segfault on \acciaccatura

Hi, don't know if that's the one you already caught. This segfaults on my machine: \version 2.11.2 \score { \new Staff { \relative c' { \acciaccatura d16 s16 } } } It doesn't segfault if the skip is changed into a note. --

Re: Constructive Criticism and a Question

Am 28. Dezember 2006, 11:30 Uhr (-0800) schrieb David Rogers: bf16[d, f ef] \tuplet 4 { { { d16 ef f } { g a } } { bf32a c bf d c bf a g f g ef } } The above would generate a parent tuplet with the number 5 and two sub-tuplets with 3 and 2, followed horizontally by the 12 tuplet. If you

vertical arrow

Hi, I'm trying to produce a vertical arrow with arbitrary length at a specified horizontal position above the staff, preferrably with a definable dashed line. I got the arrowhead with the following markup command but don't get the line of the arrow: ^\markup{\arrow-head #1 #-1 ##t} Is that

Re: LilyPondTool 2.10.2 Visual Edition (tm)

Hi, Am 29. Dezember 2006, 10:14 Uhr (+0100) schrieb Bertalan Fodor: Hi, I've just released LilyPondTool's new version on sourceforge (http://www.sourceforge.net/projects/lily4jedit) I called it visual edition because it is so trendy and because LilyPondTool now features some visual

Re: Off-Topic: Orchestration Aid

2006/12/30, Mehmet Okonsar [EMAIL PROTECTED]: Does anyone in the list knows some helper software for instrumentation topics, instruments ranges, fingerboard positions on strings etc.. For general information and ranges you can look here (there's a menu for all the instrument groups):

Re: Scheme Problem

Am 31. Dezember 2006, 15:23 Uhr (+1100) schrieb Brett Duncan: But when I put \compFor #16 into my .ly file, the following error occurs: syntax error, unexpected NUMBER_IDENTIFIER, expecting DIGIT or UNSIGNED \repeat unfold

between-system-padding in multiple score blocks

Hi, the between-system-padding value doesn't seem to work if more than one score block is present. Is there any way to enforce this value to be taken into account on formatting for both score blocks? In the following example the systems are stacked together vertically. Removing the second \score

pitchedTrill with harmonic

Hi, can somebody give me a working example how to greate a pitched trill with a harmonic (diamond) notehead between the brackets? I suspect it could be tweaked with the #'stencil property of the TrillPitchHead, but I don't know how to do it. -- Orm

different margins for even and odd pages

Hi, is there a way to set different margins for left and right pages (for double-side printing), or to put some extra margin to the inner part of the page in a book? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org

set-octavation bug?

Hi, something seems completely wrong here: \version 2.11.7 \relative c { #(set-octavation 1) b4~ #(set-octavation 2) b4~ #(set-octavation 1) b4~ #(set-octavation 0) b4 } all pitches should be the same (and lilypond obviously thinks so as it prints the slurs) but the octaves are messed up

proposal: second style for quartertone accidentals

Hi, for a while I wanted to suggest adding the option of using a different style for microtone accidentals. I personally prefer the use of up or down arrows on extended vertical lines of the standard accidentals (see attached example). The advantage of this style is a better differentiation of

Re: proposal: second style for quartertone accidentals

Am 27. Januar 2007, 15:33 Uhr (+0100) schrieb Ole Schmidt: Hi, I did not understand if these accidentals are already implemented so that I can use them? If not, I'am interested strongly in using them, they are indeed much easier to read and to handle... No, They aren't implemented yet.

Re: proposal: second style for quartertone accidentals

Am 27. Januar 2007, 12:06 Uhr (-0600) schrieb Trevor Bača: Question: would it be possible to have access to *both* sets of glyphs? It seems to me that I've seen both types of glyphs mixed together in single scores; usually the existing quartertone glyphs show exact quartertone alterations

Re: proposal: second style for quartertone accidentals

internationalized notenames -- the user to \include his/her favourite naming scheme at the beginning of the user's .ly file. Greetings, Juergen On Sat, 27 Jan 2007, Trevor Ba?~Ma wrote: On 1/27/07, Orm Finnendahl [EMAIL PROTECTED] wrote: Am 27. Januar 2007, 12:06 Uhr (-0600) schrieb

Re: proposal: second style for quartertone accidentals

Hi, we use additional simple up/down arrows placed left to normal accidentals, giving a concise way to specify the complete eighth tone scale. The glyphs are actually included in the font. This would make even more changing of alteration syntax necessary, though. I don't mind to be able to

Re: PNG size issue

lala lala wrote: More weird : if I check lily output I see that lily call : gs -dEPSCrop -dGraphicsAlphaBits=4 -dTextAlphaBits=4 -dNOPAUSE -sDEVICE=png16m -sOutputFile=test.png -r72 test.ps -c quit When I executed this line after running lilypond my PNG is overwritted by a PNG with the good

Re: proposal: second style for quartertone accidentals

Am 29. Januar 2007, 12:24 Uhr (+0100) schrieb Han-Wen Nienhuys: Maximilian Albert escreveu: Well, I'd be delighted to give it a try because this sounds exactly like the kind of rather easy task which merely distracts the core team from doing more difficult and really important stuff but

Split Parts

Hi List, I'm taking the plunge to write a pretty big orchestra piece with lilypond (contemporary music) and am wondering how to organize the parts: There will be sections in the piece where e.g. the first violins are split (maybe sometimes only for a couple of bars and up to 14 different parts).

Transposing instruments in orchestra score

Hi List, I'd like to write a part for a transposing instrument in sounding pitch, having the score printout in C and the part printout transposed. As far as I understand the docs, in this case I'd have to wrap the instrumental part's music into a \transpose {} statement and not using

Transposing instruments in orchestra score

Hi David, below is a minimal example. One of the disadvantages of this notation is obvious, if you render the file: Both parts are in the wrong octave. The \relative c' has to get moved inside the brackets of the \bclarinet and \eb-clarinet calls in order to correct this. I'd much prefer not

Re: Transposing instruments in orchestra score

Hi David, thanks, sorry for not noticing this in your previous mail... -- Orm Am Donnerstag, den 08. Mai 2014 um 17:50:15 Uhr (+0200) schrieb David Kastrup: Orm Finnendahl orm.finnend...@hfmdk-frankfurt.de writes: Hi David, below is a minimal example. One of the disadvantages

Re: Transposing instruments in orchestra score

Hi, sorry, I seem to have missed the replies to the thread and just reread them in the list archive. David, could you provide me with a hint on how to get the suggested masterToScore and masterToPart functions working? I guess this would be the most suitable method for my purpose as I'm

Re: Transposing instruments in orchestra score

Hi all, as I understand the situation, the most convenient situation for all would be the possibility of a context switch in mid-score affecting the way lilypond is interpreting (seeing) the pitches, which could get changed globally by including different files with redefinitions of the

Re: Transposing instruments in orchestra score

Hi List, glad I'm not the only one with this use case! As I understand the situation it is a non-trivial matter to get properly implemented. My offer to sponsor this still holds (especially if it gets done in the next two months) but it seems no one with the necessary skills will implement it,

Re: Typesetting exercises with blank space

Hi James, here is how I normaly do it (you can of course wrap this into a definition called emptyBar and use rests if you need Midi ouput: \relative c' {c d e f \hideNotes c d e f \unHideNotes c d e f } -- Orm Am Samstag, den 10. Mai 2014 um 18:43:49 Uhr (+0800) schrieb James Harkins: I want

Re: Transposing instruments in orchestra score

Hi David, sounds like a deal. Let me know when you're able to work on it and maybe also the amount of sponsoring you'll need... Yours, Orm Am Samstag, den 10. Mai 2014 um 15:21:40 Uhr (+0200) schrieb David Kastrup: I'm thinking about it, but no timeline. Basically, it requires reworking

Re: Validating a Scheme list

Hi Urs, it doesn't make too much sense to first collect the whole list and then check for membership of #f. It'd be more reasonable to stop iteration once any of the preconditions isn't met. You could achieve this by using a recursive function like below (you could make it more terse by using if

Re: Validating a Scheme list

Hi David, I wasn't aware that SRFI-1 is included in lilypond. Is there any documentation about which libs/packages are included in lilypond? -- Orm Am Donnerstag, den 15. Mai 2014 um 10:26:07 Uhr (+0200) schrieb David Kastrup: (if (every (lambda (sig) (eqv 2 (length+ sig))) lst) (display

adding new staff on the fly in a staff group

Hi, in the following example, adding a new staff on the fly within the uppermost staff of a staff group adds the staff below the last staff of the staff group. Is there an easy workaround to create the new staff directly below the uppermost staff? -- Orm \version 2.19.5 \score { \new

Re: adding new staff on the fly in a staff group

Am Donnerstag, den 22. Mai 2014 um 14:45:26 Uhr (+0200) schrieb David Kastrup: Apply the obvious fix to my proposal. :-) Thanx!! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

compound timesig in all staves?

Hi, in the following example, the compound timesignature is only shown on the top staff. Is there a mechanism to show it in all staffs with the 2+3/4 without wxplicitely having to restate the compundMeter statement in each staff? -- Orm \version 2.19.5 \relative c' { \new Staff =

Re: compound timesig in all staves?

Hi David, thanks. I agree this should be the default in LilyPond... -- Orm Am Donnerstag, den 29. Mai 2014 um 22:03:18 Uhr (+0200) schrieb David Kastrup: I think the \override Staff.TimeSignature.stencil bit should rather be \override Timing.TimeDignature.stencil instead. You can copy and

bar numbers above StaffGroups

Hi, I'm trying to print bar numbers not only at the top of the score, but also above selected groups, (like brass, percussion, strings, etc.). The code below does the trick, but the bar numbers are both printed in columns above the topmost staff. Is there a canonical way to get them printed

lilypond and multithreading

Hi, rendering a score on an i7-2640M with the option -djob-count=2 shows 100% cpu load only on one thread of one of the two cores while rendering. Is there some way or a recommended technique of setting up lilypond to better distribute the load? Or does lilypond have to get compiled with

conditional markup

Hi, for defining markups which appear selectively either only in the parts or only in the score I'm trying to use the following strategy: I include a score-defs.ly or part-defs.ly file in the score or part respectively and define commands like sMarkup for markup only appearing in the score or

Re: conditional markup

Am Samstag, den 14. Juni 2014 um 14:17:44 Uhr (+0100) schrieb Phil Holmes: Had you considered using tags instead? No, thanks, I wasn't aware of this. Seems to be exactly what I need. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org

Re: conditional markup

Hi, Am Samstag, den 14. Juni 2014 um 16:56:36 Uhr (+0200) schrieb David Kastrup: Notice the - before the markup, turning this into a post-event. Thanks, that was the missing link. I had tried define-event-function and got stuck as it appeared to be pre-event. BTW: This meaning of the error

tags on tweaks

Hi, just to verify: I assume it is always necessary to tag a complete music expression, or can just tweaks themselves get tagged? Here is an example for a use case: In the score the dynamics should get offset to the left to optimize vertical space requirements. In the part the dynamics should

problems with partcombine

Hi, below is another example with a couple of issues I can't resolve: The issues: 1. With my lilypond version the clef change to the bass clef in the second bar is ignored (although in other situations a clef change in mid bar is printed). 2. All rests in the second bar of musictwo are

Re: conditional markup

Am Sonntag, den 15. Juni 2014 um 14:26:36 Uhr (+0200) schrieb David Kastrup: Orm Finnendahl orm.finnend...@hfmdk-frankfurt.de writes: Would you have preferred orm.ly:11:20: error: music function cannot return \markup \line { Test} that doesn't really matter, the problem for me was, whether

Re: conditional markup

Hi David, thanks a lot for the comment. Am Sonntag, den 15. Juni 2014 um 16:07:01 Uhr (+0200) schrieb David Kastrup: A music function has to return music, period. Different music may be used in different contexts, but a music function cannot return anything but music. Maybe it would be a

changing global staff size on the fly

Hi, is there a way to reduce the global staff size of all staffs in an orchestral score for selected pages (or a selected region) on the fly (without having to put the music of these pages into seperate books/scores or something like that)? I'm on 2.9.15. (A simple no is sufficient in case it's

changing global staff size on the fly

Hi, on Fri, 20 Jun 2014 07:19:15 +0200, Pierre Perol-Schneider wrote No easy way. See also http://lsr.di.unimi.it/LSR/Item?id=862 (just in case...) Thanks, I was aware of that and had tried something like this: \version 2.19.5 staffSize = #(define-music-function (parser location new-size)

referencing and merging on the fly created staffs

Hi, in the following example, an extra staff is created on the fly at two non-adjacent times. Unfortunately the extra staffs are at different vertical positions as they are considered different by lilypond. Is it possible to reference the first extra staff by the second? I'm aware that I could

partcombine problems

Hi, I'm having terrible problems with partcombine. In the following code bars 2 and 3 only show the first quarter rest. \version 2.19.5 MusikObEins = { R1 | % 214 \partcombineSoloI r4 r8 b 16- \sf r16 r4 r4 | % 215 R1 | % 216 \partcombineSoloI r4 r4 \times 2/3 { r8 gis' 8- \sf r8 } r4 | %

Re: partcombine problems

Am Sonntag, den 10. August 2014 um 11:01:30 Uhr (-0700) schrieb Keith OHara: % workaround: \grace s8 \partcombineSoloII Great, thanks a lot, that seems to be consistent and saves my day! I'll define a global definition for that which can be reverted in case the bug should get fixed. -- Orm

fermatas in parentheses

Hi, the following code snippet typesets a fermata in parentheses by defining a custom articulation definition which modifies the default fermata articulation: %- \version 2.19.5 parenfermata = #(let ((m (make-music

Re: fermatas in parentheses

. September 2014 um 10:37:23 Uhr (+0200) schrieb Pierre Perol-Schneider: Hi Orm, 2014-09-05 13:52 GMT+02:00 Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de: 1. Is there a way to move the override for the font-size in the into the definition of parenfermata Try : \version

pitched note annotation

Hi, I'd like to make a small annotation to a note specifying a sounding pitch (in parentheses) for certain special playing techniques. To show what I mean, the following snippet gives the desired result: %--- \version

Re: pitched note annotation

Hi, Am Sonntag, den 14. September 2014 um 09:21:28 Uhr (+0200) schrieb Pierre Perol-Schneider: Try : ... thanks a lot, that worked! I wrapped that in the definition below. Two issues remain: 1. If the note is at the end of a bar, the annotation gets printed in the following bar. The

markup on top staff of an orchestra piece

Hi, in a piece for large orchestra, I need text markup and tempo markings which only appear on the top staff of the score and each part. I defined an empty (invisible) staff with removed staff symbol, time signature, etc., using skips instead of rests, which works well. Unfortunately as soon as

Re: markup on top staff of an orchestra piece

I found it. For someone googling this: You have to put \new Staff \with { \override VerticalAxisGroup.remove-empty = ##f } into your staff definition. Sorry for the noise... -- Orm Am Dienstag, den 16. September 2014 um 22:04:38 Uhr (+0200) schrieb Orm Finnendahl: Hi, in a piece

Re: markup on top staff of an orchestra piece

staffs; see attachment. This also lets you change things like time signature or key in all instruments simulatneously. Am 16.09.2014 um 22:19 schrieb Orm Finnendahl: I found it. For someone googling this: You have to put \new Staff \with { \override VerticalAxisGroup.remove-empty = ##f

moving tweaks into markup-definition

Hi, here is the next question: Is there a way to move the tweaks in the following code into the markup definition of secs so that they don't clutter up the score? -- Orm % \version 2.19.5 #(define-markup-command (secs layout props

Re: markup on top staff of an orchestra piece

Am Dienstag, den 16. September 2014 um 23:29:14 Uhr (+0200) schrieb Orm Finnendahl: The only thing I haven't figured out yet is, how I can make these invisible staves disappear in case no staff of a certain staffgroup is present at all. E.g. in large scores bar numbers normally get displayed

Re: markup on top staff of an orchestra piece

Hi Kieren, thanks for the note, I'll try to find that. Not sure whether it makes sense at this moment to change in the current score (although it's quite well modularized, the whole thing consists of about 600 files), especially since I seem to be able to get everything worked out quite well,

Re: moving tweaks into markup-definition

of the sources of lilypond. -- Orm Am Dienstag, den 16. September 2014 um 17:52:47 Uhr (-0500) schrieb David Nalesnik: Hello, On Tue, Sep 16, 2014 at 4:33 PM, Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de wrote: Hi, here is the next question: Is there a way to move

Re: moving tweaks into markup-definition

Am Mittwoch, den 17. September 2014 um 07:53:48 Uhr (+0100) schrieb James: Do you have any other suggestions we could improve the documentation with perhaps? The main problem in this special case for me is the fact, that David's code suggests that the first three elements of the prop argument

m above beam in guitar notation

Hi, in the following example, the m is printed above the beam whereas all other right hand fingerings are notated below the beam. Is this related to the larger size of the letter m? Can someone shed a light on this and how this could be avoided? -- Orm

Re: m above beam in guitar notation

Hi Pierre, Federico, thanks! -- Orm Am Dienstag, den 02. Dezember 2014 um 08:58:47 Uhr (+0100) schrieb Pierre Perol-Schneider: Oups, space's missing. So, again, try fis-3 \2 -\tweak X-offset #-.5 \RH #3 2014-12-02 7:21 GMT+01:00 Pierre Perol-Schneider

Re: Including a logo on the title page of a book

Hi John, your file format looks strange. It seems to be some sort of binary format which can't get converted to utf-8 in a straightforward way. Try the file here: https://www.selma.hfmdk-frankfurt.de/selmafile/f/c74efc507a/ (Click on any of the buttons labeled Herunterladen, which is the

Re: 3/4 time and whole notes

Am Samstag, den 13. Dezember 2014 um 02:57:03 Uhr (+) schrieb Henry Baxter: Hi, I'm certain this is online somewhere but I just can't find it. How do I tell Lilypond I want a whole note? Here are 2 ways: \version 2.18.2 { \time 3/4 c1*3/4 c1*3/4 c1*3/4 c1*3/4 } or:

Re: Bar numbers below staff

Hi Jay, try this: % \version 2.19.5 \relative c' { \override Score.BarNumber.break-visibility = #'#(#t #t #t) \override Score.BarNumber.direction = #DOWN c1 d e f c d e f c d e f }

segmented glissando lines

Hi, I can't find documentation about how to write segmented glissando lines, like in the attached png. The line segments have to get notated with precise rhythms, so I'm looking for something similar to glissando notation but without noteheads. I tried this: \new Staff \relative c'' { \hide

Re: segmented glissando lines

Hi Urs, Am Samstag, den 10. Januar 2015 um 22:22:15 Uhr (+0100) schrieb Urs Liska: Can't test right now, but what about \omit NoteHead? same problem, glissandolines aren't drawn at all if NoteHeads are omitted: % \version 2.19 \new Staff

Re: segmented glissando lines

Hi Pierre, Urs, that's excellent and very instructional, thanks! -- Orm Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre Perol-Schneider: Hi Orm, How about : \version 2.19.15 #(define (add-gliss m) (case (ly:music-property m 'name) ((NoteEvent) (set!

Re: getting the argument list of a procedure

Dear David, Am Mittwoch, den 04. März 2015 um 15:35:46 Uhr (-0600) schrieb David Nalesnik: I would like to be able to return the argument list of a Scheme function, say as a list of symbols. I'm not sure I understand what exactly you're looking for. In scheme, you can assign a name to all

Re: Survey: Large scores

Hi Kieren, Am Samstag, den 18. April 2015 um 17:54:44 Uhr (-0400) schrieb Kieren MacMillan: Would love to see it, but the link didn’t work for me… =\ that's strange. I just tried again and it works for me. Could it be that your browser complained because of a missing certificate as the system

Re: Paper size survey

Hi, for the orchestra parts I used B4 portrait. Orchestra musicians love this format as this fits well on a music stand (A3 is too big) and fits more music than A4 (less page turns). I also used thicker paper (120 g/m2) and a special binding method (glue and tape) to make the pages stay open and

Re: Survey: Large scores

Hi, this is the way how I finally had to do it in my piece, but unfortunately this method doesn't work very well in orchestra parts where instruments are changed (like Clarinets changing between Eb, Bb and Bassclarinet, or French Horns changing from G-Clef to F-Clef) as you either have to

Re: Survey: Large scores

Hi, Am Donnerstag, den 16. April 2015 um 19:43:38 Uhr (+0200) schrieb Urs Liska: ... I'd like to know what might be the biggest score anyone has successfully created with LilyPond. the biggest score so far for me is a piece for big orchestra, 6 soloists, live-electronics and fixed media from

Re: undefined

Am Freitag, den 17. April 2015 um 11:05:00 Uhr (+0200) schrieb Calixte Faure: Hi everyone! Traditionally, vocal scores are written without beams, except for melisma. But modern scores tend to keep beams everywhere and put slurs to indicate melisma. Is it possible to have both output with

Re: organizing orchestral music

Am Donnerstag, den 25. Juni 2015 um 11:35:18 Uhr (+0200) schrieb Gergely K.: Hi all! I'd like to engrave orchestral music, one sheet for violinist, cellist and one for conductor. I'd like to have the following structure: base.ly -- name and time signature of the music violin1.ly -- when

Re: organizing orchestral music

Am Donnerstag, den 25. Juni 2015 um 18:12:42 Uhr (+0200) schrieb Gergely K.: No, you don't have to. Right-click on the tab of your main file and check always engrave this file. Thanks for the tip, one less keypress, but still have to press Ctrl-M to engrave, since only the included file

Re: Score.skipTypesetting

, 2015 at 3:13 PM, Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de wrote: As the instrument names are short, lilypond must know that it isn't at the beginning of the piece. It would be preferrable to have unindented first staffs, as that would better resemble the final layout

Score.skipTypesetting

Hi, this is only a minor issue: Is there a good reason, why the first bar of a partially rendered score starting in the middle of the piece is indented? As the instrument names are short, lilypond must know that it isn't at the beginning of the piece. It would be preferrable to have unindented

Position FullBarRest

Hi, is there a way to position a FullBarRest on a specific line, like b' \rest (but with a FullBarRest centered in the measure)? I couldn't find anything in the docs. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org

Re: Position FullBarRest

many thanks! -- Orm Am Dienstag, den 11. August 2015 um 18:39:11 Uhr (+0200) schrieb Malte Meyn: Am 11.08.2015 um 18:22 schrieb David Kastrup: Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de writes: is there a way to position a FullBarRest on a specific line, like b' \rest

string harmonics with cue notes

Hi, I often need to notate harmonics for strings and like to indicate the resulting pitch as a small parenthesized notehead above the fingered pitch. Is there an easier way than the bloated example below? \version 2.19.5 { { a' \harmonic 1 ^\markup { sul D } } \\ {

Re: string harmonics with cue notes

Hi Stephen, thanks for the help! Using your idea I ended up with this: Cue = #(define-music-function (parser location note shift) (ly:music? number?) #{ \override Stem.transparent = ##t \override ParenthesesItem.padding = #0.2 \override ParenthesesItem.font-size

Remove 3rd Staff in PianoStaff if empty

Hi, in a piano score I'm writing sometimes a third staff on top of the other two standard staffs (with a G^15 clef) is used. I would like to remove this staff if empty, but *always* have the other two staffs active. If I remove the Keep_alive_together_engraver from the PianoStaff, every staff

Re: Remove 3rd Staff in PianoStaff if empty

Am Samstag, den 15. August 2015 um 16:04:02 Uhr (+0200) schrieb Malte Meyn: If PianoStaff accepts StaffGroup the alignment works, so here is a solution: great, thanks! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org

Re: string harmonics with cue notes

Hi Malte, I just realized from David's answer that your code somehow escaped my mailbox. Your solutions are exactly, what I was looking for, so please ignore my last post in that matter and thanks a lot: Your code is really helpful and very much appreciated! -- Orm

Re: Way to flatten nested \include's?

Am Montag, den 24. August 2015 um 21:57:37 Uhr (+0200) schrieb Blöchl Bernhard: The attached file is a binary, not a lilypond file, regardless of the extension .ly? No, it is a text file but the mime type of the attachment is specified as application/octet stream. I changed it to text/plain in

Re: Chords and what they mean

Am Freitag, den 18. September 2015 um 08:05:03 Uhr (+0200) schrieb Blöchl Bernhard: > If one "colours" that up you get the bright colourful variety of > skilled music that began with the development of orchestral events outside > the churches and cathedrals and in the brothels of New Orleans.

Re: saxophon multiphonic, how to

Am Sonntag, den 20. Dezember 2015 um 17:47:39 Uhr (+0100) schrieb Stefan Thomas: > Dear Andrew, > I've tried it with the following code: > mphonicXCII = ^\markup { \override #'(size . 0.4) { \woodwind-diagram > #'saxophone #'((cc . (one two three )) (lh . ()) (rh . ())) } } > But the saxophone

Re: always glissandi

Hi David, Am Donnerstag, den 23. Juni 2016 um 20:55:50 Uhr (-0500) schrieb David Nalesnik: > I'm thinking I'm safe in betting that I've spent more time on this > than this will ever save you :) true, but it clears up things for other users like me as well, so it's well invested ;-) Thanks for

Re: state-of-the-art for algorithmic hooks and Lilypond+(La)TeX

for my needs and in a language hardly anybody uses, I never bothered to make it available. -- Orm ------ Prof. Orm Finnendahl Komposition Hochschule für Musik und Darstellende Kunst Eschersheimer Landstr. 29-39 60322 Frank

Re: state-of-the-art for algorithmic hooks and Lilypond+(La)TeX

Am Dienstag, den 12. Juli 2016 um 09:26:38 Uhr (+0200) schrieb Urs Liska: > > You know that in Karlsruhe every student of music informatics and > musicology has to take a class in common lisp (in their 3rd > semester)? In Essen its part of the curriculum as well, but I'm not aware of many

Re: Footnotes for subtitle

and which can export to eps and use the eps file in the markup. For markup commands see: http://lilypond.org/doc/v2.19/Documentation/notation/formatting-text -- Orm -- Prof. Orm Finnendahl Komposition Hochschule für Musik und

cross-voice ties and merging noteheads

Hi, in the example below (an excerpt of the left hand piano part of the Schumann Song "Mondnacht") I'd like to resemble the rendering of Clara Schumann's Edition in the Breitkopfärtel print. %< \version "2.19.48" \score { \new Staff \with {

Re: cross-voice ties and merging noteheads

Am Samstag, den 25. Februar 2017 um 14:25:52 Uhr (+0100) schrieb Urs Liska: > An image would be helpful to avoid misunderstandings. attached. I tried to keep the file size small. Let me know if you need it in better resolution. -- Orm ___

Re: cross-voice ties and merging noteheads

Hi all, Am Samstag, den 25. Februar 2017 um 17:41:15 Uhr (+0100) schrieb Urs Liska: > Yes, but I think the issue is solved by now with Andrew's suggestion. it is indeed. Thanks Andrew! Yours, Orm -- Prof. Orm Finnend

Re: Getting a new computer

Am Donnerstag, den 17. November 2016 um 13:24:24 Uhr (+1100) schrieb Vaughan McAlley: > Lilypond files, I was wondering which specs I should be prioritizing. As lilypond is single-threaded, the number of cores is less important, than CPU Freq and you should go for a lot of RAM (>= 16 GB). Since

compile time linux/windows

could someone with a Windows computer maybe compile the score and report back to the list so that we can narrow down the culprit? Is it the lilypond version or could it be a wrong setup? Yours, Orm ------ Prof. Orm Finnendahl Komposition Hochsch

Re: compile time linux/windows

Am Donnerstag, den 04. Mai 2017 um 14:17:02 Uhr (+0200) schrieb David Kastrup: > The culprit is likely broken font caching. Fixed in more recent > versions. Thanx! ___ lilypond-user mailing list lilypond-user@gnu.org

Re: install lilypond info doc on linux

Hi David, thanks, that did it! @Martin: I use arch linux and installed the development version of lilypond (2.19.65) and its documentation. -- Orm Am Samstag, den 14. Oktober 2017 um 19:20:56 Uhr (-0500) schrieb David Wright: > On Sat 14 Oct 2017 at 15:02:08 (+0200), Orm Finnendahl wr

install lilypond info doc on linux

Hi, is there any information somewhere how to install lilypond's info documentation into info/emacs on linux? On my machine the documents are in /usr/share/info but the dir file in that directory is more or less empty and I would like to populate it in the correct/recommended way. -- Orm

Re: Creating orchestral score

Hi Daniel, you have to separate the music content from the score/layout in the parts. You end up with something like 1. files for the music content of each part 2. files with the score/layout block for each part, which have an include statement for the respective music content file(s). 3.

Re: 5/4 full measure rest

Am Mittwoch, den 16. Mai 2018 um 10:11:30 Uhr (+0200) schrieb Menu Jacques: > Hello folks, > > What is the best way to write such a length, that cannot be written with dots? > > I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but: as a general rule: If a full measure rest

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