Dear all,
about 15 years ago there has been a question on (or "request
for") a four bar percent repeat mark.
As far as I see this has not yet been implemented in Lilypond
possibly due to lack of user interest. Nevertheless note that
this seems to be a common notation especially in a jazz or po
Dear all,
thanks for the explanations!
I understand the pragmatics behind the decision to have the dynamic
performer at the voice context, because of the possible usage for
parallel and independent instruments.
But I am still not convinced: as Maurits has pointed out, nothing in the
syntax sug
Hello Aaron,
thanks for the quick and detailed answer!
You wrote:
> The Dynamic_performer is part of the Voice context; and the
> construct << ... \\ ... >> implicitly creates new Voice contexts.
That is what I had assumed: the voice context _initializes_ its dynamics
to the default value rega
Dear all,
I am using lilypond as the frontend for audio production and now I have
a problem where I do not understand lilypond's internal logic for
transferring MIDI settings into embedded contexts.
The file
-
\version "2.19.82"
\score {
<<
\new Staff = piano \with { midiInstru
Dear all,
> [comparison of Knut Petersen's mkvideo vs.
> ly2video]
There is also another python script written by me
and mentioned in a message in this group from
March 6th. Funnily it seems to be a mixture of
the approaches of Knut Petersen and ly2video.
Advantages:
+ runs on _any_ platform
Dear Joram, dear Richard,
thanks for the hints and for your nice comments! It seems
that a lot has improved since my first attempt in 2006 with
lilypond, timidity and avisynth.
I wrote:
> > [video rendering from lilypond has some limitations]
> > Another disadvantage is that tempo changes must
Dear all,
for my practising and stage usage I developped a tiny
toolchain based on lilypond.
Starting from a lilypond file an MP4 video is produced
playing the music (or part of) and showing the score (or
part of) with page turning synchronous to the music. As an
additional aid, a (soft) subtit
