>> 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
Exactly. It's already a pain to type `{', `}', and `\' with a German
keyboard...
Werner
_
Wei-Wei Guo wrote:
I still have no idea how to input some music symbols, such as a short
piece of pure staff, timesignature, keysignature, and so on.
Search the snippet repository for "engravers".
In particular, try out the (complete) snippet in
http://lsr.dsi.unimi.it/LSR/Item?id=280
Ch
Stefan
I would not normally expect to see a separate syllable for one or
both grace notes. The syllable sung on the note following, or in
your case preceding, the grace note would be extended to cover the
grace note(s) too. Is this not what you would expect?
Trevor
- Original Message -
Snippet?
Trevor
- Original Message -
From: "Kieren MacMillan"
To: "Mark Polesky"
Cc: "lilypond-user Mailinglist"
Sent: Tuesday, April 07, 2009 4:25 AM
Subject: Re: TimeSignature with white border?
Mark,
This one is a little better.
You rock -- thanks!
Kieren.
__
James
I've no idea what the problem is - the lines in error look correct
to me. But are the last two lines in the log a clue? These point
to lines 53 and 65. I suspect the error is there.
Trevor
- Original Message -
From: "James E. Bailey"
To: "lilypond-user Mailinglist"
Sent:
Kees van den Doel wrote:
> I agree it makes total sense to have an "accidental_level2" which make
> additional microtonal
> alterations to the 12 "diatonic pitches and their equally tempered
> "accidental_level1" alterations (b and #)",
> but there is only one level of accidental in Lilypond, a
Joseph Wakeling wrote:
> I've attached the .ly files for people's amusement. I don't know if
> it's even _possible_ to make them work, but the errors seem to crop up
> when the transposition would normally transform a natural into a flat or
> sharp (or vice versa).
Whoops, I attached the wrong fi
...although we all are in 'the real world' (or at least think we are :-) )
Recently, I was attending a speech by one of the leading people being
busy with compiling a new book of church songs for The Netherlands (or
at least the Calvinist/Lutheran part of it). When the speech was
finished I asked
Nick
You will need to revert the default auto-beaming rules for 3/4 time
to turn off the beaming every 8th note. You don't say what version
you are using, and there are differences in the default auto-beaming
rules. Look up revert-automatic-beam-setting in the index to the
Notation Referenc
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Montag, 6. April 2009 schrieb James E. Bailey:
> 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 error
Am Dienstag, 7. April 2009 schrieb Christ van Willegen:
>[...] at least it can be shown
> that Lilypond is ready for world usage.
I doubt that anyone who has seen e.g. Michael Käpplers score of Telemann's
"Meine
Schafe hören meine Stimme", available at
http://icking-music-archive.org/ByCompo
Yes, this is exactly what I want
2009/4/7 Trevor Daniels :
> Stefan
>
> I would not normally expect to see a separate syllable for one or both grace
> notes. The syllable sung on the note following, or in your case preceding,
> the grace note would be extended to cover the grace note(s) too. Is t
Ok, I managed to figure it out:
#(revert-auto-beam-setting '(end 1 32 3 4) 1 8)
#(revert-auto-beam-setting '(end 1 32 3 4) 2 8)
#(revert-auto-beam-setting '(end 1 32 3 4) 3 8)
#(revert-auto-beam-setting '(end 1 32 3 4) 4 8)
#(revert-auto-beam-setting '(end 1 32 3 4) 5 8)
#(revert-auto-bea
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Montag, 6. April 2009 schrieb James E. Bailey:
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 wo
Op dinsdag 07 april 2009, schreef Christ van Willegen:
> (...) told me that they were already looking into using Lilypond...
>
> So, here's a serious example of the usage of Lilypond in the real world.
>
> I was wondering if perhaps 'we' were able to help him, by:
> - Engraving songs for publishing
I'm trying to get automatic beaming of 32nd notes to end every
quarter note rather than every eighth note. I thought the following
should achieve it, but the beaming of 32nd notes still breaks every
eighth note:
relative c'' {
time 3/4
#(override-auto-beam-setting '(end 1 32 * *) 1 4)
#(overr
Op dinsdag 07-04-2009 om 11:56 uur [tijdzone +0200], schreef Christ van
Willegen:
[cc list]
> - Extending Lilypond to (more easily?) accomodate engraving of church
> music. Two examples that I can think of are: Setting rests at the end
> of a system, and making music centered and not left aligned;
Dear community,
there is one feature, that I know from Sibelius and Finale, which
would be great to have in Lilypond too.
If You have for example just one sixteenth note in a 4/4 bar, than
sibelius automatically fills the rest of the bar with rests.
I think rosegarden is able to do that too, but as
Christ van Willegen 写道:
- Any other advice/techniques/additions/modifications we can think of.
Does Lilypond has any application on music textbook? Is is possible? I find
it difficult to input single/standalone music symbols, such as crotchet or
quaver.
Best wishes,
Wei-Wei
Dear Robin and all,
Thanks for your reply. I'm new to Lilypond. It cost me some time to understand
the snippet in your link. As I understand, the snippet is manipulating engraver
by restricting their appearance. It's a similar method with \remove. If my
understanding is right, I have tried the me
On Tue, Apr 07, 2009 at 09:37:40PM +0800, Wei-Wei Guo wrote:
> Dear Robin and all,
>
> Thanks for your reply. I'm new to Lilypond. It cost me some time to understand
> the snippet in your link. As I understand, the snippet is manipulating
> engraver
> by restricting their appearance. It's a simila
Dear community,
concerning the notation of microtonal accicentals, in my opinion the
solution of Hans Zender is quite good.
He suggests to write changes of intonation with (-) (+) (on 12th of a
tone higher or lower), (--) (++), and so on.
This can be done easily in Lilypond and is quite understanda
The attached tar file is my example, which is in HTML format.
The example has two PNG files which are all generated by Lilypond. The first is
a
single G clef, which is put in the normal text. The second is a piece of music
script, which has its own line. My problem is related to the first kind.
Hi Stefan,
there is one feature, that I know from Sibelius and Finale, which
would be great to have in Lilypond too.
If You have for example just one sixteenth note in a 4/4 bar, than
sibelius automatically fills the rest of the bar with rests.
I think rosegarden is able to do that too, but as f
You didn't really answer the question, namely exactly how you used
LilyPond to generate the PNG files (the input file and the commands you
used to produce the output).
Please note that lilypond-book is one option to produce HTML pages with
embedded LilyPond code.
/Mats
Wei-Wei Guo wrote:
A feature I would like is to make it so that barchecks don't fail on
the end of a staff started with \partial. Especially in songs, the
last measure will usually be cut down by the same amount as the
\partial at the beginning. Currently I have to hide the time signature
and change time at t
Dear Kieren,
I think it could be easy, for someone, who can handle scheme, but for
me, I guess, it's too complicated.
2009/4/7 Kieren MacMillan :
> Hi Stefan,
>
>> there is one feature, that I know from Sibelius and Finale, which
>> would be great to have in Lilypond too.
>> If You have for exampl
Sorry for that.
I generate the PNG files by the following command:
lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png target.ly
The command is called from other software package(Sphinx). The 'target.ly' file
is
generated by inserting the content, for example \musicglyph #"cl
Why would you insert a bar check at a place where you know that the
measure isn't finished?
Bar checks are only intended to help you make sure that LilyPond thinks
that the measure is
finished at the same place as you think it is.
If you want an ending bar line, just use \bar "|." (or whatever
I use it to verify I didn't make a mistake in the last measure, especially
when I have multiple voices in a single staff.
-tom
On Tue, Apr 7, 2009 at 8:27 AM, Mats Bengtsson wrote:
> Why would you insert a bar check at a place where you know that the measure
> isn't finished?
> Bar checks are on
Am 07.04.2009 um 13:31 schrieb Mats Bengtsson:
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Montag, 6. April 2009 schrieb James E. Bailey:
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 copy
Tom Dickson wrote:
I use it to verify I didn't make a mistake in the last measure,
especially when I have multiple voices in a single staff.
??? If you know that the last measure is incomplete, it's obvious that
you will get a bar check error if you insert a bar check there. If you
really wan
That's basically what I do, but using \time. With your example I use:
\relative c'{\partial 8 c8 |
c4 d e f |
\override Staff.TimeSignature #'stencil = ##f \time 7/8 d2 c4. \bar "|." |
}
Since I'm combining Soprano and Alto voices into one staff, this allows me
to put all the timing informatio
Le 7 avr. 09 à 00:57, Nick Payne a écrit :
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
su
I see what you're suggesting now - you'd like the bar check on the
final bar automatically to take the initial \partial into account,
if there was one, by adding the length of first and last bars
together, right? It would be nice feature. Bet Sibelius and Finale
don't do that!
Trevor
-
Le 6 avr. 09 à 09:35, Trevor Daniels a écrit :
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?
This should be customizable: a d
Jan, list,
On Tue, Apr 7, 2009 at 2:42 PM, Jan Nieuwenhuizen wrote:
> Op dinsdag 07-04-2009 om 11:56 uur [tijdzone +0200], schreef Christ van
> Willegen:
>> - Extending Lilypond to (more easily?) accomodate engraving of church
>> music. Two examples that I can think of are: Setting rests at the e
Hi All,
I am a composer who is using Lilypond exclusively. I have used it for
a choir and piano piece, flute and piano sonatas, piano pieces, numerous
chamber works, and a full three movement trumpet concerto. It already
is real world usage.
I don't get the topic. Do you mean c
Trevor Daniels wrote:
I see what you're suggesting now - you'd like the bar check on the
final bar automatically to take the initial \partial into account, if
there was one, by adding the length of first and last bars together,
right? It would be nice feature. Bet Sibelius and Finale don't do
On Tue, Apr 7, 2009 at 1:10 PM, Mats Bengtsson wrote:
> Trevor Daniels wrote:
>
>> I see what you're suggesting now - you'd like the bar check on the final
>> bar automatically to take the initial \partial into account, if there was
>> one, by adding the length of first and last bars together, rig
Snippet?
Definitely!
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
What an interesting suggestion. What about \partial in the middle of
a piece?
Am 07.04.2009 um 18:33 schrieb Trevor Daniels:
I see what you're suggesting now - you'd like the bar check on the
final bar automatically to take the initial \partial into account,
if there was one, by adding the
On Tue, Apr 7, 2009 at 1:33 PM, James E. Bailey wrote:
> What an interesting suggestion. What about \partial in the middle of a
> piece?
>
I would suggest an \endPartial command or similar that tells LilyPond to
check the partial that began it. Perhaps it's too detailed.
-tom
_
2009/4/7 Kieren MacMillan :
>> Snippet?
>
> Definitely!
> Kieren.
This will make an excellent snippet if it's amended slightly. :)
I hope Mark didn't spend too long working out the stencil overrides,
as there's already the public function stencil-whiteout (used for the
markup command \whiteout) w
2009/4/7 Stefan Thomas :
> Yes, this is exactly what I want
I think you'll have to fake the grace notes in this situation. You
probably won't get them to look perfectly grace-like, due to spacing
constraints and the action of the lyrics, though you might be able to
tweak them slightly by override
> #(define-public (default-repetition-function previous-chord new-chord)
> ... build a music expression...)
> #(ly:parser-repetition-name parser "&")
> #(ly:parser-repetition-function parser default-repetition-function)
Nice idea!
Werner
___
Neil,
I hope Mark didn't spend too long working out the stencil overrides,
as there's already the public function stencil-whiteout (used for the
markup command \whiteout) which will do the job in one fell swoop:
\override Staff.Clef #'stencil =
#(lambda (grob) (stencil-whiteout (ly:clef::pr
Neil Puttock wrote:
> I hope Mark didn't spend too long working out the
> stencil overrides, as there's already the public
> function stencil-whiteout (used for the markup
> command \whiteout) which will do the job in one
> fell swoop...
Neil,
don't worry about my time! :}
It seems my prog
Is this a bug or not? The fingering indications for C and D don't sit just
above the noteheads as they do for the other notes. If I remove the slur
between those two notes, then the fingering is positioned at the desired
location. Why should a slur positioned below the notes affect the location
of
On Mon, Apr 06, 2009 at 09:50:17AM +0200, Martin Tarenskeen wrote:
>
> Patch attached for those who want to try.
>
I was wondering what the "experts" think of my suggested patches to
change Lilypond's MID output behaviour:
Current: default MIDI Note On velocity value of 127
Proposed: default M
2009/4/7 Nick Payne :
> Is this a bug or not? The fingering indications for C and D don't sit just
> above the noteheads as they do for the other notes. If I remove the slur
> between those two notes, then the fingering is positioned at the desired
> location. Why should a slur positioned below the
2009/4/7 Martin Tarenskeen :
> On Mon, Apr 06, 2009 at 09:50:17AM +0200, Martin Tarenskeen wrote:
>>
>> Patch attached for those who want to try.
>>
>
> I was wondering what the "experts" think of my suggested patches to
> change Lilypond's MID output behaviour:
>
> Current: default MIDI Note On ve
Marek Klein wrote:
I tried it using the commented line, but it didn't work
You can make the cantus more approachable.
Adjust the -2 to taste.
\include "gregorian.ly"
\score {
<<
\new VaticanaVoice = "cantus" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 4)
2009/4/7 Mark Polesky :
> Neil,
>
> don't worry about my time! :}
>
> It seems my programming style is "reinventing the wheel"
> but sometimes I think that's a good way to learn.
Indeed, I've done a lot of that myself. :)
> By the way, one benefit of my approach is that you can
> select a paddin
Thanks, that fixes the problem.
Nick
> -Original Message-
> From: lilypond-user-bounces+nick.payne=internode.on@gnu.org
> [mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] On
> Behalf Of Neil Puttock
> Sent: Wednesday, 8 April 2009 08:49
> To: Nick Payne
> Cc: lilypon
Wei-Wei Guo wrote:
Christ van Willegen 写道:
- Any other advice/techniques/additions/modifications we can think of.
Does Lilypond has any application on music textbook? Is is possible? I
find
it difficult to input single/standalone music symbols, such as
crotchet or
quaver.
Have you seen oo
craigbakalian wrote:
Hi All,
I am a composer who is using Lilypond exclusively. I have used it for
a choir and piano piece, flute and piano sonatas, piano pieces, numerous
chamber works, and a full three movement trumpet concerto. It already
is real world usage.
It's great that c
M Watts 写道:
Wei-Wei Guo wrote:
Christ van Willegen 写道:
- Any other advice/techniques/additions/modifications we can think of.
Does Lilypond has any application on music textbook? Is is possible? I
find
it difficult to input single/standalone music symbols, such as
crotchet or
quaver.
Hav
On Tue, Apr 7, 2009 at 8:26 PM, Wei-Wei Guo wrote:
> M Watts 写道:
>>
>> Wei-Wei Guo wrote:
>>>
>>> Christ van Willegen 写道:
- Any other advice/techniques/additions/modifications we can think of.
>>>
>>> Does Lilypond has any application on music textbook? Is is possible? I
>>> find
>>> it
Hi Wei-Wei Guo,
explaining what a quaver is in text line.
\markup { A quaver looks like \fontsize #-2 \general-align #Y
#DOWN \note #"8" #1 }
Hope this helps!
Kieren.
___
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lilypond-user@gnu.org
http://lists.gnu.org
Many thanks!
--
Marek Klein
http://gregoriana.sk
2009/4/8 Robin Bannister
> Marek Klein wrote:
>
>> I tried it using the commented line, but it didn't work
>>
>
> You can make the cantus more approachable. Adjust the -2 to taste.
> \include "gregorian.ly"
> \score {
> <<
> \new VaticanaVoice
Dear Neil,
thanks! I'm now able to do what I wanted!
2009/4/7 Neil Puttock :
> 2009/4/7 Stefan Thomas :
>> Yes, this is exactly what I want
>
> I think you'll have to fake the grace notes in this situation. You
> probably won't get them to look perfectly grace-like, due to spacing
> constraints a
Nick,
Here's a rather awkward solution. How often would
you need this? And just out of curiosity, why?
I guess I would use something like this if I were
making a "circle the correct notation" exercise in
a textbook or something. Anyway, the solution I
have here would be a pain if you needed to d
Hi Andrew,
Thanks! It's good to know it. But it is a pity that the fonts still have limited
symbols.
Wei-Wei
Andrew Hawryluk 写道:
Do you mean including musical symbols in the body text? You may be interested in
http://www.mu.qub.ac.uk/tomita/bachfont/
Andrew
Hi Kieren,
I think that might be the method, combining basic symbols, that I'm looking for.
I actually don't understand those "#Y" or "#DOWN". I guess those represent some
basic symbols. Could you point me to any material explaining this? I'm
searching like a blind touching everything but getti
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