On Wed, Jul 30, 2014 at 7:46 AM, Phil Holmes em...@philholmes.net wrote:
I'm typesetting some madrigals from book 2 of the Musica Transalpina.
Part of one of them has the passage attached. This looks like a brief 3/2
passage that reverts to 4/4 (or their perfect/imperfect mensural
On Mon, Jul 28, 2014 at 10:30 AM, Mark Polesky markpole...@gmail.com
wrote:
Or Scordato, which means out of tune but also forgotten.
The word scordatura is a derivative of this.
Also scordare means detune and also forget
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Or Scordato, which means out of tune but also forgotten.
The word scordatura is a derivative of this.
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On Fri, Jul 25, 2014 at 12:48 PM, David Kastrup d...@gnu.org wrote:
David Nalesnik david.nales...@gmail.com writes:
I just discovered that typesetting a piano piece which constantly uses
temporary voices is much easier in absolute mode. Switching from voice
to voice no longer gives any
Br. Samuel Springuel wrote:
Is there a way to tell lilypond to select the staff size
so that the accompanying lyrics are printed at 17pt? Or
do I simply have to play around with the staffsize
settings until I find one that gets the lyrics to
approximately the right size?
The default point
On Tue, Jul 22, 2014 at 10:01 PM, tisimst tisimst.lilyp...@gmail.com
wrote:
Karol,
I've seen this kind of thing happen in other cases (but I can't remember a
single one at the moment). The issue is that you must \unset the
proportionalNotationDuration one note PRIOR to when it is to actually
Richard Shann wrote:
My problem is that the syntax for ly:make-pitch is
difficult to generate, but I can't seem to find anything
to convert a string like cis' to an ly:pitch? datum.
Richard,
I'm having trouble visualizing what you're trying to
accomplish, couldn't you just do this?
How can I tell LilyPond to allow the tie on the D to come
closer to the noteheads, without resorting to manual tweaks?
I'm assuming some combination of Tie.details properties will
do the trick, but I can't figure it out, and the Tie.details
properties are not documented...
\version 2.19.9
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
you want, and the Dots that are caught by the DotColumn in
the Voice are not
Your code is operating in the Voice context, and you need to be in the
Staff context:
\set Staff.fontSize = #new-size
\override Staff.StaffSymbol.staff-space = #(magstep new-size)
\override Staff.StaffSymbol.thickness = #(magstep new-size)
By the way, I wouldn't reduce the thickness property
Andreas Stenberg wrote:
Is there any easy way in version 2.18.2 to get a custos at
the end of the (visible) notation in mensural or petrucci
voice context?
I haven't checked 2.18.2, but this works in 2.19.5. It's a
total hack, but play around with it; it might ease your
situation.
Hope it
Peter Bjuhr wrote:
is there already a function that converts a string 4. to
the fraction '3/8', or the other-way round?
I don't think you need ly:duration-string; I think you can
just skip that step. And as far as I know, you do need to
copy out the definition of
Is there a way to access one NoteHead grob from another
NoteHead grob that it is merged with? Like this:
{
\once \override NoteHead.after-line-breaking =
#(lambda (grob)
; how to access the NoteHead grob of the
; c'' in the other voice from here?
#f)
c''4
}
Karl Hammar wrote:
Not so fast,
\\ is a pain with vocal music, we want a explicit voice
name for \lyricsto
see below
Carl Peterson wrote:
Yes. The template I'm using is actually fairly robust.
I've moved as many of the tweaks and customizations (such
as autobeaming and shaped notes) to
I wrote a markup command which takes a string and parses
it to make a special markup. I'm leaving out the details,
but the input might look something like:
\markup \foo #abc123
I want to use this in a Lyrics context, but constantly
retyping \markup \foo # is annoying and takes up a lot
of space
Carl Smith wrote:
So, if you embed a font, remove it from your system, then
try to edit the PDF, it fails? I've never tried that.
That's not it either. No one is editing PDF files. Let's
say I write template.ly and make that available online.
Then lots of other people download template.ly and
Carl Smith wrote:
If the fonts are embedded in the PDF, you only need to
have them on your system when you create the file. The
recipient has the fonts, they're in the PDF.
Okay, I appreciate the helpfulness, but a lot of you are
missing the point. The recipients will be editing the files
SoundsFromSound wrote:
A huge thanks to all those who helped create the
documentation for LilyPond.
On behalf of many who contributed to that (many of whom
contributed much more than I did), you're welcome! I'm
proud of my contributions, and you should be too. Hopefully
your videos will ease
Is there a way to have a cascade of font selections, like
with CSS? In CSS, you can do things like:
{font-family:Lucida Console, Monaco, monospace}
And if Lucida Console isn't installed on a user's system,
Monaco will be looked up, and if that's not installed, then
the user's default monospace
Andrew Bernard wrote:
Do you mean for input? Output to PDF embeds the font, so
no requirement for it to be present in recipients system.
I mean, if I write a .ly file that specifies fonts (fonts
that I have on my own computer), and I give that file to
somebody else to compile on his/her own
David Kastrup wrote:
It's called interpret-markup and you obviously need
layout and props for it. One variant that gets them
itself from a grob is grob-interpret-markup.
Thank you. It was right under my nose but I didn't
understand it; and now I do.
- Mark
I know it's an odd request, but what if I actually want
the ~ character to print in lyrics? None of these work:
~
'~'
\~
#~
##\~
#(string #\~)
Thanks.
- Mark
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Thomas Morley wrote:
\markup { ~ } (without ) works too.
Wow, 5 replies in 15 minutes. Some mailing list we got here!
I like this one:
tilde = \markup { ~ }
Thanks everyone.
- Mark
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I'm able to write my own graphical stencils using
ly:make-stencil, and I also can override stencils with
text or markup using the ly:text-interface::print
callback, but now I want to make one stencil with
graphics *and* text, and I can't figure out how to do
that.
Is there some way to achieve
I'm trying to retrieve the value of
LedgerLineSpanner.length-fraction from within a NoteHead
callback, and I can't figure it out. Is there a way?
Thanks.
- Mark
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Thomas Morley wrote:
I'm trying to retrieve the value of
LedgerLineSpanner.length-fraction from within a NoteHead
callback, and I can't figure it out. Is there a way?
Hi Mark,
a quick shot, seems to work, though:
Harm,
that was great; thanks for that! It was the
System.all-elements
David Kastrup wrote:
I'm trying to write a conditional version of the \transpose
function, that would work something like this...
input = {
c c
\conditionalTransposition c c' { c c }
}
\input
= { c c c c }
\processConditionalTransposition \input
= { c c c' c' }
Hi.
I'm trying to write a conditional version of the \transpose
function, that would work something like this:
input = {
c c
\conditionalTransposition c c' { c c }
}
\input
= { c c c c }
\processConditionalTransposition \input
= { c c c' c' }
And I've hit another
David,
That is fantastic, thank you! It's funny, you wrote these
functions with \glissandoize operating on the results of
\untier, and for my particular project, I needed them in the
opposite order, though I didn't realize that when I wrote my
post. Anyway, I was able to modify them on my own
I wrote:
How do I tweak an individual ledger line from within a chord? Well, an hour
later, and all I've managed to achieve is printing the
staff-positions of the ledger lines that happen to have noteheads on
them (to the standard output), and while that makes me feel like a
minor genius, it
So sorry, I'm having trouble with my email client again, hope this works.
I wrote:
How do I tweak an individual ledger line from within a chord?
Well, an hour later, and all I've managed to achieve is printing the
staff-positions of the ledger lines that happen to have noteheads on
them (to
How do I tweak an individual ledger line from within a chord?
Thanks.
- Mark
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Hi everyone. It's been a while!
Okay, here's the structure of a song I'm typesetting:
___
\version 2.17.20
\paper {
indent = 0
line-width = #80
tagline = ##f
}
\layout {
\context {
\Score
\override
Oops, here's the picture I meant to include in the previous message.
\version 2.17.20
\paper {
indent = 0
line-width = #80
tagline = ##f
}
\layout {
\context {
\Score
\override RehearsalMark.font-size = #-3
\override RehearsalMark.font-shape = #'italic
\override
...@dataway.ch
To: Mark Polesky markpole...@yahoo.com; lilypond-user
lilypond-user@gnu.org
Sent: Monday, June 24, 2013 1:24 AM
Subject: Re: volta bracket right-edges; also RehearsalMark conflicts
Mark Polesky wrote:
1) How do I get the right vertical edges of the volta
spanners to print
Urs,
I missed the big discussion earlier, but has anyone mentioned FreeSerif?
http://www.fontspace.com/gnu-freefont/freeserif
I'm getting some good results with lyrics. I particularly like that it has all
5
of the common English ligatures 0xFB00 - 0xFB04 (ff fi fl ffi ffl). Century
Schoolbook
Urs Liska wrote:
http://www.fontspace.com/gnu-freefont/freeserif
...
test sentence with ligatures:
office flight raffle, final offer
test sentence, spelled out completely:
office flight raffle, final offer
I just could only look at the samples on the page you linked, but it
looks quite
From: Klaus Föhl
I like the lilypond notation using \relative being concise and readable.
Entering on a computer keyboard is fairly quick, but still it feels
that playing a melody line would be so much quicker. In particular
if one does not have a typing c4 d e f g1 style but c4 d4. e8 f8.
Bernardo Barros wrote:
I'm thinking of creating a font for contemporary music with the most
commonly used symbols.
Bernardo,
I did a ton of work on this a while ago, then ended up dropping it cold.
http://repo.or.cz/w/lilypond/mpolesky.git/shortlog/refs/heads/pictograms
I don't know if this
Hey everyone -
Let's say I have a song with piano accompaniment:
* * * * * * * * * *
\version 2.13.59
melody = { g'4 g' g'2 }
text = \lyricmode { Blah blah blah }
RH = { e'2 e'4 e' }
LH = { \clef bass c2 c4 c }
\score {
\new Voice = mel { \melody }
\new Lyrics \lyricsto mel \text
Marc Mouries wrote:
checked the doc here:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-rhythms
and it says: partial command is intended to be used only
at the beginning of a piece. If you use it after the
beginning, some odd warnings may occur.
Any pointer about
Peter Buhr wrote:
In the following example, the arpeggio symbol appears over
the time signature, about 1cm from the chord, and the
finger number is to the left of the arpeggio symbol, while
I want the finger number to be on the right of the
arpeggio symbol. Suggestions?
By the way, this is
Marc Mouries wrote:
I am wondering if it is possible to write text inside the
staff close to the notes or without the notes like in the
attached image to show the name of the notes.
Have you tried \easyHeadsOn ? It's not exactly as you
describe, but perhaps it can suit your needs:
This is mostly a copy of a message I sent to the bug list:
http://lists.gnu.org/archive/html/bug-lilypond/2010-12/msg00092.html
* * * * * * * * * * * * * * * * * * * *
The \ppp collides with the SpanBar in the example below.
\version 2.13.43
\new StaffGroup \relative f'
\new Staff { R1 |
Jonathan Wilkes wrote:
Is there a quick way to parenthesize a simple time
signature?
There's a quick way to bracketify a time signature:
http://lsr.dsi.unimi.it/LSR/Item?id=169
To get real parentheses requires a little more tweaking.
Maybe someone who has already done this will chime in. If
Neil Puttock wrote:
In your first example, LilyPond sees three blocks of music
inside \alternative since there's an isolated barcheck
between the two music parts.
This is a very easy mistake to make (and an annoying one to
have to figure out on your own). Can someone mention this
in the docs?
Karl Nelson wrote:
\version 2.13.38
[...]
% This throws: warning: cannot find property type-check
% for `nonstaff-nonstaff-spacing' (backend-type?).
% perhaps a typing error?
\override VerticalAxisGroup #'nonstaff-nonstaff-spacing =
#'((space . 30))
'nonstaff-nonstaff-spacing was
Martin Kemp wrote:
How can I move a single \grace note closer to the note
that it precedes? I've tried many permutations eg.
\override Score.GraceSpacing #'spacing-increment = #**
but whilst I can move further away, I do not seem to be
able to get closer.
Not sure off the top of my head.
Nick Payne wrote:
Lilypond barfs on this:
\paper {
annotate-spacing = ##t
system-system-spacing #'space = #3
}
Thanks. This has already been reported:
http://code.google.com/p/lilypond/issues/detail?id=1338
- Mark
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Martin Tarenskeen wrote:
To answer my own question:
changing:
\clef bass
to:
\set Staff.clefGlyph = #clefs.F
\set Staff.clefPosition = #1
\set Staff.middleCPosition = #8
did the trick.
Are you sure? Looks to me that middleCPosition should be
#5. Anyway, you can try the following code.
Jiri Zurek wrote:
I cannot figure out how to increase the space (the
separation) between the header of the page and anything
else on the page, which can be either lines of markup or
music. The head-separation settings in the paper block
does not seem to work: regardless of any value which I
Stefan Thomas wrote:
Dear community,
has someone created a function, that could make
automatically an exact intervallic inversion, like in the
following example?
\version 2.12.2
original = { g4 gis a bes g1 }
inversion = { g4 ges f e g1 }
\new Staff { \clef bass \original \inversion }
Have you looked at Reinhold's OrchestralLily package?
http://kainhofer.com/orchestrallily/
- Mark
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Brett McCoy wrote:
Have you looked at Reinhold's OrchestralLily package?
http://kainhofer.com/orchestrallily/
I just tried one of the examples on that site and, sadly,
the orchestrallily.ly file fails to parse under Lilypond
2.12.3, tons of syntax errors. I guess the author hasn't
kept up
Christopher Culver wrote:
I woud like to typeset the following score sample in
Lilypond exactly as it appears:
http://christopherculver.com/temp/score-example.png
[...]
The problem, however, is the second treble voice from the
top, that starting on G. In the third bar, that voice
splits
Werner LEMBERG wrote:
Looking at the picture, it seems to me the only part
which LilyPond doesn't support is the special leger lines
below the stave: though the middle C superficially looks
like a G, it's positioned as if it were an E, but with
the first leger missing (so the leger lines
MING TSANG wrote:
Here below is jedit console message display. According to
the message a .ps file is generated and a .pdf is
generated as well. However I find the .ps file but no
.pdf file on the folder where the .ly file resides.
It's possible that no one here knows the answer, since this
keith Luke wrote:
I'm trying to add an arpeggio glyph to the left of the
c whole note, but keep getting errors.
You need at least two simultaneous notes for an arpeggio.
- Mark
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Peter Buhr wrote:
My experience is that a whole note is inappropriate. Assume a
guitar and a bar with 4 notes. The first note is accented
(drone) to ring for the duration of the bar (or possibly
longer). The 4 notes have to add up to the time signature or
lilypond complains or generates
Jay Anderson wrote:
\new Staff \relative c'
{
\stop c \stop e g2.
}
You can also just turn off the warnings:
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Simultaneous-notes#Suppressing-warnings-for-clashing-note-columns
- Mark
Peter Buhr wrote:
I want to specify a duration (tie length) for
\laissezVibrer as in:
a4\laissezVibrer{1}
meaning put a tie of duration whole-note on the 1/4 note
a. Knowing how long to let a note ring seems essential
to describe the music for a player.
Why not just write a whole note?
Nick Payne wrote:
I have several scores that, the last time I worked on them
(using 2.13.20), built without error. Now, with 2.13.32, I
get
programming error: cannot align on self: empty element
appearing in the console log when I build the scores.
Nothing to indicate where the error is
Dmytro O. Redchuk wrote:
I am very sorry, i can not find original post; anyway.
Original poster, please, provide a minimal example.
I've tried[1] those lines by Mark[2] with no success --
i could not reproduce error message mentioned.
I am sorry, very probably this is my fault. Please,
William Bajzek wrote:
My expectation and hope is that it would show the arpeggio
bracket instead of the zigzag one, but it doesn't. Can
this be done?
Yes.
- Mark
* * * * * * * * * *
arpeggioBracketStaff = {
\revert Staff.Arpeggio #'X-extent
\override Staff.Arpeggio #'stencil =
u_li wrote:
That said, the original problem is basically not solved yet:
Is it possible to have a tremolo that doesn't repeat a pair of
notes for a regular number of times?
Nobody said it needed to be elegant...
- Mark
* * * * * * * *
\version 2.13.22
silent =
#(make-dynamic-script s)
Hu Haipeng wrote:
I'm learning counterpoint. The 3 part fugue below is on 2
staves. I used both and new voice, but my teacher still
said the result is not good. Why?
You need to organize your stem directions with the commands
\voiceOne, \voiceTwo, and \oneVoice. Basically, \voiceOne puts
Dmytro O. Redchuk wrote:
I've found that it's possible to move objects (scripts,
dynamics..) with wrong Y-extent so that they start to overlay
other objects --- specifying Y-extent like #'(1 . -1) or like
that
[ ... ]
So, now i have a lot of questions, specifically:
1. Is it valid way?
Peter Chubb wrote:
how can I get \autochange to fill in the gaps in the
staves with rests?
Off the top of my head, I don't know of an easy way to do
this. For what it's worth, elementary piano books almost
always omit such rests when the texture is monophonic. But
if you really want them, I
The accidentals in polyphonic tuplets are disrupting the
horizontal spacing here. In the example file that follows, I
wanted the notes of the second line to be typeset with the spacing
found in the first line. I tried *everything*, and humorously,
things only got further and further from the
Xavier Scheuer wrote:
2010/5/14 James Lowe james.l...@datacore.com:
http://lsr.dsi.unimi.it/LSR/Search?q=arpeggio
do any of these help?
This one should be the right one:
http://lsr.dsi.unimi.it/LSR/Item?id=294
I think it's preferable to refer users to the manual
instead of the LSR,
Nathan Reed wrote:
I'd like to be able to compute the width of a markup
inside a music function, so that I can size another
element based on the size of the markup.
Can we see some code? What is the music-function for?
- Mark
___
Patrick Karl wrote:
Can anyone explain why the 2nd d-sharp is not notated in
the music in the following snippet:
[...]
I understand that I could get it notated properly by
writing it as dis!, but that would require that I notice
the need.
Remove the \partial 4 that you have inside the
Bernardo Barros wrote:
1. Yes, pictogram symbols for percussion would be *very*
useful!! That's something I would help if I had the
knowledge. Are you doing with Postscript?
I'll reply to this separately when I have some time.
2. I was trying to make everything in the same Staff
because I
Bernardo Barros wrote:
Sometimes I think that a centralized stem would express
more precisely the time-point a note occupies. So the
stem is positioned in the center of the notehead. Is there
a easy way to test this?
Have you tried
\override NoteHead #'stem-attachment = #'(0 . 0)
?
- Mark
Bernardo Barros wrote:
I can't do this, I guess. But is there another way
to change the number of staff lines from one measure to
another?
Keep your overrides, just add this before each new one:
\stopStaff \startStaff
- Mark
___
Bernardo Barros wrote:
1. How can I indicate with precision in the score itself
where is the location of each instrument? Perhaps with
post-editing in Illustrator with arrow? Must be a more
elegant solution.
Perhaps a more semantic solution would be to use a different
Staff (or
shelt...@berkeley.edu wrote:
I am new to Lilypond. Could you give me a brief
description of what the various parts of your code are
doing?
It would be hard to explain it if you've not yet seen how
music is stored in pure scheme. You'll need to use the
\displayMusic function to see what I'm
bradford powell wrote:
I've attached an iteration with unicode arrows to indicate
breath direction (blow or draw) and holes for a standard
C-tuning diatonic harmonica.
Veey nice work!
The other issue that I'm not happy about is how ties are
handled. Ideally a tab marking would not be
shelt...@berkeley.edu wrote:
I would like to develop some harmonica tablature using
Lilypond. What I need is to put a one or two digit number
above (possibly below instead) each note in the standard
notation. I would like to have this happen automatically -
ie whenever I enter a note in the
Bernardo Barros wrote:
I don't know, I tried yesterday. The contents could have
musicglyph expressions or something like that? Feta
font was not obvious to me, but I was sleepy. :-)
It's all about the index... (:
- Mark
___
Bernardo Barros wrote:
Like this?
c'^\markup \woodfing
#'(#t #t #f #t #t #t g# D##
(markup (#:natural)))
(doesn't work here)
Just make the markup(s) separate arguments (not part of
the scheme list). See the attachment.
- Mark
\version 2.13.18
David Raleigh Arnold wrote:
I hope I didn't miss this, but has the automatic further
shortening of downward stems on very low notes and of
upward stems on very high notes been implemented? (There
was discussion of this back in the Cretaceous.)
There is some recent discussion on this topic
Bernardo Barros wrote:
Can I use a boolean as an argument?
The solution I got is this. I would need a Boolean, but
the manual says I can't use it.
You should be able to use a boolean type-check in a music
function. You should be able to use any type-check that
appears in type-p-name-alist in
Bernardo Barros wrote:
I tried but it didn't work. Did I made a mistake here?
fing = #(define-music-function [...]
Yes, the problem is that (if I understand correctly) you
can't use a music function to define a markup command; you
need to use a markup function:
Bernardo Barros wrote:
Thanks guys, thank you very much.
Just one thing to make it perfect.
I did with the 6 holes and 2 strings for the extra keys.
But I can't do it for the natural sign.
the (#:natural) in the code
How can I pass this information. It isn't a string, right?
It should
David Raleigh Arnold wrote:
It's a similar topic, but not the same topic. Many
engravers further shortened stems on the very lowest and
highest opposed notes not on the staff. To fit more
systems on the page, one presumes. They can be barely a
linespace long. The shortening of opposed stems
In the example below, how do I get the second half-note to merge?
- Mark
\version 2.13.18
\new PianoStaff
\new Staff = upper {
{
\mergeDifferentlyHeadedOn
b8 c' d' e'
\change Staff = lower b8
\change Staff = upper c' d' e'
} \\ {
b2
Mats Bengtsson wrote:
or use \mergeDifferentlyHeadedOn in both staves.
Thanks Mats!
- Mark
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Eby Mani wrote:
If i put OrganLHTwo on \voiceThree and the remaining on
\voiceOne \voiceTwo , everything seems fine, but get
messed up when \voiceOne and \voiceThree share homophonic
sections.
It looks like the partcombine function defaults to using
voiceOne and voiceTwo. I think that it
Eby Mani wrote:
Is it possible to combine morethan 2 voices using
\partcombine ?. Did anyone re-write this ?
I have need to combine 3 voices to a single staff, I've
tried
Don't use \partcombine. Use the funneling two different
music expressions into one context trick (see
Mark Polesky wrote:
Don't use \partcombine.
Uh, sorry. I spoke too soon. My solution will only work
for entirely homophonic music. Perhaps that's what you
have, but a proper solution would allow different rhythms
simultaneously. I'll think about it. But if anyone else
sees a solution, feel
One thing you could do is split up the parts to be combined
into homophonic and polyphonic sections. Depending on the
situation, this may be more work than it's worth, but here's
an example below.
Hope this helps.
- Mark
* * * * * * * * * *
\version 2.12.3
global = { \time 3/4 }
OrganRHOne
Kieren MacMillan wrote:
Hi all,
Just wondering if anyone has done any markup macros for
harp notation -- in particular, TextSpanners with
graphical markup for things like rapid glissandi, etc.
Couldn't find anything in the LSR or elsewhere online, and
I don't want to reinvent the wheel if I
Graham,
Your file produces *no* blotches for me with this setup:
Ubuntu 9.10
LilyPond 2.12.3
evince (GNOME Document Viewer) 2.28.1
What is your setup? Does the blotch appear on paper when
you print it out? Are you using any included files or have
you altered the default command line options?
GJO wrote:
I downloaded 2.12.3 Lilypond today as I thought it may
have been 2.11 version causing this problem but I still
get black marks in the letter d with the version 2.12.3.
http://old.nabble.com/file/p27663079/Blotch%2Bin%2BD.jpeg
Can you post a minimal .ly file demonstrating this?
-
Stefan Thomas wrote:
Dear community,
in the below quoted snippet the change-Pitch-command does
not work as expected. It doesn't produce the second pitch
one octave higher!
\version 2.12.2
\include changePitch.ly
brokenoctaves = #(define-music-function (parser
location x) (ly:music?)
Andrew Hawryluk wrote:
Yes, it has all been retained (and expanded) in the new essay,
but only the PDF version is very pretty right now.
Andrew, does that mean automated-engraving.itexi and
automated-engraving/* can be removed from the source? We should
clean that up once we're finished with
Stefan Thomas wrote:
What do the two pairs of numbers:
\hideCurvesFrom #'Voice.Accidental #'(0.3 . 0.003) #'(0 . 0) ?
I changed them, but I couldn't see a significant difference and
I don't understand the function of it. A hint would be great.
Stefan,
the original \hideCurvesFrom is here:
Stefan Thomas wrote:
Dear community,
in the following snippet I have the problem, that the
\hideCurvesFrom -command doesn't work well with a
microtonal accidental. Is there a solution possible for
this problem?
Try
\hideCurvesFrom #'Voice.Accidental
instead of
\hideCurvesFrom
Joseph Wakeling wrote:
(i) Would people be interested in having this in the docs?
(ii) Any requests or suggestions for topics that should be covered?
(iii) What are the restrictions on including examples from actual
contemporary scores? I'm not thinking huge
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