I'd like to take a passage of music that contains chords with differing
numbers of notes, and some single notes, and extract it into separate
monophonic streams such that their union is the original passage. The
application is to generate microtonal MIDI using pitch bend, which can
only practicall
On Wed, 16 Sep 2015, David Kastrup wrote:
> > Just to clarify, in the case of 3-voice music, how would you expect it to
> > deal with a 2 note chord?
> >
> > One note to Treble, one to Bass, or one in Treble, one in Alto, or... what?
>
> As I read him, he does not care. First note anywhere, second
On Wed, 16 Sep 2015, Thomas Morley wrote:
> Is my recent coding here:
> http://www.lilypondforum.de/index.php?topic=2080.msg11479#msg11479
> of any help?
On my first few attempt to load this page the server didn't respond, but
it seems to work now, and yes, that looks like it does what I want.
Tha
On Thu, 17 Sep 2015, msk...@ansuz.sooke.bc.ca wrote:
> On my first few attempt to load this page the server didn't respond, but
> it seems to work now, and yes, that looks like it does what I want.
I spoke too soon: the code doesn't handle single notes (non-chords), so
it's not a complete solutio
On Thu, 17 Sep 2015, Blöchl Bernhard wrote:
> I would call (always depending on the context) Cmadd4, F7sus2/C,
> D#6no5add2/C.
> Always consider the harmonic context!!!
What exactly does the "harmonic context" mean? What would be specific
examples of contexts where it could make sense to call t
On Thu, 17 Sep 2015, Gilles THIBAULT wrote:
> So Chris, the last change you have to make in the code is to change
>
> line 73 (in \extractNote definition)
> (extract-note music n))
>
> by
>
> (extract-note (event-chord-wrap! music) n))
Assuming you mean me...
I just found a message I thought I'd
On Fri, 18 Sep 2015, Blöchl Bernhard wrote:
> I tried to make clear that there is not just a single correct name for a
> chord. That is only true for the simplest chords of our simple original folk
When someone enters a set of notes and asks LilyPond to print the chord
name, there's such a thing a
On Fri, 18 Sep 2015, BB wrote:
> Can you really feed some notes to Lilypond and it tells you the name of the
> chord? A kind of reverse chord finder? I have not found in the manual.
I thought that was the point under discussion. It's in the manual here:
http://lilypond.org/doc/v2.18/Documenta
If transposing music produces notes with alteration of more than a whole
tone, \transpose will produce a warning and change the note name. I would
like to be able to transpose notes up or down an octave without changing
their names or alteration at all, even if it is more than a whole tone.
Simpl
On Sat, 19 Sep 2015, David Kastrup wrote:
> msk...@ansuz.sooke.bc.ca writes:
>
> > If transposing music produces notes with alteration of more than a whole
> > tone, \transpose will produce a warning and change the note name. I would
> > like to be able to transpose notes up or down an octave with
On Sat, 19 Sep 2015, Michael Gerdau wrote:
> > > Issue 1009, fixed in version 2.19.0.
> >
> > LilyPond 2.19 (installation of which is non-trivial, since it seems to be
> > only available through Git
>
> Have you checked out
> http://lilypond.org/development.de.html
>
> Of course it is not 2.19.0 bu
On Sun, 20 Sep 2015, Flaming Hakama by Elaine wrote:
> However, if you view lilypond as a notation program,
> then the practical question becomes,
> if I want to print a certain chord symbol,
> what to I write for the input
> (and do I need to customize the chord symbol for that note set)?
Excelle
On Mon, 21 Sep 2015, Johan Vromans wrote:
> > What seems like it would be most useful for me would be to forget about
> > LilyPond's chord-naming translation from note sets to symbols, and just
> > use markup to add symbols of my choice wherever I want them. So that
> You'll lose the ability to t
On Wed, 23 Sep 2015, Daniel Contreras wrote:
> Does anyone know the best way to input harmony labels such as II V I etc? Any
> help or suggestions would be much appreciated.
Enter them as lyrics? That seemed to be the most natural solution for my
similar question of how to use arbitrary markup f
On Sat, 26 Sep 2015, Andrew Bernard wrote:
> The output is normal and correct. What may be putting you off is that
> with the default fonts, under 2.19.27 at least, the numerals are aligned
> slightly to the left of the barline, perhaps giving the impression they
> belong to the bar before. The do
On Sat, 26 Sep 2015, Klaus Blum wrote:
> The last barline belongs to a bar that doesn't "exist" because there is no
> contents left.
That's one reason I suggested treating numbers as referring to boundaries,
not to the music between the boundaries. There is a bar line at the end;
that boundary ex
On Fri, 2 Oct 2015, Richard Shann wrote:
> > > > {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat
> and it gives a warning which I don't understand. OTOH the
> end-of-second-time marker wouldn't serve any particular purpose - the
> player doesn't do anything special at that poi
On Mon, 5 Oct 2015, Blöchl Bernhard wrote:
> > Does anyone know if it would be possible to make the links in the regular
> > PDF reader go to Frescobaldi?
>
> What is a regular PDF reader? Is it a working one? Which one is irregular?
Adobe Acrobat Reader.
> > me. LilyPad is O.K. most of the time
The discussion of MIDI in the manual refers to "volume" throughout. It
appears that at least some of the time, that actually means MIDI velocity,
which is not the same thing. For instance, dynamic marks like \f and \pp
seem to set the velocity. Do *all* references to "volume" really mean
velocit
Can I set dash-definition on a RepeatTie? It appears that the answer is
"no": that property is part of tie-interface and RepeatTies instead use
semi-tie-interface. So the real question is, how can I get a similar
effect?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before p
On Sat, 10 Oct 2015, David Kastrup wrote:
> The real SSD killer is putting swap there and/or suspend to disk.
> That's gigabytes of actually happening writes.
Is that really true of suspend-to-disk? Seems to me that writing the
contents of memory to disk on suspend would only happen between one a
On Fri, 23 Oct 2015, Ivan Kuznetsov wrote:
> Maybe the Linux Foundation can help us set up a Lilypond foundation?
>
> Are there any lawyers on this list that can donate their time?
>
> Or perhaps Lilypond software can become sponsored by the Linux Foundation?
The fact that the package is named "GN
On Tue, 27 Oct 2015, David Kastrup wrote:
> Well, arguably it makes a bit more sense than Knuth's choice of a
> magstep being a factor of 1.2. Because the powers of 2^{1:12} as the
> basis of half a magstep are known to be close enough for practical
> purposes to a variety of small-integer-based r
This may be more a question about musical notation than about LilyPond,
but:
I would like to indicate that just a few notes (one hand on the piano for
the duration of one bar) should be played softly. Not as a progressive
change over time (crescendo/decrescendo), but the isolated notes - play at
On Mon, 30 Nov 2015, Mark Stephen Mrotek wrote:
> Sotto voce?
Thanks, I think sotto voce is the term I want. How should I indicate its
scope, horizontally and vertically?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/
On Fri, 11 Dec 2015, Andrew Bernard wrote:
> The downloadable PDF font sample shows beams for 16’s and 32’s squashed
> together with no whitespace (depending on PDF view scale factor, which I
> have never seen before), beams running past stems at the end, and other
> errors. Hence my doubts, and my
On Sat, 12 Dec 2015, N. Andrew Walsh wrote:
> accidentals as needed. I suppose, rather than having Lily/Scheme calculate
> prime factors on the fly at runtime, it would be easier to have a lookup
> table of the prime factorization for each integer up to a certain limit (but
> that would end up bein
On Sun, 13 Dec 2015, N. Andrew Walsh wrote:
> Actually, coverting between the ratios and semitones has alread been done,
> as there's a simple set of log and mround functions that do it. Have a look
> in the OLL repository under notation-tools and you should find the .ily
At what URL? I'm looking
On Sun, 13 Dec 2015, Graham Breed wrote:
> Converting from ratios to cents is easy. Converting between ratios and cents
> requires a function from cents to ratios. That's a lot more difficult because
> information is lost. You got us excited by suggesting that had been solved.
Indeed. One can
On Thu, 17 Dec 2015, David Kastrup wrote:
> LilyPond's focus is creating good, readable scores. That's what
> typography is about. Not creating visual artworks. The boundary
Some material on the LilyPond Web site - in particular, the "Essay" -
gives the impression that it *is* about creating vi
On Thu, 17 Dec 2015, Kieren MacMillan wrote:
> I just read through the Essay in its entirety, and found nothing which
> suggests to me that Lilypond ever sacrifices clarity or functionality
> for "visual artistry”.
That is not what I said.
A focus on creating beautiful output does not imply "sacr
On Fri, 8 Jan 2016, Christopher R. Maden wrote:
> Generally, once you get into any kind of moderately complicated score, you
> have to concoct your score and MIDI separately, e.g.:
>
> theTune = c c c c
> theScore = \repeat volta 2 { \theTune }
> theMidi = \theTune \transpose c c' \theTune
> \score
On Fri, 8 Jan 2016, H. S. Teoh wrote:
> > It's a shame that LilyPond's requirement to completely evaluate music
> > expressions immediately, and therefore once and for all, forces this
> > kind of thing on us. The natural thing to want to do would be to have
> This is not really true. What I usua
On Sat, 9 Jan 2016, David Kastrup wrote:
> > I've had trouble getting that to work in more complicated situations, such
> > as when there's nesting involved. If I want a few notes different inside
> You know the \tagGroup command, do you?
I found it when I was looking for a clean solution to thi
On Sat, 9 Jan 2016, David Kastrup wrote:
> For "this issue"? It allows you to use different tags for different
> purposes without interference between the purposes.
>
> Not more, not less.
Then why suggest it?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
h
On Sun, 17 Jan 2016, Carl-Henrik Buschmann wrote:
> 2) I need to export pngs for my latex documents and i would like the
> bounding box to be as small as possible. How do i do this?
I don't know how well this fits into your workflow, but I'd be inclined to
trim the images after export using pnmcro
On Fri, 29 Jan 2016, Urs Liska wrote:
> I think one of the nice things in Sharon's approach is that you don't
> *have* to contribute - you can also simply make your packages available.
...as hosted Git repositories. I thought that was a dealbreaker, but I
tried to give it a fair chance. I read t
On Fri, 29 Jan 2016, Sharon Rosner wrote:
> >...as hosted Git repositories. I thought that was a dealbreaker, but I
> > tried to give it a fair chance.
>
> Please explain why packages as hosted git repositories is a bad idea. What
> would be a better solution in your opinion?
Version control syst
On Thu, 10 Mar 2016, Cynthia Karl wrote:
> Why on earth would anyone filter inline images?
I filter HTML, because HTML in email is usually spam. "Inline" images
imply HTML and thus get filtered too.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz
On Thu, 10 Mar 2016, Brian Barker wrote:
> At 10:33 10/03/2016 -0600, Matthew Skala wrote:
> > ... HTML in email is usually spam.
>
> You are joking, of course!
No.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/
On Sun, 2 Dec 2018, David Kastrup wrote:
> is hard. At least LilyPond is a better starting point than MusiXTeX.
But MusiXTeX can do "if" statements.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
http://ansuz.sooke.bc.ca/
___
On Sun, 2 Dec 2018, David Sumbler wrote:
> > But MusiXTeX can do "if" statements.
> I felt that an "if" would be useful, so I eventually came up with:
That is useful for conditional includes, but it can't be embedded in the
data structure that LilyPond calls "music" and stores in variables. As
s
On Sun, 2 Dec 2018, David Kastrup wrote:
> Have you looked at tags?
Please read my messages before responding to them.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
http://ansuz.sooke.bc.ca/
___
lilypond-user mailing
On Tue, 1 Jan 2019, Andrew Bernard wrote:
> American floors: 11 12 14 15
> English floors: 11 12 13 14
>
> I saw this a lot when I worked in new York.
I think this custom has persisted in the USA because large buildings need
to have "mechanical" or "service" floors not directly visited by the
regu
On Sat, 13 Apr 2019, Gianmaria Lari wrote:
> \tag #'testOne a
> \tag #'testTwo b
> ~
> \tag #'testOne a
> \tag #'testTwo b
>
> }
>
>
> But then why lilypond removes the tie? Shouldn't just remove the expression
> following testTwo that is "b" ?
The tie is not a separate objec
On Tue, 7 May 2019, Adam Good wrote:
> I'm baffled by bar lines. In the example below, I would like for the f1 bar
> to use a "final" bar line as in \bar "|." the \break then on the next line
> begin with a repeat sign. The manual doesn't hint at this
>
> http://lilypond.org/doc/v2.19/Documentation
Is there any simple way to modify the vertical spacing between numerator
and denominator in a numeric time signature?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
___
lilypond-user mailing l
On Thu, 9 May 2019, Malte Meyn wrote:
> Am 09.05.19 um 16:53 schrieb msk...@ansuz.sooke.bc.ca:
> > Is there any simple way to modify the vertical spacing between numerator
> > and denominator in a numeric time signature?
> >
>
> Not really simple. But it can be done by redefining the stencil:
Than
On Wed, 12 Jun 2019, ah wrote:
> ... using a TeX-based or TeX-like (free) music composition system, if
> available and doing all programming, templating etc. in this myself.
> Advantages: platform independent and free.
Lilypond is not TeX-based nor conceptually TeX-like, despite the fact that
it u
On Wed, 12 Jun 2019, David Kastrup wrote:
> > nor conceptually TeX-like, despite the fact that it uses backslashes.
>
> It's a batch processing system with plain text input syntax. That makes
> for workflows not unaccustomed to LaTeX users. By the way, it did
LaTeX users are accustomed to writin
On Wed, 12 Jun 2019, David Kastrup wrote:
> > LaTeX users are accustomed to writing macros in a Turing-complete language
> > with, for instance, if statements.
>
> LaTeX or TeX users?
I said LaTeX users because you did, but the statement is true about both.
TeX users were the original topic of thi
On Fri, 20 Sep 2019, sir.teddy.the.fi...@gmail.com wrote:
> Why does lilypond add these links and is there a way to prevent it from
> doing so?
Use the "-dno-point-and-click" option on the command line when you run
LilyPond to turn off these links. The links are intended to make it
easier to open
What characters are allowed in variable names?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypo
On Sun, 29 Sep 2019, Thomas Morley wrote:
> > What characters are allowed in variable names?
>
> From NR:
> "The name of a [LilyPond-]variable should have alphabetic characters
> only; no numbers, underscores or dashes."
Thanks. I had a hard time finding this in the manual.
> Note the "yet"!! It
On Mon, 30 Sep 2019, Andrew Bernard wrote:
> The grammar is in Appendix A of the Lilypond Contributor's Guide.
Thanks. How about the definitions of the terminals, such as STRING
and SYMBOL?
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca
On Mon, 30 Sep 2019, David Kastrup wrote:
> The respective lines in lily/lexer.ll read
>
> A [a-zA-Z\200-\377]
> SYMBOL{A}([-_]{A}|{A})*
> COMMAND \\{SYMBOL}
Interesting that this disagrees with the item from the Notation Reference
cited elsewhere in the t
On Mon, 14 Oct 2019, Lisa C Lewis wrote:
> It appears that LilyPond only creates MIDI output. Given that I need to
> share the audio with other people who may not have MIDI players, is
> there a means of generating MP3 files? If not, what do folks recommend
> for converting MIDI to MP3? I've loo
On Tue, 15 Oct 2019, Martin Tarenskeen wrote:
> On Mon, 14 Oct 2019, msk...@ansuz.sooke.bc.ca wrote:
>
> > There are free soundfonts available, and other commercial ones for sounds
> > other than piano, but I don't have specific recommendations.
>
> You will need a General Midi (GM/GS/XG) compatibl
On Thu, 24 Oct 2019, sysad...@gnu.org wrote:
> Any list administrator for this list is free to change these settings
> back, instructions are below.
I hope that it will be changed back. The subject tag is useful for
automatic categorization of incoming messages.
--
Matthew Skala
msk...@ansuz.so
On Fri, 25 Oct 2019, Andrew Bernard wrote:
> complex part of this, along with SPF and DKIM. The change that is being made
> here is clearly necessary to me, and explains some of the list issues people
> were having lately. Sadly, it's probably unintelligible to non-experts.
I run a mail server too
Back in 2015 people on the list helped me with extracting notes from
chords, in this thread:
https://lists.gnu.org/archive/html/lilypond-user/2015-09/msg00394.html
The solution from 2015 has broken now, in the transition between versions
2.21.0 and 2.24.1. I think it's because of changes in Gu
On Sat, 27 May 2023, Jean Abou Samra wrote:
> Are you sure that this is the correct example? That the file chord.ly it
> uses is the same as the one you sent? That LilyPond is the one you believe
> and unpatched, etc. ?
Yes, using the chord.ly file I attached to my message, extracted from the
mes
On Sat, 27 May 2023, David Kastrup wrote:
> which contains a delirious number of unbreakable spaces, code \xa0
> instead of \x20 as for a normal, breakable space.
Thanks! Correcting these seems to have fixed the problem, at least for
the moment.
I don't know why the old version needed *some* of
On Mon, 29 May 2023, Gilles Thibault wrote:
> chord.ly has been renamed to chordsAndVoices.ly (it deals also now with
> Voices)
> You can donwload it here :
Thanks a lot!
As far as I know, the new version works fine. The problem in the old
version was just because of the non-breaking spaces in
On Wed, 31 May 2023, Gilles Thibault wrote:
> Not hardly tested but this should work :
Thanks for looking at it further. I hate to impose on you because I've
already decided to solve this problem in external postprocessing of the
MIDI files, so I hope you won't put a lot of effort into trying to
On Sun, 9 Jul 2023, Knute Snortum wrote:
> I'm not sure exactly how one would deal with this problem, other than with
> tags. Maybe \parenthesize could not produce MIDI output? Or is there a way
Is that a problem? If these are two notes in different MIDI channels,
then the MIDI output is just
On Sun, 9 Jul 2023, Knute Snortum wrote:
> In the MWE the instrument is a piano, so you wouldn't want the note to sound
> louder than the surrounding notes, because the doubled note is played by
> only one hand. But I can see this might be a problem if the two staves were
> for two voices. Maybe
On Sun, 9 Jul 2023, David Wright wrote:
> players. But that's the problem here. When two real voices happen on
> the same note, the result doesn't sound like one louder voice, yet
> that's the effect you get from MIDI,¹ where the "two" voices are
Not on *my* MIDI synthesizer. Two notes are two n
On Sun, 9 Jul 2023, Knute Snortum wrote:
> note out of the other hand. This is why I suggested that the MIDI performer
> could ignore \parenthesize notes. Would this create a pile of workarounds
> for you?
Not as long as I don't use \parenthesize. But I think it's preferable not
to have a pres
I'm trying to use a Dynamics context to put dynamics between the staves of
a PianoStaff. As such, I've got my notes and my dynamics in two separate
variables. For MIDI output, I'd like to merge the contents of the music
variable and the dynamics variable and generate MIDI from the result.
But I c
On Sat, 16 Sep 2023, David Kastrup wrote:
> Try
>
> \new Staff << \MyMusic \MyDynamics >>
>
> since otherwise the variables will end up in separate Staff contexts.
With the following code, the notes in the MIDI file still are both at
default velocity. Explicitly instantiating the Staff does make
On Sat, 16 Sep 2023, David Kastrup wrote:
> > With the following code, the notes in the MIDI file still are both at
> > default velocity. Explicitly instantiating the Staff does make a
> > difference in the visual output.
> >
> > MyMusic = { c'1 c'1 }
> > MyDynamics = { s1\ppp s1\fff }
> >
> > \sc
On Sat, 16 Sep 2023, Knute Snortum wrote:
> Try moving the Dynamic performer to the Staff level.
Cutting and pasting this code produces two pages of error messages because
it's full of "non-breaking space" characters which LilyPond can't process,
but I was able to get the desired results by re-t
On Fri, 6 Oct 2023, Werner LEMBERG wrote:
> Thanks. I think it's ghostscript – there are no pre-built packages
> available either. While LilyPond doesn't link to it in normal builds,
> gs is needed for converting LilyPond's EPS output files to PDF. In
> other words, a MacPorts user still needs
This fails in 2.24.1 with messages about mid-measure time signature
change and failed barcheck:
\include "articulate.ly"
\articulate
{
\time 4/4
c'1 |
\time 3/2
\grace d'8 c'1. |
}
Succeeds if \articulate is not used. I can work around it by tagging MIDI
and non-MIDI versions of the musi
On Wed, 22 Nov 2023, Werner LEMBERG wrote:
> Please check the looong list of bugs related to `\articulate` whether
> it has already been reported.
Seems to be #3696, reported - by you - in 2013.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.
On Tue, 5 Dec 2023, Jan wrote:
> What is the recommended method to “hide” chord names for a couple of
> measures? For example, in the snipped below I’d like to hide the chords for
> measures 5 to 8.
Depending on exactly how you're generating the chord names in the first
place, it may be easy to
On Mon, 1 Jan 2024, Kevin Cole wrote:
> What I mean is, I often have a situation where there's only a wee bit
> o' text occasionally, above the staff. But I frequently have
> ChordNames. It seems to me that the ChordNames would be better placed
> below the occasional text, and I was hoping that, r
On Thu, 4 Jan 2024, Volodymyr Prokopyuk wrote:
> My motivation behind using lilypond in a pipeline is to speed up PDF
> generation by avoiding storing intermediary files on disk. The pipeline I'd
Is that issue real? In Linux and most other operating systems,
intermediate "files" will be written
On Fri, 5 Jan 2024, Dr. Arne Babenhauserheide wrote:
> > intermediate "files" will be written to and read from the buffer cache at
> > RAM speed and only later go to the disk in the background.
>
> That depends on the file system and its synchronization model. I once
> sped up a script to control
On Wed, 10 Jan 2024, Raphael Mankin wrote:
> That strikes me as being a programmer's response, and I speak as a programmer
> for over 50 years. Using <> works, but it is unintuitive. If s0 is more
> intuitive then that should be considered for future inclusion.
It's intuitive to me that s0 means
On Thu, 11 Jan 2024, Wol wrote:
> You need to remember lilypond thinks in terms of pitch, not note names. Unlike
> some (most?) other music software. So "\transpose g e" says "transpose EVERY
> note up A TONE".
I'm not sure it's quite right to say that Lilypond thinks in terms of
pitch, not note
On Wed, 17 Jan 2024, Martin Brown wrote:
> To answer my own question, I've fudged this with:
> \omit MultiMeasureRestNumber at the start of the bass line
> \override MultiMeasureRestNumber.Y-offset = -5 at the start of the
> treble line
> but that seems a bit fragile. Eg. if the staves nee
On Fri, 19 Jan 2024, Werner LEMBERG wrote:
> This is a limitation of MIDI: You can only have a single pitch bend
> per time step per channel. LilyPond's rather primitive MIDI 1.0
> output provides no means to circumvent this limitation.
I've sometimes gotten good use out of LilyPond code from ot
On Tue, 30 Jan 2018, David Kastrup wrote:
> > as closely as possible I don't want to substitute quarter-tone symbols. Is
> > there a simple way to insert arrows in place of accidentals? Playback is
> > not an issue.
>
> Quarter notes wouldn't work anyway since you'd not be able to
> distinguish a q
On Thu, 15 Feb 2018, Urs Liska wrote:
> Sorry for the OT post, but I just have to share this new LaTeX package:
> http://www.ctan.org/pkg/typewriter
>
> I really hope I'll find an opportunity to use it soon:-)
Cute. For the genuine typewriter feel, it's important for the
between-sentences space t
On Thu, 15 Feb 2018, Urs Liska wrote:
> > that may not be standard for proportional typesetting (even LaTeX's
> > standard 1.33 factor is no longer popular) but the double-width sentence
> > space was universal in typewritten texts when typewriters were common.
> >
>
> Are you sure this is not rela
On Thu, 15 Feb 2018, Torsten Hämmerle wrote:
> Let me assure you that Urs is right: in Germany, without any doubt, there is
> no double space.
> It says that there is only ONE space after punctuation marks according to
> German standards.
> Finally Associated Press Stylebook (!): "Use a single sp
On Fri, 16 Feb 2018, Shane Brandes wrote:
> Got it to work. Figured out you can change to what ever font you want
> in the sty file. Lessening the the grayscale variability and some of
> the other variables with the use of a historical font yields really
> convincing period style documents. This is
On Fri, 16 Feb 2018, Karlin High wrote:
> Have you ever seen Luc Devroye's "On Snot and Fonts" website, with info on
> over 70,000 fonts? Looks like he picked up the Vintage Type collection at some
> point.
Yes, I'm even listed in there myself. Great resource. Doesn't look like
he has more recen
On Tue, 25 Sep 2018, Jogchum Reitsma wrote:
> Restoring this from the first bars affected by adding or deleting apostrophes
> or comma's, sometimes lead again to side effects. Rather frustrating...
>
> Is there a way to prevent this?
Are you using relative mode? I only use absolute, myself; every
On Thu, 9 Feb 2017, David Kastrup wrote:
> I'll stick with my "that doesn't even make sense" verdict, thank you
> very much.
Don't ask the question if you're going to attack the answer. Your
contributions to LilyPond development don't excuse you from practicing
basic civility.
--
Matthew Skala
On Fri, 10 Feb 2017, David Kastrup wrote:
> enthused. Why wouldn't we want to have best practices pointed out and
> promoted on the user list?
Best practices do not include attacking other list users.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ans
On Sat, 25 Feb 2017, Rob Torop wrote:
> 13 chord would be rendered as C13 in Ignatzek notation. My question is - is
> there a way for me to omit the "9" in the chord name? My experience is
There's no "9" in the chord name "C13", so what are you really asking?
Do you want to enter a chord name an
On Sun, 26 Feb 2017, Wols Lists wrote:
> I'm guessing lily is taking *in* his request for "C 13", converting it
> into the chord, and then converting that chord *back* into what it
> thinks is called "C 9 13". With the result that lily's output does *not*
> match the user's input. Frustrating!
Oka
On Sun, 26 Feb 2017, David Kastrup wrote:
> To me it would seem that the default mode of operation should be for
> them to have matched rules where feasible, in order to have least
> element of surprise.
I agree, but A. it may not be feasible in some important cases, and
B. even matched rules woul
On Sun, 26 Feb 2017, Thomas Morley wrote:
> If the chordNameFunction (ignatzek-chord-names) does not do what we
> want, we should improve it, but not drop a plethora of
> lily-functionality.
I'm not proposing to "drop a plethora of lily-functionality" but only to
provide something that will be use
On Sun, 26 Feb 2017, Anthony Youngman wrote:
> EXCEPT.
>
> This is *exactly* the scenario in which you will want my chord transposition
> code, and that doesn't make sense in a lyrics scenario.
Then they can use the existing code.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People
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 confusing me with someone else?
--
Matthew Skala
msk...@ansuz.soo
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
> code currently used for lyrics, but that fact would preferably NOT be
> visible to users."
The differ
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