Bertalan Fodor escreveu:
> Yes, I'm working on it.
>
> Bert
>
> Brett Duncan írta:
>> Bertalan Fodor wrote:
>>> A visual slur tweaking tool exists (see in the archives.) Have you
>>> tried that?
>> I have now - and it's great! Bertalan, have you considered including
>> this in/with LilyPondTool?
Yes, I'm working on it.
Bert
Brett Duncan írta:
Bertalan Fodor wrote:
A visual slur tweaking tool exists (see in the archives.) Have you
tried that?
I have now - and it's great! Bertalan, have you considered including
this in/with LilyPondTool?
___
Bertalan Fodor wrote:
A visual slur tweaking tool exists (see in the archives.) Have you tried that?
I have now - and it's great! Bertalan, have you considered including
this in/with LilyPondTool?
___
lilypond-user mailing list
lilypond-user@gnu.org
A visual slur tweaking tool exists (see in the archives.) Have you tried that?
> I'm going to play with that a little more, to make sure I really
> understand what it's doing. Incidentally, is there a way to extract the
> control points of a slur automatically generated by LP? I tried
> \displa
Brett Duncan wrote:
I'm going to play with that a little more, to make sure I really
understand what it's doing. Incidentally, is there a way to extract the
control points of a slur automatically generated by LP? I tried
\displayMusic but it didn't tell me anything about the control points.
T
Mats Bengtsson wrote:
Brett Duncan wrote:
<<
\new Voice="3" { \voiceThree b'4}
There's no point in naming the contexts here. You could save some
typing by simply saying
\new Voice { \voiceThree b'4}
Thanks Mats - I'd followed what Rutger had posted, and assumed that the
con
I do see now how this notation issue could work. I am just afraid that this
is far too much of an overhead work to do this for each one of the six
sonatas and partitas by Bach.
Well, I'm after more then two hundred pages is LilyPond score, including
some 50 pages of more complicated ones,
I'
Brett Duncan wrote:
%---
\version "2.10.12"
#(set-global-staff-size 17)
\header {
title = \markup \center-align \italic { "Sonata 1ma a Violino Solo
senza Basso di J. S. Bach"}
}
\include "deutsch.ly"
voiceFive = { \voiceOne \shiftOnn }
melody = \new Staff {
Dear Brett,
thanks a lot for your input which was indeed very helpful!
I do see now how this notation issue could work. I am just afraid that this
is far too much of an overhead work to do this for each one of the six
sonatas and partitas by Bach.
Thanks a lot, all the folks out there, for your
Frédéric Chiasson escreveu:
> I am not a programmer. I can't start to program myself to make an
> interface. But I may suggest some clues for design. It may be possible
No.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
LilyPond Software Design
-- Code for Music Notat
Hi Upro,
based on what others have contributed here, especially about voiceFive,
here's my attempt to reproduce what appeared in the JPEG. It's pretty
close - there is the small matter of the slant on the second set of
beamed notes, which Carl already noted. The last slur also seems to end
in
It seems I didn't look carefully enough at the output after doing some final
modifications. However, if you replace the definition of myVoiceFive by
myVoiceFive = { \myVoiceOne \shiftOnn }
then everything seems to work as it should. It's weird, since these two
definitions should be completely equi
Frédéric Chiasson wrote:
Hi!
For the compiling time, I am surprised that sometimes it takes almost
a minute to compile only 3 pages of music for alto, double bass and
piano! The fastest is 30 seconds. I am using LilyPond 2.11.11 on a
MacBook Intel Core Duo with 512 Mb.
There have been bug
Hi!
For the compiling time, I am surprised that sometimes it takes almost a
minute to compile only 3 pages of music for alto, double bass and piano! The
fastest is 30 seconds. I am using LilyPond 2.11.11 on a MacBook Intel Core
Duo with 512 Mb.
For the interface, the best thing for a text entry
Andrzej Kopec escreveu:
> I also have a usability question. I'm using lilypond-2.10.11 (linux
> executable) on intel centrino 1.4MHz with 256MB of RAM, and I cannot
> render 10 page chamber piece of music due to lack of memory. after
> 15 min I stop "Layout outputting to 'xxx.ps'" and I found outp
Andrzej Kopec wrote:
I also have a usability question. I'm using lilypond-2.10.11 (linux executable)
on intel
centrino 1.4MHz with 256MB of RAM, and I cannot render 10 page chamber piece of
music due
to lack of memory. after 15 min I stop "Layout outputting to 'xxx.ps'" and I
found outputted
4
Hello, Andrzej:
your experiences with large lilypond projects [...]
and your hardware?
I recently typeset my 42-page chamber opera score (in Lilypond 2.9).
If I recall correctly, it took between 1 and 2 minutes to generate
the full score (on an Apple MacBook with 2GHz Intel Core Duo).
Hope
First of all, here's an alternative version of
your code that hopefully is somewhat closer to what you want.
Mats, this also says clashing notecolumns in the first note (and merges
them to one position) (with 2.10.11)
___
lilypond-user mailing li
Hi,
I also have a usability question. I'm using lilypond-2.10.11 (linux executable)
on intel
centrino 1.4MHz with 256MB of RAM, and I cannot render 10 page chamber piece of
music due
to lack of memory. after 15 min I stop "Layout outputting to 'xxx.ps'" and I
found outputted
4 pages of 10. If I
You have received a large number of answers already, but
I'm not sure how many of your original questions have really
been answered. First of all, here's an alternative version of
your code that hopefully is somewhat closer to what you want.
#(set-global-staff-size 17)
% \version "2.10.7"
Jonathan Henkelman wrote:
Upro gmail.com> writes:
I admit that not finding the function for a simple line brake was not very
smart of me. I have studied the online-manual thouroughly, but it's not easy
to find solutions there, and I haven't found them for the descripbed
problems.
Tr
Bertalan Fodor wrote:
The scan that was provided shows
two of the stem-up notes aligned. I suppose that that could be an engraving
error from the scanned piece.
It's a polyphonic Bach violin peace: they are separate voices, not chords, they
figure melodies (despite there are notes b
Bertalan Fodor wrote:
>
> > The scan that was provided shows
> > two of the stem-up notes aligned. I suppose that that could be an
> > engraving error from the scanned piece.
>
> It's a polyphonic Bach violin peace: they are separate
> voices, not chords, they figure melodies (despite there
>> I admit that not finding the function for a simple line brake was not
very
>> smart of me. I have studied the online-manual thouroughly, but it's not
easy
>> to find solutions there, and I haven't found them for the descripbed
>> problems.
>Try the PDF version as it is really easy to search.
> The scan that was provided shows
> two of the stem-up notes aligned. I suppose that that could be an engraving
> error from the scanned piece.
It's a polyphonic Bach violin peace: they are separate voices, not chords, they
figure melodies (despite there are notes between in the first noise)
Rutger Hofman cs.vu.nl> writes:
>
> But the whole point of this \voiceFive thingy is that none of the four
> notes in the first quarter should line up, and especially not the three
> notes with stem upwards.
>
> Rutger
>
I'm not sure I agree with this conclusion. The scan that was provided
Carl D. Sorensen wrote:
Bert wrote:
Yes! And it *works* !
Rutger
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
<< { \voiceOne g''4 ~ \stemDown g32[ f( es d c b a b64 )g] }
\\ { \voiceThree b4} \\ { \voiceFive d,} \\ { \voiceTwo g,}\\>>
Bert
I trie
Bert wrote:
> >>>
> >> Yes! And it *works* !
> >>
> >> Rutger
> >>
> >>
> >
> >
> voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
>
> << { \voiceOne g''4 ~ \stemDown g32[ f( es d c b a b64 )g] }
> \\ { \voiceThree b4} \\ { \voiceFive d,} \\ { \voiceTwo g,}\\>>
Upro escreveu:
> Hello!
>
> I have been using Lilypond some years ago, without needs for too good
> formattzig, but now I decided to try to make an edition for a major
> publisher with lilypond.
Interesting! Which one?
> (etc)
If it's really important, you could consider reserving a cut of
wh
Upro gmail.com> writes:
> I admit that not finding the function for a simple line brake was not very
> smart of me. I have studied the online-manual thouroughly, but it's not easy
> to find solutions there, and I haven't found them for the descripbed
> problems.
Try the PDF version as it is real
If you look at the definition of voice you will see:
voiceOne = #(context-spec-music (make-voice-props-set 0) 'Voice)
voiceTwo = #(context-spec-music (make-voice-props-set 1) 'Voice)
voiceThree =#(context-spec-music (make-voice-props-set 2) 'Voice)
voiceFour = #(context-spec-music (make-voic
Rutger Hofman cs.vu.nl> writes:
>
> Bertalan Fodor wrote:
> >
> >> I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
> >> and couldn't get the first chord to print as 4 different voices of
> >> which three have upward stems. Lilypond gives me "warning: ignoring
> >> too
Bertalan Fodor wrote:
I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
and couldn't get the first chord to print as 4 different voices of
which three have upward stems. Lilypond gives me "warning: ignoring
too many clashing note columns", and collapses all three into one
I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
and couldn't get the first chord to print as 4 different voices of
which three have upward stems. Lilypond gives me "warning: ignoring
too many clashing note columns", and collapses all three into one
chord. If we would ha
Bertalan Fodor wrote:
> Graham Percival-2 wrote:
Upro wrote:
1. The score has four voises. All have their own stems. I find it
extremely
complicated to arrange stems/notes in the same order (right to
left), and
stems in the correct direction.
I personally would condense this down to one
1. The score has four voises. All have their own stems. I find it
extremely
complicated to arrange stems/notes in the same order (right to left), and
stems in the correct direction.
I personally would condense this down to one or possibly two voices.
Somebody else might have other sugge
Upro wrote:
Graham Percival-2 wrote:
I personally would condense this down to one or possibly two voices.
Somebody else might have other suggestions.
Suggestions like condensing a four voiced, polyphonic piece by Bach for an
Urtext edition for one of the major publishers seems to me a strange
Graham Percival-2 wrote:
>
> Upro wrote:
>> 1. The score has four voises. All have their own stems. I find it
>> extremely
>> complicated to arrange stems/notes in the same order (right to left), and
>> stems in the correct direction.
>
> I personally would condense this down to one or possibl
Upro wrote:
1. The score has four voises. All have their own stems. I find it extremely
complicated to arrange stems/notes in the same order (right to left), and
stems in the correct direction.
I personally would condense this down to one or possibly two voices.
Somebody else might have other
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