Thanks for the fast reply, but now in 2.10.9 the syllables "sau" and "rus"
are not applied to Voice lahlah.
>-Original Message-
>From: Georg Dummer [mailto:[EMAIL PROTECTED]
>Sent: Friday, January 05, 2007 10:52 AM
>To: 'lilypond-user'
>Subject: associatedVoice in 2.10.8
>
>Hi all,
>
>I
Jean-marc, thank you, I've been on the road the whole week, just back.
Am 02/01/2007 um 11:23 schrieb Jean-marc LEGRAND:
Hi !
I don't quite understand your question, but maybe the answer is :
\version "2.10.0"
\relative c' {
\clef treble
\key bes \major
\time 3/4
\partial 4*1 f4
bes \(( d8
Am 02/01/2007 um 21:43 schrieb Brett Duncan:
Just a small typo:
If you need, say, an eight-note anacrusis
should be
If you need, say, an /eighth/-note anacrusis
Of course! - Thank you.
Manuel
Brett
--
Brett Duncan
[EMAIL PROTECTED]
"Always do right - this will gratify some and a
Am 03/01/2007 um 13:20 schrieb luis jure:
i'm sorry i'm leaving on holidays for a month, i would like to
collaborate on the spanish translation. i've been teaching theory
and harmony for so many years, that i have very strong opinions on
terminological issues... :-)
best,
lj
Hola Luis, pl
Manuel limay.de> writes:
> Kennan has quite a few examples from Stravinsky, Ligeti, Webern,
> Schoenberg, Stockhausen, and others, especially when dealing with
> full orchestra and with percussion, but it is not mainly dedicated to
> contemporary techniques.
>
> Manuel
>
Kennan is the st
On Friday 05 January 2007 22:53, [EMAIL PROTECTED] wrote:
> > . . . The { m1 m2 m3 } syntax is used for repeat alternatives
> > already, and the meaning is very clear: Each music expression between the
> > outer { } is a separate argument. Note also that the tupletSequence
> > function would be im
Thank you for the fast answer. Now I have the problem that the syllable
"sau" is applied one note to late to voice "lahlah".
<<
\relative \new Voice = "lahlah" {
\set Staff.autoBeaming = ##f
c4
<<
\new Voice = "alternative" {
\voiceOne \tiny
% show associa
Linda Seltzer wrote:
>
> Dear Friends,
>
> Having previously worked at AT&T Labs, where I was a member of the User
> Experience Forum, I would like to make a few comments as a relative
> outsider seeing the Lilypond project for the first time. This is a great
> endeavor and the software outpu
Hi, Linda (et al.):
I would greatly encourage the project to focus on the user interface
and the user experience if this is to catch on in a large way.
I totally agree: if Lilypond is to "catch on in a large way" (with
the less-geeky public), then the UI has to be vastly improved.
However,
Am 06/01/2007 um 22:14 schrieb Kieren MacMillan:
I totally agree: if Lilypond is to "catch on in a large way" (with
the less-geeky public), then the UI has to be vastly improved.
I certainly don't feel the need of a graphic interface. I have
recently seen several composers happily pushing
My point when I started this topic was not to change the whole definition of
the \times function. In fact, I think the function works quite well as it
is. I was mostly talking about improving the "interface" - i.e. the words
and the syntax we use to call the functions - to make it more intuitive,
Frédéric Chiasson wrote:
My point when I started this topic was not to change the whole
definition of the \times function. In fact, I think the function works
quite well as it is. I was mostly talking about improving the
"interface" - i.e . the words and the syntax we use to call the
functions
> > > . . . Note also that the tupletSequence
> > > function would be implemented entirely in Scheme . . .
I'm not very fluent in Scheme, so this is a naive question.
I presume that ratios like 3:2 (or 2/3) could be made into some kind of
object type (possibly a "moment"). So I could imagine t
Hi Everyone,
I've been working with Lilypond 2.11.0 for a while and recently tried
2.11.9.
When running the new version the following statements are ignored
\override Staff.VerticalAxisGroup #'Y-extent = #'(0 . 10).
I've been playing around with getting more even output from Lilypond same
nu
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