Indeed, inspiring. Remembers me of a museum in Kopenhagen (mmmhh,
forgot the name) I once visited where they have a small exhibition of
these tools. Impressing.
I was a little upset when I read "they decided to disperse the
collection", but it is true, I've contacted them and you can indeed
2013/2/14 Wim van Dommelen :
> I was a little upset when I read "they decided to disperse the collection",
> but it is true, I've contacted them and you can indeed buy a random plate,
I seem to remember having heard that Henle now uses Sibelius.
If that's true, well, further Sibelius-development
Thomas Morley writes:
> 2013/2/14 Wim van Dommelen :
>
>> I was a little upset when I read "they decided to disperse the
>> collection",
>> but it is true, I've contacted them and you can indeed buy a random plate,
>
> I seem to remember having heard that Henle now uses Sibelius.
> If that's true
2013/2/10 Joseph Rushton Wakeling :
> On 02/10/2013 05:21 PM, Luca Rossetto Casel wrote:
>>
>> Another one,
>> http://www.youtube.com/watch?v=m5uPPJj_M_o
>
>
> Does anyone know anything about the computer engraving software shown in
> this second video? I don't recognize it, but it's striking how
Il 14/02/2013 13:36, David Kastrup ha scritto:
For commercial viability, LilyPond is lacking two mechanisms: a) a
reliable and scaleable mechanism to make individual problems go away
by manual labor. WYSIWYG systems offer that. I think that Frescobaldi
tries offering a bit of that as well.
I
On 02/14/2013 01:36 PM, David Kastrup wrote:
a) a reliable and scaleable mechanism to make individual problems go
away by manual labor. WYSIWYG systems offer that. I think that
Frescobaldi tries offering a bit of that as well.
The really simple way of putting this: "It needs to be as easy as
Joseph Rushton Wakeling writes:
> On 02/14/2013 01:36 PM, David Kastrup wrote:
>> a) a reliable and scaleable mechanism to make individual problems go
>> away by manual labor. WYSIWYG systems offer that. I think that
>> Frescobaldi tries offering a bit of that as well.
>
> The really simple way
On 02/14/2013 04:17 PM, David Kastrup wrote:
Uh, they fired the original developers and their team without much of a
migration strategy. It is unlikely that substantial new developments
are planned, or this would have been an economically stupid course.
I'm not saying it was a smart thing to d
Am 14.02.2013 16:05, schrieb Joseph Rushton Wakeling:
On 02/14/2013 01:36 PM, David Kastrup wrote:
a) a reliable and scaleable mechanism to make individual problems go
away by manual labor. WYSIWYG systems offer that. I think that
Frescobaldi tries offering a bit of that as well.
The really
Hi all,
Kieren's use of this engraver with a "real-world" example has alerted me to
a problem with it--namely, that it doesn't accommodate instances where the
user sets the starting bar number.
I've attached a fix.
Best,
David
bars per line systems per page engraver.ly
Description: Binary data
On 02/14/2013 04:44 PM, Urs Liska wrote:
While it may not seem to be intuitive you can actually write extremely robust
"house style" sheets (or rather libraries which I find much more reliable than
any preset templates or whatever you could use with WYSIWYG software.
With the additional advantage
Am 14.02.2013 17:21, schrieb Joseph Rushton Wakeling:
On 02/14/2013 04:44 PM, Urs Liska wrote:
While it may not seem to be intuitive you can actually write
extremely robust
"house style" sheets (or rather libraries which I find much more
reliable than
any preset templates or whatever you could
On Thu, Feb 14, 2013 at 10:09 AM, David Nalesnik
wrote:
> Hi all,
>
> Kieren's use of this engraver with a "real-world" example has alerted me
> to a problem with it--namely, that it doesn't accommodate instances where
> the user sets the starting bar number.
>
> I've attached a fix.
>
>
Arghh!!
On 02/14/2013 05:32 PM, Urs Liska wrote:
Maybe I'll get in touch with you before. I already intended to present the
outline of the presentation here and ask for feedback - I think it's an issue
that concerns many of us ...
(The presentation is due at the end of April, so it will be some time stil
Am 14.02.2013 17:50, schrieb Joseph Rushton Wakeling:
On 02/14/2013 05:32 PM, Urs Liska wrote:
Maybe I'll get in touch with you before. I already intended to
present the
outline of the presentation here and ask for feedback - I think it's
an issue
that concerns many of us ...
(The presentation
Am 14.02.2013 18:05, schrieb Janek Warchoł:
Hi all,
On Thu, Feb 14, 2013 at 4:44 PM, Urs Liska wrote:
I will soon pick up on that communication, and then I'll surely raise the
engraving issue, showing them some of my 'raw' scores, Janek's beautiful
final versions and maybe some exemplary git c
Hello list members!
I noticed from the documentation that analysis brackets cannot
overlap. Is there some other way one could produce a graphic such as
this one?
http://www.ponomar.net/files/arnoldt.png
Thanks!
Alekandr
___
lilypond-user mailing list
Aleksandr Andreev writes:
> Hello list members!
>
> I noticed from the documentation that analysis brackets cannot
> overlap. Is there some other way one could produce a graphic such as
> this one?
>
> http://www.ponomar.net/files/arnoldt.png
Make a separate Voice context for every bracket? And
Am 14.02.2013 20:47, schrieb Aleksandr Andreev:
Hello list members!
I noticed from the documentation that analysis brackets cannot
overlap. Is there some other way one could produce a graphic such as
this one?
http://www.ponomar.net/files/arnoldt.png
I didn't check this, but I assume that if yo
Hi list,
maybe it's an academic question, but maybe it also triggers the
curiosity of some Scheme-hackers ;-)
Is it possible to write something (probably a Scheme function) that lets
LilyPond compile a file twice with a different file included or a
different command line option?
Or is it pos
Folks,
I can't believe that the number of dots is correct in this chord :-)
\relative c' {
2.
}
Does Gould or someone else have a rule for that? Or does someone
probably know a piano score which contains similar chords?
I think that dots which have too large a distance from the top o
Dear community,
I've expected a straight glissando from c to g in the below quoted example.
Unfortunately, there is no glissando!
How can I achieve what I want?
And: isn't there an easier way to get a glissando over a longer passage,
something like a textspanner?
%% SNIPPET
goongliss = { \once \ove
Werner,
On Thu, Feb 14, 2013 at 3:09 PM, Werner LEMBERG wrote:
>
> Folks,
>
>
> I can't believe that the number of dots is correct in this chord :-)
>
> \relative c' {
> 2.
> }
>
> Does Gould or someone else have a rule for that? Or does someone
> probably know a piano score which conta
I'll just throw it out there that I'm broke after planning my wedding and
honeymoon in April (woohoo!) but have wanted to buy Behind Bars for some time.
If anyone feels like buying it for me for a wedding present, it'd get a special
spot in our new Ikea library! We'd even name a shelf after you!
2013/2/14 Stefan Thomas :
> Dear community,
> I've expected a straight glissando from c to g in the below quoted example.
> Unfortunately, there is no glissando!
> How can I achieve what I want?
I wouldn't use \once with 'glissando-skip.
Try:
\version "2.16.1"
goGliss = \override NoteColumn #'g
Found the example
Let us learn.
[image: Inline image 1]
On Thu, Feb 14, 2013 at 4:09 PM, Werner LEMBERG wrote:
>
> Folks,
>
>
> I can't believe that the number of dots is correct in this chord :-)
>
> \relative c' {
> 2.
> }
>
> Does Gould or someone else have a rule for that? Or does s
> Gould has a rule for these. She says (p. 56) that in cases where a
> dot would need to be two or more staff spaces away from the chord,
> you only need to use enough dots to cover the number of spaces taken
> up by the chord.
Thanks, entered as issue #3179.
Werner
__
On Thu, Feb 14, 2013 at 10:48:37PM +0100, m...@mikesolomon.org wrote:
> I'll just throw it out there that I'm broke after planning my wedding and
> honeymoon in April (woohoo!) but have wanted to buy Behind Bars for some
> time. If anyone feels like buying it for me for a wedding present, it'd ge
I'd be more than happy to. To avoid you getting thirty copies, please
everyone note that I'm happy to do this. Mike - please let me know
(privately) a delivery address.
You might be interested to know my current reading:
http://www.amazon.co.uk/History-Performing-Pitch-The-Story/dp/081084185
On 14 févr. 2013, at 23:19, Graham Percival wrote:
> On Thu, Feb 14, 2013 at 10:48:37PM +0100, m...@mikesolomon.org wrote:
>> I'll just throw it out there that I'm broke after planning my wedding and
>> honeymoon in April (woohoo!) but have wanted to buy Behind Bars for some
>> time. If anyone
I am working on a composition for my music theory professor. He wants a
particular layout for the work. Here is what I have thus far:
http://pastebin.com/UXv30Ux2
I want to know if it is possible to remove the bracket between the third and
fourth staffs, the blank ones? I tried setting 3 differen
"m...@mikesolomon.org" writes:
> I'll just throw it out there that I'm broke after planning my wedding
> and honeymoon in April (woohoo!) but have wanted to buy Behind Bars
> for some time. If anyone feels like buying it for me for a wedding
> present, it'd get a special spot in our new Ikea libr
> "Behind Bars" sounds eminently fitting for a wedding present. Now
> you just need someone contribute the "LaTeX companion", and you'll
> have guests whispering for weeks.
Hehe. Recently I've read that someone wondered why the access to his
typographical blog increased dramatically... The tit
Werner LEMBERG writes:
>> "Behind Bars" sounds eminently fitting for a wedding present. Now
>> you just need someone contribute the "LaTeX companion", and you'll
>> have guests whispering for weeks.
>
> Hehe. Recently I've read that someone wondered why the access to his
> typographical blog in
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