On Thu, 25 May 2017, Charles Winston wrote:
> > On May 25, 2017, at 12:26 AM, Kieren MacMillan
> > wrote: Except contains a
> > huge amount of information that cannot currently be input in
> > \chordmode (as far as I know).
> >
> > Ultimately, as long as we end up with an input system robust enou
> On May 25, 2017, at 12:26 AM, Kieren MacMillan
> wrote:
>
> Hi Charles,
>
>>> Which mode of input?
>>> \chordmode { c1:7 }
>>> or
>>> { 1 }
>>
>> I think \chordmode will be the most useful form of input, because that way
>> we know the user's intentions with the chords. It would be tough
Hi Charles,
>> Which mode of input?
>> \chordmode { c1:7 }
>> or
>> { 1 }
>
> I think \chordmode will be the most useful form of input, because that way we
> know the user's intentions with the chords. It would be tough to infer the
> semantics from just the note input, which is essentially
On May 25, 2017, at 12:09 AM, Kieren MacMillan
wrote:
>> how much should we base this data structure on the current mode of input?
>
> Which mode of input?
>
>\chordmode { c1:7 }
>
> or
>
>{ 1 }
I think \chordmode will be the most useful form of input, because that way we
know th
Hi Charles,
> we certainly want the output to match the input.
An important question is: is it a one-to-one relationship?
> how much should we base this data structure on the current mode of input?
Which mode of input?
\chordmode { c1:7 }
or
{ 1 }
??
> certain aspects of input can
Hi Matthew (et al.),
> What I think is most needed is a chord-naming mode that *just prints what
> the user typed*, formatted with the fonts, spacing, and so on that we
> expect for chord names - not translating it to an "internal
> representation" of notes plus extra data as LilyPond "music" at a
Hi Simon (et al.),
>> added bass note
>> inversions
> I’m under the impression that in chord notation those are actually the same
Definitely not! What if I want a C7 in second inversion over a Db? In
pseudo-harmonic-analysis code, that would be
C4/3 / Db
In my compositions (especially musi
Hi Harm,
> Once I tried to get Brandt-Roemer namings.
Have you seen my B-R stylesheet? It’s almost a complete representation.
> The criteria which pitches are regarded to set extensions, etc are different
> enough from Ignatzek
> that it would have resulted in a complete rewrite of the
> chord
So we should burn the books because the ignorant refuse to learn?
-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
msk...@ansuz.sooke.bc.ca
Sent: Wednesday, May 24, 2017 6:43 PM
To: lilypond-user@gnu.org
Subject: Re: Permission
On Wed 24 May 2017 at 20:42:36 (-0500), msk...@ansuz.sooke.bc.ca wrote:
> On Wed, 24 May 2017, David Wright wrote:
> > Perhaps this is because educators are pandering to their ignorance,
> > thus decreasing the likelihood they'll ever encounter the term.
> > I'm glad that LilyPond's authors know pr
> On May 24, 2017, at 9:40 PM, "msk...@ansuz.sooke.bc.ca"
> wrote:
>
>> On Wed, 24 May 2017, Charles Winston wrote:
>> I’m participating in the Google Summer of Code working on improving
>> LilyPond’s internal representation of chords. The goal here is to create a
>> data structure that will
On Wed, 24 May 2017, David Wright wrote:
> Perhaps this is because educators are pandering to their ignorance,
> thus decreasing the likelihood they'll ever encounter the term.
> I'm glad that LilyPond's authors know precisely what it does so well.
Removing the advertisement is much easier than ed
On Wed, 24 May 2017, Charles Winston wrote:
> I’m participating in the Google Summer of Code working on improving
> LilyPond’s internal representation of chords. The goal here is to create a
> data structure that will represent a chord’s semantics beyond just a list of
> notes in the chord. The
2017-05-25 0:17 GMT+02:00 Charles Winston :
> I would love to hear any ideas from the user community about this. And beyond
> the specific issues I’m talking about here, what aspects of LilyPond’s
> support for chords do you believe should be improved or changed?
I think the greatest problem is
2017-05-25 0:54 GMT+02:00 Simon Albrecht :
> Am 25.05.2017 um 00:17 schrieb Charles Winston:
>>
>> added bass note
>> inversions
>
>
> I’m under the impression that in chord notation those are actually the same
> – I don’t think that there is a conceptual difference between C/E and C/D in
> chord n
2017-05-25 0:17 GMT+02:00 Charles Winston :
> Hi LilyPond users,
>
> I’m participating in the Google Summer of Code working on improving
> LilyPond’s internal representation of chords. The goal here is to create a
> data structure that will represent a chord’s semantics beyond just a list of
> n
On Wed 24 May 2017 at 22:30:46 (+), Karlin High wrote:
> On 5/24/2017 5:19 PM, msk...@ansuz.sooke.bc.ca wrote:
> > On Wed, 24 May 2017, Simon Albrecht wrote:
> >> Only if you overlook that the tagline specifically says the music was
> >> _engraved_ with LilyPond, which does not tell anything ab
Am 25.05.2017 um 00:17 schrieb Charles Winston:
How do we deal with semantics that may overlap between these categories? For
example: is a sharp-5 an alteration or just an augmented chord?
Off the top of my head: Both should be possible input methods, but
internally represented the same. How
Am 25.05.2017 um 00:17 schrieb Charles Winston:
added bass note
inversions
I’m under the impression that in chord notation those are actually the
same – I don’t think that there is a conceptual difference between C/E
and C/D in chord notation. But it may be that instead of this pragmatic
way
Hello Charles,
> I’m participating in the Google Summer of Code working on improving
> LilyPond’s internal representation of chords.
As someone who uses chord names extensively, I’m thrilled that you’re tackling
this!
> The goal here is to create a data structure that will represent a chord’s
On 5/24/2017 5:19 PM, msk...@ansuz.sooke.bc.ca wrote:
> On Wed, 24 May 2017, Simon Albrecht wrote:
>> Only if you overlook that the tagline specifically says the music was
>> _engraved_ with LilyPond, which does not tell anything about any connection
>> between LilyPond and the _content_.
>>
>> But
On Wed, 24 May 2017, Simon Albrecht wrote:
> > This is one reason that putting advertising for the LilyPond Web site in
> > every PDF document by default may not be such a great idea. It makes
> > LilyPond appear to have a meaningful connection with the content.
>
> Only if you overlook that the t
Hi LilyPond users,
I’m participating in the Google Summer of Code working on improving LilyPond’s
internal representation of chords. The goal here is to create a data structure
that will represent a chord’s semantics beyond just a list of notes in the
chord. The current representation contains
Hi David,
2017-05-24 22:40 GMT+02:00 David Nalesnik :
> Hi,
>
> On Wed, May 24, 2017 at 12:47 PM, Lukas-Fabian Moser wrote:
>> Hi Robert,
>>
>>>
>>> I would tather like to parenthesize these added augmenation dots but I've
>>> not found a way to do that.
>>
>>
>> I don't know how to parenthesize
Am 24.05.2017 um 15:41 schrieb msk...@ansuz.sooke.bc.ca:
On Wed, 24 May 2017, Manuela Gößnitzer wrote:
Which website would that be? AFAIK this here is a mailing list, there is no
website with music sheets.
This is one reason that putting advertising for the LilyPond Web site in
every PDF docume
Am 24.05.2017 um 10:58 schrieb Robert Blackstone:
For two consecutive bars the time seems to have changed, from 6/2 to
5/2, which, as far as I know, was never done in that period.
This makes me think of John Dowland, who used bar lines in his songs,
but quite irregularly (depending on the ‘phr
Hi,
On Wed, May 24, 2017 at 12:47 PM, Lukas-Fabian Moser wrote:
> Hi Robert,
>
>>
>> I would tather like to parenthesize these added augmenation dots but I've
>> not found a way to do that.
>
>
> I don't know how to parenthesize them, but here is a solution yielding
> brackets around them:
You c
2017-05-24 10:58 GMT+02:00 Robert Blackstone :
>
> Dear all,
> I'm transcribing a few handwritten late 17th century fragments of music.
>
> There are a few problematic spots. (Perhaps the composer or writer was in a
> hurry, the whole thing is difficult to read anyway and it contains some
> symbo
Hi Robert,
> I would tather like to parenthesize these added augmenation dots but I've
> not found a way to do that.
>
I don't know how to parenthesize them, but here is a solution yielding
brackets around them:
\version "2.19.44"
#(define (special-bracketify original-stencil len thick protusi
On 5/24/17 7:49 AM, "David Nalesnik" wrote:
>On Tue, May 23, 2017 at 2:51 PM, Kieren MacMillan
> wrote:
>> Hi David,
>>
>>> I would say so. However, the situation is more complicated:
>>
>> #ugh #IsntItAlways
>>
>>> [Simon:] maybe a context property to turn off alignment of dotted
>>>rests would
On Wed, May 24, 2017 at 02:35:57PM +0200, Manuela Gößnitzer wrote:
> IMSLP hosts only free scores, the composer must have been deceased for more
> than 70 years.
It's not that simple at all. IMSLP has music that is copyrighted and relies
on the downloader to not break copyright laws.
For exampl
Hello all,
In the snippet below, I’m trying to have a “fancy header”, where the inside
edge (barline) of the score is aligned with the inside edge of the header, but
the outside edge (barline) of the score is aligned to a line in the header
*outside of which the page number appears*. I’ve tried
Hi, Knute,
Thank you. I will send to frecobaldi as suggested.
Ming
Sent from my iPhone
> On May 23, 2017, at 1:46 PM, Knute Snortum wrote:
>
> You may have gotten no responses because this is off-topic for this list.
> Have you tried the Frescobaldi mailing list?
>
> http://frescobaldi.org/l
On Tue, May 23, 2017 at 2:51 PM, Kieren MacMillan
wrote:
> Hi David,
>
>> I would say so. However, the situation is more complicated:
>
> #ugh #IsntItAlways
>
>> [Simon:] maybe a context property to turn off alignment of dotted rests
>> would be useful?
>
> That sounds like it might work!
>
I
On Wed, 24 May 2017, Manuela Gößnitzer wrote:
> Which website would that be? AFAIK this here is a mailing list, there is no
> website with music sheets.
This is one reason that putting advertising for the LilyPond Web site in
every PDF document by default may not be such a great idea. It makes
Li
IMSLP hosts only free scores, the composer must have been deceased for more
than 70 years. Last time I checked YT was still alive ;-) actually he is
much younger than I am.
I have done engraving of Amelie theme myself for private purposes, I think
the sheet I produced is nicer than Kevin's.
Greet
I can live without it :) It was more a curiosity than a necessity.
Thank you anyway!
g.
On 24 May 2017 at 10:57, Thomas Morley wrote:
> 2017-05-24 9:01 GMT+02:00 Gianmaria Lari :
> > Need again some help about footnote and repeat. Have a look to this
> example:
> >
> > \version "2.19.60"
> > {
Hi List,
doing a quick google search for the title and "sheet music" returns this
link on the first page:
http://www.kevinhabits.com/wp-content/uploads/2014/08/Amelie-theme-Yann-Tiersen.pdf
which was engraved with Lilypond (as noted in the sheet music). I'm
guessing this is the sheet music to wh
May be she was talking about the IMSLP website ?
The best,
Rémy
> Message du 24/05/17 11:10
> De : "Manuela Gößnitzer"
> A : "Sarah Fosdick"
> Copie à : "lilypond-user Mailinglist"
> Objet : Re: Permission for music
>
>
Which website would that be? AFAIK this here is a
Hi Robert,
You can use this definition:
ficta = { \once \override AccidentalSuggestion #'parenthesized = ##t \once \set
suggestAccidentals = ##t }
And use it this way just before the note with an ? : cis4 \ficta cis?
Have a nice day,
Rémy
> Message du 24/05/17 10:59
> De :
Which website would that be? AFAIK this here is a mailing list, there is no
website with music sheets.
Greetings
Manuela
2017-05-24 2:40 GMT+02:00 Sarah Fosdick :
> Hi, I am a piano student, and I have a piano test coming up. I know the
> song "Comptine d'un autre été - L'aprés-midi by Yann Tier
Dear all,
I'm transcribing a few handwritten late 17th century fragments of music.
There are a few problematic spots. (Perhaps the composer or writer was in a
hurry, the whole thing is difficult to read anyway and it contains some symbols
I've never seen before. see screensho.t)
For two consecu
2017-05-24 9:01 GMT+02:00 Gianmaria Lari :
> Need again some help about footnote and repeat. Have a look to this example:
>
> \version "2.19.60"
> {
> \repeat percent 2 {c'8 d' e' f' \footnote #'(1 . 5) "This is a note on
> percent" RepeatSlash }
> \repeat percent 2 {c'4 d' e' f' \footnote #'(1
Hi, I am a piano student, and I have a piano test coming up. I know the
song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the
sheet music off your website, and was wondering if I have permission to use
the music for my coming up piano test?
Thank you!
_
Need again some help about footnote and repeat. Have a look to this example:
\version "2.19.60"
{
\repeat percent 2 {c'8 d' e' f' \footnote #'(1 . 5) "This is a note on
percent" RepeatSlash }
\repeat percent 2 {c'4 d' e' f' \footnote #'(1 . 5) "This also"
PercentRepeat}
}
It works only for t
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