Hi list,
Engraving some variations, I'd like every first line of a variation
indented, like it is in most editions. (see
I could use new \score for each variations, but I think measure number
should be continuous. As it is complicated (see :
http://lilypond.1069038.n5.nabble.com/Continuous-numberi
Hello all,
Thanks Paul for this news, I’ll be there too!
Regards,
Calixte
2015-04-30 20:53 GMT+02:00 Mike Solomon :
> Hey all,
>
> Just a note that I’ll be there too for a gig with the ensemble 101 at 5:40
> at the Ircam on the 29th that will be presenting some algorithmic
> composition methods
li lo
la li lo
}
<<
{\autoBeamOff \music}
\addlyrics {\words}
{\beamsToSlurs \music}
\addlyrics {\words}
>>
Regards,
Calixte.
2015-04-28 3:44 GMT+02:00 Paul Morris :
> Calixte Faure wrote
> > Traditionally, vocal scores are written without beams, except for
> melisma.
Hi all,
For me one of the biggest advantage of Mutopia (as a singer) is the
possibility of transposing songs in every tones!
Some years ago I submitted a few *mélodies* on Mutopia. My coding policy
was tweaking the least, that for two reasons :
1) I thought the file is more maintainable with only
I think the question is more: “will machines be able to engrave scores that
don’t need tweaks or human correction at all.”
Maybe, but in my opinion — except if you implement something like an AI —
it will never have the difference that makes traditional engraving so
lovely (everything is not perfec
We call it massicot in French, I just found out it comes from its inventor
Guillaume Massiquot: seems that French people like creating cutting
machines! :D
2015-04-23 14:42 GMT+02:00 Kieren MacMillan :
> Hi Karl,
>
> > a good paper cutter (what's the right word?)
>
> Guillotine. =)
> Yes, I’m se
I learned music in French (native French) and was at the beginning a little
bit confused with 2 4 8 16 etc. because we say white, black, "hooked",
double-"hooked", triple-, etc. but after all it is logical with the
numbers.
I understood the choice of 2 4 8 16 during an exchange semester in Germany
Depends on how you type your files and read music, I guess. As a singer I
learned reading music relatively so it is more natural for me and i
exclusively use \relative mode. But I agree there are limitation like
Kieren second example with split voices: I always expect the note before
the split to b
2015-04-22 20:07 GMT+02:00 Kieren MacMillan :
> Someone spoke of python being able to translate between parallel and
> non-parallel music. Wouldn’t it be great to have a tool where you could:
> 1. Say “Given the current Lilypond file being outputted, show me ‘in
> parallel’ [whatever that mean
Hi all,
I always wondered why Lilypond was defined as a program (
http://www.lilypond.org/) for me it is more (should be) a descriptive
language, that several programs can interpret.
As Lilypond is above all an engraving program, I don’t think we should work
on composing tools. Let this kind of fe
Hi Joram,
You can either use brackets : { a8 a16[ a] a a a a }
But I guess you want it automated in every measure, so you have to override
the beatSturcutre:
{
\overrideTimeSignatureSettings
#'(4 . 8) % timeSignatureFraction
#'(1 . 16)% baseMomentFraction
Hi Andrew,
See here :
http://lilypond.org/doc/v2.18/Documentation/internals/tupletnumber
\override TupletNumber.avoid-slur = #'outside
Regards,
Calixte.
2015-04-19 6:22 GMT+02:00 Andrew Bernard :
> How to get a slur inside a tuplet bracket, that is, closer to the notes
> that the tuplet bracke
re is a bar line.
Thanks again! and sorry for the « undefined » title…
Regards,
Calixte.
2015-04-17 16:38 GMT+02:00 Paul Morris :
> > On Apr 17, 2015, at 5:05 AM, Calixte Faure
> wrote:
> >
> > and a magic command (say \beamToSlur) would switch [ ] to ( ).
>
> Hi Cal
column (upp downp)))
>
>
> \relative c' {
> \compoundMeter #'((2 8) (3 8))
> \override Staff.TimeSignature.stencil = #(time-parenthesized-time "2"
> "8" "3" "8")
> c8 d e fis gis
> c8 fis, gis e d
> c8 d e4 gis8
> }
>
Hi everyone!
Traditionally, vocal scores are written without beams, except for melisma.
But modern scores tend to keep beams everywhere and put slurs to indicate
melisma.
Is it possible to have both output with one source, without complicating
the typesetting?
I have this in mind :
vocal = \rela
I’d love to contribute to!
Calixte.
2015-04-17 0:18 GMT+02:00 Shane Brandes :
> For the time being I could participate in such an endeavor.
>
> Shane
>
>
>
> On Thu, Apr 16, 2015 at 2:03 PM, Urs Liska wrote:
> > Hi all,
> >
> > this is more or less hypothetical and nothing to be excited
> > abo
Hi everyone,
When printing my score, the horizontal line of the plus sign (+) of a
compoundMeter is almost as fat as the central line of the staff.
So: is there a way to make the plus sign bolder?
Thanks a lot!
Regards,
Calixte.
___
lilypond-user maili
Hi lilyponders,
On the score I’m engraving there is repetitively measure of 2 and 3 fourths
(like \repeat unfold 10 {\time 2/4 s2 \time 3/4 s2.})
I’d like to have one time signature 2/4+3/4, but with bar lines every 2 and
3 fourths. Using \compoundMeter #'((2 4) (3 4)), bars come only every 7
four
Hi everyone,
Using \RemoveEmptyStaves, is there a way to print the shortInstrumentName
only when a Staff reappears.
To go further, is there a way to know when a Staff reappears, and then add
a markup with the InstrumentName instead of shortInstrumentName?
I’d like to automate what it used to be in
Hi Nathan, thanks for answering,
2015-03-25 22:48 GMT+01:00 Nathan Ho :
>
> I'm a little unclear on what you're asking for and what your
> motivations are. It seems that you want to enter { c f g } into
> \chordmode, and have the music events generated as if you entered { c
> f/a g/b }, but then
Hello Lilyponders!
Typing \chordmode{ c f g } produces { }, would it be
possible to define that \chordmode{ f g } should be { } for
all the piece?
I know i could use \chordmode{ f/a g/b } but i wish to simplify the input,
and ChordName to print F G and not F/A G/B.
Thanks for your advices!
Rega
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