Hello Kevin,
When you call a music expression like \music Lilypond will allways pass a copy
of that music object. Thus some music functions assume it is safe to modify
the original music object. So when you do
\keepWithTag ... #music
you will first remove everything tagged without v1, then
I’m wondering if the Frescobaldi approach is actually working out. Keep in
mind that originally Frescobaldi was just a project for adding support for
Lilypond to KATE, then it became a KDE parts solution, then it started to do
everything itself for more control. And this means you’ll need to
Hi Kieren,
if you want you could tell Lilypond to ignore Accidentals in spacing (N.B.:
This can lead to collision with the previous head!):
accidentalNoWidth =
\override Accidental.extra-spacing-width =
#(lambda (grob)
(let ((ext (ly:grob-property grob 'X-extent)))
(display ext)
Hello Alec,
note that since 2.24 we have a neat markup function \with-string-transformer,
which is called whenever a string is found, and does a lot of the logic for
you (such as making sure this is called upon a string, not a complex markup:
\markup
\with-string-transformer
#(lambda
Hello,
I’ve been wondering just now: Wouldn’t it be possible to use the break-align-
symbol mechanism to allow for dynamic indents? Take this as example:
<<
\new Staff \with { instrumentName = "ins" } {
\override Score.BreakAlignment.break-align-orders =
#(make-vector 3 '(cue-end-clef
Hello cord,
note that \fromproperty is a markup command, which is interpreted later with
the right context. The output-filename does not actually want a markup, so
you’d need to be careful here.
If you really want to do this you can extract values from the top level header
or from the header
Am Donnerstag, 11. April 2024, 19:11:45 CEST schrieb Walt North:
> Hello, I would appreciate some help with this music function.
>
> The end goal is have a define function produce a glissando after a note
> going either up or down to
>
> undetermined second note. For example a guitar slide down
Hello Dirck,
you might be interested in something I recently made for music SE. Essentially
this will add two new engravers that automatically annotate the string tuning
whenever it changes.
Cheers,
Valentin\version "2.24"
% Used for printing the actual changes. A procedure that takes the
Hello David,
great that things worked out. Instead of putting a script at /usr/bin/lilypond
which calls ~/bin/lilypond you could also create a symlink. Also modern Linux
setups should have ~/.local/bin in PATH by default, so if the reason is only
to be able to call `lilypond` without path
Hello Werner,
properties handle this by having internally not a single value, but a list of
values, and
temporary overriding simply means adding to that list. Context properties do
currently
not allow for this mechanic, but we could simulate it ourselves:
#(set-object-property! 'details
Hello David,
it apears your Lilypond installation has some issue. What OS are you currently
on? How did you install Lilypond? If you are using some Linux distribution
there might be a version mismatch between the libraries the binaries have been
compiled against and the ones installed on your
r")
)
\book-title
\score { c'1 }
}
Cheers,
Valentin
Am Freitag, 22. März 2024, 20:46:16 CET schrieb Valentin Petzel:
> Hello Joop,
>
> this would be hard to do, as this is tied to the page breaking algorithm.
> Rather directly draw your header in your markup:
>
> #(de
Hello Joop,
this would be hard to do, as this is tied to the page breaking algorithm.
Rather directly draw your header in your markup:
#(define-markup-command (book-title layout props) ()
(interpret-markup
layout props
(ly:output-def-lookup layout 'bookTitleMarkup empty-markup)))
d by rotating the score clockwise.
>
> Perhaps a new "spin" on the four-part tablebook format used by Dowland?
>
> Or has Lazy Susan format already been done?
>
> Jeff
>
> On 3/16/2024 10:29 AM, Leo Correia de Verdier wrote:
> > Wow!
> >
> > That wa
Hello Marcus,
essentially what you have here is
<< chordNames voiceI \\ voiceII >>
If you only had << chordNames voiceI >> this would work out, because Lilypond
would first see the chord names, which creates a new ChordNames context, and
then the music, for which Lilypond does implicitely
Hello David,
if I understand this correctly the intent here is to have different staff
behaviour in one staff. I believe that there might be a more general concept
here. Instead of creating a new context and mechanic to set additional clefs,
maybe it would make sense to have a more general
Am Donnerstag, 1. Februar 2024, 00:03:00 CET schrieb Curt McDowell:
> Stan,
>
> Here is a brute force way by embedding PostScript – although it can be a
> bit tedious.
>
> \version "2.22.1"
>
> %% Custom dynamic marks using embedded PostScript
>
> %% If a particular mark is needed repeatedly,
Am Freitag, 2. Februar 2024, 16:38:22 CET schrieb Lukas-Fabian Moser:
> ... and without any new insight, but with a healthy dose of syntactic sugar:
And with a rather simple custom engraver Lilypond will do these kinds of
things for us.
Cheers, Valentin\version "2.24"
#(set-object-property!
Hi Kieren,
I think with large projects it is a good idea to establish a nice data flow.
Basically your code does different things. For one thing you have musical data,
for another thing you have formatting of said data, and then you also have
functions and stuff.
Depending on your particular
Hello Vlad,
You will not avoid intermediate files in any case, as Lilypond with gs output
will generate ps code, which is then turned into a pdf. If you want to pipe
PDFs for convenience you might create a wrapper say plilypond in the search
path doing something like this:
#!/bin/bash
Hello Harm, hello Matt,
One more way that might be a bit more common and concise would be
\concat { ( \with-color #green Remember }
Cheers,
Valentin
signature.asc
Description: This is a digitally signed message part.
Hello Hajo,
> I wonder how you can "talk" LilyPond into moving a dashPlus symbol
> above a slur. Without any tweaking it always puts the dashPlus under a
> slur, whereas if you replace the dashPlus by a \trill command, the
> trill symbol is always placed above the slur.
This can be done using
Hello Kevin,
Am Montag, 1. Jänner 2024, 21:24:16 CET schrieb Kevin Cole:
> Or vice versa?
>
> What I mean is, I often have a situation where there's only a wee bit
> o' text occasionally, above the staff. But I frequently have
> ChordNames. It seems to me that the ChordNames would be better
Am Donnerstag, 7. Dezember 2023, 06:47:56 CET schrieb Werner LEMBERG:
> >> Maybe a bit less esoteric:
> > Or even less esoteric:
> Thanks! However, Jean's statement
>
> > markups don't store location info, unfortunately.
>
> is still true, which means that you can't access the current input
>
Am Mittwoch, 6. Dezember 2023, 23:10:11 CET schrieb Jean Abou Samra:
> \version "2.24.2"
>
> #(define-markup-command (foo layout props loc-provider) (ly:music?)
>(display (ly:input-file-line-char-column (ly:music-property loc-provider
> 'origin))) empty-stencil)
>
> \markup \foo {{}}
Maybe
Hello Graham,
there are multiple ways to solve the problem and having different voice
contexts for different lyrics is surely one of the better ways to handle it.
You can it do cleaner like this:
% ~~
instrumental =
#(define-music-function (m) (ly:music?)
#{
Hello,
instead of doing
\repeat unfold 8 {s1}
do
s1*8
or
\scaleDurations 8 s1
Cheers,
Valentin
Am Freitag, 13. Oktober 2023, 21:43:53 CEST schrieb clyde:
> I would like to include chord names in only part of a song. The example
> I attached does that. The problem is that the use of spaces in
Alternatively (as long as we do not want to parse parallel music in order) we
can use a music function like this:
%%%
\version "2.24"
typing-text = "Goddag Fru Direktör
Det meddelande du sände den andra har landat."
%When I uncomment these dynamics the text jumps
Hello Harm,
The error you are seeing is caused by handling NoteCollisions. This has
different behavior depending on the direction of the note column. The direction
is set by the stem engraver, which is removed in this context.
To get rid of this message we can either remove collision handling
> >> If I activate the `\bookpart` block, the stretchability is
> >> completely lost – both inside and outside of `\bookpart`. Is this
> >> expected? How can I control the stretchability for global markups
> >> section-wise (e.g., in `\bookparts`)?
> >
> >
> > If you add ragged-last-bottom =
> Thank you sooo much for your answer!
> That’s amazing, it’s really clear and I’ll take a deep look at it!
> What is MusicSE? I cannot find anything on google. Can u point me out
to the > reference u said?
> Cheers!
As Jean said it is the music stackexchange thing. You’ve accidently replied
Am Dienstag, 3. Oktober 2023, 12:55:21 CEST schrieb Robert Mengual:
> Thanks a lot Valentin, that's simply perfect!
>
> However, after reading a lot of the documentation I think I would have
> never been able to find any solution close to yours. I am very confused
> with a few things, and I can't
Damn it, turns out the key engraver has an hardcoded path to always create Key
Cancellations for keys with no alteration.
So one would need to do
\override KeyCancellation.stencil = ##f
which is of course a bit wonky as compared to telling Lilypond to not create
Cancellations in the first
You are doing
<< { c'2. } \new Voice { \redDotMultiMeasureRest R1 } >>
but a 3/4 measure only has length 2. . So do
<< { c'2. } \new Voice { \redDotMultiMeasureRest R2. } >>
instead.
While you are at it: You can directly boxify the stencil using box-stencil
without going the extra way over a
Hi Robert,
you could do it like this:
\version "2.23.6"
\layout {
\context {
\Staff
\override KeySignature.text =
#(lambda (grob)
(let* ((alt (ly:grob-property grob 'alteration-alist))
(alts (map cdr alt))
(tot (* 2 (apply + alts)))
Hello,
this was also posted on MusicSE, for reference here my reply:
You are not getting some barlines as
s1^"text" \bar "!"
will insert the bar line after the skip, which is in your case in a random
position later. Rather do
\bar "!" s1^"text"
to have the bar line at the exact
Hello Michael,
you could create a Dynamics context before the staff containing the markup.
Cheers,
Valentin
Am Donnerstag, 28. September 2023, 19:54:22 CEST schrieb Michael Gerdau:
> Dear lilyponders,
>
> I would like to have directional text outside of lyrics. I've been
> trying to use
Or alternatively (if you only need basepitch, not different octaves) you may
avoid parsing and directly pull the pitch from the pitch name mapping (less
powerful, but less chaotic and safer):
#(assoc-get (string->symbol "c") pitchnames)
or even (to avoid problems when changing language) from a
Hello Arjen,
I’m wondering if in your case it ight be beneficial to not create two Hairpins,
but rather a special case stencil like this:
%
#(define (ly:expr-hairpin::print grob)
(let* ((orig (ly:hairpin::print grob))
(sp (ly:grob-property grob 'shorten-pair '(0 . 0)))
Hello Lukas,
I don’t think this is a particularly good idea. Lilypond conceptually first
creates data for the sementic meaning of the music (or the actual content) and
have engravers turn this into graphical content.
Mapping pitches to other pitches is not a layout option, but a musical
Hi Michael,
some time ago I created a function for exactly that for a stackexchange
question:
https://music.stackexchange.com/questions/127175/lilypond-transpose-a-sequence-to-modes-with-different-intervallic-structure
Essentially it introduces a function to map one scale to another, and it
Hello Bernhard,
> Thanks a lot, that was fairly simple. I noted an error with convert-ly:
> > F:\Meine Noten\EigeneNoten\Kirchenchor> C:\"Program Files
> > (x86)"\LilyPond\lilypond-2.25.7\bin\convert-ly
> > .\Näher-mein-Gott-zu-dir-Lowell-Mason-1792-1972-2.22.1.ly
> > C:\Program Files
Hi,
you could set the outside-staff-priority of the Slur:
\version "2.24.1"
top = { \change Staff = "upper" \voiceTwo }
bottom = { \change Staff = "lower" \voiceOne }
upper = \relative c' {
\key g \minor
\voiceOne
d'4.^\markup {\italic "espressivo"}^"a tempo"\p^- c8\tweak outside-staff-
Theoretically yes, but this would require more specific implementations,as
current implementation of special cases only work for n = 2 and do not matter
for n = 1.
Am Mittwoch, 9. August 2023, 19:14:58 CEST schrieb Pierre-Luc Gauthier:
> I understand from your code that this opens up the door
Hi Pierre-Luc,
if you feel confident building from source I’ve changed the code such that
page-turn-breaking will do a turn after each single page unless two-sided is
set true:
https://gitlab.com/vpetzel/lilypond/-/tree/single_turn_breaking
Cheers,
Valentin
Am Mittwoch, 9. August 2023,
Hi all,
> The problem has two parts: 1) Generate a sensible voicing for a given
> chord; 2) create the arpeggio. (Maybe you intended to do 1) manually
> anyway?)
some time ago I wrote a function for deriving chord voicings from fretboards
for some SE question:
Hello Knute,
there is no need to move timing, simply omit the barlines. Moving Timing
translator will mean you’ll loose bar numbering too.
Cheers,
Valentin
Am Donnerstag, 3. August 2023, 19:04:26 CEST schrieb Knute Snortum:
> On Thu, Aug 3, 2023 at 9:47 AM Knute Snortum wrote:
> > On Thu, Aug
My function takes an optional hook for inserting such overrides:
\override TupletNumber.font-series = #'bold
Or you can do a general override in a layout block:
\override StandaloneRhythm.TupletNumber.font-series = #'bold
Cheers,
Valentin
Am Mittwoch, 2. August 2023, 08:04:31 CEST schrieb Lib
Hi Lib,
Am Dienstag, 1. August 2023, 11:21:31 CEST schrieb Lib Lists:
> Hi Valentin,
> I'm speechless, that's absolutely wonderful and useful, thank you so much!
glad you like it
> The only comment I have is that the numbers and the ratio symbol are
> not Italic, but from your code I cannot
Hello Calvin,
MM rests and cadenzas do not play well together. The reason for this is that
the MM is placed centered between start and end of measure. But \cadenzaOn is
not really made for creating arbitrary length measures. What is does is simply
telling Lilypond to stop counting. So when you
Hello Jean, Hello Lib,
in fact rather than constructing a tuplet marking using markup we can directly
use a real tuplet number in the \rhythm markup:
\rhythm {
% Change padding of Tuplet to be relative to size of Number,
% so that distance to bracket does not depend on fontsize
Hello Alex,
exactly what Jean said!
Regarding 3: No, it would still be possible to get around that issue. In the
linked SE post I’ve given an answer that uses a different approach that
essentially redraws those delimiters where specified. This would work in the
occasion. Alternatively one may
The trick is simply to not override the stencil for these cases.
But before you invest huge amounts of effort remember this code does not handle
breaks exactly well. Back then I spent a significant amount of time to get my
solution to work well with any configuration of breaks, it is quite a
But I feel that this is a bigger issue. Generally the issue here is that
systems-per-page only cares about systems of music and not about anything else
that may be placed on the page, as one can see here:
\paper {
systems-per-page = #16
}
\markup\column { a a a a a a a a a a a a a a a a a a
Hello Pondmates,
I’ve just stumbled upon a music SE question regarding the formatting of page
numbers. Currectly we do not have any hooks to change formatting of such
things, rather the general approach to this is "you need to change the whole
titling procedure, here is the default value".
Hello Rip_Mus,
you can obtain the name of a context using ly::context-id, and the type of a
context using ly:context-name.
The problem is that you can only really use these only during the translation
step. So I thing the easiest way would be to create an engraver that adds this
information:
Am Donnerstag, 20. Juli 2023, 18:26:58 CEST schrieb Trevor Bača:
> Can both subproperties be changed in a single call to grob-transformer?
>
> Or is it necessary to use something more complex (perhaps like Valentin
> proposes here)?
Yes, within one grob-transformer-call you can do arbitrary as
Hello Eef,
if you are going to do something like this I’d suggest a somewhat modular
design. In part writing there are many rules that apply to different voices, so
I suggest to do something that allows to do arbitrary checks in a nice and
extendable manner. I’ve sketched up a small proof of
Hello Mark,
use the alignBelowContext property to tell Lilypond where to put the Lyrics:
\version "2.24"
SopranoMusic = \relative {
\repeat volta 2 {a' a a a }
}
AltoMusic = \relative { f' f f f }
TenorMusic = \relative { a a a a }
BassMusic = \relative { f f f f }
VerseOne = \lyricmode {
> That is indeed a problem, but note that the same problem exists with before-
> line-breaking (you can't write two independent before-line-breaking
> overrides, you need to combine them).
Sure, that is also something where it would be nice to actually have a list of
procedures. Of course one
Good point, I didn’t think of that! Also I know that using a callback on
bound-details would work as well, but I’m not sure if this is the best way to
replace a single value in an alist (what if you want to change other parts of
the alist independently?).
Maybe the whole transformer thing
Hello Trevor,
instead of trying to use a callback on bound-details.left.text you can use the
before-line-breaking and after-line-breaking hooks to modifiy this property:
%%% BEGIN %%%
\version "2.24"
% no left text set
{
\once \override TextSpanner.before-line-breaking =
#(lambda (grob)
Hello David, hello Tom,
using page-count does theoretically work, but it can produce non optimal
results, as it will at some point simply start to compress the last page.
E.g. in this case page count still works fine:
\paper {
page-count = 3
ragged-last-bottom = ##f
indent = 0\cm
}
{
Hello Greg,
it would help to understand your problem if you gave us some example. Multiple
trill spans can be achieved by using multiple Voices:
<<
{ c''1\startTrillSpan 1 1\stopTrillSpan }
\\
{ c'1\startTrillSpan 1 1\stopTrillSpan }
>>
If you need the notes to be within the same voice
Am Sonntag, 9. Juli 2023, 09:42:52 CEST schrieb David Kastrup:
> The latter is definitely the _natural_ way to enter this construct
> (single voice simultaneity) but I do seem to remember that LilyPond did
> not deal well with it?
The thing is that if we combine Simultaneous Music with implicit
Hello Pierre,
I think this should rather be
{ <\tweak duration-log #2 g \tweak duration-log #2 e' e''>2^. }
Alternatively one can simply do
\new Voice << g4 e' e''2^. >>
(the \new Voice is necessary as there has been no music before this, so there
does not exist a voice, and Lilypond will
Hello William,
you can lookup ly:time-signature::print in scm/time-signature.scm. You will
find that Lilypond uses a formatting procedure given by the 'style property.
You can add such a procedure using
add-simple-time-signature-style
In scm/time-signature-settings.scm you will find the
Hm, seems to be correct. I'm just a bit confused by this as it does not appear
to make any sense. From an etymological standpoint theol-ogy does not work out,
but also the pronunciation given by this dictionary entry seems to follow
theo-logy.
Cheers,
Valentin
07.07.2023 15:13:02 Werner
Hello Lydia,
are you sure "theology" should go "the - ol - o - gy"? Shouln’t it be "The - o
- lo - gy"? Also shouldn’t "Orthodoxy" be "Or -- tho -- do -- xy"? It might be
this way in English (they tend to do weird things), I don’t know, but at the
very least it feels weird.
The issue with
Hello Ken,
considering this behaviour is consistent across the output I’m quite sure this
is deliberate. I suppose the intention behind this is to give a clear
indication of where the quote starts and where it ends (similar to how
typographic quotation marks would use different symbols for
Hello Pierre,
you should not use for-each in such a case. for-each is essentially a version
of map that does not return anything. So
(for-each (lambda (part) part) parts)
does not give you any return, and
(map (lambda (part) part) parts)
would not change anything (it instructs to map the
Am Samstag, 1. Juli 2023, 18:48:31 CEST schrieb David Kastrup:
> The funny thing is that I suspect Han-Wen might still be surprised to
> hear what Staff.property "actually means".
>
> It's been around for quite longer than its "actual meaning". But of
> course I should be the last person to
Hello Vlad,
in addition to Jean’s answer it might be helpful to understand what
Staff.property
actually means. This get’s parsed to a list of the symbols 'Staff and
'property. So you can in fact simply remain with scheme, and directly enter
#(list scope 'property) like this
%
\version
Maybe Lilypond should also give a warning if it on a lower language version.
The assumption here is that lower language versions are generally compatible
with higher program versions, but this is not true. So basically we only
guarantee that a specific language version will be working with the
.
Cheers,
Valentin
Am Freitag, 30. Juni 2023, 22:16:01 CEST schrieb Jean Abou Samra:
> Le mardi 27 juin 2023 à 21:17 +0200, Valentin Petzel a écrit :
> > Hello Knute,
> >
> > so you are using books to allow specification of the midi filename. This
> > is
> > probably a
Hello Vlad,
Also checkout this thread:
https://lists.gnu.org/archive/html/lilypond-user/2023-02/msg00035.html
If you want a real alias (that is a second binding to the same function) you
can do
#(define acc acciaccatura)
This will create another binding to the same object, which means you do
utFile may be used to override the full midi
file name
This has the advantage over abusing Books that it specifies the names at the
relevant position, not at a higher position.
Cheers,
Valentin
Am Dienstag, 27. Juni 2023, 16:39:53 CEST schrieb Knute Snortum:
> On Tue, Jun 27, 2023 at 2:35 AM Va
Hello Knute,
I do not think this behaviour is particularly weird, rather the input is
weird.
Using \book is telling Lilypond you want to generate a new PDF. So there
should be no reason to enclose scores that only produce MIDI into a \book
clause. And if you do I think it should not be
Hello Lib,
this is a limitation of the Lilypond parser which implements the syntax
\tempo [text] [duration = ...]
Here it assumes that ... is an unsigned integer. This I think is not
unreasonable, if you tell a musician to play something in MM 72.4 he will
probably be a bit confused.
Anyway,
To be more general the clef modifier specifies a shift in steps where we start
with 1 as unison. So as an octave is 7 steps n octaves will have a shift of
7*n, but we will add a 1 as we start with 1 = unison, which gives 0+1 = 1, 7+1
= 8, 14+1 = 15, 21+1 = 22, ...
Also the correct suffix would
Hello Dave,
Maybe use somthing like this:
%= example =
\version "2.22.1"
scale = \relative c' { c d e f g a b c }
halfscale = \relative c' { c d e f \noBreak \stopStaff\cadenzaOn \hideNotes c
c c c \startStaff\unHideNotes\bar"" \cadenzaOff }
\score {
\new Staff {
hier
>
> a écrit :
> > So sorry, you have to remove the c''% at the end… 'should have made that
> > clear.>
> > Le jeu. 15 juin 2023, à 12 h 33, Valentin Petzel a
écrit :
> > > Hello Pierre-Luc,
> > >
> > > It works for me if I copy and past
Hello Pierre-Luc,
It works for me if I copy and paste your code. Can you maybe attach a ly file
that does not work for you?
Cheers,
Valentin
Am Donnerstag, 15. Juni 2023, 18:25:37 CEST schrieb Pierre-Luc Gauthier:
> What am-I doing wrong here… ☹
>
> \version "2.25.6"
>
> \language "english"
Or rather there is the
NoteColumn.ignore-collision
property. If set to #t the Note column will not be added to any NoteCollision
grob. The problem here is that in this case there need to be no positional
correction. So we require some additional check in the engraver to apply this
correction
Hello Werner,
this Problem is not caused by my solution, but generally by your approach of
taking the Notes with collision applied (the 8th note bb on the left, the b,e
on the right) and shifting the bb until it is right of the others. This still
means that the will be offcentered.
So this
Hello Lib,
this slowdown appears to be induced by
forbidBreakBetweenBarLines = ##f
This might be understandable: Your code will division at 30/1, 30/2, ..., 30/88,
which might induce a relatively large number of potential break points.
This appears to be too much for the line breaking
Hello Jean,
I think a possible case would be something like the appended case, so if we
have some sort of superimposed patterns.
@Werner I’ve added a small fix concerning the case when there is no
NoteCollision grob (in which case this should not be relevant in the first
place).
Cheers,
Hello Werner,
I’ve tried something using an engraver that sends of accidentals from the
given context to a separate AccidentalPlacement grob:
%
#(define (which lst)
(define (impl lst count)
(if (null? lst)
#f
(if (car lst)
count
(impl (cdr
Hello Silvain,
it might help to understand that \pageBreak is not an instruction to insert a
pageBreak. Think of \noPageBreak: This is a token that prevents a pageBreak to
happen at the given place. Similarly \pageBreak is a token that enforces a
pageBreak to happen at the given place (in
Hello Lib,
#(ly:music-transpose {\mus} i)
does not make sense. \mus is Lilypond syntax, not scheme. Either do #{ \mus #}
to parse this as Lilypond expression, or do mus (instead of { \mus }) to scope
this as Scheme object. Also ly:music-transpose does take a pitch as second
argument, so if
Hello Ken,
please try to give a MWE and to describe what you actually want to achieve. It
is hard to get what you want from just a handful of screenshots of jump marks.
I suppose this is supposed to be something like
A [SEGNO] B [Fine→Coda] C [Dal segno al Fine e poi la coda] [Coda] D
So
Hello Stephan, hello Leo,
depending on the circumstances it might be useful to replace cadenzas with
scaled duration such that the music fits a whole measue. Using a small helper
function one might do something like this:
%
scaleMusicTo =
#(define-music-function (duration mus) (fraction?
Hello Dimitri,
\layout can be specified both global as wel as per score. So if you want to
have no indent in a specific excerpt you can do
\score { ... \layout { indent = 0 } }
Cheers,
Valentin
Am Freitag, 2. Juni 2023, 16:51:58 CEST schrieb Dimitri Sykias:
> I have some musical examples
Hello David,
> I do have a difference in the the output of the code below, which does
> not use \new Staff.
>
> Without \textLengthOn, it makes two staves. With \textLenthOn, it
> combines the two music expressions into one stave. Why is that happening?
That is one of the many pitfalls with
Hello David,
> My conundrum is that I want to call the same music expression (that is
> declared as a variable) from different staves, but also cause markup
> functions inside the music expression to behave differently from outside
> the music expression. Using tags is the only way I have found
I have been doing it that way.
>
> Could you please show me what you mean by the quote below from your
> response? That sounds interesting, but I am not getting it.
>
> On 5/18/23 06:31, Valentin Petzel wrote:
> > More generally if you want have parts of your score behave
Hello Paul,
while I’m not entirely sure what is going on there it seems like the iterator
for quoted music is messing with the logic of the iterator for percent
repeated music. This is done not by the engraver, but by the iterator.
Basically the iterator decides on whether to create
Hello Jakob,
try to do something like this:
\tweak extra-spacing-width #'(-1.5 . 0) a'
this will tell Lilypond to add 1.5 spaces to the left of the stem for spacing.
In this case this will work out, but say if the d and the f# the beat before
were an octave higher there would be no collision,
Am Donnerstag, 18. Mai 2023, 05:32:28 CEST schrieb dfro:
> \version "2.24.1"
>
> #(define-markup-command
>(symbol
> layout props
> var staff-variable)
>(markup? markup?)
>(interpret-markup
> layout props
> #{ \markup \concat { "Symbol " #var #staff-variable } #}
>
Valentin Petzel:
> Hello David,
>
> there is some confusing going on here about how certain things are
> evaluated. When you do
>
> { ... something ... }
>
> this is evaluated pretty much as it is parsed, returning some music object.
> So
>
> \keepWithTag #'te
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