On 13.03.2012 03:52, Peter Chubb wrote:
Thomas == Thomas Morley thomasmorle...@googlemail.com writes:
Thomas \version 2.14.2 \include articulate.ly
Thomas \score { \unfoldRepeats \articulate \relative c' { c8-. d-.
Thomas e-. f-. g-.-rall f-. e-. d-. c-. d-. e-. f-. g-.
Thomas
Oh, forgot to send a CC to the list. And yes, I’m from germany an meant
“b flat minor”, not “b minor” …
Original Message
Subject: Re: Example worth placing in lilyblog?
Date: Thu, 08 Aug 2013 16:38:11 +0200
From: Malte Meyn malte.m...@mnet-online.de
To: Jacques Menu jacques.m
Hi everybody,
a few weeks ago my father asked me whether there is a tool that
automatically realizes figured bass (I think you say “realize” for the
act of composing the right hand accompaniment, don’t you?). I didn’t
know such a tool, so I wrote a simple one in Haskell but this wasn’t
Hi Richard,
One thing I think you would need is the ability to set the likely rate
of chord change - figured bass is an ambiguous notation even when the
figures are relatively complete (and they are rarely that) - but on the
question of whether a note is to be treated as a passing note or a
One thing I think you would need is the ability to set the likely rate
of chord change - figured bass is an ambiguous notation even when the
figures are relatively complete (and they are rarely that) - but on the
question of whether a note is to be treated as a passing note or a
harmony note it
and the
most current documentation page for version 2.16
http://www.lilypond.org/doc/v2.16/Documentation/notation/bars -- but I do
not believe the implementation of these types of bars has changed from 2.16
to 2.18.
You believe wrong:
On 08.04.2014 22:39, Federico Bruni wrote:
Il 08/apr/2014 21:51 MING TSANG tsan...@rogers.com ha scritto:
Hi, lilyponder,
I was given a numbered (jianpu) score sheet to transcribe. I have been
manually produce a table showing number equivalent english pitch name.
Now I discover that
On 09.04.2014 14:31, Thomas Scharkowski wrote:
Original-Nachricht
Yes, but be careful: this doesn’t work correctly in all cases: “a double
flat” is called “asas” or “ases” in German, only the latter is
translated by frescobaldi. “b double flat” (for example called “sibb”
On 27.04.2014 16:28, Pierre Perol-Schneider wrote:
Well, now the problem comes at the ending barline :
\once\override Score.VoltaBracket.shorten-pair = #'(1 . 0)
Try a negative value like -1 instead of 0 here.
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On 03.05.2014 21:54, Martin Tarenskeen wrote:
On Sat, 3 May 2014, Martin Tarenskeen wrote:
There is just one important thing that I couldn't read in Schumann's
handwriting. It's overstroken by Schumann and in that typical 19th
century German handwriting. But maybe someone in this group is
“Für ganz Kleiner Spieler” is grammatically wrong as well, it would be
“Für ganz kleine Spieler”. And I don’t think that there is another word,
it seems like this text ends with a colon or a dot (I forgot how this
dot is called in English …)
On 04.05.2014 09:53, Pierre Perol-Schneider wrote:
Is this what you want? http://lsr.di.unimi.it/LSR/Item?id=837
Malte
(Sorry, Richard, I sent this only to you but not to the list)
On 06.05.2014 15:34, Richard Shann wrote:
I am typesetting some music that needs a slash between the notes of a
chord, as in the attached image.
Any suggestions how
Hi,
I almost don’t know any Scheme but I think this could be done with a
map, a fold, and some function composition. In Haskell, you would do this:
validate = foldr () True . map ((== 2) . length)
validateShort = and . map ((== 2) . length)
The function and is a shortcut
Minimal example that reproduces that...¿?
On 16.05.2014 06:21, Javier Ruiz-Alma wrote:
v2.18.2...¿?
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lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Not exactly the solution you asked for, but: Why don’t you use
\stemDown? Would save vertical space …
On 16.05.2014 09:38, Javier Ruiz-Alma wrote:
v2.18.2
I have a PianoStaff and need to increase the spacing between the staves within
a system where LP has them too close.
The PianoStaff has a
Under Linux try:
find . -name '*.ly' -exec convert-ly -e '{}' \;
Or, shorter, but doesn’t work by default with all shells (for example
bash needs “shopt -s globstar” in the .bashrc):
convert-ly -e **/*.ly
On 16.05.2014 20:32, Tim McNamara wrote:
Is there a syntax for running convert-ly on
On 17.05.2014 18:20, Tim McNamara wrote:
On May 16, 2014, at 1:54 PM, David Kastrup d...@gnu.org wrote:
Tim McNamara tim...@bitstream.net writes:
Is there a syntax for running convert-ly on a directory without having
to cd into the directory and invoking
convert-ly -e *.ly
There
Oh, and of course, convert-ly knows this, so you can use it to update
old source files.
On 01.06.2014 18:59, Malte Meyn wrote:
It’s not a bug, it’s a feature (see documentation; Changes for 2.18 and
Notation Reference). \bar .|: and \bar :|. should do what you want.
On 01.06.2014 18:40, Tim
Hello,
this was discussed just a few weeks ago at the German LilyPond forum:
http://www.lilypondforum.de/index.php?topic=1744.msg9669#msg9669
This post contains an (as far as I know) ready-to-use solution. Maybe
Harm, who also subscribed to this list, will answer questions to this ;)
Malte
You can tweak the font size:
\tweak font-size -2 ef, ef af2.
Malte
On 02.06.2014 03:46, MING TSANG wrote:
lilyponders:
For the following code, how can I make notehead Ef, Ef, in the chords smaller?
\version 2.19.7
\language english
{
\key ef\major
\time 3/4
\clef bass
ef, ef af2. |ef, ef
On 12.06.2014 05:43, Javier Ruiz-Alma wrote:
I dare not question Chopin. Attached is the same passage from a different
edition of same piece.
That’s correct because Chopin is right: the b flat belongs to the C7
chord which is the dominant seventh chord of the following f minor (and
This can be done in LilyPond without using LaTeX:
\version 2.19.6
{
\override Staff.TimeSignature.stencil = #ly:text-interface::print
\override Staff.TimeSignature.text =
\markup \override #'(baseline-skip . 0) \center-column \number {
\concat {
8+2
\tiny √
\hspace
Another idea could be to change the position of the accidental:
\version 2.18.2
\language english
\relative c {
\clef bass
\time 6/8
bf8 ( d' ) r8
bf,16 (
\once \override Accidental.extra-offset = #'(-1.7 . 0)
bf' ) d ( bf d bf )
}
On 12.06.2014 17:13, James Harkins wrote:
I am at a
On 12.06.2014 22:25, Hans Aberg wrote:
Tying this back to LilyPond, the graphical representation will look the same,
only that the meter and the tuplet numbers are changed. There is another
problem in the MIDI file: how to make a better approximation than 3:2. The next
is 5:3, but then one
Wiener Urtext Edition (Schott/UE) uses Y-shaped stems here, too.
On 12.06.2014 22:53, Francisco Vila wrote:
2014-06-12 15:52 GMT+02:00 Mark Stephen Mrotek carsonm...@ca.rr.com:
In both measures the Paderewski Edition (The Fryderyk Chopin Institute) has
two note heads on top of the “Y”
Do you know \repeat unfold?
\repeat unfold 4 { c'8 d' e' d' }
or
\repeat unfold 4 { c'8 d' e' d' | }
would do what you want (depending on whether you want bar checks).
Another hint (seems like you’re a LilyPond novice, correct me if I’m
wrong): have you already seen \relative?
\relative c'
Hello,
you can try to use either the letter D with stroke (Đ, U+0110) or, if
you want a longer an diagonal stroke, a regular D and a combining long
solidus overlay from unicode (D̸, U+0044 U+0337):
\version 2.19.6
\relative c' {
\repeat unfold 8 { c e g c f a d f b e g c }
}
\addlyrics {
Another aspect: on english keyboards, the single quote ' is easily
reachable. But on german (and maybe other?) keyboards it’s further on
the right and you need the shift key to get it; the neo layout (a german
ergonomic layout which I use) also needs an extra key (called mod3, at
qwerty’s caps
This example from the LSR could help you:
http://lsr.di.unimi.it/LSR/Item?id=655
On 18.06.2014 13:57, Peter Meanwell wrote:
How do I put the name of the piece at the top of
each page (except the first page)?
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On 19.06.2014 08:52, Jacques Menu wrote:
How can I can in some way strike through those 14 bars as I do by hand with a
pen on the printed score?
Suggestion: print it in smaller font-size (cue notes).
Commenting them out in the LP code would change the bars numbers in the
following bars,
Forgot CC …
Original Message
Subject: Re: Variable length bars
Date: Fri, 27 Jun 2014 08:10:52 +0200
From: Malte Meyn lilyp...@maltemeyn.de
To: Patrick or Cynthia Karl pck...@mac.com
You don’t even need the \set Timing.measureLength, a \time command will
do the same when you
I really should remember to always answer to the list ...
Original Message
Subject: Re: Capped tuplet number
Date: Thu, 03 Jul 2014 18:03:53 +0200
From: Malte Meyn lilyp...@maltemeyn.de
To: Javier Ruiz-Alma jav...@ruiz-alma.com
Of course it is. I don’t have an exact solution
On 17.07.2014 21:56, Larry Kent wrote:
David,
You sent me this link:
URL:http://download.lin
http://download.linuxaudio.org/lilypond/binaries/linux-x86/lilypond-ancient-1.4.15-1.linux-x86.sh
uxaudio.org/lilypond/binaries/linux-x86/lilypond-ancient-1.4.15-1.linux-x86.sh
forgot to CC again ...
Forwarded Message
Subject: Re: Error on running convert.ly
Date: Fri, 01 Aug 2014 10:21:35 +0200
From: Malte Meyn lilyp...@maltemeyn.de
To: John McWilliam jsmcwill...@gmail.com
It looks to me as if your input file contains data/text that is not
properly
That is a known problem. If I remember correctly this only occurs with
some old versions of LilyPond when using a certain version of
ghostscript, but I don’t remember the exact details ...
What versions of LilyPond (lilypond --version) and ghostscript
(ghostscript --version) do you use?
On
On 25.08.2014 12:24, Abel Cheung wrote:
Please count me in too if more people are needed, currently I do have
sufficient spare time.
And agreeing to Phil -- perhaps better scan is needed. There are
already some incomprehensible marks in as early as page 2.
I quote Urs: “The material to work
Try
chromaticScaleDown = \relative c { c des d es e f ges g as a bes b }
HTH,
Malte
On 31.08.2014 12:29, bobr...@centrum.is wrote:
\version 2.18.0
chromaticScaleUp = \relative c { c cis d dis e f fis g gis a ais b }
chromaticScaleDown = \relative c { c b bes a as g ges f e es d des }
I think this is not a matter of engraving rules but you should follow
the composer. (If I was the composer I would prefer a version with a
full measure beginning with a rest in this case. But I’m not Albert
Becker.) I’ve seen both versions in different pieces from different
composers.
Also,
Another idea if it’s unclear what the composer wanted:
The first beat of measures 6 and 40 is not the ending of the phrase
before, but the beginning of a new one (phrases end in 5 and 39). So in
my opinion this measure “Bleibe” doesn’t have an “upbeat character”.
On 02.09.2014 12:36, Malte
cd /usr/local/lilypond grep -r define-line-markup *
doesn’t give me any results; I assume they’re not part of LilyPond.
On 04.09.2014 13:38, Richard Shann wrote:
The snippet http://lsr.di.unimi.it/LSR/Item?id=750
for changing the markup used for chord names makes use of Scheme
procedures like
You can use two voices. I made two variants but I don’t like the second
(because semibreves don’t belong on a stem).
\version 2.19.13
\relative {
% my preferred version:
fis'' d'1
\\
d, a'4
% IMHO ugly version:
\once \override NoteColumn.ignore-collision = ##t
Of course it looks better ... because you used minims, not semibreves ...
And it doesn’t compile (remove the \score { } and set language to
english, then it will).
Am 06.09.2014 um 02:16 schrieb MarcM:
I had to do the same for a chord played by violins in Beethoven 5th.
Check this this look
There’s a much better solution which doesn’t need a piccolo (or whatever
is on top) staff that is always present, even if it’s only filled with
pauses: Put \tempo and \mark into a global variable and add this to all
staffs; see attachment. This also lets you change things like time
signature
That may not be what you expected to read, but: Why not flip the tie
upwards? cis ^~ ais fis4
Am 17.09.2014 um 11:06 schrieb Jacques Menu:
Hello folks,
I wrote the following, from the snippets, to obtain a tie between two cis’s in
two voices (code for second voice not shown):
cis ~ ais
Yes, there is the Completion_heads_engraver. I don’t remember exactly
how to use it, but you’ll find it in the manuals.
Am 18.09.2014 um 17:06 schrieb Jay Vara:
Sometimes a note in my (generated) music falls on the bar lines. Is there
a way to auto fix it by splitting the note as per the
I found it in one of my own scores:
\layout {
\context {
\Voice
\remove Note_heads_engraver
\remove Rest_engraver
\consists Completion_heads_engraver
\consists Completion_rest_engraver
}
}
Am 18.09.2014 um 18:25 schrieb Malte Meyn:
Yes
Probably that’s a bug, yes: It works in 2.19.13 (I don’t have a 2.19.14
to look at the different output).
Am 18.09.2014 um 19:06 schrieb Karol Majewski:
\override #'(font-series . medium) or \medium
None of them work. Bug?
\version 2.19.14
\paper {
#(define fonts
Did you and Karol expect “medium” to be something other than “normal”?
Am 19.09.2014 um 08:59 schrieb Pierre Perol-Schneider:
Hi All,
Please find enclosed v2.19.14, 2.19.13, 2.18.2, 2.16.2, 2.14.2 outputs of
the following code :
\version 2.19.14
%\version 2.19.13
%\version 2.18.2
%\version
You can do something like the following and move the “foo = …” into song.ly:
\version 2.19.13
foo = \new Score {
{ c' d' e' f' }
}
{ \foo }
\transpose c d \foo
Am 05.10.2014 um 10:03 schrieb Jay Vara:
I have a song.ly file which prints a song. Is it possible for someone to
print
There is a pitch-dependent staff switching automatism in LilyPond (I
don’t know how it works but you can have a look at piano/harp section in
the notation reference) so I think what you are asking for should at
least not be impossible.
Am 05.10.2014 um 17:52 schrieb David Bellows:
This is
You can try to add another “language” (or add alias entries to the
english language) in the file define-note-names.scm. I’m not sure
whether this will work (does Scheme support Unicode?) but it would be
definitely a simple solution.
Am 06.10.2014 um 15:49 schrieb MarcM:
In an effort to make
Have a look at http://lsr.di.unimi.it/LSR/Item?id=326
Am 16.10.2014 um 22:32 schrieb Knute Snortum:
I have a situation I don't know how to deal with in LilyPond. I have bass
clef and treble clef notes on the same staff. I guess one way to do it is
to create a markup and a small bass clef sign
Hi Steve,
what you probably are looking for is the \repeat command:
{
\repeat percent 3 { c'2 d' }
\repeat percent 3 { c' d' e' f' }
}
This can be found in section 1.4 of the notation reference
(http://lilypond.org/doc/v2.18/Documentation/notation/repeats).
Malte
Am 26.11.2014 um 19:40
Am 01.12.2014 um 12:30 schrieb Xavier Noria:
That works fine, but if there was a way to get minimal output from LilyPond
with just the music I would be able to write a preprocessor that replaced
the code with a image of the staff (only for display mode, not inline).
Maybe you should have a look
Am 04.12.2014 um 00:13 schrieb Urs Liska:
Am I seeing correctly that the arrows are coded with absolute
coordinates from their starting points (i.e. they wouldn't adapt to
layout changes)?
This is not at all diminishing your snippet, but it would be absolutely
awesome if someone could extend
Explicit triplets can be set with a single \tuplet command like Urs
suggested. And implicit triplets can be made by scaling the durations:
\version 2.19.13
\relative c' {
\time 2/4
% you might want this, try it
% (1 . 24) is the duration of a 1/16-triplet ;)
Am 21.12.2014 um 20:57 schrieb Dr. Bernhard Kleine:
organPart = \new PianoStaff \with {
instrumentName = Orgel
}
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
midiInstrument = church organ
I labelled the offending line and would like
Have you tried the \tempo command?
ees4 \tempo 4 = 82 ees'2. |%m76
%%%
\tempo rit. 4 = 75 ees1 |%m79
Am 22.12.2014 um 03:15 schrieb Jinsong Zhao:
Hi there,
I am new to LilyPond. I try to typeset a music sheet. The following is a
snippet. I don't satisfy the code in \markup, especially the
To force an accidental, simply write an exclamation mark behind the pitch:
bes!
Am 29.12.2014 um 19:16 schrieb Jinsong Zhao:
Hi there,
I am try to learn LilyPond by doing. I have a score, which display a
flat symbol in ees major. However, I can't get that in LilyPond.
\version 2.19.15
Am 08.08.2015 um 19:32 schrieb Víctor:
I desperately need the
whole chord to be bracketified, does anyone knows a solution for this?
Thanks and best regards,
Víctor.
Hi Víctor,
you can use the function \parch from the following post at the German
LilyPond board:
Am 08.08.2015 um 23:07 schrieb Karl:
\version 2.18.2
notes = { c4 d e f |
\key d \major
\break
c4 d e fis |
}
\score { \notes }
At the end of bar one there is a key signature marking.
I want to overide that and only have the key change in the beginning of
bar two.
I didn’t test the following
Am 08.08.2015 um 23:25 schrieb Malte Meyn:
I didn’t test the following but it should do what you want. Place this
line at the beginning of the music in \notes:
\override Staff.KeySignature.break-visibility = #begin-of-line-visible
Ok, I tested it and it didn’t work. But what you can do
Am 21.08.2015 um 10:13 schrieb Sharon Rosner:
Hi all,
I have a question that is both general and specific. Is there a way to
automatically introduce a bit of randomness into the way different objects are
layed-out in Lilypond? Specifically, I’m trying to find a way to make slurs
look more
Am 21.08.2015 um 12:55 schrieb Malte Meyn:
I think that it should be possible to redefine ( to tweak every slur
with some randomness.
Here you go:
%%%
\version 2.19.25
( =
#(define-event-function () ()
#{
\single \override Slur.eccentricity = #(* 0.5 (random:normal
Am 21.08.2015 um 21:40 schrieb David Kastrup:
Malte Meyn lilyp...@maltemeyn.de writes:
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would
Am 21.08.2015 um 20:31 schrieb Nathan Ho:
On Fri, Aug 21, 2015 at 4:16 AM, Malte Meyn lilyp...@maltemeyn.de wrote:
Am 21.08.2015 um 12:55 schrieb Malte Meyn:
I think that it should be possible to redefine ( to tweak every slur
with some randomness.
Here you go:
You can also do
Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:
Interesting! New rules for basics of music.
I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.
Not every time signature change is printed in every music.
Am 22.08.2015 um 00:35 schrieb Ian Rashkin:
Hi,
So, I am in the key of B flat, and one melody line has in it a beh (B
quarter-flat). When it renders, I get a natural sign followed by a
quarter-flat sign - how can I have just the quarter flat? The natural
seems redundant in this context.
Am 23.08.2015 um 21:39 schrieb Blöchl Bernhard:
Forgot to add \include lilyjazz.ily. And still »lilyjazz-11« cannot be
found as well.
Tried to copy the files lilyjazz-11 into the directory of the lilypond
source - does not help!
The following should work:
(1) put lilyjazz*.otf into
Am 23.08.2015 um 13:56 schrieb BB:
Does anybody sucessful use LilyJAZZ?
Yes. You should have a look at fonts.openlilylib.org. The use of other
fonts than Feta/Emmentaler has been simplified in version 2.19.12 but
you’ll find also instructions how to use these fonts in 2.18.2. And when
Am 18.08.2015 um 09:01 schrieb Blöchl Bernhard:
Thanks for clarifying my confusion. As long as I used lilypond I always
used \tuplet and argue that I did not even know that \times was/is a
possible alternative.
\time and \times are very close and so - I think - dangerous and
error-prone.
I
Am 20.08.2015 um 07:07 schrieb Andrew Bernard:
I need to be able to specify an arbitrary length, and unconnected to a
following note.
Do you mean arbitrary time (like (ly:make-moment x y z)) or arbitrary
length x in staff spaces/cm/inch? I have an idea for the latter:
\override
Am 20.08.2015 um 20:07 schrieb Jack Taylor:
I have managed to make the time signatures for each song independent, but
I'm having problems making the notes line up (and with stopping the music
from running off the page). I've dumped my current code at PasteBin
http://pastebin.com/Z6kmy6yt if
Am 02.08.2015 um 06:05 schrieb user3871075:
Anyway, my use-case is I have a trumpet part that I want to quote into the
clarinet part. Then I want to transpose the clarinet part to alto sax.
Per suggestions in the lilypond documentation I have all of my raw music
transposed into C so that it's
Am 02.08.2015 um 19:39 schrieb user3871075:
Regardless, I tried your various suggestions, and they do indeed fix the
problem in the clarinet part, but the alto sax part stubbornly prints a C
instead of a G. If you have the time and inclination, perhaps you could
post an example where all three
Am 03.08.2015 um 00:29 schrieb user3871075:
Malte - I understand that only doing transposition at the score level would
work. However, I'm entering some music from printed instrument parts so
I'd much prefer to enter them as is instead of have to transpose in my
head.
Ok, I misunderstood
Hi list,
I would like to have the fonts from fonts.openlilylib.org in a directory
that is not overridden when installing a new version of LilyPond but
found by the program. Is this possible and if yes, where would that be?
I use the installation scripts from the LilyPond website for Linux 64
bit
Am 11.08.2015 um 10:00 schrieb Robin Bannister:
Dominic wrote:
hoist = % for moving StemTremolo beams further from notehead
{
\once \override Stem.length =
#(lambda (grob) (+ 1 (ly:stem::calc-length grob)))
}
I made a scheme function from this that extends stems of quarter and
half
Am 11.08.2015 um 13:52 schrieb Malte Meyn:
might break soon; sorry for that, maybe it
could be improved.
For example, \unstrangleTremolos g'''2:32 extends the stem without need.
But I already have an idea how to improve this: Don’t completely rely on
ly:stem::calc-length but maybe do
Am 11.08.2015 um 16:13 schrieb Robin Bannister:
This discussion of a similar (outdated?) attempt might be useful:
http://www.lilypondforum.de/index.php?topic=415.msg2425;topicseen#msg2425
This looks nice! I didn’t really like the idea of having to use a music
function to do that … And of
Am 11.08.2015 um 18:22 schrieb David Kastrup:
Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de writes:
is there a way to position a FullBarRest on a specific line, like
b' \rest (but with a FullBarRest centered in the measure)?
\tweak Y-offset 2 R1
If you need this for more than just
Am 14.08.2015 um 12:32 schrieb Andrew Bernard:
Just re my own suggestion of text spanners with text in the middle, although
the present need is for a repeat indication, I am well aware that this is poor
design, since a textual mark does not indicate a repeat structure to lilypond,
so it is
Am 14.08.2015 um 08:57 schrieb jeremyvanb:
Thank you. I should have been more specific. I want the fermata under the
bracket. Changing the padding does not seem to change the order of the
objects.
The order is managed by outside-staff-priority, so simple increase the
TupleBracket’s one. You
Am 14.08.2015 um 04:40 schrieb Andrew Bernard:
Hello Ponderers,
I need a custom text spanner with text centred in the middle of the spanner. I
know you can provide text at the left or the right with the bound-details
alist, but how would one go about making a spanner with text in the
Am 11.08.2015 um 01:06 schrieb Dominic:
With one slash or two slashes, everything looks fine, but with three or more
slashes, the gap between the top of the NoteHead and the bottom of the
StemTremolo (illustrated with red lines in my image) is too narrow for my
liking.
I agree on that but I
Am 14.08.2015 um 16:30 schrieb Orm Finnendahl:
Hi,
I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.
Here are some solutions, see attachments.
\harmonicChord doesn’t set an explicit duration
Am 14.08.2015 um 19:34 schrieb Malte Meyn:
This is not a very clean solution but you might find something helpful
in it ;)
For example, I haven’t understood completely yet when to use #arg and
when $arg in a music. duration apparently needs a $ but the other
occurences of $ can
Am 15.08.2015 um 05:41 schrieb Andrew Bernard:
Apologies for the somewhat lengthy MWE, but I only get this problem in this
context, and have not found a shorter way to generate the issue.
Just try to leave out things. Try less notes (and less voices), less
different pitches, less staff
Am 15.08.2015 um 15:49 schrieb Orm Finnendahl:
I tried all sorts of combinations of removing and consisting the
keep-alive-together engraver, tried to create an explicit staffgroup
for the main piano staves within the PianoStaff (this results in
loosing the centered instrument name and the curly
Am 12.08.2015 um 08:13 schrieb Andrew Bernard:
In my example, I can’t get the start of the grace to sit on top of the note in
the other voice. Indeed, lilypond is being very excellent about avoiding a
collision, but I want to persuade it to align. I can achieve this with normal
notes, but
Am 23.07.2015 um 22:51 schrieb Brother Gabriel-Marie:
How can I display a header below the score?
I want some text to tell the reader to repeat the chorus after each verse.
You don’t need any special header fields for this, just a \markup.
\header { title = my song }
\score { [here comes
Am 24.07.2015 um 10:12 schrieb Peter Bjuhr:
I think you misunderstood Malte's (not completely properly worded)
question. He didn't use 'lead' in the sense of leading note. What he
meant is:
If a key signature of b major (five sharps) is given and in a notation
system typing 'g' would be
Am 24.07.2015 um 09:47 schrieb Robert Schmaus:
So, here's how you get rid of your accitentals: Just pray them away.
You might possibly be right in general but there’s no need to be so
rude! It might be that you don’t understand religion but be tolerant and
don’t offend anyone.
The GIMP can export to jpg and png; in the export window you can change
the compression level or quality – higher compression means lower
quality but also smaller files. How much the file size changes and which
image format is better (in quality, file size, …) depends on the image
content.
You have to insert the \omit commands not in the first bar but later.
The following code hopefully does what you want. Explanation: I used a
spacer rest (s1) in global. Because this would move not only the \omits
but also the beginning of the melody, I moved the \global from the
beginning of
related display problem (Menu Jacques)
2. Re:Problem with merging notes and accidental placement in two
voices (Simon Albrecht)
3. Re:Attachment size (Malte Meyn)
4. Re:Key Signature only on first staff (Brother Gabriel-Marie)
5. Re:Key Signature only on first staff (Malte Meyn
Am 25.07.2015 um 01:32 schrieb Kieren MacMillan:
I’m no Scheme expert, of course… but it seems there should be a relatively
easy way to code a music function which says “take all pitches [entered as
’naturals’] and add any accidentals which exist in the corresponding key
signature entry
If you don’t want to write things like
\relative { \key b \major b cis dis e fis gis ais b }
you could enter it in another key and use the transpose function:
\transpose c' b \relative { \key c \major c' d e f g a b c }
\transpose bes b \relative { \key bes \major bes c d es f g a bes }
Am 23.07.2015 um 19:15 schrieb Christopher R. Maden:
They will look different, but will be the same notes. The music
describes itself; the key signature affects presentation.[*]
That’s true and I think that this is one of LilyPonds strengths as it
allows to be very flexible with
Hello list,
I would like to have somthing like
\version 2.19.22
{
\time 3/4
% bar 1
c'2.
\skipUntil #5 % s2.*4
% bar 5
c'2.
\restUntil #8 % R2.*2
% bar 8
c'2.
}
so I don’t have to count bars every time an instrument has a long rest
(could also be helpful when composing, or,
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