On Sun, 2 Jun 2013 15:39:43 +0200
Janek Warchoł janek.lilyp...@gmail.com wrote:
However, i think that it should be just another category of posts (as
i've already said, i'd like this blog to be multi-authored and i'll be
happy to give contributor privileges to everyone, even if they write
one
.
The second place (maybe a subtitle, who knows?) is
2013/6/1 Nils Gey i...@nilsgey.de:
Aquatic Plants in Music
Does that get me the second interview? :)
Nils
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On Sat, 01 Jun 2013 21:09:49 +0200
Jan Nieuwenhuizen jann...@gnu.org wrote:
Janek Warchoł writes:
this cannot wait any longer: there has to be a LilyPond blog.
Unless someone has a better idea, i'm going to create a blog on
WordPress.com tomorrow morning.
Apropos...why wordpress.com?
On Fri, 31 May 2013 23:59:12 +0200
Janek Warchoł janek.lilyp...@gmail.com wrote:
2013/5/31 Janek Warchoł janek.lilyp...@gmail.com:
this cannot wait any longer: there has to be a LilyPond blog.
Unless someone has a better idea, i'm going to create a blog on
WordPress.com tomorrow morning.
A wild crosspost appears!
Laborejo, Esperanto for Workshop, is used to craft music through notation.
It is a Lilypond GUI frontend, a MIDI creator and finally a tool collection to
inspire and help you compose.
It works by reducing music-redundancy and by seperating layout and data.
Before you
Hello list,
Below is a very short lilypond snippet.
Why is the title printed for each score again if print-all-headers = ##t ?
This is not a question how to work around. I know I can deactivate the
print-all-header or write an extra header into score with title = or ##f.
The question is why
I thought of a solution.
This is not a quick task eventough I know what needs to be done, since such an
editor, only more advanced, is Laborejo.
For simple purposes it will be easy to do but quickly you encounter
shortcomings and the display is unstatisfying again which is the point where
the
This is not a quick task eventough I know what needs to be done, since such an
editor, only more advanced, is Laborejo.
For simple purposes it will be easy to do but quickly you encounter
shortcomings and the display is unstatisfying again which is the point where
the code need extensions and
Laborejo, Esperanto for Workshop, is used to craft music through notation.
It is a Lilypond GUI frontend, a MIDI creator and finally a tool collection to
inspire and help you compose.
It works by reducing music-redundancy and by seperating layout and data.
Before you read the details make sure
On Wed, 26 Sep 2012 10:53:23 +0200
Janek Warchoł janek.lilyp...@gmail.com wrote:
Hi,
one of the things that i find inconvenient in reading Lily syntax is
its sequential nature. For example,
{
a4 b c d
e f g a
e a g f
}
{
e4 a g f
c2 e
d8 c f4 d2
On Fri, 7 Sep 2012 14:25:14 -0700
Nathan when.possi...@gmail.com wrote:
On Fri, Sep 7, 2012 at 2:15 PM, Brett McCoy idragos...@gmail.com wrote:
On Fri, Sep 7, 2012 at 4:42 PM, David Kastrup d...@gnu.org wrote:
Well, I found LilyPond rated on a download site
means.
thanks!
Nils
On Mon, 31 Jan 2011 09:40:52 +0100
Jan Warchoł lemniskata.bernoulli...@gmail.com wrote:
2011/1/31 Christ van Willegen cvwille...@gmail.com
Hello Nils,
2011/1/30 Nils Gey den...@nilsgey.de:
do you know the name for the music theoretical voice progression which
,
Nils
On Mon, 31 Jan 2011 09:27:44 +0100
David Kastrup d...@gnu.org wrote:
Christ van Willegen cvwille...@gmail.com writes:
Hello Nils,
2011/1/30 Nils Gey den...@nilsgey.de:
do you know the name for the music theoretical voice progression
which can be seen in this picture
Hello list,
do you know the name for the music theoretical voice progression which can be
seen in this picture?
The lower voice in the second cord is higher than the higher voice in the first
chord. Second measure shows the same, inverted.
The German term is Niveau-Überschreitung or
Hey people,
I have vocal pieces which have all fermatas in all voices so that I can print
each voice alone. But for a reduction to a 2-staff system I only want the
Soprano and Bass fermata visible (top first and bottom of second staff) but not
the inner ones.
Do you know a way to do that? I
I hope this will be a quick answer.
I am currently preparing scores, vocal SATB, but the publisher thinks the Bass
staff stem length are not long enough.
Is there a way to keep the auto-length but increase the length by, maybe, a
percent value? I think I need around 105 or 106 percent of the
An important but unasked question is for what do you need notation?
If it is just transcribing from paper the task is not that critical.
You need to get in information you already know. But if you compose
or arrange and you are not a conservative person who was taught to
repeat the sentence real
I stumbled upon this picture of notation and I've never seen the final note (in
each voice, the right page voices have a slightly different version)
http://anaigeon.free.fr/mes_facs/fsjosq.jpg
From the position it must be a longa, the fermata over it indictates the same.
Best visible on the top
On Fri, 10 Dec 2010 21:40:15 +
Owain Sutton m...@owainsutton.co.uk wrote:
On 21:32, Fri, 10 Dec 2010, Nils Gey wrote:
I stumbled upon this picture of notation and I've never seen the final note
(in each voice, the right page voices have a slightly different version)
http
We will see where this leads.
Set course to intercept, Number One
Nils, out.
http://www.denemo.org
On Thu, 09 Dec 2010 11:49:57 +0100
Jan Nieuwenhuizen jann...@gnu.org wrote:
This is smart pr
What a great example of how Lilypond saves the day. In my eyes thats exactly
the reason why Lilypond exists, because it usually knows better how to do
things.
Janek and Bill are correct: Removing the ties is the correct
musical/notation decision. A tie and two syllabes are mutually excluisve.
But it rather common _not_ to write the bar lines _inside_ of the staffs
(where they would have to cross the occasional note), but between the
staffs. The snippets for ancient music have an example, but I can't
quite figure out what produces the in-between bar lines.
--
David Kastrup
Its even easier.
You don't need to create global. The global method has the problem that you
need to fill in all these skips.
Instead, place this before the first note in any staff:
\override Score.BarLine #'transparent = ##t
and as last item, in any staff again:
\revert Score.BarLine
Hello Lilyponds,
I want to redefine (advanced version: only for the current movement) that
everytime I use \bar |. instead, internaly, this should be used:
\once \override Score.BarLine #'transparent = ##f \bar |.
How can I do this?
Background: I deactivated barlines to get a mensural
Hello list,
last night in a discussion someone claimed that there is a triple bbb in real
music, he said it was in a Chopin piece but could not say which.
I think I am fairly educated in music but never heard of a triple bbb or ###.
Do you know any?
Nils
http://www.denemo.org
Get Denemo 0.8.18 http://denemo.org/index.php/Get_Denemo
Release Notes:
-Default behavior is now non-modal
* You can choose one out of four Shortcut systems, including the Classic one.
* an easy to understand and very slick interface via keyboard
* seamless integration with MIDI
Hello World,
I often work with drone-instruments like bagpipes which need to know how to
tune their drones. In my handwritten notation I included the Drone indicator
below the keysig as simple text A or A/E (without absolute pitch).
It should appear anytime the keysig appears. Key-changes,
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