On 29/02/2020 13:10, Davide Liessi wrote:
Hi all.
I'd like to have percent repeats automatically split at line breaks,
i.e., in the following example I'd like the first score to look like
the second.
\version "2.19.84"
\score {
\repeat percent 30 { c'1 }
}
\score {
{
\repeat percent 1
On 13/03/2020 11:29, Francisco Vila wrote:
So my question for Kieren is, for large scores involving transposing
wind instruments along with strings etc, how do you manage this by
using only clefs and no transposition?
This is a double question, seeing as wind instruments rarely transpose
by
On 28/03/2020 11:00, Peter Gentry wrote:
I appreciate this is off topic but in these times of social isolation
does anyone have any tips. Clearly latency is the main issue – I wonder
could this be reduced by say hosting a Zoom meeting on a private router
– maybe only one video for a conductor.
On 28/03/2020 18:55, Ralf Mattes wrote:
To the OP: there is an immanent latency in all network connections - packets
need to
pass through switches and routers, and let's not forget the speed of electrical
signals.
While one can get pretty low latency on local networks (Dante et al.) trying
liv
On 13/05/2020 16:38, David Kastrup wrote:
Given the number of English-speaking LilyPond users who all share the
somewhat strange habit of calling a b-flat "b" if there is a flat in the
key signature, it is sort of a safe bet that you are not the first to
make this kind of proposal.
Are these th
On 14/05/2020 19:46, David Wright wrote:
Wol gave these "b" people the benefit of the doubt as being "b/h"
people (but why was the American tongue mentioned?).
Because Americans like to think they speak English (but they are
mistaken!). I play crotchets, not quarter-notes. I don't know what ot
On 14/05/2020 23:38, Karlin High wrote:
On 5/14/2020 5:32 PM, antlists wrote:
Because Americans like to think they speak English (but they are
mistaken!). I play crotchets, not quarter-notes. I don't know what
other weird language habits the Americans have ... :-)
You really don't
There's a function Han Wen wrote for me years ago, that's made its way
in to standard lilypond. It's probably mentioned in the docu about
relative mode. Something along the lines of
c1 \highlight { c8 d e f g f e d }
\setAbsoluteOctave ...
c1 \highlight { c8 d e f g a b c }
On 15/05/2020 12:28, antlists wrote:
There's a function Han Wen wrote for me years ago, that's made its way
in to standard lilypond. It's probably mentioned in the docu about
relative mode. Something along the lines of
c1 \highlight { c8 d e f g f e d }
\se
On 16/05/2020 23:19, David Kastrup wrote:
As I say, I think this function or something similar has made its way
into lilypond proper.
What advantage over the solution using make-relative that I posted do
you see here?
Because if I understand the OP correctly, what he wants is
\resetRelative
On 17/05/2020 00:04, David Kastrup wrote:
antlists writes:
On 16/05/2020 23:19, David Kastrup wrote:
As I say, I think this function or something similar has made its way
into lilypond proper.
What advantage over the solution using make-relative that I posted do
you see here?
Because if
On 15/05/2020 21:17, Fr. Samuel Springuel wrote:
Now I just need to turn this list into something that can be used to figure out
if the target needs to be recompiled.
As Jacques said, "make".
At the top of your directory structure you can have a makefile, and it
just contains a list of all y
On 18/05/2020 13:44, David Kastrup wrote:
antlists writes:
On 15/05/2020 21:17, Fr. Samuel Springuel wrote:
Now I just need to turn this list into something that can be used to
figure out if the target needs to be recompiled.
As Jacques said, "make".
At the top of your directory
On 18/05/2020 15:29, Fr. Samuel Springuel wrote:
On 18 May, 2020, at 9:37 AM, antlists wrote:
define trombone-notes.ly as a target, define it as changed if its dependencies change,
and say "it doesn't exist as a file that can be created with a command".
Right, that’s the
On 18/05/2020 17:33, Kieren MacMillan wrote:
We (well… modulo me LOL) don’t get this worked up about how \relative makes
cut-and-paste a nightmare. Why start now?;)
Those of us who only use \relative (just me?) don't have any problems
with cut-n-paste. Or is it just that my workflow is more l
point remains - ESPECIALLY if it's the
melodic scale - how is lilypond supposed to know whether the g and f are
supposed to be sharpened? :-)
Mark
Cheers,
Wol
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of antlists
On 19/05/2020 16:04, David Kastrup wrote:
All because people think "it's not difficult to figure out how to make
it work" when actually it is once you aim for more than a "mostly
working" determination and keep shuffling around just which 10% you are
willing to let fall apart.
Too many people t
On 21/05/2020 01:49, David Wright wrote:
I don't understand your equivalence between .ily and .h files. The
.ily file(s) can contain just as much code as the .ly file(s), whereas
.h files don't contain any code at all (in the sense of producing
executable code for the next stage.
a) just like .
On 21/05/2020 14:36, David Kastrup wrote:
antlists writes:
On 21/05/2020 01:49, David Wright wrote:
I don't understand your equivalence between .ily and .h files. The
.ily file(s) can contain just as much code as the .ly file(s), whereas
.h files don't contain any code at all (in
On 21/05/2020 16:36, David Wright wrote:
On Thu 21 May 2020 at 13:57:00 (+0100), antlists wrote:
On 21/05/2020 01:49, David Wright wrote:
I don't understand your equivalence between .ily and .h files. The
.ily file(s) can contain just as much code as the .ly file(s), whereas
.h files
n 21/05/2020 07:35, Frédéric wrote:
Hi,
I'm writing a scale book. I would like to have the key signature but
also an accidentals in front of each note. For example, in d \major, I
would like to print f# c# as key signature and a # in front of each f
and c.
I see 2 possibilities:
1. define a custo
On 23/05/2020 06:06, Michael Gerdau wrote:
Big deal. I won't ask what's in voiceTrombone.ily.
A variable declaration. You know - EXACTLY THE SAME as C programmers
often stick in .h files ...
I don’t think that’s correct.
For one according to my understanding LP has no variable declarations
On 22/05/2020 13:26, Gilles Sadowski wrote:
IIUC, CC licences aim to protect against others making money from
your work. How is "ASCAP not being happy" related to that?
Unless I'm mistaken, LilyPond (GNU) and CC belong to the "eco-system"
where sharing is the norm (to enhance the common cult
On 23/05/2020 20:21, Valentin Villenave wrote:
I’m not saying the world is a nice place (it isn’t); you should, at
the very least, secure*your* copyright by having a solid proof of
anteriority, as we discussed. What I’m saying is that you shouldn’t
overestimate the possible threat to your work
On 24/05/2020 11:59, David Kastrup wrote:
Wols Lists writes:
On 24/05/20 01:08, Carl Sorensen wrote:
Actually, GNU allows charging for the software. From the Preamble to the GNU
GPL:
"When we speak of free software, we are referring to freedom, not
price. Our General Public Licenses are de
On 23/05/2020 11:37, Kevin Barry wrote:
My copy of windows doesn’t have a*Start* menu: so that’s another
instruction that is meaningless.
OK. Is there a common way to accomplish the old Start -> Run -> type in
the name of a program?
Windows 10 has a (sort of) start menu - click on the window
On 29/06/2020 10:30, Valentin Petzel wrote:
3) Forcing a string number can be done manually easily (though this is not
good if the tuning changes at some point). But in code it is quite a bit more
effort to achieve the same result, because we then would need to read the
string tunings from the co
On 15/07/2020 12:08, Urs Liska wrote:
Out of curiousity: How do you feel about the use of "preset" in
synthesizers, radios or audio processors like equalizers or effects (to
name just a few I know of)?
As I understand what's going on, a preset with synthesizers et al is a
"preset list of defau
On 30/07/2020 17:25, H. S. Teoh wrote:
On Mon, Jul 27, 2020 at 08:30:34AM -0700, Knute Snortum wrote:
Well it looks like README.git should just contain this:
Instructions for compiling LilyPond from source files can be found
online at:
[1]https://lilypond.org/doc/v2.21/D
On 28/08/2020 20:42, Werner LEMBERG wrote:
Well, we have to make a compromise. The PDF document has a small line
width, and you can't scroll horizontally...
Theoretically, the snippet could be printed with a smaller font size,
but this doesn't look very pretty IMHO. I consider the `\oo`
shor
On 07/09/2020 17:01, Martín Rincón Botero wrote:
I wanted to ask if using the Dynamics context is the simplest way
available in Lilypond for achieving this kind of vertically aligned
dynamics. The huge drawback of the Dynamics context is that it disrupts
the syntax, since dynamics can’t be used
On 08/09/2020 03:21, Randy Josleyn wrote:
(By the way, I switched to a daily digest for lilypond-user emails and
I'm not sure about how replies work from them. I've made mistakes with
how replies to a list work before, so I apologize if I've done it again.)
I don't know how it works, but I k
On 01/10/2020 19:27, Carl Sorensen wrote:
Variables can only be defined at top level, not inside a score.
https://lilypond.org/doc/v2.20/Documentation/notation/file-structure
I just shove all of this sort of stuff in an include file, and include
it at the top.
I've come across things like sf
On 03/10/2020 03:32, Mike Dean wrote:
Not really sure how to get the fermata over the repeat bar line rather
than over the clef on the next line
Isn't this the default behaviour of \uFermata and friends?
Sorry I can't from memory be more specific, but I know my battle with
fermatas was gettin
On 22/02/2021 06:02, Andrew Bernard wrote:
Its not a bug. It's just the syntax. A 16 without a note will produce a
note, not a rest, even after a rest. There would be a dozen different
possibilities for syntax, but that's how it is.
Principle of least surprise. As a player, a rest is a note wi
If you're into guitar stuff, there's something else you might be
interested in cleaning up and getting working ...
I wrote a capo feature, but it sort of fell by the wayside. If you're
using chord notation, it puts "Capo G" or whatever at the start of the
piece, and transposes the chord and pu
On 17/03/2021 08:23, Michael Gerdau wrote:
I don't have any of the show stopper Kieren is so evangelistic about and very clearly find
\relative easier to enter via a normal keyboard by a long shot. Entering all those "'"
(requires SHIFT on a german keyboard) and "," is not at all fluent.
Well
On 19/03/2021 16:43, H. S. Teoh wrote:
It's somewhat mitigated by inserting octave checks every so often (say,
at the start of every section), so that when it does go wrong, there's a
warning, and the problem only propagates up to the next octave check
rather than the rest of the piece.
:-)
An
On 31/03/2021 20:20, Callum Cassidy-Nolan wrote:
You are correct, there is no distinction between these two notes,
because in terms of pitch they are the same.
Actually, they're not ...
If you're talking about "well-tempered" instruments - basically keyboard
- then IN PRACTICE they are the sa
On 01/04/2021 09:50, Kevin Barry wrote:
On Wed, Mar 31, 2021 at 11:47:05PM +0100, antlists wrote:
On 31/03/2021 20:20, Callum Cassidy-Nolan wrote:
You are correct, there is no distinction between these two notes,
because in terms of pitch they are the same.
Actually, they're not ..
On 17/09/2021 22:09, Kenneth Wolcott wrote:
I know, as an ex-tuba player (and a very low-level amatuer tuba
player), that tuba and trombone (bassoon?) don't require transposition
as they are already in concert pitch (I never played a tuba in the key
of C, F or Eb).
Tuba and trombone don't n
On 17/09/2021 23:11, antlists wrote:
Then when I output it, likewise I wrap it again in "\transpose c c {}"
for bass clef, or "\transpose c' bf {}" for treble_8 clef (note I
transpose treble clef an octave and the music a second here).
Whoops - should read "\tran
On 17/09/2021 22:58, Michael Seifert wrote:
Trombone player here.
You and I play instruments that are in concert pitch. This means that when
you & I look at a C printed on the page, and move our fingers/slide/lips to
play it, a C comes out of our horns.
Nitpick here - our in
On 20/09/2021 04:38, Calvin Ransom wrote:
Hello everyone,
I’m transposing a musical theatre book and sometimes the bar numbers
contain letters then go back to normal numbering.
Here is an example for the Bar Numbering that I am looking for:
1 2 3 3a 3b 3c 4 5 6
Does anyone know how to do t
44 matches
Mail list logo
