Re: Lyric problem when alternative begins with a rest

Hi Tim, If I set lyrics against a repeat with alternative endings the way I find in the documentation, it all works fine -- usually. This is ok, for example. melody = \relative c' { \repeat volta 2 { c4 d e f | } \alternative { { g1 } { c,1 } } } words = \lyricmode {

Re: Lyric problem when alternative begins with a rest

Hi Tim, I've lost where I found it now, so maybe I was just thought I was still in the documentation on the webpage I was browsing! It might be there... I'm just surprised that the docs have such a thing (which clearly cause a problem). But presumably I have to count up the bars and put

Re: Lyric problem when alternative begins with a rest

Hi Mats, This is unfortunately not a good habit and I remember several emails on the mailing lists over the years where people have got problems because they have used this solution. Since I'm getting senile I cannot recall exactly what the problem was (an immediate problem that comes to

Re: Bass in Chord Name

Hi Stjepan: I do not use english.ly. I use template in OOoLilypond (lilypond macro for OpenOffice.org). However I still don't know how to achieve F# as bass in chord. If you include the (full, minimal) snippet that isn't working, we can try to diagnose/fix it for you. Cheers, Kieren.

Re: Lyric problem when alternative begins with a rest

Hi Tim, \unfoldRepeats won't work). Another problem is that the midi output doesn't play the repeat I believe that's the same problem, i.e., \unfoldRepeats would be used in the MIDI block in order to force the repeat to be played. Kieren. ___

Re: Aligning a D.S. al Fine at the end of a piece.

Hi Tim, The only thing now is that (presumably because it's set as a rehearsal mark rather than markup on a note) the font size doesn't match that on the Fine. Is there some way to directly set it to the same size as the Fine, or do I have to guess at sizes until it looks right? If you look

RE: Need help with this trill

Hi, http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00606.html Does this not exactly answer the (second) question? Regards, Kieren. Date: Thu, 14 May 2009 16:14:58 -0700 From: elu...@gmail.com To: lilypond-user@gnu.org Subject: Re: Need help with this trill Carl D.

RE: Ottava brackets abuse

Hi Helge, I need to write something that looks like ottava brackets, but must not affect the pitch. With _#(set-ocatavation 1)_ I can create a bracket that yields to _#(set-ocatavation 0)_ and I would also change the text to i.e. _\set Staff.ottavation = #Pincé_ after several measures.

need help with custom volta text

Hi all, I'm having difficulty applying the example http://lilypond.org/doc/v2.13/input/lsr/lilypond-snippets/Repeats#Volta-text-markup-using-repeatCommands In my score, I need the first bracket to say safety and the second to say last time only, with no volta numbers in either case. Despite

RE: need help with custom volta text

Hey Graham, Oh, come on. There's only n! different combinations of those things! =) PS: I have no maoing clue why this works, but it does. Thanks for the answer... as well as the honesty! To save others the trouble, I've wrapped this in a function — I've included it as a snippet below.

RE: sectional titles above tempo markings?

Hi Josiah, Using 2.12.2, I'm wondering if I can include some sort of sectional titling information above a tempo marking, ideally also with a markup below the tempo indication, something like: Henry in the Store Superfast (4=198) (muted) [staff with music] I happen to be doing

RE: sectional titles above tempo markings?

Hi Josiah, I guess I was hoping that I could just use the nice-and-easy-to-read \tempo Slow 4 = 48 approach somewhere in there. You can... just build a custom tempo function like tempoCustom = #(define-music-function (parser location textA textB notedur bpm) (string? string? number?

RE: \partial at start, but want whole bar at end

Hi James (et al), I'm not sure if this is the same solution, but since I don't understand the make-moment stuff My solution (which I accidentally forgot to cc to the list) is equivalent to putting \partial 4*3 in the first alternative, i.e., \alternative { { \set

RE: disappearing slur

Hi Tom, In the following snippet, \slurDotted \slurDown a [(gis) b-4 e-0 fis-1 gis-3] | inclusion of the predefined commands make the a-g# slur simply disappear. I don't know what to do about this, as I appear to be following the Notation Manual exactly. 1. I assume these are supposed to

RE: How to really center a text above a note?

Hi Wilbert, There must be a way to really center a simple text above a note. But [this centers] the text above the *left* side of the note: { \once \override TextScript #'self-alignment-X = #CENTER c'4-text } How can I center a text or markup above the *center* of the note/chord? Offset

Re: TextScript, \column and line height

Hi Henrik, With the font I'm using the distance between the lines is too big. Is there a way to tweak this globally? What I'm doing right now is using \raise on the second line. Locally, you would use \markup \override #'(baseline-skip . 1.2) \column { Rear Right Front Right }

system-count forced in the middle of a movement?

Hi all, Can anyone think of a way to (easily/automagically) force a desired system-count within a certain section of a score, without resorting to manual breaks? For example, let's say in the middle of my string quartet I have a fugal section (not a separate movement!) that I think fits

[Issue?] hiding Accidental(s) on tied note(s) after a line break

Hi all (esp. Valentin): Last month, there was a quick exchange about hiding accidental(s) on tied note(s) after a line break: http://lists.gnu.org/archive/html/lilypond-user/2009-04/ msg00949.html I am running into the same issue right now, and I see why others have been frustrated by

Re: [Issue?] hiding Accidental(s) on tied note(s) after a line break

Hi all, Earlier (on -user), I wrote: Last month, there was a quick exchange about hiding accidental(s) on tied note(s) after a line break: http://lists.gnu.org/archive/html/lilypond-user/2009-04/ msg00949.html I am running into the same issue right now, and I see why others have been

Re: [Issue?] hiding Accidental(s) on tied note(s) after a line break

The saga continues... =) I've hacked the Tie callback to try to adjust the Accidental property. Coloring the Accidental works fine: % \version 2.12.2 #(define (tie-callback tiegrob) (let* ( ; have we been split? (orig (ly:grob-original tiegrob)) ; if yes, get the

Re: [Issue?] hiding Accidental(s) on tied note(s) after a line break

Hi Joe, Not really =\ the code that places a tied accidental after a line break isn't accessible from scheme (it lives in lily/accidental.cc, in the print function). Ah... here's a patch (to be applied with git am) that implements a new property, 'hide-tied-accidental-after-break, in

Re: scoop before note

Hi Lewy, I'm curious about what others are doing to print a scoop I'm not using them at all... but have you tried directly manipulating a BendAfter grob? \version 2.12 scoopMusic = \relative { \override BendAfter #'rotation = #'(-45 -4 3) \override Score.SpacingSpanner

Re: Gregorian half bar line in normal mode

Hi Tom (and Jon) This almost works perfectly - however, it still prints the actual barline (or puts the space for it if I set it transparent) as seen here: Why not just override the BarLine itself? \version 2.12.2 divisioMaior = { \once \override Score.BarLine #'stencil =

setting/resetting pedalSustainStrings

Hi all, For a section in the middle of my piece, I would like to change my sustain pedal string to say 1/2 P (where '1/2' is the Unicode vulgar fraction half, and 'P' is the Feta pedal glyph), and then return to the default settings. However, I can't seem to find the right code to do

Re: setting/resetting pedalSustainStrings

Hi Neil, This works for me: \once \override Staff.SustainPedal #'stencil = #(lambda (grob) (grob-interpret-markup grob (markup ½ #:musicglyph pedal.Ped))) You are officially my hero today... this commission needs to get to the players ASAP, and this is one of the last tweaks I really

Re: Verses and melisma too long

Hi Lasconic, Thanks for your quick answer. Unfortunatly it does not solve the problem. Here is the result of your code: http://www.nabble.com/file/p24032925/proposition-1.png The problem is problem should be aligned with the second G, above 'sang'. The space above drink should be blank.

Re: Lilypond and Jazz chords

Wol et al: Let's take the notes C, Eb, F, Ab. Which chord is that? What's the root? You can easily go from the name to the notes, but not the other way round. We *could* parse it from the first note, i.e. in relative mode F C Eb Ab and Ab C, Eb F would display as the same chord

Re: trills and trill spanners with accidentals

Hi R M, I use trillWithFlat = { \once \override TrillSpanner #'bound-details #'left #'text = \markup { \lower #1 \musicglyph #scripts.trill \smaller \hspace #-0.5 \flat } \once \override TrillSpanner #'extra-offset = #'(0 . -0.5) } trillWithNatural = { \once

Re: RFC: new vertical layout engine

Hi Joe, What I would *really* love are high-level commands to set intra-piece (section) system-count and page-count options. For example, I'd like to say that in an ABA form piece, the B section must be on two pages (whereas the leading A and trailing A' sections can be auto-flowed by

Re: SacredHarpHeads: possible solution to major/minor problem

Hi all, It's hard to get my head around the idea of always contradicting the key signature without notating the contradition I haven't been following this thread, but... Why don't you set the key signature to one thing, but override the KeySignature #'stencil to say another? Wouldn't that

Re: SacredHarpHeads: possible solution to major/minor problem

Hi Jonathan, I haven't been following this thread, but... Why don't you set the key signature to one thing, but override the KeySignature #'stencil to say another? Wouldn't that be the easiest way to have a global non-notated accidental contradiction? Actually, Kieren, this might work

Re: Can't Change Line Width

Hi David, I have a template that I use for setting the weekly Psalm antiphons - a single line melody with lyrics on letter size paper in landscape mode. It has always worked fine. Recently I upgraded Lilypond to 2.12 (on Windows). Now the width of the line is less than half the width of

can lyric spacing be overridden by note spacing?

Hello all! Just wondering if there's a way to tell Lilypond (2.12 or later) to set lyrics with natural *note* spacing, as opposed to natural *lyric* spacing... Here's a snippet showing what I'm hoping to achieve automagically: \version 2.13 melody = \relative { c8 d e f g4. f8 | e1 }

Re: can lyric spacing be overridden by note spacing?

Hi Mats, The more philosophical question is what you mean by natural note spacing since you still want the spacing to be wide enough to avoid collisions between the syllables. In the (first measure of the) example I gave, I kind of did the following: 1. Divide the span into spacable

Re: can lyric spacing be overridden by note spacing?

Hi Mats, In the (first measure of the) example I gave, I kind of did the following: 1. Divide the span into spacable sections -- here, two half-notes. 2. Determine the width of each spaceable section by the total natural width of the lyrics within the section. 3. Evenly spread the notes

Re: [SPAM?] Re: Looking for Time signature tweak

Hi Reinhold, This is essentially what \once \override Staff.TimeSignature #'style = #'single-digit does, except that with the single-digit style the number is automatically extracted from the time signature... Wow... never seen that in the docs before!? Very cool. Thanks, Kieren.

Re: new website: draft 3

Graham (et al), Much of the site certainly doesn't work for hand held devices. Hmm, that's a problem. Are there any particularly bad pages, or just overall bad? Any suggestions to fix it? At the very least, we should have a media=handheld stylesheet, in order to host mobile devices

Re: new website: draft 3

Hi Anthony (et al.), DON'T assume web browsers are full screen! +1 I curse blue murder when someone else borrows my pc, immediately full screens all my windows (amongst other nasty little changes ...), and then leaves me to sort out the resulting mess. :-( Do what I do: define a guest

Re: removing naturals

Hi Peter, The following is a left-hand octave-exercise for guitar. It has no tempo. I do not want the natural symbols to appear in the exercise. I used Staff.extraNatural = ##f is an attempt to eliminate the naturals as per the instructions on page 6 of the Notation Reference manual, but

Re: removing naturals

Hi Trevor (et al.), There is an easier way. The octavation symbol is a separate grob Cool! Yay, Lilypond!! [This will definitely be a setting I adjust in my main \include \init_Lilypond.ily file: I've always found it too small, but have been too busy to tweak it.] Thanks, Kieren.

Re: Multiple stanzas in some places only

Hi Holger, I suppose it's possible to have two stanzas for the complete piece and have a lot of spaces (_) in the second stanza, but I'm hoping there's a more convenient way of doing it. Of all the many ways of doing what you want, I actually find that the most convenient! Simply use a

new spacing test/example

Hello all (and especially Joe): Now that my most recent musical crisis is over — the premiere of my newest (Lilypond-v2.12-engraved) commission is this Friday! — I'm revisiting some recent scores, to see what v2.13 can do for me. ;) I have a choral score which I want to reengrave and then

lyric tie font size

Hello all, Is the fontsize of the lyric tie glyph user-settable? [v2.13, if it matters...] Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: ties

Hi Chris, Attached is my example that I'm working with. Any help that could be given would be greatly appreciated. I think you've just got the wrong approach to the voice construction... try this: theMusic = \relative { \key fis \major \clef bass \time 3/2 d, ais' b1 cis ais' b2

Re: new spacing test/example

Hi Joe, Now that my most recent musical crisis is over — the premiere of my newest (Lilypond-v2.12-engraved) commission is this Friday! Congratulations! Thanks! It was a smashing success... For a start, you will need to checkout the dev/jneeman branch from git I've never compiled from

Re: Best name for function to create cross-style noteheads

Hi all, Just adding my 2¢... I might disagree. I'm big on semantics, and I would rather have a lot of commands that create the same look but mean different things, than have one command that creates a look which could mean a lot of different things. I don't know how people will be using

anchors in the music stream?

Hello all, Like many Lilyponders, I break down my code into variables, e.g. global (for time signature changes, etc.), notes, dynamics, etc. The main irritation with this (IMO) is that each variable requires a complete set of skips in order to keep the timing accurate. Would it be

Re: anchors in the music stream?

Hi Mark, Have you tried using the \tag command? http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Different- editions-from-one-source#Using-tags Certainly I've used \tag for filtering content, but I don't understand how \tag could help with the problem I'm describing... could you

Re: Best name for function to create cross-style noteheads

Hi Mark, is there a clear advantage to having a smaller namespace? No need to maintain crossrefs and aliases in the documentation. [Might not be a huge thing, but it's a clear advantage.] Cheers, Kieren. ___ lilypond-user mailing list

Re: new spacing test/example

Hi Graham, Checking out a branch from git might be covered in CG 1, although probably only in the translation docs. Yes... 1.1.5 so helpfully reads If you wish to [check out other branches], you will need more familiarity with git. ;) Compiling from source is detailed in AU 1.1.

Re: new spacing test/example

Hi Valentin, - go to http://git.savannah.gnu.org/gitweb/?p=lilypond.git - at the bottom, click on dev/jneeman - at the right of the topmost line, click on snapshot. There you go. Thanks! That's a *lot* easier than what I ended up doing (git from the command line)... Why is this not the

Re: new spacing test/example

Hi Valentin, I'm trying (Mac OS X), but I'm apparently missing some programs: bison, texi2html, libguile: was able to install using 'port install PROG' guile-config 1.8.0 (installed: 1.6.8), makeinfo 4.11 (installed: 4.7): 'port install PROG' returns 'Port PROG not found' Any

Re: new spacing test/example

Hi Carl, p.s. Clearly, these instructions should be in the Lilypond docs instead of spread all over mao's green web once I've got things up and running, I'll put together a doc patch so that future Mac users won't have to go through all this frustration... Ivo Boumann's web site (which is

Re: new spacing test/example

Graham, The reason that those instructions aren't in the maoing docs are that nobody's reviewed the maoing compiling instructions. The reason that nobody's reviewed the maoing compiling instructions are that I'm waiting for it to be added to the maoing CG. They're not in the maoing CG because

Re: markup and bar number

Hi Alexandros, If I use markup at the last note of a bar and the next bar has a bar number appearing, then the bar number appears above the text of markup. If I raise the text in markup, then the bar number is raised automatically too. How could I put the markup text above the bar number?

Re: last line does not break

Hi Federico: I've removed system-count and now it works. I don't know why I thought that system-count allowed to set the number of systems for each page.. Instead, it sets the number of systems for the entire score. Right? Correct. You're probably looking for systems-per-page — see

RE: tie over time signature

Hi Jonathan, In the following, the tie is drawn through the time signature. \relative c'' { b b b b~ \time 5/4 b2. b2 } Is there any way to get the tie to be transparent where it collides with the time signature? Yes: search the archives for Mark P’s “whiteoutTimeSignatures” macro(s).

Re: anchors in the music stream?

Hi Mats, Reminds me of the GOTO command in BASIC! ;-) An *extremely* underrated and powerful command. ;-p One alternative way to achieve the same thing is to simply do a global = { \time 4/4 s4*4*10 \time 3/4 s4*3*5 \time 7/4 s4*7 { \time 4/4 \bar |. } \anchoredStuff } Nope: that

conditionally eliminating lyric extender

Hello all, I want to [automagically] conditionally eliminate lyric extenders when (1) the end of the syllable which has the extender is after [i.e., to the right of] the melisma's last note; and, (2) the distance to the following syllable is less than the minimum extender length

Re: TextSpanner Line Padding

Hi Jonathan, One more question: I'm also trying to use an a tempo at the end (right) of the spanner. If I use a hard space there, it won't align properly with the note it is attached to. Any advice on that would be appreciated. Can you use a hard space and then compensate by increasing the

Re: conditionally eliminating lyric extender

Hi Trevor, I'm not sure I understand the need for this. I would not normally use a lyric extender unless the syllable had an extended duration over several notes or was sung to a long note. This occurs far less frequently than a 2-note melisma. Do you attach lyric extenders unconditionally to

Re: TextSpanner Line Padding

Hi Jonathan, Hi Kieren, Is bound padding #'(bound-details right padding) or #'bound- padding? In 2.13.3, I'm pretty sure it's #'(bound-details right padding). Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: How do you shorten a hairpin?

Hi Frederick, When I try to shorten a hairpin on a minim (half note) using { } \\ { } and spacers, the lyrics ignore the note. Try {} \new Voice {} where the notes for the lyrics are in the first {} and the spacers are in the second {}. That should solve your problem. I've tried

Re: Beam direction with \new Voice

Hi Heike, You'll need \voiceOne and \voiceTwo (and \oneVoice) for this construction. You may also need to name your second Voice context. For reference, you'll want to re-read section 1.5.2 of the Notation Reference, Multiple Voices. Here's a function that might help. Cheers, Kieren.

Re: line-width

Hi Alexandros, but from a point (somewhere after 70\mm) the width remains the same. What do I do wrong? If you only have one line of music, Lilypond does not stretch the system by default — to change the behaviour, play around with ragged-right = ##f ragged-last = ##f See

Re: Beam direction with \new Voice

Hi Mark, Impressive, Kieren. Looks like your Autumn of LilyPond will leave us with another clever schemer! I hope so! =) [I *may* also abandon my vow never to learn C++, if certain of my desired tweaks need it and are low on other programmers' priority lists...] One suggestion,

Re: \context for named Staff

Hi Jay (et al.): Attached is a patch which adds SmallStaff to engraver-init.ly. Everywhere that \accepts Staff was used I just added \accepts SmallStaff. Let me know if this looks good. Just a small point: has anyone confirmed that -3 is a standard magstep? 1. When looking at hand-engraved

Re: \context for named Staff

Hi Nick, From my point of view the main use for smallStaff (or whatever it gets called) is for ossia staves. Except IIRC ossia staves and solo/cue staves are usually of different sizes, yes? Cheers, Kieren. ___ lilypond-user mailing list

Re: staff lines blurred on my website

Hi Jonathan, I also have a counterpoint project going, info here in you're interested: http://music2.louisiana.edu/Gratis/ Nice job on the title — the pun is amazing! =) Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: website menus: gradient vs. solid

Hi Graham, These two images have the same top-level menu item selected. Which is easier to see? http://lilypond.org/~graham/solid.png http://lilypond.org/~graham/gradients.png Solid. Please DO NOT complain that brown gradients doesn't fit the color scheme; changing the colors (either of

Re: Producing a small bar...

Hi Alberto, I saw it more like a double barline that is not shown complete, Then use something like: \version 2.13 shortDB = { \once \override Staff.BarLine #'bar-size = #2 \once \override Staff.BarLine #'Y-offset = #1 \bar || } shortBarMusic = \relative c' { c2 b4 r8 \shortDB a

Re: Wideining one measure so that dynamics don't overlap

Hi Reinhold, How can I make that one measure wider, while all other measures are spaced normally? Here are a couple of ideas: 1. \override the NoteColumn #'X-extent 2. \override the Score.NonMusicalPaperColumn #'padding 3. create a new dynamic which includes both dynamics and the

Re: Widening one measure so that dynamics don't overlap

Hi Reinhold, Grr, it doesn't work so well, though: This will not work in the first measure of a line or immediately after a time signature change! Something like this would work anywhere, yes? \version 2.13.3 \paper { line-width = 9\cm } makeSpace = { \once \override Score.BarLine

RE: Scheme function for ossia

Hi Jonathan, Would probably help if I showed the file :). I'm guessing the problem is it's not allowed to use a variable inside of the braces after the \with command, but I don't understand why. I don't know how to solve your Scheme problem, but this is what I would do. Hope it helps!

Re: Accidentals: Unwanted naturals

Hi Sona, I can send my page code, if it would be helpful. Yes, it would. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

how to remove \RemoveEmptyStaffContext up the chain?

Hello all, I've got a situation where one of my \include files contains a \layout { \context { \RemoveEmptyStaffContext } }. 99% of the time, I want this to happen. However, in a few circumstances — especially when engraving/editing, but also for a few specific pieces in final form — I

Re: Scheme function for ossia

Hi Mats, No! \alias does something completely different than you seem to beleive. Just to complete this (dangling) thread, and make sure *I* know what it does... =) \context { \name BAR \alias FOO ... } informs lilypond that the newly-defined context called BAR should accept

Re: Rhythm

Hi Christian: Hi there, I cannot figure out how to encode a 16th note rhythm. When counting by mouth I would say: 1and 2and 3and 4and when all notes are taking part. In lilypond I would write: g16 g g g g16 g g g g16 g g g g16 g g g. But how do I: 1ad 2ad 3ad 4ad? Please notice I leave out the

Re: Rhythm

Hi Christian, Considering this pattern g16 g g8. I do understand that the second g is inheriting the 16 from the previous g. I don't understand why I need to g8 to get the fourth 16th note? Is it maybe that the duration from the second note to the third note is of an eight note? No... the

[TIP] Scheme function to force regular system breaks

Hi all, Thought I'd share this... it's a Scheme function I wrote to force system breaks at regular intervals (e.g., four measures per system is a popular jazz sheet music layout). Comments/improvements are welcome. Hope this helps someone else! Kieren. \version 2.13.3

Re: Accidentals: Unwanted naturals

David, It is also perfectly reasonable for a person who has been writing music for decades for it to make no sense. Why? Because it makes no sense, and never did. ? Why not a \followKeySignature command? ?? I can't remember who in this thread first suggested that when you play an

Re: Accidentals: Unwanted naturals

Hi David, Whether we like it or not, there are going to be intelligent people who misinterpret Lilypond's requirements in this case, and will perhaps not want to believe that such sophisticated software could be so naive/stupid/buggy/whatever as to not take into account its own \key

Re: Lilypond Speed

Hi Jonathan, I'm curious how long it takes for other people to run lilypond on the following simple score: \relative c' { c4 d e fis } About 1.5 seconds on my MacBook 667GHz G5 w/1GB RAM. Kieren. ___ lilypond-user mailing list

Re: Accidentals: Unwanted naturals

Hi David (et al), Just to be absolutely clear, the fallacy in your argument lies in the following statement: It's necessary to consider the sound of the music, *and not the conventional rules of printed scores* when doing Lilypond pitch input. Quite the contrary, the conventional rules

Re: Accidentals: Unwanted naturals

David, The key signature is and has been for many centuries an integral part of the notation. Yes... and now you're suggesting we make it *not* integral — your argument holds no merit. Cheers, Kieren. ___ lilypond-user mailing list

Re: Accidentals: Unwanted naturals

David, You have shouted down the users, but convinced none. Why? Because you are wrong. Oh, now I remember you... I think every thread you've ever been involved in ends in some snobby, irritating comment like that! =) Thanks for the flashback, Kieren.

Re: Accidentals: Unwanted naturals

Hi David, Likewise if you use TeX, or a high-dollar word processor, and you type there the program isn't going to know if you should have typed their or they're. Perfect analogy! I was looking for one, but couldn't come up with it — kudos! Regards, Kieren.

Re: odd tempo definition

Hi James, Is it possible to get a tempo definition like \tempo 8*5 = 100? Do you want it displayed somehow, or simply defined? If the latter, simply say \tempo 8 = 500. If the former, you'll need to be more specific about how you want the display (e.g., with notes in markup, or whatever).

Re: Change distance between piano staves for one system only

Hi Frederick, On one system, the piano staves are ridiculously far apart. How do you bring them closer together? Have you looked at the documentation on vertical spacing, particularly http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Explicit-

Re: Accidentals: Unwanted naturals

You can either choose to learn that rule or you can write an extension to make LilyPond do it another way. A sed script to do it was almost trivial, even for me. So then why not (re)write it in Scheme and contribute the function/ tip to the Lilypond community, so that others could benefit

Re: Accidentals: Unwanted naturals

Hi David R, AFAIK, all of the graphical-interface music scoring programs use the visually-oriented logic. The last time I used Finale — which, thankfully, was a very long time ago! ;) — there were only two ways of entering notes: 1. From a MIDI keyboard: Clearly, you can't follow the key

Re: Accidentals: Unwanted naturals

Hi Kees, these programs operate as you describe Okay, then they *do* use (essentially) the same method as Lilypond, not some visually-oriented method which follows the key signature... So is there *any* example of an application which tries to follow the key signature for someone? Not

Re: Accidentals: Unwanted naturals

Hi Francisco, Well, I think technically it's easy, just draw the little balls. You'll have a drawing program that knows little about music. Of course, you're right... I was foolishly assuming this would be a music engraving program that knew something about music. ;) Thanks, Kieren.

Re: Accidentals: Unwanted naturals

Hi David, The initial impulse for the negative attitude, which has prevented any thought of how the thing could and should be done, is simple laziness. I can't speak for anyone else, but I *have* put thought into how this could be done in Lilypond, and ultimately decided not that it CAN'T

Re: Accidentals: Unwanted naturals

Hi David, Example of an application (Mac OS X only) that does follow the key signature on mouse-click input: NoteAbility http://debussy.music.ubc.ca/NoteAbility/ Interesting... Keith Hamel was a teacher of mine at UBC, and so I used NoteWriter back in the late 80s and early 90s. The last

Re: Accidentals: Unwanted naturals

Hi Joseph, The discussion is heading in some unfortunate directions because of a confusion between data entry -- which is a matter of the user interface -- and the underlying data _structures_, which are something else. [...] What's implicit in this is that Finale's data structures, like

Re: Layout problem in Loro

Hello Jean-Alexis, A while ago, I have typed the lead sheet for Loro. I have a small problem in measure 12. May be it's just a matter of adjustment, or a bug. Looks like a bug to me... at the very least, it's a poorly- documented, undesirable default. =) See, the chord text is making

Re: Disconnected and oddly placed stems

Hi Dan, Notice how the stems in the fourth measure are disconnected and opposite. Anyone know why this is happening, and how I can fix it? You are not correctly coding single-staff polyphony — I suggest you (re?)read the appropriate documentation sections, starting with

Re: Using Lilypond to produce publication-ready music

Hi Mark, If anyone can offer more suggestions for developing a template that fits this specification and can handle all the notational elements this style requires, that would be great. If anyone wants to take a stab at engraving a Lilypond version of the sample song, and see how close we

shortcut for creating new Staff subclass context?

Hi all, Let's say I want to create a new subclass of the Staff context called MyStaff, and the only thing it does is override the InstrumentName settings. Do I really have to include all the \consists from engraver- init.ly? i.e., do I really have to use \context { \type

<    1   2   3   4   5   6   7   8   9   10   >