On Feb 6, 2004, at 10.42 PM, Graham Percival wrote:
On Fri, 06 Feb 2004 20:17:01 -0500
Will Oram <[EMAIL PROTECTED]> wrote:
On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote:
Your violin staff or voice ends up on Channel 10 - which is the
percussion channel. Can you double check that you hear the
Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
read. I'm back to 2.1.14 until I have workarounds or until it's fixed.
As always thanks for all of your great work here,
Try setting staff-padding.
What has staff-padding to do with the spacing betwen the key signature
and the
On Fri, 06 Feb 2004 20:17:01 -0500
Will Oram <[EMAIL PROTECTED]> wrote:
> On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote:
> > Your violin staff or voice ends up on Channel 10 - which is the
> > percussion channel. Can you double check that you hear the same
> > thing on other MIDI players? If y
Let me merge both responses into one mail.
On Feb 6, 2004, at 7.03 PM, Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
I've been working on an orchestral score for a few months now, and it
sounds great on MIDI. Just today I made a few tweaks to establish a
new
\global. Now when I play generate
[EMAIL PROTECTED] writes:
> I've been working on an orchestral score for a few months now, and it
> sounds great on MIDI. Just today I made a few tweaks to establish a new
> \global. Now when I play generated MIDIs, it sounds fine...except for
> one voice, solo violin. Instead of sounding like a
I've been working on an orchestral score for a few months now, and it
sounds great on MIDI. Just today I made a few tweaks to establish a new
\global. Now when I play generated MIDIs, it sounds fine...except for
one voice, solo violin. Instead of sounding like a violin, it uses
gunshots, and th
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Zbyněk Burget scripsit:
> is here somebody from Czech or Slovak? I need help with some little
> problems in lilypond and my english is ... no very good :-(
> Is here somebody who can help me?
Maybe I can help you. / Ja Vam mozna mohu pomoci.
I am czech and use LilyPond. / Jsem Cech a uzivam Lily
4all.nl
Quoting Han-Wen Nienhuys <[EMAIL PROTECTED]>:
> [EMAIL PROTECTED] writes:
> > My question - I would not dare call it a request... - was related to
> > something I see as very unsophisticated. My belief, and a number of
> > messages on this mailing list seem to agree with me on this matt
[EMAIL PROTECTED] writes:
> My question - I would not dare call it a request... - was related to
> something I see as very unsophisticated. My belief, and a number of
> messages on this mailing list seem to agree with me on this matter -
> is that a simplistic function-like facility would prove
May I respectfully agree with the premise, but disagree with the
conclusion. Everything can be done in Scheme, I guess that this
is clear at this stage. After all, significant parts of Lilypond are
entirely written in this language.
However, Scheme is a sometimes arcane language.
Did not LISP stan
Fri, 6 Feb 2004 18:17:03 +0100, darius a dit :
> This is a typical case where Lilypond functions would come as
> a useful addition to variables. The text would be a parameter,
> in something such as:
> MySeq(x) = \notes {a^\x b c d a a}
> Perhaps the right way of dealing with this would
Tue, 3 Feb 2004 15:58:07 +0100, Han-Wen a dit :
> [EMAIL PROTECTED] writes:
>> A cheap functionality, which would prove very useful in
>> practice, would be the ability to declare Lilypond stuff
>> in scheme, as in:
>>
>> (map myfunc {\notes { a b c d | a b c d}})
>>
>> which would be e
This is a typical case where Lilypond functions would come as
a useful addition to variables. The text would be a parameter,
in something such as:
MySeq(x) = \notes {a^\x b c d a a}
Perhaps the right way of dealing with this would be to handle
them as symbolic macros rather than true functions.
Of course! The trick is to use a simultaneous line of
invisible notes that you can attach the text to. Just make
sure to keep them in the same Voice context as the actual music,
otherwise you might get collisions between note heads and text.
Example:
mymusic = \notes \relative c' {\repeat unfold 5
Hello.
Is there a way to add text to a staff, other than making it superscript or subscript
of a note?
The point is that I have a sequence of notes that is recurring, so that I use a
variable
to store them, but I want to add a different text to (the begininning or end of) that
sequence each time
Try to start the piece with
\property Score.RehearsalMark \set #'self-alignment-X = #left
\mark \markup {\bold "Allegro Spiritoso" }
/Mats
Thomas Scharkowski wrote:
Thank you for your patience, but I am still at the very beginning...
Maybe I have missed something, but is there an easy way t
Just use the text markup feature:
c16_\markup{\dynamic rf }
/Mats
Thomas Scharkowski wrote:
Hi,
I am am currently typing a Sonata by Paganini for practice (still a
beginner).
I miss the dynamic sign "\rf".
This was very common in in early 19. century instead of the modern
"rfz".
Could anyon
Hi,
Your English seems pretty good to me and is a hell of a lot better than
my Czech!!!
Fire away and let's see if we can help!
Regards,
Ralph
-
Tribal Data Solutions has moved, please visit our website for more details
http://www.tribaldata.co.uk.
This e-mail and any attachments are co
Thank you for your patience, but I am still at the very beginning...
Maybe I have missed something, but is there an easy way to position
the "meter" indication (e.g. Allegro) left-flushed with the time-
signature? I have tried a workaround with text markup, but I am sure
there is a more elagant s
Hi,
I am am currently typing a Sonata by Paganini for practice (still a
beginner).
I miss the dynamic sign "\rf".
This was very common in in early 19. century instead of the modern
"rfz".
Could anyone help me with a workaround? I guess it is possible with
textmarkup and fontchange to feta-font.
Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
I don't think this is the problem: all the objects are tuned only once.
t's still broken with \set instead of \override. The attached file
produces the same results with 2.1.17 as before.
Also there is again no space after a key signature un
[EMAIL PROTECTED] writes:
> >>read. I'm back to 2.1.14 until I have workarounds or until it's fixed.
> >>
> >>As always thanks for all of your great work here,
> >
> >
> > Try setting staff-padding.
>
>
> What has staff-padding to do with the spacing betwen the key signature
> and the first no
Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
I don't think this is the problem: all the objects are tuned only once.
It's still broken with \set instead of \override. The attached file
produces the same results with 2.1.17 as before.
Also there is again no space after a key signature unle
David Raleigh Arnold writes:
> On Thursday 05 February 2004 19:25, donald_j_axel wrote:
>>What is the name of the variable for the distance between
>> beam-lines?
The Beam's #thickness is tied to the spacing. Have a look at the
Mozart Horn concerto example; the part uses thicker beams (parts
If you read the source code of the function Beam::get_beam_translation
in ly/beam.cc, you'll see that this distance is hard-coded at the
moment.
/Mats
donald_j_axel wrote:
What is the name of the variable for the distance between
beam-lines?
If there is such a variable it would improve the
On Thursday 05 February 2004 19:25, donald_j_axel wrote:
>What is the name of the variable for the distance between
> beam-lines?
>
>If there is such a variable it would improve the engraving
> on which I am working, Chopin op. 28.1. I could need it for
> several other pieces too.
Yes, tha
Hi,
is here somebody from Czech or Slovak? I need help with some little problems
in lilypond and my english is ... no very good :-(
Is here somebody who can help me?
Zbynek
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