Re: strange time changes - req help

Am 28.03.20 um 15:30 schrieb Aaron Hill: Would something like this work? \version "2.20.0" {   \time 4/4   \partial 8*7 | b'2 4. \bar "||" You don’t need this \partial 8*7. In fact it’s better to omit it for correct autobeaming and bar checks. (Your code gives a bar check

Re: Strange gap-behaviour with whole-note tremolo Beams

Am 27.03.20 um 12:23 schrieb Thomas Morley: I have no clue why this happens and where those added values came from. Any insights? Wild guess, to be tested: ll. 558 ff. of beam.cc.

Re: raise markup

Am 22.03.20 um 09:06 schrieb bobr...@centrum.is: I've created a markup, simplified to 'X' in my example, and I would like to move it up partway into the staff. I can move it down with a negative number but it won't move higher than '0' in \translate. There must be a way to do this.

Re: version 2.18.2 - incorrect bar numbers with full measure rests

Am 18.03.20 um 17:44 schrieb Eby Mani: With 4/2 time, Bar numbers are incorrectly printed when using full measure rests. Even printing bar numbers for each measure is numbered incorrectly(attached sample). \context {\Score \override BarNumber.break-visibility = #all-visible } Is there a

Re: Double Parenthesis

Am 09.02.20 um 15:02 schrieb Freeman Gilmore: This is taken from the "Scheme Book". Question why double parenthesis for let ((rand (random 100))) ? A let expression can have several definitions, f. e. (let ( (rand (random 100)) (notrand (* 6 7)) ) […] )

Re: hide Stuff

Please keep all conversation on the list. Am 14.01.20 um 11:36 schrieb bb: Thanks for reply. Works only partially. 1st there stays a Staff artefact This is because you tagged only the music inside the staff, not the staff itself. 2nd ther is no midi sound for the hidden notes I need the

Re: hide Stuff

Am 13.01.20 um 16:02 schrieb bb: I need the Stuff only for midi output and want to hide it from the pdf. Is it possible? regards Yes, you can use several \score blocks or the \tag command.

Re: named strings in TABs

Am 05.01.20 um 10:55 schrieb bb: I named the strings in my TABs successfully as long as I use natural note names. If I use flats and sharps I get an error. How do I gat flats and sharps? How did you input the sharps? #, ♯, or \sharp? The character # is special in LilyPond, you’d have to

Re: align aftergraces

Am 04.01.20 um 17:38 schrieb Mark Stephen Mrotek: Hello all, In the following, the two aftergraces do not align. The 15/16 in \afterGrace 15/16 … is not a duration but a fraction of the duration of the following note. In the upper staff you have a half note, in the lower staff a quarter

Re: positioning a natural

Am 03.01.20 um 06:55 schrieb Mark Stephen Mrotek: Hello All, In the following the natural should be associated with the a4. Any suggestions/corrections welcome. How about this? \version "2.19.83" \relative c'' { << { ais8 ([b]) } \\ { \once \override

Re: Frescobaldi Quick key for Lily button

Am 29.12.19 um 16:44 schrieb Freeman Gilmore: In Frescobaldi is there a quick key that can be used in place of the Lily button? Yes, it’s Ctrl+M.    And one that will also clear the Music View or better one that would do both?    The problem is that the old view may not be updated when

Re: Output file extension

Am 23.12.19 um 10:19 schrieb Malte Meyn: might have something to do with Scheme modules The reason for this guess: I copied and changed the definition for output-preview-framework and it didn’t work as expected. So I looked where this function is called and found the file lily/paper

Re: Output file extension

Am 23.12.19 um 03:31 schrieb Paolo Prete: is it possible, in some way (without an external script) to override the extension for the output file? I need that output.svg is renamed as output.html Yes, that’s possible. The extension .svg as well as .preview.svg, .cropped.svg and

Re: A suggestion - add rf to built-in dynamics

Am 22.12.19 um 13:23 schrieb Peter Toye: I agree about \sp and \spp - what on earth are they meant to mean - a sudden quiet note in the middle of louder ones? Not a common musical gesture. Maybe they mean “subito piano” and “subito pianissimo”? Then they would not be for only a single not

Re: Separating note names into pitch and accidentals

Am 22.12.19 um 10:51 schrieb Hans Åberg: To simplify the writing of note input names, they might be separated into separate parts for pitch and accidentals (or intervals). Testing this, I made C++ code where one first reads the longest pitch name available in a table, and then proceeds for

Re: A suggestion - add rf to built-in dynamics

Am 21.12.19 um 13:42 schrieb Peter Toye: May I suggest adding 'rf' to the built-in dynamics? Beethoven and Brahms used it quite a lot, even if it is synonymous with 'rfz' (pedants might disagree). As did some other, lesser, composers (one of whose music I am currently engraving). A far as

Re: Merge_rests_engraver bug with whole measure rest?

Am 10.12.19 um 10:57 schrieb Thomas Morley: Am Di., 10. Dez. 2019 um 10:42 Uhr schrieb Jens Gyldenkærne Jensen : The example from the manual regarding merging of rests (http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#merging-rests) show a strange difference between

Re: Piano Staves equidistant from Middle C?

Am 04.12.19 um 14:46 schrieb Kale Good: Hello, I'm trying to get my piano staves equidistant from middle C, with precisely the width of one staff-space between middle C and the top line of the bass clef and the bottom line of the treble. I’m not sure why setting values for

Re: Markup problem

Am 04.12.19 um 10:19 schrieb Jacques Menu: Hello folks, In the following example, the markup doesn’t show up in the score, one only gets: Removing the \book around the \score avoids this problem, though. I’ve missed something it seems... Shouldn’t the \markup live inside the \book too?

Re: 8va superscript

Hi Martin, AFAIK all of this can be done, yes. However, it’s a bit hacky and will be much easier in the not yet published 2.21.0 which will have improved ottava brackets. Am 28.11.19 um 10:36 schrieb Martin Tarenskeen: - 8va above the staff with the "va" superscripted like in the attached

Re: Availability of music notation font in LibreOffice (Malte Meyn)

Am 27.11.19 um 13:52 schrieb Malte Meyn: Am 27.11.19 um 12:58 schrieb Peter Toye: Bravura sounds like a good idea, except that I'm trying to work out how to get it. It seems that I have to download something (but the readme file doesn't exactly say what) from github and then install

Re: Availability of music notation font in LibreOffice (Malte Meyn)

Am 27.11.19 um 12:58 schrieb Peter Toye: Bravura sounds like a good idea, except that I'm trying to work out how to get it. It seems that I have to download something (but the readme file doesn't exactly say what) from github and then install it using a proprietary installer which I've had

Re: Availability of music notation font in LibreOffice

Am 26.11.19 um 12:45 schrieb Peter Toye: I want to write some editorial notes which will be mostly free-form test but will include some musical symbols (dynamics, notes). A word processor (I use Libre office) is easiest for the text, but how do I include the musical symbols? Is the Feta

Re: \repeat percent not working for chordmode ?

Am 20.11.19 um 15:22 schrieb Sandro Santilli: I'd like to use percent signs for chord repeats but in a \chordmode block the repeats seem to end up being just not rendered (nothing printed for the repetition measures). Is there a way to get those percent signs ? Yes, you’ll need to include

Re: Full measure rests does not display in partial measure

Am 19.11.19 um 18:34 schrieb Павел Буданов: <<    { \partial 4*3 b b b b b b b }    \\    { R1*3/4 R1 } How to solve subject problem? I did not find the answer in the archive. A partial measure is partial, not full, so why do you want a full measure rest? In 4/4 time the rest

Re: How to color objects that cause collision

Am 15.11.19 um 01:50 schrieb Paolo Prete: I think that a very useful function would be a way to highlight or change the color for all the objects that are causing a collision. Is there already some code for that? Look for example at the two slurs in the following snippet: […] When there

Re: \epsfile

Am 15.11.19 um 10:47 schrieb Martin Tarenskeen: I am experimenting with the \epsfile command to include various pictures in my score. http://lilypond.org/doc/v2.19/Documentation/notation/graphic.en.html describes:  \epsfile axis (number) size (number) file-name (string)     Inline an

Re: drawing a range reguardless of transposition

Am 14.11.19 um 18:09 schrieb Aaron Hill: On 2019-11-14 8:53 am, Sandro Santilli wrote: In order to determine if I'm writing something that can be played by an instrument, is there a way to display on the score the supported range by that instrument ? I'd like to have something that doesn't

Re: Macro with

Am 14.11.19 um 10:02 schrieb David Menéndez Hurtado: I am transcribing a piece that is filled with the rhythmic motif "8. 16 8" at different pitches. Being a LaTeX user, I want to write a macro like \myrithm{c a g}. Maybe http://lsr.di.unimi.it/LSR/Item?id=465 or

Re: lilypond-user Digest, Vol 204, Issue 61

Am 13.11.19 um 20:43 schrieb bill wolf: Is there another way that avoids the fiddly adjustments--or even using two voices? You’ll need the two voices because of the opposite stem directions in the second half of the measure. However you can save some typing by using { } \\ { } instead of

Re: m7.5- transposed to sus#4 b3 ??

Am 12.11.19 um 09:56 schrieb Sandro Santilli: On Mon, Nov 11, 2019 at 10:08:07PM +0100, Thomas Morley wrote: Am Mo., 11. Nov. 2019 um 21:38 Uhr schrieb Sandro Santilli : I transcribed an A major song with this chords snippet: ees:m7.5- | aes:7 | aes:m7.5- | des:7 | When transposing it

Re: m7.5- transposed to sus#4 b3 ??

Am 11.11.19 um 21:38 schrieb Sandro Santilli: I transcribed an A major song with this chords snippet: ees:m7.5- | aes:7 | aes:m7.5- | des:7 | Are you sure you want those chords instead of dis:m7.5- gis:7 gis:m7.5- cis:7 ? Who wants to read a a-flat half-diminished chord (a-flat c-flat

Re: Why is the notehead shifted?

Am 09.11.19 um 13:16 schrieb Peter Toye:  In this MWE the first  a is shifted to the left of the stem but the second one isn't. OK, it's a bit cramped, but I thought that the noteheads were scaled to the size of the staff to avoid this. Oddly, if the local staff size is changed to a

Re: 'Compressing' a 1 bar full bar rest

Am 06.11.19 um 09:38 schrieb Jacques Menu: Hello folks, I’d like to show that explicitly with a number, i.e. to have a ‘1’ above measure 2 in this example: \version "2.19.83" {   \time 4/4   \compressFullBarRests   R1*2 |   R1*1 |   c' | } How can that be achieved? Thanks for your

\RemoveAllEmptyStaves, TabStaff and \set commands [was: TabStaff.keepAliveInterfaces]

Am 02.11.19 um 09:39 schrieb Malte Meyn: Seems like the \set TabStaff… partly revives the TabStaff from being hidden. I just realized that other \set commands (not involving keepAliveInterfaces) show the same problem: \version "2.19.83" bla = { \repeat unfold 100 e'4 } git

TabStaff.keepAliveInterfaces

Hi list, what am I (or what is LilyPond) doing wrong here? %%% \version "2.19.83" bla = { \repeat unfold 100 e'4 } git = { \set TabStaff.keepAliveInterfaces = #'() R1*10 \repeat unfold 60 c'4 } << \new Staff \bla \new Staff \with {

Re: Notation in Soprano Clef

Am 02.11.19 um 00:19 schrieb David Kastrup: Afterwards you use Frescobaldi's transpose function to transpose your input to the actual original key, proofread with soprano clef and finally reprint with treble clef. Even better: Frescobaldi does modal transpose too so you just can input

Re: Puzzled about r1 issue in 3/4 time

Am 23.10.19 um 23:38 schrieb Michael Gerdau: Lilypond is right, r1 is 4 beats long. What you probably want is r1*3/4 or most likely (and better) R1*3/4 instead of r1. More like R2. What is the difference between R2. and R1*3/4 apart from the obvious difference in the source file?

Re: Puzzled about r1 issue in 3/4 time

Am 23.10.19 um 23:09 schrieb Carl Sorensen: As you have identified, you can use “r2.” to get a ¾ note rest.  This rest will appear in the same note column as the first quarter note in the measure.  You can also use “R1*3/4” or “R2.” in ¾ time to get a ¾ note (whole measure) rest. This rest

Re: Puzzled about r1 issue in 3/4 time

Am 23.10.19 um 21:59 schrieb Michael Wagner: I am seeing some behavior I don’t understand. I have ended the music for “Silver Bells” into lilypond, and I am seeing a puzzling error. The song is in 3/4 time, but the rest in measure 33 seems to betaking 4 beats - I get a bar check failed and

Re: MIDI, rests and end-of-track

Hi Cam, please start a new thread for a new topic. (You replied to a thread about double clefs. You changed the subject but the information that it’s a reply to that thread is still there so it will be shown as part of that thread.) Am 22.10.19 um 17:06 schrieb Cam: \version "2.18.2" […]

Re: midi instrument for ChordNames

Am 22.10.19 um 09:54 schrieb Sandro Santilli: On Mon, Oct 21, 2019 at 12:15:47PM +0200, Thomas Morley wrote: please always provide a MWE, with the lily-version in it. What's MWE ? A minimal working example, see http://lilypond.org/tiny-examples for why and how to create one.

Re: Double clefs (or even triple)

Am 19.10.19 um 14:56 schrieb Alexandre Ficagna: Hi as Lilypond now have double G clefs with the \clef GG I'm wondering why there's no \clef FF or even more like \clef GGG and \clef FFF for 15a and 15b Hi Alexandre, I’ve never seen that, when are such clefs used? Cheers, Malte Still, I

Re: How can I apply default automatic beam logic for 4/4 meter to a piece written in 2/2 meter

Am 19.10.19 um 13:56 schrieb 田村 淳 via lilypond-user: If I set "\time 4/4” then the automatic beam works almost perfectly. Very little manual tweaking is required. Maybe then the easiest way is to use \time 4/4 and \set timeSignatureFraction = 2/2.

Re: Easy way of suppessing tuplet numbers?

Am 19.10.19 um 13:23 schrieb Peter Toye: Is there an easy way to suppress tuplet numbers? When there's a long passage of triplets it gets too fussy having a "3" every time. I know it can be done with c*2/3 d*2/3 e*2/3 etc. but this takes ages to type, and is very inflexible if I decide to

Re: Set /bookOutputName to Conjunction of Variable and String

Am 18.10.19 um 14:29 schrieb foxfanfare: David Kastrup wrote So you need to put basically anything after the assignment to "num" before calling the \include statement. Thanks for your answer David, but I'm sorry I'm not following you here. What should I call before the include statement

Re: Disabling beamExceptions and beatStructure

Am 03.10.19 um 10:51 schrieb Leo Correia de Verdier: Dear list! I am working on a piece with constantly changing meters and it got me wondering if there is a way to set beamExceptions to #’() and beat structure to a suitably long sequence of ones for all time signatures in the whole piece

Re: transpose for baritone sax

Am 27.09.19 um 02:33 schrieb Francesco Petrogalli: I understand that the correct way of doing this is first write the notes in the tonality of the instrument, and _then_ use \transposition to get the correct pitches in the midi, but I already have the notes in the ly file with the orchestral

Fwd: Re: drinking song symbols

Forgot the list … Am 17.09.19 um 22:01 schrieb k...@aspodata.se: As an idea a saw somewhere, I made a little wineglass symbol where in the song you are to take a drink, as in bar 14 in: http://aspodata.se/choir/ud/k%C3%A4y_metsolan_halki/k%C3%A4y_metsolan_halki.pdf source code in

Re: A periodic enquiry re 2.20

Probable background of Urs’ question: https://www.uni-mozarteum.at/en/kunst/music-engraving-conference.php Am 17.09.19 um 09:10 schrieb Urs Liska: To be a bit more specific: is there any chance for a release by mid-January? Am 17. September 2019 02:42:26 MESZ schrieb Andrew Bernard :

Re: Sacred Harp Repeats

Am 11.09.19 um 15:46 schrieb Anzick: 276_-_Worlds_Beyond_The_Sky.ly SHRepeats.ly Hello, I have been able to get the sacred harp style repeats to

Re: Global chord modifications for multiple scores

Am 05.09.19 um 09:27 schrieb Witold Uchman: Hi all! Is there a way to globally modify chord properties in multiple scores contained in one file? I would like all the chords to be \germanChords with chordNameLowercaseMinor = ##t, but I could not find a way to put it in the \layout block...

Re: Melisma breaking converting from 2.18 to 2.19

Am 27.08.19 um 10:56 schrieb Malte Meyn: Yes, it does. The following two scores look the same in 2.18.2 and different in 2.19.83: This changed somewhere between 2.19.13 and 2.19.14. Without testing it looks like commit df3457d8 “Allow \addlyrics to work with arbitrary contexts” could

Re: Melisma breaking converting from 2.18 to 2.19

Am 27.08.19 um 04:40 schrieb Vaughan McAlley: I’m trying to convert a large choral project to 2.19. When I compile with 2.19, melismas don't work at all. For example: c'4 \melisma d' e' \melismaEnd f puts a note on every syllable. […] Does this ring a bell with anyone? Yes, it does.

Re: Horizontal spacing algorithm

Am 26.08.19 um 09:56 schrieb Michael Gerdau: Anyway, have you actualliy tried the provided spacing examples given in the (old?) article with a current version of lilypond? Find attached my tests with the current (2 weeks old) git version. For those who don’t want to compile from git

Re: Suppress Volta Starting Repeat

Am 26.08.19 um 03:22 schrieb keith Luke: Is it possible to suppress the a volta starting repeat? Yes, that should be possible. The following code generates a repeat in front of the g1. No, it doesn’t. Please always give a minimal *working* (i. e. compilable) example. Which LilyPond

Re: Colored box behind a single note

Am 25.07.19 um 15:26 schrieb David Kastrup: So how do you distinguish a nested bracket starting and ending at the same musical moment to ending one bracket and starting the next at the same musical moment? Good question. Slightly off-topic: Currently it’s not possible to end one bracket and

break-align-symbols for MetronomeMark/RehearsalMark

Hi list, I’m unsure whether that’s a bug, poorly documented or my error: To me it looks like some break-align-symbols work for some grobs and others for others. The following code gives output that is highly inconsistent IMO. Any idea what I’m doing or expecting wrong? Cheers, Malte

Re: Problem with merging whole measure rests

Hi David, if I understand correctly you see a problem with the Merge_rests_engraver (your attached file from-NR.ly)? That engraver didn’t merge MultiMeasureRests until 2.19.65 and does so since 2.19.80 (the first prerelease for 2.20.0, hence the version number jump from 65 to 80). However,

Re: vertical position of OttavaBracket

Am 15.07.19 um 08:12 schrieb Robin Bannister: It is normal 'automagic' for    \box { "X" "Y" "Z"} to be mapped into    { \box "X" \box "Y" \box "Z" } giving you 3 boxes in a markup list to which \concat can be applied. Seems like that magic happens only for LilyPond syntax markups. The

Re: vertical position of OttavaBracket

Am 14.07.19 um 16:21 schrieb Robin Bannister: Malte Meyn wrote: How can this made be top- or bottom-aligned (or aligned depending according to the 'direction property)? Inside a #(define-markup-command (command-name layout props arg1 arg2 …) you can collect 'direction as follows:   (let

Re: vertical position of OttavaBracket

Am 14.07.19 um 13:15 schrieb Andrew Bernard: Provide the mechanism, sure, but don't prescribe a single appearance. I don't even think there is a default that would suit everybody, that's the point. Of course I wouldn’t change LilyPond’s default. The markups I showed would be only an

Re: tabstaff minimumfret behaving badly

Am 14.07.19 um 12:42 schrieb Immanuel Litzroth: Am I doing something wrong? Is there a way to fix this? minimum-fret allows open strings because you don’t need the left hand for them. You can disallow that behaviour: \set TabStaff.restrainOpenStrings = ##t

vertical position of OttavaBracket

Hi list, I’m currently working on a patch that would make the default ottavation texts/markups (currently "8va"/"15ma" and "8vb"/"15mb") changeable by the user without having to \set Staff.ottavation after each \ottava, see the following code and attached picture:

Re: Metronome marks above piano staff of vocal score?

Am 09.07.19 um 18:52 schrieb Steven Smith: Is there a a way to have the metronome mark created by "\tempo 4=80" appear next to the piano staff as well as above the top staff of a SATB/Piano score? My research indicates that this placement is fairly common in choral pieces. Also, some

Re: More font ligatures

Am 06.07.19 um 03:38 schrieb Vaughan McAlley: Elam Rotam, of Early Music Sources fame, has created a font that recreates 16th century typesetting. It could be useful for doing quick, good looking incipits: https://www.earlymusicsources.com/more/font-serenissima https://youtu.be/HH1oUc4E1CA

Re: Aesthetics question -- how would you typeset this?

Am 03.07.19 um 06:36 schrieb Evan Driscoll: It's for cello, and just the part, no score. Is that playable? I sadly haven’t touched my cello for a few months now and it’s 350 km away so I can’t try but I think I couldn’t play that passage despite having long fingers … It's a transcription

Re: Aesthetics question -- how would you typeset this?

Am 03.07.19 um 05:54 schrieb Evan Driscoll: I've got a couple measures that I'm struggling to even figure out what I want the result from Lilypond to be. I've pasted the snippet below. As picky connoisseurs of good notation, I'm wondering what other people would do or like to see. :-) I'm

Re: Part name going off screen

Am 07.06.19 um 05:36 schrieb branden marbaugh: So I am using Frescobaldi and used the setup wizard for a 4-voice project. The first line of the 4 voices is good but in the 2nd line, the instrument name goes off screen. Hi Branden, you have to set short-indent (default 0) in a layout or

Re: Barcheck with full measure rests

Am 21.05.19 um 13:08 schrieb J Martin Rushton: The notation reference for 2.18.2 doesn't seem to mention using fractions with multi-measure rests. Using just {R1*3/4} generates programming errors and no rest is output. The fraction is not the problem: { \time 3/4 R1*3/4 } This works

Re: Barcheck with full measure rests

Am 21.05.19 um 12:51 schrieb Michael Gerdau: the following MWE triggers a barcheck failure. Is that intended or a bug? And if it is intended I'd like to understand the rationale. % \version "2.21.0" { R1*3/4 s4 | } % Hi Michael, that’s intended: R is used for

Re: The "let vibrate" tie

Am 14.05.19 um 01:57 schrieb Vicente Sanches: Hi everyone, How can I input that l.v. ("let vibrate") tie used generally with timpani and mallets such as vibraphone em marimba? Hi Vicente, try \laissezVibrer. See also

Re: How to write notes for drums?

Am 12.05.19 um 07:53 schrieb Данил Костенков: Hello everybody! I want to write notes for drums. But I don’t know how it do. Give me some advices and instructions about this. Thank you in advance. Hi Danil, have a look at the “Percussion” section of the Notation Reference:

Re: Vertical spacing of numeric time signature

Am 09.05.19 um 16:53 schrieb msk...@ansuz.sooke.bc.ca: Is there any simple way to modify the vertical spacing between numerator and denominator in a numeric time signature? Not really simple. But it can be done by redefining the stencil: \version "2.21.0" #(define (fraction-with-gap gap)

Re: how to restore the override to it default.

Am 07.05.19 um 21:30 schrieb MING TSANG: Lilyponders, The override take effect for bar 2 to bar 4. I try to use \remove , but not working. The correct command is \revert: \revert NoteHead.style or \revert Stem.transparent ___ lilypond-user

Re: move rehearsal marks

Am 05.05.19 um 07:48 schrieb Gianmaria Lari: How I can move a bit on the left the rehearsal mark "A" to make it taking less vertical space? I’d use X-offset: \override Score.RehearsalMark.X-offset = 1 ___ lilypond-user mailing list

Re: \transposedQuoteDuring

Am 01.05.19 um 15:53 schrieb Pierre-Luc Gauthier: Hi there, Is there a way to transpose a quotation, say, an octave higher ? I used the following code some years ago. IIRC you can call \color-music-if-point-and-click f. e. in a \layout { \context { \Voice … } } block to get grey quotes.

Re: Tools for harmonic analysis (Riemann style)

Hi Urs, Lukas, and everybody, Am 26.04.19 um 14:45 schrieb Lukas-Fabian Moser: And @Malte, am I wrong if I remember that I saw some work on functional analysis symbols done by you? that’s true. For my thesis I needed such symbols for use both in LaTeX and LilyPond. I had made a LilyPond

Re: Key Signature consisting of 7 naturals?

Am 22.04.19 um 19:06 schrieb Malte Meyn: {   \set Staff.keyAlterations =   #`((3 . ,NATURAL) (0 . ,NATURAL) (4 . ,NATURAL) (1 . ,NATURAL) (5 . ,NATURAL) (2 . ,NATURAL) (6 . ,NATURAL))   c' } That’s in the order they would appear after cancelling 6

Re: Key Signature consisting of 7 naturals?

Am 22.04.19 um 18:44 schrieb Stefano Troncaro: I looked in the documentation and it states how to create synthetic key signatures, but it doesn't seem to tell how to make the naturals explicit. It can be done the same way as with sharps and flats: \version "2.21.0" { \set

Re: scheme-question about accumulating lists of lists

Am 19.04.19 um 16:35 schrieb Thomas Morley: I could do (cons '(a b c) (list (car (list-pair)) (cdr (list-pair and to get the last list: (last ...) Looksy clumsy, though. Any better method? I’m not sure what you want to do here. But maybe it would be easier to convert the pair of lists

Re: rest + fermata

Am 14.04.19 um 13:38 schrieb Martin Tarenskeen: Hi, This is strange: %%% start of tiny example \version "2.19.83" {   r1\fermata   R1\fermata } %%% end of tiny example r1\fermata works fine, R1\fermata doesn't. No fermata sign is printed. Is this a bug? That’s the third time in a few

Re: partCombine and direction of stems

Am 04.04.19 um 10:23 schrieb Gianmaria Lari: I don't understand how lilypond manages the stem direction in the following code. Why the difference in the two scores? \partCombine is for combining a first and a second (or upper and lower) part in a score, like flute 1 & flute 2 or soprano &

Re: SMuFL Bravura

Am 02.04.19 um 09:34 schrieb Urs Liska: But that probably should wait until the release of 2.20.0 and 2.21.0, shouldn’t it? I don't think so. Of course such a fundamental change doesn't belong in 2.20, but adding stuff to the development branch doesn't seem problematic to me. If it should

Re: SMuFL Bravura

Am 01.04.19 um 21:12 schrieb Urs Liska: I fully agree with all of that, but I think what Johan wanted to say is that we should *first* work towards DMuFL compliance before spending manpower on Emmentaler extensions. Which I think is true and not. If there is someone willing to spend efforts

Re: SMuFL Bravura

Am 01.04.19 um 12:01 schrieb Johan Vromans: On Mon, 1 Apr 2019 09:17:26 +0200, Malte Meyn wrote: SMuFL integration and using Metafont for glyph creation don’t contradict, do they? They do, in so far that with limited resources you cannot do both. [sending on-list, sorry Johan

Re: SMuFL Bravura

Am 01.04.19 um 08:59 schrieb Johan Vromans: On Mon, 1 Apr 2019 11:37:42 +1100, Andrew Bernard wrote: Now to learn Metafont then. Shouldn't be too hard - As a retired TeXnician I have deep respect for TeX and MetaFont. Nevertheless I think the right way now is to go for widely accepted

Re: lilypond 2.21

Am 30.03.19 um 08:17 schrieb Gianmaria Lari: Are there any istructions available to try to compile lilypond 2.21 on windows? Thanks, g. Hi Gianmaria, if I’m not mistaken there is currently no way to compile on Windows itself. Instead, Windows executables are cross-compiled on Linux.

Re: Force tablature position

Am 27.03.19 um 16:55 schrieb Anthony Rushforth: Hello, I would like to force a finger position in a tablature for a particular note in a chord, but the "\set TabStaff.minimumFret = #3 " seems to apply to the whole chord. In this example I would like the b to be in string 3 (g), 4th

Re: \RemoveEmptyStaves

Am 04.03.19 um 03:17 schrieb Richard Gress: Hi all, Why is \RemoveEmptyStaves not working the way I’m using it? The output still shows blank staves in a ten-page document. Uncommenting the global command doesn’t work, either. PianoStaff contains the Keep_alive_together_engraver. This

Re: Question about eval-string

Am 02.03.19 um 13:34 schrieb Aaron Hill:   $@(map eval-string '("voiceA" "voiceB")) That should work too, I think. Wow, that’s cool! I think I have seen $@ in the past but I didn’t know what it does ;) That should be enclosed in << >> though for Paolo’s use case: << $@(map

Re: Question about eval-string

Am 02.03.19 um 13:06 schrieb Paolo Cantamessa: %this doesn't work <<   $(map eval-string '("voiceA" "voiceB")) >> The map returns a list which means that the 'elements of the SequentialMusic (produced by << >>) is a list of lists instead of a list. Try the following and have a look at

Re: Short Fermata - Whole Measure Rest

Am 27.02.19 um 09:23 schrieb Malte Meyn: Maybe one should add \shortfermataMarkup, \longfermataMarkup and \verylongfermataMarkup to LilyPond … This is issue 5486 now: https://sourceforge.net/p/testlilyissues/issues/5486 ___ lilypond-user mailing

Re: printKeyCancellation not working as expected

Am 27.02.19 um 16:13 schrieb SK: Hello, I would like to be able to change key signatures without ANY hints for educational purposes. For this I use Staff.printKeyCancellation set to false, together with the visibility options for key signatures. It works fine for most keys, but when

Re: Multiple measures rests question

Am 27.02.19 um 10:07 schrieb Jacques Menu: Hello, Compressing multiple measure rests can be handled with: \set Score.skipBars = ##t and: \compressFullBarRests as shown below by snippets taken from the LPNR. When and where should these be used? From property-init.ly:

Re: Short Fermata - Whole Measure Rest

Am 27.02.19 um 03:29 schrieb nagymusic: Is it possible to attach a short fermata to a whole measure rest, similar when using fermatas with regular rests: R1 \shortfermata? I know that \fermataMarkup works well with a regular fermata. Thank you! \fermataMarkup produces a

systems-per-page and ragged-last-bottom

Hi list, IMHO systems-per-page should be ignored on the last page if (and only if) ragged-last-bottom is set to ##t. I think that systems-per-page is used for even spacing and ragged-last-bottom = ##t shows that the user wants an exception to such an even spacing on the last page. Any other

Re: Horizontal shifting of chords

Am 04.02.19 um 08:59 schrieb Robert Blackstone: Hi All, I have been transcribing a  piano piece in \time 4/2, that ends with a chord \breve. The penultimate bar ends with the same chord half note. What LilyPond does here I find rather ugly : both chords need more space, and I would like to

Re: "Mensurstriche" (barlines between systems) and Repeat signs.

Am 01.02.19 um 18:42 schrieb Aaron Hill: On 2019-02-01 9:04 am, Malte Meyn wrote: Am 01.02.19 um 16:53 schrieb Aaron Hill: "" is already a valid bar line that has an empty glyph, so just extend that one: \version "2.19.82" \defineBarLine "-span" #'(&

Re: "Mensurstriche" (barlines between systems) and Repeat signs.

Am 01.02.19 um 16:53 schrieb Aaron Hill: "" is already a valid bar line that has an empty glyph, so just extend that one: \version "2.19.82" \defineBarLine "-span" #'("|" "|" "|") \layout { \context { \Score defaultBarType = "-span" } } \new StaffGroup << \new Staff \repeat unfold 12

  1   2   3   4   5   6   7   8   >