Kieren MacMillan wrote:
Hi Jonathan,
I couldn't make it work b/c I couldn't figure out *where* to stick
the MIDI block.
I would offer that was a result of faulty MIDI documentation, not
faulty templates.
Rather, I think the main problem for most of the users asking the question,
was th
On Aug 16, 2008, at 3:22 PM, Patrick Horgan wrote:
Kieren MacMillan wrote:
The last time I checked Mutopia, I was shocked by the (low) quality
of the coding. =(
I personally would never suggest that anyone use any Mutopia file
I've seen as an example/template.
How about the O Magnum Myst
Kieren MacMillan wrote:
The last time I checked Mutopia, I was shocked by the (low) quality of
the coding. =(
I personally would never suggest that anyone use any Mutopia file I've
seen as an example/template.
How about the O Magnum Mysterium that I just re-did and contributed back
to Mutopi
Hi Patrick,
I agree.
Well, we appear to be in the minority... ;-)
Thanks for your input!
Kieren.
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Hi Walter,
I just looked at that template and noticed that the first example
on the
page A.3.1 gives a template for a score where everything is in one
file.
But it outputs a score only, no parts — I'm talking about having a
single-file input with multiple-file output.
just about any Li
Hi Graham,
If I'm not mistaken, putting them in \book results in
foo.pdf(main score)
foo-0.pdf (1st violin)
foo-1.pdf (2nd violin)
foo-2.pdf (viola)
foo-3.pdf (cello)
Yes... although there is (or should be) a request in the system for
the ability to change the output name of a \b
Trevor Daniels wrote
? I don't understand.
\tempo 4.=60
works fine in the \score block.
Sorry.
For "early" read "prehistoric", I suppose.
Because [1] worked, I never needed to do anything differently.
And convert-ly.py (2.10.33) now removes \tempo from my files.
[1] http://lists.gnu.org/arch
Robin Bannister wrote Saturday, August 16, 2008 10:11 AM
Subject: Re: doc work
Graham Percival wrote
(Actually it was me)
I would prefer that early users placed a \tempo 4 = 60
in their score block, which is easier to understand,
works in MIDI, and permits dotted notes to be used
Graham Percival wrote
I would prefer that early users placed a \tempo 4 = 60
in their score block, which is easier to understand,
works in MIDI, and permits dotted notes to be used
Early users would think in terms of dotted notes and write
\tempo 4. = 60
But no, no. You had to write
Graham Percival wrote Friday, August 15, 2008 11:36 PM
On Fri, 15 Aug 2008 22:16:13 +0100
"Neil Puttock" <[EMAIL PROTECTED]> wrote:
2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
> \midi { \tempo 4 = 60 }
>
Unfortunately, you can't put \tempo inside a \midi block any more.
Oh yeah, I remem
Kieren MacMillan wrote:
I would offer that was a result of faulty MIDI documentation, not
faulty templates.
Kieren.
I agree. I was surprised, not unpleasantly to have midi files appear,
and learned how to do them by example, But /still/ would prefer the
templates to not have them. (Unless yo
Kierin,
I just looked at that template and noticed that the first example on
the page A.3.1 gives a template for a score where everything is in
one file. The second example shows how to do things with multiple
files (as you said A.3.2). Although this might seem to some a bit
instructive a
On Fri, 15 Aug 2008 22:16:13 +0100
"Neil Puttock" <[EMAIL PROTECTED]> wrote:
> 2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
>
> > \midi { \tempo 4 = 60 }
> >
>
> Unfortunately, you can't put \tempo inside a \midi block any more.
Oh yeah, I remember now. I complained at the time; IIRC the
an
Mats Bengtsson wrote Friday, August 15, 2008 12:58 PM
Kieren MacMillan wrote:
Finally:
1. Modern practice for vocal music engraving is to ALWAYS beam
eighth notes; and,
2. Including \autoBeamOff in these "simple" templates might be
confusing.
I hope you compare the templates with w
uot;Kieren MacMillan" <[EMAIL PROTECTED]>
To: "Graham Percival" <[EMAIL PROTECTED]>
Cc: "LilyPond Mailing List"
Sent: Friday, August 15, 2008 5:01 PM
Subject: Re: doc work
Graham (et al.):
The template for the string quartet with parts (A.3.2) unnecessarily
deals w
Carl D. Sorensen wrote Friday, August 15, 2008 10:23 PM
On 8/15/08 3:16 PM, "Neil Puttock" <[EMAIL PROTECTED]> wrote:
2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
In fact, what about instead of
\midi{}
we do
\midi { \tempo 4 = 60 }
? That doesn't add any vertical length to the templat
On 8/15/08 3:16 PM, "Neil Puttock" <[EMAIL PROTECTED]> wrote:
> 2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
>
>> In fact, what about instead of
>> \midi{}
>> we do
>> \midi { \tempo 4 = 60 }
>>
>> ? That doesn't add any vertical length to the templates, but it
>> gives midi output (which
2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
> In fact, what about instead of
> \midi{}
> we do
> \midi { \tempo 4 = 60 }
>
> ? That doesn't add any vertical length to the templates, but it
> gives midi output (which can be very important for inexperienced
> composers), and even gives a hint
On Fri, 15 Aug 2008 12:01:18 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> The template for the string quartet with parts (A.3.2) unnecessarily
> deals with multiple files ___ everything the template is supposed to
> accomplish can be done "more simply" in a single file, either using
>
On Fri, 15 Aug 2008 16:31:22 + (UTC)
Carl Sorensen <[EMAIL PROTECTED]> wrote:
> Kieren MacMillan sympatico.ca> writes:
>
> > Furthermore, there are *many* things about MIDI that are neither
> > clear nor simple ___ witness the number of questions on the list
> > about changing MIDI tempo,
Well, you decide!
I'll keep the thread open for a while, and then make a final decision
based on the majority of responses I get.
Thanks!
Kieren.
I agree, keep the midi code in the examples - comment it out if you want.
with a reference or link to the part of the documentation that explain
Hi all,
it seems to me to be best to include the \midi block, with a
comment that says to
eliminate the block (or comment it out) in order to eliminate MIDI
output.
So far, the "Save The MIDI Block" team is definitely winning the
popular vote…
Kieren.
___
Hi Reinhold,
all new editions of classical music published by the big German
publishers like Bärenreiter, Carus, Edition Peters, etc. still use
that "obsolete practice"...
True… but they also use obsolete practices of treating composers, so
I'm not sure that they're the best example to follo
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Freitag, 15. August 2008 schrieb Kieren MacMillan:
> Hi all,
>
> > I would have to go home and look into my
> > music engraving handbook to verify your claims.
>
> "Beaming of notes associated with a lyric now follows standard
> notational practice.
Kieren MacMillan sympatico.ca> writes:
> Furthermore, there are *many* things about MIDI that are neither
> clear nor simple — witness the number of questions on the list about
> changing MIDI tempo, making dynamics work in multiple staves, etc. I
> think it would be "cleaner" to put MIDI
Graham (et al.):
The template for the string quartet with parts (A.3.2) unnecessarily
deals with multiple files — everything the template is supposed to
accomplish can be done "more simply" in a single file, either using
\pageBreak between \score blocks (for single-PDF output), or by
wrap
Chris (et al.):
What about adding a comment in the template instead?
Sounds like the best plan yet.
Thanks,
Kieren.
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Hi Jonathan,
I couldn't make it work b/c I couldn't figure out *where* to stick
the MIDI block.
I would offer that was a result of faulty MIDI documentation, not
faulty templates.
Kieren.
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lilypond-user mailing list
lilypond-user@gnu.org
htt
Hi Mats,
I have never seen any question on the mailing list on how to turn
the MIDI off
That's because I figured it out by myself... ;-)
quite a number of questions on if it's possible to get MIDI output
and how to do it.
My answer: "RT(F)M". =)
If you have ever touched some other mu
Hi all,
I would have to go home and look into my
music engraving handbook to verify your claims.
"Beaming of notes associated with a lyric now follows standard
notational practice. (Traditional practice, now obsolete, was to use
flags for eighth notes, sixteenth notes, etc. Beams were used
That would work fine for me.
Jon
Chris Snyder wrote:
Jonathan Kulp wrote:
I would agree with Mats on this one. When I was first starting with
Lilypond and the template didn't have a MIDI block, I couldn't make it
work b/c I couldn't figure out *where* to stick the MIDI block. i was
VERY gr
Jonathan Kulp wrote:
I would agree with Mats on this one. When I was first starting with
Lilypond and the template didn't have a MIDI block, I couldn't make it
work b/c I couldn't figure out *where* to stick the MIDI block. i was
VERY grateful to find a template that already had a working MID
I've had vocal compositions published by G. Schirmer and Les Productions
D'Oz (Quebec) and in both cases they used beams on 8th and 16th notes.
I don't know if every publishing house does it this way, but I
personally would prefer to have autobeaming turned *on* by default. It
could be turned
I would agree with Mats on this one. When I was first starting with
Lilypond and the template didn't have a MIDI block, I couldn't make it
work b/c I couldn't figure out *where* to stick the MIDI block. i was
VERY grateful to find a template that already had a working MIDI block.
It's easy e
Kieren MacMillan wrote:
To take your argument to its (illogical) extreme, why don't we just
add *all Lilypond features* into one "simple" template and let the
Lilypond beginners "suddenly discover" everything that Lilypond can do
all at once? ;-)
For most LilyPond features, I certainly agree
Kieren MacMillan wrote:
Hi all,
Any specific reason the (e.g.) String Quartet templates use
Violinone = \new Voice { \relative c'' { …
when we haven't explicitly instantiated Voice contexts in other
examples/templates?
I don't see any reason to keep it there.
/Mats
__
Kieren MacMillan wrote:
Am I the only one that thinks
upper = { BLAH }
\new Staff = "upper" \upper
is potentially confusing?
Definitely! Please change. I once get an instruction for the local
telephone exchange at the company where I worked, which said something
like "If you for ex
Hi all,
Any specific reason the (e.g.) String Quartet templates use
Violinone = \new Voice { \relative c'' { …
when we haven't explicitly instantiated Voice contexts in other
examples/templates?
Thanks,
Kieren.
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Hi Mats,
What's wrong with a template that gives you a MIDI file for free,
even if you didn't expect it.
In my experience — both personally (years ago) and seeing waves of
newbies picking up Lilypond in the past few years — one of the most
confusing parts about learning Lilypond is figuri
Hi again,
Am I the only one that thinks
upper = { BLAH }
\new Staff = "upper" \upper
is potentially confusing? I think it's too easy for a newbie to infer
that the variable name and the context name need to match, which of
course is not true. If I were re-coding the A.2.1 template (
First observation: since the A.1 Single Staff templates are explicitly
named "Notes only", "Notes and lyrics", etc., I don't think there
should be a \midi{} block in the \score. That should be explained and
introduced in a separate section/template [with, perhaps, a small
explanatory note in
Hi Doc-tors!
Could you review the docs
Sure!
I would be surprised if the current "finished" sections did not
contain at least one inaccuracy -- to say nothing of omissions.
Sounds like a job for... me. =)
No one has yet looked at the templates at the end of the Learning
Manual.
Okay
Graham Percival wrote Friday, August 15, 2008 9:12 AM
On Thu, 14 Aug 2008 10:29:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
What can I do to help the docs project? At one point, we were
talking about me doing some "large scale", "real world" examples ___
putting together a real tuto
On Thu, 14 Aug 2008 10:29:28 -0400
Kieren MacMillan <[EMAIL PROTECTED]> wrote:
> What can I do to help the docs project? At one point, we were
> talking about me doing some "large scale", "real world" examples ___
> putting together a real tutorial on chord name changes, revamping
> the examples o
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