Robin Bannister dataway.ch> writes:
> Thomas WillNot wrote:
> > I looked for settings in Acrobat Reader and found none.
> >
> > Please let me know if this functionality is possible in
> > Microsoft Windows.
>
> It is possible (without resorting to Frescobaldi).
> But there doesn't seem to be
Rob gmx.de> writes:
> for the midi playback
> the channel assignment of the staffs
> does not always do what I expect it to do.
> \new Staff \with { midiChannel = 1}
>
That control does not yet exist, but there are requests in the bug-tracker
Joel C. Salomon gmail.com> writes:
> my specific
> question is how best to show what seems to be a voice split across
> staves. The following example should show what I mean: I’ve set the
> piece’s first bar twice, the first time as seems logical to me, the
> second time as it appears in the
Noeck gmx.de> writes:
> Would you recommend putting the bar check always after the note or in
> some circumstances also after an including brace?
> \alternative {
> { a2 b } | % wrong
> { a2 a } | % wrong
> }
If there is more than one measure in each alternative sequence,
then
Mike Solomon mike at mikesolomon.org writes:
I just realized that when one uses spacer rests instead of full-measure
rests in a voice that is being part combined, if there are full-measure rests
in the other voice, those rests will be shifted up.Not a biggie, but perhaps
it should be
Andrew Bernard andrew.bernard at gmail.com writes:
How would one extend the bracket style sustain pedal indication to the end
of a bar or section? I understand from the documentation how to achieve this
for the end of a piece, but can this be done mid-piece?
I might be missing the point,
Keith OHara k-ohara5a5a at oco.net writes:
Knute Snortum ksnortum at gmail.com writes:
I thought the answer would be to force-hshift the lower note but it
doesn't seem to move.
We should file a bug-report, to at least left-align before applying
explicit force-hshifts
I submitted
Knute Snortum ksnortum at gmail.com writes:
I thought the answer would be to force-hshift the lower note but it
doesn't seem to move.
Annoyingly, LilyPond left-aligns the groups of clashing chords between
different staves. The code history says the reason was to left-align
\transpose
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Curiously, switching voices as
[...]
results in a “left-shifted” voicing that closely resembles what the Satie-
engraving did. =)
In any case, it would be great to have a setting like
Context.voice-shifting = #’(3 1 2 4)
Simon Albrecht simon.albrecht at mail.de writes:
Am 15.06.2015 um 16:50 schrieb Knute Snortum:
I haven't had any replies to this. How can I ask the question better?
Probably that’s because there is no way to automate this. At least I’d
be very surprised if there were one. It’s so much of
Colin Campbell cpkc at shaw.ca writes:
Under the assumption that the changed assertion handling is exposing
previously non-fatal bugs, I propose to create separate issues for the 3
items now known: Daniel's two and another reported by Andrew Barnard.
Colin would you let met add the three
Knute Snortum ksnortum at gmail.com writes:
I'm having a problem shaping ties of chords after more than one measure. I
have an internal voice that comes in on the third measure and the ties go
right through it. \shape doesn't seem powerful enough to handle this (at
least I don't know the
Knute Snortum ksnortum at gmail.com writes:
I have a piece that I'm working on that has a measure with four very
crowded voices. I expected to have to resolve note collisions, but I'm
having some problems with \shiftOn and \mergeDifferentlyHeadedOn.
You don't need mergeDifferentlyHeadedOn
Reinhold Kainhofer lists at kainhofer.com writes:
I'm trying to store that part into a separate variable and use
resetRelativeOctave for the octave jumps. I'm tagging those
resetRelative and try to filter them out for the first occurrance or for
the repetition. Unfortunately, tagging
Stan Mulder st45882wz at earthlink.net writes:
convert-ly will change something like gsharp to g-sharp, but it won't change
gsharp4 to g-sharp4. Anything with a number after it doesn't convert
properly. So I've had to do all those manually (or with search and replace).
Oops. The rule in
Federico Bruni fedelogy at gmail.com writes:
2015-04-23 9:21 GMT+02:00 Martin Tarenskeen m.tarenskeen at zonnet.nl:
I often use LilyPond to quickly enter a very simple tune or small
pianosheet needing just a simple texteditor (Vim). I use \relative all the
time. c g c e g is soo much faster
Stan Mulder st45882wz at earthlink.net writes:
I'm getting errors that I cannot fix after upgrading to 2.19.19. These
errors seem to show that lily is not recognizing my english pitch names like
eflat even though I've included english.ly near the top of the file.
At version 2.19.16, the
D'Arcy J.M. Cain darcy at druid.net writes:
GNU LilyPond 2.16.2
Linux imp 3.13.0-51-generic #84-Ubuntu SMP
Ubuntu 14.04.2 LTS
ef2.:maj13 c4:9.5-
Not sure how to make it any tinier. Did you mean that you needed more
context?
'tiny example' is jargon for a complete example that
Michael Hendry hendry.michael at gmail.com writes:
I routinely put the bar checks at the _beginnings_ of the bars, thus...
| a4 b c d
| a8 b c d e f g a
| a16 b c d e f g a b c d e f g a b
That works very nicely.
When I had a measure that took more than one line of
Martin Tarenskeen m.tarenskeen at zonnet.nl writes:
I often use LilyPond to quickly enter a very simple tune or
small pianosheet needing just a simple texteditor (Vim). I use \relative
all the time. c g c e g is soo much faster and easier than c''' g''
c''' e''' g''' g'''.
If there were a
Trevor Daniels t.daniels at treda.co.uk writes:
Martin Tarenskeen wrote Saturday, April 18, 2015 6:29 PM
Just a wild guess: did anyone on Windows try the same speed comparison
using
the --ps option instead of pdf output?
Just done that. The conversion from ps to pdf takes only a
Trevor Daniels t.daniels at treda.co.uk writes:
Phil Holmes wrote Thursday, April 16, 2015 2:00 PM
The performance of LilyPond 2.19.18 on Windows is _much_ better than
previous versions. Some examples:
A 26 page multi-score piece I've been working on:
2.19.16: 114s to compile
Keith OHara k-ohara5a5a at oco.net writes:
Trevor Daniels t.daniels at treda.co.uk writes:
Phil Holmes wrote Thursday, April 16, 2015 2:00 PM
The performance of LilyPond 2.19.18 on Windows is _much_ better than
previous versions. Some examples:
On Linux, I see no measurable
Thomas Morley thomasmorley65 at gmail.com writes:
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
This seems to be analogous to the way we need to keep the staff alive
when we temporarily leave a staff empty in piano music.
\new Staff
\new Voice
Thomas Morley thomasmorley65 at gmail.com writes:
Or any chance to get a neutral 'Bottom-context for use with LilyPond-syntax?
We have close, with
mus = \relative c'' {
\context Bottom = 1 { \voiceOne c4 r c r }
\context Bottom = 2 { \voiceTwo r a r a}
}
\new Staff
Jim Long lilypond at umpquanet.com writes:
On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)
\taggedRep looks especially interesting. I often use the
'extractMusic'
Simon Albrecht simon.albrecht at mail.de writes:
Well, there’s reason enough to redirect this to bug-lilypond, isn’t
it?
Thanks for finding the bug, and confirming that it is a bug and not just
a misunderstanding, and narrowing down the cause, and posting to bug-lilypond.
The
txikitofandango nickgeorgopoulos at gmail.com writes:
#(ly:set-default-scale
(ly:make-scale
'#(0 1 3/2 2 3 7/2 9/2 5 6))
)
Everything looks great, and the MIDI comes out correct within the octave,
with each semitone up the scale going up a MIDI number. EXCEPT, because
this is a
Noeck noeck.marburg at gmx.de writes:
Wouldn’t it
be more straight-forward to have identical objects (alists) behind these
consistently named properties? I.e. a different name for this function and
reserve the consistent name for what is currently the default-staff-staff-
spacing?
Yes.
Phil Holmes mail at philholmes.net writes:
Partcombine splits chords where the interval is greater than a ninth:
[...] it's expected behaviour. I can't find this
documented anywhere: is it?
Only recently. Dan made the behavior adjustable and then I added a
user-interface for version
Thomas Morley thomasmorley65 at gmail.com writes:
2015-01-28 0:16 GMT+01:00 David Sumbler david at aeolia.co.uk:
On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote:
2015-01-27 12:56 GMT+01:00 David Sumbler david at aeolia.co.uk:
The problem is that the actual key signatures on the 2
On Sun, 25 Jan 2015 08:37:16 -0800, Phil Holmes m...@philholmes.net wrote:
is
there a way of displaying where the various contexts are placed so I can try
to see what's going on?
I don't know of any built-in option that will help with this,
but you could temporarily ask LilyPond to draw
On Tue, 20 Jan 2015 08:51:13 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
2. What would be required so that the \bar ||” \key \default stuff could be
avoided
It is awkward to make this happen with an add-on to current LilyPond.
Jan-Peter took the approach of watching for
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
The linked issue (https://code.google.com/p/lilypond/issues/detail?
id=1228) currently has a
status of “abandoned” — well, at least the associated patch does, if not
the whole issue.
Is there a technical reason why the most
On Sun, 18 Jan 2015 19:34:24 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
This does have the variable reedPlayer storing written pitches, where we
recommend storing concert pitches
I would much rather code in concert pitches.
What I was suggesting, and what I put into the
On Sun, 18 Jan 2015 21:09:07 -0800, Paul Scott waterho...@ultrasw.com wrote:
So I am saying that I would like any new features for instrument switching to
suit my need to
not always enter the notes in concert pitch. I don't really think that be a
problem.
Absolutely.
There is a set of
Phil Holmes writes:
I'm setting some music with temporary staves, and ensuring the the
temporary staff is above the main staff using
\new Staff \with { alignAboveContext = #label}
I'm also using a dynamics context, which is created with
\new Dynamics \with { alignAboveContext =
On Tue, 13 Jan 2015 05:54:48 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I understand that in realistic cases you probably have the notes in one
variable and options for arrangements in another parallel sequence
flute_notes = {c'2 c'' }
arrangementB = {s1*4
Cynthia Karl pckarl at mac.com writes:
\score{
\new Staff \key c \major \music
\layout {
\context { \Voice \consists Ambitus_engraver }
}
}
throws the following two programming errors:
Programming errors are intended to report conditions that a programmer
thinks
On Mon, 12 Jan 2015 06:36:15 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
how I *want* to use it:
flute_part = {
c'2 c'' |
b'4 g'8 a' b'4 c'' |
c'2 a' |
g'2. r4 |
\prep_alto R1*4 | % [input below in concert pitch] \play_alto a2 f' | %[
desired typeset
Cynthia Karl pckarl at mac.com writes:
IMO, the problem is that my simple snippet causes LilyPond to declare that
programing errors have occurred. Programming errors are a serious
problem. Programming errors are only
solved by correcting the program, not by avoiding them by modifying the
Paul Scott waterhorse at ultrasw.com writes:
Is anyone using instrumentSwitch that can explain what the various
variables in addInstrumentDefinition mean?
Don't use instrumentSwitch. It is a pointless frustrating waste of time.
(The same could be said for LilyPond, except that there is
Werner LEMBERG wl at gnu.org writes:
For me it works just fine on my GNU/Linux; see attached PDF.
Almost certainly the problem with kerning and combining characters
when using Pango on Windows, then
http://code.google.com/p/lilypond/issues/detail?id=2657
Ryan Clarin ryanclarin at gmail.com writes:
When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd
string 3rd fret. I want it to make G as
4th string open, but cannot find in the manual how exactly to do that.
It should be under string number in the fretted strings
On Sun, 11 Jan 2015 12:36:43 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
So LilyPond does not store a global key signature.
No, but as you well know, many (most?) Lilypounders abstract the key signature
(etc.)
into their own global [variable](s).
Right, but LilyPond
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
I’m just wondering whether it might be easy — and ultimately desireable —
to have a built-in method of
choosing which grobs get repeated and/or omitted during an unfold \repeat
expression.
Another oft-encountered use case would be
tisimst tisimst.lilypond at gmail.com writes:
Kieren MacMillan wrote
Any hints, for example, on what ‘ratio' actually does, or
[..]
effect of ratio. Seems like a bug to me that increasing ratio
doesn't
change the shape of the tie curve very much if the tie is at its
height-limit, but
Paul Morris paul at paulwmorris.com writes:
Keith OHara wrote
I'm proposing \languageabbreviated
+1 for adding an opt-in way to use 'cn' (etc.) via another version of the
'english' input language. This allows for use of this helpful form of
input
without confusing new users who
On Mon, 01 Dec 2014 12:28:54 -0800, Knute Snortum ksnor...@gmail.com wrote:
* Is there a way to keep this structure and get rid of the warning?
The warning is about being unable to fit the beam between the notes, because
you forced the stem directions in such a way to force the beam between
On Sat, 29 Nov 2014 07:44:39 -0800, Knute Snortum ksnor...@gmail.com wrote:
I've attached a picture of the measure. [Debussy Prelude #2, Voiles]
This piece uses a whole-tone scale (not in the part with the cross-staff grace
notes of Knute's example, but most of the rest of the piece) so I
On Sat, 29 Nov 2014 07:44:39 -0800, Knute Snortum ksnor...@gmail.com wrote:
Thank you both for your relies. Keith, your second suggestion is what I
need, if I could designate a zero length note.
Requirements:
* An actual eighth note
* Grace notes need to attached with a beam to the eighth
Jay Vara jay at diljun.com writes:
\layout {
\context {
\Staff
\remove Note_heads_engraver
\consists Completion_heads_engraver
}
}
We need to remove the Note_heads_engraver from the *Voice* and replace it
with Completion_heads_engraver.
\new Staff { \new
Joshua Nichols josh.d.nichols at gmail.com writes:
I was recently typesetting a song, using part combine, from a hymnal. I ran
into a problem: everytime I ran \partcombine, I found that unterminated
slur and cannot end slur, were common warnings. I was confused, and so I
created this small
Ralph Palmer palmer.r.violin at gmail.com writes:
On Sun, Nov 16, 2014 at 11:31 PM, Keith OHara k-ohara5a5a at oco.net
wrote:Dear list,
In English, pronouncing the 'natural' in 'C-natural' is required if the
note is out-of-key. LilyPond does not consider the key when reading note-
input
Knute Snortum ksnortum at gmail.com writes:
I want to start a run of grace notes with a note with a normal head.
...but with the c' beamed to the d'.
If these notes all happen before the beat, then
\relative c' {
\grace { \tweak #'font-size #0 c32 d e f g a b } c8 }
This looks like it
Joshua Nichols josh.d.nichols at gmail.com writes:
Is there talk about improving this feature?
Yes.
Someone recently gave \partcombine an option to double-stem unisons
http://code.google.com/p/lilypond/issues/detail?id=4112
The example at the top of this follow-up might make more sense
Dear list,
In English, pronouncing the 'natural' in 'C-natural' is required if the note is
out-of-key. LilyPond does not consider the key when reading note-input, but
could easily accept 'cn' as a name for the pitch C-natural. There was a
feature request on the bug-list, that LilyPond do so.
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Is there a global/automagic way to make the minimum-length
value apply only to compressed MMRs?
Instead of minimum-length of the rest itself, you can set the
minimum-length of the number (which is, maybe non-obviously, also a
It turns out we can use \partcombine for four voices pretty easily
http://lsr.di.unimi.it/LSR/Item?id=492
and a minor documentation clarification showing how to print '8' in place of 8va
http://lsr.di.unimi.it/LSR/Item?id=950
___
lilypond-user
It turns out we can use \partcombine for four voices pretty easily
http://lsr.di.unimi.it/LSR/Item?id=958
and a minor documentation clarification showing how to print '8' in place of 8va
http://lsr.di.unimi.it/LSR/Item?id=950
___
lilypond-user
Gilberto Agostinho gilbertohasnofb at gmail.com writes:
[in the context of music generated by an algorithm]
I am having trouble dealing with ottava changes while using autochange.
The example showed \ottava changing the ottavation of staves by hand,
but the music moving between staves
Gilberto Agostinho gilbertohasnofb at gmail.com writes:
but when changing staff the ottava position
gets lower (!) and collides with the beam.
LilyPond allows you to beam to any other staff, so in general that
beam might have to go up and cross the ottava bracket, while the
bracket must stay
From: Dr. Bernhard Kleine bernhard.kleine at gmx.net
I have added a file which shows the warning. It compiles but I would like
to know about the warning.
LilyPond complains when two voices have the same stem direction and no
indication of which note-head to shift horizontally (in the style
Stuart A. Harvey stuart.a.harvey at gmail.com writes:
The snippet of code below used to work in 2.14.0. Now that I have
installed 2.18.2 I get “Bars in parallel music don’t have the same length”.
Is there any way to accomplish this in 2.18.2 where the lead line, chords,
and tabs are
and end the part with a shorter measure to
make the number of beats work out.
and Keith OHara responded:
From what you wrote I see no problem,
I think what he means is that your more or less minimal example.
doesn't throw any warning or error messages in LilyPond 2.18.0.
I also meant
Don Gingrich gingrich at internode.on.net writes:
Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.
MarcM marc at mouries.net writes:
When i run your code i get this message: warning: already have a volta
spanner, ending that one prematurely
Oh, so that's why you had the explicit (volta #f) in your version.
If I see a warning, but the output is good, I consider myself warned
and happy, but I
Peter Crighton petecrighton at gmail.com writes:
As you can see in the following code and the attached image, there is a
possible bug when using \RemoveEmptyStaves with voices in different keys
(such as in a score with transposing instruments): key signatures appearing
only in hidden empty
MarcM marc at mouries.net writes:
I found the \set Score.repeatCommands and I am getting close but the
repeat
bars are not added at the right place.
If I understand your comment,
It is played as: A , A1, A , A2, A , A3, A , A4, A , A5/End
where endings 1 and 3 are the same and you don't
The development version 2.19.13 with the expanded remove-staves capability is
now available.
On Sat, 30 Aug 2014 04:41:15 -0700, Janek Warchoł janek.lilyp...@gmail.com
wrote:
2014-08-29 8:53 GMT+02:00 Keith OHara k-ohara5...@oco.net:
But if someone uses these definitions with music
Simon Albrecht simon.albrecht at mail.de writes:
Am 29.08.2014 um 08:53 schrieb Keith OHara:
You should do something similar for the \together segments.
As you have it now, the together segments are un-tagged, so are
included in all three staves (two of which are not printed).
Oops. We
Dear user list,
The suggestion quoted below from the bug-lilypond list
http://lists.gnu.org/archive/html/bug-lilypond/2014-08/msg00037.html
makes sense to me, as an addition to the \language english note-names.
It would not fit in German-style pitch-names, where 'cis' and 'ces' get
Janek Warchoł janek.lilypond at gmail.com writes:
I'm working on putting together a set of functions for handling parts
that split into multiple voices and/or staves
Attachment (definitions.ily): text/x-lilypond, 2359 bytes
Attachment (example.ly): text/x-lilypond, 825 bytes
Attachment
On Fri, 29 Aug 2014 03:06:31 -0700, Brian Barker b.m.bar...@btinternet.com
wrote:
At 23:41 28/08/2014 -0700, Keith OHara wrote:
The suggestion quoted below from the bug-lilypond list
http://lists.gnu.org/archive/html/bug-lilypond/2014-08/msg00037.html
makes sense to me, as an addition
Orm Finnendahl wrote:
Can someone shed a light on this or is it a bug?
I just reported it as a bug. It is surprising we have noticed it before.
The only workaround I can see is to use a spacer rest with grace-note-timing.
\new Staff {
\partcombine
{b4 b b b R1}
{R1 \partcombineSoloII
Pierre Perol-Schneider pierre.schneider.paris at gmail.com writes:
As far as I remember it was a well known issue. I thougt it was over but I
have to admit that I barely use partcombine.
For more details, see : https://code.google.com/p/lilypond/issues/detail?
id=261
When using
Javier Ruiz-Alma javier at ruiz-alma.com writes:
Need troubleshooting help with a two-line markup block.
If you can make a *single* block that has the same height as a
two-line column, then there is no trouble with the gap.
Somebody better at LilyPond' s markup language might be able to do
Richard Shann richard at rshann.plus.com writes:
I see that baseline-skip is affecting the size of the white triangle,
which doesn't seem to be what's in the documentation.
The \triangle has behaved that way since its original introduction, at
2005-05-04
* ly/chord-modifiers-init.ly
On Sat, 26 Jul 2014 08:41:41 -0700, David Nalesnik david.nales...@gmail.com
wrote:
Thank you very much, Keith, for the explanations and the two snippets.
They cover the situations I've encountered so far. (The first when there
are no scripts present.)
I suggest using the simpler first
David Nalesnik david.nalesnik at gmail.com writes:
Attempting to put dynamics above cross-staff notes using the code below
leads to some awful collisions.
LilyPond postpones deciding the placement of things that cross staves,
until the staff-spacing is known. A minor variation of your
Phil Holmes mail at philholmes.net writes:
Can anyone explain what's going on here?
\score {
\new MensuralStaff {
\layout {
\context {
\Score
\override SpacingSpanner #'spacing-increment = #0
\remove Default_bar_line_engraver
}}}
The Default_bar_line_engraver
On Wed, 25 Jun 2014 10:14:13 -0700, Mark Polesky markpole...@gmail.com wrote:
Keith OHara wrote:
Put the small notes in a temporary Voice and give that
Voice a Dot_column_engraver.
Having this engraver in both a Voice and Staff is not
problem here. You get two DotColumns, but that is what
Pierre Perol-Schneider pierre.schneider.paris at gmail.com writes:
On the french list we are working on a Merulo score with an 8 lines
staff, 2 clefs and 2 key signature
As you can notice, I still have to manually set the distance between the
key signatures.
LilyPond supports custom key
Mark Polesky markpolesky at gmail.com writes:
Normally, the dots on dotted notes in different voicesshould be aligned
The textbooks say we should set dots set independently for each voice
https://code.google.com/p/lilypond/issues/detail?id=2200
But slightly-misaligned dots in some cases drew
Vaughan McAlley vaughan at mcalley.net.au writes:
I prefer what Lilypond does. In some modern contexts there might be a
diagonal stem from the B natural to the stem of the B flat, but
leaving it out is definitely easier.
There is an example of how to draw that diagonal stem at
Joshua Nichols josh.d.nichols at gmail.com writes:
global = {
\key c \major
\numericTimeSignature
It is a bug, but you can fix this one yourself if you like.
In 'property-init.ly' the definition is
numericTimeSignature = \override Staff.TimeSignature.style = #'numbered
but we want it to
Joshua Nichols josh.d.nichols at gmail.com writes:
I've never experienced this before now...
Oops, I just realized you mean the grace-note bug.
Whenever you write a grace note in LilyPond, you need grace
notes or skips of the same duration in every other staff.
So here in the upper staff you
Paul Morris paul at paulwmorris.com writes:
Ariel Barton wrote
I am trying to use the accidental style teaching to make my music a
little easier to use. The problem is, teaching produces a whole lot of
superfluous natural signs that aren't really helpful; they just clutter up
the page.
Joey Di Nardo username652719 at gmail.com writes:
Hi all, I am attempting to use Sagittal notation accidentals in my lilypond
files (see folder link), and as you can see when you run ratios.ly the
accidentals collide with the actual note glyphs.
There was an enhancement to spacing
David Nalesnik david.nalesnik at gmail.com writes:
On Fri, Feb 14, 2014 at 3:33 AM, Ed Gordijn ed.klarinet at gmail.com
wrote:Hi,
% \override MeasureCounter.staff-padding = #4 % doesn't work either
Huh--that's strange. This will involve some investigation to get at the
cause,
Ed Gordijn ed.klarinet at gmail.com writes:
I use an override in partcombine to ignore collisions. But how do I
revert this again?
Revert the next time that \partcombine output has the same
configuration of Voices.
As the two parts change in relation to each other, the part-combiner
Urs Liska ul at openlilylib.org writes:
[That's something I often struggle with: I think the function or
parameter definition that is generated from the sources is often quite
sparse]
You are changing behavior rather deep in the details.
You can search for stencil-offset in the setup
At 15:24 on 05 Feb 2014, Urs Liska wrote:
- the vertical position of the dashes (i.e. raise
it a little bit relatively to the text)
TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
unfortunately doesn't help. I'd need something like raise the dashes
by 0.2 ...
Kieren
On Wed, 05 Feb 2014 20:05:28 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Lilypond does use the text baseline as reference point for text.
Really? Then why do these texts not align along their baselines:
The default settings have the same minimum gap between staff and text,
On Sat, 25 Jan 2014 01:05:38 -0800, Ed Gordijn ed.klari...@gmail.com wrote:
\tag #'partcombineOnly { \once\stemUp
\once\override NoteColumn #'ignore-collision =##t }
In the particular example you show, of course, the tags are not needed,
because the overrides you want for the part-combined
Ed Gordijn ed.klarinet at gmail.com writes:
musicI = { e''2( a'2) }
musicII = { e'2( \partcombineApart a'2) }
{
\partcombine \musicI \musicII
}
You can print the slurs separately
musicI = { e''2( a'2) }
musicII = {\partcombineApart e'2( a'2) }
or together
On Fri, 24 Jan 2014 12:16:02 -0800, Ed Gordijn ed.klari...@gmail.com wrote:
So the e' e'' as a
chord and the a' with two stems.
I don't see any way to have \partcombine do that, but you could force the lower
e to have a stem up and line up with the upper note. This almost looks like a
Urs Liska ul at openlilylib.org writes:
The point in the edition of such snippets is to _document_ the actual
state of a manuscript. This isn't _music_ but rather a remainder from
the compositional process. Comparing this with later states allows an
editor to draw conclusions on the
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
What would be involved in developing a feature to add notes or tweaks at an
arbitrary moment within a music expression?
e.g.
global = \repeat unfold 100 s1
music = \addAt (4 3/8) \global \once \override
Stefan Thomas kontrapunktstefan at gmail.com writes:
It uses the true type font HE for special microtonal accidentals.I've
found this font somewhere in the web.
Unfortunately the accidentals are too close to the notes.
How can I give them more space?
I tried everything.
When I compile the
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