Re: variables

On 24.11.2009, at 02:02, Frank Steinmetzger wrote: Am Montag, 23. November 2009 schrieb Hugh Myers: Given: eMinor = < e b gis e b e, > I'd like to be able to do something like \eMinor' since I'm working in relative mode. Is this possible. Same thing for chord length, i.e. \eMinor2. et

Re: \set vs \override

Han-Wen Nienhuys writes: > On Mon, Nov 23, 2009 at 11:10 PM, David Kastrup wrote: > >>> >>> * \override and \revert manipulate the defaults stored in said context >>> property, pushing and popping values off the alist. >> >> This concise "hint" is wagonloads clearer than what is in the "\set vs

Re: No string for pitch #

On 11/20/09 8:58 PM, "Jesús Guillermo Andrade" wrote: > Got the prick little b... It was as Carl initially suggested. I made a minimal > example and found that there was a problem with the model for the string > tuning function. > Thanks a lot... There was also a bug in the code that you found

Re: \set vs \override

Hi! On Nov 23, 2009, at 9:26 PM, Nick Payne wrote: On this subject of set vs override, if I want rehearsal marks to be boxed letters and also want to use the letter I as a rehearsal mark, how can I do that. Each set command overwrites the previous value of the context property, so if I use

Re: \set vs \override

On this subject of set vs override, if I want rehearsal marks to be boxed letters and also want to use the letter I as a rehearsal mark, how can I do that. Each set command overwrites the previous value of the context property, so if I use: \set Score.markFormatter = #format-mark-box-letter

Re: variables

eMinor=\relative c { ... } does not allow either eMinor' or eMinor, etc. --hsm On Mon, Nov 23, 2009 at 6:02 PM, Frank Steinmetzger wrote: > Am Montag, 23. November 2009 schrieb Hugh Myers: >> Given: >> >> eMinor = < e   b  gis  e b e, > >> >> I'd like to be able to do something like \eMinor' sin

Re: \set vs \override

On Mon, Nov 23, 2009 at 11:10 PM, David Kastrup wrote: >> >> * \override and \revert manipulate the defaults stored in said context >> property, pushing and popping values off the alist. > > This concise "hint" is wagonloads clearer than what is in the "\set vs > \override" documentation node.  T

Re: repeated music

Frank Steinmetzger wrote: You could try something like basis=\relative c { << { f8( f'4 f8) } \\ { f,2 } } \basis \transpose c d { \basis } \transpose c e { \basis } Oh, damn. Now how clever is this?! I suggest you use Frank's solution... Kudos. :-) A more complex, yet mo

Re: \set vs \override

Han-Wen Nienhuys writes: > On Mon, Nov 23, 2009 at 12:55 PM, David Kastrup wrote: >> Han-Wen Nienhuys writes: >> >>> On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup wrote: >>> Right now I don't have the necessary clue level.  Merely a gut hunch. >>> >>> Why dont you invest some time to fin

Re: repeated music

Am Dienstag, 24. November 2009 schrieb Francesco Petrogalli: > Hello, > > is there a simple way to make a function that generate a repetead > pattern having just a note as input? I'm writing a Brahms' piano > score, and the left hand is doing the same rhythm, just changing the > notes: > > %bar 1

Re: repeated music

Francesco Petrogalli wrote: Hello, is there a simple way to make a function that generate a repetead pattern having just a note as input? Hi, Francesco, you mean like this: \include "applyRhythm-1.1.ily" brahmsify = #(define-music-function (parser location note) (ly:music?) #{ <<

Re: variables

Am Montag, 23. November 2009 schrieb Hugh Myers: > Given: > > eMinor = < e b gis e b e, > > > I'd like to be able to do something like \eMinor' since I'm working in > relative mode. Is this possible. Same thing for chord length, i.e. > \eMinor2. etc. AFAIK: eMinor=\relative c { < e b gis e b

Re: \set vs \override

On Mon, Nov 23, 2009 at 12:55 PM, David Kastrup wrote: > Han-Wen Nienhuys writes: > >> On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup wrote: >> >>> Right now I don't have the necessary clue level.  Merely a gut hunch. >> >> Why dont you invest some time to find out how it really works, > > What

repeated music

Hello, is there a simple way to make a function that generate a repetead pattern having just a note as input? I'm writing a Brahms' piano score, and the left hand is doing the same rhythm, just changing the notes: %bar 1 << {f8( f'4 f8)} \\ {f,2} >> %bar 2 << {g8( g'4 g8)} \\

Re: hack spacing of triplet against swung 8.+16

Correction: Murphy's law. Still looks okay to me, but (sigh!) just the error message for ill-formed duration strings missed the "not" in "not a valid duration". Cheers, Alexander %% applyRhythm %% %% 2009, Alexander Kobel (www.a

Re: hack spacing of triplet against swung 8.+16

Kieren MacMillan wrote: Hi Alexander, It's certainly easier for this special case, but the applyRhythm as is gives far more freedom than your example. If you have a rhythm like "4 4 8 8 4" in several voices, you can just say rhythmA = "4 4 8 8 4" sop = \applyRhythm #rhythmA { c d e f g | g

Disable point and click for part of files in batch

Hi! I'm working on a projekt more or less basede on the struktures and models in the LSR snippet on anglican chant. My projekt is to create a set of linked source- files and template- files to set texts for Orthodox services (in Finish) to the fourpart melodic formulas (eight "tones" wit

Re: hack spacing of triplet against swung 8.+16

Hi Alexander, It's certainly easier for this special case, but the applyRhythm as is gives far more freedom than your example. If you have a rhythm like "4 4 8 8 4" in several voices, you can just say rhythmA = "4 4 8 8 4" sop = \applyRhythm #rhythmA { c d e f g | g f e d c } alt = \ap

Re: hack spacing of triplet against swung 8.+16

Kieren MacMillan wrote: Hi Alexander, I just took your question as a motivation to finally add the functionality for *num/den suffixes in the following rhythm snippet. This is fabulous… and *way* more than I was expecting. ;) Well, that's not my fault... :-) Really, everything but the str

Re: \set vs \override

Ian Hulin writes: > David Kastrup wrote: > >> I will not doctor the documentation before I consider myself having a >> clue. And I am nowhere near that yet. >> > From the bread-crumb trail of your posts on the various lists, it > looks like you're exploring a similar set of avenues I was going d

Re: problem with addquote

Dear Alexander, thanks for Your help. I understand it now! 2009/11/23 Alexander Kobel > Stefan Thomas wrote: > >> Dear community, >> I have a problem with the addquote-command. >> In the below quoted snippet it doesn't work and I don't know why. >> Here is the example >> >> \version "2.12.2" >>

Re: hack spacing of triplet against swung 8.+16

p.s. I meant applyRhythm = #(define-music-function (parser location rhythmA rhythmB music) … On 2009-Nov-23, at 13:58, Kieren MacMillan wrote: Hi Alexander, I just took your question as a motivation to finally add the functionality for *num/den suffixes in the following rhythm snipp

Re: hack spacing of triplet against swung 8.+16

Hi Alexander, I just took your question as a motivation to finally add the functionality for *num/den suffixes in the following rhythm snippet. This is fabulous… and *way* more than I was expecting. ;) @ all: The string->duration routine certainly is not production-stage or well tested

variables

Given: eMinor = < e b gis e b e, > I'd like to be able to do something like \eMinor' since I'm working in relative mode. Is this possible. Same thing for chord length, i.e. \eMinor2. etc. --hsm ___ lilypond-user mailing list lilypond-user@gnu.org

Re: \set vs \override

Hi David, David Kastrup wrote: Han-Wen Nienhuys writes: On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup wrote: Right now I don't have the necessary clue level. Merely a gut hunch. Why dont you invest some time to find out how it really works, What do you think I am doing? Reading docume

Re: problem with addquote

Stefan Thomas wrote: Dear community, I have a problem with the addquote-command. In the below quoted snippet it doesn't work and I don't know why. Here is the example \version "2.12.2" oben = \new Staff \relative { c4 d e f g2 c g1 } \addQuote "oben" { \oben } unten = \new Staff { \quoteDuring "

Re: warning not understood

Thanks Mats--- sorry I hit reply and not reply all. The suggested code works just as desired and it is always nice to rid myself of warning messages!! Thanks again. --hsm On Mon, Nov 23, 2009 at 3:42 AM, Mats Bengtsson wrote: > Please always keep the discussion on the mailing list, for the > ben

problem with addquote

Dear community, I have a problem with the addquote-command. In the below quoted snippet it doesn't work and I don't know why. Here is the example \version "2.12.2" oben = \new Staff \relative { c4 d e f g2 c g1 } \addQuote "oben" { \oben } unten = \new Staff { \quoteDuring "oben" {s1 } e'1 e'1 }

Re: rhythm makro for tremolo

Dear community, I guess the file changePitch.ly is a great tool which can be very useful for e.g. writing parts with the same rhythm, articulation, etc. It should be part of the next documentation. I would like to write something about it, or are there other plans? 2009/11/23 Stefan Thomas >

Re: hack spacing of triplet against swung 8.+16

Kieren MacMillan wrote: Hi all, I'm engraving a song for voice and piano — the voice is swung (dotted eighth plus sixteenth) while the piano is playing triplets. I would like to [at least see what it looks like if I] set it so that the dotted sixteenth in the voice lines up visually/vertical

Re: \set vs \override

Han-Wen Nienhuys writes: > On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup wrote: > >> Right now I don't have the necessary clue level.  Merely a gut hunch. > > Why dont you invest some time to find out how it really works, What do you think I am doing? Reading documentation, getting nowhere, r

Re: \set vs \override

On Mon, Nov 23, 2009 at 3:56 AM, David Kastrup wrote: >>> And I am arrogant enough to believe that if I don't understand a >>> design decision after a few days of trying, it is likely that >>> ultimately a lot of people other than myself will be better off if >>> the distinction gets abolished. >>

hack spacing of triplet against swung 8.+16

Hi all, I'm engraving a song for voice and piano — the voice is swung (dotted eighth plus sixteenth) while the piano is playing triplets. I would like to [at least see what it looks like if I] set it so that the dotted sixteenth in the voice lines up visually/vertically with the third eig

Re: rhythm makro for tremolo

Dear Gilles, thanks very much! It is great and works well now! 2009/11/22 Gilles THIBAULT > > > > Dear community, > is there a possibilitie to use the great macro for rhythms ( see: > http://lsr.dsi.unimi.it/LSR/Snippet?id=390 > ) > also for tremolos?

Re: \set vs \override

Mats Bengtsson writes: > David Kastrup wrote: >> >>> We used to have the same command for setting both context and object >>> properties, see >>> http://lilypond.org/doc/v2.2/Documentation/topdocs/out-www/NEWS.html >>> >> >> I read >> >> The syntax for setting properties has been simplif

Re: \set vs \override

David Kastrup wrote: We used to have the same command for setting both context and object properties, see http://lilypond.org/doc/v2.2/Documentation/topdocs/out-www/NEWS.html I read The syntax for setting properties has been simplified: the following table lists the difference

Re: output size

Please take a look at lilypond-book, http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/LilyPond_002dbook#LilyPond_002dbook, which solves exactly this problem in a very convenient way. /Mats Yohann Martineau wrote: Hello, I'm writing a manual for music beginners. I'm using

Re: \set vs \override

Mats Bengtsson writes: >> Joe Neeman wrote: >>> On Sat, 2009-11-21 at 22:45 +, Graham Percival wrote: >>> On Sat, Nov 21, 2009 at 11:31:40PM +0100, David Kastrup wrote: > I don't see a good rationale why \set, \override, \revert, \tweak should > not work on the same