At 10:32 08/08/2013 -0500, Tim McNamara wrote:
I use LibreOffice because the default operation for text is
fine. If I was writing out complex math equations, it'd be a different story.
Surely not: you'd use LibreOffice's Math facility!
Brian Barker
by sending the message again correctly. The use
of a Reply-To: header directed to a list risks messages intended to
be private being sent publicly - a unfortunate consequence that
simply cannot be undone.
This mailing list is configured unusually but properly.
Brian Barker
double-A4 (but not A3) page size, but then
necessarily to print the result on two separate A4 sheets.
Brian Barker
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about setting two-sided to false?
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sopra_ and the base of the _8_ for _8 bassa_,
and runs parallel to the stave.
And those 8s look bold to me.
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certainly be overlooked).
and (p 468):
Two-stave SATB layout
Place dynamics and expression marks above the treble stave and below
the bass stave, to apply to both voices on each stave.
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to what I'd expect.
I trust this helps.
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of
turning off the line-break-permission and manually adding breaks for
every single line...
No need for that.
I trust this helps.
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.
When there is no new time signature, align the tempo marking with the
first element of the notation (e.g. a note or accidental) after the
clef and key signature. Note that when the tempo change is at the
start of the bar, the marking is not placed on the barline.
Brian Barker
, and then to
use \transpose to convert it in a stroke to the key and
representation you actually require.
I trust this helps.
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At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named sharp or flat need to be
qualified as such, notwithstanding what the \key indication would
appear
future
dispute. ;^)
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At 08:58 18/04/2014 -0500, David Nalesnik wrote:
On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote:
By the way, if you get to have a thousand times as many votes as I
do, I'll make a note not to bother competing with you in any future
dispute. ;^)
Not sure how to take that, but I certainly
At 15:48 18/04/2014 +0200, Urs Liska wrote:
Am 18.04.2014 15:38, schrieb Brian Barker:
No - certainly not (though I know people who do!). You are quite
right not to believe I could be that foolish. But there is still a
difference in the representations: in musical notation, a note on
the F
.
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are to be taken with
the other hand. ... Alternatively, such notes may be shown with an
incomplete bracket, extending vertically from the notehead upwards
for right-hand notes, downwards for left-hand notes. (at p. 305)
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editions place all minim and semibreve rests only on the
outside stave-lines, to avoid confusion; some avoid rests on the
middle stave-line, for the same reason
This last remark appears to describe (and validate?) what Lilypond
does by default. But it's clearly not the only way.
Brian Barker
to the
eye - apart from being technically required.
Elaine Gould describes these 8s as optional, but adds (in the
context of a full score) the modified clef makes it easier to
identify the position of instruments with such transpositions in a score.
Brian Barker
/PDF/U1D100.pdf .
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.
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from each other can look too far apart.
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the beat or half-bar,
and In 4/4 it is the third (not the fourth) beat that should be
exposed. She gives as an example:
c8 c4.~ c8 c4 c8
and says and not
c8 c2 c4 c8
So she'd certainly pick your first option.
I trust this helps.
Brian Barker
to reproduce those disconnected and misaligned
staff lines.
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At 17:16 10/08/2014 +0100, Phil Holmes wrote:
From: Brian Barker
Sent: Sunday, August 10, 2014 4:46 PM
At 12:20 10/08/2014 +, Phil Holmes wrote:
A piece of music in the Musica Transalpina from 1597 in the F clef
in the key of F major has a key signature that has two B flats:
one
, I'm afraid:
Place the pause further from the stave than other markings stacked
on the notehead, except for the octave sign (p.188). Her example has
a tenuto mark, an accent, a fermata and an ottava bassa - in that order.
Brian Barker
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method of entering pitches.
You could argue that Lilypond input should work like music does (for
the avoidance of doubt, I'm not doing that), but that's a completely
different suggestion.
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it.
But the compiler is the only reader: there is no other! Well, that's
true for my input files, anyway.
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to think as they would if
writing music by hand or reading out the note names.
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spanner? Any idea how to remove the
tr in front of it?
Does this help: http://osdir.com/ml/lilypond-user-gnu/2011-04/msg00625.html ?
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is its index: it's often difficult to find things. I haven't found an
answer so far; that doesn't mean it's not there. All I've found on
the web is a reference to someone else's similar inability to locate
this topic.
Brian Barker
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. Any punctuation goes at the end of the word, before the
extender and No extender is needed where a syllable occupies the
length of its written duration
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: The
first complete bar (and not an up-beat) is bar 1.
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this helps.
Brian Barker
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.
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parenthesises this reminder accidental.
See
http://lilypond.org/doc/v2.16/Documentation/notation/writing-pitches#accidentals
.
I trust this helps.
Brian Barker
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-notation .
I trust this helps.
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to modern typesetting standards, ...
For what it's worth, Elaine Gould doesn't think this is wrong: Some
editions place a thin double barline at the end of a previous system
where a repeat barline starts the next system. (Behind Bars, p. 234).
Brian Barker
strange run with a
leap of a seventh at one point.
The German for double stopping appears to be Doppelgriffen. Could
this therefore be a German-Italian composite meaning col 8va bassa?
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At 00:57 19/02/2015 +0100, Thomas Morley wrote:
I've an excerpt (one sentence) of
Michel Corette,
Methode Pour Apprendre Aisement a Jouer de La Flute Traversiere
That's Corrette, apparently.
Can someone translate it into english (or german)?
See http://tinyurl.com/nnwxze8 .
Brian Barker
.
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appropriate space) in subsequent systems?
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At 22:40 05/03/2015 -0600, Emil Salim wrote:
The second line of this music below is a bit cramped. How do I
stretch it? This problem goes away if I don't include gregorian.ly.
\layout { ragged-last = ##f }
Brian Barker
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.
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=3394915 .
You can make your own choice to see this as a feature of or a bug in Gmail!
You can confirm what reaches the list at
http://lists.gnu.org/archive/html/lilypond-user/ .
Brian Barker
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to engrave my music.
Could you attach a text-only version of your score, please?
I'm not he, but here it is.
Brian Barker \version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\time 3/4
\autoBeamOff
and FUNCTION): published 1958.
http://en.wikipedia.org/wiki/Pascal_%28programming_language%29
http://en.wikipedia.org/wiki/Fortran#FORTRAN_II
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' }
There is also
\override TieColumn.tie-configuration = ... - as shown at
http://www.lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#ties .
Brian Barker
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: exactly what is written. The last
(second) bar of the viola part's repeat coincides with the second
time bar in the violin part.
Brian Barker
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- Musical Musical Instrument Digital
Interface Accompaniment?
(Oh, and they do call it MMA far more often than anything else!)
Brian Barker
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(and some
others) in this way, I'd like to know.
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At 21:58 23/08/2015 +0100, Brian Barker wrote:
At 22:46 23/08/2015 +0200, Simon Albrecht wrote:
Am 23.08.2015 um 20:00 schrieb Ali Cuota:
Does somebody [know] where to find the Cantique de Jean Racine in Ly?
Mutopia, cpdl, imslp and so far google say no. :-(
In https://lists.gnu.org/archive
the restart of
typesetting at a point before the page break - and perhaps a bar or
two before that? You'd get a first, rubbish page, but the part you do
want should be closer to how it will appear in the final copy.
Brian Barker
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At 13:36 22/07/2015 -0400, Tim Slattery wrote:
How can I italicize just part of a header? What I want is a subhead
that reads:
(From Les Meslanges - 1750)
with only Les Meslanges italicized.
subtitle = \markup { (From \italic Les Meslanges - 1750) }
Brian Barker
of ignorance of convention.]
For what it's worth, Elaine Gould has no doubt of the convention -
that such accidentals are required: "An accidental holds good only in
the clef in which it is written. A change of clef requires a further
accidental for a note of the same pitch..." (Behind Bars
is left as an exercise for the reader!
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here, but that
doesn't apply in this case and Lilypond would
insert it automatically anyway.) This problem
seems to result from your use of the chord
repetition symbol "q"; to avoid this, you may
want to repeat the chords explicitly instead - without the exclamation marks.
Br
At 14:04 03/11/2015 +, Alberto Simões wrote:
At 09:59 03/11/2015 +, Brian Barker wrote:
I'm puzzled by repeated reminder accidentals on tied notes in:
Bar 110: Natural sign before the tied C in the lower staff
[...]
I did not like them too, but no clue how to remove them.
Easy
At 12:20 03/11/2015 +0100, Michael Gerdau wrote:
Interestingly enough these do not appear when I create the PDF on my
local LP 2.19.30.
Yes: that *is* interesting! (Like the transcriber, I was using 2.18.2.)
Brian Barker
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At 18:58 10/10/2015 -0700, Mark Stephen Mrotek wrote:
I recall that instructions were once given to achieve:
p ma ben marcato,
yet my search of the LSP was not successful.
Try:
c_\markup { \dynamic p \italic { ma ben marcato } }
Brian Barker
formatting text, as the
original code works.
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.ly file. Notice also the clue that line breaks in what the enquirer
describes as her "title information" do not appear correctly in the
archive rendering.
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mething of this sort is indeed the case.
Brian Barker
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. If I compose music and publish ambiguous engravings, any
conductor cannot know what I intended.
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statistic: Elaine Gould says "Place bar numbers
at the beginning of each system, ideally above the clef of the top
stave" (p. 484).
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At 16:15 26/09/2015 +0200, Simon Albrecht wrote:
On 26.09.2015 16:14, Brian Barker wrote:
Just to add another statistic: ...
Which is only one opinion.
Isn't that what "another statistic" means?
(Mind you, the unqualified suggestion of the Senior New Music Editor
at Faber Music
the moment.
I realize this isn't the standard way of notating rehearsal marks,
but let's lay that aside for a moment. Any ideas on could I do this?
\mark \markup \box \bold "a"
\mark \markup \box \bold "b"
...
Brian Barker
At 09:34 09/12/2015 +0100, Urs Liska wrote:
Am 09.12.2015 um 08:57 schrieb Brian Barker:
At 17:08 08/12/2015 -0700, Abraham Lee wrote:
I am trying to figure out how to make rehearsal mark letters be
their lower-case counterparts. I've read through all the options
in "scm/transl
/9b6f04207762999dcd273fd93f8f74658f1c5d97/Stainer/HowBeautifulUponTheMountains/HowBeautifulUponTheMountains.pdf
(or http://tinyurl.com/pgbu4d2 ).
Click Raw to download the PDF. You must satisfy yourself about
copyright issues.
Brian Barker
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nd Browse... .
o Browse to and open the PDF document file.
o Resize and reposition the graphic as necessary.
I trust this helps.
Brian Barker
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trust this helps.
Brian Barker
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relative c' {
\repeat unfold 12 {a'4 b c d}\break
<e, b' d gis> r <a, c' e a>2
\bar "|."
}
}
ragged-last = ##t
(without ragged-right = ##t)
Note that ragged-last-bottom applies to vertical spacing, not horizontal.
I trust this helps.
Brian Barker
ou drop one of the glissandi, you can see three sensibly spaced systems.
I trust this helps.
Brian Barker
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?
See https://en.wikipedia.org/wiki/CNC_router .
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\voiceOne, \voiceTwo, etc. If you do that, the
warnings disappear. See
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices .
Oh, and you can then dispense with your \stemDown, which happens automatically.
Brian Barker
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At 10:33 10/03/2016 -0600, Matthew Skala wrote:
... HTML in email is usually spam.
You are joking, of course!
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At 10:56 10/03/2016 -0600, Matthew Skala wrote:
On Thu, 10 Mar 2016, Brian Barker wrote:
At 10:33 10/03/2016 -0600, Matthew Skala wrote:
... HTML in email is usually spam.
You are joking, of course!
No.
OK, I'll rephrase that to help you: either you *have to be* joking or
you are plain
ential, and that she would not include accidentals
in your second-time bar. In addition, after a system break, wouldn't
the appropriate key signature in your case be three sharps, not one
flat - again obviating the accidentals?
Brian Barker
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wonder if this message will make it ...
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At 12:12 11/05/2016 +0100, Phil Holmes wrote:
... (if I had a list of unicode characters with tildes over them to hand) ...
See
https://en.wikipedia.org/wiki/Tilde#Precomposed_Unicode_characters .
Brian Barker
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-2.19.44-1.mingw.exe
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fifths for "english"?
Something like this?
I trust this helps.
Brian Barker
\language "english"
%%
%% http://lsr.dsi.unimi.it/LSR/Item?id=1040
%% created by Manuela
%% thanks to the German forum http://www.lilypondforum.de
%% feel free to change and distribute
%%
example:
\new Staff \with {
instrumentName = #"Violin "
shortInstrumentName = #"Vln. "
}
{ c4.. g'16 c4.. g'16 \break | c1 }
Brian Barker
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/lilypond/binaries/mingw/lilypond-2.19.48-1.mingw.exe
.
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is slightly wider horizontally than a black notehead - the
point Gould has just made in the text. Her actual examples (there is
one at the bottom of page 36) seems to show the left-alignment that
he criticises.
Brian Barker
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).
(Your snippet doesn't match your output, in fact.)
If you repeat the motif, the ties appear to alternate down, up, down, up ...
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website?
You might want contact its author; see http://thsoft.hu/en/Contact/ .
Doesn't https://github.com/thSoft/elysium have what you need?
Brian Barker
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found the
"TR/Crypt.XPACK.Gen" virus in two bundled files:
/usr/bin/_hotshot.dll
/usr/bin/_multibytecodec.dll
Anybody experiencing the same issue?
Apparently so. See
http://lists.gnu.org/archive/html/lilypond-user/2017-04/msg00222.html .
Br
At 15:28 18/07/2017 +0200, Martin Tarenskeen wrote:
And instead of "c d e f"
I'd rather see "{c d e f}"
Surely "{ c d e f }" ?
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At 08:17 28/04/2017 -0700, Mark Stephen Mrotek wrote:
I can get everything but to the opus under the composer. My code is attached.
composer = \markup \center-column { "E. MacDowell" "Op. 51" }
Warning it contains more than 10 lines.
note"), not a full bar
("measure") - so after your time signature change to 3/4, each s1
lasts longer than a bar. So s1*13 needs to be s1*7 | s2.*6 to account
for the change to 3/4.
(Er, I suggested privately that your problem might be a change to th
At 03:47 01/06/2017 -0700, Sam Frybyte wrote:
Date: Wed, 31 May 2017 18:29:51 +0100
From: Brian Barker <b.m.bar...@btinternet.com>
Just as you would beam any other notes: follow the a8 with a left
bracket "a8[" and the ges8 with a right bracket "ges8]".
It does
ht see more
readily how the notation works: the brackets do not enclose anything
but separately follow the notes to which they apply.
I trust this helps.
Brian Barker
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https://lists.gnu.org/mailm
/Editorial-ties-in-scheme-td54223.html
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client.)
In my experience, it is a fool's errand to try fixing problems of this nature.
I found an administrator who, after some delay, explained, in effect,
that he couldn't help and that there was no-one who could!
I wonder if this message will reach the list ...
Brian Barker
possibility. If a user prefers
plain Notepad, opening a text file first in WordPad and simply saving
it again will expand the line endings such that Notepad will
understand them. Tedious but effective.
Brian Barker
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of doubt, when this happens, my
Lilypond under Windows 10 shows four more lines in the log file,
including one explaining that Ghostscript failed to create the PDF
file - and anyway leaves behind the intermediate Postscript file.
Brian Barker
e:
\version "2.18.2"
\header {
composer = "Composer: Jerome Kern"
arranger = \markup {
\column {
\fill-line { " " "Arranger: Jacob Collier" }
\fill-line { " " "Transcriber: Álvaro Cáceres Muñoz" }
}
}
}
{ s1 }
Brian
u will see the latest version offered is
lilypond-2.19.80-1.mingw.exe. Will that do?
This is true for other operating systems, too. Has the parent page
been updated to 2.19.81 without this version being available?
Brian Barker
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/common-chord-modifiers .
\version "2.18.2"
chordmusic = \relative c' {
\chordmode {
c1:dim c1:m7.5-
}
}
<<
\new ChordNames {
\chordmusic
}
{
\chordmusic
}
>>
I trust this helps.
Brian Barker
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ached image-2. Both image-1 and image-2
disagree with what the manual shows the code should output. What do
I do wrong ? [...]
You arbitrarily omitted the double angle brackets shown in the
example, which indicate simultaneous expressions.
Brian Barker
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