Ralph
As I said earlier, I'd go for the simpler structure:
1.4 Repeats
1.4.1 Repeat syntax
1.4.2 Normal repeats
1.4.3 Manual repeat commands
1.4.4 Tremolo repeats
1.4.5 Measure repeats
since this leaves a further level for subdivision within
each section.
Or, if you prefer your suggested layou
Just as the previous warning you asked about, this is just a warning
telling that LilyPond didn't manage to produce a layout that fulfills
all its design rules. This time it's related to the vertical spacing
between
the score lines, that ended up slightly too tight. Looking at the output
I don't
On 17.02.2008 (11:41), Valentin Villenave wrote:
> 2008/2/17, David Fedoruk <[EMAIL PROTECTED]>:
>
> > Octave transposition seems a confusing, since transposition in music
> > usually implies that the passage is to be played in a different key.
> > Octave displacement does not change the key.
Or
Am Mittwoch, 27. Februar 2008 schrieb hhpmusic:
> I downloaded the latest version of Lilypond, and the problems I referred
> to are solved. Thank you! But when processing this file, it suddenly
> terminated, but unlike other termination, it left an incomplete -def.ly.
> Why?
Because musicxml2ly
Hi Eyolf,
Or one might turn the argument around and say that the melody is
indeed
trans-posed -- placed somewhere else, whereas the negative
associations
of dis- is that it's ended up in the wrong place...
Interesting point...
Really, what we're talking about is a NOTATIONAL SHORTHAND: th
On 2/26/08 5:39 AM, "Palmer, Ralph" <[EMAIL PROTECTED]> wrote:
> Hi, Kurt -
>
> When I brought up "my" definition, it certainly was not intended to be
> exclusive (as in the only definition).
Nor did I perceive it that way.
> I was trying to point out that there was an alternative meaning to po
Hi,
I am a noob to Lilypond and am very impressed until I tried using tuplets
and am getting an error each time.
The following line within the definition of a melody line context works,
i.e. Lilypond parses it and generates .PDF and .PS files as expected:
\times 2/3 g4 { g g g } r2
However, I d
>
>
>
>
>
>
>
>
Hi,
I am a noob to Lilypond and am very impressed until I tried using tuplets and
am getting an error each time.
The following line within the definition of a melody line context works, i.e.
Lilypond parses it and generates .PDF and .PS files as expected:
\times 2/3 g4 { g g
On Wed, 27 Feb 2008 10:04:35 -0500, Kieren MacMillan
<[EMAIL PROTECTED]> wrote:
Hi Eyolf,
Or one might turn the argument around and say that the melody is indeed
trans-posed -- placed somewhere else, whereas the negative associations
of dis- is that it's ended up in the wrong place...
Inte
Mats Bengtsson schrieb:
Quoting Till Rettig <[EMAIL PROTECTED]>:
Hi,
I just noticed that the staff contexts of the examples in 1.1.3.5 are
PianoStaff. In 1.6 there is only mentioned GrandStaff. Which one is
the preferred one to be used? I would mention both in 1.6, but I
think we should d
Octave transposition seems a confusing, since transposition in music
usually implies that the passage is to be played in a different key.
Octave displacement does not change the key.
According to Harvard dict. of music 4th ed.:
Transposition. the rewriting or performance of music at a pitch ot
Hi Simon,
Hope you're enjoying using Lilypond.
On Wed, 2008-02-27 at 08:22 -0800, eagle136 wrote:
> Hi,
> I am a noob to Lilypond and am very impressed until I tried using tuplets
> and am getting an error each time.
>
> The following line within the definition of a melody line context works,
>
Am Mittwoch, 27. Februar 2008 schrieb eagle136:
> Processing `wart.ly'
> Parsing...
> wart.ly:61:23: error: syntax error, unexpected STRING
> g4 \times 2/3 {
>gis g g} r4 |
Without the actual file to look at, it's hard to give a proper problem
analysis/solution (my
On 27.02.2008, at 18:21, Reinhold Kainhofer wrote:
Am Mittwoch, 27. Februar 2008 schrieb eagle136:
Processing `wart.ly'
Parsing...
wart.ly:61:23: error: syntax error, unexpected STRING
g4 \times 2/3 {
gis g g} r4 |
Without the actual file to look at, it's hard to
agreed, octave transposition is what i call it - the notation is
transposed
d
On 27 Feb 2008, at 16:37, Anh Hai Trinh wrote:
On Wed, 27 Feb 2008 10:04:35 -0500, Kieren MacMillan <[EMAIL PROTECTED]
> wrote:
Hi Eyolf,
Or one might turn the argument around and say that the melody is
inde
On Wed, 27 Feb 2008 18:29:32 +0100
"James E. Bailey" <[EMAIL PROTECTED]> wrote:
> Another way of answering that is, lilypond uses "english.ly" by
> default, so unless you specify \include "deutsch.ly", you'll get
> errors like that (I forget to put that in my files all the time).
False. Look
Yes, absolutely.
I had suggested that earlier in the thread but then the idea came up that
transposition somehow implies a change of key. It most certainly does not.
And "displacement" is wholly wrong to my ears. Graphical noteheads can
displace (to the left or right in the interval of a second).
James E. Bailey wrote:
> Another way of answering that is, lilypond uses "english.ly" by default,
> so unless you specify \include "deutsch.ly", you'll get errors like that
> (I forget to put that in my files all the time).
Is that true? In mine (2.10.25, installed with Ubuntu) it's certainly
not
Trevor Daniels schrieb:
Hi Till
Might the tempo indication and metronome marks be better placed in the Rhythm
section? If you think so let me know, as I'm working on Rhythms right now.
Trevor D
Hi,
I think we should leave it as it is, after all it is nothing to do with
_rythms_ specifi
Reinhold Kainhofer wrote:
> Without the actual file to look at, it's hard to give a proper problem
> analysis/solution (my crystal ball broke last week ;-) Are you maybe using
> \include "english.ly"
> in your file? If so, the syntax for sharps is gsharp, not gis (and gflat
> instead of ges)
On 27.02.2008, at 18:44, Graham Percival wrote:
On Wed, 27 Feb 2008 18:29:32 +0100
"James E. Bailey" <[EMAIL PROTECTED]> wrote:
Another way of answering that is, lilypond uses "english.ly" by
default, so unless you specify \include "deutsch.ly", you'll get
errors like that (I forget to put th
I've got a minor problem. It's incredibly difficult to reproduce
because of how it occurs, but I've got a little screenshot to show it.
http://img3.freeimagehosting.net/uploads/569c91276e.jpg
Basically, the double-sharp is a bit too close to the time signature
for my tastes, and I'm wondering
On 27/02/2008, Risto Vääräniemi wrote:
> Sometimes the LP still seems a bit pessimistic about fitting the
> systems on a desired number of pages. Setting between-system-padding
> to zero and adjusting the between-system-space instead usually works.
Speak of the Devil... :-)
Today I wrote a pie
Hello all,
Is it possible to place fingerings inside the staff (or outside, but
just next to the notehead), and at a maximum distance of the notehead
of, say, two staff spaces?
I would like to set this voice-wide, not for a single fingering.
Thank you,
--
Francisco Vila. Badajoz (Spain)
http://w
On 2008-Feb-27, at 10:51, Anh Hai Trinh wrote:
Octave transposition seems a confusing, since transposition in music
usually implies that the passage is to be played in a different key.
Octave displacement does not change the key.
According to Harvard dict. of music 4th ed.:
Transposition. t
I'll warn you that you'll have a very hard time convincing me. ;-)
p.s.
Perhaps the best way to convince me is to clarify the difference --
in terms of how it's presented in the Lilypond documentation --
between the "octave transposition" represented by
\transpose c c'/c, { a b c d e f g
Hi all,
Even more to the (semantic?) point, the following two are IDENTICAL
with respect to pitch:
\version "2.11.37"
\include "english.ly"
musicClef = \relative
{
\clef "treble" f e d c
\clef "treble_8" bf a g f
}
musicOct = \relative
{
f e d c
#(set-octavat
Op woensdag 27 februari 2008, schreef James E. Bailey:
> I've got a minor problem. It's incredibly difficult to reproduce
> because of how it occurs, but I've got a little screenshot to show it.
> http://img3.freeimagehosting.net/uploads/569c91276e.jpg
> Basically, the double-sharp is a bit too clo
semantically i completely disagree... ;--)
in both cases the written pitches ARE transposed (sound) down an
octave, as explicitly indicated by the 8_clef in the version, and the
8vb indication in the second. indeed, the whole raison d'etre of those
indications is to show that the displayed
Hi Simon,
Hope you're enjoying using Lilypond.
On Wed, 2008-02-27 at 08:22 -0800, eagle136 wrote:
> Hi,
> I am a noob to Lilypond and am very impressed until I tried using tuplets
> and am getting an error each time.
>
> The following line within the definition of a melody line context works,
>
I'm having two \book blocks to produce a full score file and parts file.
Is it possible to suffix each book output filename specifically, instead
of the generic "-1", "-2", etc. ?
--AT
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I'm having two \book blocks to produce a full score file and parts file.
Is it possible to suffix each book output filename specifically, instead
of the generic "-1", "-2", etc. ?
--AT
I figured I should factor out the common stuff and putting the \book block
into separate .ly files.
Hi Damian (et al):
semantically i completely disagree... ;--)
Excellent! I like a good discussion... =)
in the case of a 'transposing at the octave' instrument such as
piccolo or double bass,
the clef change or 8va/b sign is implied and simply omitted as a
convenience.
Aside: we (all)
Head tucked in, I venture into the battlefield.
+
Anh Hai Trinh wrote:
I think you are mistaken here, a concert A written in any clef would
sound
with f = 440Hz, whereas a written concert A with a 8va bracket would
sound
with f = 880Hz. Anything sounding at a differen
Anh Hai Trinh wrote:
I'm having two \book blocks to produce a full score file and parts
file. Is it possible to suffix each book output filename
specifically, instead of the generic "-1", "-2", etc. ?
--AT
I figured I should factor out the common stuff and putting the \book
block into
the pragmatic 'what would i look for in the index?' approach is going
to have to arbitrate here
1. I would never search for "transposition";
absolutely, i'd look for octave ottava 8va or 8vb
Aside: we (all) should immediately stop doing that -- we should
start writing ALL instruments
On Wed, Feb 27, 2008 at 2:31 PM, Kieren MacMillan <
[EMAIL PROTECTED]> wrote:
> Hi Damian (et al):
>
> > semantically i completely disagree... ;--)
>
> Excellent! I like a good discussion... =)
>
> > in the case of a 'transposing at the octave' instrument such as
> > piccolo or double bass,
> > t
James E. Bailey-2 wrote:
>
>
> On 27.02.2008, at 18:44, Graham Percival wrote:
>
>> On Wed, 27 Feb 2008 18:29:32 +0100
>> "James E. Bailey" <[EMAIL PROTECTED]> wrote:
>>
>>> Another way of answering that is, lilypond uses "english.ly" by
>>> default, so unless you specify \include "deutsch.ly
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 27. Februar 2008 schrieb Anh Hai Trinh:
> I'm having two \book blocks to produce a full score file and parts file.
> Is it possible to suffix each book output filename specifically, instead
> of the generic "-1", "-2", etc. ?
http://lsr.d
How do I move the text script below the cresc spanner?
Setting script-priority do not work.
\relative c'' {
f^\< g^"Flying!" c f\!
}
-Rune
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On 27/02/2008, Rune Zedeler wrote:
> How do I move the text script below the cresc spanner?
> Setting script-priority do not work.
I've been wondering pretty much the same thing and I ended up using
extra-offset, i.e., lowering one thing and raising another. It would
be nice to know if there's a
Rune Zedeler skrev:
\relative c'' {
f^\< g^"Flying!" c f\!
}
Whoops forgot to attach image.
-Rune
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See section "Vertical collision avoidance" in the 2.11 manual.
/Mats
Rune Zedeler wrote:
Rune Zedeler skrev:
\relative c'' {
f^\< g^"Flying!" c f\!
}
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Mats Bengtsson skrev:
See section "Vertical collision avoidance" in the 2.11 manual.
Ah thanks!
Perhaps we should think about a better name for that section.
The title is correct - it describes how lilypond internally avoids
vertical collisions. But when you do not see a collision on your scor
Rune Zedeler skrev:
Perhaps we should think about a better name for that section.
Or at least, add a "see also 5.5.5 Vertical collision avoidance" from
1.8.1.2 Text scripts.
I think that would do it, actually.
-Rune
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Trevor Bača wrote:
None of which has anything to do with ottava spanners. Or with
"octavated" (caveat: not an English word) clefs. So while both an ottava
spanners and an octavated clefs most certainly do effect "octave
transposition" (which is absolutely the right phrase here), I would
never
Rune Zedeler wrote:
Rune Zedeler skrev:
Perhaps we should think about a better name for that section.
Or at least, add a "see also 5.5.5 Vertical collision avoidance" from
1.8.1.2 Text scripts.
I think that would do it, actually.
Then, you should add the corresponding links from all oth
On Wed, 27 Feb 2008 23:26:19 +0100
Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> Rune Zedeler wrote:
>
> > Rune Zedeler skrev:
> >
> >> Perhaps we should think about a better name for that section.
> >
> >
> > Or at least, add a "see also 5.5.5 Vertical collision avoidance"
> > from 1.8.1.2 Text sc
Please read the section on fingering again, especially
the part on fingeringOrientations. Note that these only
work when the notes are part of a chord. If you want it
to happen on a single note, you therefore have to make
it a single note chord, such as 8
/Mats
Francisco Vila wrote:
Hello al
I am transcribing my daughter's hand written drum exercises into lilypond.
I'd love to be able to have each week's exercises on one pdf page.
I am working in windows and have problems running lilypond-book (I think).
I can do nice individual pdfs and pngs, just not merge them onto one pdf.
Exerc
Mats Bengtsson skrev:
Or at least, add a "see also 5.5.5 Vertical collision avoidance" from
1.8.1.2 Text scripts.
I think that would do it, actually.
Then, you should add the corresponding links from all other
objects that appear outside staffs,
I don't agree.
Section 1.8.1.2 talks about ho
ismaehkloa wrote:
I am transcribing my daughter's hand written drum exercises into lilypond.
I'd love to be able to have each week's exercises on one pdf page.
I am working in windows and have problems running lilypond-book (I think).
It shouldn't be any problem. However, you can also do the
Rune Zedeler skrev:
Section 1.8.1.2 talks about how to order scripts vertically.
Sorry, I was reading section 1.3.1.1 Articulations and ornamentations
thinking that I was reading 1.8.1.2.
Silly me.
In 1.3.1.1 we have "The vertical ordering of scripts is controlled with
...".
I think that fr
Rune Zedeler skrev:
In 1.3.1.1 we have "The vertical ordering of scripts is controlled with
...".
I think that from /this/ explanation it would make sense to make a
reference to 1.8.1.2. Sorry for the confusion.
AAARGH, to 5.5.5. Good night. :-)
-Rune
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Am Mittwoch, 27. Februar 2008 schrieb Brett Duncan:
> The term "octave clefs" crops up in many places on the 'Net,
An octave clef is something different than an ottava bracket. Botch indicate
octavation, but while an ottava bracket (e.g. 8va) applie
okay, I'm a little confused. This doesn't work
{\clef bass #(set-time-signature 9 8 '(2 3 2 2)) gis8^\<([ fis] [gis a
h\!] [a fis] [e d)] }
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oh wow, nvm. I should sleep.
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Hi Damian,
agreed, i always use the 8_clefs
I will make a point of doing that from now on.
(Mostly-)Rhetorical question: I wonder if clefs like "treble_5" would
be appropriate for transposing instruments?
but, to be fussy, don't you mean 'transposing clefs'?
I do!
Thanks for the reminde
> in the case of a 'transposing at the octave' instrument such as
> piccolo or double bass,
> the clef change or 8va/b sign is implied and simply omitted as a
> convenience.
Aside: we (all) should immediately stop doing that -- we should start
writing ALL instruments with "transposed clefs", to
Hi Tim,
it can be confusing figuring out what was meant
Agreed -- we (as engravers, and composers) can reduce confusion with
a little extra effort.
I didn't know bass and piccolo had to do the same thing at times.
Not to mention bass clarinet players, percussionists (e.g.,
crotales),
Hi all. I'm a programmer, but a scheme beginner. I'm using the
following code.
dostroke = #(define-music-function (parser location chord length) (ly:music?
num
ber?)
#{
\chordmode { e,$length:5.8 }
I believe the original post asked for how it was *commonly* referred
to as. My reply was either transposition or displacement. Neither one
of these ways is most or exactly accurate. We should, as I've said
before, fall back on the standard reference volumes for music ...
those are Harvard Dictionar
Hi,
I know the Dynamic context created in piano template allows Midi output to
play piano pedaling. But when I write piano piece, the Midi can't reflect my
pedaling, and the sound is still dry. This is not because of my player, because
when I play some Midi files created by other softwares suc
Piano music is not the only place to use a GrandStaff is it? Is not a
full orchestral score written on a Grand Staff? And the full score of
a String Quartet is it not also a Grand Staff?
I am not 100% sure I'm right here either. I thought that GrandStaff
meant more than one staves bound together b
MIDI doesn't indicate exactly what the instruments will sound like.
The exact sounds depend on the General MIDI instruments the person
playing the file back has available on their computer.
The way the playback sounds to you will not be the way it sounds when
it is played back on other computers.
On 2008/02/16 12:48 PM, "Kurt Kroon" <[EMAIL PROTECTED]> wrote:
> I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing
> the list.
Wow ... it's too bad no one here has any strong opinions on the matter. So,
since I started the d*mn thread, I have to wrangle it back to its
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 27. Februar 2008 schrieb Brett Duncan:
The term "octave clefs" crops up in many places on the 'Net,
An octave clef is something different than an ottava bracket. Botch indicate
octavation, but while an ottav
> (I'm not sure if one can extend this last one in LilyPond to more complex
> examples, like when the numerator is an additive expression, and the
> denominator is a single digit, e.g. (3+2+3)/8.)
I was mistaken ... it *is* possible to extend the syntax (which seems
completely reasonable, in retro
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