Wow Harm,
that is great! I will use this versatile aproach, thank you very much!
greetings,
Robert
Am 08.02.2019 um 00:40 schrieb Thomas Morley:
\version "2.19.82"
gotoCtx =
#(define-music-function (strg)(string?)
#{
\change Staff = #strg
#(if (string=? strg "staff") ;; Staff needs to be
This post was written Sat, 2 Feb 2019 13:18:17 -0600 and has
been blocked three times already, so it's rather late arriving.
On Fri 01 Feb 2019 at 17:33:34 (-0700), foxfanfare wrote:
> foxfanfare wrote
> > And again, what is strange is that I have to launch zathura through vim if
> > I
> > want
Hi Malte,
> IMHO systems-per-page should be ignored on the last page if (and only if)
> ragged-last-bottom is set to ##t
+1
> systems-per-page also doesn’t work well with large headers or other markups.
> One might want less systems on the first page in this case too
The way Lilypond treats
Hi Reggie,
This is just my personal code for a string quartet I am doing, and my use
case may be a little different to normal, as I have to set it all up to be
able to do SP->NAT->SP continuous as well as plain SP->NAT, and ST->NAT,
and so on, so there are more parts to this than just my initial
Good Evening. I am using the gregorian.ly because Orthodox liturgical music
is typically unmetered. Additionally, in order to make the hyphens and
spaces look "better" I have "expanded" the lyric hyphen and lyric space
minimum distances. For most of the settings I use, having the same distance
for
Am Do., 7. Feb. 2019 um 21:21 Uhr schrieb Robert Hennig :
>
> Hi Valentin,
> thank you for sharing your lilypond wisdom.
> I have learned a lot already :).
> (\denies "Voice" had not removed the note heads)
>
> For my problem to switch from up and down setting the chord names
> I will stick to
On 2/7/2019 4:01 PM, Aaron Hill wrote:
On 2019-02-07 12:50 pm, Ben wrote:
Is it possible to modify the sustain pedal marking by only using the
stylized "P" instead of "Ped"? I noticed this in the Bartok Piano
Concerto #3 (condensed score) and was curious if this is something
LilyPond can do.
On 2019-02-07 12:50 pm, Ben wrote:
Is it possible to modify the sustain pedal marking by only using the
stylized "P" instead of "Ped"? I noticed this in the Bartok Piano
Concerto #3 (condensed score) and was curious if this is something
LilyPond can do. Thanks for any feedback! (see attached)
Is it possible to modify the sustain pedal marking by only using the
stylized "P" instead of "Ped"? I noticed this in the Bartok Piano
Concerto #3 (condensed score) and was curious if this is something
LilyPond can do. Thanks for any feedback! (see attached)
\version "2.19.82"
{
Robert Hennig writes:
> Hi Valentin,
> thank you for sharing your lilypond wisdom.
> I have learned a lot already :).
> (\denies "Voice" had not removed the note heads)
It would basically just state that no Voice contexts can be anchored
directly under the given context type. If LilyPond
Hi Valentin,
thank you for sharing your lilypond wisdom.
I have learned a lot already :).
(\denies "Voice" had not removed the note heads)
For my problem to switch from up and down setting the chord names
I will stick to Arons solution in this fashion:
chordsUp = { \override
On 2/7/19, Reggie wrote:
> I understand yes but there actually is a section of the piece later where
> there is a divisi with time signature changes.
Then you should replace
\remove Time_Signature_engraver
with
\once \override TimeSignature.stencil = ##f
This will prevent the TimeSignature
Valentin Villenave-3 wrote
> Well, since you’re starting in the middle of the score, it doesn’t
> make sense to print a Time Signature like if it was the beginning.
> However, this will also remove new Time Signatures, so if you need to
> change \time in your divisi section, you’ll need to use
Hi,
working towards a solution of at least one problem with measure-aligned
stuff I wrote a function that centers one or two markups above and/or
below a measure and forces the measure to be *at least* as wide as the
wider of the two markups. The function does *not* center anything within
On Feb 7, 2019, at 10:04 AM, Malte Meyn wrote:
> Hi list,
>
> IMHO systems-per-page should be ignored on the last page if (and only if)
> ragged-last-bottom is set to ##t. I think that systems-per-page is used for
> even spacing and ragged-last-bottom = ##t shows that the user wants an
>
On 2019-02-07 9:06 am, Reggie wrote:
David Kastrup wrote
Andrew Bernard
andrew.bernard@
writes:
Hi David,
Really great advice and useful to know. However, I have a long
section
run
of spanners for sul ponticello to natural. I did'nt want to tweak
every
occurrence for literally a
David Kastrup wrote
> Andrew Bernard
> andrew.bernard@
> writes:
>
>> Hi David,
>>
>> Really great advice and useful to know. However, I have a long section
>> run
>> of spanners for sul ponticello to natural. I did'nt want to tweak every
>> occurrence for literally a hundred times, or call a
Hi list,
IMHO systems-per-page should be ignored on the last page if (and only
if) ragged-last-bottom is set to ##t. I think that systems-per-page is
used for even spacing and ragged-last-bottom = ##t shows that the user
wants an exception to such an even spacing on the last page.
Any other
On 2/7/19, Reggie wrote:
> Thank you V but this does not compile. What did I do wrong?
Oh yes, I made a mistake when pasting into my previous message. Try this:
%
scoreAViolinIbegin = \relative c'' {
\repeat unfold 10 c1
ges1
}
scoreAViolinImiddle = \relative c' {
On Thu 07 Feb 2019 at 08:16:28 (-0700), Reggie wrote:
> Valentin Villenave-3 wrote
[…]
> > %% Here’s the layout for _this_ \score only.
> > %% (it doesn’t apply to individual parts.)
> > \layout {
> > \context {
> > \Staff
> > \name "miniStaff"
> >
Folks,
is there a way of automagically adding some volume increase ("accent")
in MIDI output to any note that happens to start on the first beat in a bar?
It seems a well-defined enough request to me so that it should be
perfectly possible to do this in scheme, but I'm afraid this exceeds my
>
> but it would likely not be
> easy to implement properly.
>
That's what I figured… It's okay, I'll try what Mats and Kieren have
suggested with the tags, and if that turns out to be more work than it's
worth, then I can always just manually pad the variables with rests, I
guess.
Thanks,
智樂喬 writes:
> I'd also like to avoid defining two variables, to keep things a little
> DRYer.
>
> What I imagine might be idea would be a function which works similarly to
> skip-of-length, but takes an argument to subtract a specified length from
> the variable. I imagined something like the
>
> Hope that helps!
>
Yes, it does. I have no idea what the edition-engraver is, but I'm curious
to read more about it when I have time.
Thanks!
Randy
On Thu, Feb 7, 2019 at 11:44 PM Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Hi Randy,
>
> > I'm looking for a clean, way to
>
> As illustrated by the diverse responses you already recevied, the
> question is what you want to achieve.
>
Yes… maybe I should think about that some more. Usually I spend more time
looking at ways to "do it right" than actually just writing some music.
It's a bad habit!
> If this is a way
Hi Randy,
> I'm looking for a clean, way to align music variables which begin with
> partial measures. For example,
>
> \version "2.19.82"
> partA = { c'2 b | R1*3 }
> partB = { \partial 4 g4 | \bar "||" c'1 }
> \score { { \partA \partB } }
This is one of the few situations where I would
On 2019-02-07 15:08, 智樂喬 wrote:
I'm sure I'm not the first person to ask this, but I'm looking for a
clean, way to align music variables which begin with partial measures.
For example,
\version "2.19.82"
partA = { c'2 b | R1*3 }
partB = { \partial 4 g4 | \bar "||" c'1 }
\score { { \partA
>
> *Valentin:*
>
If you really want to keep your variables separate, you’ll have to use
> simultaneous music instead of sequential expressions :
>
That's what I was afraid of…
{\oneVoice s1*15/4 \partB}
>
I'd like to avoid having to count bars/beats because it's kind of
inefficient and makes
Valentin Villenave-3 wrote
> Here is how I would type your example, using many variables (and no
> \tags, like I did earlier). As you can see, everything with notes is
> defined first, and _then_ comes every structural information: what
> should be printed where, in which group, coming after this
\version "2.19.82"
partA = { c'2 b | R1*3 }
partB = { \partial 4 g4 | \bar "||" c'1 }
\score { { \partA \partB } }
Yes, so partA is a full four bars, the last bar being a measure of rest.
partB starts after partA, but partB contains a pickup note, which should
actually be in the last beat of
Valentin Villenave writes:
> On 2/7/19, 智樂喬 wrote:
>> In reality, there would be multiple partBs and some of them would start
>> with a pickup and some of them wouldn't. One think I can do is explicitly
>> shorten the end of partA so that partB lines up, but it involves some
>> mixing of
On Thu, 7 Feb 2019 at 15:24, 智樂喬 wrote:
> I'm sure I'm not the first person to ask this, but I'm looking for a
> clean, way to align music variables which begin with partial measures. For
> example,
>
> \version "2.19.82"
> partA = { c'2 b | R1*3 }
> partB = { \partial 4 g4 | \bar "||" c'1 }
>
On 2/7/19, 智樂喬 wrote:
> In reality, there would be multiple partBs and some of them would start
> with a pickup and some of them wouldn't. One think I can do is explicitly
> shorten the end of partA so that partB lines up, but it involves some
> mixing of content and structure. Is there a best
On 2/7/19, Robert Hennig wrote:
> The second Solution from Valentin looks like what I would prefer but
> it prints the chord notes too, which is not was I'm looking for (only
> Chord Names).
Huh. Have you added
\denies "Voice"
like I did? It should prevent any notes (or rests) from being
On 2019-02-07 3:01 am, N. Andrew Walsh wrote:
Problem now is, Lily isn't avoiding collisions between the markup
objects
and grobs on other staves. Neither the markup nor the Staff.ottavation
text
block are given place, instead overlapping the voice above. How can I
fix
this?
Do you have a
Ok, thanks for the clarification. That's something to keep in mind,
although I've never used tags in my scores before. (Only made one score
before, though, so…) I'll keep this in mind if I ever have any strange
issues when I'm using it.
Randy
___
I'm sure I'm not the first person to ask this, but I'm looking for a clean,
way to align music variables which begin with partial measures. For example,
\version "2.19.82"
partA = { c'2 b | R1*3 }
partB = { \partial 4 g4 | \bar "||" c'1 }
\score { { \partA \partB } }
In reality, there would be
Dear Aaron and Valentin,
thanks for your efforts and tips.
I'm still looking for an solution to switch the ChordsOnStaff
on and off, because I need it casually..
The second Solution from Valentin looks like what I would prefer but
it prints the chord notes too, which is not was I'm looking for
Thank you everybody for all this help. It's fantastic, many ideas here, and
I have learned so much. All good!
Andrew
On Thu, 7 Feb 2019 at 20:45, David Kastrup wrote:
> Andrew Bernard writes:
>
> > Hi David,
> >
> > Really great advice and useful to know. However, I have a long section
> run
PS- also, I've made use of http://lsr.di.unimi.it/LSR/Item?id=875, which
gets the notes in the correct positions. My example now looks like this:
---
\version "2.19.82"
\relative c, {
\clef "bass_8"
\textLengthOn
\override Staff.NoteColumn.ignore-collision = ##t
\override
智樂喬 writes:
> Thanks a lot, David. It works as advertised. I do think I read about this
> somewhere in the manuals, but I couldn't find it.
>
> This uses really involved code to simulate something that does not
>> really map well to LilyPond's internals so it may interfere with other
>> tricky
Hi Andrew
On Thu, Feb 7, 2019 at 11:51 AM Andrew Bernard
wrote:
> Hello Andrew,
>
> Why are quartertones technically wrong?
>
Quartertones are wrong for harmonics (especially "natural" ones), because
neither the finger position nor the resultant pitch are equivalent to
equal-tempered
Hello Andrew,
Why are quartertones technically wrong?
My current string quartet is full of them. String players can do them just
fine.
Andrew
On Thu, 7 Feb 2019 at 21:46, N. Andrew Walsh
wrote:
>
> (And yes, I know quartertones are technically wrong.
>
Thanks a lot, David. It works as advertised. I do think I read about this
somewhere in the manuals, but I couldn't find it.
This uses really involved code to simulate something that does not
> really map well to LilyPond's internals so it may interfere with other
> tricky code.
>
I'm pretty
Hi List,
I have the following construction:
--
\version "2.19.82"
\relative c, {
\clef "bass_8"
\textLengthOn
\override Staff.NoteColumn.ignore-collision = ##t
\override NoteHead.style = #'harmonic-mixed
<<
{
\oneVoice
eih^\markup { \right-align "Sul D"
Andrew Bernard writes:
> Hi David,
>
> Really great advice and useful to know. However, I have a long section run
> of spanners for sul ponticello to natural. I did'nt want to tweak every
> occurrence for literally a hundred times, or call a function for each
> spanner each time. So it's kind of
Hi David,
Really great advice and useful to know. However, I have a long section run
of spanners for sul ponticello to natural. I did'nt want to tweak every
occurrence for literally a hundred times, or call a function for each
spanner each time. So it's kind of 'semi-permanent'.
Andrew
Hello Pierre,
This is helpful. I deduce from this that you can only use revert on
bound-details as a while if you override it as a complete alist to begin
with, not as separate overrides for each sub-property as I had. That's an
important thing to know.
Of course, to revert the other overrides,
Andrew Bernard writes:
> I have a text spanner set up nicely to do sul ponticello -> nat. All works
> beautifully. But how does one revert the overrides use to achieve this to
> go back to a plain text spanner without undoing each and every line?
\undo \spToNatSpan ?
Personally, I'd rather
Hi Andrew,
How about:
%%
\version "2.19.82"
spToNatSpanOld = {
\override TextSpanner.font-size = #-4
\override TextSpanner.bound-padding = #1.0
\override TextSpanner.style = #'line
\override TextSpanner.bound-details =
#`((right
(Y . 0)
(arrow . #t)
(text .
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