igns from
SMUFL in lilypond as well and I'd be willing to sponsor or participate
in sponsoring it (would 50,- Euros be ok as a starting point?).
Best,
Orm
----------
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Esche
Hi,
I'd like to make a sign for circular bowing like in the attached
png. The example was done using an epsfile, but unfortunately that
doesn't export to svg, which I need. So it should be done using
lilypond's builtin markup commands (or scheme code). Can someone point
me to examples to do
rname $0)"
to
root="$(dirname "$(readlink -f "$0")")/.."
That should be backwards compatible and work in any circumstance.
--
Orm
Am Mittwoch, den 17. August 2022 um 13:13:44 Uhr (+0200) schrieb Orm Finnendahl:
> Hi,
>
> after upgrading from lilpond 2
Hi,
after upgrading from lilpond 2.19 to 2.23, lilypond-invoke-editor and
convert-ly stopped working.
In both cases I get
Traceback (most recent call last):
File "~/bin/../libexec/convert-ly", line 24, in
import gettext
ModuleNotFoundError: No module named 'gettext'
I installed
Hi,
below is a snippet and attached a pdf which shows the f sharp
accidental in the lower voice on the downbeat of bar 2 too far away
from the notehead. The distance seems to be related to the tied note
in the upper voice. Although the accidental is not repeated there, it
is taken into account
Am Mittwoch, den 20. Juli 2022 um 22:00:53 Uhr (+0200) schrieb David Kastrup:
> Well, that's more or less what
>
> #(begin
>
> ...
>
> )
>
> does.
Wow, cool! I assume #'defines than work in the top-level, right?
Should've thougt of that but admittedly my scheme is a bit rusty...
--
Orm
Hi,
Am Mittwoch, den 20. Juli 2022 um 13:14:25 Uhr (-0600) schrieb Carl Sorensen:
> The way to do this is to write the plain scheme code files as lilypond
> files.
>
> Put the functions in a .ly file.
>
> Preface each function with # (to put the parser into scheme mode).
Thanks, I'm aware of
Hi,
for a new piece I need to display Oboe woodwind fingering diagrams
according to the book "The Techniques of Oboe Playing" by Peter
Veale. Lilypond's standard woodwind fingerings for oboe in non graphic
mode are similar, but have some significant differences to the method
used in the book
\damp c'32
\damp c''32
c''32
}
8<---
Am Freitag, den 08. Juli 2022 um 16:22:22 Uhr (+0200) schrieb Orm Finnendahl:
> Hi,
>
> trying to define an overwrite to draw a circle around a stem I came
> up with t
Hi,
trying to define an overwrite to draw a circle around a stem I came
up with the code below. Unfortunately it doesn't automagically work
for all use cases as can be seen in the attached image: The code
doesn't take the number of flags into account. I know that the stem
length can be altered
understanding the notation.
Best,
Orm
--
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frankfurt am Main
https://www.youtube.com/watch?v=2rWha1HTfFE
Hi,
I'm working on a piece for Pat Waing, a traditional instrument from
Myanmar consisting of 20 tuned drums. Musicians from Myanmar use a
special form of notation, using numbers for the pitches with dots
underneath or above indicating the octave.
I would like to find a generic way to notate
Hi Lukas,
thanks, looks excellent, will adopt to that style!
Best,
Orm
--
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frankfurt am Main
https
Hi all,
below is a working example for the record. You can tweak the
linewidth changing "setlinewidth 1" in flpizzleft and flpizzright or
the angles/proportions of the lines in the line containing the moveto,
lineto and stroke. Even if you don't know Postscript it should be
fairly obvious. When
Hi Lukas,
thanks, that's perfect! I'll provide a working example to share as
soon as I've finished the code.
Best,
Orm
Am Mittwoch, den 08. September 2021 um 10:32:35 Uhr (+0200) schrieb
Lukas-Fabian Moser:
> Hi Orm,
>
> > for flute pizzicato in contemporary music, it is quite common to
Hi,
for flute pizzicato in contemporary music, it is quite common to use
a ">" as a notehead. With a stem down, the ">" should be changed to a
"<" as visible in the attached png.
I know how to change the notehead by overriding the NoteHead stencil
with an eps file, but can't find any
Hi,
I found it, sorry for the noise!
8<---
\version "2.19"
<<
\override MultiMeasureRest.staff-position = #8
{ R1 } \\ { aes'2 des''4 c''4 }
>>
8<---
Using a note name with \rest
Hi,
the example in the previous mail was inconsistent with the mail text,
so here again:
In the following snippet the whole measure rest in the upper voice
collides with the des in the lower voice an needs to be moved up:
8<---
\version
Hi,
in the following snippet the whole measure rest in the upper voice
collides with the des in the lower voice an needs to be moved up:
8<---
\version "2.19"
<<
{ R1 }
\\
{ aes'2 bes'4 c''4 | %40
bes'4 des'4 ges'4 f'4 | %41
Am Samstag, 30 Nov 2019 10:24:30 - schrieb Phil Holmes:
> What on earth does a gradual piano pedal release achieve? Either the
> dampers are touching the strings or they're not, so it's in effect a
> binary choice. So a gradual release simply makes the time the sustain
> ends somewhat
Hi Mark,
thanks for sharing. It's always good to know about people using CL.
I'm an avid CL user for many years and maintain some packages. If
you're interested, drop me a note off-list and we can share ideas.
In case this is unintentional: Rather than "Eine Kleine Waltzer" you'd
say "Ein
Hi,
is there a straightforward way to remove a cautionary clef at the end
of a line when the clef changes between the current and the next line
while keeping it at the beginning of the next line?
I tried different settings for break-visibility and \omit but that
either removes the Clefs
Hi Francesco
try this:
\version "2.19.80"
\score {
\new Staff {
\clef treble
\key c \major
\time 12/8
% excerpt from Grieg Piano sonata op. 7
\relative c'' {
% 16
4.->\ff -> -> ->\> |
% 17
s1.*0\! | % I had to add this measure to get the hairpin printed
}
8 Uhr (+0200) schrieb sylvius:
> This is brilliant!
>
> Thanks to all for the various solutions!
>
> > On 7. Jul 2018, at 16:18, Pierre Perol-Schneider
> > wrote:
> >
> > But of course !! Thanks very much Orm !
> > Cheers,
> > Pierre
> >
> >
Hi Pierre,
Am Samstag, den 07. Juli 2018 um 15:54:41 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Plus : any idea why 'testTwo does not work ?
because the argument type of "arg" was string?. Below is the updated
version:
--
Orm
%circled-pattern
#(define-markup-command
(circled-pattern
Hi List,
for conciseness the example should be reduced even more (if someone
wants to post it to LSR I'd recommend this version).
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? string?)
(interpret-markup layout props
Hi Pierre,
I corrected your example (see below). It should work now.
--
Orm
Am Samstag, den 07. Juli 2018 um 13:11:25 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Hi All,
>
> I'm not sure that a poscript would be ideal.
> I'm thinking about a pattern markup command that would do :
>
>
Hi David,
good you figured it out. As I'm doing this stuff frequently, here are
some remarks, maybe it's useful for you:
Am Freitag, den 06. Juli 2018 um 01:49:09 Uhr (-0400) schrieb dfro:
> I figured out why copying and pasting the postscript code did not
> work. The 'lineto, moveto, curveto'
Am Mittwoch, den 16. Mai 2018 um 10:11:30 Uhr (+0200) schrieb Menu Jacques:
> Hello folks,
>
> What is the best way to write such a length, that cannot be written with dots?
>
> I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:
as a general rule: If a full measure rest
Hi Brian, Torsten,
thanks, that's doing the trick!
--
Orm
Am Montag, den 30. April 2018 um 06:36:06 Uhr (-0700) schrieb Torsten Hämmerle:
> A *very* simple example, but that should give you an idea:
>
> %
> \version "2.19"
>
> \layout { indent = 0 \context { \Staff \remove
Hi,
for a preface I need a grid layout of single bars with barlines on
the left and right hand side, a clef for each bar and some music
within.
Below is a first attempt which should demonstrate the basic idea. My
problems with this example:
1. The systemStartDelimiter of the bars of the first
Hi Daniel,
you have to separate the music content from the score/layout in the
parts. You end up with something like
1. files for the music content of each part
2. files with the score/layout block for each part, which have an
include statement for the respective music content file(s).
3.
Hi David,
thanks, that did it!
@Martin: I use arch linux and installed the development version of
lilypond (2.19.65) and its documentation.
--
Orm
Am Samstag, den 14. Oktober 2017 um 19:20:56 Uhr (-0500) schrieb David Wright:
> On Sat 14 Oct 2017 at 15:02:08 (+0200), Orm Finnendahl wr
Hi,
is there any information somewhere how to install lilypond's info
documentation into info/emacs on linux? On my machine the documents
are in /usr/share/info but the dir file in that directory is more or
less empty and I would like to populate it in the correct/recommended
way.
--
Orm
Am Donnerstag, den 04. Mai 2017 um 14:17:02 Uhr (+0200) schrieb David
Kastrup:
> The culprit is likely broken font caching. Fixed in more recent
> versions.
Thanx!
___
lilypond-user mailing list
lilypond-user@gnu.org
could someone with a Windows
computer maybe compile the score and report back to the list so that
we can narrow down the culprit?
Is it the lilypond version or could it be a wrong setup?
Yours,
Orm
------
Prof. Orm Finnendahl
Komposition
Hochsch
Hi all,
Am Samstag, den 25. Februar 2017 um 17:41:15 Uhr (+0100) schrieb Urs Liska:
> Yes, but I think the issue is solved by now with Andrew's suggestion.
it is indeed. Thanks Andrew!
Yours,
Orm
--
Prof. Orm Finnend
Am Samstag, den 25. Februar 2017 um 14:25:52 Uhr (+0100) schrieb Urs Liska:
> An image would be helpful to avoid misunderstandings.
attached. I tried to keep the file size small. Let me know if you
need it in better resolution.
--
Orm
___
Hi,
in the example below (an excerpt of the left hand piano part of the
Schumann Song "Mondnacht") I'd like to resemble the rendering of
Clara Schumann's Edition in the Breitkopfärtel print.
%<
\version "2.19.48"
\score {
\new Staff \with {
and which can export to eps and use the eps file in the
markup.
For markup commands see:
http://lilypond.org/doc/v2.19/Documentation/notation/formatting-text
--
Orm
--
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und
Am Donnerstag, den 17. November 2016 um 13:24:24 Uhr (+1100) schrieb Vaughan
McAlley:
> Lilypond files, I was wondering which specs I should be prioritizing.
As lilypond is single-threaded, the number of cores is less important,
than CPU Freq and you should go for a lot of RAM (>= 16
GB).
Since
Am Dienstag, den 12. Juli 2016 um 09:26:38 Uhr (+0200) schrieb Urs Liska:
>
> You know that in Karlsruhe every student of music informatics and
> musicology has to take a class in common lisp (in their 3rd
> semester)?
In Essen its part of the curriculum as well, but I'm not aware of many
for my needs
and in a language hardly anybody uses, I never bothered to make it
available.
--
Orm
------
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frank
Hi David,
Am Donnerstag, den 23. Juni 2016 um 20:55:50 Uhr (-0500) schrieb David
Nalesnik:
> I'm thinking I'm safe in betting that I've spent more time on this
> than this will ever save you :)
true, but it clears up things for other users like me as well, so
it's well invested ;-)
Thanks for
Am Sonntag, den 20. Dezember 2015 um 17:47:39 Uhr (+0100) schrieb Stefan Thomas:
> Dear Andrew,
> I've tried it with the following code:
> mphonicXCII = ^\markup { \override #'(size . 0.4) { \woodwind-diagram
> #'saxophone #'((cc . (one two three )) (lh . ()) (rh . ())) } }
> But the saxophone
Am Freitag, den 18. September 2015 um 08:05:03 Uhr (+0200) schrieb Blöchl
Bernhard:
> If one "colours" that up you get the bright colourful variety of
> skilled music that began with the development of orchestral events outside
> the churches and cathedrals and in the brothels of New Orleans.
Am Montag, den 24. August 2015 um 21:57:37 Uhr (+0200) schrieb Blöchl Bernhard:
The attached file is a binary, not a lilypond file, regardless of the
extension .ly?
No, it is a text file but the mime type of the attachment is specified
as application/octet stream. I changed it to text/plain in
Hi Stephen,
thanks for the help! Using your idea I ended up with this:
Cue = #(define-music-function (parser location note shift) (ly:music? number?)
#{
\override Stem.transparent = ##t
\override ParenthesesItem.padding = #0.2
\override ParenthesesItem.font-size
Hi,
in a piano score I'm writing sometimes a third staff on top of the
other two standard staffs (with a G^15 clef) is used.
I would like to remove this staff if empty, but *always* have the
other two staffs active. If I remove the
Keep_alive_together_engraver from the PianoStaff, every staff
Am Samstag, den 15. August 2015 um 16:04:02 Uhr (+0200) schrieb Malte Meyn:
If PianoStaff accepts StaffGroup the alignment works, so here is a solution:
great, thanks!
--
Orm
___
lilypond-user mailing list
lilypond-user@gnu.org
Hi Malte,
I just realized from David's answer that your code somehow escaped my
mailbox. Your solutions are exactly, what I was looking for, so please
ignore my last post in that matter and thanks a lot: Your code is
really helpful and very much appreciated!
--
Orm
Hi,
I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.
Is there an easier way than the bloated example below?
\version 2.19.5
{
{
a' \harmonic 1 ^\markup { sul D }
} \\ {
, 2015 at 3:13 PM, Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de wrote:
As the instrument names are short, lilypond must know that it isn't at
the beginning of the piece. It would be preferrable to have unindented
first staffs, as that would better resemble the final layout
Hi,
this is only a minor issue: Is there a good reason, why the first bar
of a partially rendered score starting in the middle of the piece is
indented?
As the instrument names are short, lilypond must know that it isn't at
the beginning of the piece. It would be preferrable to have unindented
Hi,
is there a way to position a FullBarRest on a specific line, like
b' \rest (but with a FullBarRest centered in the measure)?
I couldn't find anything in the docs.
--
Orm
___
lilypond-user mailing list
lilypond-user@gnu.org
many thanks!
--
Orm
Am Dienstag, den 11. August 2015 um 18:39:11 Uhr (+0200) schrieb Malte Meyn:
Am 11.08.2015 um 18:22 schrieb David Kastrup:
Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de writes:
is there a way to position a FullBarRest on a specific line, like
b' \rest
Am Donnerstag, den 25. Juni 2015 um 11:35:18 Uhr (+0200) schrieb Gergely K.:
Hi all!
I'd like to engrave orchestral music, one sheet for violinist, cellist and
one for conductor.
I'd like to have the following structure:
base.ly -- name and time signature of the music
violin1.ly -- when
Am Donnerstag, den 25. Juni 2015 um 18:12:42 Uhr (+0200) schrieb Gergely K.:
No, you don't have to. Right-click on the tab of your main file
and check always engrave this file.
Thanks for the tip, one less keypress, but still have to press Ctrl-M
to engrave, since only the included file
Hi,
for the orchestra parts I used B4 portrait. Orchestra musicians love
this format as this fits well on a music stand (A3 is too big) and
fits more music than A4 (less page turns). I also used thicker paper
(120 g/m2) and a special binding method (glue and tape) to make the
pages stay open and
Hi,
this is the way how I finally had to do it in my piece, but
unfortunately this method doesn't work very well in orchestra parts
where instruments are changed (like Clarinets changing between Eb, Bb
and Bassclarinet, or French Horns changing from G-Clef to F-Clef) as
you either have to
Hi Kieren,
Am Samstag, den 18. April 2015 um 17:54:44 Uhr (-0400) schrieb Kieren
MacMillan:
Would love to see it, but the link didn’t work for me… =\
that's strange. I just tried again and it works for me. Could it be
that your browser complained because of a missing certificate as the
system
Hi,
Am Donnerstag, den 16. April 2015 um 19:43:38 Uhr (+0200) schrieb Urs
Liska:
... I'd like to know what might be the biggest score anyone has
successfully created with LilyPond.
the biggest score so far for me is a piece for big orchestra, 6
soloists, live-electronics and fixed media from
Am Freitag, den 17. April 2015 um 11:05:00 Uhr (+0200) schrieb Calixte Faure:
Hi everyone!
Traditionally, vocal scores are written without beams, except for melisma.
But modern scores tend to keep beams everywhere and put slurs to indicate
melisma.
Is it possible to have both output with
Dear David,
Am Mittwoch, den 04. März 2015 um 15:35:46 Uhr (-0600) schrieb David Nalesnik:
I would like to be able to return the argument list of a Scheme function,
say as a list of symbols.
I'm not sure I understand what exactly you're looking for. In scheme,
you can assign a name to all
Hi Pierre, Urs,
that's excellent and very instructional, thanks!
--
Orm
Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Hi Orm,
How about :
\version 2.19.15
#(define (add-gliss m)
(case (ly:music-property m 'name)
((NoteEvent) (set!
Hi,
I can't find documentation about how to write segmented glissando
lines, like in the attached png. The line segments have to get notated
with precise rhythms, so I'm looking for something similar to
glissando notation but without noteheads.
I tried this:
\new Staff
\relative c'' {
\hide
Hi Urs,
Am Samstag, den 10. Januar 2015 um 22:22:15 Uhr (+0100) schrieb Urs
Liska:
Can't test right now, but what about \omit NoteHead?
same problem, glissandolines aren't drawn at all if NoteHeads are
omitted:
%
\version 2.19
\new Staff
Hi Jay,
try this:
%
\version 2.19.5
\relative c' {
\override Score.BarNumber.break-visibility = #'#(#t #t #t)
\override Score.BarNumber.direction = #DOWN
c1 d e f c d e f c d e f }
Am Samstag, den 13. Dezember 2014 um 02:57:03 Uhr (+) schrieb Henry Baxter:
Hi,
I'm certain this is online somewhere but I just can't find it. How do I
tell Lilypond I want a whole note?
Here are 2 ways:
\version 2.18.2
{
\time 3/4
c1*3/4 c1*3/4 c1*3/4 c1*3/4
}
or:
Hi John,
your file format looks strange. It seems to be some sort of binary
format which can't get converted to utf-8 in a straightforward way.
Try the file here:
https://www.selma.hfmdk-frankfurt.de/selmafile/f/c74efc507a/
(Click on any of the buttons labeled Herunterladen, which is the
Hi Pierre, Federico,
thanks!
--
Orm
Am Dienstag, den 02. Dezember 2014 um 08:58:47 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Oups, space's missing.
So, again, try
fis-3 \2 -\tweak X-offset #-.5 \RH #3
2014-12-02 7:21 GMT+01:00 Pierre Perol-Schneider
Hi,
in the following example, the m is printed above the beam whereas
all other right hand fingerings are notated below the beam. Is this
related to the larger size of the letter m? Can someone shed a light
on this and how this could be avoided?
--
Orm
Am Mittwoch, den 17. September 2014 um 07:53:48 Uhr (+0100) schrieb James:
Do you have any other suggestions we could improve the documentation
with perhaps?
The main problem in this special case for me is the fact, that David's
code suggests that the first three elements of the prop argument
Hi,
in a piece for large orchestra, I need text markup and tempo markings
which only appear on the top staff of the score and each part. I
defined an empty (invisible) staff with removed staff symbol, time
signature, etc., using skips instead of rests, which works well.
Unfortunately as soon as
I found it.
For someone googling this: You have to put
\new Staff \with { \override VerticalAxisGroup.remove-empty = ##f }
into your staff definition.
Sorry for the noise...
--
Orm
Am Dienstag, den 16. September 2014 um 22:04:38 Uhr (+0200) schrieb Orm
Finnendahl:
Hi,
in a piece
staffs; see
attachment. This also lets you change things like time signature or key in
all instruments simulatneously.
Am 16.09.2014 um 22:19 schrieb Orm Finnendahl:
I found it.
For someone googling this: You have to put
\new Staff \with { \override VerticalAxisGroup.remove-empty = ##f
Hi,
here is the next question:
Is there a way to move the tweaks in the following code into the
markup definition of secs so that they don't clutter up the score?
--
Orm
%
\version 2.19.5
#(define-markup-command (secs layout props
Am Dienstag, den 16. September 2014 um 23:29:14 Uhr (+0200) schrieb
Orm Finnendahl:
The only thing I haven't figured out yet is, how I can make these
invisible staves disappear in case no staff of a certain staffgroup is
present at all. E.g. in large scores bar numbers normally get
displayed
Hi Kieren,
thanks for the note, I'll try to find that. Not sure whether it makes
sense at this moment to change in the current score (although it's
quite well modularized, the whole thing consists of about 600 files),
especially since I seem to be able to get everything worked out quite
well,
of the sources of lilypond.
--
Orm
Am Dienstag, den 16. September 2014 um 17:52:47 Uhr (-0500) schrieb David
Nalesnik:
Hello,
On Tue, Sep 16, 2014 at 4:33 PM, Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de wrote:
Hi,
here is the next question:
Is there a way to move
Hi,
Am Sonntag, den 14. September 2014 um 09:21:28 Uhr (+0200) schrieb
Pierre Perol-Schneider:
Try :
...
thanks a lot, that worked! I wrapped that in the definition below.
Two issues remain:
1. If the note is at the end of a bar, the annotation gets printed in
the following bar. The
Hi,
I'd like to make a small annotation to a note specifying a sounding
pitch (in parentheses) for certain special playing techniques. To show
what I mean, the following snippet gives the desired result:
%---
\version
. September 2014 um 10:37:23 Uhr (+0200) schrieb Pierre
Perol-Schneider:
Hi Orm,
2014-09-05 13:52 GMT+02:00 Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de:
1. Is there a way to move the override for the font-size in the into
the definition of parenfermata
Try :
\version
Hi,
the following code snippet typesets a fermata in parentheses by
defining a custom articulation definition which modifies the default
fermata articulation:
%-
\version 2.19.5
parenfermata =
#(let ((m (make-music
Hi,
I'm having terrible problems with partcombine. In the following code
bars 2 and 3 only show the first quarter rest.
\version 2.19.5
MusikObEins = {
R1 | % 214
\partcombineSoloI r4 r8 b 16- \sf r16 r4 r4 | % 215
R1 | % 216
\partcombineSoloI r4 r4 \times 2/3 { r8 gis' 8- \sf r8 } r4 | %
Am Sonntag, den 10. August 2014 um 11:01:30 Uhr (-0700) schrieb Keith OHara:
% workaround: \grace s8 \partcombineSoloII
Great, thanks a lot, that seems to be consistent and saves my day!
I'll define a global definition for that which can be reverted in case
the bug should get fixed.
--
Orm
Hi,
in the following example, an extra staff is created on the fly at two
non-adjacent times. Unfortunately the extra staffs are at different
vertical positions as they are considered different by lilypond. Is it
possible to reference the first extra staff by the second? I'm aware
that I could
Hi,
on Fri, 20 Jun 2014 07:19:15 +0200, Pierre Perol-Schneider wrote
No easy way.
See also http://lsr.di.unimi.it/LSR/Item?id=862 (just in case...)
Thanks, I was aware of that and had tried something like this:
\version 2.19.5
staffSize = #(define-music-function (parser location new-size)
Hi,
is there a way to reduce the global staff size of all staffs in an
orchestral score for selected pages (or a selected region) on the fly
(without having to put the music of these pages into seperate
books/scores or something like that)? I'm on 2.9.15.
(A simple no is sufficient in case it's
Hi,
Am Samstag, den 14. Juni 2014 um 16:56:36 Uhr (+0200) schrieb David Kastrup:
Notice the - before the markup, turning this into a post-event.
Thanks, that was the missing link. I had tried define-event-function
and got stuck as it appeared to be pre-event.
BTW: This meaning of the error
Hi,
just to verify: I assume it is always necessary to tag a complete
music expression, or can just tweaks themselves get tagged?
Here is an example for a use case: In the score the dynamics should
get offset to the left to optimize vertical space requirements. In the
part the dynamics should
Hi,
below is another example with a couple of issues I can't resolve:
The issues:
1. With my lilypond version the clef change to the bass clef in the
second bar is ignored (although in other situations a clef change
in mid bar is printed).
2. All rests in the second bar of musictwo are
Am Sonntag, den 15. Juni 2014 um 14:26:36 Uhr (+0200) schrieb David Kastrup:
Orm Finnendahl orm.finnend...@hfmdk-frankfurt.de writes:
Would you have preferred
orm.ly:11:20: error: music function cannot return \markup \line { Test}
that doesn't really matter, the problem for me was, whether
Hi David,
thanks a lot for the comment.
Am Sonntag, den 15. Juni 2014 um 16:07:01 Uhr (+0200) schrieb David Kastrup:
A music function has to return music, period. Different music may be
used in different contexts, but a music function cannot return anything
but music.
Maybe it would be a
Hi,
for defining markups which appear selectively either only in the
parts or only in the score I'm trying to use the following strategy:
I include a score-defs.ly or part-defs.ly file in the score or
part respectively and define commands like sMarkup for markup only
appearing in the score or
Am Samstag, den 14. Juni 2014 um 14:17:44 Uhr (+0100) schrieb Phil Holmes:
Had you considered using tags instead?
No, thanks, I wasn't aware of this. Seems to be exactly what I need.
--
Orm
___
lilypond-user mailing list
lilypond-user@gnu.org
Hi,
rendering a score on an i7-2640M with the option -djob-count=2
shows 100% cpu load only on one thread of one of the two cores while
rendering.
Is there some way or a recommended technique of setting up lilypond to
better distribute the load? Or does lilypond have to get compiled with
Hi,
I'm trying to print bar numbers not only at the top of the score, but
also above selected groups, (like brass, percussion, strings, etc.).
The code below does the trick, but the bar numbers are both printed in
columns above the topmost staff. Is there a canonical way to get them
printed
Hi,
in the following example, the compound timesignature is only shown on
the top staff. Is there a mechanism to show it in all staffs with the
2+3/4 without wxplicitely having to restate the compundMeter
statement in each staff?
--
Orm
\version 2.19.5
\relative c' {
\new Staff =
Hi David,
thanks. I agree this should be the default in LilyPond...
--
Orm
Am Donnerstag, den 29. Mai 2014 um 22:03:18 Uhr (+0200) schrieb David Kastrup:
I think the \override Staff.TimeSignature.stencil bit should rather be
\override Timing.TimeDignature.stencil instead. You can copy and
1 - 100 of 230 matches
Mail list logo