Re: <>

On 05/01/19 17:34, Aaron Hill wrote: > On 2019-01-05 2:40 am, Wols Lists wrote: >> On 04/01/19 18:41, Aaron Hill wrote: >>> I *H*A*T*E* about people who proclaim "This is >> correct". >> >> Take my case - which would you choose between "follow

Re: <>

On 05/01/19 20:20, Aaron Hill wrote: > P.S. I would like to add that, as a performer who has great disdain for > annoying page turns, I will join you in the battle for promoting sane > typesetting. Slightly squished and/or "creative" notation is far better > than wrestling with (and wasting) pape

Re: <>

On 05/01/19 20:40, Aaron Hill wrote: > But I don't think we ever lost a stand, so I can only imagine the > conditions you are forced to play in. Seaside bandstands :-) Where if the band calls it off they don't get paid. You need to find the organisers and get them to cancel it, and where do you f

Re: Two simultaneous mark events

On 19/05/19 02:08, Andrew Bernard wrote: > Why not just use markup for 'fine'? Position it as you wiil. Because it doesn't make sense to use markup? It's a lot easier to position something, if it's attached to its reference object. Otherwise a minor change to the score will mess things up nicely!

Re: percent repeats (bug?)

On 04/07/19 00:59, Christopher Heckman wrote: > In a post/email sent out several months ago, Randy brought up some > issues about percent repeats over more than two measures. He cited two > issues, related to where the percent sign is placed and what it looks > like. > > I would like to add a thir

Re: Bug with transpose in functions

On 12/07/19 19:04, Werner LEMBERG wrote: > >> Functions like transpose act destructively on their argument, so you >> need a copy or the original will get changed. [...] > > How can Joe User find out whether a function is acting destructively? > Computer pedant here :-) Functions do not have s

Re: Alternating text and music

On 26/07/19 12:23, Peter Toye wrote: > All, > > Thanks very much for all the suggestions. I had asked for an _easy_ way! > Also, I'm not 100% fussed about the exact layout as it's only for an > example. Just a thought ... can't lily chuck out png's? I've never used it, but if it can chuck out one

Re: frescobaldi extensions [was: python-ly, ly.indent]

On 18/08/19 09:00, Urs Liska wrote: > Hi Mason, > > 18. August 2019 01:05, ma...@masonhock.com schrieb: > >> > On 08/17, Urs Liska wrote: >> > >>> >> ... >> > >> > Thanks. While I personally prefer command line tools, I would consider >> > turning this into a Frescobaldi extension if that would

Re: Detecting first and last pages of a score

On 06/09/19 17:00, David Kastrup wrote: > I am not saying "it never will be able to do" things like that but the > mechanisms are not there even in rudimentary form, so the manner in > which it may be done at some prospective future time is not clear. Is this the sort of thing the editions engrave

Re: Producing scores for visually impaired and blind people

On 14/09/19 10:50, David Kastrup wrote: > Also I would imagine that learning by ear is pretty tricky for ensemble > rather than solo work. Probably no harder than anything else ... I'm bad at remembering stuff, but years ago I was told I had to learn a piece by heart because we were playing on st

Re: Proportional notation not working as expected.

On 15/09/19 01:51, Andrew Bernard wrote: > Hi Stefano, > > I work extensively with a New Complexity School composer whose work I > engrave. I disagree with one of his major concepts, which is that the > bars should be 3.0 cm wide and represent one second of music. He's > really insistent on this.

Re: Polyrythmic Align Bars

On 16/09/19 14:38, sir.teddy.the.fi...@gmail.com wrote: > The 4/4-Bar needs to be played over the duration of the two 6/8-Bars and > I want it to realign afterwards to continue both voices with a 6/8 time. > > The 4/4-Part would need to have a different tempo, because if both play > at the same te

Re: Set a temporary tempo change

On 18/11/19 01:51, Paolo Prete wrote: > Aaron, > > that's great. > I propose to the ML to add the function to the official release. It's > very helpful when you want to make the midi output more realistic, with > frequent tempo changes A lot of music I play has "tempo primo". Personally I don't c

Re: make text span a specified musical interval?

On 25/11/19 03:00, Jace Toronto wrote: >> Is this what you would like the output to look like or am I misunderstanding? > > Hi Ben, > > Yes, thank you, that is exactly the right look for this particular example. > Is there a way to tell the end of the text to align with the barline (or > repea

Re: Prototype Frescobaldi in the browser

On 08/08/2022 06:30, Andrew Bernard wrote: How many people need that? Doesn't everybody have a laptop? WHY SHOULD THEY? You're making the classic - false - assumption that "everyone else is just like me". A lot of people ONLY have chromebooks, tablets, or (gasp) even just a mobile phone.

Re: Prototype Frescobaldi in the browser

On 08/08/2022 08:49, Andrew Bernard wrote: Was just asking, not condemning the idea. Still interested to hear the OP. Sorry. But when people make assumptions about other people, it does tend to push my buttons ... My wife is disabled, my in-laws are elderly, and all too often I'm providing te

Re: Displaying bar numbers for repeats

On 28/08/2022 04:46, David Wright wrote: On Sun 28 Aug 2022 at 10:33:30 (+1000), Andrew Bernard wrote: I suppose there is a way to do this but the concept is strange. I have never seen any edition do this. Why? Speaking as an organist if I came across this I would have to spend time working out

Re: function to recognise voice crossings?

On 16/09/2022 12:53, Eef Weenink wrote: To check this, I transpose the double bass voice down an octave and manually check the boths voices. Wonder if there is a function in lilypond to do this fastly. Like the coloured noteheads when checking a voice against the ambitus of an instrument. Or

Re: another 'wrong type argument' error

On 10/10/2022 06:43, Jean Abou Samra wrote: The problem isn’t LilyPond’s or its dependencies’ support for older macOS, which is better than even the system support. The real problem is Apple preventing you from upgrading your computer past a certain macOS version. Which is probably down to ne

Re: Duet part, rehearsal marks for both parts?

On 16/10/2022 00:02, Kenneth Wolcott wrote: Maybe I just should have kept my mouth shut 😄 Nah. You just have to talk to the penguin. Talking to ANYTHING often helps you work your way through a problem, you just talked to the list (I sometimes do the same), and DON'T feel a fool for it. Wha

Re: German notation

On 29/01/2023 20:39, Werner LEMBERG wrote: Strange transposition rules also exist for horns, where in the violin clef you transpose down, and in the bass clef you transpose up. Violin clef? A quick search tells me the violin plays in the treble clef, which I doubt is what you mean? I'm gues

Re: German notation

On 30/01/2023 12:37, Werner LEMBERG wrote: Strange transposition rules also exist for horns, where in the violin clef you transpose down, and in the bass clef you transpose up. Violin clef? Sorry, bad translation from German: I meant horn parts notated with a treble clef. That's fine :-) I

Re: Policy for posts from non-members

On 22/02/2023 06:05, Werner LEMBERG wrote: And joining is actually pretty serious friction for some people - the more lists I join, the more likely I am to abandon attempts to help if I'm required to register. I second that concern. Being the maintainer of the FreeType mailing lists, I face exa

Re: Discourse

On 22/02/2023 12:39, Andrew Bernard wrote: My offer is open. For the main Discourse server I run, amusingly the majority of people use the email interface, no matter how much I encourage them to use the nice web interface. [It's a forum devoted to harpsichord.] The point is that it runs the web

Re: Discourse

On 24/02/2023 10:39, Frank Steinmetzger wrote: It’s actually not the printing dialog, but a print version of the website. The Print dialog opens on top of that. You can see this when you cancel the print dialog - the popup is still there. Apparently, the print version is constructed so differentl

Re: Discourse

On 25/02/2023 13:34, Jean Abou Samra wrote: Le samedi 25 février 2023 à 16:56 +0330, Omid Mo'menzadeh a écrit : Hi all, Speaking up as one of the silent majority on this topic, now that it's mentioned, as I think I have two cents to add. I personally wouldn't be against Discourse, as I find it

Re: Discourse

On 27/02/2023 09:58, Andrew Bernard wrote: Not sure where my brain has been holidaying lately - I had the idea you can't import mbox format lists into Discourse and even gave what I thought were reasons you can't. This it totally wrong. Discourse does have an import mechanism for loading mailin

Re: Separate dynamics from notes

On 27/04/2023 13:57, Gianmaria Lari wrote: Thank you Leo for your answers and help. you’ll probably need to be a little more specific about the use case, perhaps also supply example code. Regarding my second question, let me try to be more clear I have a score. I want to write the dyn

Re: Automatic annotation of slide positions/fingerings for brass instruments.

On 29/08/2023 15:35, Adam M. Griggs wrote: Here's a little self-help reference I made a little while back. Maybe it will illustrate your point about different positions for different octaves more clearly than words can. Perhaps something in the tablature code can be adapted to this end. Ouch

Re: Automatic annotation of slide positions/fingerings for brass instruments.

On 31/10/2023 01:36, Adam M. Griggs wrote: Your second recommendation is situational. I see you have a *.uk email address. I'm familiar with the British brass band context. I get it—almost everything is transposed for instruments pitched in Bb or Eb, and in the entire ensemble, only bass trombo

Re: Auto-transposition

On 15/12/17 06:20, Saul Tobin wrote: > Relative mode makes perfect sense if you're entering music that cares > mainly about the relationship between notes within a phrase (i.e. most > music). IMO absolute mode might be easier from the perspective of the > software, but it's not how most musicians t

Re: Auto-transposition

On 15/12/17 13:45, David Wright wrote: > On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote: >> On 15/12/17 06:20, Saul Tobin wrote: >>> Relative mode makes perfect sense if you're entering music that cares >>> mainly about the relationship between notes with

Re: Auto-transposition

On 15/12/17 17:48, Flaming Hakama by Elaine wrote: > > Actually, I think it had to do with midi output for bass > clarinet. The > > sample I used was not transposed the octave, and I had to > compensate by > > transposing the music down. > > According to Wikipedia, bass c

Re: Two short questions

On 28/12/17 15:03, Jérôme Plût wrote: > 2. In virtually all orchestra scores I play the alphabetic marks skip > the letter J. However format-mark-box-letters skips the letter I. So > at each rehearsal this confuses all my colleagues. Since they are > obviously slow to learn that I == J, does there

Re: Two short questions

On 28/12/17 15:37, Malte Meyn wrote: > > > Am 28.12.2017 um 16:34 schrieb Malte Meyn: >> >> >> Am 28.12.2017 um 16:03 schrieb Jérôme Plût: >>> 1. I am typesetting some music which is in 2/1, and mark using a cut >>> time signature. How is it possible with Lilypond to put a ℂ symbol for >>> a 2/1

Re: Two short questions

On 28/12/17 16:07, Malte Meyn wrote: > Have a look at the PDF in the post linked above: The function can do > both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)). Sorry, I did look, but obviously missed it ... :-( Cheers, Wol ___ lilypo

Re: Change the text within a volta

On 29/12/17 22:32, nokel81 wrote: > Yes, I tried using the raw tag, I guess it didn't work. > > \omit Score.BarLine > \repeat volta 3 {} > \alternative { > {} > { > \undo \omit Score.BarLine > \bar "|" > f2 > \bar "|" > } >

Re: Change the text within a volta

On 30/12/17 18:48, nokel81 wrote: > Thank you very much however, my text comes out really weird. I have set my > font- name to "sans" but that doesn't seem to help. > > I think the problem(s) I had were 1) the default font was only

Re: Character for plural Latin, "ae"

On 24/01/18 22:50, Karlin High wrote: > Pick your favorite method, any of them can do the job. And you can even > just copy and past the thing from here: æ I just tried this in konsole and it worked ... A Cheers, Wol ___ lilypond-user mailing list lil

Re: Weirdo code?

On 28/01/18 20:09, David Kastrup wrote: > Wol's lists writes: > >> I've just tried to do a cut-n-paste into a piece of music, from >> http://lilypond.org/doc/v2.19/Documentation/notation/bars >> >> At the very bottom you'll find >> >> \relative c' { >> c1 \mark \markup { \musicglyph "scripts.se

Re: Interesting glitch when using tags ...

On 04/02/18 00:33, David Kastrup wrote: > Wol's lists writes: > >> I suspect the cause is that I'm mixing slurs and ties, but I'm getting >> the following error ... >> >> voiceTrombone.ily:30:59: warning: unterminated tie >> \repeat percent 4 { f,8[ r f] f[ r f] } | f4. >>

Re: Interesting glitch when using tags ...

On 04/02/18 19:20, David Kastrup wrote: > Wol's lists writes: > >> Okay. You wanted a minimal example ... >> >> But surely, "f4. ~ f4" is clearly something wrong if it's complaining >> about an unterminated tie? Yes you might need a bit more information >> to debug it, but on the face of it it's

Re: bookparts

On 04/03/18 19:11, Kieren MacMillan wrote: > Hi David, > >>> book = file >>> bookpart = portion of file with forced page break >>> >>> No? >> >> No. One input file can have several books (and there is one implicit >> book where scores and bookparts outside of books end up). >> > >> There might b

Re: bookparts

On 05/03/18 17:55, Kieren MacMillan wrote: > Hi Knut, > >> Because the definition of testing is invalid at that point of the main >> source file. If tempTest.ly would contain e.g. a score or a \paper block >> no error would occur. > > No, it still throws an error because you can't define a variab

Re: Transposing Keyless Brass Parts

On 17/03/18 23:54, Glassmenagerie wrote: > By accident I came across another possible solution. > > \score { > > > \transpose c g { > \relative g' { > \time 2/4 > > g8[-.\p g ( aes ) aes] ( > g g4 ) g8 ( > f ) f4 f8 ( > g\<[ ) g ( f\> ees]\! ) > d4 ( c > bes

Re: get current bar number

On 23/03/18 06:21, Jan-Peter Voigt wrote: > If you are going to write an engraver you can find some informations in > the archive. Also look at the rehearsal mark engraver. One of the options is to use the bar number as the rehearsal mark, so that might give you some ideas. Cheers, Wol _

Re: Variables and Repetition

On 25/03/18 04:13, John A wrote: > I am entering the notes in relative mode, and when I engrave the score, > if the ending notes of the figure are too high or low, on the second > repetition the whole figure will be an octave too high or too low. On > the next repetition, it goes an octave higher o

Re: please direct to manual; different time signatures for different instruments

On 25/03/18 23:39, Ben wrote: > On 3/25/2018 6:24 PM, Colin Campbell wrote: >> On 2018-03-25 12:19 PM, Sam Frybyte wrote: >>> I don't even know what this is called so finding it in the manual has >>> me stymied. >>> I am using version 2.18.2 >>> Thanks in advance. >>> >> I believe someone has alrea

Re: Intervals enharmony question

On 30/04/18 14:50, Hans Åberg wrote: > >> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic wrote: >> >> OK, now everything is clear, it’s precisely on jazz chords I’m working. > > FYI, I recall the Mehegan books on jazz improvisation applying enharmonic > equivalents freely. The Blatter books on i

Re: Intervals enharmony question

On 30/04/18 20:32, Hans Åberg wrote: > >> On 30 Apr 2018, at 21:11, Wols Lists wrote: >> >> On 30/04/18 14:50, Hans Åberg wrote: >>> >>>> On 29 Apr 2018, at 22:17, Jacques Menu Muzhic >>>> wrote: >>>> >>>> OK, now

Re: Intervals enharmony question

On 30/04/18 20:54, Malte Meyn wrote: > > > Am 30.04.2018 um 15:50 schrieb Hans Åberg: >> But orchestral instruments depart from Pythagorean tuning, not E12, so >> they are not equivalent, differing by a comma of about 20 cents. > > Which orchestral instruments do you refer to? All instruments th

Re: Intervals enharmony question

On 04/05/18 00:48, Kieren MacMillan wrote: > I didn’t get that far into trumpet playing — I switched to trombone as soon > as I could, because it better suited my embouchure — but I got far enough to > realize that I could do a *lot* of "tuning" with those limited valves and > slides. Based on t

Re: Intervals enharmony question

On 30/04/18 22:46, Torsten Hämmerle wrote: > Hans Åberg-2 wrote >> I suspect the least pitch-flexible instrument is the oboe, as one >> typically uses that for a tuning reference pitch. > > Yep, and just to keep up tradition, it's the oboe player who operates the > digital tuning device. ;D > Unt

Re: Intervals enharmony question

On 04/05/18 11:34, Aaron Hill wrote: > As a piano/keyboards/bass/guitar player here who has only played with an > "orchestra" for high school musicals many moons ago, you have me > wondering now: > > From what I thought happened, the oboist tunes to the piano if one is > used or to a tuner otherwi

Re: Tempo & Markup

On 04/05/18 12:34, foxfanfare wrote: > But I was wondering if I could be able to write a small function for it. > Is it possible to change the default command "2 = 76-84" so it will take > my own markup preferences? Almost certainly ... I do the same thing with the header block on my music. Brass

Re: Intervals enharmony question

On 04/05/18 17:14, Paul Scott wrote: > On Fri, May 04, 2018 at 11:00:59AM +0100, Wols Lists wrote: >> On 30/04/18 22:46, Torsten Hämmerle wrote: >>> Hans Åberg-2 wrote >>>> I suspect the least pitch-flexible instrument is the oboe, as one >>>> typica

Re: Several questions concerning scheme-music-function

On 27/05/18 10:49, Robert Schmaus wrote: > From that thread, I take away the comfort that I'm not the only one with > Scheme-problems. > Now, I can live with that - most of the times I don't have to customise > anything anyway. It's just, that with Scheme, I know, I'll never get > into it, too. >

Re: Several questions concerning scheme-music-function

On 27/05/18 11:50, Robert Schmaus wrote: > The analogy is probably not perfect because investing time in Scheme > would benefit my overall Lilypond abilities, I guess. Learning different ways to think is ALWAYS valuable. Scheme requires a different mindset from most languages, so learning it WILL

Re: lilypond-user Digest, Vol 186, Issue 108

On 22/05/18 21:11, Arle Lommel wrote: lmost right, but doesn’t function quite as Hindemith’s > notation does: > > * The Hindemith editions use time signatures /both/ above and in line, > but never at the same time. They serve different purposes. The > snipped removes the ability to do th

Re: an "odd" accidental problem...

On 27/07/18 15:30, Torsten Hämmerle wrote: > Anthony Youngman-2 wrote >> Well, lilypond is about the only place I ever normally see it! :-) YMMV >> :-) > > Here's a non-LilyPond excerpt of Tchaikovsky's Nocturne op. 19 no. 4: > >

Re: an "odd" accidental problem...

On 27/07/18 14:10, David Kastrup wrote: > Torsten Hämmerle writes: > >> B~M wrote >>> It appeared in the "Fantasy Etudes for >>> Viola" written by >>> Lillian Fuchs who was a significant contributor to Viola in the USA. >> >> >> Hi Paul, >> >> Thanks for this background information. >> Lillian Fu

Re: Proprietary Software term

On 18/08/18 12:51, David Kastrup wrote: >> Indeed, that wasn't expressed too well. What I meant is that >> > CodaMusic's policy to use binary non-released (for some time even >> > encrypted) file formats strongly discouraged anyone to make a program >> > use these files. > That's more than just lo

Re: Proprietary Software term

On 18/08/18 21:18, David Kastrup wrote: >> "Undocumented proprietary format" doesn't express the intent which >> > "lock-in" does. As David pointed out, patents can be used to protect >> > a proprietary format, only I don't think that, for example, the exFAT >> > filesystem is, in his words, a "str

Re: Proprietary Software term

On 18/08/18 23:28, David Kastrup wrote: > zip has been defined using patentable techniques (like > https://www.google.com/patents/US5051745) but the implementations are > usually unencumbered. Just because it has been patented does not mean it is patentable :-( Of course, the problem is persuadin

Re: Proprietary Software term

On 19/08/18 00:34, David Kastrup wrote: > As any theoretical physicist will tell you, anything that involves > actual hardware also is maths. Are you telling me that maths PREscribes reality? Are you telling me that Newton got it right? If hardware is maths, then how comes physicists aren't creat

Re: landscape printing and viewing

On 09/09/18 23:55, Simon Albrecht wrote: > On 09.09.2018 23:13, David Kastrup wrote: >> Kieren MacMillan writes: >>> Hi Martin, \paper { #(set-paper-size "a4" 'landscape) } >>> If I’m not mistaken, the correct incantation is >>> >>> \paper { >>> #(set-paper-size "a4landscape") >

Re: Which Linux distro for Lilypond

On 24/12/16 09:11, Knut Petersen wrote: > Am 24.12.2016 um 04:06 schrieb Craig Dabelstein: >> Hi Lilyponders, >> >> Just a quick question. I'm taking the plunge and moving to Linux. >> Which distro would you recommend for running Lilypond and Frescobaldi? > > OpenSuSE, I'd recommend to use the Tum

Re: Which Linux distro for Lilypond

On 29/12/16 03:51, Alasdair McAndrew wrote: > My concern with "easy" distros - and maybe I'm wrong here - is that if > something goes wrong (and it invariably will) you will need the ability > to fix it, which will require digging into the file system, editing > configuration files, etc. > > I don

Re: Which Linux distro for Lilypond

On 30/12/16 04:49, David Wright wrote: >>> I don't know what the happy medium is, though! >> > >> > Start with something easy? Ubuntu or Kubuntu sounds a good choice BUT. I >> > just cannot get on with Debian-based distros or Gnome. > Could you explain that a bit? I can't see why the OP would take

Re: Which Linux distro for Lilypond

On 30/12/16 22:10, David Wright wrote: > I don't know whether the OP likes change or not, except that they are > certainly making a big change going from to linux. > It just seemed to me that your posts were expressing negative prejudices > about OSes you don't get on with. I guess I couldn't see

Re: OOoLilyPond

On 01/01/17 19:56, Urs Liska wrote: >> I think that has changed years ago already, but the last time I looked, >> >Oolilypond did not make any use of it. > Oh, then it would definitely be worth looking into again. Being able to > maintain vector quality examples in a word processor like this woul

Re: OOoLilyPond

On 01/01/17 23:34, Henning Hraban Ramm wrote: > > Am 2017-01-01 um 21:07 schrieb Wols Lists : > >> On 01/01/17 19:56, Urs Liska wrote: >>>> I think that has changed years ago already, but the last time I looked, >>>>> Oolilypond did not make any use of

Re: OOoLilyPond

On 02/01/17 13:41, Urs Liska wrote: > > > Am 02.01.2017 um 14:38 schrieb Klaus Blum: >> Urs Liska wrote >>> Am 02.01.2017 um 14:07 schrieb Klaus Blum: Hmmm... I just installed LibreOffice 5.2.4.2 and had no luck with .eps graphics. In OpenOffice 4.1.2 and 4.1.3 it works. That's what I'm

Re: avoiding collisions between markup, tempo, and \mark

On 21/01/17 02:18, Andrew Bernard wrote: > Hi Andrew, > > The manual is not well written concerning this matter. A \tempo is a > metronome mark (I don't think that is entirely obvious). > > { > \mark \default > > \once \override Score.MetronomeMark.extra-offset = #'(8 . 0) > \tempo "A temp

Re: Multiple markings

On 04/02/17 14:10, David Sumbler wrote: > So my question is: is there any good reason why Lilypond still does not > allow multiple marks or tempo markings? Probably because the underlying code makes it very tricky. > > If the answer to that question really is "yes", then perhaps we could > have a

Re: Multiple markings

On 06/02/17 11:07, David Sumbler wrote: > I am unclear about what you mean by an "ordinary mark". The > implication of what you say seems to be that a RehearsalMark and an > "ordinary mark" can be anchored to the same barline - which sounds just > like what I am trying to do. I mean that the code

Re: Multiple markings

On 07/02/17 13:39, Kieren MacMillan wrote: > Hi Wols, > >> I mean that the code for RehearsalMark was just a wrapper round an >> ordinary mark. So if you tried to put both on the same barline, the >> underlying engine just saw two ordinary marks, and threw one away. That >> was very frustrating ba

Re: Multiple markings

On 07/02/17 14:33, Kieren MacMillan wrote: > Hi Wols, > >> Before then :-) - some time last century :-) > > Is there anyone on the list who can verify when this was a problem? i.e., > which version it stopped being a problem. > I’m seriously curious! > >> I started using lily with 2.4, and I wa

Re: ghostscript fails on pdf generation

On 12/02/17 19:59, David Wright wrote: > In the case cited from June, the OP was using an odd system (eg it > used # as a *user* prompt) whose tar couldn't create symlinks when > it unpacked an archive (permissions messages); they had to be > created manually. I don't know when it started happenin

Re: ghostscript fails on pdf generation

On 13/02/17 15:23, David Wright wrote: >> It seems daft to me that you need "w" permissions, and I haven't >> > experimented deeply with it, but if I have access to a file, why >> > shouldn't I be able to create a link to it? > Because it's a security risk. Geriatric unixers might wonder why their

Re: Making the Dedication field align left

On 25/02/17 20:59, Simon Albrecht wrote: > Am 25.02.2017 um 21:02 schrieb Chad Linsley: >> Hi all, >> >> I'm a Lilypond noob and am trying to customize the header. How do I >> override the "Dedication" so that it aligns left and not centre? > > The way I understand it you want the dedication field

Re: 13th chord?

On 25/02/17 23:47, Thomas Morley wrote: > Obviously it's _me_ not understanding the issue. As a complete outsider, I read it extremely simply ... The OP asked lilypond to print the chord name as "C 13". Lilypond ignored him and printed the name as "C 9 13". Everybody seems to have got fixated on

Re: 13th chord?

On 26/02/17 14:21, msk...@ansuz.sooke.bc.ca wrote: > On Sun, 26 Feb 2017, Anthony Youngman wrote: >> Replying to myself - remember, you said the user shouldn't notice any >> difference. With my code, if you want to change the capo key, it's a > > I don't know what that refers to. Are you confusin

Re: 13th chord?

On 26/02/17 14:05, Thomas Morley wrote: > 2017-02-26 14:34 GMT+01:00 Anthony Youngman : >> >> >> On 26/02/17 11:32, Thomas Morley wrote: >>> >>> 2017-02-26 12:12 GMT+01:00 Anthony Youngman : > I wrote some code which I submitted to lilypond to handle guitar capos. > >>> Do we have a tracker-

Re: 13th chord?

On 26/02/17 14:47, msk...@ansuz.sooke.bc.ca wrote: > On Sun, 26 Feb 2017, Wols Lists wrote: >>> I don't know what that refers to. Are you confusing me with someone else? >>> >> "I imagine it would make sense for most of its code to derive from the >> co

Re: 13th chord?

On 26/02/17 16:04, msk...@ansuz.sooke.bc.ca wrote: > I've said it clearly enough times already, but I'll say it again: I think > there should be a feature to print what was typed, in the visual format of > chord names, without interpreting it as music. No more or less. And this > is proposed as

Re: Partial

On 19/03/17 07:20, Engraver wrote: > Op 18 maart 2017 21:49:17 schreef Joseph Austin : > >> >> But thinking about it, I'm wondering why one would want to notate a > different duration than is actually played, >> > > > A reason can be to make room in the bar for something else. For example, > I u

Re: An 'interpreter' for lilypond

On 02/04/17 16:41, Cynthia Karl wrote: >> Either way, instead of clicking on "Reply", first click on "More v" and you >> > should see the option "Reply to author". Click that one instead and it will >> > automatically add the quoted text from the post you're going to comment on, >> > then you can a

Re: No R in input! (Proposal for discussion)

On 02/04/17 21:24, David Kastrup wrote: >> But does it actually demand too much of an engraver to take an r4*7 >> > event, check whether and how many full or partial measures are in its >> > duration, write full-bar or multi-measure rests for all parts spanning >> > full measures and normal rests f

Re: Key signatures repeated on every staff

On 15/04/17 21:55, Kieren MacMillan wrote: > Hi Wol, > >> > most of the music I see from the turn of last century does NOT. > Does not repeat the key signature? Fascinating! What field/genre are you > working in? Mostly published by either Boosey, or Hawkes. They merged about 1920 ... :-) I th

Re: Key signatures repeated on every staff

On 16/04/17 02:36, David Wright wrote: > Quite understandable though. No page turns, so every inch of real > estate is precious. You lose the clef too. Which explains my occasional :-) moans on this list about trying to get rid of wasted space and pack everything in on one page with lilypond. Tha

Re: Mark formatting problem

On 05/05/17 13:28, Jacques Menu Muzhic wrote: > Hello Malte, > > I hadn’t thought of an explictit \box, thanks for the hint! What's ?obviously? happening is that when you ask for a default mark, it calculates the mark for you (same thing when you ask for the n'th mark). But if you explicitly ask

Re: Chords in LilyPond

On 25/05/17 02:39, msk...@ansuz.sooke.bc.ca wrote: > What I think is most needed is a chord-naming mode that *just prints what > the user typed*, formatted with the fonts, spacing, and so on that we > expect for chord names - not translating it to an "internal > representation" of notes plus extra

Re: Chords in LilyPond

On 25/05/17 05:52, msk...@ansuz.sooke.bc.ca wrote: > The natural way for typesetting of chord > names to occur is by a direct mapping from input chord names to output > chord names without going through the current "music" data struture > consisting of notes, at all. Until you want to transpose th

Re: Chords in LilyPond

On 28/05/17 17:54, Kieren MacMillan wrote: >> the contexts that need the semantic information shouldn’t need note >> information, and the contexts that need note information don’t need semantic >> information. > As someone who uses chords both for their note and semantic information > simultane

Re: Chords in LilyPond

On 29/05/17 06:04, Carl Sorensen wrote: > Charles's project is not to solve all three of these. In fact, his > project is not to completely solve any one of them. Rather, his problem > is to determine how best to save the semantics, so that assuming the > semantics are properly entered in chordmo

Re: old f-clef

On 29/06/17 02:34, Stan Sanderson wrote: > I did not attempt to duplicate it since it most of the intended audience > wouldn’t recognize it _and_ it isn’t a standard Lilypond clef. Not knowing your intended audience, I can't speak for them, but for anybody who is interested in music notation it i

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 17:24, caag...@gmail.com wrote: > As you can see on the screenshot, both texts are misaligned. The first > one, a \tempo, is placed *under* the rehearsal mark instead of next to > it. The second one, the name of a song, is too far too the right, since > it's attached to the note instead

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 18:38, Simon Albrecht wrote: > On 09.07.2017 18:24, caag...@gmail.com wrote: >> As you can see on the screenshot, both texts are misaligned. > > That’s your opinion. See below. The result can EASILY be unplayable music ... > >> The first one, a \tempo, is placed *under* the rehearsal

Re: Place text next to rehearsal mark, or with left edge over barline if there is none

On 09/07/17 19:28, Simon Albrecht wrote: > On 09.07.2017 20:01, Wols Lists wrote: >> On 09/07/17 18:38, Simon Albrecht wrote: >>> On 09.07.2017 18:24, caag...@gmail.com wrote: >>>> As you can see on the screenshot, both texts are misaligned. >>> That’s you

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