On Wed, 12 Mar 2025, Joerg Zahn wrote:
> It is not my intent to derange this discussion but why in the nether hells
> does the first line in those scores always have an indentation.
> I see no way of preventing this indentation.
That is how music is traditionally formatted, and other engraving sy
On Sat, 1 Mar 2025, Gianmaria Lari wrote:
> I researched the issue a bit before posting and understand that the warning
> is appropriate in my situation.
> I was wondering if it's possible to inform Lilypond that I'm aware of it and
> would like to suppress the message. Is that possible?
I don't
On Sat, 1 Mar 2025, Gianmaria Lari wrote:
> this code compiles with this message: warning: articulation failed to steal
> 9/320 note backward at beginning of music; stealing forward instead. If I
> understood correctly it's an old bug. But I don't know how to solve it.
Historical performance pra
On Sun, 15 Dec 2024, Trevor Bača wrote:
> Is what's being communicated here that (for technical reasons) users won't
> *ever* be able to visit a single page of documentation somewhere and see all
> the properties that affect a grob?
Three ways to go:
* List only properties that are defined on th
On Fri, 13 Dec 2024, Thomas Morley wrote:
> > Otoh, NoteColumn has grob-interface as well (ofcourse), overriding
> > NoteColumn.color takes no effect.
> And here NoteColumn.color works:
> it's far from trivial to say which property may work or not.
> _If_ something reacts on a property, then it
On Fri, 13 Dec 2024, David Kastrup wrote:
> Creative quoting games. I am out.
I wrote this:
But one might well also ask, if there are useless properties with no
effect, then why are there useless properties with no effect, and isn't
the fact that such properties exist a much bigger pro
On Fri, 13 Dec 2024, David Kastrup wrote:
> > But one might well also ask, if there are useless properties with no
> > effect,
>
> Straw man. There are no such properties.
Then why are you so concerned about whether they'd be listed?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca Pe
On Fri, 13 Dec 2024, David Kastrup wrote:
> >> I don't see how it is a great idea to list properties that may not
> >> affect a grob at all in the documentation of a grob.
> >
> > Excuse me?
> >
> > Can you please elaborate just a little bit more on what you're
> > thinking?
>
> Why would you want
On Wed, 30 Oct 2024, msk...@ansuz.sooke.bc.ca wrote:
> own specific use case. It may be that what I need to do is implement my own
> postprocessing for that rather than trying to do it natively in Lilypond.
Further to this: after doing some more experiments, I've found that the
synthesizer I wa
On Wed, 30 Oct 2024, Graham Breed wrote:
> It's possible to use post-processing to convert the pitch bends into MIDI
> Tuning Standard messages. These can be understood by Timidity and potentially
> FluidSynth and hopefully others. More details and scripts here:
>
> http://x31eq.com/lilypond/
T
On Wed, 30 Oct 2024, Lukas-Fabian Moser wrote:
> Yes, that's a known limitation and drawback of LilyPond's microtonality
> implementation. Some time ago, I managed to change this in a local
> branch of mine (cf.
Thanks for the response.
>From my point of view the main issue I want to solve isn't
I'd like to engrave music with quarter-tones in Lilypond, and generate
MIDI that will sound correct when played. Lilypond is supposed to support
that but I've run into some issues with actually doing it.
First: quarter tones are implemented by emitting the nearest 12-ET note
and a quarter-tone p
On Mon, 28 Oct 2024, Cameron Hall wrote:
> Is there any way to apply dynamics to a single part that splits into
> multiple voices? Here's a short excerpt of a piano piece. The dynamics,
Move "Dynamic_performer" from Voice to Staff context. This will make it
harder to have separate dynamics for d
On Tue, 15 Oct 2024, Sebastian Menge wrote:
> I came up with the following (hardly minimal) example. Lily gives me many
> warnings, so I wonder if I could make it better - and easier.
Here's what I get by trying to clean up your code; your code in the first
score for comparison, followed by my ve
On Fri, 11 Oct 2024, Peter Chubb wrote:
> The syntax of repeat is:
>\repeat TYPE MUSIC ALTERNATIVES
> So when you have:
>\repeat volta 2 {
> \repeat unfold {}
> \alternative {
> }
>}
> The alternatives are attached to the unfolded repeat, and get unfolded.
That's the
On Mon, 7 Oct 2024, Thomas Morley wrote:
> \once\override Score.BreakAlignment.break-align-orders =
>#(make-vector 3 '(left-edge
> cue-end-clef
Thanks!
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.s
I have a volta repeat with two endings. There is a clef change during the
first ending; so at the start of the second ending it's necessary to print
another clef to indicate the clef in force at the start of the ending.
Lilypond by default will print the new clef before the repeat barline that
se
On Sun, 29 Sep 2024, Walt North wrote:
> What would be the correct way to code the following case?
>
> I have a repeated section. The first alternative volta has a couple of
> measure before going back to the repeat. The second volta should just carry
> on with the remainder of the piece. I'd l
On Sat, 28 Sep 2024, Aaron Laws wrote:
> \version "2.24.4" \include "articulate.ly" \articulate { c'4. e'8 g'2 | c''1
> }
>
> has the absurd output:
>
> image.png
>
> The compilation output doesn't report any errors. Is this (added time)
> expected?
Yes. There isn't really any "added time." If
On Mon, 23 Sep 2024, Werner LEMBERG wrote:
> See
>
> https://gitlab.com/lilypond/lilypond/-/issues/902
Yes. There are several different issues involved here - choosing the page
breaks based on both parts; engraving each part with exactly those breaks
even though they are not the breaks that wo
On Mon, 23 Sep 2024, David Sumbler wrote:
> Is there a way that I can take *total* control of page breaking?
I don't have a solution to offer but will comment that this is an issue I
also ran into recently while trying to engrave parts for piano four hands.
These are usually printed on alternatin
On Thu, 19 Sep 2024, Lucas Cavalcanti wrote:
> Hello, fellow lilypond users!
>
> Is it possible to use the segno and volta commands in lilypond to generate a
> file like this screenshot below?
I think this works:
\new Staff {
c''1 | d''1 | e''1 | f''1 | \break
\repeat volta 3 {
\mark \ma
On Fri, 13 Sep 2024, David Kastrup wrote:
> > it. In any case, it seems clear the code is *not* intended to use
> > 9/40 of the notated duration, which is what happens after the commit I
> > highlighted.
>
> Vocal method from Nicola Vaccai: [100% of notated duration]
Again much longer than 9/40
On Fri, 13 Sep 2024, l...@chubb.wattle.id.au wrote:
> he says, 'The usual rule of duration for appogiaturas is that they
> take from the following tone of duple length one half of its value,
> and two-thirds from one of triple length'.
Current articulate.ly says in code comments that it uses half
On Thu, 12 Sep 2024, msk...@ansuz.sooke.bc.ca wrote:
> It's not clear to me from the description of that issue what the issue
> actually is. There is one sentence describing the grace music data
> structure but no other text.
Further to this: I wonder if what's really going on is an issue with
On Thu, 12 Sep 2024, Werner LEMBERG wrote:
>
> > I'm still hoping for a response to this, if only to confirm whether
> > others see the change in behaviour and that it's not something
> > unique to my installation. [...]
>
> I don't have time to investigate this further, sorry (and I'm rather
> p
I'm still hoping for a response to this, if only to confirm whether others
see the change in behaviour and that it's not something unique to my
installation. I'm pretty sure that what 2.25.19 is doing is wrong. The
documentation still says that an appoggiatura "takes a fixed fraction of
the main
My understanding of the intended behaviour of articulate.ly and
\appoggiatura is that the contents of \appoggiatura, whether it's a single
note or multiple notes, will be scaled to consume one half of the notehead
duration of the following note, excluding dots.
But since installing 2.25.19, my app
On Sat, 8 Jun 2024, Paul Scott wrote:
> I can't quickly find any examples in printed music that has the redundant
> segno mark. D.S. aleady means "dal segno" or "from the sign."
>
> I don't have a copy of Gould but Wikipedia and other sources on the Internet
> agree with me.
For what it's worth,
On Sat, 11 May 2024, Giles Boardman wrote:
> I have now been more systematic in my approach and conclude that \key is not
> reflected in MIDI output. I tried various positions for events and in each
Well, it definitely is reflected in the output in my own tests. The
example code I posted, when r
On Sat, 11 May 2024, Giles Boardman wrote:
> When I create MIDI output from Lilypond, if I have imported a MIDI file and
> then resaved it with changes made in LilyPond, the output is like that, too.
Lilypond as such does not import MIDI files. I think you must be using
some piece of software ot
On Fri, 10 May 2024, Hans Åberg wrote:
> > signature. The MIDI file does not contain that information; it is up to
> > whatever software reads the MIDI file, to display it appropriately.
>
> So to go back to staff notation from MIDI, one must know what enharmonic
> equivalences that have been app
On Fri, 10 May 2024, Hans Åberg wrote:
> Programs like ABC work so that one writes the music without accidentals,
> and then apply a key signature to get them. It was my reading that the
> OP asked for that.
Okay. I didn't read it that way because the OP said he was getting
correct output in the
On Fri, 10 May 2024, Hans Åberg wrote:
> To change the MIDI output, you will need to change the notes, say by
> transposing or something else.
MIDI files can include events ("key-change meta messages") for key
signatures, each specifying a root and whether it's major or minor (which
actually make
On Mon, 29 Apr 2024, Kevin Cole wrote:
> "predefined-guitar-ninth-fretboards.ly" get the job done. But on a few
> occasions I've had to resort to studying some online tutorial and
> constructing the diagrams from scratch.
Not a complete solution, but my chord database at
https://files.northcoa
On Sat, 20 Apr 2024, David Olson wrote:
> I'm a lyric poet writing songs about science.
>
> "CO2" is three syllables and often works better than "carbon dioxide".
>
> It's acceptable even if "2" doesn't appear as a subscript (one sees this
> usage frequently), but subscript would be cool.
>
> A s
On Thu, 14 Mar 2024, Jean Abou Samra wrote:
> > “This sounds like a job for… Custom Engraver!!” :)
>
> #(define (Custom_engraver!! context)
>(define (format-time seconds)
Thanks! I haven't tested this extensively, but so far it looks like it
works well.
--
Matthew Skala
msk...@ansuz.sooke
Is there any easy way to find out the time in seconds from the start of a
score to a specified point, corresponding to the timing of the MIDI
output? I can count measures and do math on the tempo, but that's
less than ideal in the face of multiple tempo changes. Another idea would
be to just cut
On Fri, 19 Jan 2024, Werner LEMBERG wrote:
> This is a limitation of MIDI: You can only have a single pitch bend
> per time step per channel. LilyPond's rather primitive MIDI 1.0
> output provides no means to circumvent this limitation.
I've sometimes gotten good use out of LilyPond code from ot
On Wed, 17 Jan 2024, Martin Brown wrote:
> To answer my own question, I've fudged this with:
> \omit MultiMeasureRestNumber at the start of the bass line
> \override MultiMeasureRestNumber.Y-offset = -5 at the start of the
> treble line
> but that seems a bit fragile. Eg. if the staves nee
On Thu, 11 Jan 2024, Wol wrote:
> You need to remember lilypond thinks in terms of pitch, not note names. Unlike
> some (most?) other music software. So "\transpose g e" says "transpose EVERY
> note up A TONE".
I'm not sure it's quite right to say that Lilypond thinks in terms of
pitch, not note
On Wed, 10 Jan 2024, Raphael Mankin wrote:
> That strikes me as being a programmer's response, and I speak as a programmer
> for over 50 years. Using <> works, but it is unintuitive. If s0 is more
> intuitive then that should be considered for future inclusion.
It's intuitive to me that s0 means
On Fri, 5 Jan 2024, Dr. Arne Babenhauserheide wrote:
> > intermediate "files" will be written to and read from the buffer cache at
> > RAM speed and only later go to the disk in the background.
>
> That depends on the file system and its synchronization model. I once
> sped up a script to control
On Thu, 4 Jan 2024, Volodymyr Prokopyuk wrote:
> My motivation behind using lilypond in a pipeline is to speed up PDF
> generation by avoiding storing intermediary files on disk. The pipeline I'd
Is that issue real? In Linux and most other operating systems,
intermediate "files" will be written
On Mon, 1 Jan 2024, Kevin Cole wrote:
> What I mean is, I often have a situation where there's only a wee bit
> o' text occasionally, above the staff. But I frequently have
> ChordNames. It seems to me that the ChordNames would be better placed
> below the occasional text, and I was hoping that, r
On Tue, 5 Dec 2023, Jan wrote:
> What is the recommended method to “hide” chord names for a couple of
> measures? For example, in the snipped below I’d like to hide the chords for
> measures 5 to 8.
Depending on exactly how you're generating the chord names in the first
place, it may be easy to
On Wed, 22 Nov 2023, Werner LEMBERG wrote:
> Please check the looong list of bugs related to `\articulate` whether
> it has already been reported.
Seems to be #3696, reported - by you - in 2013.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.
This fails in 2.24.1 with messages about mid-measure time signature
change and failed barcheck:
\include "articulate.ly"
\articulate
{
\time 4/4
c'1 |
\time 3/2
\grace d'8 c'1. |
}
Succeeds if \articulate is not used. I can work around it by tagging MIDI
and non-MIDI versions of the musi
On Fri, 6 Oct 2023, Werner LEMBERG wrote:
> Thanks. I think it's ghostscript – there are no pre-built packages
> available either. While LilyPond doesn't link to it in normal builds,
> gs is needed for converting LilyPond's EPS output files to PDF. In
> other words, a MacPorts user still needs
On Sat, 16 Sep 2023, Knute Snortum wrote:
> Try moving the Dynamic performer to the Staff level.
Cutting and pasting this code produces two pages of error messages because
it's full of "non-breaking space" characters which LilyPond can't process,
but I was able to get the desired results by re-t
On Sat, 16 Sep 2023, David Kastrup wrote:
> > With the following code, the notes in the MIDI file still are both at
> > default velocity. Explicitly instantiating the Staff does make a
> > difference in the visual output.
> >
> > MyMusic = { c'1 c'1 }
> > MyDynamics = { s1\ppp s1\fff }
> >
> > \sc
On Sat, 16 Sep 2023, David Kastrup wrote:
> Try
>
> \new Staff << \MyMusic \MyDynamics >>
>
> since otherwise the variables will end up in separate Staff contexts.
With the following code, the notes in the MIDI file still are both at
default velocity. Explicitly instantiating the Staff does make
I'm trying to use a Dynamics context to put dynamics between the staves of
a PianoStaff. As such, I've got my notes and my dynamics in two separate
variables. For MIDI output, I'd like to merge the contents of the music
variable and the dynamics variable and generate MIDI from the result.
But I c
On Sun, 9 Jul 2023, Knute Snortum wrote:
> note out of the other hand. This is why I suggested that the MIDI performer
> could ignore \parenthesize notes. Would this create a pile of workarounds
> for you?
Not as long as I don't use \parenthesize. But I think it's preferable not
to have a pres
On Sun, 9 Jul 2023, David Wright wrote:
> players. But that's the problem here. When two real voices happen on
> the same note, the result doesn't sound like one louder voice, yet
> that's the effect you get from MIDI,¹ where the "two" voices are
Not on *my* MIDI synthesizer. Two notes are two n
On Sun, 9 Jul 2023, Knute Snortum wrote:
> In the MWE the instrument is a piano, so you wouldn't want the note to sound
> louder than the surrounding notes, because the doubled note is played by
> only one hand. But I can see this might be a problem if the two staves were
> for two voices. Maybe
On Sun, 9 Jul 2023, Knute Snortum wrote:
> I'm not sure exactly how one would deal with this problem, other than with
> tags. Maybe \parenthesize could not produce MIDI output? Or is there a way
Is that a problem? If these are two notes in different MIDI channels,
then the MIDI output is just
On Wed, 31 May 2023, Gilles Thibault wrote:
> Not hardly tested but this should work :
Thanks for looking at it further. I hate to impose on you because I've
already decided to solve this problem in external postprocessing of the
MIDI files, so I hope you won't put a lot of effort into trying to
On Mon, 29 May 2023, Gilles Thibault wrote:
> chord.ly has been renamed to chordsAndVoices.ly (it deals also now with
> Voices)
> You can donwload it here :
Thanks a lot!
As far as I know, the new version works fine. The problem in the old
version was just because of the non-breaking spaces in
On Sat, 27 May 2023, David Kastrup wrote:
> which contains a delirious number of unbreakable spaces, code \xa0
> instead of \x20 as for a normal, breakable space.
Thanks! Correcting these seems to have fixed the problem, at least for
the moment.
I don't know why the old version needed *some* of
On Sat, 27 May 2023, Jean Abou Samra wrote:
> Are you sure that this is the correct example? That the file chord.ly it
> uses is the same as the one you sent? That LilyPond is the one you believe
> and unpatched, etc. ?
Yes, using the chord.ly file I attached to my message, extracted from the
mes
Back in 2015 people on the list helped me with extracting notes from
chords, in this thread:
https://lists.gnu.org/archive/html/lilypond-user/2015-09/msg00394.html
The solution from 2015 has broken now, in the transition between versions
2.21.0 and 2.24.1. I think it's because of changes in Gu
On Fri, 25 Oct 2019, Andrew Bernard wrote:
> complex part of this, along with SPF and DKIM. The change that is being made
> here is clearly necessary to me, and explains some of the list issues people
> were having lately. Sadly, it's probably unintelligible to non-experts.
I run a mail server too
On Thu, 24 Oct 2019, sysad...@gnu.org wrote:
> Any list administrator for this list is free to change these settings
> back, instructions are below.
I hope that it will be changed back. The subject tag is useful for
automatic categorization of incoming messages.
--
Matthew Skala
msk...@ansuz.so
On Tue, 15 Oct 2019, Martin Tarenskeen wrote:
> On Mon, 14 Oct 2019, msk...@ansuz.sooke.bc.ca wrote:
>
> > There are free soundfonts available, and other commercial ones for sounds
> > other than piano, but I don't have specific recommendations.
>
> You will need a General Midi (GM/GS/XG) compatibl
On Mon, 14 Oct 2019, Lisa C Lewis wrote:
> It appears that LilyPond only creates MIDI output. Given that I need to
> share the audio with other people who may not have MIDI players, is
> there a means of generating MP3 files? If not, what do folks recommend
> for converting MIDI to MP3? I've loo
On Mon, 30 Sep 2019, David Kastrup wrote:
> The respective lines in lily/lexer.ll read
>
> A [a-zA-Z\200-\377]
> SYMBOL{A}([-_]{A}|{A})*
> COMMAND \\{SYMBOL}
Interesting that this disagrees with the item from the Notation Reference
cited elsewhere in the t
On Mon, 30 Sep 2019, Andrew Bernard wrote:
> The grammar is in Appendix A of the Lilypond Contributor's Guide.
Thanks. How about the definitions of the terminals, such as STRING
and SYMBOL?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca
On Sun, 29 Sep 2019, Thomas Morley wrote:
> > What characters are allowed in variable names?
>
> From NR:
> "The name of a [LilyPond-]variable should have alphabetic characters
> only; no numbers, underscores or dashes."
Thanks. I had a hard time finding this in the manual.
> Note the "yet"!! It
What characters are allowed in variable names?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
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lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypo
On Fri, 20 Sep 2019, sir.teddy.the.fi...@gmail.com wrote:
> Why does lilypond add these links and is there a way to prevent it from
> doing so?
Use the "-dno-point-and-click" option on the command line when you run
LilyPond to turn off these links. The links are intended to make it
easier to open
On Wed, 12 Jun 2019, David Kastrup wrote:
> > LaTeX users are accustomed to writing macros in a Turing-complete language
> > with, for instance, if statements.
>
> LaTeX or TeX users?
I said LaTeX users because you did, but the statement is true about both.
TeX users were the original topic of thi
On Wed, 12 Jun 2019, David Kastrup wrote:
> > nor conceptually TeX-like, despite the fact that it uses backslashes.
>
> It's a batch processing system with plain text input syntax. That makes
> for workflows not unaccustomed to LaTeX users. By the way, it did
LaTeX users are accustomed to writin
On Wed, 12 Jun 2019, ah wrote:
> ... using a TeX-based or TeX-like (free) music composition system, if
> available and doing all programming, templating etc. in this myself.
> Advantages: platform independent and free.
Lilypond is not TeX-based nor conceptually TeX-like, despite the fact that
it u
On Thu, 9 May 2019, Malte Meyn wrote:
> Am 09.05.19 um 16:53 schrieb msk...@ansuz.sooke.bc.ca:
> > Is there any simple way to modify the vertical spacing between numerator
> > and denominator in a numeric time signature?
> >
>
> Not really simple. But it can be done by redefining the stencil:
Than
Is there any simple way to modify the vertical spacing between numerator
and denominator in a numeric time signature?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
___
lilypond-user mailing l
On Tue, 7 May 2019, Adam Good wrote:
> I'm baffled by bar lines. In the example below, I would like for the f1 bar
> to use a "final" bar line as in \bar "|." the \break then on the next line
> begin with a repeat sign. The manual doesn't hint at this
>
> http://lilypond.org/doc/v2.19/Documentation
On Sat, 13 Apr 2019, Gianmaria Lari wrote:
> \tag #'testOne a
> \tag #'testTwo b
> ~
> \tag #'testOne a
> \tag #'testTwo b
>
> }
>
>
> But then why lilypond removes the tie? Shouldn't just remove the expression
> following testTwo that is "b" ?
The tie is not a separate objec
On Tue, 1 Jan 2019, Andrew Bernard wrote:
> American floors: 11 12 14 15
> English floors: 11 12 13 14
>
> I saw this a lot when I worked in new York.
I think this custom has persisted in the USA because large buildings need
to have "mechanical" or "service" floors not directly visited by the
regu
On Sun, 2 Dec 2018, David Kastrup wrote:
> Have you looked at tags?
Please read my messages before responding to them.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
http://ansuz.sooke.bc.ca/
___
lilypond-user mailing
On Sun, 2 Dec 2018, David Sumbler wrote:
> > But MusiXTeX can do "if" statements.
> I felt that an "if" would be useful, so I eventually came up with:
That is useful for conditional includes, but it can't be embedded in the
data structure that LilyPond calls "music" and stores in variables. As
s
On Sun, 2 Dec 2018, David Kastrup wrote:
> is hard. At least LilyPond is a better starting point than MusiXTeX.
But MusiXTeX can do "if" statements.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
http://ansuz.sooke.bc.ca/
___
On Tue, 25 Sep 2018, Jogchum Reitsma wrote:
> Restoring this from the first bars affected by adding or deleting apostrophes
> or comma's, sometimes lead again to side effects. Rather frustrating...
>
> Is there a way to prevent this?
Are you using relative mode? I only use absolute, myself; every
On Fri, 16 Feb 2018, Karlin High wrote:
> Have you ever seen Luc Devroye's "On Snot and Fonts" website, with info on
> over 70,000 fonts? Looks like he picked up the Vintage Type collection at some
> point.
Yes, I'm even listed in there myself. Great resource. Doesn't look like
he has more recen
On Fri, 16 Feb 2018, Shane Brandes wrote:
> Got it to work. Figured out you can change to what ever font you want
> in the sty file. Lessening the the grayscale variability and some of
> the other variables with the use of a historical font yields really
> convincing period style documents. This is
On Thu, 15 Feb 2018, Torsten Hämmerle wrote:
> Let me assure you that Urs is right: in Germany, without any doubt, there is
> no double space.
> It says that there is only ONE space after punctuation marks according to
> German standards.
> Finally Associated Press Stylebook (!): "Use a single sp
On Thu, 15 Feb 2018, Urs Liska wrote:
> > that may not be standard for proportional typesetting (even LaTeX's
> > standard 1.33 factor is no longer popular) but the double-width sentence
> > space was universal in typewritten texts when typewriters were common.
> >
>
> Are you sure this is not rela
On Thu, 15 Feb 2018, Urs Liska wrote:
> Sorry for the OT post, but I just have to share this new LaTeX package:
> http://www.ctan.org/pkg/typewriter
>
> I really hope I'll find an opportunity to use it soon:-)
Cute. For the genuine typewriter feel, it's important for the
between-sentences space t
On Tue, 30 Jan 2018, David Kastrup wrote:
> > as closely as possible I don't want to substitute quarter-tone symbols. Is
> > there a simple way to insert arrows in place of accidentals? Playback is
> > not an issue.
>
> Quarter notes wouldn't work anyway since you'd not be able to
> distinguish a q
On Fri, 17 Nov 2017, Brett M. Gilio wrote:
> How many Linux users are out there in the Lilypond community? Do any of
> you use other type-setting software such as LaTeX or Csound rather than
> graphical tools?
One here. I'm not sure Csound qualifies as typesetting software, but I
use it often for
On Fri, 17 Nov 2017, J Martin Rushton wrote:
> There is a similar issue with the "apologetic apostrophe" in Scots.
> From the 18thC to mid-20thC writers inserted apostrophes where Scots
> didn't have a consonant that English does. For instance the English
> word "give" is equivalent to the Scots w
On Wed, 2 Aug 2017, Daniel Sanmartín Nieto wrote:
> Is it possible to get a .txt output with a listing of text inputs written
> throughout the music file?
Does this have to be done all in Lilypond? Because it would be trivial to
write your bits of text as comments with "%" and then extract them
i
On Mon, 17 Jul 2017, Tom Swan wrote:
> Hi. How do I change the chord name to just D13, not D9 13, as in the
> following snippet? This is probably rudimentary, but I'm a bit rusty and
> just getting back into lp. Thanks. -- Tom
Looks like the use case for this thread:
http://lilypond.1069038.n5.
On Wed, 5 Jul 2017, Thomas Morley wrote:
> So I tried a proof of concept, although I'm not convinced of the idea
> to have chords as markup only.
Thank you! This seems to be a big improvement and I hope it'll reduce the
perennial confusion people have with chord names, if we can simply point
them
On Wed, 21 Jun 2017, caag...@gmail.com wrote:
> On 06/21/2017 11:10 PM, Johan Vromans wrote:
> > If you have a non-infinite recursive include it will continue.
>
> I think that would require solving the Halting Problem first.
That's true if it has to determine whether the recursion is infinite, bu
On Wed, 21 Jun 2017, Johan Vromans wrote:
> Instead of aborting, LP could issue a warning that it detected a circular
> include. If it then hangs, you have a clue what is going on. If you have a
> non-infinite recursive include it will continue.
If it's only a warning (we need not get back into th
On Wed, 21 Jun 2017, Simon Albrecht wrote:
> It would be even better, I think, if Lily noticed the circular dependency and
> aborted with an informative message instead of just running on forever.
This may be a problem if there's any possibility of an include being
conditional. Then, someone coul
On Wed, 21 Jun 2017, Michael Käppler wrote:
> foo.ily:
> \include "bar.ly"
> bar.ly:
> \include "foo.ily"
> Am I right to consider this a bug?
I don't think so - at least not a bug in Lilypond. It's just doing what
you told it to do, and most other language parsers that have an "include"
facili
On Wed, 21 Jun 2017, Urs Liska wrote:
> Do you think you can come up with a topic that actually relates to music
> notation and still allows you to introduce your article? As it is I'm not
I would advise caution here. It sounds to me like the person didn't know
she was writing to a mailing list,
On Fri, 26 May 2017, Kieren MacMillan wrote:
> And I must say, I see his point: your implication seems to be that the
> tolerance the “ordinary user” apparently has for working in a
> notoriously uninviting and unfriendly [other people’s words, not mine!]
> non-GUI-based batch-processed music engra
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