Hi Alex,
OK ... first note, I use this on my machine with Ubuntu 12.04 having
texlive(2012)-full installed and it does compile - but frescobaldi
doesn't recognize the produced PDF (it is not displayed).
I do also get a lot of Warnings from xelatex and from lilypond. The
TeX-warnings are a matter
Am 2014-01-14 um 14:28 schrieb David Kastrup :
> Henning Hraban Ramm writes:
>
>> Hi,
>>
>> if I update my scores with convert-ly to 2.18, it changes every
>> \vspace to \combine \null \vspace (within \markup{ \column {} }).
>> Why? Does that make sense?
>
> It doesn't make sense but compatib
Am 16.01.2014 06:35, schrieb David Kastrup:
Alex Loomis writes:
How much sense would it make for there to be a separate \mark-style command
that functioned identically but didn't mess with the counter?
What do you mean? Neither \mark #4 nor \mark "G" mess with the counter.
Perhaps some ki
David,
On 2014-01-16 07:43, David Kastrup wrote:
Paul Morris writes:
SoundsFromSound wrote
Paul, that is a great little bit of code! Thank you for sharing
that...I'm
going to play around with it later today. :)
Glad you like it, but David Kastrup gets the credit for it:
http://lists.gnu.
People,
On 2014-01-16 17:39, Philip Rhoades wrote:
People,
On 2014-01-15 23:32, Philip Rhoades wrote:
People,
David Kastrup kindly wrote a little Scheme script for me to generate
random notes within a range and I have started using that to practise
learning Classical Guitar and I think it i
People,
On 2014-01-15 23:32, Philip Rhoades wrote:
People,
David Kastrup kindly wrote a little Scheme script for me to generate
random notes within a range and I have started using that to practise
learning Classical Guitar and I think it is quite useful for learning
to jump around the fretboa
Alex Loomis writes:
> How much sense would it make for there to be a separate \mark-style command
> that functioned identically but didn't mess with the counter?
What do you mean? Neither \mark #4 nor \mark "G" mess with the counter.
--
David Kastrup
_
Paul Morris writes:
> SoundsFromSound wrote
>> Paul, that is a great little bit of code! Thank you for sharing that...I'm
>> going to play around with it later today. :)
>
> Glad you like it, but David Kastrup gets the credit for it:
> http://lists.gnu.org/archive/html/lilypond-user/2014-01/msg
Alex Loomis writes:
>>there may be some temptation for offering a
>>LilyPond-native syntax for that.
>
> Pretty please? It's the feature I've been missing the most in lilypond.
Well, it's not a missing feature as such, it's just syntactic sugar. At
any rate, it does not make all that much sense
>> How much sense would it make for there to be a separate \mark-style
>> command that functioned identically but didn't mess with the
>> counter?
I'm all for it!
> Meh… I don’t really like the original suggestion (of a
> RehearsalMark-relative \addAt parameter), so it makes little sense
> to me
Paul,
On 2014-01-16 07:22, Paul Morris wrote:
SoundsFromSound wrote
Paul, that is a great little bit of code! Thank you for sharing
that...I'm
going to play around with it later today. :)
Glad you like it, but David Kastrup gets the credit for it:
http://lists.gnu.org/archive/html/lilypond-
Hi Jan-Peter,
> I extracted my edition-engraver from lalily.
This seems so magical as to be almost unbelievable. =)
1. What — if any — drawbacks are there?
2. Why is this not exactly (or even a superset of) the \addAt feature I
requested?
Thanks!
Kieren.
__
Hi Alex,
> How much sense would it make for there to be a separate \mark-style command
> that functioned identically but didn't mess with the counter?
Meh… I don’t really like the original suggestion (of a RehearsalMark-relative
\addAt parameter), so it makes little sense to me.
Cheers,
Kieren
Hi all,
Let’s just admit that \partcombine needs a fair bit of work…
Much like Janek’s Google Summer of Code Lyric Project, there are probably a
dozen features/fixes that would fit under GUPPY — that’s "Grand Unified
Partcombine Project, Yo!” — including:
1. arbitrary voice count;
2. li
And also, with the first version the rest disappears.
On Wed, Jan 15, 2014 at 8:11 PM, Alex Loomis wrote:
> In addition to the problem Mogens described, the first B is marked Solo
> when \partcombine should be marking it a2.
>
>
> On Mon, Jan 13, 2014 at 1:05 PM, Mogens Lemvig Hansen wrote:
>
>>
In addition to the problem Mogens described, the first B is marked Solo
when \partcombine should be marking it a2.
On Mon, Jan 13, 2014 at 1:05 PM, Mogens Lemvig Hansen wrote:
> Hi,
>
> With the first version of voiceB below I get “ warning: ignoring too many
> clashing note columns”
> The seco
How much sense would it make for there to be a separate \mark-style command
that functioned identically but didn't mess with the counter?
On Tue, Jan 14, 2014 at 8:30 AM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Hi Werner,
>
> > I suggest that such a command allows for a third,
>there may be some temptation for offering a
>LilyPond-native syntax for that.
Pretty please? It's the feature I've been missing the most in lilypond.
On Wed, Jan 15, 2014 at 11:48 AM, David Kastrup wrote:
> Jacques Menu writes:
>
> > Le 15 janv. 2014 à 17:15:53, David Kastrup a écrit :
> >
>
I got no output and a page full of fontconfig warnings when I ran it. I
left out all but the first since there were about 100 and they're all
nearly identical.
Starting lilypond 2.19.0 [xelatex-command-list.ly]...
Processing `/tmp/xelatex-command-list.ly'
Parsing...
This is XeTeX, Version 3.14
Hello all,
in the documentation about percussion notation it is said that you need to
include the Parenthesis_engraver in order to use \parenthesize –
http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-percussion.html#ghost-notes
This
is not true, you do not have to include an
Hi Kieren,
I have extracted the latex-markup commands. At the end of the file is a
little example.
There are three ways to produce the latex source:
1. use a markup-list, which is converted with markup->tex: \xelatex { ... }
2. include a file with tex-content: \xelatexInclude #""
3. use a string,
SoundsFromSound wrote
> Paul, that is a great little bit of code! Thank you for sharing that...I'm
> going to play around with it later today. :)
Glad you like it, but David Kastrup gets the credit for it:
http://lists.gnu.org/archive/html/lilypond-user/2014-01/msg00638.html
I just changed it f
On 01/15/2014 08:28 PM, Bric wrote:
Please forgive me if this has been discussed and/or documented; I
haven't found specifics yet.
Are there lilypond controls for things like staccato, accents, and
other articulations/dynamics, with respect to midi output?
I noticed that the midi output is
Please forgive me if this has been discussed and/or documented; I
haven't found specifics yet.
Are there lilypond controls for things like staccato, accents, and other
articulations/dynamics, with respect to midi output?
I noticed that the midi output is sensitive to the "\staccato"
directiv
Paul Morris wrote
>
> Philip Rhoades wrote
>> It occurred to me that the next step would be to generate something that
>> is a little more melodic or musical
> One simple thing you can do is to only work with the notes from one key at
> a time. And I think this makes sense in terms of learning a
Tried that before and it didn't work. Just tried again and it's fine. Must
have been some other unrelated syntax error. Thanks for the quick replies!
On Wed, Jan 15, 2014 at 11:51 AM, David Kastrup wrote:
> Martin Duclos writes:
>
> > I'm at a loss in finding a way to do some articulation mark
Hi Kieren, James and all,
I extracted my edition-engraver from lalily. The example compiles here
with 2.18.
You can try this and comment ... I will add more comments to the code,
if this is of interest ;)
The compilation creates a file example.edition.log containing all
edition-engraver paths.
I
On Wed, Jan 15, 2014 at 04:54:17PM +0100, David Kastrup wrote:
> Peter Bjuhr writes:
>
> > On 01/15/2014 04:33 PM, Paul Scott wrote:
> >> +1
> >>
> >> I've also been doing this for many years.
> >
> > I've started using global variables more recently but can highly
> > recommend it!
>
> Just don
On 01/15/2014 05:40 PM, Martin Duclos wrote:
I'm at a loss in finding a way to do some articulation marks.
I'm looking for an accented staccato so should be a combination of -.
and -> on top of each other. Is this possible?
I think the way to do this is to write the two articulations in
suc
Martin Duclos writes:
> I'm at a loss in finding a way to do some articulation marks.
>
> I'm looking for an accented staccato so should be a combination of -. and
> -> on top of each other. Is this possible?
{ c-.-> }
--
David Kastrup
___
lilypond-
Jacques Menu writes:
> Le 15 janv. 2014 à 17:15:53, David Kastrup a écrit :
>
>> Peter Bjuhr writes:
>>
>>> On 01/15/2014 04:54 PM, David Kastrup wrote:
Peter Bjuhr writes:
>
> I've started using global variables more recently but can highly
> recommend it!
Just d
> I'm looking for an accented staccato so should be a combination of -.
> and -> on top of each other. Is this possible?
-.->
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
This problem is solved: version 2.18 is working now!
I did two things:
1. Uninstall
Because of some exercise with point and click I reserved a copy of output-ps.scm
It looks like at uninstall the map that contains this file
... /usr/share/lilypond/current/scm/output-ps.scm
was not removed.
2. "2
I'm at a loss in finding a way to do some articulation marks.
I'm looking for an accented staccato so should be a combination of -. and
-> on top of each other. Is this possible?
Thanks
Martin
___
lilypond-user mailing list
lilypond-user@gnu.org
https:
Le 15 janv. 2014 à 17:15:53, David Kastrup a écrit :
> Peter Bjuhr writes:
>
>> On 01/15/2014 04:54 PM, David Kastrup wrote:
>>> Peter Bjuhr writes:
>>>
I've started using global variables more recently but can highly
recommend it!
>>> Just don't let any programmers hear that
On 01/15/2014 05:15 PM, David Kastrup wrote:
On 01/15/2014 04:54 PM, David Kastrup wrote:
>>Peter Bjuhr writes:
>>
>>>
>>>I've started using global variables more recently but can highly
>>>recommend it!
>>Just don't let any programmers hear that.
>>
>
>David, I'm sorry; I must again ask yo
On 01/15/2014 04:54 PM, David Kastrup wrote:
Peter Bjuhr writes:
I've started using global variables more recently but can highly
recommend it!
Just don't let any programmers hear that.
David, I'm sorry; I must again ask you what you mean? Is this a joke I'm
missing like the previous ti
Peter Bjuhr writes:
> On 01/15/2014 04:54 PM, David Kastrup wrote:
>> Peter Bjuhr writes:
>>
>>>
>>> I've started using global variables more recently but can highly
>>> recommend it!
>> Just don't let any programmers hear that.
>>
>
> David, I'm sorry; I must again ask you what you mean? Is thi
Peter Bjuhr writes:
> On 01/15/2014 04:33 PM, Paul Scott wrote:
>> +1
>>
>> I've also been doing this for many years.
>
> I've started using global variables more recently but can highly
> recommend it!
Just don't let any programmers hear that.
--
David Kastrup
___
On 01/15/2014 04:33 PM, Paul Scott wrote:
+1
I've also been doing this for many years.
I've started using global variables more recently but can highly
recommend it!
On 01/15/2014 03:48 PM, jensgc wrote:
In effect - if there is someway to have \voiceA changed to \voiceAA in the
example b
Werner LEMBERG writes:
>> For better or worse, I am currently focusing on speeding up "git
>> blame" which is braking down lots of people.
>
> Excellent! If you want a test case from the dark side, try
>
> http://repo.or.cz/w/wortliste.git
>
> For historical reasons, the `wortliste' is a singl
On Wed, Jan 15, 2014 at 09:04:35AM -0500, Kieren MacMillan wrote:
> Hi,
>
> > In regards to tempo markings, it is a different matter, since any change in
> > tempo needs to apply to each and every voice in the system. It makes perfect
> > sense that the \tempo marking always goes to the System - I
> For better or worse, I am currently focusing on speeding up "git
> blame" which is braking down lots of people.
Excellent! If you want a test case from the dark side, try
http://repo.or.cz/w/wortliste.git
For historical reasons, the `wortliste' is a single, large file
instead of smaller on
Paul,
On 2014-01-16 01:58, Paul Morris wrote:
Philip Rhoades wrote
It occurred to me that the next step would be to generate something
that
is a little more melodic or musical
One simple thing you can do is to only work with the notes from one key
at a
time. And I think this makes sense i
Simon Bailey-5 wrote
> have you seen:
> http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
> ?
Excellent! Highly useful - although it is a bit annoying to see a large
bunch of warnings when the showLastLength is set.
--
View this message in context:
http://lilypond.
Kieren MacMillan writes:
> Hi all,
>
>> So "a half-day's work" is more like the estimate for
>> every single further fix making the timing simulation work closer to
>> what iteration would do anyway.
>
> Well, then… tell me the real cost, and I’ll see what I can do to
> [help] sponsor it.
Well,
Kieren MacMillan wrote
> Having just engraved 25 minutes of large forces music for voices and
> instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you
> avoid doing things like that in future scores.
Thanks for the advice. I'm only on my 4th "real" score in Lilypond so I'll
take
On Wed, Jan 15, 2014 at 3:48 PM, jensgc wrote:
> Kieren MacMillan wrote
>> It’s not… I do exactly this all the time.
>> Simply put your ritardando or stringendo in the same global variable as
>> your \tempo and \mark items.
>
> Hi. Not sure if you have seen my earlier posts - but I don't have my \
Hi all,
> So "a half-day's work" is more like the estimate for
> every single further fix making the timing simulation work closer to
> what iteration would do anyway.
Well, then… tell me the real cost, and I’ll see what I can do to [help] sponsor
it.
There is *NOTHING* I can think of which woul
Hi,
> Hi. Not sure if you have seen my earlier posts
Sorry… yeah, I missed those.
> I don't have my \tempo and \mark items in a global variable.
I do recommend using a global variable in the future.
> I wrote the quartet part (starting at
> approx. bar 70) in a separate file, making proofreadi
Philip Rhoades wrote
> It occurred to me that the next step would be to generate something that
> is a little more melodic or musical
One simple thing you can do is to only work with the notes from one key at a
time. And I think this makes sense in terms of learning as well as sounding
more musi
Urs,
On 2014-01-16 00:01, Urs Liska wrote:
Am 15.01.2014 13:58, schrieb Philip Rhoades:
Urs,
On 2014-01-15 23:38, Urs Liska wrote:
Am 15.01.2014 13:32, schrieb Philip Rhoades:
Is there any simple or otherwise stuff I could look at?
http://lilypondblog.org/category/using-lilypond/advanced
Kieren MacMillan wrote
>> In regards to tempo markings, it is a different matter, since any change
>> in
>> tempo needs to apply to each and every voice in the system. It makes
>> perfect
>> sense that the \tempo marking always goes to the System - I just don't
>> understand why it is much more dif
Hi,
> he doesn't want to use a global structure variable:
Sorry… I missed this. =\
>> The reason I don't like the idea of a global "structure" definition is that
>> I have the individual parts (e.g. the quartet and the choir parts) defined
>> in seperate files to be able to test and work with t
Hi,
> Not a bad idea - but I would then have to abandon the idea of the normal
> "rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
> duration of the ritardando.
Why not just put everything “global” in a global variable?
Then all of this is handled for you easily.
Thanks,
Kier
hi kieren,
On Wed, Jan 15, 2014 at 3:04 PM, Kieren MacMillan
wrote:
>> In regards to tempo markings, it is a different matter, since any change in
>> tempo needs to apply to each and every voice in the system. It makes perfect
>> sense that the \tempo marking always goes to the System - I just do
Trevor Daniels wrote
> ?
> \tempo "ritardando"
Not a bad idea - but I would then have to abandon the idea of the normal
"rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
duration of the ritardando.
Think I'll try a feature request for a SystemSpanner
- and perhaps a \startTe
Hi,
> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why it is much more difficult to give a ritardando
jensgc wrote Wednesday, January 15, 2014 1:03 PM
> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why i
jensgc wrote
> The reason I don't like the idea of a global "structure" definition is
> that I have the individual parts (e.g. the quartet and the choir parts)
> defined in seperate files to be able to test and work with them
> independently. Having the \time and \key definitions in a part that is
Am 15.01.2014 13:58, schrieb Philip Rhoades:
Urs,
On 2014-01-15 23:38, Urs Liska wrote:
Am 15.01.2014 13:32, schrieb Philip Rhoades:
Is there any simple or otherwise stuff I could look at?
http://lilypondblog.org/category/using-lilypond/advanced/
The only thing there that I could see was
Urs,
On 2014-01-15 23:38, Urs Liska wrote:
Am 15.01.2014 13:32, schrieb Philip Rhoades:
Is there any simple or otherwise stuff I could look at?
http://lilypondblog.org/category/using-lilypond/advanced/
The only thing there that I could see was:
"Programmatically Generating LilyPond Inp
Simon Bailey-5 wrote
>> If I add the music from the topmost staff to a separate dynamics context
>> (placed above that staff), will dynamics context then be printed twice?
>
> yes, that's correct. the music is suppressed, but the dynamics will be
> shown. this is why i suggested using a global str
Am 15.01.2014 13:32, schrieb Philip Rhoades:
Is there any simple or otherwise stuff I could look at?
http://lilypondblog.org/category/using-lilypond/advanced/
___
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People,
David Kastrup kindly wrote a little Scheme script for me to generate
random notes within a range and I have started using that to practise
learning Classical Guitar and I think it is quite useful for learning to
jump around the fretboard well. It occurred to me that the next step
wou
Hello all,
this is asking for advices from you experienced LilyPond users.
Lets say you're engraving music for an instrument capable of playing
multiple voices, and the structure of the music is a mix between using
one voice and several. (In my case I'm thinking about piano music, but
lets ma
On Wed, Jan 15, 2014 at 11:28 AM, jensgc wrote:
>
> Just a quick thought - if I with the temporary polyphony construct shown in
> your example can direct TextSpanner content to a special Dynamics context -
> would it then be possible to skip the Dynamic context (and the spacer
> definitions that g
Simon Bailey-5 wrote
> this is untested, but what might work would be to set up your score
> with a Dynamics context at the top. Don't be mislead by it being
> called Dynamics, you can put ANYTHING in there, doesn't have to be
> Dynamics (I use one for putting pedal markings in piano staves for
> i
Kieren MacMillan writes:
> Hi Mike (et al.),
>
>>> What would be involved in developing a feature to add notes or
>>> tweaks at an arbitrary moment within a music expression?
>>> music = \addAt (4 3/8) \global \once \override
>>> RehearsalMark.extra-offset #’(-1 . 0)
>
>> we’re about a half-day’s
Henning Hraban Ramm writes:
> Hi,
>
> if I update my scores with convert-ly to 2.18, it changes every
> \vspace to \combine \null \vspace (within \markup{ \column {} }).
> Why? Does that make sense?
It doesn't make sense but compatibility.
If you now write \vspace #2 in a vertical column, it ad
jensgc writes:
> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
>
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to e
jensgc wrote
>
> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
> thanks for the answer. I am aware of the possibility to have the dynamics
> in a separate voice - and it might be the solution here. I am however not
> fond of having to ente
hi,
On Wed, Jan 15, 2014 at 9:53 AM, jensgc wrote:
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to enter dynamics in a voice "without music" - for the score in
> question I
Am 15.01.2014 09:53, schrieb jensgc:
Are there any plans on making a "SystemSpanner" or similar that will combine
the flexibility from the TextSpanner with the "only on top of system"
property from \tempo and \mark ?
This sounds like a reasonable idea.
If it isn't possible to do something like
Eluze wrote
> you can define the spanner in its own (dynamic) context and move it
> wherever you want:
thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice "wi
Dominicus wrote
> One can set an absolute fontsize for markup, but I don't know of a way to
> set a fixed pointsize (or \mm dimension) for spacing between lines in a
> markup column.
> This causes the distance between stacked lines of text in a markup column
> to scale relative to the staff size .
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