Re: tempo mark in large score for each group
You would do something like:
\new Staff \with {\consists Rehearsal_mark_engraver}
I can't recall if that is the exact name of the engraver right off.
Of course, that would put all \marks above the given staff.
On 10/30/09, Kieren MacMillan kieren_macmil...@sympatico.ca wrote:
Hi Jay,
I just checked Honegger's score for Jeanne d'Arc and tempo marks
are above the top staff and then below for the strings. I've
looked in the manual 2.12 and snippets and I don't see a way to do
this.
I tried setting it for the top instrument in each group and that
did not work.
What about creating a custom RehearsalMarks context, and then adding
it to your score at the bottom?
It would only have to \consist of a couple of engravers...
Hope this helps!
Kieren.
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--
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Assistant Professor of Music
Composition/Theory
Brigham Young University
http://neilthornock.net
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Re: tempo mark in large score for each group
I just checked Honegger's score for Jeanne d'Arc and tempo marks are above the top staff and then below for the strings. I've looked in the manual 2.12 and snippets and I don't see a way to do this. I tried setting it for the top instrument in each group and that did not work. The attached example must be what you are looking for with some additions I use (I also put rehearsal marks, volta repeats, text spanners and bar numbers at StaffGroup level and the line below all staves has only rehearsal marks and bar numbers). Best wishes, Frédéric StaffGroupIndications.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website so close, and yet so far
Graham Percival schrieb:
On Tue, Oct 27, 2009 at 12:01:24PM +0100, Federico Bruni wrote:
Unfortunately, I haven't figured out how to add the tweaks suggested by
Graham.
So if someone else is able to do it, he's free to emprove the (attached)
file (read the TODO section in the beginning).
Ok, well, I give up. I've added this as it is.
Sorry - I wanted to tweak it, but I was busy and finally forgot.
I have added a function which takes care of glissandi between
two equal note head positions. If I can manage to automatically
take the accidentals into account, this would be even more helpful.
But this is another story...
So here it is, with crude tweaks and hack, but it looks better than
before, I think ;-)
Marc
I suppose that even with the collisions and whatnot, it still
looks more impressive than the current example. It would be nice
if somebody could spend 10 minutes tweaking it, but I guess we
take what we can get.
- Graham
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\version 2.13.6
#(set-global-staff-size 22.45)
#(define (glissando::calc-extra-dy grob)
(let* ((original (ly:grob-original grob))
(left-bound (ly:spanner-bound original LEFT))
(right-bound (ly:spanner-bound original RIGHT))
(left-pitch (ly:event-property (event-cause left-bound) 'pitch))
(right-pitch (ly:event-property (event-cause right-bound) 'pitch)))
(if (and (= (ly:pitch-octave left-pitch) (ly:pitch-octave right-pitch))
(= (ly:pitch-notename left-pitch) (ly:pitch-notename
right-pitch)))
(- (ly:pitch-alteration right-pitch) (ly:pitch-alteration left-pitch))
0 )))
%% Hide fret number: useful to draw slide into/from a casual point of
%% the fretboard.
hideFretNumber = { \once \override TabNoteHead #'transparent = ##t
\once \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t
\once \override NoteHead #'no-ledgers = ##t
}
\paper {
indent= #0
line-width= #180
}
upper= \relative c' {
\time 4/4
\key e \major
\set Staff.midiInstrument = #acoustic guitar (steel)
\set fingeringOrientations = #'(left)
%\override Staff.Glissando #'extra-offset = #' (0.0 . 1.0)
\partial 4. \acciaccatura c16 \glissando cis8 e4
cis-1 g'-3 2 s8 \grace a16 ( \glissando b-28\3 ) d-1 ( b ) |
e-3\2 ( d-1 b ) \grace ais-216 ( \glissando a8 g ) s4. |
s4. d'\3 g\2 8 gis,\4 d'\3 fis\2 2\arpeggio ~ |
gis\4 d'\3 fis\2 2 b'\2\harmonic e\harmonic 2^\markup { \musicglyph
#scripts.ufermata } |
}
lower= \relative c {
\set fingeringOrientations = #'(left)
\partial 4. s4. |
s4 e,4 s2 |
s2 s8 e'-34. ~ |
e4 \hideFretNumber \grace { b8 \glissando s4 } e-24\5 e,2 ~ |
e2 e'\6\harmonic |
}
\score {
\new StaffGroup
\new Staff = guitar
\context Voice = upper guitar { \clef G_8 \voiceOne
\override Glissando #'gap = #0.5
\override Glissando #'extra-offset =
#'(-0.5 . 0)
\override Glissando #'extra-dy =
#glissando::calc-extra-dy
\upper }
\context Voice = lower guitar { \clef G_8 \voiceTwo
\override Glissando #'bound-details
#'right #'padding = #1
\override Glissando #'bound-details
#'left #'padding = #0.2
\lower }
\new TabStaff = tab
\context TabVoice = upper tab { \clef moderntab \voiceOne \upper }
\context TabVoice = lower tab { \clef moderntab \voiceTwo \lower }
\midi {
\context {
\Score tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
\layout {
\context {
\Staff
\override StringNumber #'transparent = ##t
}
\context {
\TabStaff
\revert Arpeggio #'stencil
}
}
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Re: Harmonica tablature notation
how to code a tail-recursive version of this. #(define (draw hole nbends) (define bend-glyphs ) (while ( nbends 0) (set! bend-glyphs (markup #:flat bend-glyphs)) (set! nbends (1- nbends))) (markup bend-glyphs #:circle hole)) Perhaps something like that ? : #(define (draw hole nbends) (let loop ((bend-glyphs ) (n nbends)) (if ( n 0) (loop (markup #:flat bend-glyphs) (1- n)) (markup bend-glyphs #:circle hole thanks for your example showing how to use \applyMusic - it helped me with a similar problem. Well, for me, I don't really undersand the difference between : \context Voice = melody \applyMusic #(lambda (x) (music-map add-harmonica x)) \notes and \context Voice = melody \musicMap #add-harmonica \notes ? It seems to have the same result. Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tools for critical apparatus
The http://old.nabble.com/Inline-score-inside-markup---bugs-in-music-alignment-td26111727.html lengthy discussion with David Kastrup about the mixing pieces of text with fragments of score inside a markuplines block (by the way, I am still waiting for a solution at that thread - although we have got very close to it) revealed to myself that sometimes it is good asking oneself the very basic and preliminary questions. Such a questions would now be: what am I trying to achieve by using Lilypond? This question must be answered before I start looking for solutions in particular problems (like that with non-breaking score inside markuplines). And since there always may be people who went through the same path before myself, I decided to ask directly at the forum, possibly getting useful directions for my own work. Well, what am I trying to do with Lilypond? I would like to prepare a critical edition of 16th century plainchant pieces from Czech region. It is all mediaeval monody (1 voice only + lyrics). Putting it into simple words, we may say: Typically, such a chant is conserved in many manuscripts, each exhibiting distinct variants (scribal errors, alterations of all kind, unreadable spots due to the degradation of paper ...). Therefore, I have to gather all the extant variants, critically examine them, having from them distilled the possibly pure form of the chant. This form of the chant will be published in a book. This is extremely easy to achieve with Lilypond. But it is not all. I must also present, why I chose to publish certain form of the chant and not another one. So, the variants must be commented on and presented in so called http://en.wikipedia.org/wiki/Critical_apparatus critical apparatus . These are mainly omisions, additions or alterations of the music or lyrics or both (music+lyrics) of the chant. It is usually presented in a form of footnotes or endnotes to the individual words, noteheads or so where the variant reading occurs (endnotes appear to be preferable - they do not disturb the flow of the main body: after all, it is only tiny minority of users who care about critical notes anyway, vast majority skips them without looking at them not even once in life). And this is now my question: what are the tools which I can use in Lilypond to form such a critical apparatus? Did anyone tried to do similar project? Did anyone found reasonable solution to provide the critical apparatus for music? Yes, I read the Lilypond documentation for musicological papers and suggestions for mixing text and music, but please understand that this is profoundly different work. In a musicological paper, you have 90% of text, and only 10% of musical examples to illustrate what you are saying. However, here, I am aiming at producing 100% musical score (entire songbook, a hymnal if you like) but with a lot of something what could be described as explanatory notes (i.e. the critical apparatus) accompanying the music. Here, I sould stop and wait for the reactions. But to reveal my thoughts further, I present my own solution: Since Lilypond has no footnotes/endnotes, I will gather all the critical apparatus in separate markuplines block at the end of each piece (or at the end of the entire book). It is the same as producing endnotes, just that I have to watch for the correct numbering of variants myself. The location of the variant in the main body will be done by means of markup (simulating footnote numbering). In the critical apparatus itself, I thought it would be very good idea to present the musical variants by means of putting short score blocks (music fragments) into the markuplines. This will work for 85% of variants, since their extent is only 1-3 notes, or one syllable, one word of the lyrics or so. Inline presentation of these is without any problem (on the other hand, it would be a problem presenting musical variants at separate lines, since such a weird line of music would only contain a single note or so - therefore the approach Lilypond+LaTeX does not seem ideal to me). However, since the variant may at times span accross several (2-3) lines of music, I needed that there may be multi-line score fragments inside the markuplines. This functionality was kindly supplied by Neil Puttock in the above mentioned thread. So, now I have all I need for my work, except that the multi-line score inside markuplines does not behave perfectly - it is described there at lenght, no need to reproduce the problem here. However, David Kastrup in that discussion commented, that it is perhaps not the best idea to want to do it that way. Since he is extremely experienced in the book preparation for publishing, it is serious comment and objection. And it inspired me to ask publicly, what would be the best way (please except magic, as he already suggested) to prepare the musical edition and the critical apparatus for publication? -- View this message in context:
Re: Tools for critical apparatus
Le 31 oct. 2009 à 12:40, Jiri Zurek (Prague) a écrit : However, since the variant may at times span accross several (2-3) lines of music, I needed that there may be multi-line score fragments inside the markuplines. At the moment, you won't be able to have: Some text with =short=score= and some more text. Some other text and then: ==longscore=== ==longscore= == and some more text. What is currently possible is: Some text with =short=score= and some more text. Some other text and then: ==longscore= ==longscore= and some more text. Something like this may also be possible (requires to modify the parser): Some text with =short=score= and some more text. Some other text and then: ==longscore= === and some more text. But anyway, being given the current state of LilyPond, a line break will occur before the multi-line excerpt. You may also do, with a few tweaks: Some text about ==long=score a lengthy score with the score at the right but that would be a single, non-breakable, markup. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website so close, and yet so far
On Sat, Oct 31, 2009 at 09:31:19AM +0100, Marc Hohl wrote: Sorry - I wanted to tweak it, but I was busy and finally forgot. I have added a function which takes care of glissandi between two equal note head positions. If I can manage to automatically take the accidentals into account, this would be even more helpful. But this is another story... So here it is, with crude tweaks and hack, but it looks better than before, I think ;-) Thanks! Any possibility of adding a minimum-length to the glissandi? Some of them are really hard to spot. Also, why not use \fermata ? I don't think it would change anything, but the code looks a bit weird. And do you have any idea why there's so many clashing note columns? Is that a normal message for tab stuff? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book on osx 10.4
On Thu, Oct 29, 2009 at 01:44:54AM +0100, James E. Bailey wrote: On 29.10.2009, at 00:40, Graham Percival wrote: I suppose that I'm dealing with release issues at the moment, but I think the python thing comes from the lilypad package generation. Hmm, perhaps now that we have python in the lilypond app, the scripts should use #!/path/to/lilypond/python rather than #!/usr/bin/env python. Then again, maybe this is already done. Last I checked, they use env python Try changing that to point to the python that's bundled with lilypond. If that one fails, then we should change the scripts or bundle hashlib or whatever. As you start dealing with bugs, I hope you won't be disappointed. Ha! I've been a (partially) silent observer of lilypond development for at least a year now. I have zero expectations, hopes, or desires when it comes to issues being resolved. Well, you probably have *desires*. But I know what you're trying to say. :) My only question at this point is, do I add this to the tracker with a known workaround or what? I mainly only concern myself with ways of getting the output that I need regardless of the issue in question. Adding something to the tracker with a known workaround is perfectly fine, but for this specific issue, I'd wait a few days to see if the above recommendation fixes it. Basically, as long as we're actively discussing it, there's no point adding it to the tracker. If the discussion dies, then definitely add it. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: centering rests
Quoting Bertalan Fodor lilypondt...@organum.hu:
But in 4/4 with partial? I don't have access to lily now but i think
i saw that failing.
It should still not be centered, should it? The bug/limitation you
might have in mind is that you have to play some tricks to make
\RemoveEmptyStaffContext remove a line that only has rests, if the line
includes a pickup like r4.
/Mats
Original message
From: Mats Bengtsson mats.bengts...@ee.kth.se
Sent: 30 Oct 2009 10:00 +01:00
To: Bertalan Fodor lilypondt...@organum.hu
Cc: Erik Appeldoorn ursus.k...@ziggo.nl, lilypond-user@gnu.org
Subject: Re: centering rests
Bertalan Fodor wrote:
I think that's a bug as R2 is not centered.
??? An R2 is certainly centered within the measure if you have 2/4 time:
\new Staff \relative c'{ \time 2/4 c8 d e f }
\new Staff {R2 }
However, as was pointed out by Kieren, a half note rest in the beginning
of a 4/4 measure should be left aligned with the first note of the
measure, not centered in the first half of the measure, according to
common typesetting practice.
/Mats
Original message
From: Erik Appeldoorn ursus.k...@ziggo.nl
Sent: 29 Oct 2009 18:39 +01:00
To: 'Kieren MacMillan' kieren_macmil...@sympatico.ca
Cc: lilypond-user@gnu.org
Subject: RE: centering rests
You are quite right, and I have never even bothered to check. Although I
have a quite substantial library and am over 25 years active with music.
Erik
-Original Message-
From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca]
Sent: donderdag 29 oktober 2009 18:29
To: Erik Appeldoorn
Cc: lilypond-user@gnu.org
Subject: Re: centering rests
Hi Erik,
when I want to use r2 at the start (or R2) of the bar it looks
awfull. So how do I align these rests centered?
If you mean that you want the (e.g.) half-note rest to be mid-way
through the first half of the measure, rather than left-aligned at
the first beat, then... you don't/shouldn't.
In standard music engraving practice, the full-measure rest is the
*only* one that is centered in its [horizontal] duration-space - all
other rests are placed at the position where they first happen in the
flow of time, just like their sounding-note equivalent(s).
Hope this helps!
Kieren.=
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--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
=
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Re: website so close, and yet so far
On Thu, Oct 29, 2009 at 02:59:39PM +0200, Reinhold Kainhofer wrote: 2) look up the manual, which takes a few seconds, since a) their title is not bold, b) the same size as the other text and c) it is written in green, which makes even less contrast than the black text on the green background. Furthermore, there is so much other visual clutter on the page that looking for a manual name takes much longer now. I actually think there's less visual clutter; there are 4 sections, and each section has a list of NAME: explanatory text rather than having filesizes, multiple formats, etc. I agree that the text link color, size, etc. could be improved, but that's a CSS issue so I'm not touching it. The page is good for first-time users, but for anyone working with lilypond for a few weeks already, things got more complicated... Agreed. What do you think of the All.html page now? - I mirrored the format of the main doc page, so that users can find the manuals with the same layout as the page. - the manual names take you directly to that manual. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website so close, and yet so far
2009/10/31 Graham Percival gra...@percival-music.ca: And do you have any idea why there's so many clashing note columns? Is that a normal message for tab stuff? It's a grace note bug. The upper voice has \voiceOne set, but it's ignored following the first acciaccatura. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website so close, and yet so far
Graham Percival schrieb:
On Sat, Oct 31, 2009 at 09:31:19AM +0100, Marc Hohl wrote:
Sorry - I wanted to tweak it, but I was busy and finally forgot.
I have added a function which takes care of glissandi between
two equal note head positions. If I can manage to automatically
take the accidentals into account, this would be even more helpful.
But this is another story...
So here it is, with crude tweaks and hack, but it looks better than
before, I think ;-)
Thanks! Any possibility of adding a minimum-length to the
glissandi? Some of them are really hard to spot.
You're right - fixed.
Also, why not use \fermata ? I don't think it would change
anything, but the code looks a bit weird.
Oh, I concentrated on the glissando lines only - I inserted \fermata
and this works as expected.
Greetings
Marc
Cheers,
- Graham
\version 2.13.6
#(set-global-staff-size 22.45)
#(define (glissando::calc-extra-dy grob)
(let* ((original (ly:grob-original grob))
(left-bound (ly:spanner-bound original LEFT))
(right-bound (ly:spanner-bound original RIGHT))
(left-pitch (ly:event-property (event-cause left-bound) 'pitch))
(right-pitch (ly:event-property (event-cause right-bound) 'pitch)))
(if (and (= (ly:pitch-octave left-pitch) (ly:pitch-octave right-pitch))
(= (ly:pitch-notename left-pitch) (ly:pitch-notename
right-pitch)))
(- (ly:pitch-alteration right-pitch) (ly:pitch-alteration left-pitch))
0 )))
%% Hide fret number: useful to draw slide into/from a casual point of
%% the fretboard.
hideFretNumber = { \once \override TabNoteHead #'transparent = ##t
\once \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t
\once \override NoteHead #'no-ledgers = ##t
}
\paper {
indent= #0
line-width= #180
}
upper= \relative c' {
\time 4/4
\key e \major
\set Staff.midiInstrument = #acoustic guitar (steel)
\set fingeringOrientations = #'(left)
%\override Staff.Glissando #'extra-offset = #' (0.0 . 1.0)
\partial 4. \acciaccatura c16 \glissando cis8 e4
cis-1 g'-3 2 s8 \grace a16 ( \glissando b-28\3 ) d-1 ( b ) |
e-3\2 ( d-1 b ) \grace ais-216 ( \glissando a8 g ) s4. |
s4. d'\3 g\2 8 gis,\4 d'\3 fis\2 2\arpeggio ~ |
gis\4 d'\3 fis\2 2 b'\2\harmonic e\harmonic 2\fermata |
}
lower= \relative c {
\set fingeringOrientations = #'(left)
\partial 4. s4. |
s4 e,4 s2 |
s2 s8 e'-34. ~ |
e4 \hideFretNumber \grace { b8 \glissando s4 } e-24\5 e,2 ~ |
e2 e'\6\harmonic |
}
\score {
\new StaffGroup
\new Staff = guitar
\context Voice = upper guitar { \clef G_8 \voiceOne
\override Glissando #'gap = #0.5
\override Glissando #'extra-offset =
#'(-0.5 . 0)
\override Glissando #'springs-and-rods
= #ly:spanner::set-spacing-rods
\override Glissando #'minimum-length =
#4
\override Glissando #'extra-dy =
#glissando::calc-extra-dy
\upper }
\context Voice = lower guitar { \clef G_8 \voiceTwo
\override Glissando #'bound-details
#'right #'padding = #1
\override Glissando #'bound-details
#'left #'padding = #0.2
\lower }
\new TabStaff = tab
\context TabVoice = upper tab { \clef moderntab \voiceOne \upper }
\context TabVoice = lower tab { \clef moderntab \voiceTwo \lower }
\midi {
\context {
\Score tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
\layout {
\context {
\Staff
\override StringNumber #'transparent = ##t
}
\context {
\TabStaff
\revert Arpeggio #'stencil
}
}
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changing a snippet in the LSR
Hello,
how can a snippet in the LSR be corrected?
http://lsr.dsi.unimi.it/LSR/Snippet?id=633
is not perfect, it should look like
---[snip]---
%LSR Contributed by Frederico Bruni
%% Hide fret number: useful to draw slide into/from a casual point of
%% the fretboard.
hideFretNumber = { \once \override TabNoteHead #'transparent = ##t
\once \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t
\once \override NoteHead #'no-ledgers = ##t %--- NEW
}
music= \relative c' {
\grace { \hideFretNumber d8\2 \glissando s2 } g2\2
\grace { \hideFretNumber g8\2 \glissando s2 } d2 |
\grace { \hideFretNumber c,8 \glissando s } f4\5^\markup \tiny Slide into
\grace { \hideFretNumber f8 \glissando s } a4\4
\grace { \hideFretNumber e'8\3 \glissando s } b4\3^\markup \tiny Slide
from
\grace { \hideFretNumber b'8 \glissando s2 } g4 |
}
\score {
\new Staff {
\clef G_8 % --- NEW
\music
}
\new TabStaff {
\music
}
}
---[snip]---
otherwise the tablature won't fit to the displayed notes; moreover, the ledger
lines
of the hidden notes are still visible (ok, if the clef is G_8, then
the ledger lines won't be there anymore, but for sake of maximum usability, the
snippet should be prepared for users sliding around on the sixth string :-).
Thanks
Marc
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Re: changing a snippet in the LSR
Marc Hohl schrieb:
Hello,
how can a snippet in the LSR be corrected?
http://lsr.dsi.unimi.it/LSR/Snippet?id=633
is not perfect, it should look like
---[snip]---
%LSR Contributed by Frederico Bruni
%% Hide fret number: useful to draw slide into/from a casual point of
%% the fretboard.
hideFretNumber = { \once \override TabNoteHead #'transparent = ##t
\once \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t
\once \override NoteHead #'no-ledgers = ##t %--- NEW
}
Oh, I forgot: it would look even better (since the LSR is on 2.12) with
the following
additions:
% the next definition and the layout block are necessary only for
versions 2.13.6:
#(define-public (glissando::calc-tab-extra-dy grob)
(let* ((original (ly:grob-original grob))
(left-bound (ly:spanner-bound original LEFT))
(right-bound (ly:spanner-bound original RIGHT))
(left-pitch (ly:event-property (event-cause left-bound) 'pitch))
(right-pitch (ly:event-property (event-cause right-bound) 'pitch)))
(if ( (ly:pitch-semitones right-pitch) (ly:pitch-semitones left-pitch))
-0.75
0.75)))
\layout {
\context {
\TabVoice
\override Glissando #'extra-dy = #glissando::calc-tab-extra-dy
}
}
music= \relative c' {
\grace { \hideFretNumber d8\2 \glissando s2 } g2\2
\grace { \hideFretNumber g8\2 \glissando s2 } d2 |
\grace { \hideFretNumber c,8 \glissando s } f4\5^\markup
\tiny Slide into
\grace { \hideFretNumber f8 \glissando s } a4\4
\grace { \hideFretNumber e'8\3 \glissando s } b4\3^\markup \tiny
Slide from
\grace { \hideFretNumber b'8 \glissando s2 } g4 |
}
\score {
\new Staff {
\clef G_8 % --- NEW
\music}
\new TabStaff {
\music}
}
---[snip]---
otherwise the tablature won't fit to the displayed notes; moreover,
the ledger lines
of the hidden notes are still visible (ok, if the clef is G_8, then
the ledger lines won't be there anymore, but for sake of maximum
usability, the
snippet should be prepared for users sliding around on the sixth
string :-).
Thanks
Marc
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dealing with multiple related grobs
Hi, I have a question about accessing information about several related grobs at once. For example, if I wanted to use information about a beam and a tuplet number positioned above it in a single procedure, where would these grobs be associated together, and how could I refer to them in turn? Thanks, David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
escaped string
Why do I get ëscaped string error here. The compiled result looks ok to me
\layout {
\context {
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
\fontSize = #-2
}
}
Hou je goed / Keep well,
Erik
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Re: escaped string
If I remember correctly, \fontSize is not a known LilyPond string.
On 01.11.2009, at 00:20, Erik Appeldoorn wrote:
Why do I get ëscaped string” error here. The compiled result looks
ok to me
\layout {
\context {
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
\fontSize = #-2
}
}
Hou je goed / Keep well,
Erik
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James E. Bailey
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RE: escaped string
According to the manual:
3.3.4 Modifying context properties
fontSize Real Increase or decrease the font size
and further:
% make note heads smaller
\set fontSize = #-4
I did forget to type the \set but the result is still the same
Erik
_
From: James E. Bailey [mailto:derhindem...@googlemail.com]
Sent: zondag 1 november 2009 0:28
To: Erik Appeldoorn
Cc: lilypond-user@gnu.org
Subject: Re: escaped string
If I remember correctly, \fontSize is not a known LilyPond string.
On 01.11.2009, at 00:20, Erik Appeldoorn wrote:
Why do I get ëscaped string error here. The compiled result looks ok to me
\layout {
\context {
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
\fontSize = #-2
}
}
Hou je goed / Keep well,
Erik
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James E. Bailey
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Re: escaped string
Erik Appeldoorn wrote Saturday, October 31, 2009 11:48 PM % make note heads smaller \set fontSize = #-4 ^^ I did forget to type the \set but the result is still the same. Did you remember to remove the \? Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
