I'll be happy to write up a real bug report, especially
if you tell me what feature of lilypond to report the bug against. I've
put a lot of
Hi Katie,
Use bar checks:
http://www.lilypond.org/doc/v2.17/Documentation/notation/bars#bar-and-bar-number-checks
Hope this helps!
Kieren.
On 2013-Mar-8, at 09:51, Katie Ganem klga...@gmail.com wrote:
For some reason when I compile the file I'm working on, bars of music are
being omitted
That does help. Thank you. But now I can't seem to get music to show up when
I compile it. I tried copying it into a new file, but it goes through the
motions, says that it successfully compiled and then shows nothing. Does
anyone know what could cause this?
On Mar 8, 2013, at 9:56 AM,
On 03/08/2013 03:52 PM, lilypond-user-requ...@gnu.org wrote:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with hyphen
it is lek-ker. Using lec -- ker or lek -- ker ( on purpose not le -- cker)
Hi Katie,
That does help. Thank you. But now I can't seem to get music to show up
when I compile it.
Are you sure you used bar checks, as I suggested?
When I try it (see snippet, below), it clearly shows where your data entry
errors are.
Kieren.
p.s. You should also be using full measure
On Fri, Mar 8, 2013 at 4:19 PM, Katie Ganem klga...@gmail.com wrote:
I tried copying it into a new file, but it goes through the motions,
says that it successfully compiled and then shows nothing.
Does anyone know what could cause this?
This may happen if you define your music variables but
Hi David,
thanks for pointing out the scm folder, I hadn't looked in there yet -- this is
really helpful.
the list of Scheme functions in the documentation gave me the idea that this it
was a glossary -- but the scm folder seems like more the place to look for
getting information. will start
On 03/08/2013 10:19 AM, Mats Bengtsson wrote:
On 03/08/2013 03:52 PM, lilypond-user-requ...@gnu.org wrote:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with
hyphen
it is lek-ker. Using lec --
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=787244
Excellent article, even if it is 7 years old.
I'm in a singing group. We sing
On Mar 8, 2013, at 11:33 AM, Tim Slattery wrote:
Mike Blackstock blackstock.m...@gmail.com wrote:
This paper might be of interest to anyone typesetting public domain
music from so-called copyrighted scores:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=787244
Excellent article, even
2013/3/8 Klaus Föhl klaus.fo...@uni-giessen.de:
I am somewhat unhappy with the concept behind the new default use
being \relative {...} without qualifier as it mixes absolute and relative
pitch writing within the bracket. At least as it is explained.
I am not sure it mixes absolute and
On Fri, Mar 8, 2013 at 11:43 AM, David Kastrup d...@gnu.org wrote:
Werner LEMBERG w...@gnu.org writes:
Well... if you just don't emit the warning if the first pitch in a
\relative {} block is incorrect, then it seems like you get exactly
the current proposal except that you have to spell
2013/3/8 Rama Gottfried rama.gottfr...@gmail.com:
Hi David,
thanks for pointing out the scm folder, I hadn't looked in there yet -- this
is really helpful.
the list of Scheme functions in the documentation gave me the idea that this
it was a glossary -- but the scm folder seems like more
Guy Stalnaker writes:
I've just spent an entire evening trying to figure out how to add some
lyric text to one voice of a three-measure two-voice section of a score.
Thanks for contacting us about this, Guy, and for the thorough-going
report. Your suggestion for a change to the docs seems
Hello all,
SpanBar isn't currently working as expected/documented:
http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-staves#nested-staff-groups
All the best,
Kieren.
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Hi Mario,
Well! As I have already said I think that this solution is really nice but I
can not fix what I have underlined in red: that the staff bar connection. And
I can not add staff Harpsichord without StaffGroup and only PianoStaff :-(
I can fix all the other things, but the SpanBar is
Hi,
Just saw http://code.google.com/p/lilypond/issues/detail?id=3203.
Sorry for the noise.
Kieren.
On 2013-Mar-8, at 20:58, Kieren MacMillan kieren_macmil...@sympatico.ca wrote:
Hello all,
SpanBar isn't currently working as expected/documented:
Colin Hall colinghall at gmail.com writes:
In my early days with Lilypond I learned this to my cost. I've never
used \relative since then.
I stopped using \relative about a year ago, because absolute note entry is
vastly easier.
When writing, I do not generally remember the previous note
It's funny. I think i have used \absolute maybe three times. It is too
much extra typing.
Shane
On Fri, Mar 8, 2013 at 11:45 PM, Keith OHara k-ohara5...@oco.net wrote:
Colin Hall colinghall at gmail.com writes:
In my early days with Lilypond I learned this to my cost. I've never
used
Greetings All,
In truth, I am quite satisfied with the current state of
\relative, whether with or without an absolute pitch indicated before
the braces. And yes, I do understand that, though users are at present
discouraged from using the latter, both
\relative c' { MUSIC } and \relative {
See attached graphic. Quite a number of these in the score (Brahms
Sextet Op 18). At the moment I'm creating them like so:
\version 2.17.13
\relative f'' {
f4.^\markup { \halign #-3.5 { \musicglyph #scripts.turn } } g16 a |
}
but with the value of halign hard coded, with differing note
On 9/03/2013, at 12:22 am, Francisco Vila paconet@gmail.com wrote:
2013/3/8 Jan Nieuwenhuizen jann...@gnu.org:
David Kastrup writes:
Issue 3229: Patch: Make \relative { ... } interpret the first pitch as
an absolute one
+1
+1 , I was currently using \relative f { } anyway, so
In data venerdì 8 marzo 2013 22:37:02, Kieren MacMillan ha scritto:
Hope this helps!
Oh yess!
This is great!
You are great!
(H)
Thank you so match!
;-)(Y)
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Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni.
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Linux
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Nick Payne nick.payne at internode.on.net writes:
have to fiddle with the value of halign each time to get
the turn centred between the notes. Is there a more automated way of
positioning the turn?
Parallel music. Then I can think in terms of the timing of the turn, rather
than the
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