Thanks David!
JM
> Le 26 avr. 2021 à 16:45, David Kastrup a écrit :
>
> Jacques Menu writes:
>
>> Hello folks,
>>
>> What was the version number that swapped:
>>
>> \note {4}
>>
>> and :
>>
>> \note #”4"
>
> From python/convertrules.py:
>
> @rule((2, 21, 0), r"""\note #"4." ->
Jacques Menu writes:
> Hello folks,
>
> What was the version number that swapped:
>
> \note {4}
>
> and :
>
> \note #”4"
>From python/convertrules.py:
@rule((2, 21, 0), r"""\note #"4." -> \note {4.}
\markup-command #" -> \markup-command "
\partcombine* -> \partCombine, \autochange -
Hello folks,
What was the version number that swapped:
\note {4}
and :
\note #”4"
Thanks!
JM
Haha! Hermann von Helmholtz was anything but humdrum! :)
-David
Jacques Menu writes:
> Hello Andrew and David,
>
> Thanks a lot, I had mistaken Humdrum for Helmholtz!
>
> JM
>
>> Le 18 avr. 2021 à 19:22, David Zelinsky a écrit :
>>
>> Jacques Menu writes:
>>
>>> I seem to have read somew
That's what I mean. It's a natural notation that arises often. But
Helmholtz was not concerned with duration for notation., so he only
covers pitch.
Andrew
David Zelinsky wrote on 19/04/2021 3:22 AM:
I don't know the history of Lilypond's development. But the notation is
very similar to t
Hello Andrew and David,
Thanks a lot, I had mistaken Humdrum for Helmholtz!
JM
> Le 18 avr. 2021 à 19:22, David Zelinsky a écrit :
>
> Jacques Menu writes:
>
>> I seem to have read somewhere that the notation such as c’4.. has been
>> inspired by another well-known syntax, maybe refering to
Jacques Menu writes:
> I seem to have read somewhere that the notation such as c’4.. has been
> inspired by another well-known syntax, maybe refering to Humdrum.
>
> Does anyone know more about this?
I don't know the history of Lilypond's development. But the notation is
very similar to that de
What I saw was:
"Humdrum was originally created by David Huron in the 1980s, and it has
been used steadily for decades."
From:
https://www.humdrum.org/
Andrew
David Kastrup wrote on 17/04/2021 8:55 PM:
Cannot find info on Humdrum's age on its web site. Basic notename
syntax of LilyPond w
Andrew Bernard writes:
> I don't think so. Considering you need a pitch name, a duration, and
> an octave indication (depending), this syntax is entirely natural and
> it is no surprise it may occur in many programs. It's a natural idea,
> spontaneously arising many times.
>
> Well, Humdrum preda
I don't think so. Considering you need a pitch name, a duration, and an
octave indication (depending), this syntax is entirely natural and it is
no surprise it may occur in many programs. It's a natural idea,
spontaneously arising many times.
Well, Humdrum predates Lilypond, so your hypothesis
Hello folks,
I seem to have read somewhere that the notation such as c’4.. has been inspired
by another well-known syntax, maybe refering to Humdrum.
Does anyone know more about this?
JM
Aaron Hill writes:
> On 2019-03-27 4:19 pm, Kieren MacMillan wrote:
>> That’s great… But essentially all of the documentation has \relative
>> at the top-level. So what is a newbie to think, other than "My code
>> should look like
>>
>> \paper { … }
>>
>> \header {…}
>>
>> \relative c' { … }
>>
>
On Thu 28 Mar 2019 at 21:45:31 (+0100), Lukas-Fabian Moser wrote:
>
> > I'm not trained in tonic solfa and don't find any advantage in singing
> > by using it. That said, I'm as likely to write "fah" over an entrance
> > that's difficult to pitch as writing "IV', but my "fah" relates to
> > the ke
I'm not trained in tonic solfa and don't find any advantage in singing
by using it. That said, I'm as likely to write "fah" over an entrance
that's difficult to pitch as writing "IV', but my "fah" relates to
the key that the music *feels* like it's in at the time. (I have a
good memory for pitc
On Thu 28 Mar 2019 at 09:52:26 (+0100), Valentin Villenave wrote:
> On 3/28/19, Aaron Hill wrote:
> > That said, I fully agree with advising folks who intend on moving music
> > around more fluidly to avoid \relative since it adds a maintenance chore
> > that would otherwise impede the creative pr
On 3/28/19, Aaron Hill wrote:
> That said, I fully agree with advising folks who intend on moving music
> around more fluidly to avoid \relative since it adds a maintenance chore
> that would otherwise impede the creative process.
Heh. This is one of the (few) subjects I’d tend to disagree with
K
On Wed 27 Mar 2019 at 21:19:47 (-0400), Kieren MacMillan wrote:
> Hi David,
>
> OH!
>
> >> (Ironically, most of the things I used to use \relative for I now handle
> >> with the edition-engraver!)
>
> That was a typo/brainfart: I meant most of the things I used to use \tag for…
>
> Sorry!
No
Hi David,
OH!
>> (Ironically, most of the things I used to use \relative for I now handle
>> with the edition-engraver!)
That was a typo/brainfart: I meant most of the things I used to use \tag for…
Sorry!
Kieren.
Kieren MacMillan, composer
‣ website: www.kier
Hi David,
> My understanding of the EE (which I've never used) is close to zero,
> but I thought it was conceptually a late part of the LP process,
> whereas \relative is just about the earliest. So I'm not sure
> I understand how you use the former to substitute for the latter.
Well, for example
On Wed 27 Mar 2019 at 19:19:10 (-0400), Kieren MacMillan wrote:
> Hi Aaron,
>
> > I tend to think of something like \relative to be a lower-level construct,
> > intended to be used as close as possible to the pitches in question. Since
> > I try to keep things organized in variables where conte
Hi Aaron,
> I adopted \relative simply because pitches on the treble staff would
> otherwise require at least one apostrophe.
> […] I desire more to avoid excessive redundancy.
Look at \fixed. =)
Hope that helps!
Kieren.
Kieren MacMillan, composer
‣ website:
On 2019-03-27 4:19 pm, Kieren MacMillan wrote:
That’s great… But essentially all of the documentation has \relative
at the top-level. So what is a newbie to think, other than "My code
should look like
\paper { … }
\header {…}
\relative c' { … }
But then they start to cut and paste code bits,
Am Do., 28. März 2019 um 00:10 Uhr schrieb Kieren MacMillan
:
>
> Hi there,
>
> > The issue is not \relative, per se. I wish people would stop maligning it.
>
> If it didn’t cause so many problems (especially for newbies) that are easily
> avoided by not using it,
I disagree (partly).
I remembe
Hi Aaron,
> I tend to think of something like \relative to be a lower-level construct,
> intended to be used as close as possible to the pitches in question. Since I
> try to keep things organized in variables where content and structure are not
> intermixed, \relative never appears at a highe
Hi there,
> The issue is not \relative, per se. I wish people would stop maligning it.
If it didn’t cause so many problems (especially for newbies) that are easily
avoided by not using it, I wouldn’t keep getting up on my soapbox. Believe me:
I’d prefer not to get my exercise that way. ;)
>
On 2019-03-27 3:35 pm, Flaming Hakama by Elaine wrote:
-- Forwarded message --
From: Kieren MacMillan
To: Guy Stalnaker
Cc: Tim Slattery , Lilypond-User Mailing List <
lilypond-user@gnu.org>
Date: Tue, 26 Mar 2019 15:16:03 -0400
Subject: Re: Tangled up in Lilypond syn
>
> -- Forwarded message --
> From: Kieren MacMillan
> To: Guy Stalnaker
> Cc: Tim Slattery , Lilypond-User Mailing List <
> lilypond-user@gnu.org>
> Date: Tue, 26 Mar 2019 15:16:03 -0400
> Subject: Re: Tangled up in Lilypond syntax
> Hi Guy,
Hi Guy,
> While I don't use \relative
Good choice. =)
> \new Staff \relative a' {
>a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
> \oneVoice a a a
> }
> \addlyrics { \repeat unfold 10 test }
>
> What I engrave this with LP 2.19.82 the a pitches after the temporary
> poly
Guy Stalnaker writes:
> Lilyponders,
>
> While I don't use \relative (so this isn't a topic for my personal use), I
> am curious about what happens in this excerpt that Mr. Moser provided:
>
> \new Staff \relative a' {
>a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
> \oneVoic
Lilyponders,
While I don't use \relative (so this isn't a topic for my personal use), I
am curious about what happens in this excerpt that Mr. Moser provided:
\new Staff \relative a' {
a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
\oneVoice a a a
}
\addlyrics { \repeat unfold
Lukas-Fabian Moser wrote:
>\new Staff \relative a' {
> a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
>\oneVoice a a a
>}
>\addlyrics { \repeat unfold 10 test }
That did it! Thanks for saving me much time and grief.
--
Tim Slattery
tim risingdove com
__
And since we're talking about temporary polyphonic contexts (TPC) there are
a few other things, like lyrics, that don't work in to and out of them.
Mostly multi-note events like slurs, crescendos, etc. You cannot start them
outside a TPC and conclude them inside one, or start them inside a TPC and
Slight amendation of Mark's suggestion. Since you're doing a vocal
composition, to keep lyrics applied into this temporary poloyphonic
context, use this syntax:
<< { \voiceOne } \\
\new Voice { \voiceTwo { } }
>> \oneVoice
Lyrics set to the voice will carry into the temporary polyphonic
con
Opps. True. No \\ if using my earlier code. Thanks for catching that!
Guy Stalnaker
jimmyg...@gmail.com
On Mon, Mar 25, 2019 at 1:02 PM Lukas-Fabian Moser wrote:
>
> Slight amendation of Mark's suggestion. Since you're doing a vocal
> composition, to keep lyrics applied into this temporary pol
;>
>> http://lilypond.org/doc/v2.19/Documentation/learning/i_0027m-hearing-voices
>>
>> Mark
>>
>> -Original Message-
>> From: lilypond-user
>> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
>> Tim
>> Slattery
inal Message-
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
> Tim
> Slattery
> Sent: Monday, March 25, 2019 9:29 AM
> To: lilypond-user@gnu.org
> Subject: Tangled up in Lilypond syntax
>
> I'm setting a fairly sh
Behalf Of Tim
Slattery
Sent: Monday, March 25, 2019 9:29 AM
To: lilypond-user@gnu.org
Subject: Tangled up in Lilypond syntax
I'm setting a fairly short song. It's sixteen measures, in the standard four
voice parts. I used Frescobaldi to set up the basic structure, so the syntax
I'm u
\addlyrics { \verseOne }
\addlyrics { \verseTwo }
which results in several error messages like this:
programing error: No spring between column 0 and next one
Makes no sense to me. It does create a PDF, but its all jumbled with
titles, staffs and notes printed on top of each other. And no words
for
Hi all,
I found it: ly.colorize.HtmlWriter was what I was looking for. Thanks
for all the hints.
Cheers,
Joram
___
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Hi Urs,
Am 01.06.2016 um 19:57 schrieb Urs Liska:
> If any of these sounds interesting I can give you more details.
Yes. I am currently looking into python-ly (document, colorize). It
seems like there is something to be found. But if you have a link how to
do this:
html_with_pgyment_classes = so
-ly package.
I have also written a Node module wrapper for that.
And a plugin for Gitbook.
If any of these sounds interesting I can give you more details.
Best
Urs
>
>HTH,
>Abraham
>
>
&g
Am 01.06.2016 um 19:28 schrieb tisimst:
> On lilypondblog and my blog, we both use a CSS file that defines the
> classes and then use Frescobaldi to export the input file as properly
> classified html.
Thanks, Abraham. That's good to know. Probably, my assumption that
surely you, Urs, et al. did
obaldi to export the input file as properly
classified html.
HTH,
Abraham
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/lilypond-syntax-for-markdown-pigments-codehilite-tp191304p191305.html
Sent from the User mailing list archive at Nabble.com.
Hi,
does anybody have a lilypond style for pigments codehilite?
What I am able to do with python markdown is this:
```python
if i == 0:
print(i)
```
and I get an html file with classes to style the code block.
What I want to do is the same with lilypond code:
```lilypond
\relative { a'4 c }
The definition of \stringAppend is definitely awkward. After all, the
only difference between \stringAppend and \string-append is that the
former has a specified number of arguments, and the latter doesn’t work
since in LilyPond syntax there is no delimiter like ‘)’ in Scheme. I
wonder if we
At 21:58 13/06/2015 +0200, Martin Tarenskeen wrote:
A quote from that website [http://www.mellowood.ca/mma/]:
And, please remember, our program is called "MMA - Musical MIDI
Accompaniement", not "MMA".
So its full name would be "Musical Musical Instrument Digital
Interface Accompaniment - Mu
On Sat, 13 Jun 2015, Martin Tarenskeen wrote:
Have a link?
http://www.mellowood.ca/mma/
A quote from that website:
If you are confused by the acronym "MMA" and were looking for the the MIDI
Manufacturers Association (MMA) please visit http://www.midi.org. On the
other hand, if you were
2015-06-13 21:07 GMT+02:00 Stjepan Horvat :
> Hi guys..
> The other day i was trying to practice jazz improvisation on linux.
> I was searching for a simple/fast working software that would help me
> practice.
> I found about MMA and it is cool - text based, midi output/export
Well, google-search
Hi guys..
The other day i was trying to practice jazz improvisation on linux.
I was searching for a simple/fast working software that would help me
practice.
I found about MMA and it is cool - text based, midi output/export
but
it wasn't so clean regarding "musicly writing" speaking.
So i had thi
actually wrote in
> the file.
>
> There are a number of hooks getting called when parsing particular parts
> of the input file. Take a look at lily/parser.yy to figure them out.
>
> The parsed expressions are not really the whole story.
ok, I see, t
Thorsten Jolitz writes:
> I still wonder if there is a way to get my hands on this internal
> representation without modifying the music notation, i.e without
> writing
>
> ,
> | {
> | \displayMusic { c'4\f }
> | }
> `
>
> in my .ly files?
The normal course of LilyPond is t
Jay Anderson writes:
> On Sat, Jun 21, 2014 at 6:36 PM, Thorsten Jolitz wrote:
>> How do I get this list/parse-tree representation of a lilypond file
>> (without any further processing, just the Lisp representation as
>> output to stdout or into a file)?
>
> http://lilypond.org/doc/v2.18/Documen
On Sat, Jun 21, 2014 at 6:36 PM, Thorsten Jolitz wrote:
> How do I get this list/parse-tree representation of a lilypond file
> (without any further processing, just the Lisp representation as
> output to stdout or into a file)?
http://lilypond.org/doc/v2.18/Documentation/notation/available-music
Hi List,
probably a pretty noob question, so excuse my ignorance:
I assume, a parsed .ly file is represented as a (Scheme) list -
correctly so? This list (parse-tree) is probably used for creating the
final ps/pdf output.
How do I get this list/parse-tree representation of a lilypond file
(wi
On Fri, Jul 27, 2012 at 01:01:01PM -0500, Tim McNamara wrote:
> Some weeks back there was some discussion of the Lilypond
> syntax, I made some suggestions and was asked to write up a
> sample .ly file with the ideas I had in mind. Basically my
> notion was to separate content (note
David Kastrup writes:
> David Rogers writes:
>
>>> % It seems like Lilypond should be able to be smart enough to
>>> understand that something % like c1^"D.C. al Coda" is a written text
>>> instruction without needing \markup; % likewise \mark \markup seems
>>> inelegant and even redundant.
>>
>
David Rogers writes:
> a4 a a a e'1 f4 f e d e1 \beginRepeatedSectionNestedZero a4 c b2 c4 d
> e2 \beginRepeatedSectionNestedOne4x e2 d c1
> \endRepeatedSectionNestedOne a4 a e'2 f4 e d2 c1 b a
> \endRepeatedSectionNestedZero
>
> a4 a a a e'1 f4 f e d e1 \beginRepeatedSectionNestedZero a4 c b2 c4
Tim McNamara writes:
Some weeks back there was some discussion of the Lilypond
syntax, I made some suggestions and was asked to write up a
sample .ly file with the ideas I had in mind. Basically my
notion was to separate content (notes and chords) from form
(number of bars, repeats, codas
Some weeks back there was some discussion of the Lilypond syntax, I made some
suggestions and was asked to write up a sample .ly file with the ideas I had in
mind. Basically my notion was to separate content (notes and chords) from form
(number of bars, repeats, codas, rehearsal marks, etc
On 20 Jun 2011, at 19:00, Garrett Fitzgerald wrote:
> I usually use the emacs tool to write lilypond code, but I use Notepad++ for
> the rest of my editing. I'm trying to do a lilypond UDL for the Zenburn
> scheme I'm currently using (http://victorgavin.co.uk/zenburn/), but I'm
> having troubl
I usually use the emacs tool to write lilypond code, but I use Notepad++ for
the rest of my editing. I'm trying to do a lilypond UDL for the Zenburn
scheme I'm currently using (http://victorgavin.co.uk/zenburn/), but I'm
having trouble matching a couple of the items up. Working off the list from
li
looks good, nice to see some support for kate which i use from time
to time
d
On 5 Oct 2007, at 19:00, Wilbert Berendsen wrote:
Hi,
please find attached a massively improved Lilypond highlighting
definition
file for KDE's Katepart, based on Andrea Primiani's first version.
Improvements
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Freitag, 5. Oktober 2007 schrieb Wilbert Berendsen:
> please find attached a massively improved Lilypond highlighting definition
> file for KDE's Katepart, based on Andrea Primiani's first version.
Great! Thanks for you work.
> Improvements:
> - b
Does anyone know of the existence of a Lilypond Glossary
file for BBedit? It would be nice to have coloured syntax in
OSX, and maybe even syntax checking that way.
Thanks,
Frans.
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As far as I know, this has been fixed in the latest development versions.
In 2.6, you have to explicitly include a \notemode :
#(define mynotes #{ \override Stem #'thickness = #4
\notemode { c'8 d' } #})
\score { \mynotes }
/Mats
Don Blaheta wrote:
What am I missing
What am I missing here? Whenever I include a literal note (e.g. "c" or
"bf'4") inside a #{ #} block, lilypond is complaining about an
unexpected STRING. For instance, this example (lifted from section
11.1.6 of the manual) fails to compile:
#(define mynotes #{ \override Stem #'thickness = #4
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