How will this impact users who receive the list in digest mode each week?
(I don't get it this way, so I don't know)
Jeff
On Mon, Dec 17, 2012 at 11:37 PM, Werner LEMBERG wrote:
>
> >> Given that, does anyone have any suggestions to how behave nicely
> >> for list members like Harm when imag
>> LilyPond tries to mimick traditional engraving. There are bugs,
>> however, saying "I find xx is too short" is not helpful.
>
> I thought I was fairly clear about the specifics―“I find the stem
> here awfully short because it makes the flag on the eighth note run
> into the note heads”―but I
Keith OHara writes:
> Richard Hogg gmail.com> writes:
>
>>
>> I'm transposing a piece where the measure numbers mark the beginning
>> of each
> (irregular length) section, so I need to notate measure numbers 11,
> 19, 27, 31,
> 51, 59, 67, etc. Is there a way to do this?
>
> I read this diff
The score I am working from was printed in Boston in the 1860s. It was
relatively clear, but the "corrected" version of 1874 was loaded with junk:
pervasive fingerings, nonsensical slurs, seemingly random articulation marks.
So much was loaded in that it looks like a rat's nest.
Thanks for poi
Paul Morris writes:
> On Dec 18, 2012, at 1:03 AM, Arle Lommel wrote:
>
>> Given that, does anyone have any suggestions to how behave nicely
>> for list members like Harm when images are involved?
>
> Hi Arle, Hmmm... one possible solution is to post your images in
> flickr, dropbox, or your on
Arle Lommel writes:
> I thought I was fairly clear about the specifics—“I find the stem here awfully
> short because it makes the flag on the eighth note run into the note
> heads”—but I guess not.
Yes, that's clear.
> But the inline images (yes) shown below should resolve any confusion
> on the
Kieren MacMillan sympatico.ca> writes:
> Essentially. Did you do any performance testing, to see if compilation
> times are optimized this way? (I'm finding performance to be somewhat
> critical, especially when generating my large opera and musical scores.)
>
> Has anyone else tried other met
Arle Lommel writes:
> Thanks for pointing out the regional and temporal variations at work here.
> That tells me the Lilypond default isn't a bug. It is just a difference of
> aesthetic ideal and intention.
It still /could/ be, what I say it that it's impossible for me to tell
yet.
Greetings, Ja
Thomas Morley writes:
> Hi Eric,
>
> sorry to come back to you that late.
>
> 2012/12/13 Eric Pancer :
>> On Wed, Dec 12, 2012 at 6:05 PM, Thomas Morley
>> wrote:
>>> 2012/12/12 Eric Pancer :
On Wed, Dec 12, 2012 at 2:33 PM, Eric Pancer wrote:
>> [..]
I've got this working using the f
Eric Pancer writes:
> On Mon, Dec 17, 2012 at 7:09 PM, Thomas Morley
> wrote:
>>> Is C6 considered "0"?
>>
>> Well, here I'm the one who is confused. I never heard "C6" and the
>> others you mention below.
>
> Apologies. "C5" is known as middle C.
It isn't. You are confusing this with its big
It works very nicely. Many thanks!
Dominique
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Kai Lautenschläger writes:
> Dear List,
>
> is it possible to define the name and directory of the PDF output file
> with the help of some command within the .ly-file? I mean: not via the
> command line when executing lilypond but within the lilypond code
> itself.
Try \bookOutputName
--
David
Ben Beeson writes:
> Hi,
>
> I have been struggling with how to get harmonies to align with the main
> line of a tune when inputting "seconds" for bagpipe music. The goal is
> to get the main tune on one staff with the seconds on a separate staff.
> I also want the seconds aligned with the main
On 12/18/2012 09:31 AM, lilypond-user-requ...@gnu.org wrote:
How will this impact users who receive the list in digest mode each week?
(I don't get it this way, so I don't know)
Jeff
Well, it doesn't matter. Even with normal attachments, we get a
completely unusable link in the digests, suc
- Original Message -
From:
To:
Sent: Tuesday, December 18, 2012 9:04 AM
Subject: Best practices in lyric typesetting
Hey all,
Putting aside the impossibility of the attached exercise, you'll see that
the lyrics stay shifted way down for the part of the attached example that
moves t
On 18 déc. 2012, at 10:19, "Phil Holmes" wrote:
> - Original Message - From:
> To:
> Sent: Tuesday, December 18, 2012 9:04 AM
> Subject: Best practices in lyric typesetting
>
>
> Hey all,
>
> Putting aside the impossibility of the attached exercise, you'll see that the
> lyrics sta
> …how can you be so sure that the LilyPond output wrong?
I'm not at all sure it is wrong, but as Werner points out, there were
non-German traditions that Lilypond does not address. Since this comes from one
of those and I am trying to represent the score in a nicer format that is still
"true"
On 18 December 2012 20:19, Phil Holmes wrote:
> - Original Message - From:
> To:
> Sent: Tuesday, December 18, 2012 9:04 AM
> Subject: Best practices in lyric typesetting
>
>
>
> Hey all,
>
> Putting aside the impossibility of the attached exercise, you'll see that
> the lyrics stay shi
Hello,
2012/12/18 m...@mikesolomon.org
> I'll tell that to my singers as they tar and feather me.
>
> I would forse a line break in such a case.
Marek Klein
http://gregoriana.sk
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- Original Message -
From:
To: "Phil Holmes"
Cc: ;
Sent: Tuesday, December 18, 2012 9:23 AM
Subject: Re: Best practices in lyric typesetting
On 18 déc. 2012, at 10:19, "Phil Holmes" wrote:
- Original Message - From:
To:
Sent: Tuesday, December 18, 2012 9:04 AM
Subject:
2012/12/18 Jan Nieuwenhuizen :
> Thomas Morley writes:
>
>> please:
>> DON'T POST INLINE-IMAGES!
>
> Can you please don't shout, esp. not to our users?
Hi Arle, Jan,
I apologize having been impolite.
>> Attach them!
>> I'm surely not alone with filtering them out.
>
> Why would anyone do that?
>> "A line of text should be parallel to the stave for the length of
>> the system, and not be placed on different levels to accommodate
>> notes below the stave".
>>
>> This refers to lyrics.
>>
>
> I'll tell that to my singers as they tar and feather me.
Now you know why different clefs do e
No worries at all. If most people were “impolite” in the same way (offering
solutions and helping) the world would be better off. Since you've helped me
before, I didn't take it personally in any way.
Arle
> I apologize having been impolite.
___
lil
2012/12/18 Arle Lommel :
> First off, thanks very much, Harm, for taking the time to review my issue and
> provide a detailed response, despite the complaint about images. I will work
> with it and see how it works out.
Hi Arle,
let me express my apology having been impolite again.
> Given tha
Here is an example that generates a score where the g2. note is
incorrectly tied to the first g16 note due to
the tie between r1 and r8.
\version "2.16.1"
\relative c'' {
r1~r8
g2.
g16
g16
}
\addlyrics {
Tom ten par
}
This causes the lyrics to be misaligned as well. If the tilde is
Thomas Morley writes:
> In the past I was sometimes beaten by spam.
> And I'm absolutly nerved by online-commercials.
Have you ever seen spam or commercials on these lists?
> So I block/filter where possible.
You may want to filter INBOX, if your ISP is failing at blocking spam.
You can also co
2012/12/18 Jan Nieuwenhuizen :
> Thomas Morley writes:
>
>> In the past I was sometimes beaten by spam.
>> And I'm absolutly nerved by online-commercials.
>
> Have you ever seen spam or commercials on these lists?
Yes, sent from hacked accounts, I suppose.
>
>> So I block/filter where possible.
>
Dear usergroup, since i've had no reaction yet i'm reposting this in case
nobody has seen it. Any suggestions?
All the best!
Gagi
On 15 December 2012 10:39, Gagi Petrovic wrote:
> Dear Ponders, i'm working on a composition where i'm in need of a custom
> 3-lined-staff with a zigzagged (like the
MS,
> Putting aside the impossibility of the attached exercise, you'll see that the
> lyrics stay shifted way down for the part of the attached example that moves
> to D major.
I ran into the reverse problem with pedal markings the other day: they were
*not* aligned (and in fact seemed to beha
Thomas Morley writes:
> 2012/12/18 Jan Nieuwenhuizen :
>> Thomas Morley writes:
>>
>>> In the past I was sometimes beaten by spam.
>>> And I'm absolutly nerved by online-commercials.
>>
>> Have you ever seen spam or commercials on these lists?
>
> Yes, sent from hacked accounts, I suppose.
I can
Werner LEMBERG writes:
>>> "A line of text should be parallel to the stave for the length of
>>> the system, and not be placed on different levels to accommodate
>>> notes below the stave".
>>>
>>> This refers to lyrics.
>>>
>>
>> I'll tell that to my singers as they tar and feather me.
>
> No
On Tue, Dec 18, 2012 at 11:59 AM, David Kastrup wrote:
> Actually, singers don't like such things. It interferes with their
> pitch sense.
>
> I think the "Carmina Burana" has some piece for a bass or baritone
> falsettist and it is written in $#!! bass clef, with oodles of ledger
> lines. No i
Hi Keith,
> Tempo indications and rehearsal marks should not take noticeable time.
> (I just tried removing all of them an saw no change outside noise, less that
> half-percent, in the time required to set a score.)
That's not quite my point. If my global variable has hundreds of other things
(
2012/12/18 Parham FH
> Is this expected behaviour or am I missing something?
>
You can tie notes. Rest ties makes no sense for me. Probably the tilde
should not be accepted for a rest?
Regards
Helge
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Yeah, it doesn't make sense to tie rests, you are right about that. But the
behaviour was still unexpected, and unwanted, I would say.
Cheers,
Parham
On 18 December 2012 20:56, Helge Kruse wrote:
> 2012/12/18 Parham FH
>
>> Is this expected behaviour or am I missing something?
>>
>
> You can t
>> is it possible to define the name and directory of the PDF output file
>> with the help of some command within the .ly-file? I mean: not via the
>> command line when executing lilypond but within the lilypond code
>> itself.
>
> Try \bookOutputName
Thanks very much. I wasn't aware, that you ca
Gagi,
> On 15 December 2012 10:39, Gagi Petrovic wrote:
>>
>> Dear Ponders, i'm working on a composition where i'm in need of a custom
>> 3-lined-staff with a zigzagged (like the glissando style, see attachment)
>> middle line. Is it possible to make a small adjustement to the code below,
>> or
Hi Xavier,
> Personally I would be very happy with an "enhanced" partcombine that
> could handle divisi on different staves as well.
> This features has been asked in the French users mailing list and is
> tracked as issue #2779.
> http://code.google.com/p/lilypond/issues/detail?id=2779
>
> Would
Hello all,
Here is a very simple draft:
\version "2.14.2"
\score {
\relative c'' {
\time 2/4
\acciaccatura \parenthesize g8 a4 a | g4. a8 | a4 g | a8( g4) g8 | f4 e | e r |
f4 g8( a) g4. a8 | a4 g | \times 2/3 { g16([ f e] } f4) f8 e4 e | e2\fermata
\bar "|."
} }
The space between \time 2/4 a
Hi David and Helge,
You both make good points (copied below) about the drawbacks of using links to
images instead of attaching images to an email.
I actually don't mind inline images, but was just suggesting links as another
possibility.
Cheers,
-Paul
On Dec 18, 2012, at 3:00 AM, Helge Kr
Hi David, yes indeed. A zigzag or a trillspan-kind-of line would also
suffice.
Thank you for your tip, seems like it's time for me to dive more deeply
into this matter. When i look at the code i understand it only roughly, i
will need some time for this. So if anyone has any tips for reading
mater
Hi Gagi,
On Dec 18, 2012, at 5:35 AM, Gagi Petrovic wrote:
> Dear Ponders, i'm working on a composition where i'm in need of a custom
> 3-lined-staff with a zigzagged (like the glissando style, see attachment)
> middle line. Is it possible to make a small adjustement to the code below, or
> s
Why not just use 2 voices and skips?
{
\new Staff
<<
\new Voice = "Upper" {
a'4 a'4 \voiceOne a'4 a'4
a'4 a'4 a'4 a'4
}
\new Lyrics \lyricsto "Upper" { a b c d e f g h }
\new Voice = "Lower" {
s4 s4 \voiceTwo a'8 a'8 a'4
a'4 a'8 a'8 a'4 a'4
}
Paul Morris writes:
> Hi Gagi,
>
> On Dec 18, 2012, at 5:35 AM, Gagi Petrovic wrote:
>
>> Dear Ponders, i'm working on a composition where i'm in need of a
>> custom 3-lined-staff with a zigzagged (like the glissando style, see
>> attachment) middle line. Is it possible to make a small adjusteme
Phil,
Thanks -- I guess I could, but that's a bit kludgey* as well. Since I don't
want stems in both directions for those notes which don't change, I'd have
to use
\new Voice = "Lower" {
s4 s4 \voiceTwo a'8 a'8 \voiceOne a'4
a'4 \voiceTwo a'8 a'8 \voiceOne a'4 a'4
}
which
Nikolay Kirov wrote
> Hello all,
>
> Here is a very simple draft:
>
> \version "2.14.2"
>
> The space between \time 2/4 and the first note (acciaccatura) is very
> small and looks like ugly. How to increase the space?
> In text case we have \hspace, but here?
instead of trying to add some inv
So the singers have different lyrics but the same note? If I was trying to
sing that, I would find it very confusing.
--
Phil Holmes
- Original Message -
From: Frederick Bartlett
To: Phil Holmes
Cc: lilypond-user@gnu.org
Sent: Tuesday, December 18, 2012 3:37 PM
Subjec
Hi,
this is probably a new question, so write it as new topic:
Why are the pedal symbols on a different vertical level with the mixed
and the bracket style but not in the default (text) style?
\version "2.16.0"
{
\clef bass
\set Staff.pedalSustainStyle = #'text % bracket mixed
a,2\sustainO
Hello Everyone,
I am working on typesetting another composer's music. In their music they
prefer to notate a 5:4 tuplet (5 sixteenth notes in the space of 4 sixteenth
notes) as 5:1 (5 sixteenths in the space of 1 pulse (quarter note). Is it
possible change Lilypond's MIDI encoding so that if I wri
-- Forwarded message --
From: Frederick Bartlett
Date: 18 December 2012 11:25
Subject: Re: Aligning multiple verses to alternative notes in the melody
To: Phil Holmes
Phil,
I guess I'm not being clear. And it can confuse the unwary singer!
Imagine that there are substantial va
On Sat, Dec 15, 2012 at 9:45 AM, Federico Bruni wrote:
> Il 15/12/2012 00:39, Olivier Biot ha scritto:
>
> I'm running LilyPond either directly or from Frescobaldi. I'm not sure I
>> can set the "-v" flag in Frescobaldi.
>>
>
> In Frescobaldi you can choose the verbose output option in the custo
On 12/18/2012 05:16 PM, carltesta wrote:
I am working on typesetting another composer's music. In their music they
prefer to notate a 5:4 tuplet (5 sixteenth notes in the space of 4 sixteenth
notes) as 5:1 (5 sixteenths in the space of 1 pulse (quarter note). Is it
possible change Lilypond's MIDI
On Dec 14, 2012 6:39 PM, "Olivier Biot" wrote:
> Hi all,
>
> Is there a way to write text to the console in LilyPond?
>
> I'd like to display the file currently processed to keep track of
problems on a 60 part etude
On Sat, Dec 15, 2012 at 7:40 AM, Mark Witmer wrote:
> You can do that with Sch
Frederick, you wrote Aligning multiple verses to alternative notes in the melody
> Imagine that there are substantial variations in the number of syllables in
> the lyrics between verses. So one verse might have "you" against a half
> note, while the next would have "egotistical twerp" against a
Parham Fazelzadeh writes:
> Yeah, it doesn't make sense to tie rests, you are right about that. But the
> behaviour was still unexpected, and unwanted, I would say.
In general, with LilyPond, unexpected input creates unexpected
output.
Often, if you input something that doesn't make sense, LP "
Hi Frederick,
Is this what you're looking for?
Hope this helps!
Kieren.
\version "2.16"
theNotes = {
a'4
\override Score.LyricText #'self-alignment-X = #LEFT
<<
{ \voiceOne b'2 }
\new Voice = "Lower" { \voiceTwo b'16 b' d'' b' b' b'8. }
>> \oneVoice a'4 g'4
}
theWords = \lyricm
David Kastrup writes:
> Eric Pancer writes:
>
>> On Mon, Dec 17, 2012 at 7:09 PM, Thomas Morley
>> wrote:
Is C6 considered "0"?
>>>
>>> Well, here I'm the one who is confused. I never heard "C6" and the
>>> others you mention below.
>>
>> Apologies. "C5" is known as middle C.
>
> It isn't.
carltesta wesleyan.edu> writes:
> I am working on typesetting another composer's music. In their music they
> prefer to notate a 5:4 tuplet (5 sixteenth notes in the space of 4 sixteenth
> notes) as 5:1 (5 sixteenths in the space of 1 pulse (quarter note). Is it
> possible change Lilypond's MIDI
Noeck gmx.de> writes:
> Why are the pedal symbols on a different vertical level with the mixed
> and the bracket style but not in the default (text) style?
>
> \version "2.16.0"
> {
> \clef bass
> \set Staff.pedalSustainStyle = #'text % bracket mixed
> a,2\sustainOn a,\sustainOff
> a,,1\
On Tue, Dec 18, 2012 at 4:25 PM, David Kastrup wrote:
> Paul Morris writes:
>
> > Hi Gagi,
> >
> > On Dec 18, 2012, at 5:35 AM, Gagi Petrovic wrote:
> >
> >> Dear Ponders, i'm working on a composition where i'm in need of a
> >> custom 3-lined-staff with a zigzagged (like the glissando style, s
David Rogers wrote:
> It turns out that the correct number for C4, C5, and so on can be found
> by counting the number of Cs on a standard 88-key piano, starting from
> the low end and starting with 1. Is this an accident, or is this the
> origin of that numbering system?
That's the origin.
> (I
m...@mikesolomon.org wrote
> Hey all,
>
> My minimal example below functions quite nicely w/ the placement of tempos
> but my example from a score (see attached image) has the tempo sliding
> over the key signature changes. Does anyone have intuition about where
> this discrepancy could come from
On 18 December 2012 19:47, m...@mikesolomon.org wrote:
> Hey all,
>
> My minimal example below functions quite nicely w/ the placement of
> tempos but my example from a score (see attached image) has the
> tempo sliding over the key signature changes. Does anyone have
> intuition about where this
I'm missing something but am too stupid to figure out what
From
the link that Paul provides I get
print-page-number #f
somewhere in
the paper block should remove the page numbers but here's my paper block
and there's got to be something I've left out because it doesn't do
anything.
#
Thank you, that works and is very helpful.
Best,
Carl
>
>
> carltesta wesleyan.edu> writes:
>
>> I am working on typesetting another composer's music. In their music
>> they
>> prefer to notate a 5:4 tuplet (5 sixteenth notes in the space of 4
>> sixteenth
>> notes) as 5:1 (5 sixteenths in the s
Am 18.12.2012 22:18, schrieb i...@soundand.com:
> print-page-number #f
print-page-number = ##f
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On 18 December 2012 22:18, wrote:
> I'm missing something but am too stupid to figure out what
>
> From the link that Paul provides I get
>
> print-page-number #f
>
> somewhere in the paper block should remove the page numbers but here's my
> paper block and there's got to be something I've left
Perfect thank you
Jay
On 2012-12-18 14:29, Xavier Scheuer wrote:
> On 18 December 2012 22:18, wrote:
>
>> I'm
missing something but am too stupid to figure out what From the link
that Paul provides I get print-page-number #f somewhere in the paper
block should remove the page numbers but
On 18 déc. 2012, at 21:56, Xavier Scheuer wrote:
> On 18 December 2012 19:47, m...@mikesolomon.org wrote:
>> Hey all,
>>
>> My minimal example below functions quite nicely w/ the placement of
>> tempos but my example from a score (see attached image) has the
>> tempo sliding over the key signa
On 18 déc. 2012, at 21:24, Eluze wrote:
> m...@mikesolomon.org wrote
>> Hey all,
>>
>> My minimal example below functions quite nicely w/ the placement of tempos
>> but my example from a score (see attached image) has the tempo sliding
>> over the key signature changes. Does anyone have intuit
I tried a little bit but couldn't get the sliding tempo!
cheers
Eluze
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Tempo-sliding-over-key-signature-changes-tp138030p138047.html
Sent from the User mailing list archive at Nabble.com.
Hi David,
Thanks for pointing me to the issue 34 link. I did not know about that
before. After reading all that material late last night, I am realizing
that the fix is going to be a tough one. I guess I was hoping that I
just missed something simple. Who knew that I was about to walk into a
mi
Ben Beeson writes:
> Hi David,
>
> Thanks for pointing me to the issue 34 link. I did not know about that
> before. After reading all that material late last night, I am realizing
> that the fix is going to be a tough one. I guess I was hoping that I
> just missed something simple. Who knew th
I know this subject has come up before, but I can't seem to find
the right search string to yield an answer that works for me.
The attached example shows a note from a CueVoice context that
overlaps a rest in a normal voice context. By default, Lily
engraves the normal rest lower than normal to a
On Tue, Dec 18, 2012 at 08:52:54PM -0800, Jim Long wrote:
>
> Is there a way to insert empty horizontal staff space at an
> arbitrary point in a particular voice?
Re-reading that, I realize I didn't word it well
I meant that inserting space into any one voice would also insert
that horizonta
David Rogers gmail.com> writes:
>
> Parham Fazelzadeh hil.t.u-tokyo.ac.jp> writes:
>
> > Yeah, it doesn't make sense to tie rests, you are right about that. But the
> > behaviour was still unexpected, and unwanted, I would say.
>
> In general, with LilyPond, unexpected input creates unexpecte
On 19/12/12 15:52, Jim Long wrote:
Is there a way to insert empty horizontal staff space at an
arbitrary point in a particular voice? Yes, much like \hspace in
markup.
Thank you!
\version "2.16.1"
melody = \relative c'' {
<<
\new CueVoice { c4. }
{
%\once \override NoteColumn
On 19 déc. 2012, at 00:43, Eluze wrote:
>
>
> I tried a little bit but couldn't get the sliding tempo!
>
> cheers
> Eluze
>
Here's a tiny(ish) example.
Changing the rests to notes in the bass part will make the tempos typeset
correctly. My guess is that this is a bug with multi-measure res
Hi all, I am working on the same score that spawned discussion about stem
lengths and now have another, hopefully less controversial, question.
I keep getting warnings like the following when I run Lilypond:
warning: cannot resolve rest collision: rest direction not set
They appear from snippet
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