Hello,
First of all, thanks for your work, Davide :-)
I installed the portfile and it works without problem.
For those who already installed Frescobaldi and want to update next versions
this way, macports detects that python-poppler-qt4 is already installed. We
need thus to force the installatio
That is an interesting notion. I will have to dig my copy out tomorrow
and examine it, not remembering an such distinction at the moment.
Shane
On Sun, Sep 1, 2013 at 8:09 PM, Michael Rivers wrote:
> I believe it was Couperin who distinguished between ties and slurs in his
> manuscripts by using
That is awesome and perfectly clear thank you!
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/frescobaldi-on-mac-tp139401p150075.html
Sent from the User mailing list archive at Nabble.com.
___
lilypond-user mailing list
lilypo
I believe it was Couperin who distinguished between ties and slurs in his
manuscripts by using slightly different shapes for each. I don't have my
copy of L'art de toucher le clavecin nearby, but I believe the slurs had
more squared-off ends and ties had more rounded ends. Too bad Couperin's
system
On Sat, Aug 31, 2013 at 11:05:39PM +0200, David Kastrup wrote:
>
> Well, you could do something like
>
> \withMusicProperty #'untransposable ##t \key c\major
>
> It's not terribly fabulous, but possibly will do the trick.
Oh, but it IS terribly fabulous! This is what I was looking for
last May
Hello all,
I use my own "ScoreMarks" context to display RehearsalMarks and MetronomeMarks.
Most of the time, it works perfectly — unfortunately, I have recently been
getting fatal crashes (i.e., Lily stops right after "Preprocessing"; DEBUG log
stops after the two lines "Guile 1.8" + "Bus Error
Shall we reword something in the documentation to make this clearer?
Janek
2013/9/1 Gilberto Agostinho :
> Yes it is Janek, and I got it working well with the correct
> system-system-spacing code (it seems I used some old code for it). And I do
> understand why the score-system-spacing wasn't mak
Yes it is Janek, and I got it working well with the correct
system-system-spacing code (it seems I used some old code for it). And I do
understand why the score-system-spacing wasn't making any difference at all
:)
Thanks a lot for all the help!
Gilberto
___
On 09/01/2013 04:16 PM, David Kastrup wrote:
Rutger Hofman writes:
(sorry for not including the conversation, but this from my Android phone.)
OK, a slur it must be.
But, although the notation a8( a8) may be uncommon nowadays, it is
quite common in baroque music. Most recently, I met it in BW
On Sep 1, 2013 6:01 AM, "Peter Bjuhr" wrote:
>
> As David points out the original example is uncommon both regarding ties
and slurs. I like to add another example which represent a more common use
of ties.
>
> As you can see from the ly-file I first use a tie, then a slur, then a
double dot.
>
> I
2013/8/30 Gilberto Agostinho :
> Hello all,
>
> I have been trying to modify the distance between systems and staves, but I
> found it somehow difficult to understand. I am using the following code (on
> which I added the a \paper snippet):
>
> \version "2.17.24"
>
> \paper {
> system-system-spac
Rutger Hofman writes:
> (sorry for not including the conversation, but this from my Android phone.)
> OK, a slur it must be.
>
> But, although the notation a8( a8) may be uncommon nowadays, it is
> quite common in baroque music. Most recently, I met it in BWV 146 mvt
> 2, all over the place. It a
2013/9/1 Davide Liessi :
> git clone git clone https://github.com/dliessi/ports.git
Typo: replace with
git clone https://github.com/dliessi/ports.git
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-us
(sorry for not including the conversation, but this from my Android phone.)
OK, a slur it must be.
But, although the notation a8( a8) may be uncommon nowadays, it is quite common
in baroque music. Most recently, I met it in BWV 146 mvt 2, all over the place.
It also occurs elsewhere with 3 or 4
Thomas Morley writes:
>>> And then you use either
>>> \scalesAndTriads { c f bes ees aes des ges g d a e b fis }
>>> or
>>> \scalesAndTriads << c f bes ees aes des ges g d a e b fis >>
>>>
>>> I'd not use \relative $music here: that looks like asking for trouble.
>
> Not sure what you suspect.
>
2013/8/20 Derek :
> Installing now
Dear Derek,
I noticed today, while I was reading this thread on Nabble, that the
message you sent to the list on 2013/08/20 was cut at the first line
(see http://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00508.html
and
http://lilypond.1069038.n5.nabble
Hi,
opening a new thread. It was quite offtopic in "Emacs integration"
http://lilypond.1069038.n5.nabble.com/Emacs-integration-td150015.html
2013/8/31 Thomas Morley :
> 2013/8/31 David Kastrup :
>> Thomas Morley writes:
>>
>>> \version "2.17.25"
>>>
>>> scalesAndTriads =
>>> #(define-music-funct
Why is this not working (Lilypond 2.16.2)
\version "2.16.2"
\relative c' {
\cadenzaOn
c4 d e f g
}
it works since version 2.17.12
Issue 3140: Let find_create_context create Score context for Timing
The initial reason for my question was the
"major-scales-and-primary-triad
Eluze writes:
> Martin Tarenskeen wrote
>> Why is this not working (Lilypond 2.16.2)
>>
>> \version "2.16.2"
>> \relative c' {
>> \cadenzaOn
>> c4 d e f g
>> }
>>
>> Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
>> Parsing...
>> Interpreting music...
>> warning: cannot fi
Martin Tarenskeen wrote
> Why is this not working (Lilypond 2.16.2)
>
> \version "2.16.2"
> \relative c' {
> \cadenzaOn
> c4 d e f g
> }
>
> Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
> Parsing...
> Interpreting music...
> warning: cannot find or create `Timing' called `
Martin Tarenskeen writes:
> Why is this not working (Lilypond 2.16.2)
>
> \version "2.16.2"
> \relative c' {
> \cadenzaOn
> c4 d e f g
> }
>
> Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
> Parsing...
> Interpreting music...
> warning: cannot find or create `Timing' called `
- Original Message -
From: "Peter Bjuhr"
To:
Sent: Sunday, September 01, 2013 11:00 AM
Subject: Re: Tie placement in voiceTwo
As David points out the original example is uncommon both regarding ties
and slurs. I like to add another example which represent a more common
use of ties.
As David points out the original example is uncommon both regarding ties
and slurs. I like to add another example which represent a more common
use of ties.
As you can see from the ly-file I first use a tie, then a slur, then a
double dot.
I think that you could get away with the second as a
Why is this not working (Lilypond 2.16.2)
\version "2.16.2"
\relative c' {
\cadenzaOn
c4 d e f g
}
Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
Parsing...
Interpreting music...
warning: cannot find or create `Timing' called `'
warning: cannot find or create `Timing' called
Please keep replies on the list.
Rutger Hofman writes:
> On 09/01/2013 10:21 AM, David Kastrup wrote:
>
>> Given the nature of ties, ties in parallel with beams are not very
>> frequent.
>>
>> The example you give does not seem like something where one would
>> ordinarily employ ties.
>>
>
> Ar
Am 01.09.2013 10:12, schrieb Rutger Hofman:
Good morning list,
ties in \voiceTwo etc are attached to the notehead. Slurs are attached
to the end of the stem. See attached example.
I would prefer the ties to behave like the slurs, i.e. attached to the
end of the stem. How can I achieve that?
Rutger Hofman writes:
> Good morning list,
>
> ties in \voiceTwo etc are attached to the notehead. Slurs are attached
> to the end of the stem. See attached example.
>
> I would prefer the ties to behave like the slurs, i.e. attached to the
> end of the stem. How can I achieve that?
>
> BTW, I wo
Good morning list,
ties in \voiceTwo etc are attached to the notehead. Slurs are attached
to the end of the stem. See attached example.
I would prefer the ties to behave like the slurs, i.e. attached to the
end of the stem. How can I achieve that?
BTW, I wouldn't be surprised if this is pre
28 matches
Mail list logo
