On Sat, Feb 26, 2011 at 12:29 PM, MusFelix wrote:
> Thanks. But that only works when the articulation is on the notehead side,
> not when it is on the bar side. See this:
>
> \version "2.13.51"
> \include "english.ly"
> \relative c'
> {
> \override Slur #'details #'steeper-slope-factor =
have you taken a look at this snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=654
-Marc
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Thank you for your answers.
>From what has been said sofar, I see there is at least two possible directions
>:
- scheme function
- preprocessor
The scheme solution seems a bit too verbose but I will study that
seriously. It can bring a lot of flexibility I will need in the future
Along with th
James
I'll restate the tiny example here again this tim e with the full
\with
statement implemented.
The closing bracket on the \with is misplaced. That's why
it's better to post an example that demonstrates the
problem, as your last post does.
Here's the correction:
MusicA = { a b c d }
M
pkx166h wrote:
>
> All the example shows in the NR is to add a '\with' between the existing
> \*Staff and the rest of the { } expression and put the \override after the
> {. So the braces are already in place.
>
> I haven't actually 'added' any new braces - again as per the example.
>
> So wh
Trevor
-Original Message-
From: Trevor Daniels
Date: Sun, 27 Feb 2011 21:03:08 +
To: James Lowe
Subject: Re: Trouble Understanding VerticalAxisGroup - advice needed please
>Hi James; you wrote Sunday, February 27, 2011 8:29 PM
>
>> I've been trying to fathom how to reduce the betwee
Thanks Carl but had just thought I might try to compile it myself with Ubuntu
in VirtualBox when Graham pointed me to the help-us page and the lily-dev
setup. Will try that first. Keeping my fingers crossed.
On 27 Feb 2011, at 5:51 PM, Carl Sorensen wrote:
> On 2/27/11 8:38 AM, "Tim Sheasby" w
pkx166h wrote:
>
> I'm more intrigued to know why you'd have bar numbers in pairs like this.
>
> That is if they are just repeats then you are repeating bar X but if it is
> a new bar then it is a new bar if you see what I mean.
>
Well in my case the new bar is different to bar X in the vocal
Hello
-Original Message-
From: voyageur
Date: Sun, 27 Feb 2011 19:35:51 +
To: lilypond-user
Subject: Creation of a generic pattern
>Hi,
>I have a score with a reccurent rythmic pattern.
>This is an example :
>
>\times 2/3 {c16\>[(d c\!) } e16 \staccato c \staccato]
>
>I want to crea
On Sunday 27 February 2011 14:35:51 voyageur wrote:
> Hi,
> I have a score with a reccurent rythmic pattern.
> This is an example :
>
> \times 2/3 {c16\>[(d c\!) } e16 \staccato c \staccato]
>
> I want to create some kind of template to save me typing the code
> many times.
>
> I'm not sure temp
Hello,
I've been trying to fathom how to reduce the between space two grouped
staffs. I'm obviously not understanding the Notation Reference as I have
tried a variety of places where I have pasted what I think is the correct
settings but nothing seems to change the defaults.
My construction is as
Hi,
I have a score with a reccurent rythmic pattern.
This is an example :
\times 2/3 {c16\>[(d c\!) } e16 \staccato c \staccato]
I want to create some kind of template to save me typing the code many times.
I'm not sure template is the appropriate word, perhaps something like a C macro
would be
Nick Payne internode.on.net> writes:
>
> See below. The output is fine until I add the '\3' string number
> indication to the last note on the lower stave, at which point the
> output gets garbaged. The problem doesn't happen if the string number
> orientation is set to down rather than up, no
tobias bora writes:
> This is my problem : when in lilypond I use \< and \! to have
> crescendo, the crescendo is made with many little horizontal ligne.
> For exemple see here :
> http://www.cam.hi-ho.ne.jp/oishi/lilypond/crescendo.gif (that's a bit
> much...)
That looks rather like a problem o
MusFelix live.com> writes:
>
> Thanks. I'll try a hidden grace in the other voice to see what that
> produces.
[...]
> << { \appoggiatura fs'8 es8( ds es-.) }
> \\ { gs,4 b8}
> >>
>
Based on your posted image, it looks like you are seeing the problem where
Lilypond forgets the voic
2011/2/27 tobias bora :
> Hello,
>
> First, excuse me if I make spelling mistake (I'm French and my English isn't
> very good).
>
> This is my problem : when in lilypond I use \< and \! to have crescendo, the
> crescendo is made with many little horizontal ligne. For exemple see here :
> http://www
Hello,
First, excuse me if I make spelling mistake (I'm French and my English isn't
very good).
This is my problem : when in lilypond I use \< and \! to have crescendo, the
crescendo is made with many little horizontal ligne. For exemple see here :
http://www.cam.hi-ho.ne.jp/oishi/lilypond/cresce
On Sun, Feb 27, 2011 at 05:38:46PM +0200, Tim Sheasby wrote:
> Added narrow versions of Mi to mf source file. Having problems
> getting the dependencies set up so I can compile it in Mac OS X
> Snow Leopard. Have been using MacPorts to accomplish this but it
> fails when I try to install FontForge.
On 2/27/11 8:38 AM, "Tim Sheasby" wrote:
> Added narrow versions of Mi to mf source file. Having problems getting the
> dependencies set up so I can compile it in Mac OS X Snow Leopard. Have been
> using MacPorts to accomplish this but it fails when I try to install
> FontForge. Don't want to mak
Added narrow versions of Mi to mf source file. Having problems getting the
dependencies set up so I can compile it in Mac OS X Snow Leopard. Have been
using MacPorts to accomplish this but it fails when I try to install FontForge.
Don't want to make the version public till I know it will work. M
On 2/27/11 4:09 AM, "Tim Sheasby" wrote:
> Thanks for the suggestions. Will try to compile Emmentaler with a new narrow
> version of the MI but perhaps slightly deeper so it looks big enough.
> Examining an old but beautiful book I have has all notes the same width but
> the Mi seems to extend
Timothy Sheasby schreef op zo 27-02-2011 om 13:11 [+0200]:
> Have had the same issue -- also using a Mac. Found that installing some fonts
> directly in the System fonts folder fixed the problem -- but not always.
> Seems to be pango related I think.
This is an oops, fixed in GIT.
Jan.
> On 27
Thank you all!
Haipeng
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Have had the same issue -- also using a Mac. Found that installing some fonts
directly in the System fonts folder fixed the problem -- but not always. Seems
to be pango related I think.
On 27 Feb 2011, at 1:05 PM, Phil Holmes wrote:
> See below:
>
> - Original Message - From: "flup2"
>
Thanks for the suggestions. Will try to compile Emmentaler with a new narrow
version of the MI but perhaps slightly deeper so it looks big enough. Examining
an old but beautiful book I have has all notes the same width but the Mi seems
to extend a tiny bit higher/lower than other notes. Probably
See below:
- Original Message -
From: "flup2"
To:
Sent: Sunday, February 27, 2011 11:00 AM
Subject: Last 2.13 releases and custom text fonts
Hello,
It seems that Lilypond from 2.13.47 has problem including some text fonts
(at least on my OS X installation).
Some fonts work (Couri
Hello,
It seems that Lilypond from 2.13.47 has problem including some text fonts
(at least on my OS X installation).
Some fonts work (Courier Neue, for instance), other do not work (Courier, or
many others including Mididesign font like Sonora or Controla). I deleted
the lilypond font cache and
Hello...
-Original Message-
From: Graham Percival
Date: Sun, 27 Feb 2011 10:34:38 +
To: James Lowe
Cc: 胡海鹏 - Hu Haipeng , lilypond-user
Subject: Re: mezzo staccato
>Off the top of my head, I would play:
> c4-.( c4-. c4-.)
>with something like 30% of the note duration as rests. If
-Original Message-
From: 胡海鹏 - Hu Haipeng
Date: Sun, 27 Feb 2011 18:32:51 +0800
To: James Lowe
Subject: Re:Re: mezzo staccato
>Thank you very much! THen, what's the difference (visual shape or
>position) between c-- and c-_?
>Haipeng
>
>
>
Ah...that's interesting!
If you zoom into th
On Sun, Feb 27, 2011 at 10:20:53AM +, James Lowe wrote:
> Hiapeng,
>
> >In my theory book, a mezzo staccato is a line plus staccato. But I
> >don't know whether c4-.-- does this correctly.
This works, as does
c4-_
> If the notes are tied I just used something like
>
> c4-.( c4-. c4-.)
>
Hiapeng,
-Original Message-
From: 胡海鹏 - Hu Haipeng
Date: Sun, 27 Feb 2011 17:35:18 +0800
To: lilypond-user
Subject: mezzo staccato
>Hello,
> I ever asked 3 signs, and 2 (portato and martellato) have been solved.
>Now I just finished my second orchestral work and am revising. The
>artic
> And anyway, the notation manual contains pictures of the various
> accents, and apparently the combination is called "tenuto" and has
> its own entry syntax and shorthand.
The question is whether the verbal descriptions in the manual are
expressive enough so that blind users like Hai-Ping have
胡海鹏 - Hu Haipeng writes:
> Hello,
> I ever asked 3 signs, and 2 (portato and martellato) have been
> solved. Now I just finished my second orchestral work and am revising.
> The articulation makes my head big. There are many mezzo-staccatoed
> notes, but I just used portato. I think it's not co
Hello,
I ever asked 3 signs, and 2 (portato and martellato) have been solved. Now I
just finished my second orchestral work and am revising. The articulation makes
my head big. There are many mezzo-staccatoed notes, but I just used portato. I
think it's not correct, because it's just a line. I
Hello
-Original Message-
From: TaoCG
Date: Sat, 26 Feb 2011 04:52:04 -0800
To: lilypond-user
Subject: Re: How to use Markup for Barnumbers?
>
>
>Robin Bannister wrote:
>>
>> You can bypass the #'text property with
>>
>>> replaceBN = #(define-music-function (parser location new)
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