Dear community,
I've seen that the paper-block in the following example, which I've used in
a latex-document, has no influence on the output.
How can I get more space between the systems?
\begin{lilypond}
\version "2.12.2"
\paper
2010/4/26 Francisco Vila :
> 2010/4/26 Bertalan Fodor (LilyPondTool) :
>
>> Send me a PDF file of the original problem please...
>
>
> http://paconet.org/lilypond/duermeusted.pdf
In another (older) system this looks and prints correctly both in
jpedal and evince. It seems to be related with the ex
2010/4/27 Stefan Thomas :
> Dear community,
> I've seen that the paper-block in the following example, which I've used in
> a latex-document, has no influence on the output.
> How can I get more space between the systems?
>
> \begin{lilypond}
> \version "2.12.2"
>
>
Dear Francisco,
thanks for Your answer, it worked!
2010/4/27 Francisco Vila
> 2010/4/27 Stefan Thomas :
> > Dear community,
> > I've seen that the paper-block in the following example, which I've used
> in
> > a latex-document, has no influence on the output.
> > How can I get more space between
Francisco Vila wrote:
2010/4/26 Francisco Vila :
2010/4/26 Bertalan Fodor (LilyPondTool) :
Send me a PDF file of the original problem please...
http://paconet.org/lilypond/duermeusted.pdf
In another (older) system this looks and prints correctly both in
jpedal and evince
Hello,
New lilypond user, finally got rid of finale (thank god). My question is
kind of dumb but I'm really confused about this.
I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
need to extract parts from this (can you tell I was a finale user for 7
years?) Did I creat
On Tue, Apr 27, 2010 at 12:15 PM, Joshua Armenta wrote:
> New lilypond user, finally got rid of finale (thank god). My question is
> kind of dumb but I'm really confused about this.
> I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
> need to extract parts from this (ca
> New lilypond user, finally got rid of finale (thank god). My question is kind
of dumb but I'm really confused about this.
>
> I have a large ensemble score finished (Brass Choir, Organ and Chorus) and I
need to extract parts from this (can you tell I was a finale user for 7 years?)
Did I create
Hi Joshua,
Have a look at
http://lilypond.org/doc/v2.13/Documentation/learning/scores-and-parts#Scores-and-parts
Part of LilyPond's flexibility is that it does most of the work for you.
This eliminates the need to fine tune the the appearance and layout of
the music in scores and parts, and
Hello all,
While browsing I came across the following article:
Kuuskankare, M (2009) ENP: a system for contemporary music notation.
Contemporary Music Review 28(2): 221--235
http://dx.doi.org/10.1080/07494460903322505
It's about a system developed at the Sibelius Academy and dedicated to
the pro
> For the score I make a file called "score.ly" with all of the formatting
> that I prefer for the full score and I do \include "guitar-notes.ly" and
> \include "horn-notes.ly" and so forth.
>
One thing you can do is to open all the file as a "project" in Smultron or
TextMate or your favorite text
Hi,
Anyone using audiveris here? Looks interesting
http://audiveris.kenai.com/
\r
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On Tue, Apr 27, 2010 at 02:56:53PM +0200, Joseph Wakeling wrote:
> Kuuskankare, M (2009) ENP: a system for contemporary music notation.
> Contemporary Music Review 28(2): 221--235
> http://dx.doi.org/10.1080/07494460903322505
That's not new -- or rather, that's just the latest version.
There's pub
On 27 April 2010 09:56, Joseph Wakeling wrote:
>
> It's about a system developed at the Sibelius Academy and dedicated to
> the production of advanced contemporary notation, including LISP-esque
> syntax for extensibility.
>
>
It comes with PWGL, that is a program for algorithmic music similar to
Bernardo Barros wrote:
> I wonder why not just work with Lilypond, or even modify Lilypond if
> necessary to atend contemporary notation. It's easier to humans to
> understad and it's already working ok :-) Maybe it has to do with the
> render time
The 'Sibelius Academy' mention is probably th
2010/4/26 Reinhold Kainhofer :
> Absolutely. You can't imagine how long i fought to find proper ways
> to align "pp" and "pp sempre" properly with each other!
How interesting!
Do you use Graham's function or do you have something "on your own"?
I hoped normal markups to align automatically besid
On Tue, Apr 27, 2010 at 07:11:22PM +0200, Joseph Wakeling wrote:
> Bernardo Barros wrote:
> > I wonder why not just work with Lilypond, or even modify Lilypond if
> > necessary to atend contemporary notation. It's easier to humans to
> > understad and it's already working ok :-) Maybe it has to do
Yes, for simbolic manipulation it makes a lot of sense to have this format.
I like very much the structure of the rhythmic trees of PW and Openmusic.
For my personal use as a composer I created other kinds of representation
that I work in SuperCollider and in the end I have some programs that
trans
Dear all,
I thought I'd chime in since I'm the author of the program discussed in this
thread.
I started to work with ENP already in the early 90's. The idea at the time was
to update the music notational capabilities of a visual programming language
called PatchWork. So, ENP, at first, exist
Graham Percival wrote:
> That's a rather large fail. "Sibelius Academy" is a university.
> http://www.siba.fi/en/
Mea culpa. :-)
> You might recall that Sibelius was a composer? A rather famous
> composer from Finland? In fact, some people might say "the *only*
> famous composer from Finland?
Mika Kuuskankare wrote:
> Dear all,
>
> I thought I'd chime in since I'm the author of the program
> discussed in this thread.
Already replied to this message once, but forgot to hit 'Reply All'.
Sincere apologies to Mika and other ENP developers (not to mention the
Sibelius Academy) for mischara
Hi all,
I found a bug when working with tablature with a quarter-tone. See the third
string for example.
I can't do this:
\set TabStaff.stringTunings = #'(3 -1 -5.5 -11 -15 -21)
Because I get things like 0.5 in the score.
It's better to round to 6 rather then 5.
If I round to 6 it's better, b
No, it's happening in other cases too. It's funny because the same note can
be one fret number and anoter with one step diference in the same measure.
Strange... Maybe I have to copy to another file and then check for all the
mistakes and try to compensate in the new file, but that's insane. :-(
O
I found a good example of the problem.
I get string 3 fret 6 If I type
geh'8\3\glissando \grace { cih'\3 }
AND:
geh'8\3\glissando \grace { bih\3 }
It's a semitone lower but I read "6" in both cases. I'm using the tuning:
\set TabStaff.stringTunings = #'(3 -1 -6 -11 -15 -21)
It's a bug, right?
O
On 27 April 2010 17:20, Bernardo Barros wrote:
> I found a good example of the problem.
> I get string 3 fret 6 If I type
> geh'8\3\glissando \grace { cih'\3 }
> AND:
> geh'8\3\glissando \grace { bih\3 }
>
>
I guess the problem has something to do with in which octave the note is.
But I have no
On 4/27/10 12:44 PM, "Bernardo Barros" wrote:
> Hi all,
>
> I found a bug when working with tablature with a quarter-tone. See the third
> string for example.
> I can't do this:
> \set TabStaff.stringTunings = #'(3 -1 -5.5 -11 -15 -21)
> Because I get things like 0.5 in the score.
OK. I
Ok, Carl,
But I think it's 'almost' there, lilypond rounds sometimes inappropriately
up or down, but I have to say most of the time it is correct.
Is it that difficult to fix? If 'yes' I have to abandon the work I made so
far and make the final score using handwriting or Finale.
__
On 27/04/10 23:33, rosea.grammostola wrote:
Hi,
Anyone using audiveris here? Looks interesting
http://audiveris.kenai.com/
I had a brief look at it a while ago, but even with a high quality
printed score I found that the time involved in making corrections made
it slower than entering the
On 28/04/10 03:26, Xavier Scheuer wrote:
[snip]
I hoped normal markups to align automatically beside dynamics if
presents, but John disagreed so I didn't open a discussion about that
on one of the international mailing lists.
c'4\mp-\markup \italic "dolce"
to produce the quite usual "mp dolc
On 4/27/10 3:56 PM, "Bernardo Barros" wrote:
> Ok, Carl,
>
> But I think it's 'almost' there, lilypond rounds sometimes inappropriately up
> or down, but I have to say most of the time it is correct.
> Is it that difficult to fix? If 'yes' I have to abandon the work I made so far
> and make the
Hi Carl, marc and others,
Did you manage to use \chordGlissando with dynamics? It creates a lot of
dynamics, and if I try to create a hiden voice the score becomes a mess. I'm
not putting dynamics in those chords until I know what to do.
___
lilypond-us
Am Mittwoch, 28. April 2010 00:11:24 schrieb Nick Payne:
> On 28/04/10 03:26, Xavier Scheuer wrote:
> > [snip]
> > I hoped normal markups to align automatically beside dynamics if
> > presents, but John disagreed so I didn't open a discussion about that
> > on one of the international mailing lists
>
> You can use different music for the notes than for the tablature. I
> realize
> that this is not desirable, but it's one way around the problem.
>
> You might also try redefining SEMI-SHARP. Look at scm/lily-library.scm,
> and
> find
>
> (define-safe-public SEMI-SHARP 1/4)
>
> Try changing it
Carl Sorensen writes:
> On 4/27/10 3:56 PM, "Bernardo Barros" wrote:
>
>> Ok, Carl,
>>
>> But I think it's 'almost' there, lilypond rounds sometimes inappropriately up
>> or down, but I have to say most of the time it is correct.
>> Is it that difficult to fix? If 'yes' I have to abandon the wo
Dear community,
I have a problem with page-count.
I have a score with 22 pages, but on the last page is only one system.
So I put in the paper-block of the score
page-count = 21
Unfortunately it doesn't make any difference.
I'm using version 2.12.2.
Does someone have an idea what could be the reaso
Hi,
I'm trying to this with Lilypond 2.13.19:
\relative c' { c1\mf | d\cresc | e | f\ff }
Nothing special I would say. But after compiling the "cresc." is placed
below the e in the third bar instead of below the d in the second bar.
I don't understand.
Please explain ?
--
Martin
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