Patrick McCarty wrote:
I'm still experimenting with this. :-)
I've created another design with a color palette that passes the W3C
Web Content Accessibility guidelines for color contrast:
This is great for me!
Patrick
___
lilypond-user mailing
Jonathan Kulp wrote:
Cool!! I've attached the infamous Ravel quartet snippet that prompted
me to post the query about this clef in the first place. Your C clef
looks nice in there, almost like the original. Of course in this
passage there's a switch to treble clef, and when it returns to alto
Ok I've given this a tiny tweak that I think will work the way you want.
I just removed the two separate voices I had used before in the score
block for the melody and bass, and replaced those with a single voice
called "music" that will hold all voices, instantiated on-the-fly with
<<{}\\{}>>
Jonathan,
First, thank you for your continued interest. Attached is my engraving
of the 5th section of a "Variations and Theme" piece I have written -
the theme comes last. The F# added to the final chord is my addition,
and is there to remind listeners of the harmonic flavor of the
variation
On Mon, 13 Oct 2008, Bertalan Fodor (LilyPondTool) wrote:
> Why is it important to play the midi file during generation?
I'm glad you aked! The program is intended to have a performance mode: you
enter a set of requirements and restrictions on the command-line (this is the
creative part!) and th
Hmm. These organizational things are a matter of preference, of course.
Still, I don't see why you'd have to rewrite things so dramatically.
I thought I saw in one of your posts here that you had all the notes in
one variable. It seems like this \score block ought to work even when
all the n
Sorry. I spoke too soon. This is no solution. It messes up the VISIBLE
voicing in the score - the direction of stems. It also cannot be used to
arpeggiate across chords where different voices have different durations
- unless one breaks notes up into tied groups. This a bad solution.
Sigh. I st
Adjunct to my previous post -
I'll admit that my Ruby programming experience biases me in the
direction of seeking simple, direct, comprehensible, heuristic
solutions. I think I may have found one -
Building on my notion of using this construct to manage polyphonically
structured scores -
Jonathan,
This looks interesting, and its structure is not hard to discern (for
me), but it requires me to split my guitar scores into voices and write
them separately from beginning to end. This is possible, but not exactly
what one expects to do, except with true multi-voice scores (vocal,
On Tue, 2008-10-14 at 17:26 -0700, Graham Percival wrote:
> On Tue, 14 Oct 2008 17:07:13 -0700
> Joe Neeman <[EMAIL PROTECTED]> wrote:
>
> > On Tue, 2008-10-14 at 14:54 -0700, Graham Percival wrote:
> > > I have a collection of scores that I'd like to print in one book.
> > > Is there any way of g
On Tue, 14 Oct 2008 17:07:13 -0700
Joe Neeman <[EMAIL PROTECTED]> wrote:
> On Tue, 2008-10-14 at 14:54 -0700, Graham Percival wrote:
> > I have a collection of scores that I'd like to print in one book.
> > Is there any way of getting the non-last-scores to use
> > ragged-last-bottom=##t ?
>
> Ch
On Tue, 2008-10-14 at 14:54 -0700, Graham Percival wrote:
> I have a collection of scores that I'd like to print in one book.
> Is there any way of getting the non-last-scores to use
> ragged-last-bottom=##t ?
Check out Nicolas' new \bookparts.
___
l
As an addendum to my question about ragged-last-bottom, I wonder
if it would be possible to define new "page areas". This idea is
inspired by the \newSpacingSection for horizontal spacing -- it
would be nice if we could say
\newPageArea
(or whatever) and have the page-breaking algorithm (and re
I have a collection of scores that I'd like to print in one book.
Is there any way of getting the non-last-scores to use
ragged-last-bottom=##t ?
Currently the only way I can think of doing this is by using
lilypond-book:
\documentclass{article}
\begin{document}
\lilypondfile{peice1.ly}
\lily
Good lord above, yes! THIS is immediately understandable if one has
experience with a multitude of other programming languages, whereas that
other approach is exasperating nonsense.
Thanks, fellows, for chasing this one to ground.
t.
Trevor Daniels wrote:
Neil Puttock wrote Tuesday, October
On Tue, 14 Oct 2008 11:10:10 +0200
"Valentin Villenave" <[EMAIL PROTECTED]> wrote:
> these functions are quite interesting, but would it be possible to
> have a single function that takes two strings as arguments and makes
> the appropriate composite dynamic mark?
Not that I know of.
> \relative
Neil Puttock wrote Tuesday, October 14, 2008 9:33 PM
Hi Trevor,
2008/10/14 Trevor Daniels <[EMAIL PROTECTED]>:
Tom
It has to be within a \markup and not in quotes. And xc2a9 should be
00a9.
Try
c'4^\markup { #(ly:export (ly:wide-char->utf-8 #x00a9)) }
or just
\markup { "Copyright
Your mistake is that you believe that the repeats can be separated from
the notes. Please always keep in mind that the input should
describe the musical meaning, not only the resulting layout.
In this case, the music that should be played is c g c a, right.
In notation, you can use repeats as a s
Okay, so I think I understand now. I think this may be a bug. Or at
least, not documented. I don't know how to say this in proper lilypond
terms, but the repeats don't unfold.
\score {
\new Staff <<
{
\time 1/4
\repeat volta 2 {s4}
\alternative { {s4} {s4}
Hi Trevor,
2008/10/14 Trevor Daniels <[EMAIL PROTECTED]>:
> Tom
>
> It has to be within a \markup and not in quotes. And xc2a9 should be 00a9.
>
> Try
>
> c'4^\markup { #(ly:export (ly:wide-char->utf-8 #x00a9)) }
>
> or just
>
> \markup { "Copyright 2008" #(ly:export (ly:wide-char->utf-8 #x00
I'm glad you asked! The program is intended to have a performance
mode: you
enter a set of requirements and restrictions on the command-line
(this is the
creative part!) and then see what it produces.
The program then does some combinatorial number-crunching, which
can take a
long time to c
> I don't think right-margin exists - there's just left-margin and
> line-width. Since left and right margins are by default 10mm, setting
> left margin to 20mm means that the right-margin becomes 0mm.
Mark,
Setting the line-width indeed solved my problem.
Thank you!
Jethro.
___
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version "2.11.62"
melody = \relative c'' {
\voiceOne
e4\arpeggio 2
}
bass = \relative c' {
\voiceTwo
I think I have it, Tom. Took me a long time, too. Try the code below:
% This shows how to use arpeggios that cross
% from one voice to another.
\version "2.11.62"
melody = \relative c'' {
\voiceOne
\set Staff.connectArpeggios = ##t
e4\arpeggio 2
}
bass = \relative c' {
\voiceTwo
At 14:03 on 14 Oct 2008, J.Van Thuyne wrote:
> The subjoined code results (both in versions 2.11.58 and 2.11.62) in a
> Composer-field without a right margin. Is this a known issue, or am I
> missing a mistake?
>
>
> \version "2.11.62"
>
> \paper {
> #(set-paper-size "a4")
> left-margin = 20
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 & 3 part voicing}
\score {
\new Staff {
(staff de
The subjoined code results (both in versions 2.11.58 and 2.11.62) in a
Composer-field without a right margin. Is this a known issue, or am I missing a
mistake?
\version "2.11.62"
\paper {
#(set-paper-size "a4")
left-margin = 20
right-margin = 20
top-margin = 20
between-system-space = 2
Hi.
> I've got a song where several annotations like "Refrain" or "Verse" are set
> in
> the Vocals (because that's the voice at the top of the system).
> Now I'm starting to extract parts, and of course the annotations are only
> shown in the vocal part.
> is there any other way to have the
I think LilyPond must have the full score to create the MIDI, it doesn't
happen measure by measure.
John O'Hagan wrote:
Why is it important to play the midi file during generation?
I'm glad you asked! The program is intended to have a performance mode: you
enter a set of requirements an
Yes, this is the solution.
Put this right below the "\version "2.11.60"" in my file...
date = #(strftime "%Y.%m.%d" (localtime (current-time))) % define a
variable to hold the formatted date
Then
\header {
[...]
subsubtitle = \markup { "score version of" \date }
[...]}
This automatic
Heres a start on a cluster-chord function.
A question someone might help answer:
When using the music-function on a chord - ie "\clusterKord 2" - it
only 'eats' the first note of the chord, and appends the second one as a
separate note if i dont 'kill it' inside the music-function.
The code belo
> "M" == Mark Polesky <[EMAIL PROTECTED]> writes:
M> I'm finding myself able to make the clusters look however I want
M> them to look, but I want one all-encompassing function to apply
M> arbitrary cluster-styles on the fly.
M> It's not necessarily difficult, but I want to sup
2008/10/4 Graham Percival <[EMAIL PROTECTED]>:
> This version of the files now do the following:
> - commands are placed after the note they belong to -- ie
> \pdolce behaves just like \p. Except for the "dolce" part. :)
Hi graham,
these functions are quite interesting, but would it be possible
2008/10/14 Tom Cloyd <[EMAIL PROTECTED]>:
> Nowagain: I'm being misunderstood, and, strangely, it appears that no
> one is reading either the subject line of this thread or what I'm writing in
> the message body. Let me say it again:
This thread is 6 hours old by now, please be patient.
>
> I
Tom
It has to be within a \markup and not in quotes. And xc2a9 should be 00a9.
Try
c'4^\markup { #(ly:export (ly:wide-char->utf-8 #x00a9)) }
or just
\markup { "Copyright 2008" #(ly:export (ly:wide-char->utf-8 #x00a9)) }
outside the score block to place it in text, or for the copyright
Anders,
I recently started working on a keyboard-cluster function, but it's
a big project and I haven't gotten very far yet. I've attached a png
generated by the file included below to share some basic ideas about
my initial approach. Perhaps this will help you. I'm finding myself
able to make the
2008/10/13 Gilles Sadowski <[EMAIL PROTECTED]>:
>> How to put an accidental besides trill?
>
> Try this:
>
> e^\markup{\musicglyph #"scripts.trill" {\raise #1 \sharp}}
It works :-)
Thank you, Gilles.
Cheers,
--
Marcos di Silva
http://www.marcosdisilva.net/
___
Am Mon, 13 Oct 2008 20:24:37 +0200
schrieb [EMAIL PROTECTED]:
> I need to notate some clusters using squared rhythmic note-heads,
> something along the lines of this figure:
I was recently looking for that kind of clusters too. It is really
standard in some contemporary music.
If someone knows h
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