Re: Objects as links
Thomas Morley wrote 2013/1/30 Eluze lt; eluzew@ gt;: Thomas Morley wrote http://lsr.dsi.unimi.it/LSR/Item?u=1id=865 would you mind putting the affected objects in color?! Done. thanks (although I'd choose another color)... another point - will there be any output in the LSR later, now there's just the description. Eluze -- View this message in context: http://lilypond.1069038.n5.nabble.com/Objects-as-links-tp138537p140330.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Objects as links
Eluze elu...@gmail.com writes: Thomas Morley wrote 2013/1/30 Eluze lt; eluzew@ gt;: Thomas Morley wrote http://lsr.dsi.unimi.it/LSR/Item?u=1id=865 would you mind putting the affected objects in color?! Done. thanks (although I'd choose another color)... There is always one more nit... -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: anyone going to FOSDEM this weekend?
On Thu, Jan 31, 2013 at 6:24 AM, Jan Nieuwenhuizen jann...@gnu.org wrote: Adam Spiers writes: Would be nice to say hello to any other Lilypond hackers / users who are there! +1 Great, it will be a honour to meet you :) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Four piano snippets
I just realized one problem with having cross-stave lines everywhere is that it makes crescendos and decrescendos and dynamic markings problematic. What a tough nut this is. Going off of several of your suggestions and trying to understand David Kastrup's point about "cross-voice" (David, I'm not sure I followed), here's a revision of the first eight bars. It's complicated by the fact that sometimes I actually do alter the tremolo pattern when there is a piano note at the same time. How does this look?On Jan 29, 2013, at 1:19 AM, Urs Liska li...@ursliska.de wrote: Hi Curt, I would definitely use #2 and #3 alternatingly, depending on the context. What I like especially about #3 are the alternating stem directions, which immediately tell me (as a pianist, not as a typographer) your idea. Maybe you could incorporate this in #2 also, even if it might use somewhat more vertical space? The patterns with all-down stems in #1, #2 and #4 _seem_ to suggest that the left hand part is considerably lower than the right hand, and are therefore somewhat irritating for me. Best Urs PS: And yes, please leave out (most of) the fingerings. You may print the "1 2" at the beginning of the right hand, and you may suggest the "3" for the melody. But the rest is really superfluous (and therefore disturbing). You can't (and don't have to) tell which fingering a pianist might chose for the left hand. Am 29.01.2013 03:43, schrieb Curt: Hi, I am very torn about how to notate a piano figure of a simple piano prelude I wrote. Below are four screenshot snippets of the figure in question (the entire prelude is made up of such figures). Can someone help recommend the best approach or suggest an improvement? I can forward source for any of them if anyone needs it. Thanks, Curt #1 - what I started with, but it just takes up so much space (four bars in) Mail Attachment.png #2 - treble clef (sample of those four bars in a different file) Mail Attachment.png #3 - bass clef Mail Attachment.png #4 - tremolos, with four additional bars Mail Attachment.png ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Objects as links
2013/1/31 Eluze elu...@gmail.com: Thomas Morley wrote 2013/1/30 Eluze lt; eluzew@ gt;: Thomas Morley wrote http://lsr.dsi.unimi.it/LSR/Item?u=1id=865 would you mind putting the affected objects in color?! Done. thanks (although I'd choose another color)... Suggestion? another point - will there be any output in the LSR later, now there's just the description. Well, there _is_ printed output. Scroll down. It is sth wrong in the LSR, which causes this ugly behaviour. I wrote Seba about it, two times. He replied to have a look asap. This was weeks ago ... So ?? Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
force flat beam in piano staff that uses \autochange
Dear All, I have a piano staff that is using \autochange. The notes are just running 16ths throughout. In a beamed group, sometimes the notes are all in the upper staff, sometimes they are all in the lower staff, and sometimes they are in both. What I really want to do is force the beam to be flat and centered between the two staves. Is this possible? Many thanks in advance, Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
allowing any horizontal collision in proportional notation
Dear All, It seems that with proportional notation even strict spanning does not allow collisions of notehead and accidentals. Is it possible to allow any collision such that the resolution and accuracy are exact no matter what? Or maybe I am missing something Many thanks in advance, Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
weird behaviour with horizontal brackets and \include
Dear LilyPond users,
I believe I have encountered a complex bug involving the interaction
between horizontal brackets and outside-staff-priority. It is both obscure
and easy to work around, so it's not urgent, but I thought I would send it
here anyway. It requires two files to reproduce. Rather than explain what
I was trying to do I'll simply paste in some tinyish examples that should
reproduce the bug (although they won't make any sense). (I am using
LilyPond 2.16.1 through Frescobaldi 2.08 on Ubuntu 12.10.)
stylefile.ly:
\version 2.16.1
\layout {
\context {
\Voice
\consists Horizontal_bracket_engraver
}
}
score.ly:
\version 2.16.1
\include stylefile.ily
\include stylefile.ily
\relative c' {
c1-\tweak #'outside-staff-priority #1500 \startGroup c\stopGroup
}
The bug seems to be caused by the inclusion of the stylefile twice in the
score (this happens indirectly in my own files), however it only affects
horizontal brackets that I have tweaked the outside-staff-priority of
(nothing else, not even other horizontal brackets are affected). The bug
can be extended by adding extra \includes - each one will add another
bracket.
Regards,
Kevin Barry
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Re: anyone going to FOSDEM this weekend?
On Thu, Jan 31, 2013 at 1:08 AM, Adam Spiers lilypond-u...@adamspiers.org wrote: I'm heading to FOSDEM in Brussels this weekend: I'm going to go (on Saturday) as well. I'll be spending most of my time near the OpenPhoenux stand (in AW, IIRC) talking to fellow GTA04-owners. Anyone interested in a completely open phone, both hard- (!!) and software are welcome to join me. If anyone is traveling from Eindhoven (or the vicinity), feel free to contact me. I'll depart early-ish (7:30? I haven't made my mind up yet...), and return after an early diner (so around 20:30 at the latest). Christ van Willegen -- 09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Four piano snippets
Curt accou...@museworld.com writes:
I just realized one problem with having cross-stave lines everywhere
is that it makes crescendos and decrescendos and dynamic markings
problematic. What a tough nut this is.
Going off of several of your suggestions and trying to understand
David Kastrup's point about cross-voice (David, I'm not sure I
followed), here's a revision of the first eight bars. It's complicated
by the fact that sometimes I actually do alter the tremolo pattern
when there is a piano note at the same time. How does this look?
I actually think that my suggestion already was in one of your versions
(#4 or so)?
At any rate, the tremolo notation is a significant reduction in visual
complexity, but it forces the stems in one direction.
I'd start the first bar with stems in two directions (with LH and RH as
you did), put LH and RH on the first tremolo, sim. on the second. When
you have to go back to single notes, _stick_ with one stem direction but
put LH and RH on the first two eighths, sim. on the following.
The problem is that it is too visually jarring to switch from tremolo
(one stem direction) to explicit voicing (up/down stems), but since the
tremolo notation significantly helps, you don't want to forego it.
For staying with the up/down notation, one might want to consider
something like
\new Staff { \clef bass
\repeat tremolo 4 { c e16_[] g c'^[] } }
except that the number of warnings is excessive, and one would want the
slopes of the split beam to suggest a connection rather than be
horizontal. Maybe some of our backend guys can suggest improvements in
case you are interested in pursuing that path.
--
David Kastrup
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Re: Four piano snippets
Am 31.01.2013 12:14, schrieb Phil Holmes: If you've moved the right hand to the lower stave, the upper stave should have spacer rests, rather than visible rests. Visible rests imply that something (the right hand...) is resting. The melody line _is_ resting, so I wouldn't touch this aspect. If you're picky you could complain about missing rests in the lower staff, but I'd definitely leave it as it is Best Urs -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Objects as links
Thomas Morley wrote 2013/1/31 Eluze lt; eluzew@ gt;: Thomas Morley wrote 2013/1/30 Eluze lt; eluzew@ gt;: Thomas Morley wrote http://lsr.dsi.unimi.it/LSR/Item?u=1id=865 would you mind putting the affected objects in color?! Done. thanks (although I'd choose another color)... Suggestion? green or goldenrod (with red everybody associate a threat or danger) another point - will there be any output in the LSR later, now there's just the description. Well, there _is_ printed output. Scroll down. It is sth wrong in the LSR, which causes this ugly behaviour. I wrote Seba about it, two times. He replied to have a look asap. This was weeks ago ... So ?? that's stupid... Eluze -- View this message in context: http://lilypond.1069038.n5.nabble.com/Objects-as-links-tp138537p140347.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: weird behaviour with horizontal brackets and \include
Kevin Patrick Barry wrote
Dear LilyPond users,
I believe I have encountered a complex bug involving the interaction
between horizontal brackets and outside-staff-priority. It is both obscure
and easy to work around, so it's not urgent, but I thought I would send it
here anyway. It requires two files to reproduce. Rather than explain what
I was trying to do I'll simply paste in some tinyish examples that should
reproduce the bug (although they won't make any sense). (I am using
LilyPond 2.16.1 through Frescobaldi 2.08 on Ubuntu 12.10.)
The bug seems to be caused by the inclusion of the stylefile twice in the
score (this happens indirectly in my own files), however it only affects
horizontal brackets that I have tweaked the outside-staff-priority of
(nothing else, not even other horizontal brackets are affected). The bug
can be extended by adding extra \includes - each one will add another
bracket.
hi Kevin
this has nothing to do with \include - the same happens if you have several
\layout { \context { ... } } in the same file! obviously a
Horizontal_bracket_engraver is added each time
a simple workaround is to remove this engraver before you add it (although I
don't think this should be necessary):
\layout {
\context { \Voice \consists Horizontal_bracket_engraver}
\context { \Voice
\remove Horizontal_bracket_engraver
\consists Horizontal_bracket_engraver
}
}
Eluze
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Re: Woodwind Fingering diagrams problem
On 01/30/2013 09:42 AM, Wim van Dommelen wrote: That is why the low-bass-clarinet stencil exists. That is (as I reverse engineer it) intended for bass-clarinet toward low-C (the concert model) whereas the bass-clarinet is the low-Ees (streetmodel). Well, my point is that low-bass-clarinet doesn't necessarily cut it, because you have multiple different extended members of the clarinet family, and even within the same manufacturer, their fingering systems vary. For example: going by the images and information on the Buffet Crampon website, their basset horn comes with an alternate left hand Ab/Eb key; their basset clarinet doesn't. I also suspect that their basset clarinet has only one thumb key (for low C) while their basset horn and low-C bass may have more. So, if we're REALLY going to ensure that diagrams are accurate, then we probably need to do a careful survey of the fingering mechanisms for basset clarinets, basset horns, and low-C bass, contra-alto and contrabass clarinets, for each of the main manufacturers (Buffet, Selmer, Leblanc, Yamaha). I think it's probably sane to limit ourselves to current models -- to try and address the past would be to open a huge can of worms -- but even with this limit, there's a fair number of different diagrams to potentially cope with. In any case, at a minimum you need 3 different diagrams: -- regular clarinet (to low E) -- full Boehm (to low Eb) -- extended (to low C) ... and that's before you even think of trying to support Oehler-system instruments. There may be more, but I think that's it. If you like, I could see about making a scan of a page or two from Philip Rehfeldt's New Directions for Clarinet which indicates appropriate key names and has examples using a key-name based fingering system. Mmmhh, sounds interesting. I'll get that scan this weekend. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
release notes?
Greetings - I'm running 2.16.2, under Ubuntu 12.4. When I upgraded to 2.16.1, my emacs support for lilypond-mode disappeared, and I can't figure out how to get it back. Does anyone have a suggestion? I can't even figure out how to enter lilypond-mode once I've got emacs open. I believe I still have lilypond-mode in my init file (lilypond and emacs are on a different computer from the one I'm using at the moment), because I do get a message that emacs can't find the lilypond-mode file. I appreciate your time and help, Ralph -- Ralph Palmer Brattleboro, VT USA palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: release notes?
Ralph Palmer palmer.r.vio...@gmail.com writes: Greetings - I'm running 2.16.2, under Ubuntu 12.4. When I upgraded to 2.16.1, my emacs support for lilypond-mode disappeared, and I can't figure out how to get it back. Does anyone have a suggestion? I can't even figure out how to enter lilypond-mode once I've got emacs open. I believe I still have lilypond-mode in my init file (lilypond and emacs are on a different computer from the one I'm using at the moment), because I do get a message that emacs can't find the lilypond-mode file. I appreciate your time and help, How about putting a copy of lilypond-mode.el into your Emacs search path then? You can check whether one is there by typing M-x locate-library RET lilypond-mode RET -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transposing instruments
El 30/01/2013 17:23, Guy Stalnaker jimmyg...@gmail.com escribió:
Thanks everyone who replied. I understand the relationship between
/transpose and /transposition now. FYI the proper commands that produce the
expected outcome is:
/transpose f c' {
/transposition c {
}
}
Yes but transposition does not operate on an expression given as an
argument like transpose does. Also, it can be changed during music.
Paco
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Re: Transposing instruments
Francisco,
\transpose was working as expected -- the horn parts were rendered the expected
5th higher. The issue was the midi output. It, too, was 'rendered' a fifth
higher. I could not figure out how to use \transpose and also get the correct
midi output. David Kastrup explained how \transpose works and how
\transposition then affects midi output only, which is what I wanted, which is
the 'relationship' I mentioned. Of course, were I old-school I could enter the
horn part a 5th higher directly and then use \transposition to get correct midi
output. But \transpose is a great feature that lets me input notes in concert
pitch and I like that.
Thanks,
Guy
On Jan 31, 2013, at 2:42 PM, Francisco Vila wrote:
El 30/01/2013 17:23, Guy Stalnaker jimmyg...@gmail.com escribió:
Thanks everyone who replied. I understand the relationship between
/transpose and /transposition now. FYI the proper commands that produce the
expected outcome is:
/transpose f c' {
/transposition c {
}
}
Yes but transposition does not operate on an expression given as an argument
like transpose does. Also, it can be changed during music.
Paco
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Re: Objects as links
2013/1/31 Eluze elu...@gmail.com: Thomas Morley wrote 2013/1/31 Eluze lt; eluzew@ gt;: Thomas Morley wrote 2013/1/30 Eluze lt; eluzew@ gt;: Thomas Morley wrote http://lsr.dsi.unimi.it/LSR/Item?u=1id=865 would you mind putting the affected objects in color?! Done. thanks (although I'd choose another color)... Suggestion? green or goldenrod (with red everybody associate a threat or danger) Done it green now. another point - will there be any output in the LSR later, now there's just the description. Well, there _is_ printed output. Scroll down. It is sth wrong in the LSR, which causes this ugly behaviour. I wrote Seba about it, two times. He replied to have a look asap. This was weeks ago ... So ?? that's stupid... Yep Eluze ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transposing instruments
On 30 January 2013 19:47, David Kastrup d...@gnu.org wrote:
There is a Midi-only command for _then_ telling LilyPond that the
instrument is transposed. So you need to place your horn part within
\transpose f c' { \transposition f ... }
in order to have the visuals go up one fifth, and have the Midi
compensate for that.
It would be great if that could be in the documentation for
\transposition. At the moment the documentation assumes you wish to
enter music as the musician sees it, which involves transposing from
sounding pitch (unless you’re transcribing an existing part). As we
all know, computers do transposition better than humans :-)
Vaughan
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Re: Aleatoric / modern notation
Hi Jeffrey and Ben, On Wed, Jan 16, 2013 at 2:13 PM, SoundsFromSound soundsfromso...@gmail.comwrote: I agree - you have done an amazing job with this, thank you so much! Ben Jeffrey Trevino wrote Hi David, I really hope this ends up in Lilypond; you've clearly put a ton of work into this. And it's even commented now! Brilliant. It seems to be working just fine; I'll holler if there are troubles. cheers, Jeff Thank you for your kind words! Ultimately, it would be nice if something like this could get into LilyPond. Though I'm making progress on this, there are some serious issues that I'm having, and I've frankly hit a wall. I've attached the latest version of the file. It enhances the version attached above by adding a bracket with text (for the purpose of specifying a timing). The problems I'm having relate to vertical spacing. Presumably, the Frame, being an inside-staff-object, isn't taken into consideration in vertical spacing. You can see that the Frame is ignored in skyline calculations by uncommenting the line at the top of the file. The situation at the top of the Frame isn't as dire, because there the bracket--an outside-staff object--influences spacing. (Not enough, however.) If you want a demonstration of the bad that can happen, uncomment the lower part of the example. It gets worse if you increase the number of repetitions. You can always limit the staves per page, or move the staves further apart. So this is usable. Obviously, there is a better solution, though. @Mike S,--if you're seeing this, will your current work on skylines allow a fix? --David frameEngraver9.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fingering font weight
If I change the fingering font, how can I get the bold version of the
selected font to be used. In the example below, overriding the font and
the font-size works ok, but overriding the font-series to bold doesn't.
\version 2.17.11
\relative c'' {
c-3
\override Fingering.font-name = #'Arial
c-3
\override Fingering.font-size = #-3
c-3
\override Fingering.font-series = #'bold
c-3
}
The output of -dshow-available-fonts shows that Arial regular, italic,
bold, and bold-italic are all there:
family Arial
Arial:style=Bold Italic,Negreta cursiva,tučné kurzíva,fed kursiv,Fett
Kursiv,Έντονα Πλάγια,Negrita Cursiva,Lihavoitu Kursivoi,Gras
Italique,Félkövér dőlt,Grassetto Corsivo,Vet Cursief,Halvfet
Kursiv,Pogrubiona kursywa,Negrito Itálico,Полужирный Курсив,Tučná
kurzíva,Fet Kursiv,Kalın İtalik,Krepko poševno,nghiêng đậm,Lodi etzana
family Arial
Arial:style=Italic,Cursiva,kurzíva,kursiv,Πλάγια,Kursivoitu,Italique,Dőlt,Corsivo,Cursief,Kursywa,Itálico,Курсив,İtalik,Poševno,nghiêng,Etzana
family Arial
Arial:style=Regular,Normal,obyčejné,Standard,Κανονικά,Normaali,Normál,Normale,Standaard,Normalny,Обычный,Normálne,Navadno,thường,Arrunta
family Arial
Arial:style=Bold,Negreta,tučné,fed,Fett,Έντονα,Negrita,Lihavoitu,Gras,Félkövér,Grassetto,Vet,Halvfet,Pogrubiony,Negrito,Полужирный,Fet,Kalın,Krepko,đậm,Lodia
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Overriding Y-extent of Clef doesn't work with v2.17.10
Hi,
in some situations I used to override the Y-extent of the Clef.
With 2.17.10 it doesn't work any more.
\version 2.16.1
%\version 2.17.10
#(ly:set-option 'debug-skylines #t)
verticalSpace = {
% None of the following commands work with 2.17.10
\override Staff.Clef #'Y-extent = #'(-20 . 20)
\override Staff.Clef #'minimum-Y-extent = #'(-20 . 20)
\override Staff.Clef #'extra-spacing-height = #'(-20 . 20)
}
mus = { \verticalSpace \clef alto R1 }
\new Staff \mus
\new Staff \mus
It still works for StaffSymbol, TimeSignature and MultimeasureRest.
(So far I tested)
I think it would be quite easy to write a scheme-procedure which adds
some space to the clef, but I wonder why it doesn't work any more.
Is there any other command which does it now?
Cheers,
Harm
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Help beautify my fingering chart
I'm working on a saxophone fingering chart, but I have some problems:
1) If trying to place an accidental next to a note (B\flat, C\sharp, etc.)
my only two (apparent) options are to include it in a column, in which case
the accidental appears below the letter, or I have to leave the note name
beside the finger diagram. As a result I've notated as A-flat, etc.
2) If a note has an alternative fingering I'm trying to make both
fingerings appear above the measure with the corresponding note. If using
the previously mentioned column, the diagrams are stacked. If not, they're
squished too close together.
3) If two notes have the same fingering (C#/Db, F#/Gb, etc.), I can't make
the notes appear together (e.g. two notes on the same stem)
4) Is there any way to center everything (note, name, diagram) within each
measure?
I have attached my code below. Thank you in advance for your help.
%%
\version 2.16.1
\header{
title = Saxophone Fingering Chart
}
\layout {
indent = 0.0\cm
}
\relative c'' {
\textLengthOn
\set Score.timing = ##f
\override Staff.TimeSignature #'transparent = ##t
bes,1^
\markup {
\center-column {
B-flat
\woodwind-diagram
#'saxophone
#'((lh . (low-bes))
(cc . (one two three four five six))
(rh . (low-c)))
}
} \bar ||
b1^
\markup {
\center-column {
B
\woodwind-diagram
#'saxophone
#'((lh . (b))
(cc . (one two three four five six))
(rh . (low-c)))
}
} \bar ||
c1^
\markup {
\center-column {
C
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four five six))
(rh . (low-c)))
}
} \bar ||
cis1 des^
\markup {
\center-column {
C-sharp
D-flat
\woodwind-diagram
#'saxophone
#'((lh . (cis))
(cc . (one two three four five six))
(rh . (low-c)))
}
} \bar ||
d1^
\markup {
\center-column {
D
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four five six))
(rh . ( )))
}
} \bar ||
dis1 ees^
\markup {
\center-column {
D-sharp
E-flat
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four five six))
(rh . (ees)))
}
} \bar ||
\break
e1^
\markup {
\center-column {
E
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four five))
(rh . ( )))
}
} \bar ||
f1^
\markup {
\center-column {
F
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four))
(rh . ( )))
}
} \bar ||
fis1 ges1^
\markup {
F\sharp
G\flat
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three five))
(rh . ( )))
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three four))
(rh . (fis)))
} \bar ||
\noBreak
g1^
\markup {
\center-column {
G
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two three))
(rh . ( )))
}
} \bar ||
\noBreak
gis1 aes^
\markup {
\center-column {
G-sharp
A-flat
\woodwind-diagram
#'saxophone
#'((lh . (gis))
(cc . (one two three))
(rh . ( )))
}
} \bar ||
\noBreak
a1^
\markup {
\center-column {
A
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two))
(rh . ( )))
}
} \bar ||
\break
bes1^
\markup {
B\flat
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one two))
(rh . (bes)))
\woodwind-diagram
#'saxophone
#'((lh . (bes))
(cc . (one))
(rh . ( )))
}
\bar ||
b1^
\markup {
\center-column {
B
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (one))
(rh . ( )))
}
} \bar ||
c1^
\markup {
\center-column {
C
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . (two))
(rh . ( )))
}
} \bar ||
cis1 des1^
\markup {
\center-column {
C-sharp
D-flat
\woodwind-diagram
#'saxophone
#'((lh . ( ))
(cc . ( ))
(rh . ( )))
}
} \bar ||
d1^
\markup {
\center-column {
D
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three four five six))
(rh . ( )))
}
} \bar ||
e1^
\markup {
\center-column {
E
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three four five))
(rh . ( )))
}
} \bar ||
\break
f1^
\markup {
\center-column {
F
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three four))
(rh . ( )))
}
} \bar ||
fis1 ges1^
\markup {
F\sharp
G\flat
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three five))
(rh . ( )))
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three four))
(rh . (fis)))
} \bar ||
\noBreak
g1^
\markup {
\center-column {
G
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two three))
(rh . ( )))
}
} \bar ||
\noBreak
gis1 aes^
\markup {
\center-column {
G-sharp
A-flat
\woodwind-diagram
#'saxophone
#'((lh . (T gis))
(cc . (one two three))
(rh . ( )))
}
} \bar ||
\noBreak
a1^
\markup {
\center-column {
A
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two))
(rh . ( )))
}
} \bar ||
\noBreak
bes1^
\markup {
B\flat
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one two))
(rh . (bes)))
\woodwind-diagram
#'saxophone
#'((lh . (T bes))
(cc . (one))
(rh . ( )))
}
\bar ||
\break
b1^
\markup {
\center-column {
B
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (one))
(rh . ( )))
}
} \bar ||
c1^
\markup {
\center-column {
C
\woodwind-diagram
#'saxophone
#'((lh . (T))
(cc . (two))
Download of Linux install shell script
I have noticed that the last few versions of the unstable Lilypond releases, if I just click on the download link (eg http://download.linuxaudio.org/lilypond/binaries/linux-64/lilypond-2.17.11-1.linux-64.sh), then instead of a dialog asking for the location to place the download, the script file opens as a web page. I have to right-click and choose Save link as... to download it. The behaviour used to be that the default was to download, and other shell scripts that I download from other sites (eg http://download.racket-lang.org/installers/5.3.2/racket/racket-5.3.2-bin-x86_64-linux-debian-squeeze.sh) still default to downloading when clicked, so it would seem that the change in behaviour is at the server end and not on my machine. I'm running Chrome on Linux Mint amd64. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering font weight
On 01/02/13 14:09, Nick Payne wrote:
If I change the fingering font, how can I get the bold version of the
selected font to be used. In the example below, overriding the font
and the font-size works ok, but overriding the font-series to bold
doesn't.
\version 2.17.11
\relative c'' {
c-3
\override Fingering.font-name = #'Arial
c-3
\override Fingering.font-size = #-3
c-3
\override Fingering.font-series = #'bold
c-3
}
Well, using \override Fingering.font-name = #'Arial Bold gets the
wanted font. It looks like specifying font-name prevents font-series and
font-shape from having any effect.
___
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