On 29/08/2019 19:53, Jacques Menu wrote:
Hello David,
The other thread was about a score I’m adapting for our oboes band for
concerts to come.
This lead me to compare how various applications import MusicXML, and I
found this difference.
And you’re right, my interest is in the algorithms f
On 19/08/18 08:44, David Kastrup wrote:
Wols Lists writes:
On 19/08/18 00:34, David Kastrup wrote:
As any theoretical physicist will tell you, anything that involves
actual hardware also is maths.
Are you telling me that maths PREscribes reality?
No. Reality's math is inseparable from real
On 27/07/18 11:49, B~M wrote:
Is there please a way to typeset this in Lilypond ?
This is the only time I've seen such notation, so Im guessing its rare ?
Rare for who? Too many people think "I never see it in music I'm
familiar with, so surely nobody uses it ...". I've had this contre-temps
On 29/04/18 00:00, J Martin Rushton wrote:
On 28/04/18 04:46, Karlin High wrote:
On 4/27/2018 8:28 PM, Andrew Bernard wrote:
It falls into the category of alliteration, which abounds in English
As a poetry form, too - "Beowulf" and J. R. R. Tolkien's unfinished work
"The Fall of Arthur" come
7;t...
Cheers,
Wol
On 04/02/18 18:49, Wol's lists wrote:
Okay. You wanted a minimal example ...
But surely, "f4. ~ f4" is clearly something wrong if it's complaining
about an unterminated tie? Yes you might need a bit more information to
debug it, but on the face of it i
David Kastrup wrote:
Wols Lists writes:
On 04/02/18 00:33, David Kastrup wrote:
Wol's lists writes:
I suspect the cause is that I'm mixing slurs and ties, but I'm getting
the following error ...
voiceTrombone.ily:30:59: warning: unterminated tie
\repeat p
I suspect the cause is that I'm mixing slurs and ties, but I'm getting
the following error ...
voiceTrombone.ily:30:59: warning: unterminated tie
\repeat percent 4 { f,8[ r f] f[ r f] } | f4.
~ f4 r8 | a8-> r4
a8-> r4 | a2. | bf2.(
but as
I've just tried to do a cut-n-paste into a piece of music, from
http://lilypond.org/doc/v2.19/Documentation/notation/bars
At the very bottom you'll find
\relative c' {
c1 \mark \markup { \musicglyph "scripts.segno" }
c1 \mark \markup { \musicglyph "scripts.coda" }
c1 \mark \markup { \musi
On 18/12/17 15:08, Kieren MacMillan wrote:
Hi Saul,
\resetRelativeOctave belongs IMO always as part of the definition of a music
expression, ideally on the line directly preceding note entry.
Agreed.
Until it's a repeated phrase, but not necessarily the same octave. iirc
(as I said it's a l
On 23/11/17 18:14, David Kastrup wrote:
The problem, from my point of view, is that lilypond syntax is simple
and makes sense to me. As soon as scheme gets involved, the learning
curve is like hitting a cliff.
The Scheme "involved" here is a music function wrapper. The body of the
music funct
On 23/11/17 17:17, David Kastrup wrote:
Can anybody give me any hints?
I really hate it when people don't even_try_ entering a single note
themselves and leave all the work to every single reader.
Sorry. But it might be a problem someone's already solved, seeing as
it's pretty common in my s
On 17/11/17 16:10, David Wright wrote:
On Fri 17 Nov 2017 at 07:45:58 (-0500), Kieren MacMillan wrote:
Hi all,
[Am 17.11.2017 um 08:55 schrieb Henning Hraban Ramm:]
An apostrophe in German is a sign for something left out like "so’n Ding" (short for "so ein
Ding"), similar to English use
On 15/11/17 20:32, David Kastrup wrote:
David Wright writes:
On Wed 15 Nov 2017 at 11:56:07 (-0500), Kieren MacMillan wrote:
Hi Simon,
A duchess has gender, but I don't see that the word "duchess" has
grammatical gender. How is that expressed?
"The duchess ate her lunch" as opposed to
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