> Message: 6
> Date: Mon, 30 Nov 2009 00:42:04 +0100
> From: Valentin Villenave
> Subject: Re: Describing instruments
> To: Graham Percival
> Cc: David Kastrup , lilypond-devel@gnu.org
> Message-ID:
>
> Content-Type: text/plain; charset=UTF-8
>
> On Sun, Nov 29, 2009 at 10:03 PM, Graham Per
On Sun, Nov 29, 2009 at 07:34:37PM -0800, Patrick McCarty wrote:
> On 2009-11-29, Graham Percival wrote:
> > What's the feeling amongst developers about what should be ranked
> > as priority-Regression (and thus stop a release) ? In particular,
> > should *everything* that used to work -- even if
On 2009-11-29, Graham Percival wrote:
> What's the feeling amongst developers about what should be ranked
> as priority-Regression (and thus stop a release) ? In particular,
> should *everything* that used to work -- even if it was by
> accident? -- be ranked a Regression?
Maybe we could add labe
On Sun, Nov 29, 2009 at 10:03 PM, Graham Percival
wrote:
> I don't think that lilypond should serve as a crutch to composer
> who know so little about their craft that they write unplayable
> notes.
Besides, things are not so black-and-white for some instruments (e.g.
wind instruments or singers
What's the feeling amongst developers about what should be ranked
as priority-Regression (and thus stop a release) ? In particular,
should *everything* that used to work -- even if it was by
accident? -- be ranked a Regression?
For example,
- markup \note in time signature: worked in 2.10, curren
Valentin Villenave wrote:
On Sun, Nov 29, 2009 at 4:51 PM, Nicolas Sceaux
wrote:
Modify parallelMusic, so that when a VoiceSeparator (instead of BarCheck)
music element is found, the function switches to the next voice. The
parallelMusic function seems well documented, this part should not be
On Sun, Nov 29, 2009 at 09:06:32PM +0100, David Kastrup wrote:
> If you transpose music, Lilypond could warn if notes become unplayable
> on a baroque soprano recorder. Because the range is left, or because a
> particular semitone is not on the instrument. Similar for other
> instruments.
...
> I
Hi,
currently the only connection between instrument and lilypond are
instrument names (pure typesetting) and a midi instrument (just
sonorization).
I think it would be useful if instruments could become more than that:
for example, if a given instrument (or one manual of such an instrument)
has
On Sun, Nov 29, 2009 at 4:51 PM, Nicolas Sceaux
wrote:
> Modify parallelMusic, so that when a VoiceSeparator (instead of BarCheck)
> music element is found, the function switches to the next voice. The
> parallelMusic function seems well documented, this part should not be
> difficult.
(To whome
[With forward to -user, since this may be interesting now for everybody.]
Nicolas Sceaux wrote:
Le 29 nov. 2009 à 16:15, Alexander Kobel a écrit :
I propose using a different separator for \parallelMusic than "|", and allow to
include bar checks in there.
\parallelMusic as is is very fine an
Le 29 nov. 2009 à 16:15, Alexander Kobel a écrit :
> I propose using a different separator for \parallelMusic than "|", and allow
> to include bar checks in there.
>
> \parallelMusic as is is very fine and handy, but sometimes you want to enter
> a whole phrase of two or three measures in a sin
Hi, all,
something to discuss for the GLISS... I don't know where the right place
is for such a suggestion (or if it's there at all), so I send it to
-devel - so that it ends up in the archives at least.
I propose using a different separator for \parallelMusic than "|", and
allow to includ
On 11/29/09 7:53 AM, "Alexander Kobel" wrote:
> lilyp...@googlecode.com wrote:
>> Comment #7 on issue 638 by percival.music.ca: auto-beam-settings do not
>> take into account *all* durations covered by the beam
>>
>> I think this is the autobeaming issue that Carl's working on.
>
>
> Hi, Ca
lilyp...@googlecode.com wrote:
Comment #7 on issue 638 by percival.music.ca: auto-beam-settings do not
take into account *all* durations covered by the beam
I think this is the autobeaming issue that Carl's working on.
Hi, Carl,
from what I understand from Graham's remark it is you who's wo
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