2011/3/14 Hinrik Örn Sigurðsson :
> 2011/3/13 Janek Warchoł :
>> Then I suppose that you have more than 16 voices.
>> This is the drawback of this method.
>>
>>> But it does work around the problem, thanks.
>>
>> You're welcome :)
>>
>> cheers,
>> Janek
>
> Actually, the piece in question never has
Attached is a function . . .
Wahoo. Seems to be a very powerfull function. I keep it in my favorites.
Thanks David.
Gilles
NB
If the user enters the value 2 for example as the dir parameter, the
function fails.
Using = < and > in the last cond expression avoids that.
(ly:grob-set-proper
On Mon, Mar 14, 2011 at 12:42:45AM -0300, Han-Wen Nienhuys wrote:
> On Sun, Mar 6, 2011 at 8:17 AM, Mike Blackstock
> wrote:
> > This is F*G great! Especially the Bach BWV 1006 - I could have sworn it
> > really was a kid playing. http://percival-music.ca/audio/bwv-1006_1.wav.mp3
>
> To my ea
Han-wen,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Han-Wen Nienhuys
)Sent: 14 March 2011 03:43
)To: Mike Blackstock
)Cc: lilypond-user@gnu.org
)Subject: Re: [OT] Vivi, the V
Han-Wen Nienhuys writes:
> On Sun, Mar 6, 2011 at 8:17 AM, Mike Blackstock
> wrote:
>> This is F*G great! Especially the Bach BWV 1006 - I could have sworn it
>> really was a kid playing. http://percival-music.ca/audio/bwv-1006_1.wav.mp3
>
> To my ears, the rhythm sounded eerily exact - don'
On Mon, Mar 14, 2011 at 1:43 AM, David Rogers
wrote:
> * Marc Weber [2011-03-14 04:01]:
>
>
> -- O -- (O is the body of a note here)
>> -- O --
>>
>> the interval between both pitches depends on the location.
>> Why?
>>
>> Why should e-g be different from g - h ?
>>
>> Wouldn't it be easier to a
David Rogers writes:
> * Marc Weber [2011-03-14 04:01]:
>
>>-- O -- (O is the body of a note here)
>>-- O --
>>
>>the interval between both pitches depends on the location.
>>Why?
[...]
> Sure, various people have come up with several interesting and useful
> (at least potentially useful) syst
2011/3/14 David Kastrup :
> The _only_ non-fringe (and you
> might debate that) instrument I know that has controls _deliberately_
> designed around a chromatic scale (note that string instruments have
> their controls dictated by physics) is the chromatic button accordion.
>
> Every _other_ instru
2011/3/14 David Kastrup :
> Francisco Vila writes:
>
>> 2011/3/14 David Kastrup :
>>> The _only_ non-fringe (and you
>>> might debate that) instrument I know that has controls _deliberately_
>>> designed around a chromatic scale (note that string instruments have
>>> their controls dictated by phy
Francisco Vila writes:
> 2011/3/14 David Kastrup :
>> The _only_ non-fringe (and you
>> might debate that) instrument I know that has controls _deliberately_
>> designed around a chromatic scale (note that string instruments have
>> their controls dictated by physics) is the chromatic button acco
Francisco Vila writes:
> 2011/3/14 David Kastrup :
>> Francisco Vila writes:
>>
>>> 2011/3/14 David Kastrup :
The _only_ non-fringe (and you
might debate that) instrument I know that has controls _deliberately_
designed around a chromatic scale (note that string instruments have
>
I have tried to generate a PDF out of this here below file, but it does not
work. Any advise?
\version "2.10.3"
violinoprincipale = {
\set Staff.instrumentName = \markup { \center-align { "Violino" "principale."
} }
\set Staff.midiInstrument = "violin"
\clef treble
\key d \major
\time 4/4
2011/3/14 David Kastrup :
> Francisco Vila writes:
>> Frets in a guitar are absolutely chromatic. I did not mention
>> fretless instruments.
>
> So please explain how you are would sort frets into a diatonic scale
> arrangement corresponding to white keys on a piano, with the frets
> correspondin
On Mon 14 Mar 2011, 14:50 Gabriel Espelleta wrote:
> I have tried to generate a PDF out of this here below file, but it does not
> work. Any advise?
:-)
1) please, make it more readable! "one measure per line" is excellent rule,
indeed.
2) send error message?
>
> \version "2.10.3"
>
> violi
- Original Message -
From: "Gabriel Espelleta"
To:
Sent: Monday, March 14, 2011 2:50 PM
Subject: ly file giving error when trying to generate PDF
I have tried to generate a PDF out of this here below file, but it does not
work. Any advise?
Please read
http://lilypond.org/doc/v2.1
On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila wrote:
>
> 2011/3/14 David Kastrup :
> > Francisco Vila writes:
> >> Frets in a guitar are absolutely chromatic. I did not mention
> >> fretless instruments.
> >
> > So please explain how you are would sort frets into a diatonic scale
> > arrangem
On Mon, Mar 14, 2011 at 11:38 AM, Michael Ellis
wrote:
> On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila
> wrote:
>>
>> 2011/3/14 David Kastrup :
>> > Francisco Vila writes:
>> >> Frets in a guitar are absolutely chromatic. I did not mention
>> >> fretless instruments.
>> >
>> > So please exp
* David Kastrup [2011-03-14 14:40]:
And 99% of all musical literature is _scale-oriented_ rather than
_interval_-oriented. So even singers tend to be better off with a
notation focusing on scales rather than intervals, unless they happen to
sing Schönberg.
Even if they sing Schoenberg frequ
Gabriel Espelleta wrote:
I have tried to generate a PDF out of this here below file,
but it does not work.
The Lilypond code you supplied says what the lead violin should play.
This, by itself, is not enough for what you are expecting.
You must also have code which asks Lilypond to ty
Gabriel
Try adding
\score {
\violinoprincipale
}
to the bottom.
Trevor
- Original Message -
From: "Gabriel Espelleta"
To:
Sent: Monday, March 14, 2011 2:50 PM
Subject: ly file giving error when trying to generate PDF
I have tried to generate a PDF out of this here below file, b
2011/3/14 Michael Ellis :
> On Mon, Mar 14, 2011 at 11:06 AM, Francisco Vila
> wrote:
>>
>> 2011/3/14 David Kastrup :
>> > Francisco Vila writes:
>> >> Frets in a guitar are absolutely chromatic. I did not mention
>> >> fretless instruments.
>> >
>> > So please explain how you are would sort fr
Excerpts from David Rogers's message of Mon Mar 14 16:11:47 + 2011:
> In my opinion, for starters, any new system that requires an explanation
> of its features is out. If it isn't obvious without explanation, then
> the advantages are probably not great enough to get anybody to switch.
:) Of
Marc Weber writes:
> I feel that some people playing music only once a year would benefit
> from equal appearance meaning equal intervals.
Only if they are playing an instrument where equal intervals are
represented by equal key distances.
Since that is not the case for most instruments (in par
Excerpts from David Kastrup's message of Mon Mar 14 16:32:56 + 2011:
> Since that is not the case for most instruments (in particular not for
> piano keyboards), they have nothing to gain from a notation matching
> better what they hear rather than what they need to play.
First this could be ch
Marc Weber writes:
> Excerpts from David Kastrup's message of Mon Mar 14 16:32:56 + 2011:
>> Since that is not the case for most instruments (in particular not for
>> piano keyboards), they have nothing to gain from a notation matching
>> better what they hear rather than what they need to pl
2011/3/14 Marc Weber :
> Second: You're wrong. By giving pitches numbers you'll naturally feel
> than the distance 2-5 is the same as 8-11 and 27-30 and 45-48.
And how would you represent quarter-tones? 5.5? And other kinds of
tonal inflections?
___
lil
Excerpts from David Kastrup's message of Mon Mar 14 16:58:39 + 2011:
> You'll find that at the end of the day, they sit down at a keyboard
> rather than just letting intervals play by numbers in their head.
*g*. I agree. The goal in all cases is: read a stream of music from
paper, hear it in
On Mon, March 14, 2011 6:02 pm, Bernardo Barros wrote:
> 2011/3/14 Marc Weber :
>> Second: You're wrong. By giving pitches numbers you'll naturally feel
>> than the distance 2-5 is the same as 8-11 and 27-30 and 45-48.
>
> And how would you represent quarter-tones? 5.5? And other kinds of
> tonal
Then you know that 6A is one octave above 5A, etc. Not that crazy
midinote notation..
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
we have a decimal system and you want to represent a numeral system
based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
You should propose a system base on 12 or 24 then.
In computer science they use the hexadecimal system because it fits
computer's bytes representation, if your object is
On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
> we have a decimal system and you want to represent a numeral system
> based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
> You should propose a system base on 12 or 24 then.
>
> In computer science they use the hexadecimal system b
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I need all of the beats on the page to take up the same
amount of space so that the rhythms can be clearly seen. What I need to do
now is to take away the time signature in the first line entire
On Mon, Mar 14, 2011 at 2:03 PM, wrote:
>
> On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
>> we have a decimal system and you want to represent a numeral system
>> based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
>> You should propose a system base on 12 or 24 then.
>>
>> In
- Original Message -
From:
To:
Sent: Monday, March 14, 2011 6:23 PM
Subject: Removing Time Signature entirely (not just transparent)
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I need all of the beats on the page to take up
Hi,
I use \score blocks inside \markup in constructions like this one:
\markup {
\fill-line {
\score {
c'1
\layout {} % required!
}
\score {
d'1
\layout {}
}
}
}
but it is heavy.
I would like to define the \score blocks as variables or as music
Hi Carl,
I'm also trying to get as precise as possible proportional notation. I
see you also came up with the idea os positioning the beams in the
middle of the notehead. I got trouble to write a scheme function that
knows when the stem is up or down. You seem to have done this better!
How did yo
On 3/14/11, Gilles THIBAULT wrote:
>> Attached is a function . . .
>
> Wahoo. Seems to be a very powerfull function. I keep it in my favorites.
> Thanks David.
Glad you can use it!
> NB
> If the user enters the value 2 for example as the dir parameter, the
> function fails.
> Using = < and > i
Am 14.03.2011 19:23, schrieb cte...@wesleyan.edu:
Hello Everyone,
I am working on some highly customized notation for proportionally notated
phase music. I need all of the beats on the page to take up the same
amount of space so that the rhythms can be clearly seen. What I need to do
now is to t
> @Marc
> I think we're offering too much discouragement here instead of helping
> you figure out how to use LilyPond to experiment with your ideas. So
> here's an adaptation of a script I use to generate solfege syllables
> using the NoteNames engraver. By mapping numbers to the Dutch
> notename
Hello Bernardo,
I created a custom notehead. Include this somewhere in your file and then
call it before your notation using \headCir
headCir = {
\override NoteHead #'(stem-attachment) = #'(0 . 0)
\override NoteHead #'stencil = #ly:text-interface::print
\override NoteHead #'text = \markup
Hi Marc,
Ahh yes, the custom clef. I have been having some fun with that. I am
copying some handwritten music and I'm trying to retain the character of
the music as much as possible. The clef is a design of someone else's so I
won't include how to do it. But here is the basic premise.
Here is a g
i...@kristoflauwers.domainepublic.net writes:
> On Mon, March 14, 2011 6:57 pm, Bernardo Barros wrote:
>> we have a decimal system and you want to represent a numeral system
>> based on 12 or 24 like [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, A, B].
>> You should propose a system base on 12 or 24 then.
>>
>>
As a random aside on the whole electronic music effort. On the
one hand the technology and science is very interesting, but on the
other it is somehow disturbing. I suppose since I have spent so much
of my life attempting to master keyboard instruments and having watch
so many students progr
Hello
A simple example
---
\version "2.13.40"
top = \relative c'' {
\clef "treble"
a b c d
}
bottom = \relative c {
\clef "bass"
a b c d
}
\score {
<<
\new Staff { \top }
\new Staff { \bottom }
>>
}
\score {
<<
\new Staff { \top }
\new Staff { \bottom }
>>
}
\score {
<<
\new Staff { \top }
> Bernardo Barros
0,1,...,A,B (base 12)
Yes, you're right. Tell me one programmer who can count in Hex by heart. I can
do so on paper. But I can't tell you instantly what B*C gives. (11 * 13 = ..
back to hex? let me use a calculator).
You're right. Base 12 would be fun. But its not tought in sc
2011/3/14 James Lowe
>
> A simple example
> [...]
>
> This prints 3 grouped staves underneath each other, how would one go about
> getting them so the three scores are running left to right instead?
Perhaps inserting scores in a markup will work for you?
See Notation Reference 1.8.2
http://lilyp
Marc Weber schreef op ma 14-03-2011 om 21:01 [+]:
> I'm a programmer. I know many languages upside down (unfortunately not lisp)
Your brackets already match, I hear that's the hardest bit ;-)
Jan.
--
Jan Nieuwenhuizen | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com
Janek,
From: Janek Warchoł [lemniskata.bernoull...@gmail.com]
Sent: 14 March 2011 21:30
To: James Lowe
Cc: LilyPond User (lilypond-user@gnu.org)
Subject: Re: How to print to \score { } constructs next to each other instead
of underneath
2011/3/14 James Low
On 14 March 2011 19:11, Xavier Scheuer wrote:
> I would like to define the \score blocks as variables or as music
> functions. Unfortunately it seems impossible.
>
> I tried
>
> scoreOne = \score {
> c'1
> \layout {} % required!
> }
>
> \markup {
> \column {
> \scoreOne
>
On Sun, Mar 13, 2011 at 10:13 PM, Paul Scott wrote:
> Hi,
>
> 2.13.54
>
> Does it ever make sense for RemoveEmptyStaffContext to remove all staves?
> Should not at least one be kept alive showing the rests?
>
> Is there a way to force this behavior? I haven't gotten the following to
> work yet t
On 03/14/2011 09:00 PM, Andrew Hawryluk wrote:
On Sun, Mar 13, 2011 at 10:13 PM, Paul Scott wrote:
Hi,
2.13.54
Does it ever make sense for RemoveEmptyStaffContext to remove all staves?
Should not at least one be kept alive showing the rests?
Is there a way to force this behavior? I ha
Op vrijdag 11 maart 2011 schreef PMA:
> How can I control the installation-process's file distribution?
see the output of lilypond-x.y.z-1.linux-x86.sh --help
The --prefix option can be given a path all directories (lilypond and bin)
will be created under. I use a prefix like ~/lilypond_bin/x.y
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