probably have to define
the snippets you want for each mode with no key sig, then transpose.
So:
majorTriad={ \key c \major c e g}
minorTriad={\key c \minor c es g}
Lydian={\key c \major c e gis bes]
Then transpose.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
htt
ops, which talk to ...
-- a robostix that controls fifteen solenoids, an air pressure
modulator, a fake tongue and some fake lips to operate the reed.
The clarinet itself is an unmodified Yamaha student model, albeit with
a plastic reed.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au
rom the current context, but I don't know
how.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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lilypond-
> "Thermo" == Thermo <[EMAIL PROTECTED]> writes:
Thermo> I have a one page lyrics, melody and chords lilypond format
Thermo> file.
Thermo> Now I would like to add a flute melody over the same chords on
Thermo> a new page, then add a guitar melody over the same chord
Thermo> structure. So it
s work I've done in scheme) so there're probably
major improvements that can be made.
articulate.tar.bz2
Description: Binary data
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Au
> "Trevor" == Trevor Daniels <[EMAIL PROTECTED]> writes:
Trevor> Hi Peter
Trevor> Just tried your articulate.ly. Looks really promising! A
Trevor> couple of early comments. It may be obvious, but \articulate
Trevor> should only be used in a \score block with just \midi {} - it
Trevor> muck
> "Carl" == Carl Peterson <[EMAIL PROTECTED]> writes:
Carl> I'm working on a hymnal, and I have some questions
Carl> about some things I need to do for it, layout-wise.
Carl> 1) How can I number the hymns (i.e., number each score). I can't
Carl> use strict page numbering, since multiple hymns
ut.
I've reported this a couple of times to the bugs list, but been
ignored.
Try this:
\score {
\transpose c' bes
<<
\relative c' { c1 }
\relative c' { \transposition bes d1 }
>>
\midi{}
}
You s
> "andersvi" == andersvi <[EMAIL PROTECTED]> writes:
andersvi> (buffer-file-name) returns a string without
andersvi> backquote-escaping the whitespaces.
andersvi> Heres a replacement (try evalling this somewhere in emacs
andersvi> after 'lilypond-mode is loaded). Please test before
andersvi
> "Daryna" == Daryna Baikadamova <[EMAIL PROTECTED]> writes:
Daryna> Are there any
Daryna> accompaniment systems / plugins (open or proprietory) taking
Daryna> lilypond files as input?
I just generate Midi without the clarinet part and play along with
it. Tricky part is that a Midi sequence
org/cgibin/piece-info.cgi?id=645 I
To transpose the score, put the \transpose directive before the
\unfoldRepeats directive in each \score{} block.
And as was said in a different message, you need to convert the source
to a more recent Lily.
--
Dr Peter Chubb http://www.gelat
S and XPDF's output.
Federico> # failed print output from kpdf
Federico> http://casagrau.org/~donfede/lily/lily_print_bad.ps
There's a permissions error on this one.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.er
to or
associatedVoice.
A4 -- des2 --
te,4 fi -- del2 -- es,
The output looks OK. Why does Lily care about associated voice, if
all lyrics have explicit durations?
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.c
om a piece by Messaien)
`perdu', or `comme oiseaux'.
It'd be possible to translate some of these into metronome markings or
\ or similar; others, I have no idea about.
Non-notated repeats are also going to be hard (`dal segno al coda',
`dal segno al fine'
o something like,
{ c16 \pp \< ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \ff ~ c16 \>
~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \pp }
and even that doesn't give as smooth a transition as one would like.
Any ideas?
--
Dr Peter Chubb http://www.gelato.unsw.edu.au
not in this snippet), the
beams are repeated, so a beam of quavers look like semiquavers.
I want the tune in a separate named voice so I can use \lyricsto.
I could put it on a separate stave, but that would make the music
spread over two pages.
Any ideas?
--
Dr Peter Chubb http:
omp { \relative c'{ s4. a8 8. d16 } }
>>
}
but with a voice (called `tune') that I can attach lyrics to, with
mostly the same timing, and mostly doubling the top line in the
accompaniment.
--
Dr Peter Chubb http://www.gelato.unsw.edu
pe Em2 chord in chordmode. How can I do
Michael> that? e:m2 doesn't work. Zoltan
Michael> ___
Michael> lilypond-user mailing list lilypond-user@gnu.org
Michael> http://lists.gnu.org/mailman/listinfo/lilypond-user
>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
>>>>> "Michael" == Michael Watts <[EMAIL PROTECTED]> writes:
Michael> e2:m Now, if only there were a manual..
Zoltan> I would like to type Em2 chord in c
makes the output *look* right without acutally *being* right.
Try, e.g.,
global= { \time 4/4 \key es \major \repeat volta 2 {
s1*2 } }
notes =\relative c' { es4 f es f | es f es f }
\score {
\unfoldRepeats \context Staff << \global \notes >>
\midi{}
on to do this yet? for
example, given e return fis (if the current key is g), or given e return f (if
the current key is c)? I'm a bit stuck, as I can't even work out how
to get at the current key within a music-function.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gel
I see a KeyChangeEvent in the rest of the program I update
ac:current-key.
Is there a better way? Does Lilypond keep track of the current key
signature for me?
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.co
)))
)))
((eq? 'KeyChangeEvent (ly:music-property music 'name))
(set! ac:current-key music)
music
)
(else music))
))
articulate = #(define-music-function (parser location music)
(ly:music?)
"Adjust times of note
)
((equal? t (markup #:line (#:sharp)))
(set! alteration 1/2
but this never matches.
The music looks something like:
d^\markup{\flat}^\turn^\markup{\sharp}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.co
script-priority
moves both accidentals, not just one, even with \once.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
___
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>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
Peter> On my quest for better MIDI, I'm trying to deal with
Peter> alterations on a turn. How do I look `inside' a markup
Peter> sequence?
Peter> What I've tried is:
>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
Peter> On my quest for better MIDI, I'm trying to deal with
Peter> alterations on a turn. How do I look `inside' a markup
Peter> sequence?
Peter> What I've tried is:
Peter>
pitch new-octave new-notename
new-alteration
Jay> In a few functions I've written they either work correctly inside
Jay> a \relative section or correctly outside but not both. Is there a
Jay> standard way to make them work in both?
Not that I know of.
--
Dr Peter Chubb
he start of the
piece? Inquiring minds want to know.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
A university is a non-profit organisation only in the sense that it
spends everything it
mbers, you
Mats> also get multiplication and division for free.
So you're saying a lilypond moment is a duration of musical time, not an
instant in musical time? Is there a function to translate from
lilypond moment to lilypond duration and back?
--
Dr Peter Chubb http://www.gelat
turns. See the code in
http://www.nabble.com/Programming-questions-td16953318.html for
diatonically up one tone, it's easy enough to adjust for down a third.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within N
ht now, e.g., by
<< c1 \\ {s2\< s4. \! s8} >>
but the MIDI output doesn't sound right. I'm trying to get the MIDI
output right, so have to explicitly do things like:
\pp c64 ~ \< c64 ~ c64 ~ c64 ~ c64 ~ c64 ~\!\sf c64 ~ \> c64 ~ c64
~ c64 ~ c64
How do I get Lily to use a more sensible font for PDF output? Because
I don't have New Centiury Schoolbok installed on my system, lyrics
come out in Courier (and look awful). The documentation just says
`the default font is set by Pango/font' which helps me not at all...
--
Dr P
c4 g c2
}
\score {
\context ChoirStaff <<
\context Staff = Top \context Voice=w \tune
\lyricsto w \new Lyrics \words
\context Staff = bottom \notes {\clef "F" \accomp}
>>
\paper{}
}
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Peter Chubb
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> "Mats" == Mats Bengtsson <[EMAIL PROTECTED]> writes:
Mats> Your example doesn't work, since both lines of lyrics and both
Mats> settings of the stanza property are done in one and the same
Mats> Lyrics context.
That's what I thought, but couldn;t coe up with the right magic to get
it to wo
> "Mats" == Mats Bengtsson <[EMAIL PROTECTED]> writes:
>> On Wed, 2002-07-10 at 11:02, Mats Bengtsson wrote: > > <<< > >
>> warning: couldn't find any font satisfying > > (#f italic medium
>> roman -1)
>> > >
Mats> No, no! The order is correct (maybe you could say it's wrong in
Mats> the err
I want to transpose the lot down
afterwards by a tone ...
I've just about given up using \transposition now. Instead I notate
clarinet parts as
Clar=\transpose c' bes \relative c' { ... }
and then transpose the part up again in the \score block for MIDI
output.
It's a pain.
--
s like aes-minor, clarinet notated in bes-minor, lots of accidentals)
Peter C
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
___
lilypond-user ma
better to do:
(setq load-path (append '("/usr/local/lilypond/usr/share/emacs/site-lisp/")
load-path))
^ note the quote here
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Aus
-midi
;;
esac
exec $LILY $midionly "$@"
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
A university is a non-profit organisation only in the sense that it
s
>>>>> "Peter" == Peter Chubb writes:
Peter> I embed Lily in a shell script for that kind of thing (I'm
Peter> running on Unix):
(I've just noticed you're using Windows ... you'll need to ask someone
who's a Windows expert as to how to s
s "Instrument_name_engraver"
\override BarLine #'transparent = ##t
}
\context{ \Staff
\remove "Time_signature_engraver"
}
}
}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.
>>>>> "M" == M Watts writes:
M> Peter Chubb wrote:
>> I'm using the current 2.12.2 version of lilypond. The attached
>> file yields, programming error: vertical alignment called before
>> line-breaking and no lines on the staff.
>>
>
t; the first paragraph+example.
I'd really appreciate an appendix or something that gives Lily syntax
as BNF, or as a syntax diagram. The syntax is very complex, and I've
been caught out a number of times by things not being as I expected
them to be from the NR --- not that
;t compile. (It was missing the last
Jonathan> curly brace but I added it.) Here's the terminal output:
\relative can't be used inside \chordmode I think. \relative
introduces a sequence of note-names; \chordmode introduces a sequence
of chord names.
--
Dr Peter Chubb http:
(for complex bars,
maybe more than one line per bar), commented every five lines with a
bar number. I use a revision control system with a remote central
repository for all my music. Tweakss necessary fro good outpput with
a particular vesion of Lilypond go on a branch, as convert-ly d
u can do: \C-Hm (control-H m) to describe the mode.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under the
t everything working, then in your \score
block do, e.g,. to put the whole piece up a tone:
\score {
\transpose bes c' <<
...
>>
\layout{ ... }
\midi{...}
}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc
of a following
note or chord. Inside chords, the next note is always relative to
the preceding one.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
out what to do
then to do it), and the hacked up communication between the two
passes. I'd also like to do something about trills and turns with
alterations, and do a better calculation for trill duration.
--
Dr Peter Chubb peter DOT chubb
>>>>> "Peter" == Peter Chubb writes:
Peter> Hi,
Peter> I've put up a page on how to get more realistic sounding MIDI
Peter> output from current LilyPond, along with the scripts and scheme
Peter> code used, at http://www.nicta.com.au/people/chubbp/arti
>>>>> "Hans" == Hans Aberg writes:
Hans> On 2 Jun 2009, at 01:29, Peter Chubb wrote:
>> I've put up a page on how to get more realistic sounding MIDI
>> output from current LilyPond, along with the scripts and scheme
>> code used, at http://www.
#x27;t find the page, even though I
hhpmusic> registered. How to get the file?
Try shift-reload , you're probably still getting a cached version of
the page.
Peter C
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
}
}
\score {
% for sounding
\unfoldRepeats <<
\context Staff = sax { \tenorSax }
>>
\midi {
}
}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS wi
nspose bes c' { \transposition bes bes1 }
flute = { bes1 }
\score {
\transpose c d' <<
\new Staff \clarinet
\new Staff \flute
>>
\midi {}
\layout{}
}
You'll hear a discord instead of the unison you expe
//lilypond.org/doc/v2.13/Documentation/user/lilypond/Repeats-in-MIDI#Repeats-in-MIDI
\unfoldRepeats will still work.
Do like this:
\score {
\unfoldRepeats <<
\context Staff <<
what you had before
>>
\midi {
}
}
--
Dr Peter Chubb htt
ot;|."
}
>>
>>
\score {
\recscore
\layout {
\context {
\RhythmicStaff
\override Clef #'stencil = ##f
\override TimeSignature #'stencil = ##f
\override StaffSymbol #'stencil = ##f
\override BarLine #'transparent = ##t
}
o voices per
stave), it'll go above the upper staff for the soprano part, below the
lower staff for the bass part, etc.
This is because it's fairly common for one part to repeat some words,
while the other parts do not.
--
Dr Peter Chubb peter DOT ch
\f
}
\score {
<<
\context Lyrics = vOne \vA
\context Lyrics = vTwo \vB
>>
\layout {
\context {
\Lyrics
\consists "New_dynamic_engraver"
}
}
}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.
misses, which slows things down. If you
run out of RAM and have to swap, things get even worse.
Xeon 5560: 256k L2, 8M L3 cache (which is almost as fast as the Pentium D's L2
cache)
Pentium D: 1M L2 cache, no L3 cache.
--
Dr Peter Chubb www.nicta.com.aupeter DOT chubb AT
en
>> worse.
Han-Wen> More importantly: LilyPond is single-threaded, so the number
Han-Wen> of cores is irrelevant.
That doesn't explain why going from the Core Duo to the Xeon
dropped the time from 11 minutes to 4 minutes. The reason, as I said,
is the increased cache s
row, so the second will not be
printed --- it's the same chord.
--
Dr Peter Chubb www.nicta.com.aupeter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
___
lilypond-user mai
zed option: `--midi'
>>
Looks like the code in lilywrap.sh that tries to work out what
arguments to give Lilypond to generate just midi is broken. I'll try
to fix it today or tomorrow, and get a new version up.
Peter C
--
Dr Peter Chubb
ding it all by hand --- especially if there is
anything between the \score{ and the first bit of real music.
lilywrap
Description: Binary data
--
Dr Peter Chubb www.nicta.com.aupeter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Aust
>>>>> "Grammostola" == Grammostola Rosea writes:
Grammostola> Peter Chubb wrote:
Grammostola> When using lilywrap I get:
Grammostola> lilywrap dynamics.ly /usr/local/bin/lilywrap: 23: Syntax
Grammostola> error: "(" unexpected
Hmmm. Are you
>>>>> "Peter" == Peter Chubb writes:
Peter> You probably have dash installed as the system shell. Here's
Peter> an updated verion of the script that will work with Dash, and
Peter> will *still* work on POSIX compliant shells, but will no longer
Pete
po variations
such as rit. or stringendo, etc., etc) has to be interpreted and
written explicitly in expanded form into the midge source.
While midge could be used as an intermediate format for MIDI output, I
can't see at present what it would gain for us --- the level of
abstraction over a
r a standard binary MIDI file is very small. And the
hard bits would still be hard: understanding the textual annotations
that composers put into their scores, and interpreting them.
--
Dr Peter Chubbwww.nicta.com.au peter DOT chubb AT nicta.com.au
http://www.ertos.ni
ess you can find a
Anthony> picture of your place on the Round Table? That might be a
Anthony> good one.
Unfortunately, E.H. Shepherd is still in copyright.
--
Dr Peter Chubbwww.nicta.com.au peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ER
d out which lilypond version it is for. Then
add a line
\version "x.y.z"
(where x.y.z is the version it is for) and run convert-ly on the
result. Then try again with LilyPond.
--
Dr Peter Chubb www.nicta.com.aupeter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.
y about licensing. I know my patches are really small,
Iain> possibly---probably?---not big enough to be copyrightable. I
Iain> also know that articulate.ly is licensed as GPL v2 only...
Iain> However, for the sake of being unambiguous: I consider my
Iain> patches to
xt for the lyrics to
match to. But is there a neater way to get what I want?
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from unde
chordmode { ...}
upper = \relative { ... }
lower = \relative { ... }
\score {
<<
\context ChordNames \guitarChords
\context GrandStaff <<
\context Staff = upper \upper
\context Staff = lower \lower
>>
>>
}
--
Dr P
rewriting the serving path
>> without rewriting the URL that appears in browser window?
Graham> I would like this. I'd like that a lot. We could keep the
Graham> simpler build structure, but still have simpler urls.
Graham> Cheers, - Graham
Graham>
> "Akira" == Akira writes:
Akira> What I want to say is just on this picture. Please see this
Akira> picture:
Akira>
http://lh6.ggpht.com/_Rub71FvXx30/Sv1NLn_iKgI/ADc/I-Amwi5RrK8/differentmusicpdfmidi.JPG
Akira> I'm typesetting a piece that includes trills, but a problem
Akira> occ
-R1*5/4*111 |
+R1*5/4*11 |
}
tuba = \relative c, {
--
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l
lled `lilywrap' in the tarball that
makes exactly these additions to a lilypond file and invokes lilypond
for you).
Peter C
The direct download link is
http://www.nicta.com.au/__data/assets/file/0009/21888/articulate-1.3.tar.gz
--
Dr Peter Chubb peter DOT chubb
| music|| end|| music ... | :|
Lilypnd 2.12.2 doesn't like \alternative in the middle of a repeated
section.
Is there a sane way to do this?
--
Dr Peter Chubb www.nicta.com.aupeter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au
>>>>> "Tim" == Tim McNamara writes:
Tim> On Feb 14, 2010, at 2:54 AM, Peter Chubb wrote:
>> Is there a sane way to do this?
Tim> Thinking as a player, I'd rather see this as a coda
It's only one bar in the middle. I'd like to
get it onto o
sn't really quite fit into the
current LilyPond codebase anywhere that's obvious. Any chance of
adding a `contrib' directory so things like this could be distributed
with LilyPond? Or if not that, then a `loosely related work' section
to the webpage?
--
Dr Peter Chub
IDI dynamics. There's a perl script `ConvertToVeolcity.perl'
that can convert the midi output and add velocity info to each note.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things sha
13/Documentation/contributor/documentation-suggestions
Graham> (in particular, the "small additions" section)
I'm more used to generating patches. :-)
Peter C
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au
swell stops on the organ, etc.
So I'm leaving it in the `too hard' basket for now.
Peter C
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under
>>>>> "Graham" == Graham Percival writes:
Graham> On Mon, Feb 15, 2010 at 12:37 AM, Peter Chubb
Graham> wrote:
>>>>>>> "Trevor" == Trevor Daniels writes:
>>
Trevor> Peter's original announcement, with articulate.ly
the `I'm hearing voices'
section, or add an explicit `implicit voice instantiation with vocals'
section. Or some other solution?
If you tell me which you'd prefer I'll try to whip yup a patch this week.
--
Dr Peter Chubb peter DOT chubb AT nicta.com
> "bachelet" == bachelet writes:
bachelet> any luck finding this script, I'd like to use it, too
It was in this mailing list, at
http://www.mail-archive.com/bug-lilyp...@gnu.org/msg03960.html
Peter C
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lilypond-us
late
script no longer parses it correctly, so tries to shorten the first
note that's tied.
Peter C
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
__
Hi,
Please try the attached fixed script -- I think it'll work now.
articulate.ly
Description: Binary data
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quot;rall" marking as a
>> \markup, as > suggested in the documentation.
>>
Thecurrent version of the articulte script understands \markup "a
tempo" and rall etc., to change the MIDI tempo.
See http://www.nicta.com.au/people/chubbp/articulate for the script.
I ha
aybe:
\relative g'' {
\partial 4 r4 |
r2. dis4 |
e2. c8 dis |
\repeat volta 2 {
e2.
} \alternative {
{
c8 dis |
}{
r4 |
}
}
}
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.
}
\context Staff = LH \relative c' {
\clef "F"
\time 2/2
\key a \minor
a2 a4 a |
R1 |
}
>>
}
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au
3 )
Roberto> (crashcymbal default #f 1) ) )
There are some non-printing characters in there -- a control-B and a
control-A --- they may be perturbing your results.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTO
> "northofscotland" == northofscotland writes:
northofscotland> I am typesetting a mediaeval trouvere song and want
northofscotland> to add a drone to the midi but hide the somewhat
northofscotland> redundant music in the printout. Is there a simple
northofscotland> way to do this, please?
nd instead point `documentatioon index' at
http://lilypond.org/manuals.html
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things s
tials except at the start.
See some of the hymns I've typeset at mutopiaproject.org.
For example:
http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=195
But basically, a \bar "||" just causes a double barline to be typeset
without changing Lilypond's id
nest strictly. But slurs, phrasemarks and beams can span groups, and
each other.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone s
<<
\context Chords \accomp
\context Staff {\key c \major \time 4/4 \tune}
>>
\layout{}
}
\score {
\unfoldRepeats <<
\context Staff {\key c \major \time 4/4 \tune}
>>
\midi {}
}
--
Dr Peter Chubb http://www.ge
ences in the likely places, and can't find it.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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> "Marek" == Marek Klein writes:
Marek> (quoted-printable)>] Hi Peter,
Marek> I have found it:
Marek> http://lilypond.org/doc/v2.13/Documentation/notation-big-page#
Marek> separating-systems
Thankyou, that's just what I was looking for.
Peter C
___
> "Michael" == Michael Ellis writes:
Michael> On Sun, Nov 23, 2014 at 4:46 PM,
Michael> wrote:
>> What's more, is there a reason to have the structure in a different
>> voice?
Michael> Good question. For me, it's mostly about the DRY principle
Michael> (don't repeat yourself). I'm in the p
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