Hi,
Did anyone create a way to get numbers on top of repeating measures
when printed with percent symbols?
Like:
|2 |3|4 |5|6 |7
| etc.
c c c c | % | % | % | % | % | % |
Thanks in advance,
Wim.
___
Hi,
I usede the compound_times.ly example from the documentation web-site. It works
(of course :-), but what is the correct way to go back to the normal notation
when this is embedded inside a piece.
E.g.
- 10 bars C
- 10 bars 4/4 + 2/4 (with the compound times trick)
- 10 bars C
In the last 1
On 26 Sep 2012, at 14:06 , Urs Liska wrote:
Oh yeah, that's something I'd second.
In an ideal world these windows wouldn't only go into the same file
but into the same piece of music.
TexShop does this (partly) for you: 2 windows can be open on one and
the same file, updates in one window
We have a "copyright" footer on page 1 and a "tagline" on the last page.
Is it possible to have also footers on all pages in between? All
having the same text would do for me.
Regards,
Wim.
___
lilypond-user mailing list
lilypond-user@gnu.org
https
hould give the information you require?
--
Phil Holmes
- Original Message -
From: Wim van Dommelen
To: Lilypond User List
Sent: Wednesday, October 10, 2012 3:29 PM
Subject: Footers on all pages?
We have a "copyright" footer on page 1 and a "tagline" on the last
page.
Hi Mark,
If running it as an administrator doesn't work, it might be the other
warning is more vald. The message also says "check path", so that
might be wrong. Running it as an administrator will "repair"
permissions., but not paths. Your system probably just cannot find the
right file.
clean up all the errors that Lilypond found.
That is just fine by me. I learn by trial and error.
Thank you again for your kind attention to my plight. As a retired
teacher I appreciate you patient and detailed instruction.
Mark Stephen Mrotek
From: Wim van Dommelen [mailto:m...@wimvd.nl]
Sent
Use the tags for this problem, not different voices at all!
Daniel's example modified:
\version "2.16.0"
music = \relative c'' {
-\tag #'part \upbow
-\tag #'part \downbow
}
\keepWithTag #'part { \music }
Using this will NOT print the tagged strings in the score. Multiple
tags are possib
16/Documentation/notation/different-editions-from-one-source#using-tags
) pretty dense. I think part of it was the fact that it explains
\keepWithTag and \removeWithTag in separate examples, but mostly it
was because I just didn't notice the part explaining the -\tag
#'your-tag syntax f
And why not very simply:
\times 2/3 { c16[ c c c c c] }
Regards,
Wim.
On 20 Oct 2012, at 00:15 , Nick Payne wrote:
On 20/10/12 08:58, Steve Yegge wrote:
I would like this:
\times 2/3 { c16 c c c c c }
to render with two beamed groups of three notes each, with the two
groups connect
y
be simpler if it did.
-steve
On Sat, Oct 20, 2012 at 5:55 AM, Wim van Dommelen
wrote:
And why not very simply:
\times 2/3 { c16[ c c c c c] }
Regards,
Wim.
On 20 Oct 2012, at 00:15 , Nick Payne wrote:
On 20/10/12 08:58, Steve Yegge wrote:
I would like this:
\times 2/3 { c16 c c
Hi Marc,
Thanks for adding it right-away. Fast response!
Regards,
Wim.
On 22 Oct 2012, at 11:10 , Marc Hohl wrote:
Am 18.10.2012 18:09, schrieb Wim van Dommelen:
There is one thing which might interest you even more and that is a
scheme script produced by Nicolas Sceaux, some years ago
Hi Janrek,Thanks for pointing to the Tiny Examples section. Didn't know this existed, good idea. In programming it is a common method to squeeze your problem to something as small as possible. Also a good start for any regression test.But the top part of the example shown uses an include-file. That
Hi Jacques,
I'm not going to answer all your questions, that is just too much. One
advise: cut things in pieces and look for smaller problems. There is a
LP problem in the bar numbers in this case (which I really should
register as a bug, it increases the measure numbers twice for some
re
ily
by forcing the expected numbers explicitly.
A nice day!
Regards,
PS> Is there some site where I could contribute the results of my
Lilypondings, such as the flute and bassoon parts of this Beethoven
trio?
Le 29 oct. 2012 à 10:54:14, Wim van Dommelen a écrit :
Hi Jacques,
I&#x
can't LP keep track of what's going on in the
alternatives and figure out what the partial bars lengths are?
The example is attached.
Thanks for your help and time!
Le 29 oct. 2012 à 10:54, Wim van Dommelen a écrit :
Hi Jacques,
There is a LP problem in the bar numbers in this case (
Try IMSLP to start with. Tons of very interesting music available there.
http://imslp.org/
Regards,
Wim.
On 9 Nov 2012, at 17:32 , Federico Bruni wrote:
2012/11/9 Urs Liska :
Re public repositories: Do you know mutopiaproject.org? Is that
what you
mean?
and it's on git:
https://github
Hi Noeck,
I think that problem does point you really to the paths configured.
Check (on Linux or OSX, sorry I don't use Wxx for this) these command-
line commands:
$ which lilypond
$ which convert-ly
$ lilypond --version
$ convert-ly --version
(Wxx doesn't know the "which" commands, but shou
Hi Harm, and others,
I wondered in this discussion what you were exactly trying to achieve,
so I copied your code and compiled it. Very nice!
And after the copy I saw a weird thing (nothing to do with this
specific example!): You use "non-standard" characters and numbers as
names of the v
sure. Your conclusion is definitely
wrong, I repeat: check the paths!
Regards,
Wim.
On 17 Nov 2012, at 14:58 , Noeck wrote:
Am 16.11.2012 23:42, schrieb Wim van Dommelen:
Hi Noeck,
I think that problem does point you really to the paths configured.
Check (on Linux or OSX, sorry I
On 19 Nov 2012, at 22:16 , David Kastrup wrote:
"Christopher R. Maden" writes:
On 11/18/2012 05:26 PM, David Kastrup wrote:
At the current point of time, the rule is that "alphabetic" is a-z,
A-Z, and _any_ non-ASCII character. This is a bit excessive, but
short of a reliable "is a letter"
It depends. Have struggled with it before.I currently still use the stable release 2.16.0 and this file (with version number changed) compiles correctly AND produces the wanted "|:" at the beginning (also when deleting the extra unnecessary vertical bar in the statement) without any adaption of the
Hi Christopher,I'm not sure if this example matches your need, but it is a thing I once crafted for a special piece. It shows an ossia stave in a different color and size. Starting at some point and ending after I don't need it anymore. But alas not on a line break, don't know how to do thatCom
Hi Antonio, Ben, Urs, others,
The idea of writing a "Guide to writing an orchestral score with
LilyPond" is a very, very good idea. Not replacing the learning manual
but as an addition with e.g. an orchestral example build in stages
(with all the intermediate files available for who is inte
On 10 Jan 2013, at 12:16 , Urs Liska wrote:
..
This morning I created a github account,
What's your user name? I'd like to add you.
To start with, I also created a github account: wimvd00, please add me
in for this project also.
..
Regards,
Wim.
___
On 20 Jan 2013, at 12:45 , Henning Hraban Ramm wrote:
Move?
The snippet buffers are just numbered, so if you insert one before
the first, all others will get re-rendered, too.
I guess we could change that behaviour, e.g. use keywords or some
UID per buffer.
I’ll discuss that wi
Hi Stefan,
Sorry for my slow reply.
On 21 Jan 2013, at 14:40 , Stefan Thomas wrote:
Dear Wim,
what do You mean by "use the md5"?
Is it a directory, a command?
I have no idea!
Sorry, I'm not an tex-expert, altough I work frequently with latex.
MD5 is an abbreviation of Message Digest Algo
Hi,
I'm trying to get some prints with the woodwind fingering diagrams on
it. When I use the basic diagram, all defined keys show up, but as
soon as I enter one hole to be used some of the keyholes (not of the
central one to six holes, but especially on the side keys) disappear
from the d
Minimal example attached, in diagram 3 lots of keys are gone.On 28 Jan 2013, at 12:03 , Joseph Rushton Wakeling wrote:On 01/28/2013 11:34 AM, Jeffrey Trevino wrote:It should be pointed out that it's a common notational practice to hide theunused non-center keys in fingering diagrams; this behavior
On 29 Jan 2013, at 16:06 , Joseph Rushton Wakeling wrote:
For example, as I recall, Selmer bass clarinets used to have the
right-hand little finger low Eb on the _upper_ rank of keys, with a
low C#/Db on the lower rank. Buffet have traditionally had it the
opposite way round.
FYI, they ch
On 29 Jan 2013, at 22:29 , m...@mikesolomon.org wrote:
Just a note to say thank you to all those who want to make this code
better. It's tough for me to take it any farther with my non-expert
knowledge of woodwind instruments, but I would be glad to answer any
and on questions addressed to
On 29 Jan 2013, at 22:17 , Joseph Rushton Wakeling wrote:
On 01/29/2013 09:50 PM, Wim van Dommelen wrote:
Since you're finding it relatively straightforward to play with the
Scheme code, can I put in a feature request -- any chance of fixing
the shape of the register key for clarinet
Hi Guy,
Your problem is that you did not specify the language, then it
defaults to Dutch.
I guess you want:
\transpose bes, f { ... notes ... }
but:
\transpose f c' { }
does the same, both move you up exactly one kwint/scale.
Or:
\language "english"
Hi Joseph,
On 29 Jan 2013, at 23:22 , Joseph Rushton Wakeling wrote:
-- more realistic key shapes and placement for the diagrams (this
is a
minor quibble, but nice if it can be done);
-- an option to display unused as well as used keys (Wim's request);
E.g. with a property '(showal
On 31 Jan 2013, at 17:48 , Joseph Rushton Wakeling wrote:
On 01/30/2013 09:42 AM, Wim van Dommelen wrote:
That is why the "low-bass-clarinet" stencil exists. That is (as I
reverse
engineer it) intended for bass-clarinet toward low-C (the concert
model) whereas
the "bass-c
Hi,
After last week discussions on what is / missing of / wrong in / not
pretty with / wished for / the woodwind stencils, I've made a list off
all things concerning the (bass-)clarinet stencils (about 20 smaller
and bigger items) and I dived into the code.
I've already changed some thing
On 4 Feb 2013, at 09:44 , David Kastrup wrote:
First: consider the possibility of keeping an alias "four" to the key,
but let code and documentation stick with side-ees.
I'll look into that.
Second: when doing such a change, it might be worth trying to cook
up a
rule for python/convertrules
On 5 Feb 2013, at 12:47 , Joseph Rushton Wakeling wrote:
On 02/05/2013 07:46 AM, David Kastrup wrote:
Disagree. The default conversation language of LilyPond (all its
command and function names) is English, the default note language is
dutch. side-ees is perfectly consistent with LilyPond's
Hi Joseph, Mike,
I've looked into different brand/models (as far as my friends and
knowledge reaches) and had my thoughts on it (so it is may be not
exhausting enough!). Meanwhile I also studied the underlying code
(which is both daunting and haunting) and I see the following model(s)
sch
On 7 Feb 2013, at 18:46 , Joseph Rushton Wakeling wrote:
On 02/07/2013 02:26 PM, Wim van Dommelen wrote:
clarinet-family --> clarinet (what we have now, but without the
"hole")
"hole" ? I guess you mean the extra touchpiece on the LH 1st
finger?
Internal
On 7 Feb 2013, at 23:33 , Joseph Rushton Wakeling wrote:
The regular one doesn't, the full-Boehm instrument does. See e.g.
this example:
http://www.clarinetsdirect.biz/RC-F279670.html
But that also has the low-ees, because it still is a "soprano" it
sounds higher then the low-ees in the ba
these in the documentation some how, come to think of it. cheers,JeffOn Wed, Feb 6, 2013 at 1:42 AM, James Harkins <jamshar...@gmail.com> wrote: On Feb 6, 2013 4:46 PM, "Wim van Dommelen" <m...@wimvd.nl> wrote: > > Hi James, > > Note that the Lilypond diagrams ar
And hopefully "loads once" then :-)
Regards,
Wim.
On 8 Feb 2013, at 10:49 , Werner LEMBERG wrote:
But it also looks like we should look into autoload here. There is
no point loading this sort of baggage into every LilyPond run.
Does guile support autoload out of the box?
Werner
__
On 8 Feb 2013, at 11:35 , Joseph Rushton Wakeling wrote:
On 02/07/2013 02:26 PM, Wim van Dommelen wrote:
The "clarinet-with-low-gis", "bass-clarinet" and "low-bass-
clarinet" will then
be "intermediate" stencils, but otherwise complete and callab
On 8 Feb 2013, at 13:55 , Joseph Rushton Wakeling wrote:
http://www.circb.info/sites/default/files/La%20prima%20musica%20per%20clarinetto%20basso_0.pdf
Thanks!
I see, so it's a little-finger d for both lh and rh?
Yes.
Again, so Selmer has only 3 thumb keys, it's just the notes
delivered
On 8 Feb 2013, at 18:31 , Joseph Rushton Wakeling wrote:
On 02/08/2013 05:30 PM, Wim van Dommelen wrote:
Mmmh, but the correct use of it is vital. See e.g. Sparnaay pages
57 and 58. By
looking back to these pages I noticed he writes the usage of the
hole with a
cross in circle &quo
Indeed, inspiring. Remembers me of a museum in Kopenhagen (mmmhh,
forgot the name) I once visited where they have a small exhibition of
these tools. Impressing.
I was a little upset when I read "they decided to disperse the
collection", but it is true, I've contacted them and you can indeed
Hi Arlin,A piece with 5 movements, one (solo-)part. I've stripped every movement to 2 bars. The file generates the transposed parts for a bass-clarinet, but with exactly the same input notes I also have a compiling file for the original Gamba. This is the way I do this, probably not perfect but for
Hi Sarah,
TeXShop has line numbers, work OK with Lilypond. Has a possibility to
compile it and open the PDF afterwards. Easy.
Regards,
Wim.
On 4 Mar 2013, at 06:57 , Sarah k Alawami wrote:
yeah I'm horrible at compiling stuff and using the terminal. i was
looking for a GUI way of doin
Regards,
Wim.
On 9 Mar 2013, at 05:45 , Keith OHara wrote:
Colin Hall gmail.com> writes:
In my early days with Lilypond I learned this to my cost. I've never
used \relative since then.
I stopped using \relative about a year ago, because absolute note
entry is
vastly easier.
Not if y
On 10 Mar 2013, at 10:06 , David Kastrup wrote:
Wim van Dommelen writes:
Agree, we should have an easy way to switch from absolute to relative
(Yes, everthing inside \relative { } is relative, all other is
absolute, I know), like: \absolute: from here on everything is
absolute like \clef
Hi Ryan,
Unfortunately this feature does not exist yet. If I understand
correctly you want the result as shown in the PNG attachment.
(Shown with a quick and dirty round hole, not the ellipse form)
<>
Regards,
Wim.
On 16 Mar 2013, at 02:45 , ryanmichaelmcclure wrote:
I am attempting
Hi Mike,
I tried that, but 'covered' doesn't in this stencil (the 'bassoon-cc-
one-key-stencil' is different from the others) if I see this right,
you need a 'ring'-type stencil to do that. Or did I miss something
there?
I use 2.16.0 (stable).
So for the solution I gave Ryan, I ALSO had t
On 17 Mar 2013, at 10:07 , m...@mikesolomon.org wrote:
On 17 mars 2013, at 09:31, Wim van Dommelen wrote:
Hi Mike,
I tried that, but 'covered' doesn't in this stencil (the 'bassoon-
cc-one-key-stencil' is different from the others) if I see this
right, you need
On 20 Mar 2013, at 14:32 , ryanmichaelmcclure wrote:
I'm unable to post the fingering chart from my professor's book
because it's
owned by the publisher and not him... There goes that idea.
No problem, I don't want you to violate any rights. If however you
find a suitable usable version on
On 20 Mar 2013, at 17:03 , Nick Baskin wrote:
On Wed, Mar 20, 2013 at 11:48 AM, Kieren MacMillan > wrote:
Hi James,
All good points!
> R2 (a full measure rest in 2/4 time)
> R2*2 (two full measure rests in 2/4 time)
> R*2 (two full measure rests in any meter)
+1
Regards,
Wim.
It of course depends on how large you want the dot and what other
flexibility you want/need. But with a regular '.' (or any character-
string) you could easily do this without special function code needed:
\version "2.16.0"
dotcolor = #red
smalldotmark = \markup{\bold \with-color \dotcolor ".
Marvellous. Nice for parties, can make a quiz out of this!
Regards,
Wim.
On 27 Mar 2013, at 09:36 , Martin Tarenskeen wrote:
Hi,
I have updated/re-written my Python implementation of Mozart's
Musical Dice Game
http://imslp.org/wiki/Musikalisches_W%C3%BCrfelspiel,_K.516f_%28Mozart,_Wol
On 10 Apr 2013, at 11:38 , Martin Tarenskeen wrote:
Just like my lilypond scores I often still write (simple) html code
using just Vim. Maybe I'm just getting old and old fashioned :-)
+1, we're not alone..
Regards,
Wim.
___
lilypond-user m
On 15 Apr 2013, at 08:09 , Thomas Scharkowski wrote:
Original-Nachricht
Thomas Scharkowski t-online.de> writes:
">>" (without quotes) is missing at the end of your code.
It's more likely that your mail reader interpreted ">>" as a quoted
line and didn't show it to you.
Hi Joram,
But that alone doesn't always work, some email programs jump in, they
see this extra indentation and "patch" it. So when you send out a
nicely fit message, my email program (standard/default Apple OS X
mail) scrambles it (and if "needed" again).
Not a problem for me, but as you
Hi,
I'm trying to download LilyDev, the latest pointer I could find was:
http://www.philholmes.net/lilypond/LilyDev/ubuntu-LilyDev-remix-2.6.iso
from the v.2.17.15 Contributor's Guide, but that pointer starts to
download and stalls for hours after 16.1 MB done. Is there something
wr
On 18 Apr 2013, at 16:53 , Stjepan Horvat wrote:
Hi guys..i want to learn the scheme syntax and implementation in
lilypond..
I'm on half of The Little Schemer by Daniel P. Friedman book
(100/200p)..What would you suggest after i'm finished with it?
(maybe a book)
A very good reference (n
On 19 Apr 2013, at 21:41 , Joseph Austin wrote:
I'm a relative newbie to Lilypond,
using 2.16.2-1 on Mac OSX 10.6 (Snow Leopard).
I want to try some modifications,
and am trying to work through the tutorial in:
Manuals > Extending > Scheme Tutorial.
I haven't been able to get the scheme-sandb
What you need is setting the indent-values and tune these to what you need/want.'indent' in the paper block is for the first system, 'short-indent' for all others. Notation manual (v.2.16.0) page 485/486.Small compiling example attached.Another option could be to make a column out of "C.A." that de
Hi Sarah,
1. If you write \key g \major and present this score to a clarinettist
-- playing on a B-flat clarinet -- the piece will sound as \key f
\major.
2. If you write \key g \major and present this score to a horn player
-- playing a horn in F -- the piece will sound as \key c \major.
Hi Sarah,
The closing bracket } on line 34 is one too much. And in line 156
there is some strange - not lilypond - text.
When I compiled this I noticed one important thing: the flute and
trumpet (in C) melodies show one sharp for \key g \major,
but the line you indicate with Clarinet in B-f
made the suggestion that there be
an option to show line numbers and I tried the control e command for
jumping to the error in the score but that does nothing according to
voice over.
Thanks.
On May 2, 2013, at 12:52 AM, Wim van Dommelen wrote:
Hi Sarah,
The closing bracket } on line 34 i
I remember and use it this way:
R
so: R1*3 is three times the length of one whole note. Always calculate
the total length you need and that it gets there.
I tried simply this: Assume you want 4/4 followed by 3/4 and three
full measures rest in each:
{
\time 4/4
Hi Sarah,
Remember that error-messages do have a function. The program
communicates to you that it cannot follow.
Your problems start in line 14 by forgetting the opening bracket { of
the \relative. But I can only guess where the closing bracket should
be. The bracket don't add-up to
You horn music goes wrong because the opening bracket is in line 169
instead of directly after the \relative and \transpose. And before
that another one is missing. I think in the bassoon, same problem with
\relative there.
Sorry, I don't have enough time now to look at it in detail
Re
Hi Sarah,
You sure have come a long way, but I think it is already a nice result.
What I see:
- line 17: the opening bracket is still before the \relative instead
of after. That causes a problem that the musical expression seen by
the \relative is only the next statement, that is the \key g
Hi,
I am looking at some of the woodwind diagrams, redesigning the
clarinet part and if possible trying to judge on correctness of the
others.
In the Oboe diagram I see a left-hand key labeled F, but it is placed
a little bit strange on top of the others. Comparing with pictures on
the
Jurgensen wrote:I don't see an attached diagram? Many oboes do have a LH F, which is a little knobbly one sort of on top of the others. If I could see it, I'll take a look.Since your email is continental, I assume you're looking for Conservatoire key system. I can help with that. On M
for comparison.
On Mon, May 13, 2013 at 3:16 PM, Wim van Dommelen
wrote:
I didn't attached a diagram, just the .ly file to generate it. Now
the result is attached in .png, so you should see that. It shows you
two layout, first one is with all keys, the second one with the "F&qu
p. lol! so sorry if this makes no
sense. Heha
Oh btw thanks for the texshop program. It rocks.
On May 13, 2013, at 7:26 AM, Wim van Dommelen wrote:
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On 13 May 2013, at 17:06 , Sarah k Alawami wrote:
Ok. so do I have to put the right keys in at least not everything in
g major after the transpose line? I did read the manual but me being
a singer and I can only transpost by ear it kind of makes thing
sharder. I used to be able to do this
Hi Sarah,
The transpose looks much better now! Good. But in the trumpet you
still made a mistake in the order. When you use both \relative and a
\transpose, do it like this:
trumpetMusic =
\transpose c' d { \relative c' { \key g \major
\repeat volta 2 {
\partial r8 |
then all music is ente
Line 274 for Violin I should be (I think):
4 d'8 b a g 4 d'8 b a g|
I assume the first note in the tritone runs in the melody also.
Note that what you did in Violin II is perfect, you did put in the
octave checks, LilyPond will then issue a warning AND change the note
to the octave you want
If you want a MIDI file put
\midi {}
right after the line where \layout is stated, but before the last
closing bracket.
Regards,
Wim.
On 14 May 2013, at 19:03 , Sarah k Alawami wrote:
Ah. except my midi file is not being created for some reason. I'll
just put that part through a website
On 14 May 2013, at 19:34 , Sarah k Alawami wrote:
lol. I did that and it seems to work, but it is failing majored in
the viola part. I tried to make a midi of just th part by putitn it
in to a test file but it is not working correctly. I can never
tell when my octaves will in your words
You mixed up the \score block with the music variables.This one now works. Regards,Wim.
flute.ly
Description: Binary data
On 15 May 2013, at 01:40 , Sarah k Alawami wrote:Interesting. It worked when I did this before but now I'm unsure of how I did it lol! here is the change I tried to make. It'
On 17 May 2013, at 11:47 , Nick Payne wrote:
On 17/05/13 17:45, Paul Malcolm wrote:
excuse me, just a trivial question, but I cannot seem to find the
answer.
I want to add the date variable to one element of text in my title.
I have this in the preamble
date = #(strftime "%d-%m-%Y" (loca
On 17 May 2013, at 03:26 , wjm wrote:
After a lot of fiddling around I came up with this schema:-
I use a similar approach.
This approach is well-facilitated in Frescobaldi, using the point-
and-click correlation between the output pane and the relevant input
f
o can help me with a solution? (or just tell me we just
can't, that's fair enough!)
Regards,
Wim van Dommelen.
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l now.
Regards,
Wim van Dommelen.
P.S. The alignment of the two small ossia's staffs themselves can
probably be done with a context, but I'm not there yet.
-- sample code: -
\version "2.12.3"
\paper {
#(set-paper-size &qu
Thanks, that simplifies it. Almost there.
But I noticed as we move the Timing-translator all the bar-numbers are
also gone. That's a pity. According to what I read in the manual the
Timing_translator is responsible for these bar-numbers, but apparantly
it works different in a different cont
Hi,
I'm trying to create a file using multiple tags. Inside the music
typed, that is not a problem, but the \keepWithTag command only
accepts one tag to filter.
I would like to do:
\keepWithTag #'a #'b { music }
or
\keepWithTag #'a { \keepWithTag #'b { music } }
but either
Hi,
I have some problems with the vertical alignment of text. I tried both
the \halign, \lower inside a \markup and explicit offset commands with
an \override, but I couldn't get it right. This sample shows the
problem in detail. I do want to move the two "gliss." text-strings
nearly on t
And what about using the "fingering" attribute for that:
e'8-3 c''4.-1 b'4-7 etc Although no default like your note heads.
Regards,
Wim.
On 28 Jul 2012, at 04:10 , MING TSANG wrote:
Hi, lily users:
Is it possible to print printed number-pitch on top or below the
staff? Some user he
Commends on the user-interface:
Some time ago I tried to get Frescobaldi running, but didn't succeed.
Too much dependencies and version conflicts and requests for some
versions which are explicitly requested but don't exist anymore.
However, it works on my Ubuntu-machine from the box and I
... ...
On 13 Sep 2012, at 09:58 , David Kastrup wrote:
For Mac OS X: Work is being done to create a more complete
installer.
You probably already saw that; I just include it to get other
commentors
up to date.
Yep, I decided not to spend very much time to get it working, but wait
fo
2012/9/14 Wim van Dommelen :
Hi,
I'm typesetting a multi-Staff piece, three staves of which the
lowest two
are a PianoStaff and the top one is an individual instrument. Now I
want to
have *all* the barlines vertically connected between all the
staves, for the
PianoStaff this is of co
On 22 May 2013, at 10:06 , David Kastrup wrote:
It's just a matter of efficiency. To find the problem, you need to
boil
down the code to the essential part anyway. Not doing this in advance
is only efficient if the expected number of helpers is below 1 or if
their time is to be valued less
Hi Sarah,
On 23 May 2013, at 19:46 , Sarah k Alawami wrote:
I was thinking of putting my variables in each file
each variable only *once* in a file, I presume
that way I can do a bit less less typing, at least in that file.
will this still work in the end when I compile all files in to o
Sorry,
hobo is just the Dutch name for oboe. typo
Regards,
Wim.
On 24 May 2013, at 00:51 , David Kastrup wrote:
Wim van Dommelen writes:
Yes, that is possible if I understand correctly what you want to do.
For example you can make a set of files:
- clarinet-1.ly, contains the
On 24 May 2013, at 03:21 , Sarah k Alawami wrote:
Actually I was thinking the variables for the piano since one of the
sections repeats a lot in the right hand. Will all of that still
compile if I have the files's variables like that or do I need to
then create a veritable for the foe its
Hi Jacques,
I use tags as follows:
%(definitions from my standard include-file)
% Some easy clarinet fingering abbreviations:
fingercolor = #blue
fLfinger = ^\markup{ \bold \with-color \fingercolor "L" }
fL = -\tag #'BCLfingering \fLfinger
fRfinger = ^\markup{ \bold \with-color \fingercolor "R"
On 11 Jun 2013, at 05:00 , Nick Payne wrote:
On 11/06/13 12:32, Nick Payne wrote:
54Mb in size: https://www.dropbox.com/s/q9u89cbsbrgkjkc/Lilydoc-2.17.20.pdf
p.s. I forgot to add - Adobe Reader is the only product I am aware
of that can successfully open PDF portfolios. All the third part
this exists? At http://lilypond.org/download/binaries/documentation/lilypond-2.17.20-1.documentation.tar.bz2
for example, as shown on the development page?
--
Phil Holmes
- Original Message -
From: Wim van Dommelen
To: Nick Payne
Cc: lilypond-user@gnu.org
Sent: Tuesday, June 11, 2013 5
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