Linnstrument tablature

I just acquired a Linnstrument. It's a grid of 200 touchpads, each with independent sensing of pressure and finger motion in both x and y. More about it here . The pads are arranged in 8 rows of 25 pads. The pitches are chromatic along rows ( 1/

Linnstrument tablature

On Tue, Oct 27, 2015 at 4:21 PM, Urs Liska wrote: > Without trying to really understand the implications I would ask you: Is > there a way to indicate that kind of two-dimensionality *in notation* > and, if so, how? > If you have an answer to that it will be easier to consider a LilyPond > implem

Linnstrument tablature

Marc Hohl mailto:m...@hohlart.de>> wrote: Am 28.10.2015 um 01:36 schrieb Michael Ellis: > > On Tue, Oct 27, 2015 at 4:27 PM, Marc Hohl <mailto:m...@hohlart.de>> wrote: > > Wow, looks like a futuristic Chapman stick ;-) > > > Yes, it's been on the mar

Re: Linnstrument tablature

On Wed, Oct 28, 2015 at 11:58 AM BB wrote: > Sounds interesting. Which midi synth do you use with it? > > I'm using Logic Pro X. It supports Channel Per Note MIDI which is needed for polyphonically varying control messages. A list of recommended sound generators is maintained at http://www.roge

Re: Linnstrument tablature

On Wed, Oct 28, 2015 at 3:11 PM David Kastrup wrote: > Michael Ellis writes: > > > The problem I alluded to in my previous post is that you might well > > want to play the half-note chord in measure 3 on row 5 as 2 > > (frets 16,20), but LP doesn't seem to support

Re: Sibelius 7 to LilyPond Conversion!

Just a thought: You might have some luck feeding the Sibelius XML to music21 http://web.mit.edu/music21/doc/systemReference/faq.html and then re-writing the XML file to feed to musicxml2ly. Music21 is open source, fairly powerful, and somewhat Lilypond aware. On Wed, Oct 28, 2015 at 6:25 PM Jacqu

ANN: TransLily - A minimalist assistant for transcribing vocal and instrumental parts in LilyPond notation.

I've been using LilyPond for a number of years to transcribe individual parts from choral and instrumental music. Along the way, I've tried various GUI's and editor macros but none have proved quite satisfactory --- particularly when it comes to efficiently transcribing more than one part. I code

MIDI and Volta repeats in parallel music

​ I find it advantageous when working with multiple voices to keep 'structural' information (meter, tempo, etc.) in a separate voice that gets combined with the other voices as illustrated in the image and code below. In this example, the pdf layout is correct and the MIDI output honors the tempo c

Re: would 'gn' for G-natural be useful in \language "english" ?

Also American, can't see the need for this because LP supports defining your own pitch names in an include file. For example, I once made an include file (attached) that supports both English and Chromatic Fixed Do solfege, i.e. one can enter an E-flat major scale as either ef f g af bf c d ef o

Re: MIDI and Volta repeats in parallel music

On Wed, Nov 19, 2014 at 10:54 AM, Michael Ellis wrote: > > > ​ > I find it advantageous when working with multiple voices to keep > 'structural' information (meter, tempo, etc.) in a separate voice that gets > combined with the other voices as illustrated in the ima

Re: MIDI and Volta repeats in parallel music

On Sat, Nov 22, 2014 at 11:16 AM, Urs Liska wrote: > > > Well, in this case you don't have any conflicting music in the two Voice > contexts (because the \structure isn't a printed music voice). > So you can simply leave out the \voiceXXX commands and you're ready. > > using \voiceOne and \voiceT

Re: MIDI and Volta repeats in parallel music

On Sun, Nov 23, 2014 at 4:46 PM, wrote: > What's more, is there a reason to have the structure in a different > voice? > > > Good question. For me, it's mostly about the DRY principle (don't repeat yourself). I'm in the process of writing a program that tries to maximize one's opportunities t

Re: MIDI and Volta repeats in parallel music

On Sun, Nov 23, 2014 at 10:33 PM, Peter Chubb wrote: > My point I think is that the structure is the structure of the voice, > not the structure of the staff. Which is why, BTW, the MIDI repeats > don't unfold. > > Visibly the structure voice shows the repeats, but the repeats aren't > actually

Extracting pitch names from music

I use LilyPond to create practice scores and etudes. I've figured out how to allow note entry in Moveable Do solfege notation and have a template (see below) that supports displaying the solfege symbols as lyrics beneath the notes. At present, I have to manually extract the lyrics from the notatio

Re: Extracting pitch names from music

aff_performer" } \context { \Voice \consists "Staff_performer" } } Cheers, Mike On Tue, Dec 7, 2010 at 11:41 AM, Valentin Villenave wrote: > On Tue, Dec 7, 2010 at 4:35 PM, Michael Ellis > wrote: > > It seems to me that the best solu

Re: Extracting pitch names from music

estion, I think I really mean "Is there any downside to using Scheme to solve problems like this?" Cheers, Mike On Thu, Dec 9, 2010 at 1:02 PM, Michael Ellis wrote: > Putting the \midi block inside a separate \score block solved the audio > doubling issue. I could still use

Re: Extracting pitch names from music

vertically minimumVerticalExtent = #'(0 . 0) %% decrease lyric font size by 1 increment \override LyricText #'font-size = #-1 } Thanks, Mike On Tue, Dec 7, 2010 at 3:40 PM, Michael Ellis wrote: > Thanks Valentin, that's quite helpful. I ended up

Re: Odd output

Why not set one of the notes to a different enharmonic pitch? It's certainly much kinder to the musician who's trying to play the composition. \include "english.ly" { \clef treble \time 4/4 << { fs'4 } \\ { es'4 } >> } Cheers, Mike On Fri, Dec 10, 2010 at 7:00 AM, Phil Holmes wrote: > Plea

Re: Odd output

could but shouldn't > use a Gb not a F# as the first chordsis a G chord." > > Note his final comment - could use a Gb but shouldn't. > > -- > Phil Holmes > > > > - Original Message - > *From:* Michael Ellis > *To:* LilyPond User Group > *S

Re: Odd output

ause spelling counts! D# and E♭may* sound* the same (on a tempered > instrument) but they are two very different notes. And an performer playing > an instrument that can distinguish between the two, should. > > > On Dec 10, 2010, at 6:18 PM, Michael Ellis wrote: > > Why not set

Re: Unknown final note shape / object. What it is?

It appears to be the opening Kyrie of the Josquin's Missa Beata Virgine, ca 1510. http://en.wikipedia.org/wiki/File:Josquin_Missa_BV_Kyrie.jpg I believe music printing was a thriving enterprise by then, so it's unlikely to be (completely) hand scribed. Cheers, Mike On Fri, Dec 10, 2010 at 4:46

Re: issue classification was: Odd output

FWIW, Finale 2010 *does* support this if you put the notes in separate layers (voices), add a courtesy accidental to the natural note, and fiddle with the Accidental Mover and Note Position gui tools. It doesn't do the right thing by default, though. Image attached. So if pride in LilyPond's capa

Mixing notation and lyric entry

Is there a clean way to enter a phrase followed by the corresponding notes in a \relative block? The example given in the docs, { \time 3/4 \relative c' { c2 e4 g2. } \addlyrics { play the game } } is fine for a small example, but it gets messy for longer music. I do a lot of transcribin

Re: Mixing notation and lyric entry

ight? I can code that up in Python in a heartbeat, but it's an unappealing solution for obvious reasons. Hence the query about how to do it with LilyPond and Scheme. Cheers, Mike On Wed, Dec 15, 2010 at 1:52 AM, Jan Warchoł < lemniskata.bernoulli...@gmail.com> wrote: > Hi, > >

Re: Mixing notation and lyric entry

s = \lyricmode { \lyrfirst \lyrnext % ... } \score { << \new Voice = "Sop" { \autoBeamOn \sopmelody } \new Lyrics \lyricsto "Sop" { \soplyrics } >> } Cheers, Mike On Wed, Dec 15, 2010 at 10:41 AM, Jan Warchoł < lemniskata.bernoulli..

Re: Mixing notation and lyric entry

definition of runlily(). For me, this was a lot easier than outsmarting LilyPond's internals since I can program in Python at least 10 times faster than in Scheme. Only downsides so far are having to double backslash some lilypond commands and the loss of syntax highlighting. The latter could

Re: Mixing notation and lyric entry

Oops! You'll also need my english-solfa.ly file (attached) to run the example as is. Cheers, Mike On Wed, Dec 15, 2010 at 5:09 PM, Michael Ellis wrote: > Thanks, Eluze. The spreadsheet idea is clever! > > Since my last post, I've been playing with a python template substitut

Re: Odd output

+1 for option C Cheers, Mike On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara wrote: > On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes > wrote: > >> >> The version that Chappell uses in the Mikado is attached. >> >> Nice. > It does break the usual rules about horizontal placement, and about when

Re: Odd output

> > -Original Message- > From: lilypond-user-bounces+james.lowe=datacore....@gnu.org on behalf of > Michael Ellis > Sent: Fri 12/17/2010 21:50 > To: Keith OHara > Cc: lilypond-user@gnu.org > Subject: Re: Odd output > > +1 for option C > Cheers, > Mike > > >

Re: Odd output

Thanks Phil, I'm curious about the vocal part. Why is the stemming different than the piano reduction? As written, it indicates SAA division on the first chord and SSS (no Alto!) on the second. This may seem trivial and skilled singers will generally do the right thing. OTOH, I've frequently s

Re: ways of using Lilypond?

Vim, also with some custom mappings and some python scripts that allow me to mix lyrics conveniently with notation. Cheers, Mike On Sat, Dec 18, 2010 at 6:09 PM, Jethro Van Thuyne wrote: > Ludo Beckers: > > > Just wondering, has there ever been a poll about how many Lilypond users > > work with

Re: ways of using Lilypond?

Sure. I'll send them out tomorrow afternoon. Need to clean them up a bit. Cheers, Mike On Dec 18, 2010, at 10:18 PM, Michael Webster wrote: > @mike - would you be willing to share your Python scripts? I'd love to see > them... tia > > ___ > lilypond-

Re: ways of using Lilypond?

On Sun, Dec 19, 2010 at 6:29 AM, Jan-Peter Voigt wrote: > Yes, Frescobaldi is a great tool! Also for advanced users! > It made me change my main working system from Mac to Ubuntu. > On my netbook, I sometimes use vim. > > My wishlist this christmas would be ;-) > Frescobaldi or something comparab

Re: ways of using Lilypond?

Oops forgot to attach one of the files to prior message. Here it is. Cheers, Mike On Mon, Dec 20, 2010 at 11:01 AM, Michael Ellis wrote: > Hi Michael, > Took me a day longer than I thought to get around to this. Here are the > main scripts I'm currently using. They are he

Can't use NoteNames twice in score block ??

While working with a much larger version of the score below (BWV 206 chorale in 4 voices), I tried using the NoteNames engraver to put note names under each voice. For some reason, invoking it twice causes the clef and instrument name to change on the top staff. The notes (and the note names)

Re: Can't use NoteNames twice in score block ??

Oops wrong image for ok.png in previous msg. Cheers, Mike On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis wrote: > While working with a much larger version of the score below (BWV 206 > chorale in 4 voices), I tried using the NoteNames engraver to put note > names under each voice.

Re: Can't use NoteNames twice in score block ??

uot; \clef treble \key f \major \Snotes } ABvoiceDA = { \set Staff.instrumentName = #"Bass" \clef bass \key f \major \Bnotes } \score { << \new Voice = ASVoiceAA { \ASvoiceAA } \new NoteNames = NNS \with { \override NoteName #'stencil = #solfaNames } {\tran

Re: Can't use NoteNames twice in score block ??

Thanks, Carl. This looks promising ... Cheers, Mike On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen wrote: > On 12/22/10 8:08 AM, "Michael Ellis" wrote: > > > > > > Putting this together with your workaround produces the code and output > shown > >

Re: Can't use NoteNames twice in score block ??

at returns only the pitch-carrying elements? Cheers, Mike On Wed, Dec 22, 2010 at 2:14 PM, Michael Ellis wrote: > Thanks, Carl. This looks promising ... > Cheers, > Mike > > > > On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen wrote: > >> On 12/22/10 8:08

Re: Can't use NoteNames twice in score block ??

Thanks, Jakob! I didn't understand that a music-filter acts recursively on containers and their contents. I had some vague notion that it simply passed or rejected elements at the top level of a list. Your example is what I needed. For my purposes I needed to add RestEvent and TransposedMusic t

Re: Can't use NoteNames twice in score block ??

os.path.splitext(x)[0] + ".ly" cmd = "%(mscore)s %(x)s -o %(ly)s"%locals() print cmd p = Popen(cmd,shell=True) p.wait() print "Done" Cheers, Mike On Thu, Dec 23, 2010 at 10:28 AM, Phil Hézaine wrote: > Le 22/12/2010 16:08, Michael Ellis a é

Re: Can't use NoteNames twice in score block ??

Hi Jakob, I'm not having much luck reducing it down to a minimal example. I have family visiting for the next few days, so I'll try to pick it back up after Christmas. Cheers and happy holidays to all!, Mike On Thu, Dec 23, 2010 at 4:28 PM, jakob lund wrote: > 2010/12/23

Re: Accidental and clef change issue

The Dover Edition of the Beethoven Sonatas, a reproduction of the 1923 Universal Edition (H. Schenker, ed.) has the attached in opus 27, no 2, second movement (Presto Agitato) mm 54,55. In the left hand of mm 54, the clef changes 4 times (bass, treble, bass, treble). The movement is in E major. T

Re: Staff change in piano music - a general approach?

Hi Tobias, This topic is also of interest to me, so I googled for "lilypond piano reduction" and eventual found the vocal template with automatic piano reduction, from which I derived the example below. It uses \partcombine which, perhaps unfortunately, takes only two arguments. However, I found

Re: \underline in lyrics

Just a thought. Nikolay, does it make sense to add the underlines after the fact with a PDF editor? Or do you hav e hundreds of items to underline? Cheers, Mike On Thu, Dec 30, 2010 at 1:37 PM, Nikolay Kirov wrote: > Yes, > Reinhold explained more precisely the problem - > I want to underline s

A small but vexing problem

I think I mentioned in a prior post that I'm creating LilyPond versions of 400 Bach chorales with moveable do solfege beneath the notes. I've now got workable versions for the chorales with all parts together and hope to have them up on a website soon with pdf and midi files available also. I'd a

Re: \underline in lyrics

a refrain, which must be underlined following the > tradition from the books. > So, I need a tool (special engraver) to underline several syllables of > several notes. > > Cheers, > Nikolay > > On Thu, Dec 30, 2010 at 8:58 PM, Michael Ellis > wrote: > > Just a thou

Re: A small but vexing problem

ote: > > Mike, > > From: lilypond-user-bounces+james.lowe=datacore....@gnu.org > [lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Michael > Ellis [michael.f.el...@gmail.com] > Sent: 30 December 2010 19:11 > To: Lily

Re: A small but vexing problem (fermatas in several voices)

will have the facility to mark temporal points in various parts so that they > can be aligned without counting out the beats correctly in each one. This > would be structurally analogous to the use of TABs in a single line of typed > material, but it would not be associated with lines of mu

Re: A small but vexing problem (fermatas in several voices)

Hi Phil, The problem is pretty well solved. I'm just cleaning up a few things in my scripts today. I don't have all the answers yet regarding copyrights. Margaret Greentree's site seems to claim copyrights only to the PDF images and those are freely shared for non-commercial use. So I'm not qui

ANN: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

I've just committed a first version of LilyPond sources for 404 Bach chorales at https://solfege-resources.googlecode.com. The voice notation is extracted from Margaret Greentree's musicXML files of the chorales at jsbchorales.net. Each file creates PDF and midi for the full score (typically SAT

Re: ANN: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

Apologies for the sloppy cut and paste on the URL. BTW, thanks to all of you who helped me during the past couple weeks. I'm not sure I'd have kept with it otherwise. And, of course, thanks to Jan and Han-wen and the development team for LilyPond! There's no way this could have been done so q

Re: A small but vexing problem (fermatas in several voices)

wrote: > Le 31/12/2010 20:33, Michael Ellis a écrit : >> Hi Phil, >> The problem is pretty well solved. I'm just cleaning up a few things >> in my scripts today. >> >>  I don't have all the answers yet regarding copyrights.  Margaret >> Greentree'

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

terms you like. Still, since we're working on the same chorales it would be great if we can find a way to combine our efforts to produce the best possible editions. Cheers, Mike On Sat, Jan 1, 2011 at 4:08 PM, Phil Hézaine wrote: > Hi Michael and all, > > Copy from the previous d

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

Project site now has downloadable archives of PDF and MIDI files at http://code.google.com/p/solfege-resources/downloads/list Cheers, Mike ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

Hi Phil & Graham, Thanks very much for the information and discussion.  It's all extremely useful.  Let me see if I can paraphrase a few points that are influencing my thinking: We all seems to agree that: 1. The "music" of the chorales (the sequences of pitches and rhythms notated in the Brei

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

2011 at 12:59:39PM -0500, Michael Ellis wrote: > > We all seems to agree that: > >1. The "music" of the chorales (the sequences of pitches and > > rhythms notated in the Breitkopf edition) is public domain. > >2. The Breitkopf edition itself is also in the pu

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

-- Obviously, laws vary from country to country, but to me this suggests that it would be very hard to assert a copyright claim to any set of of rhythms and pitches that are already available in the public domain. I think that's why I was having trouble with the concept that a copy of a choral

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

Mike, Graham, Henning, Thanks again, it's all good discussion. For the time being, I've altered the home page on the solfege-resources site to offer two choices of License, namely Free Art license in addition to CC BY-NC-AS. I've also added a couple paragraphs explaining my understanding of U.S.

Completely separating notation from output logic

I'm trying to develop an include file with Scheme functions that will allow notation files to contain nothing more than a header block and music for one or more voices. Below is what I've got so far. What I'm finding is that I can easily define a music function that appends voices to a list and

Re: Completely separating notation from output logic

Thanks, Carl. I probably should have included some background information. If I had only one piece of music to worry about, I'd do it exactly as you suggest. Problem is I've got 404 Bach Chorales on the Solfege Resources site and expect to eventually have hundreds or even thousands more from oth

Re: Completely separating notation from output logic

On Mon, Jan 3, 2011 at 5:41 PM, Michael Ellis wrote: >    2.  Make it easy to improve who wanted a to change the formatting > by only requiring them to modify the "common.ly" > Meant to say: 2.  Make it easy for myself or users to imp

Re: Completely separating notation from output logic

Graham Percival wrote: > On Mon, Jan 03, 2011 at 05:41:48PM -0500, Michael Ellis wrote: >> Thanks, Carl.  I probably should have included some background >> information.  If I had only one piece of music to worry about, I'd do >> it exactly as you suggest.  Problem is I&#

Re: Solfege Resources -- 404 bach chorales in Lilypond format with Movable Do solfege.

On Tue, Jan 4, 2011 at 4:17 AM, Graham Percival wrote: > I think you are wrong.  I think that this Margaret person has > created works that are under copyright, and you are taking those > works and claiming to offer them under a license that she did not > consent to. > Actually no. A license is

Re: Suppress chord names from MIDI output

+1 Having two score blocks in a book block is working very nicely for me. Cheers, Mike On Tue, Jan 18, 2011 at 1:12 PM, James Bailey wrote: > Have two \score blocks, one without \ChordName, but including \midi, and > one with \layout, that includes the \ChordName context. __

Re: Using the input-tag music property

On Thu, Jan 20, 2011 at 2:22 AM, Johan Vromans wrote: >> Attached is some scheme code that's probably too long for a snippet, > > I don't mind long snippets. Please put it on LSR. > Thanks, Johan. I think it needs some clean-up first, e.g. making the procedures properly tail-recursive. BTW, can

Re: Using the input-tag music property

On Thu, Jan 20, 2011 at 11:02 AM, Johan Vromans wrote: > I seldom look at the style... If it work I copy and use it :). Cleaned up and submitted to LSR. Awaiting approval. Cheers, Mike ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.

Re: Pentatonic Diatonic Transposition?

On Fri, Jan 21, 2011 at 4:41 AM, Daniel wrote: > Any other ideas? > Hi Daniel, Here's a partial, but very general solution that will modally transpose within any scale (or any ordered set of pitches) of any length using modulo arithmetic. To make it usable in LilyPond, you'll need to wrap it in

Re: Pentatonic Diatonic Transposition?

On Sun, Jan 23, 2011 at 7:21 AM, Patrick Schmidt wrote: > Hi Michael, > > nice work! I just think that the name modal transposition is a little > misleading in this case. Thanks, Patrick! I agree that the name may be confusing. I considered calling it something like \scalarImitation, since that'

Re: Understanding herd of curly braces

Hi Seth, It sounds as though you've not had previous exposure to programming languages where nested braces (curly and otherwise) are common. The short answer to your question is that the braces identify which pieces of text go with which command. The indentation levels are only significant in t

Re: exercise notation

Hello Jose, I've found the simplest thing is to generate them all at once. It doesn't take that much time for normal sized choral pieces and you get all the files at once. If you have the music for each voice in separate variables, say \soprano, \alto, \tenor, \bass, then a \book block like th

Automatic metronome track?

I want to automate the process of generating a midi metronome track for rehearsal purposes. It's trivial if the piece is in the same meter throughout, e.g. if the piece has 97 measures in 4/4 you can do: \new Voice = "Click" { \set midiInstrument = #"woodblock" \r

Re: error in predefined chord diagram?

Hi Bart, Sounds like it's giving you a C#dim7, typically spelled C# E G A# . Cheers, Mike On Sat, Jan 29, 2011 at 2:02 PM, bart deruyter wrote: > Hi all, > > I've noticed something strange in the predefined chord diagrams for guitar. > While writing on my book for teaching guitar, I noticed the

Re: error in predefined chord diagram?

On Sat, Jan 29, 2011 at 2:57 PM, David Kastrup wrote: > > Uh, why wouldn't it be in C# diminuished?  It's a minor third below C#, > or three minor thirds above it. > >> Or am I so very mistaken? >> >> What should I do to fix this in my code? > > What's to fix? Just looked at the doc. Bart's righ

Re: error in predefined chord diagram?

or the C7 chord. Cheers, Mike On Sat, Jan 29, 2011 at 3:19 PM, bart deruyter wrote: > Would be very nice to add these too indeed :-). > So, in other words, I'll have to create my own fretboards to be able to > continue for now? > > grtz, > Bart > http://www.bartart3d.b

Re: Problem with barcheck

As Jay pointed out, \times 2/3 {d8 g a } will occupy the time of two eighth-notes, not three. Hence the barcheck fails because there is an eighth-note's worth of time remaining in your first measure (and 2 1/8's missing in the second.) Cheers, Mike On Sat, Jan 29, 2011 at 3:01 PM, Martin Chic

Re: engraving rules question - voices with merged heads

I agree with James. As I think I've commented in another thread, I've seen many rehearsals interrupted when singers needed to ask a question because of confusing notation. Think of it this way: as a composer you want to give the performers every possible chance to get it right the first time so t

Re: Nesting ly:music-property error

Hi Scott, I think the problem is that the music in your example doesn't have an 'elements property. You can eliminate the error by changing the third line in your code to #(display-scheme-music (ly:music-property $myx 'pitch)) but what gets displayed is an empty list '(). Probably not what you

Re: Nesting ly:music-property error

)) myx) \myN c Cheers, Mike On Sat, Jan 29, 2011 at 6:46 PM, Michael Ellis wrote: > Hi Scott, > > I think the problem is that the music in your example doesn't have an > 'elements property.  You can eliminate the error by changing the third > line in your code to &

Re: Nesting ly:music-property error

why we get the solution? > > Scott > > > -Original Message- > From: Michael Ellis [mailto:michael.f.el...@gmail.com] > Sent: Saturday, January 29, 2011 07:01 PM > To: banners...@ccacompanies.com > Cc: lilypond-user@gnu.org > Subject: Re: Nesting ly:music-property er

Re: How do you tell tempo for indications in English

Hi Patrick, Short of conducting extensive field research in Ireland's pubs, you might try asking the question here. http://www.thesession.org/discussions/ Cheers, Mike On Wed, Feb 2, 2011 at 6:59 AM, James Lowe wrote: > Hello, > > -Original Message- > From: lilypond-user-bounces+jame

Re: Can't use NoteNames twice in score block ??

On Fri, Feb 11, 2011 at 8:53 AM, Phil Holmes wrote: > > Michael, > > Did you make any progress with creating a Tiny example of this issue? > No. I tried for a while and then decided to let it sleep. It's not impacting the things I'm currently doing with LilyPond. Thanks for asking! If it's a r

Re: Error in running Lilypond

Hi Father, It certainly looks like a path problem or maybe two problems. "/python" seems unlikely, as does "?usr/". Try opening up the Jedit Plugins/Plugin Options window and navigate to LilyPondTool Commands. Check the entry for python. If it says "/python" as shown in your error message

Re: Error in running Lilypond

On Sun, Feb 13, 2011 at 6:05 PM, Father Gordon Gilbert wrote: > /usr/local/bin/python: can't open file '/usr/local/bin/convert-ly.py' Is convert.ly present in /usr/local/bin? The error is claiming otherwise. Cheers, Mike ___ lilypond-user mailing li

Shorthand notation for multi-measure rests in music with frequent meter changes ?

I'm currently transcribing parts from music with frequently changing meters and segments where a part is resting. The sequence below is typical.     \time 3/4 R1*3/4 |     \time 3/8 R1*3/8 |     \time 4/4 R1*8/4 |  % 2 bars     \time 3/8 R1*3/8 | Does anyone know how to write a music function th

Re: Shorthand notation for multi-measure rests in music with frequent meter changes ?

I keep all my time signatures in a > separate file from the notes.  It's then simple to map time signatures > to keystrokes; entering time signatures can be very very fast.  So I > hit the letter "A" and I get "\time 1/4 s4". > > Quick and maybe not helpful an

Re: Why LilyPond?

On Sat, Feb 19, 2011 at 12:41 PM, Francisco Vila wrote: > > On 2/19/11 9:47 AM, "Phil Holmes" wrote: > > > >> My wife has just asked and I don't know the answer. Why is LilyPond > called > >> LilyPond? > >> > > > > http://lilypond.org/web/about/name > Telling your wife such a romantic story co

Re: 99 bottles of beer on the wall

On Sat, Feb 19, 2011 at 6:24 PM, Graham Percival wrote: > > Wow.  Brilliant work here: > http://99-bottles-of-beer.net/language-lilypond-1351.html Pretty cool!  I wonder if the number lookups could be simplified with the  'r' format spec? (use-modules (ice-9 format)) (string-split (format #f "~

Re: function argument computation

On Fri, Feb 25, 2011 at 9:20 AM, Peter Buhr wrote: > specialB = #(define-music-function (parser location suffix) (string?) > #{ >\base (concat "XXX" $suffix) #$suffix % DOES NOT WORK > #}) > Hi Peter, I think the following does what you're looking for. specialB = #(define-music-funct

Re: Learning Scheme

Hi Tim, I've been walking down this path during the past few months. So far, the tutorial that helped me most is the online book at http://icem-www.folkwang-hochschule.de/~finnendahl/cm_kurse/doc/schintro/schintro_4.html#SEC3 It's rather old, but the informal yet very concrete approach was just

Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

On Thu, Mar 3, 2011 at 2:53 PM, Graham Percival wrote: > Hi all, > > My PhD research has swept me into the direction of automatic music > performance. �In particular, generating realistic-sounding audio > from sheet music. Thanks for sharing this, Graham. Vivi seems like nice work and the rhythm

Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

50:37PM -0500, Michael Ellis wrote: >> I've been thinking for a while about broaching the subject of >> LilyPond's midi output on this forum -- I feel  that this is one area >> where Lily is rather behind the curve compared to her commercial >> sisters. I wonder if s

Re: Tonic Sol-Fa

On Mon, Mar 7, 2011 at 10:10 AM, Tim Sheasby wrote: > I know that LilyPond does not currently support Tonic Sol-Fa notation. > However, in my work on African Hymn I found that many Africans are familiar > with this form of notation. Most of my source material was originally set > using this for

Re: what about simplifying music notation?

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

Re: what about simplifying music notation?

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

Re: what about simplifying music notation?

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 >>

Re: what about simplifying music notation?

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

Suppress NoteNames output on ties ?

Is it possible to tell  the NoteNames engraver to print the name for only the first note of a sequence of tied notes?     mymusic = { c'4 c' ~ c'2 }     \score {         <<         \new Voice  \mymusic         \context NoteNames \mymusic         >>     } Thanks, Mike <>_

Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

"I, for one, welcome our new computer overlords." -- Ken Jennings :-&, Mike ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Suppress NoteNames output on ties ?

On Thu, Mar 17, 2011 at 10:23 AM, Michael Ellis wrote: > Is it possible to tell  the NoteNames engraver to print the name for > only the first note of a sequence of tied notes? > >     mymusic = { c'4 c' ~ c'2 } >     \score { >         << >     

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