Il giorno mer 9 nov 2016 alle 18:09, David Kastrup ha
scritto:
Thanks for making me stay in the pond as long as I did!
Thanks to you David for the great work you made for LilyPond!
We'll miss you.
Best
Federico
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Hi
As it's written in the documentation, "If there are more repeats than
there are alternate endings, the earliest repeats are given the first
alternative".
If I want to change this behaviour I should use manual repeats? Or
there's a smarter way?
This is what I'd like to achieve:
\repeat vo
Dear David,
thank you so much for all your effort, and all the best for the future!
Blessed be,
Hraban
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2016-11-09 18:09 GMT+01:00 David Kastrup :
>
> Hi folks and team,
>
> while I haven't really occupied an official function in LilyPond
> development, it's hard to deny that I have effectively functioned as
> acting chief architect and vetter (with a rather mottled performance).
>
> Partly in connec
In http://turkos.aspodata.se/noter/tmp/ I have tidi_midi.pl that might
help you doing a preliminary step. Take below as an example:
$ midi2ly LottiAminAgnus.mid
LY output to `LottiAminAgnus-midi.ly'...
$ ./tidy_midi.pl LottiAminAgnus-midi.ly > LottiAminAgnus.out.ly
There is a lot of things that
Am 09.11.2016 um 22:27 schrieb Malte Meyn:
#(define-bar-line "|" "|" "|" "|")
#(define-bar-line "||" "||" "||" "||")
You might also want
#(define-bar-line ":|." ":|." "|" " |.")
and maybe others.
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Am 09.11.2016 um 22:27 schrieb Malte Meyn:
c'1 c c c \bar "|" \break
Oh, of course you don’t need \bar "|" here as "|" is the default barline
type.
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Am 09.11.2016 um 21:50 schrieb hbezemer:
I want LP to create a barline at the beginning of every new line, but
so far I can't find the right way to do so.
You can use the define-bar-line command. It takes four arguments:
1. name/default barline
2. barline at end of line
3. barline at begin o
I have some lilypond code imported by a midi file that is not well
formatted.
Is there any way using Frescobaldi or any other tool to format the code so
that each musical measure stays on a different line?
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L.s.,
I want LP to create a barline at the beginning of every new line, but
so far I can't find the right way to do so.
I've tried \override Score.BarLine.break-visibility with several options
but only the #all-invisible worked.
In this snippet I remove the key signature and clef, but wan
David,
thank you for your fantastic work. I'm happy to hear about your new
position - I hope it will be (at least) as interesting as - I think -
your work on LilyPond has been. I'll miss your regular and always
insight- and helpful (and at times very humorous) contributions to this
list!
It
David,
Thanks for staying in the pond full time as long as you did. You need some
courage and perseverance to live from only donations as long as you did.
Wishing you all the good in your new job and hope to see you around in the git
shortlogs to get rid of some of those nuisances. I’ll cancel
Hi David
The first thing to do is to sincerely thank you for your extreme dedication,
skill and energy in developing our favourite program over recent years. Even
that seems a weak effort at expressing the gratitude and admiration I feel. We
owe you a great deal. But eventually we all have t
David.
Thank you for all of your support - intellectual, material, and
philosophical.
May your new position provide all the success that you deserve.
Mark
-Original Message-
From: David Kastrup [mailto:d...@gnu.org]
Sent: Wednesday, November 09, 2016 9:10 AM
To: lilypond-de...@gnu.org
C
Hi David,
all the best for your new job and a million thanks for all the work you
dedicated to LilyPond!
I hope, we are not lost totally for LilyPond and its community!
Best
Jan-Peter
Am 09.11.2016 um 18:09 schrieb David Kastrup:
Hi folks and team,
while I haven't really occupied an offic
Dear David,
my sincere thanks for your past and ongoing work and dedication for
Lilypond (and other FOSS, by the way). We are well aware that our
donations could not sustain you in the long run. As always in such
situations, it's a pity for the community to hear that an important
member of th
Hi David,
wow! Congratulations on the new job, and on having made that decision!
Thanks a million for all the work and dedication you put into LilyPond
and into the community. It was extremely valuable.
All the best for your way ahead, cordially
Simon
On 09.11.2016 18:09, David Kastrup wrot
David,
On Wed, Nov 9, 2016 at 10:09 AM, David Kastrup wrote:
>
> Thanks for making me stay in the pond as long as I did!
>
I think it would be grossly insufficient to just say "thank you" for what
you've done, but thank you. Your expertise has enabled and improved a great
many things that everyo
> On 9 Nov 2016, at 18:16, David Kastrup wrote:
>
> Hans Åberg writes:
>
>> An accordion instruction book shows one should play buttons from
>> above. Check what pros do. Fingering is individual, so if your fingers
>> are thicker than normal, perhaps that does not work, and you will have
>> to
Hi folks and team,
while I haven't really occupied an official function in LilyPond
development, it's hard to deny that I have effectively functioned as
acting chief architect and vetter (with a rather mottled performance).
Partly in connection with a drop of my productivity particularly this
ye
Hans Åberg writes:
>> On 9 Nov 2016, at 16:22, David Kastrup wrote:
>>
>> Hans Åberg writes:
>>
>>> I couldn't tell for buttons, but with full scale keyboard, is normally
>>> an advantage with adjacent, or close together, keys.
>>
>> We are talking about 7.5cm/octave here, so a horizontal es
> On 9 Nov 2016, at 16:22, David Kastrup wrote:
>
> Hans Åberg writes:
>
>> I couldn't tell for buttons, but with full scale keyboard, is normally
>> an advantage with adjacent, or close together, keys.
>
> We are talking about 7.5cm/octave here, so a horizontal escapement of
> 0.625cm per se
Hans Åberg writes:
>> On 9 Nov 2016, at 15:39, David Kastrup wrote:
>
>> On a 5-row
>> instrument, you can always adjust your fingering using the redundant
>> help rows in order to be trilling on non-adjacent buttons, making it
>> easier to have a nice pizzaz. On my 4-row instrument, some trill
> On 9 Nov 2016, at 15:39, David Kastrup wrote:
>
> Hans Åberg writes:
>
>> In your video, I got the impression you had chosen a style with heavy
>> overlap on a trill there.
>
> Uh, the topic I talked about were appoggiatura. You are quite correct
> about the heavy overlap on some trills bu
Hans Åberg writes:
>> On 9 Nov 2016, at 14:47, David Kastrup wrote:
>>
>> Hans Åberg writes:
>
>>> I prefer no overlap in the ornaments, that is, legato style.
>>
>> Hm? I was not talking about overlap (and when referring to a singing
>> manual, overlap with the main note would be quite a fe
> On 9 Nov 2016, at 14:47, David Kastrup wrote:
>
> Hans Åberg writes:
>> I prefer no overlap in the ornaments, that is, legato style.
>
> Hm? I was not talking about overlap (and when referring to a singing
> manual, overlap with the main note would be quite a feat). I was
> talking about
Hans Åberg writes:
>> On 9 Nov 2016, at 13:37, David Kastrup wrote:
>>
>> Hans Åberg writes:
>>
On 9 Nov 2016, at 10:45, David Kastrup wrote:
The problem with appoggiature is that their timing is loose as the
transition to the main note is not supposed to be a rhythmical
> On 9 Nov 2016, at 13:37, David Kastrup wrote:
>
> Hans Åberg writes:
>
>>> On 9 Nov 2016, at 10:45, David Kastrup wrote:
>>>
>>> The problem with appoggiature is that their timing is loose as the
>>> transition to the main note is not supposed to be a rhythmical accent.
>>> If you listen t
Hans Åberg writes:
>> On 9 Nov 2016, at 10:45, David Kastrup wrote:
>>
>> The problem with appoggiature is that their timing is loose as the
>> transition to the main note is not supposed to be a rhythmical accent.
>> If you listen to https://www.youtube.com/watch?v=hQseNJP_bzk in
>> comparison
> On 9 Nov 2016, at 10:45, David Kastrup wrote:
>
> Hans Åberg writes:
>> Indeed, mostly one only writes what is needed for a performance,
>> subject to musical interpretation. J.S. Bach was criticised in his
>> times for writing down the ornaments,
>
> He still did not write down implied app
Am 09/11/16 um 11:35 schrieb David Kastrup:
Robert Schmaus writes:
Not much of a trick.
\set Score.ignoreBarChecks = ##t
Ah, great - thanks David!
barNumberCheck =
#(define-music-function (n) (integer?)
(_i "Print a warning if the current bar number is not @var{n}.")
(make-musi
Robert Schmaus writes:
>>
>> Not much of a trick.
>>
>> \set Score.ignoreBarChecks = ##t
>
> Ah, great - thanks David!
>
>
>
>> barNumberCheck =
>> #(define-music-function (n) (integer?)
>>(_i "Print a warning if the current bar number is not @var{n}.")
>>(make-music 'ApplyContext
>>
Hi Joram,
Am 08.11.2016 um 22:22 schrieb Noeck:
> Hi Urs,
>
> I liked the idea of oll from the start and I used it quite often after
> you published functions used in the Fried songs publication.
> I liked because:
> - the nice functions (mostly around the Fried project)
> - it's a place where co
Not much of a trick.
\set Score.ignoreBarChecks = ##t
Ah, great - thanks David!
barNumberCheck =
#(define-music-function (n) (integer?)
(_i "Print a warning if the current bar number is not @var{n}.")
(make-music 'ApplyContext
'procedure
(lambda (c)
Hans Åberg writes:
>> On 9 Nov 2016, at 00:35, Thomas Morley wrote:
>
Isn't it a good idea to do _always_ such studies?
You can't even perform baroque-music adequat without them.
Another example, I recall several printed editions of
Flamenco-Alegrias in 3/4, but following exa
Robert Schmaus writes:
> Dear Ponderers,
>
> I've got the following question about a problem involving bar number
> checks and repeats. When I'm engraving a bigger project, I find it
> useful to employ bar number checks. I also find it very useful to use
> the technique of having seperate layout
> On 9 Nov 2016, at 00:35, Thomas Morley wrote:
>>> Isn't it a good idea to do _always_ such studies?
>>> You can't even perform baroque-music adequat without them.
>>> Another example, I recall several printed editions of
>>> Flamenco-Alegrias in 3/4, but following exactly the 3/4 would come ou
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