Hi List. Please forgive a naive question.
Is there such a thing as a WAV-to-MIDI
or MP3-to-MIDI file format converter?
My common sense is yelling, No way,
Buster!, but it needs confirmation.
Thanks in advance,
P
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lilypond-user mailing list
I sit flamboozled! Thanks, will look into this!
(Yes, my system is Linux -- Debian Squeeze.)
Brett McCoy wrote:
On Sat, Mar 3, 2012 at 10:23 AM, PMApeterarmstr...@aya.yale.edu wrote:
Hi List. Please forgive a naive question.
Is there such a thing as a WAV-to-MIDI
or MP3-to-MIDI file format
Phil Holmes wrote:
- Original Message - From: PMA peterarmstr...@aya.yale.edu
To: Brett McCoy idragos...@gmail.com
Cc: lilypond-user@gnu.org
Sent: Saturday, March 03, 2012 3:32 PM
Subject: Re: Conversion to MIDI ?
I sit flamboozled! Thanks, will look into this!
(Yes, my system
aha, will do, thanks
Graham Percival wrote:
On Sat, Mar 03, 2012 at 10:48:41AM -0500, PMA wrote:
Oh dear. Thanks. I'll sound out the Debian forum
re what's maybe in development along these lines.
This is an active research topic. It's similar to computer
recognition of handwriting
Indeed, Valentin! Our chiwawa JSB lives for that
report and, seeing your joke, nearly had kittens.
Janek Warchoł wrote:
Valentin, you sneaky bastard! Tried to deceive us, huh? But i see
the new LilyPond Report announced on Lily website, mwahahahaha!
Re: complement? --
This would depend on Why he'd have had kittens,
and that in turn on whether he'd 'gotten' the joke.
We couldn't tell whether he was amused or, you
know, merely devastated.
P
Valentin Villenave wrote:
On Tue, Apr 3, 2012 at 1:59 AM, PMApeterarmstr...@aya.yale.edu wrote:
Hi List.
I'm planning similar YouTube entries, i.e., music
performances sync'd with their score-page turns.
But this will be a first for me, and I see a hefty
bunch of (Linux) softwares for video editing.
If any of you has a favorite among those options
(or among how-to docs), I'd appreciate
Interesting! I do like these styles (per-system or
continuous-line) for Mike's and Jay's audio entries.
My audios, though, will be long -- Franck, Busoni,
etc. -- and may, if displaying only very local score
views at a time, hide the forrest for the trees.
I'll experiment to see, probably, how
Dr. med. Kai Lautenschläger wrote:
Hi List,
is there any way to make lilypond shift the visible contents on a page to the
_outer_ edge? It would be something like horizontal-shift, while that command
within the \paper-block seems to shift the content to the right on _all_ pages
(meaning even
FYI --
Original Message
Subject: Re: [Acma-l] Sibelius ProTools . . . Woes?
Date: Fri, 3 Aug 2012 09:07:28 +0930
From: Robert Pawel Wolf robert.w...@adelaide.edu.au
To: Kevin Austin kevin.aus...@videotron.ca
CC: electroacoust...@concordia.ca, cec-confere...@googlegroups.com,
Keith OHara wrote:
Knut PetersenKnut_Petersenat t-online.de writes:
Have a look at the attached source and the png, the problem is obvious.
The first appearance dictates which of the two enharmonic equivalents is
chosen for the ambitus.
Yes. The ambitus was formerly sorted in
Hi List.
I would like to alter this function...
glissmove = {
\once \override Glissando #'(bound-details left Y) = #1.3
\once \override Glissando #'(bound-details right Y) = #1.3
}
to accept its 1.3 or whatever as an input parameter instead.
I see docs on parameterizing Scheme functions,
David David,
Thank you Both!
I'm using the one-param version, as in this score my X Y offsets
always match.
But on exec -- uh oh -- Scheme is yelling:
string:2:65: error: GUILE signaled an error for the expression
beginning here
\once \override Glissando #(quote (bound-details
You're right, man: working dory-hunky!
I promise to upgrade *BTWN* projects.
Thanks again,
Pete
David Nalesnik wrote:
Hi Peter,
On Sun, Dec 2, 2012 at 5:00 PM, PMApeterarmstr...@aya.yale.edu wrote:
David David,
Thank you Both!
I'm using the one-param version, as in this score my X Y
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
David David,
Thank you Both!
I'm using the one-param version, as in this score my X Y offsets
always match.
But on exec -- uh oh -- Scheme is yelling:
string:2:65: error: GUILE signaled an error for the expression
beginning
bobr...@centrum.is wrote:
An optimist believes that we are living in the best of all conceivable
worlds. A pessimist _knows_ it.
--
David Kastrup
NICE!
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lilypond-user@gnu.org
Kieren MacMillan wrote:
Hi Peter,
An optimist believes that we are living in the best of all conceivable
worlds. A pessimist _knows_ it.
Yes! Got me wondering -- How might one fit
the realist in here (without loss of pithitude)?
I thought the same thing… What I came up with is this:
An
PMA wrote:
Kieren MacMillan wrote:
Hi Peter,
An optimist believes that we are living in the best of all conceivable
worlds. A pessimist _knows_ it.
Yes! Got me wondering -- How might one fit
the realist in here (without loss of pithitude)?
I thought the same thing… What I came up
I've had the same experience (short of realizing).
Pete
Dr. med. Kai Lautenschläger wrote:
Hello List,
I just want to let you know, that I continue to be _very_ thankful for all the
great ideas, patient explanations and profound help I draw from this list! The
amount of time most of you
luis jure wrote:
on 2013-05-21 at 13:18 David Kastrup wrote:
It would seem that you associate the term pitch with physical
frequency.
no, it's not me, it's the standard meaning of the term as used in music
theory, psychoacoustics, musical acoustics, music cognition, and all the
disciplines
David Kastrup wrote:
It's not as much a matter of being correct, but rather of how this term
is employed within LilyPond and its documentation. LilyPond also uses
event in a meaning that contrary to common usage does not include
birthday celebrations.
Event, of course, has been in common
Urs Liska wrote:
Hi,
there is a free online course starting on Coursera.org, dealing with
Introduction to Systematic Program Design:
https://www.coursera.org/course/programdesign
It is primarily intended for people without prior programming
experience, but is said to be valuable for people who
PMA wrote:
Urs Liska wrote:
Hi,
there is a free online course starting on Coursera.org, dealing with
Introduction to Systematic Program Design:
https://www.coursera.org/course/programdesign
It is primarily intended for people without prior programming
experience, but is said to be valuable
LilyGilder[ok, nevermind]
SoundsFromSound wrote:
Across The Pond
From Across The Pond
Across the LilyPond
From Across The (Lily)Pond
etc
...just brainstorming.
-
composer | sound designer
--
View this message in context:
...
Let's say the rule is as follows: anything that is a valid and
interesting blog post will be accepted. So you just have to wrap the
information you want to give into a blogpost form.
For example, imagine that you want to announce Lily 2.17.1 release.
Instead of writing something like:
David,
Thank you for this review. I wish I'd seen it 40 yrs ago,
when a latest LISP book -- showcasing recursion as an
iterator(?!) -- led me to throw my lot with APL instead.
Music-programming-wise, of course, the joke's on me,
as so relatively few computing musicians went this way.
Pete
Urs Liska wrote:
Am 29.07.2013 20:04, schrieb PMA:
Urs Liska wrote:
No, these don't, but I think that fingerings in itself _do_ belong in
there, and if the original ones from Henle are copyrighted ...
It seems to me that the only fingerings
properly belonging in an Urtext ed
are those
Urs Liska wrote:
Urtext is a fiction anyway in 95% of the cases. What would you
consider Urtext when you have a manuscript, a fair copy, an original
edition controlled by the composer, a personal copy of the OE with
corrections, and another, later manuscript with other readings than the
OE or
Jim Long wrote:
I suppose that, by extension, this means that a factor of #0.0
means the layout would have no spacing at all, and all glyphs
would be engraved over the top of each other in one big blob, and
a factor of #-1.0 would mean that the glyphs are engraved
normally, but spaced
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
Jim Long wrote:
I suppose that, by extension, this means that a factor of #0.0
means the layout would have no spacing at all, and all glyphs
would be engraved over the top of each other in one big blob, and
a factor of #-1.0 would
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
Jim Long wrote:
I suppose that, by extension, this means that a factor of #0.0
means the layout would have no spacing at all, and all glyphs
would be engraved over the
PMA wrote:
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
Jim Long wrote:
I suppose that, by extension, this means that a factor of #0.0
means the layout would have no spacing at all, and all glyphs
would be engraved
Hi List.
I have a quite different problem involving Lilypond Squeeze.
An .ly file that my lilypond version 2.13.32 processed successfully
under Lenny, it (same version) fails to process under Squeeze.
So-far there is just one message text...
error: syntax error, unexpected
oh for heaven's sake -- my apologies to all, for taking your time!
pete
James Lowe wrote:
hello
\paper {
paper-width = 5.5\in
paper-height = 11\in
left-margin = 0\in
right-margin = 0\in
line-width = 4.0in
doesn't this need a slash?
4.0\in
James
Hi List.
If you were shopping for a fine non-feature-crazy laser or inkjet
printer to be used
*only* for private publishing of your LilyPond scores (that trusty old
dot-matrix will
handle everything else), is there a make--model you would especially
consider?
One constraint -- it must
again.
Regards,
Pete
Original Message
Subject: Favorite Lilypond-Score Printer?
Date: Sun, 27 Mar 2011 19:45:02 -0400
From: PMA peterarmstr...@aya.yale.edu
To: lilypond-user@gnu.org lilypond-user@gnu.org
Hi List.
If you were shopping for a fine non-feature-crazy laser or inkjet
for this and
it will not be, sadly, of the same quality of a professional printer.
Well, I mean, don't hink that working with a pro will be so much money !
Best regards.
JMarc
Han-Wen Nienhuys a écrit :
On Sun, Apr 10, 2011 at 1:37 PM, Laura Conrad lcon...@laymusic.org
wrote:
Pete == PMA peterarmstr
Dear List,
I have a single clef (treble) with key signature consisting
of one Natural (on 2nd-line G) and one Sharp (on above-
the-staff G), as follows:
\set Staff.keySignature = #`(((0 . 4) . ,NATURAL)
((1 . 4) . ,SHARP))
Unfortunately the PDF
signature is
specific, not just to pitch class, but to octave registration.
Thanks,
Pete
Original Message
Subject: For a Weird Key Signature
Date: Tue, 26 Apr 2011 21:02:38 -0400
From: PMA peterarmstr...@aya.yale.edu
To: lilypond-user@gnu.org lilypond-user@gnu.org
Dear List
By gum, that solved it -- just right (even the value).
Thanks a bunch!
Original Message
Subject: Re: For a Weird Key Signature (Retry)
Date: Tue, 03 May 2011 10:43:55 -0400
From: PMA peterarmstr...@aya.yale.edu
To: Trevor Daniels t.dani...@treda.co.uk
Thanks for this. I'll
Hi List.
I have a 40-bar LilyPond piano score notated in
3-staff systems (to accomodate a leaping-over
left hand). Occasionally one staff in a system,
either the middle or upper, contains rests only.
I want to exclude such staves from the output,
and so have defined my \score block as follows,
harm6 wrote:
PMA-2 wrote:
Hi List.
Occasionally one staff in a system,
either the middle or upper, contains rests only.
I want to exclude such staves from the output,
and so have defined my \score block as follows,
following Notation Snippets Ref. suggestions.
\score {
\new
harm6 wrote:
Graham Percival-3 wrote:
umm, did you try reading the lines immediately above it?
%% Keep the old definitions in here for compatibility (they erase
%previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves
harm6 wrote:
Graham Percival-3 wrote:
umm, did you try reading the lines immediately above it?
%% Keep the old definitions in here for compatibility (they erase
%previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves
Ok, sniffing
Thanks
harm6 wrote:
PMA-2 wrote:
I've tried again with Xavier's RemoveEmptyStaves code,
and that in turn again with James's Grand substitutions.
No difference so-far at all. I reckon my best next step is
to download 2.14.2.
Each version I've coded two ways
harm6 wrote:
at least some of the suggestions should work!!
Make sure the lines to hide are really empty. Or, if you're using some other
context/voice (Lyrics , Dynamics etc.), try to comment these to locate the
problem. Some time ago I had a similiar one: a wrong rhythm in \new Dynamics
harm6 wrote:
at least some of the suggestions should work!!
Make sure the lines to hide are really empty. Or, if you're using some other
context/voice (Lyrics , Dynamics etc.), try to comment these to locate the
problem. Some time ago I had a similiar one: a wrong rhythm in \new Dynamics
After more docs-sniffing experiments, I think my recent query
to Harm probably boils down to --
Given a (global) short-indent setting under \paper, is it possible
to \once \override... this value for individual score systems?
Regards,
Pete
___
harm6 wrote:
...
I'm not aware of any possibility to \once\override short-indent or to repeat
the SystemStartDelimiter in the middle of a line or something else, to do
what you intend.
But to force a brace, I created a workaround adding a brace to a barline,
with the possibility to stretch it
PMA wrote:
...
I've always wished that publishers would format music (solo scores anyway)
according to its measure groupings -- i.e., lay it out like poetry, for the same
reason.
Well o'course they won't. But now with this generous setup of yours, I can.
I dream of making a Beethoven Sonatas
I'm confused. Please forgive a terribly naive question --
*If* my LilyPond output PDF were to match what Schott wants to see
(in other words, a correct Schott-targeted style-sheet would not have
changed it), then would Schott print my original PDF *as-is*?
Thanks,
Pete
Urs Liska wrote:
Dear
Hi List.
This is a question about notational judgment.
I have a several-bar phrase in quick 5/8 time
(qtr. + dotted qtr., but quick enough to allow
only one felt beat per bar), and want to give
its first bar a tempo spec equivalent to
full-measure-value = 80
So, how shall I
Thanks, me!
The obvious, simple AND accurate,
just hit me:
(5 graphic 8th-note's = 80)
I'll use it. Sorry to have screamed
so early.
Pete
me wrote:
Musicians will automatically assume a dotted half note to mean the duration
of three consecutive quarter notes. Option #2 will probably be
Hi List.
With many multi-bar rests, my 10-staff StaffGroup in compilation
dies of segmentation fault. With each multibar rest replaced by
however many R1's, it dies still.
So I've now replaced every R1 with s2 r2 (which compiles fine),
hoping next to tell Lilypond to *print* that centered r2
#'transparent = ##t
e'2
}
Thanks for listening.
Pete
PMA wrote:
Hi List.
With many multi-bar rests, my 10-staff StaffGroup in compilation
dies of segmentation fault. With each multibar rest replaced by
however many R1's, it dies still.
So I've now replaced every R1 with s2 r2 (which compiles
oh, and alto clef.
PMA wrote:
Here's my snake-oil function for the centered whole-rest.
In 4/4 proportional notation, it's working like a charm!
REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #rests.0 }
\once
Xavier Scheuer wrote:
On 28 November 2011 15:56, PMApeterarmstr...@aya.yale.edu wrote:
Here's my snake-oil function for the centered whole-rest.
In 4/4 proportional notation, it's working like a charm!
REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once
Xavier Scheuer wrote:
...
REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #rests.0 }
\once \override Stem #'transparent = ##t
e'2
}
I still do not understand why you need to use such dirty hack!
If there is an
Francisco Vila wrote:
2011/11/29 PMApeterarmstr...@aya.yale.edu:
Xavier Scheuer wrote:
...
REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = \markup { \musicglyph #rests.0 }
\once \override Stem #'transparent = ##t
e'2
}
I still
James wrote:
Hello,
On 29 November 2011 15:59, PMApeterarmstr...@aya.yale.edu wrote:
Francisco Vila wrote:
2011/11/29 PMApeterarmstr...@aya.yale.edu:
Xavier Scheuer wrote:
...
REST = {
s2
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text =
Carl Sorensen wrote:
...
Probably, in the learning manual, section 4.3.1 where it talks about
overriding
'stencil to #f and to 'point-stencil, we should also show an example of
setting it to text-interface::print, along with some discussion that any
grob can have its stencil set to
David Kastrup wrote:
Father Gordon Gilbertfatherg...@gmail.com writes:
Hi all,
I have a number of pieces I entered quite a while ago (2.5.x, etc) in
absolute pitch -- being the easiest for me at the time.
But now I'd like to update them (2.15.x), and while convert-ly does a
good job of
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
David Kastrup wrote:
Father Gordon Gilbertfatherg...@gmail.com writes:
Hi all,
I have a number of pieces I entered quite a while ago (2.5.x, etc) in
absolute pitch -- being the easiest for me at the time.
But now I'd like to
Hi List.
I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.
Most especialy, I'm wondering what regrets you may have
faced after agreeing to the diluted copyright protections.
Thanks in
P.S. By scores I mean only PDFs (not also their .ly sources).
PMA wrote:
Hi List.
I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.
Most especialy, I'm wondering what regrets you may have
P.S. Selling is not an issue.
PMA wrote:
Thanks for your response. But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on my head.
Francisco
Thanks for your response. But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on my head.
Francisco Vila wrote:
2012/1/16
is not an issue.
PMA wrote:
Thanks for your response. But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on my head.
Francisco Vila wrote:
2012/1/16
Francisco Vila wrote:
2012/1/17 PMApeterarmstr...@aya.yale.edu:
Thanks for your response. But I see that we are way apart on this.
Adapting/customizing the result is exactly what I mean to prevent.
I want these products closed indeed. Naturally, unrealized scoring
improvements will remain on
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
Oh -- all *my* compositions. Sorry, I should have thought to specify
this.
Well, you said you don't care about royalties. So apparently what you
do care about is artistic integrity. The question is how you can
achieve your goals
David Raleigh Arnold wrote:
On Sun, 2012-01-15 at 20:26 -0500, PMA wrote:
Hi List.
I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going that route.
Make sure your midi, if any, has a copyright notice
Thanks Hans. As I (don't really) understand, ISMLP requires
a contributor of copyrighted materials to agree to their being
licensed *as* public domain.
Obviously for a clear view, I've got more homework ahead
Hans Aberg wrote:
On 16 Jan 2012, at 02:26, PMA wrote:
I'm considering
Francisco Vila wrote:
2012/1/17 PMApeterarmstr...@aya.yale.edu:
David Raleigh Arnold wrote:
On Sun, 2012-01-15 at 20:26 -0500, PMA wrote:
Hi List.
I'm considering posting my scores on WIMA (now via ISMLP),
and would much appreciate comment from any of you who
have had experience in going
Xavier Scheuer wrote:
On 17 January 2012 21:02, PMApeterarmstr...@aya.yale.edu wrote:
Your last sentence here hits on *the* issue in my original post.
Why indeed would I...? But it seems that, to post on ISMLP/
WIMA, one *must* commit to public-domain-like status.
I wish that was true!!
Jay Anderson wrote:
On Tue, Jan 17, 2012 at 5:54 PM, PMApeterarmstr...@aya.yale.edu wrote:
Thanks Hans. As I (don't really) understand, ISMLP requires
a contributor of copyrighted materials to agree to their being
licensed *as* public domain.
IMSLP allows submission of items in the public
David, Hans, Chris --
These are the perspectives I need.
Thanks for your patience!
Pete
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
Jay Anderson wrote:
On Tue, Jan 17, 2012 at 5:54 PM, PMApeterarmstr...@aya.yale.edu wrote:
Thanks Hans. As I (don't really) understand,
PMA wrote:
David, Hans, Chris --
These are the perspectives I need.
Thanks for your patience!
Pete
...
David, Hans, Chris --
These are the perspectives I've needed.
Thanks for your patience!
Pete
Sorry, forgot to erase my top-post after copying it to the bottom
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
PMA wrote:
David, Hans, Chris --
These are the perspectives I need.
Thanks for your patience!
Pete
...
David, Hans, Chris --
These are the perspectives I've needed.
Thanks for your patience!
Pete
Sorry, forgot to erase
me
Hans Aberg wrote:
It is pretty creative - I haven't seen that before! :-)
Hans
On 18 Jan 2012, at 19:37, PMA wrote:
Sorry, forgot to erase my top-post after copying it to the bottom.
It is pretty creative - I haven't seen that before! :-)
Hans
neither
Hayden Muhl wrote:
PMA-2 wrote:
David Raleigh Arnold wrote:
But it seems that, to post on ISMLP/
WIMA, one *must* commit to public-domain-like status.
I would like, of course, to find a (major, well run) public archive
without such constraints.
Have you actually spoken to anyone over
current ISP address (as long as I keep Yale apprised of it).
David Raleigh Arnold wrote:
On Tue, 2012-01-17 at 15:02 -0500, PMA wrote:
David Raleigh Arnold wrote:
Your last sentence here hits on *the* issue in my original post.
Why indeed would I...? But it seems that, to post on ISMLP/
WIMA
PMA wrote:
...
Yes, I've sniffed posted in IMSLP's site now -- enough to see
that my public-domain-like status fears were misconceived,
and to appreciate the gist of licenses being offered. I tend to
expect that their 6th listed,
Attribution + Non-commercial + No Derivatives
would do me just
I support your preference. If two staves were *needed*
to avoid a performance disaster, I would say otherwise.
But where, as here, the issue is merely what somebody
expects, then I see no reason for you to reconsider.
Jan Terje Augestad wrote:
Actually there's examples of this; for instance
No programming language I know of can commandeer
a *number* as the *name* for something *else*.
PMA
Jonghyun Kim wrote:
Thanks Tim for the advise,
Can I try to this?
I can define all of notes as numbers:
...
48 = c3
49 = c#3
50 = d3
51 = d#3
52 = e3
...etc
And replace the note names
Three Cc's of mine to the User list -- one last night and
two more early this morning -- have not yet appeared
among my received List emails. Did they get through
at all?
Thanks,
PMA
___
lilypond-user mailing list
lilypond-user@gnu.org
https
No programming language I know of can commandeer
a *number* as the *name* for something *else*.
PMA
Jonghyun Kim wrote:
Thanks Tim for the advise,
Can I try to this?
I can define all of notes as numbers:
...
48 = c3
49 = c#3
50 = d3
51 = d#3
52 = e3
...etc
And replace the note names
You can calculate them any way you want.
But you must then tell LilyPond what the
note names *are*.
Jonghyun Kim wrote:
Thanks Ole for good info. I will test it.
Really there is no way to write pitches with midi numbers in Lilypond?
I need this way for composing music that calculate half-step
Nevermind, I just now got one. Apologies for the fuss.
PMA wrote:
Three Cc's of mine to the User list -- one last night and
two more early this morning -- have not yet appeared
among my received List emails. Did they get through
at all?
Thanks,
PMA
Yes, I've known Forth quite well. But this
thread propelled me to bet on hyperbole.
David Kastrup wrote:
PMApeterarmstr...@aya.yale.edu writes:
No programming language I know of can commandeer
a *number* as the *name* for something *else*.
Try FORTH.
Just in case: if it's the audio itself you're after (not necessarily
also printed score), then you might possibly consider Csound,
which can accept raw-number pitches -- as cycles per second
or as fractional (in decimal or duodecimal) octaves.
Csound is emphatically *not* user-friendly, though
I've got to urge separating whatever it is that this guy is trying
to do from the issue whether its result will or won't be music
(temptation notwithstanding).
Cheers!
PMA
Tim Roberts wrote:
Jonghyun Kim wrote:
In both midi sequencers(muse2 and rosegarden), can I calculate the
pitch
P.S. If you must be adding things, how about
adding intervals, say, instead of pitches?
PMA wrote:
Just in case: if it's the audio itself you're after (not necessarily
also printed score), then you might possibly consider Csound,
which can accept raw-number pitches -- as cycles per
Dear List:
First, thank you for Lilypond -- this wonderful tool -- and for
accepting my subscription.
I am placing noteheads, and using beams, in a way that has little to do
with common usage.
Lilypond has to a considerable extent played along, as you'll see in
the attached example.
But
Fixed. For proof, see pudding attached.
(And I see this was hardly a new issue.)
Thanks Jay!
Pete
Original Message
Subject: Overlap Beams in Time?
Date: Sat, 04 Sep 2010 14:53:49 -0400
From: PMA peterarmstr...@aya.yale.edu
To: lilypond-user@gnu.org
Dear List:
First, thank
Hi List.
Would it be feasible to prepend [Lilypond] to the forum's email
Subject line?
Much of my other mail arrives this way -- like that from [Csnd] and
[LAU].
Does wonders for auto-filing.
Pete
___
lilypond-user mailing list
An FYI (not, I hope, ugly/crappy or expecting the rest of the world to
change):
In my Debian-Linux Iceape email server I have now a filter looking
simply for
lilypond in any Subject, From, To, Cc. So-far, it's caught whatever
it should.
Thanks for all suggestions!
Kaz Kylheku wrote:
On
Is LilyPond 2.12.2-1 (for Debian squeeze) likely to work on Debian
Lenny?
Alexander Kobel wrote:
On 2010-09-06 15:50, Xavier Scheuer wrote:
On 6 September 2010 15:29, Richie Gresssearchfgold67...@live.com
wrote:
I am trying to engrave music that has no meter; this is what I need
help
as i see it, the bracket -- whether '[' or ']' - modifies the note on
it's left.
Marc Schonbrun wrote:
Hello,
I was wondering about why the decision was made in the input syntax parser to
view beaming groups as follows:
}
\relative {
c8 d [e f g a b c]
}
The above snippet beams from the
... so works more as a function than as a literal output graphic.
PMA wrote:
as i see it, the bracket -- whether '[' or ']' - modifies the note on
it's left.
Marc Schonbrun wrote:
Hello,
I was wondering about why the decision was made in the input syntax
parser to view beaming groups
I can report that my filter looking for lilypond in Subject/From/To/Cc
catches everything I'd hoped it would -- except of course any replies
to me that haven't Cc:'d the List.
To that last, I'd welcome a solution, if there's one that won't enrage
everybody. If not, I can live with it.
Cheers,
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