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

On 09/07/17 20:06, Flaming Hakama by Elaine wrote: > > > Le 9 juil. 2017 à 18:24, caag...@gmail.com > a écrit : > > > > As you can see on the screenshot, both texts are misaligned. The > first one, a \tempo, is placed *under* the rehearsal mark instea

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

On 09/07/17 21:20, Simon Albrecht wrote: > On 09.07.2017 21:21, Wols Lists wrote: >> On 09/07/17 20:06, Flaming Hakama by Elaine wrote: >>> > How can I move the texts to be next to the rehearsal mark >>> (without >>> manual adjustments)? >>&

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

On 10/07/17 14:28, Karlin High wrote: > On 7/9/2017 2:16 PM, Wols Lists wrote: >> But out in the park, it was hard to stop the music blowing everywhere > That DOES sound like a problem. I've read of people using electronic > displays such as tablets or e-readers for di

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

On 10/07/17 14:58, Karlin High wrote: > On 7/10/2017 8:41 AM, Wols Lists wrote: >> given that they typically go up to a rehearsal mark somewhere near S or P, >> and I've known AA and beyond > > This sounds like over 26 rehearsal marks. And elsewhere this thread says &g

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

On 10/07/17 18:35, Simon Albrecht wrote: > On 10.07.2017 15:41, Wols Lists wrote: >> On 09/07/17 21:20, Simon Albrecht wrote: >>> On 09.07.2017 21:21, Wols Lists wrote: >>>> Maybe, but placing all related marks one after the other is just as >>>> semantic

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

On 10/07/17 21:18, Kieren MacMillan wrote: >> a tempo mark always belongs *after* a rehearsal mark if they collide > In my opinion, a tempo mark belongs exactly over the moment it affects, and > all other marks need to move (horizontally, vertically, or both) around it. > It struck me, actually,

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

On 13/07/17 20:55, David Wright wrote: > On Tue 11 Jul 2017 at 09:08:07 (-0400), Kieren MacMillan wrote: >> Hi Wol, >> >>> I've seen music - not much admittedly - that actually writes crotchets >>> as tied to a semi-quaver or something on the next beat in order to say >>> "this one-beat note is one

Re: Moving a tempo mark to the right

On 19/08/17 15:11, Kieren MacMillan wrote: > Hi Wol, > >> My usual moan about colliding markups :-) > > Given how usual your moans are… ;) > Can I ask why you don't just write a custom function to deal with the various > markups automatically? > It really wouldn't be that difficult, and would r

Re: showing TimeSignatures on each line?

On 29/08/17 22:02, Evan Laforge wrote: > On Tue, Aug 29, 2017 at 1:46 PM, Simon Albrecht > wrote: >> Hi Evan, >> >> >> On 29.08.2017 22:26, Evan Laforge wrote: >>> >>> In music where the time signature changes a lot, it's nice to show the >>> time signature on each line even when it hasn't change

Re: Variable systems-per-page only on last page?

On 10/09/17 05:20, David F. wrote: > That doesn’t work for me. (Lilypond 2.19.58) I’ve got 3 bars at the end of > a piece that would comfortably fit on a single line, but they are stretched > to fill two lines. > Is there a ragged-last-staff as well? Something like that, anyway, that means th

The proper way to change time signature in the middle of a bar?

I've got a piece of music where I'm doing the following .. \time 2/4 c2 | c4. \time 6/8 \partial 8 c8 | c2. This gives me the warning voiceStaff.ily:38:2: warning: trying to use \partial after the start of a piece but it works fine. Without the \partial, though, lilypond gets confused over the

Re: The proper way to change time signature in the middle of a bar?

On 14/09/17 18:30, David Kastrup wrote: > Wols Lists writes: > >> I've got a piece of music where I'm doing the following .. >> >> \time 2/4 c2 | c4. >> \time 6/8 \partial 8 c8 | c2. >> >> This gives me the warning >> >> voiceSt

Re: Seeking LilyPond Engravers for Paid Work

On 16/09/17 23:26, Ben wrote: > PS. Whoa! I just noticed that somehow there were a bunch of duplicates > of my drafts/messages sent to the list - apologies! > My Thunderbird has really been acting strange recently. Sorry! No clue > what happened... So has mine ... I think it was a dud message som

Re: Problem with Codas

On 25/09/17 18:22, Phil Holmes wrote: > There's no requirement for that blank space. Gould says that it may be > used, but does not state it should or must be. Personally, I've never > seen music set like that. Most of the music I've seen is set like that ... (not that codas are common in what I

Re: Header

On 28/09/17 12:35, Mario Moles wrote: > I would like, in small format, the title of the song on every page! > This sounds like you want to do what I've done. In my case, the default headers are wrong because they centre the instrument name under the title - I want them left-justified on the page.

Re: Any other Thunderbird users have messages never post? (WAS: Hide slur?)

On 19/10/17 12:33, Bernhard Kleine wrote: > > > As I started this, I would like to comment: > > 1. I read this list using Thunderbird, my mail server sits with > gmx.net. When I didnot see my mail for several hours arriving on the > list I started to worry. Has gmx sat on the mail for

Re: Transposing an entire score

On 07/11/17 19:13, Flaming Hakama by Elaine wrote: > > -- Forwarded message -- > From: peter.gam...@homecall.co.uk > To: lilypond-user@gnu.org > Cc: > Bcc: > Date: Tue, 07 Nov 2017 16:54:1

Re: Transposing an entire score

On 08/11/17 11:42, Francisco Vila wrote: > Transposing every definition does work indeed, but it is a potential > source of problems for reusing that music (maybe in another > transposition) unless you want the music definitions transposed at > origin once and forever, for some reason. When I'm de

Re: Transposing an entire score

On 08/11/17 19:38, Flaming Hakama by Elaine wrote: > > Subject: Re: Transposing an entire score > On 08/11/17 11:42, Francisco Vila wrote: > > Transposing every definition does work indeed, but it is a potential > > source of problems for reusing that music (maybe in another >

Re: double time signature problem

On 14/11/17 16:50, Karlin High wrote: > And I just learned something there: > > "Der Hund hat den Mann gebissen" and > "Den Mann hat der Hund gebissen" > both mean "The dog has bitten the man". > > I knew the Russian language had that word-order feature/bug, but didn't > realize German did too. M

Re: double time signature problem

On 15/11/17 10:51, Knut Petersen wrote: > Am 15.11.2017 um 00:26 schrieb Noeck: >> >>> The diminutive of „Magd“ is „Mägdelein“ or maybe „Mägdchen“ (nobody >>> would use the latter), but not „Mädchen“. >> But still "Mädchen" seems to be derived from "Magd": >> http://www.wissen.de/wortherkunft/maedc

Re: [OT] Grammatic gender

On 15/11/17 01:13, Andrew Bernard wrote: > Often people refer to boats as 'she', but that's not a part of grammar. And the same boat is, so I understand, usually referred to BY THE CREW, as "he". So your own boat is "he", others are "she". Cheers, Wol

Re: [OT] Grammatic gender

On 16/11/17 13:58, Karlin High wrote: > On 11/16/2017 7:45 AM, David Kastrup wrote: >> Personally, I don't think that micromanaging gender identities is going >> to help anybody deal better with who and what they and/or others are. > > "Shifts in terms have an unfortunate side effect. Many people

Re: [OT] Grammatic gender

On 18/11/17 18:18, Karlin High wrote: > On 11/18/2017 11:33 AM, David Wright wrote: >> You might find yourself being >> misunderstood in more serious circumstances, if you don't allow >> for the same words to mean different things, or even the opposite. > > Reminds me of my cousin on a business tr

Markings on a percent bar

This is actually very common in my sort of music. As you can see, I have a "\repeat percent 4 {}", and I have both a crescendo starting on the fourth bar, plus the number "4" above it. And I don't know where to start trying to enter this ... :-) That "4" is actually a simple example of a common c

Re: Markings on a percent bar

On 23/11/17 16:53, SoundsFromSound wrote: > Wols Lists wrote >> This is actually very common in my sort of music. As you can see, I have >> a "\repeat percent 4 {}", and I have both a crescendo starting on the >> fourth bar, plus the number "4" abov

Re: Windows 10

On 01/12/17 14:15, peter.gen...@sunscales.co.uk wrote: > Everything worked fine but after one fateful OS update I found to extra > folders in C:\windows\users\ , PETERDESKTOP and PETERDESKTOP.000. Did this update do a "clean install" of Windows? That sounds to me like you've done a fresh install

Re: Multi-measure rests and mark collisions ...

On 22/04/16 19:36, David Wright wrote: > On Fri 22 Apr 2016 at 15:47:59 (+0100), Anthonys Lists wrote: >> On 22/04/2016 14:31, Kieren MacMillan wrote: >>> David K wrote: > Hm? How could you even have a compressed multi-measure rest when there > is anything like an "8-bar phrase" in paralle

Re: Multi-measure rests and mark collisions

On 23/04/16 01:52, Kieren MacMillan wrote: > Hi David, > >> It strikes me as conceptually problematic to try to put a fermata on a >> multi-measure rest. >> Who does this, and what does it mean, musically? >> In this example, you are actually placing a fermata on a single bar of rest. >> In which

Re: Multi-measure rests and mark collisions ...

On 25/04/16 05:31, David Wright wrote: > On Sun 24 Apr 2016 at 19:18:01 (+0100), Anthonys Lists wrote: >> On 24/04/2016 03:13, David Wright wrote: >> >> Ah - does that mean the rehearsal mark would happily overwrite the >> blank space at the start of the other markup string? > > Typically, yes.

Re: Replying to posts

On 25/04/16 23:48, J Martin Rushton wrote: > Your comments about broadband being ubiquitous are unfounded. Even > where broadband is claimed, plenty of people still struggle on with > around 1Mb/s. Using BT in the south east of England we only get 1.6 > Mb/s and I don't appreciate sitting and wai

Re: Replying to posts

On 28/04/16 12:43, Chris Yate wrote: > On 27 April 2016 at 19:25, Anthonys Lists wrote: >> >> And the reality is, most people HERE, including the most important ones! use >> simple, plain-text, email clients. >> There's a reason why Outlook Lusers are not welcome on most mailing lists, >> and th

Re: London-Heathrow

On 04/05/16 14:58, Phil Holmes wrote: > Depending on how much your budget is, you can easily get to London and > back in that time: > > https://www.heathrowexpress.com/ > Or the Picadilly line on the tube. Where do you want to go? If you know where you want to go, go to tfl.gov.uk and it'll give

Re: London-Heathrow

On 04/05/16 16:01, Phil Holmes wrote: > - Original Message - From: "Wols Lists" > To: "Phil Holmes" ; "lilypond-user" > ; "Urs Liska" > Sent: Wednesday, May 04, 2016 3:25 PM > Subject: Re: London-Heathrow > > > On 04/05/1

Re: Some help with music theory

On 05/05/16 23:22, Carl Sorensen wrote: > Thanks to all who replied. I have several people who have volunteered to > answer my questions. I'll probably pass them around to different people > so nobody gets too much work. > > Thanks for being part of a great community! > > Carl > Some more reso

Re: Placing a section name at the start of a staff

On 08/05/16 21:30, David Wright wrote: > On Sun 08 May 2016 at 19:06:27 (+0100), Anthonys Lists wrote: >> Basically, I want to do pretty much what "instrument name" does in a >> score - I want to put the name of the section in front of the start >> of the staff. The problem is, as always, when you

Re: OT: high-precision tuner app

On 25/05/16 07:05, Johan Vromans wrote: > Since we're OT anyhow... > > On Tue, 24 May 2016 13:58:48 +0100 > Anthonys Lists wrote: > >> Not a modern phenomenon. A lot of Baroque parts are almost unsingable in >> the original pitch because they were written for A=400 or somesuch. > > Why are the

Re: OT: high-precision tuner app

On 26/05/16 08:34, Werner LEMBERG wrote: >> > "Perfect pitch" is a sham. [...] > It seems that you don't know the facts very well. Absolute pitch is > *not* related to being a `better' musician. In fact, it's not even > related to music. Have a look at the Wikipedia article; it gives a > nice o

Re: OT: high-precision tuner app

On 26/05/16 10:43, Olivier Biot wrote: > > > On Thursday, 26 May 2016, Michael Hendry > wrote: > > I seem to have struck an interesting chord, here! > > > Definitely! > > > Another phenomenon about which I have doubts involves people who > claim

Re: invisible note for expressive marks

On 28/05/16 19:03, Marc Hohl wrote: > Am 28.05.2016 um 19:47 schrieb Gianmaria Lari: >> The expressive marks must be attached to a note. I was wondering if it >> exists any void/invisible note that it is possible to use to avoid >> this constraint, something like: "voidelement" \p > > That's exact

Re: Small flageolet

On 11/06/16 13:43, Andrew Bernard wrote: > There’s an interesting philosophical point here about lilypond. Quite > often in these complex scores I need to do things that are not Common > Era period ‘rules’. Lilypond is so rule bound that it is often hard to > override it. To that extent, it is alwa

Re: PDF author metadata

On 10/07/16 17:47, David Wright wrote: > On Sun 10 Jul 2016 at 15:57:59 (+0100), J Martin Rushton wrote: >> On 10/07/16 15:09, David Kastrup wrote: >>> J Martin Rushton writes: On 10/07/16 00:29, Anthony Youngman wrote: > On 07/07/16 19:02, David Wright wrote: >> BTW one of the odd "a

Re: Adding a tempo indication in the middle of multiple voices mode

On 30/07/16 10:36, Stephen Cox wrote: > I want to add a tempo indication in the middle of some code that is in > multiple voices mode. > > For instance, using the example on page 48 of the “Learning” document, I > might want to add the indication “Faster” at the beginning of bar 2. The > code belo

Re: LilyPond logo?

On 05/08/16 05:15, tyronicus wrote: > The vectorized image looks very good. It'd be nice, though, to have some sort > of "icon" logo in true black and white. Maybe something like the attached? > It's an Inkscape svg if anyone wants to mess with it. > > lp.png

Re: LilyPond logo?

On 07/08/16 16:17, Kieren MacMillan wrote: > Hello all, > > What about a perspective-sheared bass clef as the leaf? > Just a thought, trying to tie it all together. > +1 Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.g

Re: LilyPond logo?

On 06/08/16 19:38, Pierre Perol-Schneider wrote: > Tests update attached. > I'm still a fan of 6 or 9. But 9 feels better because it's simpler. Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lil

Re: LilyPond logo?

On 07/08/16 20:44, Simon Albrecht wrote: > Or do I have too little faith in crowd intelligence and the aesthetic > reckoning of everybody who likes working with Lilypond? I think you might. It's amazing how everybody seems to be targetting in on just a few possibilities - which are all very simila

Re: Evince/Adobe printing adds margins and scales down the score

On 17/08/16 10:43, Urs Liska wrote: > > > Am 17.08.2016 um 11:33 schrieb Federico Bruni: >> Hi folks >> >> I've tried printing a score with Evince and I see that it adds margins >> on left, right, top and bottom and scales down the score size to fit >> it on the page (line-width=17,40 cm). Is it

Re: Question for a FLOSS licensing session

On 31/10/16 10:08, David Kastrup wrote: >> > The repository contains among others >> > - encoded music >> > - Scheme functions created for the project >> > - Scheme functions created using included code from LilyPond and GPLed >> > openLilyLib >> > - Scheme functions created by modifying functions

Re: Question for a FLOSS licensing session

On 31/10/16 09:04, Thomas Morley wrote: > 2016-10-31 9:48 GMT+01:00 David Kastrup : >> Thomas Morley writes: >> >>> When entering a new snippet first thing you read is: >>> >>> "Important: By entering your snippet, you are placing it in the public >>> domain. This includes also snippets taken from

Re: Question for a FLOSS licensing session

On 02/11/16 15:14, David Kastrup wrote: > Wols Lists writes: > >> On 31/10/16 10:08, David Kastrup wrote: >>>>> The repository contains among others >>>>> - encoded music >>>>> - Scheme functions created for the project >>>>>

Re: Trolling and unacceptable behaviour on the list

On 18/11/16 13:11, msk...@ansuz.sooke.bc.ca wrote: > On Fri, 18 Nov 2016, Andrew Bernard wrote: >> when asked politely refuses to give his name, refuses to provide minimal > > This "real name" business is completely irrelevant and the people trying > to make it a big deal lose credibility on the o

Re: Stepping down and moving on

On 19/11/16 00:14, Francisco Vila wrote: > 2016-11-18 18:27 GMT+01:00 David Kastrup : >> > Francisco Vila writes: >> > >>> >> David: I don't know what to say. I am very grateful to you for your >>> >> huge, unvaluable work and I wish you luck. >> > >> > In spite of the respectively English and Lat

Re: Chords in choral music(Re: Fixing LSR 888: center-on-words ignoring punctuation)

On 07/12/16 23:37, Alexander Kobel wrote: > On 2016-12-07 22:05, Simon Albrecht wrote: >> On 07.12.2016 01:07, Alexander Kobel wrote: >>> chords with two adjacent notes (shifting one note). I know that this >>> should be a forbidden situation for vocal music >> >> Why should it? I hardly think anyb

Re: Installing 2.24.1

On 06/04/2024 22:46, Knute Snortum wrote: On Sat, Apr 6, 2024 at 2:23 PM Wol > wrote:  > The basic procedure is simple, assuming that you are using  > Frescobaldi: What if this assumption is wrong? I've NEVER used Frescobaldi (or rather, the o

Re: Overriding default text of \f, \p, etc.

On 12/04/2024 08:21, YTG 1234 wrote: Hello List, I want to override the default text markup used with commands such as \f, \p, \mf, etc. However, trying to define f = #(make-dynamic-script ...) doesn't work because Lilypond interprets f as a note-name. Additionally, how would I be able to

Re: Glissandos into Note

On 13/04/2024 10:34, Lukas-Fabian Moser via LilyPond user discussion wrote: Hi Ben, hi Greg, thanks for bringing this up - in fact I started this morning to dig up my old work, prompted by Greg's question. It seems I only developed the functions a but further back then (unfortunately I don't

Re: Glissandos into Note

On 14/04/2024 00:22, Wols Lists wrote: On 13/04/2024 10:34, Lukas-Fabian Moser via LilyPond user discussion wrote: Hi Ben, hi Greg, thanks for bringing this up - in fact I started this morning to dig up my old work, prompted by Greg's question. It seems I only developed the functions

Re: Scoop (jazz notation)

On 15/05/2024 18:54, Flaming Hakama by Elaine wrote: On the other hand, you could argue that many examples of scoop are not intended to convey specific shapes, so a one-size-fits-all glyph is sufficient, and it is not intended to solve the problem of expressive glissando. Which, is also a reas

Re: How to transpose?

On 23/05/2024 12:26, Kenneth Flak wrote: Great, thanks to both of you! Very clarifying. \transposition is, thus, going in the direction of instrument -> playback, whereas \transpose goes in the opposite direction, if I understand it correctly. I do a lot of brass stuff. And as you've realised,

Re: How to transpose?

On 25/05/2024 18:44, bobr...@centrum.is wrote: Wol, The bit about trombones in bass and Bb treble; I've only ever heard of Bb treble clef trombone in British brass band music.  What is the "American bass part" in Bb?  I've never heard of such a thing.  I know that Richard Strauß wrote tenor t

Re: Accidental placement with dense chord

On 18/06/2024 00:00, Paul Hodges wrote: Not necessarily.  Your rule is similar to what Read recommends; but the rule in Gould (which LilyPond generally follows) is based around placing the highest accidental first, then the lowest, and alternating towards the middle.  But it's not as simple as

Re: "correct" key for the Clarinet solo from the Mozart Clarinet Concerto, 2nd movement, tanscribed for Piano.

On 28/06/2024 00:08, Kenneth Wolcott wrote: Should I try to engrave a D Major transcription, transpose what I aleady have to D major, or something else? As someone who plays an instrument that is sometimes written in concert, sometimes written in Bb (the trombone), my advice here would be s

Re: Change stem direction based on position of note in staff?

On 30/08/2024 17:53, Stefano Antonelli wrote: However in example 3, there are some added rests for the hands and feet representation, that aren't in the other two representations. And that is the challenge. Converting from one rhythmic representation to another when notes are added or removed f

Re: Problems with alternate endings

On 02/10/2024 14:14, Cameron Hall wrote: Noted. This is the first time I've ever used a discussion mailing list, so now I know to use reply all from now on. The shape command does what I want, thanks. If only it were as simple as that ... Depending on what the OTHER person's mail client does,

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