On 1 July 2015 at 07:28, Chris Yate wrote:
> On 1 Jul 2015 04:56, "Helge Kruse" wrote:
> >
> > Hi Bill,
> >
> > Can you please include a minimal compilable example that shows your
> problem? I don't plan to do both
> > - goto the next shop
It's in the BnF, according to their catalogue:
http://catalogue.bnf.fr/servlet/biblio?idNoeud=1&ID=39593555&SN1=0&SN2=0&host=catalogue
(The Edition Mario Bois from 1984)
via
http://www.worldcat.org/title/oeuvres-pour-le-piano-les-inedits-et-3-pieces-du-magasin-des-familles/oclc/658660988?ht=edit
Pierre,
Ah, I see! You want the urtext :)
Good luck finding it...
Chris
On 5 July 2015 at 11:01, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:
> Hi Chris,
>
> Yes, I know. This is actually the printed score I'll get within few days.
> What I was lookin
Yes. This is how I do parts and score.
Use tags
music =
{
<<
\new StaffGroup <<
\tag #'score \tag #'sop \new Staff \with { instrumentName = #"Soprano
Cornet"
shortInstrumentName = #"Eb Cn" } << \global \Marks
\SopranoCornetVoice >>
\tag #'score \tag #'solc
shortInstrumentName = #"Cn 2" } << a b c >>
>> %staffgroup
>>
}
\score {
\keepWithTag #'c2 \music
\layout {}
\midi { }
}
\score {
\keepWithTag #'score \music
\layout {}
\midi { }
}
\score {
\keepWithTag #'score \remov
sufficient understanding at the time, of how variables
work :-)
I do already use variables as:
violinMusic = { a b c d }
violinVoice = \new Voice {
% voice setup stuff %
\violinMusic
}
Chris
On 8 July 2015 at 09:58, Robert Schmaus wrote:
> In addition to the suggested way with tags (which sure
http://downforeveryoneorjustme.com/lsr.di.unimi.it
:-)
Down here too
On 8 July 2015 at 13:47, MING TSANG wrote:
> I am trying to access snippets since Sunday. Web apge down?
> All I get is :
>
> This webpage is not available
> ERR_CONNECTION_TIMED_OUT
>
>
> ___
bf1--
R1
R1
f'2.\pp \breathe g4
f2. \breathe g4
}
}
BflatBassMusic = {
\transposition bf,,
\transpose bf,, c {
\BflatBassNotes
}
}
BflatBassMusicConcertPitch = {
\BflatBassNotes
}
Any better app
On 12 July 2015 at 23:02, David Kastrup wrote:
> Chris Yate writes:
>
> > I find it would be very convenient every now and again to be able to
> change
> > a score to be non-transposing -- in order to easily check pitches etc.
> >
> > Any better approaches?
Hi,
I'm not sure what I'm meant to do to fix this... Have already used explicit
positioning for the rests but that doesn't stop the warnings.
Granted they're *only* warnings but I always prefer clean compilation.
Thanks in advance!
Chris
---
\language "english&quo
Sounds a good idea, I will try to test it tonight.
Thanks
On 17 July 2015 at 16:13, flup2 wrote:
> For the few testing I made, it's what I was looking for :-) I would like a
> larger screen to put the preview and the manuscript side by side ;-) but in
> the meantime, I'll place them one above t
\bar "|" %{ end measure 13 %}
\color "#00FF00" cis'' 4
\color "#00FF00" b' 2.
\bar "|" %{ end measure 14 %}
\color "#00FF00" fis' 4
\color "#00FF00" a' 4
\color "#00FF00" a' 4
\color "#00FF00" b' 4
\bar "|" %{ end measure 15 %}
\color "#00FF00" a' 2
\break
\bar "|." %{ end measure 16 %}
}
>>
}
\paper {
indent = 0\cm
}
\layout {
\context {
\RemoveEmptyStaffContext
\override VerticalAxisGroup #'remove-first = ##t
}
}
and although I've specified all notes be green, running `lilypond
--png test.ly` results in a black and white image.
Why is this? Why are the color statements being ignored?
Regards,
Chris
Hi David,
That's a very helpful answer, thanks!
It's a bit of syntax I've not really understood, and so end up "coding by
coincidence".
Chris
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> On Oct 17, 2019, at 4:48 PM, Allan Kinnaird via lilypond-user
> wrote:
>
> Thanks, Carl - I haven’t upgraded to Catalina myself for exactly that reason
> (and Lilypond is my only significant 32-bit app!). I’ll see if I can work out
> how to use Hans’s version.
> Allan
I have Catalina inst
> On Oct 17, 2019, at 5:29 PM, Chris Crossen wrote:
>
>> Thanks, Carl - I haven’t upgraded to Catalina myself for exactly that reason
>> (and Lilypond is my only significant 32-bit app!). I’ll see if I can work
>> out how to use Hans’s version.
>> Allan
>
> On Oct 17, 2019, at 7:42 PM, Carl Sorensen wrote:
>
> Start of code
>
> \version "2.19.82"
> {
> \time 4/4
> \repeat unfold 1000 { c4 d e f } % TEN PAGES of music
> \repeat unfold 1000 { f1 } % + SIX MORE PAGES of music
> \repeat unfold 1000 { c4 d e f } % BUT WHEN ADDING MORE PAGES
ure? I saw one solution has a
blue line moving through the score to indicate position, whereas another
solution highlights individual notes. How was this done? Any hints would be
greatly appreciated.
Best wishes,
Chris Kordahttps://www.chriskorda.com/index.html
Hi Jean,
Thanks for your reply. Regarding scheme code: it seems to me that the simplest
solution would be to modify event-listener.ly so that instead of storing
point-and-click data (row and column within the lily file), it instead stores
the pixel coordinate X, Y of the note’s (or rest’s) glyp
supposed to go.
Chris
On Thursday, December 7, 2023 at 01:05:21 AM GMT+1, Jean Abou Samra
wrote:
Thanks for your reply. Regarding scheme code: it seems to me that the simplest
solution would be to modify event-listener.ly so that instead of storing
point-and-click data (row and column
guessing not because that would be too
easy.Chris
On Thursday, December 7, 2023 at 01:05:38 AM GMT+1, Stefano Antonelli
wrote:
On Wed, 2023-12-06 at 17:21 +, Chris Korda wrote:
> I spent much of the last week converting my compositions from MIDI
> files to Lily format. I tried m
I mentioned previously that I wrote a program to convert MIDI files to LilyPond
files. That program is called MidiToLily and it’s now freely available on
GitHub. It’s a console app, doesn’t have an installer, and doesn’t store things
in the registry or anywhere else. It does have command line he
ument]Music
}
)
---
I am sure there is precedent for this and I need not invent it myself!!
Thanks in advance for all help :-)
Chris
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nt to really understand this topic in order
to work efficiently without being constantly frustrated. "
LOL!
Yes, I think this document should be my first port of call!!
Thank you for the link!
On Tue, 5 Dec 2017 at 19:37 Urs Liska wrote:
>
>
> Am 05.12.2017 um 20:16 schrieb Chr
How should I handle it?
Here's the "simple example":
|\version "2.18.2"
|
|\header {
|}
|
|global = {
| \time 4/4
| \key g \major
|}
|
|melody = \relative c {
| \global
|d'16\bar "||"%b00
|
On Wed, Dec 06, 2017 at 08:22:36AM EST, Ben wrote:
> On 12/5/2017 5:28 PM, Chris Jones wrote:
[..]
> I believe it's as easy as adding:
>
> \global
> \partial 16 d'16 \bar "||"
>
> See attached. Is this what you were after? :)
Ye
I am unsuccessfully trying to globally change the default text font that
is lilypond uses in its pdf output (title of the song, lyrics, etc.
I tried adding this statement at the top of my .ly input file
immediately after the version statement:
| \version "2.18.2"
|
| \paper {
|top-margin =
On Thu, Dec 07, 2017 at 05:42:00PM EST, Noeck wrote:
> Hi Chris,
>
> Am 06.12.2017 um 23:33 schrieb Chris Jones:
> > A closer inspection of the glyphs makes me think it is using some form
> > of Century Schoolbook. The upper-case letter "Q" for instance is quite
>
I would need some help removing the autmatically generated natural signs
that I see in lilypond's output.
I coded this:
| global = {
| \time 4/4
| \key g \major
| \tempo \markup { \concat {Mouv. \super t} de Marche}
| }
|
| #(set-global-staff-size 16.5)
|
| melody = \rel
On Fri, Dec 08, 2017 at 02:22:32PM EST, Ben wrote:
> (
> On 12/8/2017 2:09 PM, Chris Jones wrote:
[..]
>
> (from documentation)
> "...
>
> To determine whether to print an *accidental*, LilyPond examines the pitches
> and the key signature. The key signature
On Fri, Dec 08, 2017 at 03:23:35PM EST, Noeck wrote:
> Hi,
>
> this isa bad hack I would not recommend, but you *could* revert the key
> back to c major without showing it:
>
> \relative {
> \key g \major
> c'
> \once \omit Staff.KeyCancellation
> \key c \major
> d e f g a b c
> }
>
>
On Fri, Dec 08, 2017 at 03:30:00PM EST, Simon Albrecht wrote:
> On 08.12.2017 20:09, Chris Jones wrote:
> > Wouldn't this become rather painful/tedious if the gentleman who wrote
> > this particular song had had the bright idea of transposing it to
> > a fancier key lik
On Fri, Dec 08, 2017 at 04:40:51PM EST, David Kastrup wrote:
> Chris Jones writes:
>
[..]
>
> Don't underestinmate the anonymous grease monkeys in printers' shops.
Far from my intention I can assure you.
As a matter of fact without being an expert I have great respect f
I am attaching a .png file of the "before vs. after" type.
The top version is what I achieved with the following "simple example":
| \version "2.18.2"
|
| global = {
| \key g \major
| \time 4/4
| }
|
| right = \relative c'' {
| \global
| <> <> <> <> |
|
On Sat, Dec 09, 2017 at 08:18:49PM EST, Chris Jones wrote:
> I am attaching a .png file of the "before vs. after" type.
Oops... forgot to attach the image!
Here goes.
Thanks,
CJ
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On Sat, Dec 09, 2017 at 08:29:54PM EST, Andrew Bernard wrote:
> Hi Chris,
> Just look up the syntax for 'cross staff stems' in the NR. It's pretty
> simple.
> I don't know much about 2.18.2, but I imagine that feature is there.
> By the way, have you conside
On Sun, Dec 10, 2017 at 03:16:12PM EST, David Wright wrote:
> On Fri 08 Dec 2017 at 16:21:41 (-0500), Chris Jones wrote:
> > On Fri, Dec 08, 2017 at 02:22:32PM EST, Ben wrote:
> > > (
> > > On 12/8/2017 2:09 PM, Chris Jones wrote:
[..]
> This response seems
On Sat, Dec 09, 2017 at 08:29:54PM EST, Andrew Bernard wrote:
> Hi Chris,
>
> Just look up the syntax for 'cross staff stems' in the NR. It's pretty
> simple.
Time allowing... I managed to take another look at the documentation.
Will have to run additional tests a
e width of
the notes in the first voice?
2) If I write this as two staves, I only want that in the *parts* not the
score. How would you achieve that with the minimum of code repetition?
(However it's eventually set, I would rather only have *one* instance of
the notes in my 'musi
ber \tuplet 3/2 { c8-. r4 }
R1 }>> } }
[image: image.png]
On Fri, 4 May 2018 at 14:33 Chris Yate wrote:
> Hi guys,
>
> This passage is a little tricky to write tidily on one staff, and I might
> change the way this is done. But the placing of the lower tuplet bracket
> (c
Did you mean, how to achieve it in Lilypond, or what is the best engraving
practice?
On 2 Feb 2017 15:18, "Hans Åberg" wrote:
> When the whole section is repeated when it has alternatives, how is that
> normally engraved? Specifically, the section has two alternatives, but is
> repeated in full
On 2 Feb 2017 16:49, "Hans Åberg" wrote:
> On 2 Feb 2017, at 17:09, Chris Yate wrote:
>
> Did you mean, how to achieve it in Lilypond, or what is the best
engraving practice?
The latter.
I'd write and expect to read numbered horizontal brackets for each
alternat
On 2 Feb 2017 5:00 p.m., "Hans Åberg" wrote:
> On 2 Feb 2017, at 17:52, Chris Yate wrote:
> > Did you mean, how to achieve it in Lilypond, or what is the best
engraving practice?
>
> The latter.
>
> I'd write and expect to read numbered horizontal bracket
On Tue, 14 Feb 2017 at 12:18 David Sumbler wrote:
>
> > You are mistaken.
> Well, there you are then - I said I might be mistaken, and I was right!
>
Always nice to be proven correct
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And which one's you, David?
On Mon, 3 Apr 2017 at 10:03 David Kastrup wrote:
>
> <
> http://www1.wdr.de/nachrichten/rheinland/deutsche-maskenbildner-meisterschaft-duesseldorf-110~_v-gseagaleriexl.jpg
> >
>
> The whole article for this makeup competition is at
> <
> http://www1.wdr.de/nachrichte
engraving and the person we normally use doesn’t have the time to handle all
our work.
If you are interested in doing some engraving for us, email me privately at
ebo...@scoremaestro.com with your rates.
Thanks,
Chris
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ome engraving for us, email me privately at
>> ebo...@scoremaestro.com with your rates.
>>
>
> Hello Chris,
>
> Can you give us a little more info on the type of projects you have and more
> about what you're looking for:
> full time/part time, contract, scope, etc?
ed, for example with other members of a choir.
Let me know if you have other questions.
Chris
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to the format our app uses.
We also use Finale and Sibelius if that is the source provided by our clients.
We prefer LilyPond for scores we engrave from scratch for quality reasons.
Chris
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https:
Personally I think it's clearer to just use two staves, Treble and Bass.
Many choral basses can't read treble clef, and tenors might sing the wrong
pitch, as they're used to reading octave treble...
Chris
On Mon, 16 Oct 2017 at 14:50 Ken Williams wrote:
> I have a choral p
trate why.
In my opinion sticking to conventions is never a bad idea, unless you're
doing something exceptionally unconventional (graphic scores, etc).
Good luck,
Chris
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come in)
>
> Uh, The Messiah _was_ composed and performed in English. The libretto
> was written by Charles Jennens, and basically uses Bible passages from
> the KJV version.
>
Correct. But in the spirit of accuracy and pedantry, the work is called
"Messiah".
;-)
Ch
duct,
but it is very annoying.
The following example causes at least one midi note to not be released.
The tempo marking is an issue, as at lower tempo I can't reproduce it. It
also appears to have something to do with having the tuplet yhere.
Fails in both 2.18 and 2.19.80.
Thanks in advance fo
s be posted to bugs@? Happy to do that later.
Meanwhile, if this list can find a workaround I'd be grateful. Muting just
those tuplet notes, perhaps?
Chris
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On Wed, 29 Nov 2017 at 11:07 wrote:
> Chris:
> ...
> > \score {
> > \new Voice { \set Staff.midiInstrument = #"trumpet"
> > \relative c'''{
> >\tempo 2 = 100
> >\relative e'' { e4 \tuplet 5/4 { e16 f fis
ore the people that whinge about HTML
emails, top-posting, etc. For the 20-something years I've been using the
internet there's always been pedantic arses on mailing lists that would
rather beat people up about the format of emails and people&#
ead a message. The world has moved on,
and so should our tools.
Chris
* (which in itself is fundamentally broken and confusing)
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On 27 Apr 2016 12:04, "Andrew Bernard" wrote:
>
> Hi Chris,
>
> Although I started this thread, it was purely because David Wright had
mentioned the difficulty to another user, as he had to me. I am not the one
complaining! Wanting to be considerate of all folks on the list
y's deeply held
and arbitrary personal belief that top posting is ungodly and a scourge,
that's completely different.
Cheers. Chris
On 27 Apr 2016 12:13 pm, "Chris Yate"
wrote:
>
> >
>
> On 27 Apr 2016 12:04, "Andrew Bernard" wrote:
> >
&
On 27 Apr 2016 12:40 pm, "N. Andrew Walsh" wrote:
>>
>> In german we have a saying:
>> "Leute fresst Scheisse. Millionen Fliegen können nicht irren."
>
> Now I'm going to start an argument about your deplorable capitulation to
the masses by abandoning the venerable "ß".
What character set is thi
#x27;t necessarily "improved" but they're not mutually
exclusive. Would you suggest Frescobaldi is *not* a big improvement in
the User Interface for Lilypond development?
Chris
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se guys and ladies who like IDEs), but for lilypond
> *development* you certainly don't need it.
>
> Werner
Subtle point well made.
Cheers! Chris
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se guys and ladies who like IDEs), but for lilypond
> *development* you certainly don't need it.
>
> Werner
For that, you want Visual Studio...
Chris ;)
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On 29 April 2016 at 11:20, Andrew Bernard wrote:
>
> Since this is the longest thread in recent memory - interesting
> because it is a meta-thread really - I wonder if we should consider
> using some forum type software for lilypond matters?
There's some Lilypond questions on the tex StackExchang
erminal window fans! :-) ).
However, I think it could only make Lilypond more accessible to the
general user. Does anyone actively object to the idea of having one?
cheers,
Chris
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On 29 April 2016 at 22:06, David Bellows wrote:
>. I know a lot of people avoid Reddit, and for very good reasons,
I think it's almost as bad a time-sink as TVTropes. Actually, Stack
sites can be too.
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Unless you're staying for a
few days refunding the card is probably going to be a hassle.
If you do go to Trafalgar Square*, there's the National Gallery and
Portrait Gallery too, and both aree free to visit IIRC (you're
encouraged to leave a donation).
If you like museums there&
o leave enough time to get to your gate, even if the
customs/security queue is quick.
Chris
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a phishing scam. As for email spoofing,
as others have said, it's very easy to fake the "from" address.
Chris
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tions for improvement of this code. I
think it is a useful enough thing to go on the LSR if it is perhaps refined
a little.
Thanks in advance,
Chris
-
#(define transposing-score #f)
optionalTranspose =
#(define-music-function (parser location transposing-clef concert-clef from
to mus
Hi Robert,
Out of interest, what interface are you using?
Chris
On Sun, 24 Jul 2016 at 14:17 Robert Edge
wrote:
> Thank you, that is precisely what was happening.
>
>
>
> On Sun, Jul 24, 2016 at 2:49 AM, Nathan Ho wrote:
>
>> On 2016-07-23 21:05, Robert Edge wrote:
&
Erik,
Do you want it to reproduce that in Midi, or just create the appropriate
markup?
Could you create a mockup of what you want and post it (I'm sure it's
possible if not quite easy to create the output). It's not a style of
repeats I've ever seen.
Chris
On Mon, 25 Jul
cal case (image also attached).
\version "2.19.45"
\relative c' {
<< < g c d e f>2. \\ < bes dis e fis >4. >>
}
The question for the list being, what workarounds are there for strangely
placed augmentation dots? Perhaps suppressing the dots for certain notes?
Th
ter. As far as I can tell the default should be never to
place the dot more than one staff position away from the top or bottom note
of a chord.
Chris
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On Tue, 13 Sep 2016 at 18:53 Chris Yate wrote:
>
>> However, you have found a bug I think, since it doesn't seem to work
>> correctly for your case, eliminating dots on the wrong side of the
>> chord
>>
>
This may be related (or fixed by?)
https://sourcefor
uld be possible to come up with conclusive
test cases for every possibility (ignoring chromatic clusters like `< c cis
d dis e f >`, which in any case aren't typeset very well by standard
methods). I'd be happy to try to come up with the test cases, but
understanding and bug-fixing Schem
On 14 Sep 2016 04:26, "Brian Barker" wrote:
>
> At 23:50 13/09/2016 +, Chris Yate wrote:
>>
>> Could someone that owns a copy of Gould chip in with a "best practice"
recommendation?
>
>
> I've not been following this thread in detail, so I&
s the
double-dot the _space_below_ the "f4.." note. Which is almost certainly
wrong behaviour :(
Chris
ex.from the chord-dot regression:
\version "2.17.16"
\header {
texidoc =
"The column of dots on a chord is limited to the height
of the chord plus @code{ch
rk those examples with unnecessary dots as "OK",
rather than "FAIL"? In my opinion, they should probably be failure cases.
Chris
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On Wed, 14 Sep 2016 at 15:18 Chris Yate wrote:
> On Wed, 14 Sep 2016 at 14:55 Werner LEMBERG wrote:
>
>>
>> > Here's some test cases. I doubt this is the best place to post them
>> > (bugs list?) but they're relevant to the conversation.
>>
>
On Wed, 14 Sep 2016 at 15:20 Chris Yate wrote:
> On Wed, 14 Sep 2016 at 15:18 Chris Yate wrote:
>
>> On Wed, 14 Sep 2016 at 14:55 Werner LEMBERG wrote:
>>
>>>
>>> > Here's some test cases. I doubt this is the best place to post them
>>> &g
On 15 Sep 2016 14:27, "Carl Sorensen" wrote:
>
>
>
> On 9/14/16 9:05 AM, "Chris Yate" wrote:
> >
> >
> >
> >Attached with some extra cases I'd forgotten about (the inverted versions
> >of the final 6.
>
> According to Gou
On Thu, 15 Sep 2016 at 14:36 Chris Yate wrote:
> > According to Gould, I believe that dots limit 3 is the correct setting.
>
OK. On reflection, perhaps I can see your reasoning, although I disagree
that the current situation reliably produces the notation one would expect.
On Thu, 15 Sep 2016 at 15:22 Carl Sorensen wrote:
>
>
> On 9/15/16 7:36 AM, "Chris Yate" wrote:
>
> >Carl, the key is the last bit of Gould's text as quoted by Brian above:
> >"When a dot is forced to be two or more stave-spaces from the chord, it
On Thu, 15 Sep 2016 at 16:37 Carl Sorensen wrote:That
certainly is strange. I wonder why it drops to four dots instead of
> 5, given that there are 5 notes in the cluster. And the G space dot would
> only be two staff positions away from the E.
>
> I'm looking into the code now. I'll see if I
For the sake of argument, here's what Sibelius does in similar
circumstances, and which I think is right, and actually within the spirit
of Gould's coments.
Chris
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d be able to decide in our own scores what logic
is used for dot placement :-)
Are you editing the code in dot-column.cc. or is there some Scheme code for
this too?
Chris
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On 15 Sep 2016 22:45, "Carl Sorensen" wrote:
>
>
> On 9/15/16 10:41 AM, "Chris Yate" wrote:>
> >
> >I think the trouble with Gould's rules is that they're inconsistent, or
> >could at least be interpreted in such a way. She says to u
ensen" wrote:
>
>
> On 9/15/16 4:15 PM, "Chris Yate" wrote:
>
> >
> >Please note I'm working without her examples, but I disagree about
> >[Lilypond's interpretation of] Gould's rules, because they appear to be
> >in contradiction wi
HEAD? (Or just the modified file).
I was looking at the current code on Friday to try and understand it, so it
would be good to see what you've changed. Also to have a local build with
the fix in!!
Chris
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On Mon, 19 Sep 2016 at 02:31 Carl Sorensen wrote:
> On 9/18/16 4:00 PM, "Carl Sorensen" wrote:
> >Chris,
> >
> >Here's a patch. But as Werner pointed out, it's not quite done yet. I
> >think I need to improve the badness scoring in order to ge
On Mon, 19 Sep 2016 at 09:38 Chris Yate wrote:
> On 9/18/16 4:00 PM, "Carl Sorensen" wrote:
>>> >Chris,
>>> >
>>> >Here's a patch. But as Werner pointed out, it's not quite done yet. I
>>> >think I need to improve the b
ecessary. It should work out
> of the box without *any* links. Have you tried that?
Yep, it builds fine for me once I did "sudo apt install ..." for all the
(many) required dependencies. I *think* all I needed to do was
"./smart_autoconf.sh" and "make all"
Chri
where mknetrel itself should be obtained.
My dev environment is Ubuntu 16 (or 14). Any hints or tips or redirection
towards the relevant instructions would be welcome!
Chris
---
* assuming the statement about compiling natively under Windows _does_not_
refer to using mingw gnu make, rather than some
s and be done
with it. Given
that most of my colleagues in music expect me to be able to send them .sib
files to share, it's probably inevitable. Shame.
Chris
On Mon, 26 Sep 2016 at 19:10 Phil Holmes wrote:
> Gub uses http://git.savannah.gnu.org/cgit/lilypond.git as its source. I
>
On Mon, 26 Sep 2016 at 19:34 David Kastrup wrote:
> Chris Yate writes:
>
> > Hi Phil,
> >
> > Sigh... Yes, that's basically the conclusion I'd already come to, but
> that
> > it seemed such a ludicrous state of affairs that _somebody_ must have a
>
eference.
IMO, Lilypond produces somewhat better looking output (with at least a
little care), and as a software engineer I really rate being able to
source-control my files properly. Everything's in git...
Chris
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lilypo
here)...
... because IMHO a build tool that takes 24+ hours to rebuild after making
tweaks to it --and that's on a high spec machine-- is not a very useful
tool.
Chris
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On Mon, 26 Sep 2016 at 23:05 Chris Yate wrote:
> On Mon, 26 Sep 2016 at 19:34 David Kastrup wrote:
>
>>
>> That's pretty good, actually. Not being able to do native/online
>> compilations by anybody wanting to is bad. Yes. Fixes to GUB (possibly
>> even ju
ly trivial to temporarily comment out
platforms you don't need. (Although it's still breaking for me...)
Is there a buglist other than the TODO file?
By the way, should this discussion have been in the Devel group?
Chris
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On 27 Sep 2016 18:31, "Jan Nieuwenhuizen" wrote:.
>
> > A Lilypond build tool for all platforms to which someone's added half
> > a dozen extra unrelated targets (possibly very large ones such as
> > OpenOffice) = a terrible idea.
>
> Thanks! GUB was the first to be so generic that it could be us
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