On Feb 22, 2009, at 8:02 AM, Grammostola Rosea wrote:
Hi,
How do I make chords with the 5th an half tone lower or higher
(e.g. b5 or #5)?
for example
Am7(b5)
or
D7(#5)
I just asked this same question a couple of weeks ago. The standard
way would be:
Am7(b5) for two beats =
On Feb 22, 2009, at 1:59 PM, Grammostola Rosea wrote:
Tim McNamara wrote:
On Feb 22, 2009, at 8:02 AM, Grammostola Rosea wrote:
Hi,
How do I make chords with the 5th an half tone lower or higher
(e.g. b5 or #5)?
for example
Am7(b5)
or
D7(#5)
I just asked this same question
On Feb 25, 2009, at 10:50 PM, Chip wrote:
The most recent attempt to load the web page docs - http://
lilypond.org/doc/v2.12/Documentation/user/lilypond-big-page -
throws up this error message -
Content Encoding Error
The page you are trying to view cannot be shown because it uses an
A common jazz lead sheet convention is to parenthesize optional
chords written over the melody staff. An example is a turnaround at
the end of a song that is not played the last time through. For
example in Easy Living the turnaround over the last two bars of the
second ending is (using
On Mar 1, 2009, at 8:31 AM, Grammostola Rosea wrote:
Hi,
How do I transpose leadsheet? Chords and melody?
With the \transpose command where you've defined the melody and the
harmony. It works spectacularly well IMHO, really for me one of the
biggest selling points of using LilyPond.
On Mar 2, 2009, at 2:38 AM, Francisco Vila wrote:
2009/3/1 Tim McNamara tim...@bitstream.net:
To transpose a song down a whole step, say from F major to Eb
major, the
syntax would be:
\transpose c bes (or however the language you are using
signifies a Bb)
Be careful here, because
On Mar 7, 2009, at 4:05 AM, James E. Bailey wrote:
On OSX, the lilypond mode for emacs doesn't properly escape filenames.
open -a 'Mighty MIDI' /Users/jamesebailey/Documents/James Music/
Choral Music/Windhauch/Windhauch.midi
2009-03-07 10:59:31.767 open[465] No such file: /Users/jamesebailey/
When I try to compile a .ly file in lilypond-mode, it fails with the
message:
-*- mode: compilation; default-directory: ~/Desktop/Downloads/Music
Charts/Lilypond Charts/Dead Tunes/Days Between/ -*-
Compilation started at Sat Mar 7 10:22:25
lilypond /Users/tim/Desktop/Downloads/Music\
On Mar 7, 2009, at 4:05 AM, James E. Bailey wrote:
On OSX, the lilypond mode for emacs doesn't properly escape
filenames.
open -a 'Mighty MIDI' /Users/jamesebailey/Documents/James Music/
Choral Music/Windhauch/Windhauch.midi
2009-03-07 10:59:31.767 open[465] No such file: /Users/
On Mar 7, 2009, at 10:45 AM, James E. Bailey wrote:
On 07.03.2009, at 17:29, Tim McNamara wrote:
When I try to compile a .ly file in lilypond-mode, it fails with
the message:
-*- mode: compilation; default-directory: ~/Desktop/Downloads/
Music Charts/Lilypond Charts/Dead Tunes/Days
On Mar 7, 2009, at 10:45 AM, James E. Bailey wrote:
On 07.03.2009, at 17:29, Tim McNamara wrote:
When I try to compile a .ly file in lilypond-mode, it fails with
the message:
-*- mode: compilation; default-directory: ~/Desktop/Downloads/
Music Charts/Lilypond Charts/Dead Tunes/Days
On Mar 28, 2009, at 12:00 PM, James E. Bailey wrote:
Am 27.03.2009 um 00:04 schrieb istlota:
As it turns out, midi2ly is bundled inside of the MAC OS
lilypond.app file.
The trick is knowing how to access it.
Here is a link to instructions on how to access midi2ly on a MAC:
On Apr 8, 2009, at 9:27 PM, Wei-Wei Guo wrote:
Hi Kieren,
Thanks. I think maybe I know how to do now. I've been looking into
the link
several times, but never gotten any sense. My problem might be too
unfamiliar
with Lilypond.
PS. Why doesn's Lilypond provide a easy-to-use mechanism for
On Apr 9, 2009, at 1:38 AM, Wei-Wei Guo wrote:
I don't know there are many different systems. I'm working on a
songbook
for our family church, but I have little knowledge of music. So I
started
learning music script about a month ago. Since it's difficult for
me to
remember and
On Apr 22, 2009, at 7:48 PM, Sávio M. Ramos wrote:
Hi,
Lilypond can't compile, the error message:
Compilation started at Wed Apr 22 21:26:17
xpdf /home/asd/a_asd/zz_varios/musica/savio/bach.pdf
Error: Couldn't open file '/home/asd/a_asd/zz_varios/musica/savio/
bach.pdf'
I need to be able to put a symbol for no chord (such as N.C.) on
several lead sheets and can't find a simple way to do it. Or,
really, any way which I find even remotely comprehensible. It seems
like it ought to be possible- and that the simplest way would be- to
put something like:
On May 8, 2009, at 3:30 PM, Martial wrote:
Hello
use chordNameExceptions http://lsr.dsi.unimi.it/LSR/Item?id=309
%%
\version 2.12.2
% Whiteout hide the chordname
NCString = { c e g-\markup { \whiteout { \hspace #2 NC
} } }
ChrdExcep = #(append
On May 13, 2009, at 11:11 PM, James E. Bailey wrote:
Am 13.05.2009 um 23:07 schrieb Stjepan Brbot:
Simon Bailey-2 wrote:
hi zoli,
Zoltan Kota wrote:
Is it possible somehow to display rest symbols in a ChordNames
context?
yes. use:
\score
\context ChordNames \with { \consists
On May 14, 2009, at 1:03 AM, Marc Hohl wrote:
Tim McNamara schrieb:
[...]
In jazz lead sheets, the usual method is to write N.C. above the
staff (No Chord) which cues the chordal instruments and rhythm
section to stop playing to allow the break. There's a workaround
that Martial wrote
On May 14, 2009, at 9:12 AM, Carl D. Sorensen wrote:
On 5/14/09 8:07 AM, Tim McNamara tim...@bitstream.net wrote:
into the \chords feels clunky and intrusive to me. I'd prefer to
minimize putting formatting code in the music content as much as
possible. Being able to write something like
I'm not sure that the relative mode gets forgotten but that
LilyPond follows its own internal rules. I find that LilyPond
behaves the way that the manual says it does: it picks the closest
pitch. If I write { c2 a2 } it picks the A below that C rather than
the A above that C. If I want
On May 15, 2009, at 6:45 AM, Stjepan Brbot wrote:
How to achieve these complex chords:
C+5 (instead of C+)
Cdim (instead of Co)
Cmaj8 (instead of triangle)
and chord transition from G7/4-3 as show on image attached
http://www.nabble.com/file/p23558140/slika.jpeg
You need to define
On May 15, 2009, at 9:54 AM, Chip wrote:
Tim McNamara wrote:
I'm not sure that the relative mode gets forgotten but that
LilyPond follows its own internal rules. I find that LilyPond
behaves the way that the manual says it does: it picks the closest
pitch. If I write { c2 a2
Is LilyPond capable of generating harmonized lines of notes? For
example, say I have:
\key g \major
\melody { c8 d8 e8 fis8 g1 }
for one instrument and I want a second instrument to play a
harmonized line a third up from that (e.g., { e8 fis8 g8 a8 b1 } ),
is there a command for LilyPond
On May 16, 2009, at 2:36 AM, Tao Cumplido wrote:
Take a look at this threads, there are several slightly different
versions of modal and diatonic transpose functions.
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00805.html
On May 17, 2009, at 12:59 PM, Marc Hohl wrote:
Tim McNamara schrieb:
On May 17, 2009, at 12:00 PM, Marc Hohl wrote:
Tim McNamara schrieb:
On May 16, 2009, at 2:36 AM, Tao Cumplido wrote:
Take a look at this threads, there are several slightly
different versions of modal and diatonic
Apologies if this is a duplicate, it did not seem to get relayed
through the server the first time I sent it.
I'm doing an arrangement of a song for a jazz ensemble. I am finding
that LilyPond is ignoring one of the manual line breaks (after bar
12- I like four bars per line for
Apologies if this is a duplicate, it did not seem to get relayed
through the server the first time I sent it.
I'm doing an arrangement of a song for a jazz ensemble. I am
finding that LilyPond is ignoring one of the manual line breaks
(after bar 12- I like four bars per line for
On May 17, 2009, at 7:30 PM, Jonathan Kulp wrote:
Tim McNamara wrote:
Apologies if this is a duplicate, it did not seem to get relayed
through the server the first time I sent it.
I'm doing an arrangement of a song for a jazz ensemble. I am
finding that LilyPond is ignoring one
On May 23, 2009, at 6:34 AM, Graham Percival wrote:
My goal is not to insult you into feeling bad; my goal is
to insult you into HELPING US FIX THINGS. Learn scheme. Join the
Frogs. Contribute to lilypond. If everybody sits around saying
why doesn't somebody fix this, then it WILL NEVER BE
On May 23, 2009, at 5:05 PM, Anthony W. Youngman wrote:
In message 1243107160.13852.64.ca...@mung-papu, Ari Torhamo
ari.torh...@gmail.com writes
The first option is achieved by handling everything a non-programmer
can do: managing bugs, helping new users, writing the newsletter,
etc.
The
On May 23, 2009, at 6:04 PM, Lewis Overton wrote:
I'm working on pieces for 5 trombones and rhythm in a jazz idiom.
Writing individual bits and pieces is ok, but putting things
together is causing me grief. In particular, problems include
combining chords for piano with occasional
On May 24, 2009, at 2:47 AM, Graham Percival wrote:
snip much appreciated clarifications
On the other hand, I am a psychologist with some knowledge of
how people interact with information and those skills might
offer a way to contribute and I have tried to do that. Also, my
use (and others')
On May 27, 2009, at 8:10 PM, Cameron Horsburgh wrote:
On Thu, May 28, 2009 at 11:56:29AM +1200, Daryna Baikadamova wrote:
I plan to typeset some orchestral works. Within a movement, is it
faster to typeset a instrument at time, or an orchestral page (i.e.
open edit display for all
On May 30, 2009, at 9:50 AM, Carl D. Sorensen wrote:
On 5/30/09 3:21 AM, Brett Duncan bdd1...@bigpond.net.au wrote:
Grammostola Rosea wrote:
Do we have an Jazz/pop chord expert on the list (I'm sure he/she
exist)?
And who wants to help with this?
I don't consider myself an expert, but
On May 30, 2009, at 8:23 PM, Carl D. Sorensen wrote:
On 5/30/09 7:16 PM, Carl D. Sorensen c_soren...@byu.edu wrote:
Right now we have a naming problem, separate from the display
problem. If
we can get the code to recognize that we have a Ebmaj7b5, then we
can figure
out how to display
On Jun 1, 2009, at 4:13 AM, Tim Rowe wrote:
2009/6/1 Carl D. Sorensen c_soren...@byu.edu:
You are welcome to pursue this, if you are interested in it. It
is not my
interest.
I think it shows the impossibility of what you are trying to achieve,
at least in the completely general case,
On Jun 1, 2009, at 2:33 PM, Carl D. Sorensen wrote:
A chordnamemode *input* mode has been proposed a couple of times.
This mode
would take only a root (and optionally, a slash or alternate bass
note), and
everything else about the chord would be in the form of a markup. For
american jazz
On Jun 2, 2009, at 4:55 AM, Jean-Alexis Montignies wrote:
Hi there, as a jazz player I would like to share my input.
What I need in scores is really chord names.
The chord name denotes the intent of the composer and is much
subject to interpretation.
Some examples:
If you have a dominant
I use 10.4 and LilyPond runs well there, but there is a lot of
commentary on the Web that LilyPond is severely broken on 10.5. I
don't have a 10.5 machine to test (and frankly won't upgrade to 10.5
until LilyPond is known to be stable and functional without a lot of
drama). Here's what
On Jun 9, 2009, at 11:25 AM, Carl D. Sorensen wrote:
On 6/9/09 9:16 AM, Jean-Alexis Montignies j...@sente.ch wrote:
You can find an example of a chord notated as 'phrygian' (well
it's more a
modal indication, but that's what the composer Gary Peacock
intended) in the
lead sheet for
On Jun 12, 2009, at 1:28 AM, Tao Cumplido wrote:
I think it's great that you did this. Have you put this on LSR?
Thanks. I haven't put this on LSR yet because the function hasn't
been much tested yet. Maybe I should have done anyway.
When the function is updated I will upload it there.
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
Let's take the notes C, Eb, F, Ab. Which chord is that? What's the
root?
You can easily go from the name to the notes, but not the other
way round.
We *could* parse it from the first note, i.e. in relative mode
F C Eb
On Jun 23, 2009, at 7:11 AM, David Stocker wrote:
2. On the documentation page, maybe it would be better to choose a
wording other than Normal Users for the second section of
documentation links. This might imply that Beginning Users are
somehow /abnormal/. Maybe Regular Users
On Jun 23, 2009, at 8:52 AM, Tim McNamara wrote:
On Jun 23, 2009, at 7:11 AM, David Stocker wrote:
2. On the documentation page, maybe it would be better to choose a
wording other than Normal Users for the second section of
documentation links. This might imply that Beginning
On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
On 6/23/09 9:16 AM, Grammostola Rosea
rosea.grammost...@gmail.com wrote:
Tim McNamara wrote:
On Jun 15, 2009, at 2:00 PM, Kieren MacMillan wrote:
Wol et al:
Would it be reasonable to separate the functions of putting notes
On Jun 23, 2009, at 6:55 PM, Graham Percival wrote:
On Tue, Jun 23, 2009 at 08:52:08AM -0500, Tim McNamara wrote:
On Jun 23, 2009, at 7:11 AM, David Stocker wrote:
2. On the documentation page, maybe it would be better to choose a
wording other than Normal Users for the second
On Jun 23, 2009, at 11:36 PM, Carl D. Sorensen wrote:
On 6/23/09 5:19 PM, Tim McNamara tim...@bitstream.net wrote:
On Jun 23, 2009, at 12:24 PM, Carl D. Sorensen wrote:
On 6/23/09 9:16 AM, Grammostola Rosea
rosea.grammost...@gmail.com wrote:
Tim McNamara wrote:
On Jun 15, 2009, at 2
On Jun 24, 2009, at 7:47 PM, Mark Polesky wrote:
Jonathan Kulp wrote:
I like the new website, Graham. The crash course is excellent,
although I
question whether it's good to have lyrics like Lily, got me on my
knees.
(Whew!)
Actually, as much as *I* like the joke, I'm afraid I agree
Introduction and About seem like they overlap to me. Can they be
combined?
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
On Jun 28, 2009, at 2:55 AM, chip wrote:
I think there is obviously far too much white space, also the same
on the Downloads page.
I disagree and find that most web pages have too much stuff crammed
into them, usually so much that it's hard to find the information one
is looking for. I
On Jun 29, 2009, at 12:48 AM, chip wrote:
Tim McNamara wrote:
On Jun 28, 2009, at 2:55 AM, chip wrote:
I think there is obviously far too much white space, also the
same on the Downloads page.
I disagree and find that most web pages have too much stuff
crammed into them, usually so
I just looked at the former crash course page:
http://percival-music.ca/blogfiles/out/lilypond-general_7.html#Text-
input
I think the rewrites- especially the light blue boxed statement- are
a very good improvement. I also like the humor in the link on the
Introduction page (You write
On Jul 4, 2009, at 3:49 AM, Mark Polesky wrote:
chip wrote:
Generally speaking, when it comes to Windows documentation - it
is almost always dummy proof. Showing every step one might come
across during the process. It applies to XP as that is what I
use, should apply equally to NT and 2000.
On Jul 5, 2009, at 6:49 AM, Grammostola Rosea wrote:
Mark Polesky wrote:
Harmonic minor has a raised 7 which changes all odd degrees:
i: min/maj7
ii: -7
III: maj7+5
iv: min7
V: dom7
VI: maj7
vii: dim7
As a subtle point, I would always use lower case for minor chords.
Hope this helps.
-
On Jul 8, 2009, at 4:54 AM, Jan Nieuwenhuizen wrote:
On di, 2009-07-07 at 23:26 -0700, Graham Percival wrote:
Hi Graham,
I disagree; I think we've spent *too much* time on the look/feel
Yes, I understand that's how you feel. It's exactly why I sent my
mail,
and why I reacted so
Criminy on a crutch, wow.
I'm sorry to say it but there are an awful lot of hurdles to get over
in learning to use LilyPond and then even more in trying to
contribute to it. I think I see why there are fewer contributor than
Graham and Patrick etc. would like: being a contributor comes
On Jul 11, 2009, at 1:02 AM, John Mandereau wrote:
2009/7/11 Tim McNamara tim...@bitstream.net:
How about something like Drupal? Or do you not want to make
editing the Web
site that direct?
It's not in the culture of Lily authors and most current contributors,
and they are
too busy
On Jul 11, 2009, at 4:11 AM, Trevor Daniels wrote:
When that's finished I shall get back to the LM, as I
promised. For that, I'd be happy for contributors to
send me small changes as straight text, but any major
changes would have to contain texinfo mark-up. There
would be no need for
On Jul 15, 2009, at 7:46 PM, Peter Buhr wrote:
When writing the fingering for guitar, there is a notation used to
indicate a
guide finger in left-hand shifting. The fingering mark looks like
-3, but the
- is rotated up about 30 degrees, which means to silently slide
the 3rd
finger from
On Jul 15, 2009, at 8:42 PM, David Fedoruk wrote:
I did, as I mentioned earlier, visit my local music store and
looked at their selection of fake books. I found what was the
first legally published one in its new format. I was dissa pointed.
That's not very specific. By chance were you
On Jul 15, 2009, at 9:42 PM, Graham Percival wrote:
For example, nobody is working on Introductions-Features.
I'll have a go at this in the next few days. The basics are already
there and seem to me to just need a little polishing, maybe a few
slightly different headings. But it's
On Jul 24, 2009, at 1:51 AM, Paul Scott wrote:
David Stocker wrote:
Paul,
Are you using Linux or Windows XP?
After you install LilyPond, you'll have all the files you need for
lilypond-mode to work right there in your installation directory.
You'll just need to tell Emacs where to
On Jul 24, 2009, at 11:47 AM, Paul Scott wrote:
I am still concerned why AU 2.2.1 doesn't seem to make sense.
Sorry to be pig-ignorant here, but what the frak is AU 2.2.1?
Obviously it's some kind of abbreviation for documentation, but
unfortunately I've not seen the whole name spelled
On Jul 25, 2009, at 1:56 AM, Paul Scott wrote:
What I commented on is still the current online docs for the
developmental version:
http://lilypond.org/doc/v2.13/Documentation/
Here is the entire text from 2.2.1 for lilypond-mode for Emacs:
***
2.2.1 Emacs mode
Emacs
On Jul 22, 2009, at 11:12 PM, David Fedoruk wrote:
In my discussion with my jazz professional, we looked at complex
chords, in fact we deliberately looked for complex ones to find out
how they were expressed. We found, quite amazingly that the more
complex the chord got the more
On Aug 1, 2009, at 8:41 PM, Nick Payne wrote:
The best introduction to Lilypond that I have seen is at
http://www.eugenecormier.com/pdfs/lilypond-guide.pdf. It's what I
used when
getting started with Lilypond. By comparison, the manuals are a bit
daunting.
Wow. There is some stuff in
On Aug 8, 2009, at 8:54 AM, Simon Mackenzie wrote:
Here is my scenario
If I create a variable at the top scope how do I reassign its value
in a subsequent scope eg.
aVariable = \markup { \bold bananas }
\book {
\bookpart {
\aVariable % bananas
On Aug 8, 2009, at 8:11 AM, Akira wrote:
Please look at -
http://picasaweb.google.co.jp/Lilypondakira/
Lilypond#5367578175183729026
Root name of chord (/F, /D) is so large that I can't recognize
what is chord name or what is root note, so I want to decrease font
size of chord name root
On Aug 9, 2009, at 9:05 AM, Simon Mackenzie wrote:
So again my question is, how can I assign a new value to a variable
so I can make all this happen and keep my global declarations /
assignments to an absolute minimum and meet my goal of ensuring
good clarity in my lilypond code for
On Aug 12, 2009, at 6:41 PM, Graham Percival wrote:
I'm not certain if the question was clear, so let's do this again
and put it to a vote.
These two images have the same top-level menu item selected.
Which is easier to see?
http://lilypond.org/~graham/solid.png
On Aug 14, 2009, at 9:41 AM, Christian Henning wrote:
Hi all, thanks a lot for your reply. I think I understand now. Inside
the \improvisationOn section I don't have to reuse the real chord
name. A placeholder might be sufficient? So instead of writing g1:sus
I can just use g1. All I want in
On Aug 25, 2009, at 3:50 AM, Simon Mackenzie wrote:
Sorry but as a first time user to lilypond and music in general
this section in the tutorial was about as clear as mud to me.
Not wanting to offend anyone just stating how I felt the fist time
I read this section in the learning tutorial.
On Aug 25, 2009, at 9:27 PM, Christian Henning wrote:
Hi there, I cannot figure out how to encode a 16th note rhythm. When
counting by mouth I would say: 1and 2and 3and 4and when all notes
are taking part. In lilypond I would write: g16 g g g g16 g g g g16 g
g g g16 g g g. But how do I: 1ad
On Aug 30, 2009, at 10:23 PM, Christian Henning wrote:
Hi there, adding a dot to a chord duration prolongs it by 50%. g4.,
for instance, is 1.5 beats or three 8th notes. g4.. is 1.75 beats, I
believe. Which would translate into seven 16th notes. But what is
g4...? Here, with 3 dots.
Two dots
On Sep 1, 2009, at 9:30 PM, Christian Henning wrote:
Am I right, that lilypond is rarely used for my type of notation?
Meaning rock/pop tunes for acoustic guitar.
No, the style of music makes no difference. But LilyPond is intended
for engraving music which is fundamentally based upon
On Sep 2, 2009, at 3:59 PM, Patrick Horgan wrote:
Tim McNamara wrote:
On Sep 1, 2009, at 9:30 PM, Christian Henning wrote:
Am I right, that lilypond is rarely used for my type of notation?
Meaning rock/pop tunes for acoustic guitar.
No, the style of music makes no difference
On Sep 2, 2009, at 7:56 PM, Patrick Horgan wrote:
Tim McNamara wrote:
I am a guitarist.
If all he wants is a chord chart, some paper and a pencil would be
a better approach. Or even a word processor two write out the
chords like Ralph Patt did with the Vanilla Book.
http
On Sep 3, 2009, at 10:21 AM, Christian Henning wrote:
Hi there, I'm at work and don't really have much time.I just wanna
state that I presented my problem with a reduced sheet. The problem
was regarding the chord durations and not with the melody. I'm a
software engineer and this is how I post
Andrew Tucker wrote:
In NR B.2 Common chord modifiers, I think the line with:
Minor-major seventh
Minor triad, major seventh
maj7.5-
- should change to: maj7.3- (both text and chord)
Clearly maj7.5- is *not* a minor-major seventh chord so that's a good
catch.
The syntax that seems most
I am having problems getting LilyPond to properly position coda
glyphs. I've included the code to see if others reproduce it. The
first coda glyph should be at the end of bar 28 but LilyPond insists
on putting it at the end of bar 29. The /break command seems to be
involved (is this a
And of course I replied only to myself, since the reply-to header is
not set to the mailing list for some reason.
Begin forwarded message:
From: Tim McNamara tim...@bitstream.net
Date: September 16, 2009 9:17:03 AM CDT
To: Tim McNamara tim...@bitstream.net
Subject: Re: Help with positioning
On Oct 6, 2009, at 1:17 AM, David Bobroff wrote:
Ami Magori Cohen wrote:
Hi,
Thank you very much for this software,and for your help.
After having read about this wonderful software,I have downloaded
it and tried to get started,but i'm stuck!When I open the
software,I see a blank page
On Oct 21, 2009, at 4:13 AM, Peter Berlau wrote:
I have done writing done some patterns of my favorite sax players and
like to transpose this patterns to any key.
I found a solution but I am not sure if this is a elegant method, also
maybe it is more useful to make use of the enharmonics to
On Oct 24, 2009, at 9:16 AM, Graham Percival wrote:
I have to admit I'm pretty disappointed with the user community.
Well, since you reject the majority of what is sent to you, it
probably discourages people from trying to contribute.
___
On Nov 11, 2009, at 11:29 AM, David Kastrup wrote:
For me, this situation is awkward, impeding and dissatisfactory. For
others, it is reason to go away. I don't see that anything is gained
for chastising me for my impression. That is merely shooting the
messenger. Actually, more than the
Sorry, I initially just sent this to Jan and meant to send it to the
group.
On Nov 12, 2009, at 2:11 AM, Jan Nieuwenhuizen wrote:
Op donderdag 12-11-2009 om 08:41 uur [tijdzone +0100], schreef David
Kastrup:
Carl Sorensen c_soren...@byu.edu writes:
_Addressing_ the actual problems is
On Dec 15, 2009, at 11:07 AM, Kees van den Doel wrote:
If lilypond came with a rudimentary GUI I think it would at least
octuple the number of people trying it out.
Something simple like a window with File/compile menus, a text
editor pane, compile messages at bottom,
and a score preview.
On Dec 15, 2009, at 7:09 AM, Graham Percival wrote:
On Tue, Dec 15, 2009 at 11:39 AM, Federico Bruni
brunol...@gmx.com wrote:
Il 15/12/2009 12:22, Philip Potter ha scritto:
Please keep all discussion on list - the easiest way to do this
is to
click Reply All and ensure that
On Dec 16, 2009, at 8:55 AM, John Mandereau wrote:
Le mardi 15 décembre 2009 à 20:20 -0600, Tim McNamara a écrit :
Wouldn't it be simplest to set the Reply-To header to the list? Then
all replies go to the list by default.
No. For good reasons about this, see
http://www.unicom.com/pw
On Dec 17, 2009, at 12:10 PM, Robert Ley wrote:
The hard disc format is determined by the type of processor you
have in the machine: GUID format for Intel chips, MacOS Extended
for PPC chips. I have a G4 [PPC] chip, so both Ext. and Int. are
formatted with MacOS Extended.
The EXTERNAL
On Dec 17, 2009, at 2:48 PM, Graham Percival wrote:
On Thu, Dec 17, 2009 at 8:23 PM, Kees van den Doel
kvand...@shaw.ca wrote:
From: Graham Percival gra...@percival-music.ca
On Thu, Dec 17, 2009 at 3:30 PM, Valentin Villenave
No. The alternate input page is extremely easy to find.
On Dec 18, 2009, at 2:59 AM, David Kastrup wrote:
Kees van den Doel kvand...@shaw.ca writes:
Of course there is nothing really wrong with the current website.
Most people will want to just download lilypond and try it out; who
has time to read all the crap on a product's website? Once
On Dec 19, 2009, at 2:49 AM, David Kastrup wrote:
Robert Ley robert...@gmail.com writes:
Also, please remember that some of us, me included, have little
experience
writing command lines, so when you put, as part of the first
information on
command line use:
Create a directory to
Hi- My name is Tim and I am a new LilyPond user. Sounds like an AA
meeting introduction, sorry! I live in St. Paul MN and started using
LP about 10 days ago.
Thus far I have been using LP to create jazz lead sheets and- once
past the initial learning curve- I've able to set a half dozen
I can't figure out how to end a slur across a repeat into an
alternate ending and the documentation doesn't seem to cover this. I
get an error message about being unable to end the slur. Of course
this could always be the \endUserError bug!
The workaround I have adopted is to use
2.15.22 and 2.15.33 launch correctly and compile the test file just fine on my
MacBook Pro running OS X 10.6.8.
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Frescobaldi opens and runs on my MacBook Pro wit 10.6.8 installed. One quirk-
the text of the .ly file is so small on the screen that I would not be able to
work with it very easily- it's rendered in about 6-8 pt. There seems to be no
way to make the text bigger; the default Cmd-+ keybinding
On Apr 3, 2012, at 8:17 AM, Siska Ádám wrote:
is there a way to put the layout block for a score in a variable that lives
in a separate file? Unfortunately the following won't compile:
have you tried using \include?
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On Apr 6, 2012, at 5:47 AM, Father Gordon Gilbert wrote:
Hi all,
In the following (last note in my bass clef), I'd like the \markup to
appear *below* the \fermata, for obvious reasons. What's the best way
to accomplish this?
\clef F c,2._\fermata _\markup \small \italic {(Blue Bk 139)}
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