Hi, Mats Bengtsson
Great, that I want.
Your code work on version 2.10.9-1 and 2.11.9-1 of Windows.
Thanks for your suggestion.
>Try to add the following setting:
>
>\set scriptDefinitions = #(cons '("accent" .
> ((avoid-slur . inside)
> (padding . 0.20)
> (quantize-p
> For the syntax topic, I would also suggest to standardize the tweak entries.
> At this moment, we can have for example :
>
> \override Voice.Textscript #'padding = #3 (a number)
> \override Voice.Stem #'stencil = #ly:stem::print (a function)
> #(set-global-staff-size 13)
> \set fontSize = #2
>
>
Try to add the following setting:
\set scriptDefinitions = #(cons '("accent" .
((avoid-slur . inside)
(padding . 0.20)
(quantize-position . #t)
(script-stencil . (feta . ("sforzato" . "sforzato")))
(side-relative-direction . -1))) default-script-a
> > I would be delighted if LilyPond let me write
> > c12 d e
> Then it would need to know what kind of note head and how many flags
> it should use for the note. However, you can write c8*2/3 d e
> to get the duration you want (even though LilyPond won't add any tuplet
> marker).
You're right
> It is normal that lilypond takes over 10 min. to produce a pdf
> output with medium large score (10 pages)?
It might happen. First of all, the conversion process is not done by
lilypond but by ghostscript's ps2pdf script. Second, it seems that
conversion of large CJK fonts takes ages. Probab
> To be serious: Do you see a necessity for a basic LilyPond command to
> be an abbreviation of another? Just think of editors which are able
> to complete a command with the tab key as soon as you type the first
> few letters (Emacs, for example). In case of \time vs. \times, you
> always have
Quoting [EMAIL PROTECTED]:
On Fri, 5 Jan 2007, Han-Wen Nienhuys wrote:
the other, perhaps more valid reason, is that \tuplet more closely matches
the purpose than \times.
OK, I'm clearly in the minority here; I think of
\times 2/3 {c8 d e}
as a series of 12th notes. I would be delighted
On Fri, 5 Jan 2007, Han-Wen Nienhuys wrote:
> the other, perhaps more valid reason, is that \tuplet more closely matches
> the purpose than \times.
OK, I'm clearly in the minority here; I think of
\times 2/3 {c8 d e}
as a series of 12th notes. I would be delighted if LilyPond let me
write
> . . . The { m1 m2 m3 } syntax is used for repeat alternatives
> already, and the meaning is very clear: Each music expression between the
> outer { } is a separate argument. Note also that the tupletSequence
> function would be implemented entirely in Scheme . . .
> >{ {g8 f e} \seq {b8 a
Use task manager to see if some other process or possible spyware is hogging
CPU resources. I have had excellent performance on even my older XP and
Win2K machine. The first time you run LP after a fresh install might take a
little longer but not that long, as I think it registers the fonts on f
See chapter 10.1.3 about the function I sponsored using the "-dclip-systems"
command line option. If thats not the right chapter just search the manual
for "-dclip-systems". You can output snippets to pdf and eps (eps is better
quality). I'm outputting musical fragments into word processors and
It is normal that lilypond takes over 10 min. to produce a pdf output with
medium large score (10 pages)?
I´m Windows xp user and maybe I have to fix something.
Thank you in advance.
--
Atentamente;
César Penagos
Tel:Of:(502)2253-7181, 2253-3826
Home:(502)2474-4972, 2473-2510
[EMAIL PROTEC
Followind source,
accent engraved outside of slur
{
c'( d' e'-> f')
}
Any idea for
accent engraved inside of slur.
--
[EMAIL PROTECTED]
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Michael
As Han-Wen is pointing out, the algorithm is correctly trying to keep the
distances constant.
If you want to change the output you may consider moving the objects instead
of changing the durations.
I have done this in your example by moving the 16th in the first bar a
little bit to the
Michael
As Han-Wen is pointing out, the algorithm is correctly trying to keep the
distances constant.
If you want to change the output you may consider moving the objects instead
of changing the durations.
I have done this in your example by moving the 16th in the first bar a
little bit to the
Michael
As Han-Wen is pointing out, the algorithm is correctly trying to keep the
distances constant.
If you want to change the output you may consider moving the objects instead
of changing the durations.
I have done this in your example by moving the 16th in the first bar a
little bit to the
Michael Krause escreveu:
> Hello list,
>
> I'm having problems with spacing in the presence of kneed beams, see the
> attached image for illustration:
you're asking for the impossible. The heads have to be aligned between
staves because they happen at the same time. Yet you want to have
regular
When I started this topic, the point was to suggest a more intuitive syntax,
which is closer to the musicians' language and the output on the score. That
is why I proposed \tuplet (closer to musicians's language) and "3:2" (closer
to the output of the score). In my opinion, I though this function
Hello list,
I'm having problems with spacing in the presence of kneed beams, see the
attached image for illustration:
Bar 1: Automatic knees in the upper staff. Result: the 16th in the lower
staff is much too close to the following 8th.
Bar 2: Disabled knees in the upper staff - now the lower st
Sorry, here comes the attachment.
/Mats
Andrew Clark wrote:
Andrew Clark wrote:
I had never heard of Lilypond before last night - I found the score for the
Egmont and it was already a converted pdf and it looked like the perfect
arrnagement for my chamber ensemble. So I downloaded the
Georg Dummer escreveu:
> Hi all,
>
> I changed the example for the associated voices a bit (first part of the
> tuplet in the alternative voice is a rest instead of a note) to demonstrate
> my problem. In version 2.8.8 the syllable "ran" is shifted to the next note
> properly. Version 2.10.8 says
[EMAIL PROTECTED] escreveu:
>> I think changing \times to \tuplet is a great idea for the reason that
>> started the thread: \times is too close to \time.
>
> That I really don't get. LilyPond is written in *English*. There is a
the other, perhaps more valid reason, is that \tuplet more closel
Hi all,
I changed the example for the associated voices a bit (first part of the
tuplet in the alternative voice is a rest instead of a note) to demonstrate
my problem. In version 2.8.8 the syllable "ran" is shifted to the next note
properly. Version 2.10.8 says:
"Lyric syllable does not have no
On Friday 05 January 2007 09:22, [EMAIL PROTECTED] wrote:
> > . . . \tupletSequence 2/3 {{c d e} {f g a} {b c d}}
> > would just be a shorthand for
> > \tuplet 2/3 {c d e} \tuplet 2/3 {f g a} \tuplet 2/3 {b c d}
>
> That would add a big semantic burden to the meaning of "{" and "}".
> Currently {{c
> > Only a native speaker can say that :-) Honestly, it's very easy to
> > intermix them during fast typing. I don't say that the difference
> > between those two words is problematic, just that it unnecessarily
> > increases the probability of a typo.
>
> I respectfully disagree. I've never mist
> > There is a word "time" and there is another word "times"; they don't
> > mean the same thing, that's all.
> Only a native speaker can say that :-) Honestly, it's very easy to
> intermix them during fast typing. I don't say that the difference
> between those two words is problematic, just th
> . . . \tupletSequence 2/3 {{c d e} {f g a} {b c d}}
> would just be a shorthand for
> \tuplet 2/3 {c d e} \tuplet 2/3 {f g a} \tuplet 2/3 {b c d}
That would add a big semantic burden to the meaning of "{" and "}".
Currently {{c d e} {f g a} {b c d}} means the same thing as
{c d e f g a b c d}.
Rune Zedeler wrote:
3) Possibly, I'd like to make the rhythmic staff and the key
transparent
It's also in the docs; see chapter 9.
Yep.
It is not very obvious how to make the staff lines invisible though.
You have to remove the Staff_symbol_engraver.
Why not use the same strategy as for
> > I think changing \times to \tuplet is a great idea for the reason
> > that started the thread: \times is too close to \time.
>
> That I really don't get. LilyPond is written in *English*.
US English or British English? This makes a difference...
> There is a word "time" and there is anothe
Trevor --
Thank you for your very clear explanation. I learned a lot from that.
I am nevertheless amazed that a performer would be able to keep track of
15/56ths of a whole note(!).
> Note, importantly, that, with the present tuplet syntax, lily handles
> all tuplets -- *including broken ones*
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