On Mon, Apr 06, 2009 at 01:21:04PM +0800, 胡海鹏 - Hu Haipeng wrote:
> For your other question, here's a script. Create a file feta.ly, and
>copy the following lines into it. See the log file after compiling, and
>you'll get a full list of music glyphs (some are punctuations and numbers)
I know this topic has been silent for two weeks,
but I just came across this "table of sizes" in
my copy of Ted Ross's "The Art of Music Engraving
and Processing". Might as well arm ourselves with
as much information as we can get, right?
- Mark
<>_
Jay Anderson wrote Monday, April 06, 2009 2:50 AM
On Sun, Apr 5, 2009 at 2:43 PM, Werner LEMBERG wrote:
as long as I have anything to do with LilyPond, I will veto
changes
like this that introduce inconsistent whitespace handling in the
syntax. Please come up with something different. I t
>> Well, the advantage of a non-letter char is that it's less easy to
>> confuse it with a note... That being said, we already have `r',
>> meaning "rest" and `s' meaning "skip"... But what does `q' mean?
>> :-)
>
> I guess it could mean "quote" -- as in quote the previous object.
Well, I rather
Trevor Daniels wrote:
> The 'slurs' in the hand-written score look as if they are
> really triplet indicators, with the '3' omitted from the
> later ones.
Trevor is right to discriminate between slurs and tuplet
indicators. Ted Ross (1970) discusses the use of the
small slur but makes clear that
> As I do little note entry myself I don't have a view on the merits
> of q vs &, but there is another issue to consider. If the base
> chord being repeated contains tweaks, fingering, etc, are these to
> be repeated too?
I don't know. It depends on the implementation possibilities whether
every
On Sun, Apr 05, 2009 at 11:04:09PM +0200, Martin Tarenskeen wrote:
> diff -ur lilypond-2.13.0.orig/lily/midi-item.cc
> lilypond-2.13.0/lily/midi-item.cc
> --- lilypond-2.13.0.orig/lily/midi-item.cc2009-04-05 21:11:25.0
> +0200
> +++ lilypond-2.13.0/lily/midi-item.cc 2009-04-05 21:17
The corresponding information is included in the "Application Usage"
part of the documentation for version 2.12 and later, see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/Alternate-methods-of-mixing-text-and-music#Inserting-LilyPond-output-into-other-programs
/Mats
Wei
2009/4/6 Trevor Daniels :
>> The 'q' version to my eyes is a bit easier to read.
>
> As I do little note entry myself I don't have a view
> on the merits of q vs &, but there is another issue to
> consider. If the base chord being repeated contains
> tweaks, fingering, etc, are these to be repeate
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On Montag, 6. April 2009 09:38:42 Mark Polesky wrote:
> Trevor Daniels wrote:
> > The 'slurs' in the hand-written score look as if they are
> > really triplet indicators, with the '3' omitted from the
> > later ones.
>
> Trevor is right to discriminate
Kees van den Doel wrote:
> Unfortunately Western notation doesn't work like that. Accidentals
> (microtonal or not) operate on the 7
> diatonic pitches, not on 12 semitones. I think you think the "arrow" somehow
> alters
> already altered notes (like Bb), but the alteration operates on the diaton
In message <49d996bb.9090...@ultrasw.com>, Paul Scott
writes
Ian Hulin wrote:
Hi all,
O.K here goes, I've pruned some bits out where we were getting into
acoustics, and tweaked a few bits.
Cheer
Ian Hulin
(snip)
Transposing instruments are named according to the fundamental
(known
wol,
On 6 Apr 2009, at 12:23, Anthony W. Youngman wrote:
Transposing instruments are named according to the fundamental
(known on some brass instruments as the pedal) note.
On a woodwind instrument this is normally the note obtained with
all holes covered without over-blowing or
Paul Scott wrote:
> There are also orchestral bass clarinet parts written in bass clef so
> that the transposition is a second rather than a ninth.
The really nice parts are the ones written like this for bass clarinet
_in A_, so you have to read the bass clef and transpose at the same time...
On Mon, Apr 06, 2009 at 11:23:51AM +0100, Anthony W. Youngman wrote:
>
> What do you mean by an "open" valve? To me it means the valve is
> depressed and the associated tubing is brought into play, which it
> shouldn't be. It's probably best said as something like "with the
> instrument in it
Graham Breed wrote:
> If there's some intuitive reason for choosing different logical
> equivalents, perhaps that should be reflected in different pitch
> alterations anyway.
This was certainly one thought going through my head. Though it's not
something I write myself, I was also thinking somewh
Op zondag 05-04-2009 om 18:13 uur [tijdzone -0300], schreef Han-Wen
Nienhuys:
> as long as I have anything to do with LilyPond, I will veto changes
> like this that introduce inconsistent whitespace handling in the
> syntax.
What was the problem with this again? It is not so much inconsistent
wh
On Mon, Apr 6, 2009 at 9:23 AM, Jan Nieuwenhuizen
wrote:
>> as long as I have anything to do with LilyPond, I will veto changes
>> like this that introduce inconsistent whitespace handling in the
>> syntax.
>
> What was the problem with this again? It is not so much inconsistent
> whitepace, it's
Despite the fact that it would cause massive problems in parsing, a line
like
c4 4 4 4
is not quite readable for me.
As lilypond is THE tool for typesetting beautiful scores, the source
file should
reflect the beauty. So I should be able to grasp the score at first sight,
and in my opinion,
In message <7ba1cb89-6dd8-4258-aa23-32ba97b5f...@gmail.com>, Simon
Bailey writes
this happens in dutch symphonic wind music a lot as well. the trombone
parts are supplied in Bb treble-clef (transposed), Bb bass-clef
(transposed) and C bass-clef (concert pitch). i've only ever seen it
in dutch
Hi,
in the example from the documentation,
how do I get lyrics closer to the staff?
(I tried it using the commented line, but it didn't work)
\include "gregorian.ly"
\score {
<<
\new VaticanaVoice = "cantus" {
\[ c'\melisma c' \flexa a \]
\[ a \flexa \deminutum g\melismaEnd \]
I would avoid getting in this discussion before the feature is
complete. Just call it \r (using an identifier or keyword), and see
how it works in practice. When it is debugged, think of a character.
The advantage of not using a letter a-z is that there are no backward
compat problems with sourc
In message <49da120a.7090...@hohlart.de>, Marc Hohl
writes
1) personally, I would use the "%", but this is the comment sign and
can't be used.
(perhaps this would be even possible, but ... NO!)
Oh my gosh, please, NOOO
As Han-Wen has said, parsing is important. In another life I work w
On 05/04/2009, François Labadens wrote:
> I would like to have chord names nearer to the staff... How can I do that ?
I had the same problem. I'm now using the following setting in the
Staff below the chords:
\new Staff \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 3)}
Sometime
> 3) why not use a "x" for eXpression, because the sign is meant not
> only to repeat "Qords", but everything reasonable?
I don't object. A chord is then played 3x (3 times) more, so use of
`x' is really justified.
Werner
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Anthony W. Youngman schrieb:
In message <49da120a.7090...@hohlart.de>, Marc Hohl
writes
1) personally, I would use the "%", but this is the comment sign and
can't be used.
(perhaps this would be even possible, but ... NO!)
Oh my gosh, please, NOOO
As Han-Wen has said, parsing is impor
Paul Scott wrote:
> For woodwinds this description is not at all practical partly for the
> extension reason you mentioned below. Not counting the B foot on a
> flute or the low A on many baritone saxes the only woodwind I know of
> that has a C for its full length is the flute. Saxes and oboes s
I'm running Lilypond 12 on a Mac, using an external editor (TextMate), which
generally works
quite well. But I play trombone, and must create parts and scores involving
sliding into
notes. Lilypond produces some bizarre output. The example below illustrates
the ugly output my
innocence led me into
Am 06.04.2009 um 22:26 schrieb Lewis Overton:
…
Grace note synchronization can also lead to surprises. Staff
notation, such as key signatures,
bar lines, etc., are also synchronized. Take care when you mix
staves with grace notes and
staves without, for example,
…
The "solution" is to inclu
Why not use an empty pair of braces, which at the moment are just ignored by
the parser, to dignify chord repetition:
<> gives
3<> gives
c <> gives c - ie <> ignored as now if preceding element is
not a chord
Can be typed pretty rapidly too: hold down right shift with your little
fing
I'm trying to figure out what the character in the custom key
signature is, and it's not working for me. I've tried copying and
pasting from the manual, but it's not working for. I get these errors:
GNU LilyPond 2.12.2
»Vol 1.ly« wird verarbeitet
Analysieren...
Vol 1.ly:571:51: Fehler: GUILE s
Is it intended that a title or subtitle in the main header should be
repeated in each bookpart that doesn't redefine the title or subtitle,
because that's what I see:
%=
\version "2.12.2"
\paper {
ragged-bottom = ##t
ra
This one is a little better.
- Mark
\version "2.13.0"
#(define (whiteout-clef-stil grob)
(let* ((x-pad 0.3)
(this-stil (ly:clef::print grob))
(stil-x-ext (ly:stencil-extent this-stil 0))
(stil-y-ext (ly:stencil-extent this-stil 1))
(box-x-ext (co
Here's the Saraband from essay in Finale 2008, which is only one
version of Finale behind the current one. I put it together while
contemplating Graham's grand web project.
Andrew
On Sat, Apr 4, 2009 at 6:20 PM, Han-Wen Nienhuys wrote:
> On Fri, Apr 3, 2009 at 12:27 PM, Graham Percival
> wrote:
Dear all,
I need to input music symbols in my learning notes. Although \musicglyph helps
a lot, I still have no idea how to input some music symbols, such as a short
piece of pure staff, timesignature, keysignature, and so on. Could you give me
any suggestions?
Thanks in advance!
Best wishes,
Mark,
This one is a little better.
You rock -- thanks!
Kieren.
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> Kees van den Doel wrote:
> > Unfortunately Western notation doesn't work like that.
> Accidentals (microtonal or not) operate on the 7
> > diatonic pitches, not on 12 semitones. I think you think the
> "arrow" somehow alters
> > already altered notes (like Bb), but the alteration operates
>
Dear community,
I have a problem with lyrics and aftergrace.
In the following snippet, the lyrics don't align to the music as expected.
global = { \key d \major \time 6/8 }
melodie = \relative c'' { \global \afterGrace cis2.\trill{ b16 [ cis] } d4 }
text = \lyricmode { Lied im Grund. }
\version
2009/4/7 Nick Payne
> Is it intended that a title or subtitle in the main header should be
> repeated in each bookpart that doesn't redefine the title or subtitle,
> because that's what I see:
>
>
> "Main Subtitle" appears in each bookpart. If I change each bookpart to use
> subtitle instead of t
> Can be typed pretty rapidly too: hold down right shift with your little
> finger and <> fall under the index and middle fingers.
..not everyone uses us keyboard
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