musical editing in C++. Can you explain why this is?
Is your language based on Java Script ? Thank you and I hope you are having
a nice day.
Regards,
Brian Jones
The University of Arizona
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csoff r4\f r b8 b b4
\slashheadoff c8\f \dynamicson c c c c c c c
}
Hope this helps somebody, I've been trying to get a system going for my slashes
and finally found something that works!
-Brian
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this issue and tried tweaking a number of parameters
including proportionalNotationDuration and the SpacingSpanner, which
hasn't produced the desired results.
I've included the syntax and the output it produces.
Thanks,
-Brian
#(define mydrums '(
(bassdrum defaul
it ought to be possible.
thanks,
-brian
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In this I have the tuplet bar of one tuplet colliding with the tuplet number
of another. I've tried moving them but I don't know how to move just one
tuplet. A \once \override moves both tuplets the same direction.
\times 3/2 { \times 2/3 { f'16 [d b] } g8 }
_
martial cathemline.org> writes:
>
> > > I think Context is a wonderful alternative to the complicated
> > > editors emacs and vim.
>
> I am blind or utf-8 is not supported
>
> http://forum.context.cx/index.php?topic=678.0
>
Though (relatively) new to LilyPond, I have used ConTEXT for som
o wrong? (I'm assuming it was my fault,
since I'm relatively inexperienced with linux in
general, and especially with cygwin.)
Thanks for your time,
Brian Gainor
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Friends. Fun.
ee why my \slashOff command doesn't work.
3.) Why do the chords appear below the intended line?
4.) And if this isn't asking too much, how do you make the stems invisible?
I've only been doing this for 2 weeks now. So and other advice with
regards to cleaning up code and such will be a
Windows 2000 version 2.2.2
I found that when I have chords over an 8 bar solo space with two 2 bar
alternate endings, and the \set chordChanges = ##t property (is that
what you would call it?) is turned on, it thinks that the last bar of
the first ending is before the first bar of the second en
(and where to place it, I'm a newbie) for
moving the alternate ending brackets and the chord names?
-Brian
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My question is that when within those cues hihat, snare, and bassdrm
parts, I use rehearsal \marks and some other formatting things before they
defined in the score. Is that allowed? Cause I'm having errors anyway.
But they are so ambiguous that I don't k
below. This error
is very repeatable but I can't find any pattern to
when it dies and when it works.
I can't get this to happen on a shorter file and I'd
rather not post the whole file if someone has seen
this error before and can identify it without the
source.
Thanks,
Brian McMin
oirStaffs
and such, but this one makes me realize that I really
don't understand what they mean and how they work.
Anybody care to explain why these are different?
Thanks,
Brian McMinn
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Make a great connection a
t illustrates how
to do this?
Brian Fristensky
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uot;translator" line, the notes
are much bigger than with EasyNotation. To make the
note names easily readable, larger note heads are
desireable.
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te the variable
accentE = #(ly:export (ly:wide-char->utf-8 #x00e9))
and then i've tried
i've tried:
\header{
title = "Sint" \accentE " Intro"
}
however, this doesn't work. how can i concatenate these strings and
utf-8
the long way worked. thanks!
On Jul 19, 2009, at 12:33 AM, Mark Polesky wrote:
Brian Kidd wrote:
i can create the variable
accentE = #(ly:export (ly:wide-char->utf-8 #x00e9))
and then i've tried
i've tried:
\header{
title = "Sint" \accentE " Intro"
}
ho
, but would be interested in knowing how to fix the problem
with the short way.
thanks,
-brian
example_title.ly
%% simple lilypond example file
\version "2.12.2"
\header{
title = "Sinté Intro"
tagline = ##f
}
\paper{
#(set-paper-size "letter")
line-wi
On Jul 19, 2009, at 9:40 AM, Federico Bruni wrote:
Brian Kidd wrote:
thanks to all who suggested using the short way. unfortunately, my
system does not seem to be configured for this easy solution. when
i run lilypond on the simple file below, i get the following error
and the title is
Dear Lillyponders,
Some of my favourite drum books (Chapin, Pickering) use a three-line stave
for their notation.
I like it—it has a clean look, especially when writing for snare, hh, cymbal
and bass.
It is similar to the timbale stave currently available in Lillypond.
Is someone able to advise
Dear Colleagues,
A relative newcomer to Lilypond, I am v. pleased to be able to notate drums
in drum mode, and / but—
Need your guidance on getting notation on beat in upper and lower voice to
same horizontal location.
I am typesetting swing-feel cymr in the upper voice and writing figures
invo
sition the restart of
typesetting at a point before the page break - and perhaps a bar or
two before that? You'd get a first, rubbish page, but the part you do
want should be closer to how it will appear in the final copy.
Brian Barker
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ates against me (and some
others) in this way, I'd like to know.
Brian Barker
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At 21:58 23/08/2015 +0100, Brian Barker wrote:
At 22:46 23/08/2015 +0200, Simon Albrecht wrote:
Am 23.08.2015 um 20:00 schrieb Ali Cuota:
Does somebody [know] where to find the Cantique de Jean Racine in Ly?
Mutopia, cpdl, imslp and so far google say no. :-(
In https://lists.gnu.org/archive
Just to add another statistic: Elaine Gould says "Place bar numbers
at the beginning of each system, ideally above the clef of the top
stave" (p. 484).
Brian Barker
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At 16:15 26/09/2015 +0200, Simon Albrecht wrote:
On 26.09.2015 16:14, Brian Barker wrote:
Just to add another statistic: ...
Which is only one opinion.
Isn't that what "another statistic" means?
(Mind you, the unqualified suggestion of the Senior New Music Editor
at Faber M
as
failed. If I compose music and publish ambiguous engravings, any
conductor cannot know what I intended.
Brian Barker
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hing of this sort is indeed the case.
Brian Barker
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nal
.ly file. Notice also the clue that line breaks in what the enquirer
describes as her "title information" do not appear correctly in the
archive rendering.
Brian Barker
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e manual about formatting text, as the
original code works.
Brian Barker
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At 18:58 10/10/2015 -0700, Mark Stephen Mrotek wrote:
I recall that instructions were once given to achieve:
p ma ben marcato,
yet my search of the LSP was not successful.
Try:
c_\markup { \dynamic p \italic { ma ben marcato } }
Brian Barker
achieve this
- which is left as an exercise for the reader!
Brian Barker
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osition of ignorance of convention.]
For what it's worth, Elaine Gould has no doubt of the convention -
that such accidentals are required: "An accidental holds good only in
the clef in which it is written. A change of clef requires a further
accidental for a note of the same pitch...&quo
'...", but th
then I get an "Exited with return code -1073741819" error message.
Is there a way that I can fix this problem?
Thanks a lot!
Regards,
Brian
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now occurs here, but that
doesn't apply in this case and Lilypond would
insert it automatically anyway.) This problem
seems to result from your use of the chord
repetition symbol "q"; to avoid this, you may
want to repeat the chords explicitly instead - without the exclamat
At 12:20 03/11/2015 +0100, Michael Gerdau wrote:
Interestingly enough these do not appear when I create the PDF on my
local LP 2.19.30.
Yes: that *is* interesting! (Like the transcriber, I was using 2.18.2.)
Brian Barker
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At 14:04 03/11/2015 +, Alberto Simões wrote:
At 09:59 03/11/2015 +, Brian Barker wrote:
I'm puzzled by repeated reminder accidentals on tied notes in:
Bar 110: Natural sign before the tied C in the lower staff
[...]
I did not like them too, but no clue how to remove them.
Eas
/9b6f04207762999dcd273fd93f8f74658f1c5d97/Stainer/HowBeautifulUponTheMountains/HowBeautifulUponTheMountains.pdf
(or http://tinyurl.com/pgbu4d2 ).
Click Raw to download the PDF. You must satisfy yourself about
copyright issues.
Brian Barker
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e an option at the moment.
I realize this isn't the standard way of notating rehearsal marks,
but let's lay that aside for a moment. Any ideas on could I do this?
\mark \markup \box \bold "a"
\mark \markup \box \bold "b"
...
Brian Barker
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At 09:34 09/12/2015 +0100, Urs Liska wrote:
Am 09.12.2015 um 08:57 schrieb Brian Barker:
At 17:08 08/12/2015 -0700, Abraham Lee wrote:
I am trying to figure out how to make rehearsal mark letters be
their lower-case counterparts. I've read through all the options
in "scm/t
trust this helps.
Brian Barker
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relative c' {
\repeat unfold 12 {a'4 b c d}\break
r 2
\bar "|."
}
}
ragged-last = ##t
(without ragged-right = ##t)
Note that ragged-last-bottom applies to vertical spacing, not horizontal.
I trust this helps.
Brian Barker
ngs. If
you drop one of the glissandi, you can see three sensibly spaced systems.
I trust this helps.
Brian Barker
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nd Browse... .
o Browse to and open the PDF document file.
o Resize and reposition the graphic as necessary.
I trust this helps.
Brian Barker
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syntax for defining a scale,
but I need the ability to have double sharps and flats.
synthetic = #`((0 . ,NATURAL) (1 . ,SHARPSHARP) (2 . ,SHARP)
(3 . ,NATURAL) (4 . ,FLAT) (5 . ,FLAT) (6 . ,FLATFLAT))
Sadly, this doesn't work. Does anyone have any ide
\voiceOne, \voiceTwo, etc. If you do that, the
warnings disappear. See
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices .
Oh, and you can then dispense with your \stemDown, which happens automatically.
Brian Barker
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At 10:33 10/03/2016 -0600, Matthew Skala wrote:
... HTML in email is usually spam.
You are joking, of course!
Brian Barker
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At 10:56 10/03/2016 -0600, Matthew Skala wrote:
On Thu, 10 Mar 2016, Brian Barker wrote:
At 10:33 10/03/2016 -0600, Matthew Skala wrote:
... HTML in email is usually spam.
You are joking, of course!
No.
OK, I'll rephrase that to help you: either you *have to be* joking or
you are
nthesised
addition is not essential, and that she would not include accidentals
in your second-time bar. In addition, after a system break, wouldn't
the appropriate key signature in your case be three sharps, not one
flat - again obviating the accidentals?
Brian Barker
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he top
edge of the _8_ for _8 sopra_ and the base of the _8_ for _8 bassa_,
and runs parallel to the stave.
And those 8s look bold to me.
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will most certainly be overlooked).
and (p 468):
Two-stave SATB layout
Place dynamics and expression marks above the treble stave and below
the bass stave, to apply to both voices on each stave.
Brian Barker
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lil
"c2 ~ c" in place of "c1"
and remove the explicit system break, you will get something closer
to what I'd expect.
I trust this helps.
Brian Barker
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our \bar "!" with \noBreak.
I would really appreciate if the solution would NOT consist of
turning off the line-break-permission and manually adding breaks for
every single line...
No need for that.
I trust this helps.
Brian Barker
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f the time signature.
When there is no new time signature, align the tempo marking with the
first element of the notation (e.g. a note or accidental) after the
clef and key signature. Note that when the tempo change is at the
start of the bar, the marking is not placed on the bar
where true accidentals will be necessary, and then to
use \transpose to convert it in a stroke to the key and
representation you actually require.
I trust this helps.
Brian Barker
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At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named "sharp" or "flat" need to be
qualified as such, notwithstanding what the \key indi
o bother competing with you in any future
dispute. ;^)
Brian Barker
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At 08:58 18/04/2014 -0500, David Nalesnik wrote:
On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote:
By the way, if you get to have a thousand times as many votes as I
do, I'll make a note not to bother competing with you in any future
dispute. ;^)
Not sure how to take that, but I cert
At 15:48 18/04/2014 +0200, Urs Liska wrote:
Am 18.04.2014 15:38, schrieb Brian Barker:
No - certainly not (though I know people who do!). You are quite
right not to believe I could be that foolish. But there is still a
difference in the representations: in musical notation, a note on
the F
such as fn.
Brian Barker
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n may indicate that notes are to be taken with
the other hand. ... Alternatively, such notes may be shown with an
incomplete bracket, extending vertically from the notehead upwards
for right-hand notes, downwards for left-hand notes. (at p. 305)
Brian Barker
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stave-line
Many editions place all minim and semibreve rests only on the
outside stave-lines, to avoid confusion; some avoid rests on the
middle stave-line, for the same reason
This last remark appears to describe (and validate?) what Lilypond
does by default. But it's clearly not the only
a significant help to the
eye - apart from being technically required.
Elaine Gould describes these 8s as "optional", but adds (in the
context of a full score) "the modified clef makes it easier to
identify the position of instruments with such tr
/PDF/U1D100.pdf .
Brian Barker
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not just a breathing mark.
Brian Barker
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o
close together. Notes with stems away from each other can look too far apart.
Brian Barker
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written across the beat or half-bar",
and "In 4/4 it is the third (not the fourth) beat that should be
exposed". She gives as an example:
c8 c4.~ c8 c4 c8
and says "and not"
c8 c2 c4 c8
So she'd certainly pick your fir
to reproduce those disconnected and misaligned
staff lines.
Brian Barker
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At 17:16 10/08/2014 +0100, Phil Holmes wrote:
From: "Brian Barker"
Sent: Sunday, August 10, 2014 4:46 PM
At 12:20 10/08/2014 +, Phil Holmes wrote:
A piece of music in the Musica Transalpina from 1597 in the F clef
in the key of F major has a key signature that has two B flats:
disagrees, I'm afraid:
"Place the pause further from the stave than other markings stacked
on the notehead, except for the octave sign" (p.188). Her example has
a tenuto mark, an accent, a fermata and an ottava bassa - in t
entioning
an accidental: that's musical thinking, not Lilypond thinking.
Accidentals in the musical output appear automatically; no concept of
"accidental" is necessary in the Lilypond method of entering pitches.
You could argue that Lilypond input should work like music does (fo
" when I meant (and needed) "bf".
"cn" in LilyPond would be like speaking "cee-natural" -- it would
assure the reader that you really mean C-natural. The compiler would
just ignore it.
But the compiler is the only reader: there is no other! Well, that's
true for my input files, anyway.
Brian Barker
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ot;, actually increase the rate of forgetting the 's' in 'cs' ?
That's what I'm suggesting - that allowing "cn"
would encourage users to think as they would if
writing music by hand or reading out the note names.
Brian Barker
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eaked spanner? Any idea how to remove the
"tr" in front of it?
Does this help: http://osdir.com/ml/lilypond-user-gnu/2011-04/msg00625.html ?
Brian Barker
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e splendid book
is its index: it's often difficult to find things. I haven't found an
answer so far; that doesn't mean it's not there. All I've found on
the web is a reference to someone else's similar inability to locate
this topic.
Brian Barker
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ten note, but not to the end of the
duration. Any punctuation goes at the end of the word, before the
extender" and "No extender is needed where a syllable occupies the
length of its written duration ...".
Brian Barker
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consult the bible! Page 484, under "Bar numbers": "The
first complete bar (and not an up-beat) is bar 1."
Brian Barker
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de
.
I trust this helps.
Brian Barker
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ently
copied to it.
I trust this helps.
Brian Barker
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id_line_break_engraver only seems to work across "actual" automatic
barlines, not ones I've put in). Does anybody have any advice here? Is there
a way to get more control over breaking my lines? Or better yet, is there a
way to do these kinds of polytempi without using 8497/8 ti
On 6/16/13, Jan Nieuwenhuizen wrote:
> Hi,
>
> I am working on a GUI for LilyPond and am looking for your feedback on
> the desirability or usefulness --if any-- for MediaWiki.
>
> My desire is to have LilyPond accessible to everyone by presenting a
> basic GUI initially so as to provide a more ge
At 10:32 08/08/2013 -0500, Tim McNamara wrote:
I use LibreOffice because the default operation for text is
fine. If I was writing out complex math equations, it'd be a different story.
Surely not: you'd use LibreOffice's Math facility
by mistake - a minor inconvenience that can
easily be remedied by sending the message again correctly. The use
of a Reply-To: header directed to a list risks messages intended to
be private being sent publicly - a unfortunate consequence that
simply cannot be undone.
This mailing l
o set the
music on an unusual double-A4 (but not A3) page size, but then
necessarily to print the result on two separate A4 sheets.
Brian Barker
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, how about setting "two-sided" to false?
Brian Barker
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fully parenthesises this reminder accidental.
See
http://lilypond.org/doc/v2.16/Documentation/notation/writing-pitches#accidentals
.
I trust this helps.
Brian Barker
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oportional-notation .
I trust this helps.
Brian Barker
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.
Brian Barker
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be according to modern typesetting standards, ...
For what it's worth, Elaine Gould doesn't think this is wrong: "Some
editions place a thin double barline at the end of a previous system
where a repeat barline starts the next system". (B
strange run with a
leap of a seventh at one point.
The German for "double stopping" appears to be Doppelgriffen. Could
this therefore be a German-Italian composite meaning "col 8va bassa"?
Brian Barker
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At 00:57 19/02/2015 +0100, Thomas Morley wrote:
I've an excerpt (one sentence) of
Michel Corette,
Methode Pour Apprendre Aisement a Jouer de La Flute Traversiere
That's "Corrette", apparently.
Can someone translate it into english (or german)?
See http://tinyurl.com/nnw
with an invisible time signature (to take up
appropriate space) in subsequent systems?
Brian Barker
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At 22:40 05/03/2015 -0600, Emil Salim wrote:
The second line of this music below is a bit cramped. How do I
stretch it? This problem goes away if I don't include gregorian.ly.
\layout { ragged-last = ##f }
Brian Barker
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ed. The first note of each pair
shows an artificially-created semiflat by synthesizing a normal flat with a
\dwn stroke, while the second note shows how a normal semiflat would look.)
Thanks for your consideration.
Regards,
Brian
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breaks will behave themselves.
I trust this helps.
Brian Barker
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; < c c' > }
{ < c_~ c'^~ > < c c' > }
There is also
\override TieColumn.tie-configuration = ... - as shown at
http://www.lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#ties .
Brian Barker
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and FUNCTION): published 1958.
http://en.wikipedia.org/wiki/Pascal_%28programming_language%29
http://en.wikipedia.org/wiki/Fortran#FORTRAN_II
Brian Barker
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https://lists.gnu.org/mailman/listinfo
&ref_topic=3394915 .
You can make your own choice to see this as a feature of or a bug in Gmail!
You can confirm what reaches the list at
http://lists.gnu.org/archive/html/lilypond-user/ .
Brian Barker
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lilypon
to engrave my music.
Could you attach a text-only version of your score, please?
I'm not he, but here it is.
Brian Barker \version "2.18.2"
\language "english"
\paper {
#(set-paper-size "letter")
}
global = {
\key d \major
\numericTimeS
Interface Accompaniment - Musical Musical Instrument Digital
Interface Accompaniment"?
(Oh, and they do call it "MMA" far more often than anything else!)
Brian Barker
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