Hi Calvin,
You could also use the 'tweak' command (note the '-' sign before it); ex:
\version "2.22"
{
c''8\f[ -\tweak padding #1 ---> a'-.]
}
Cheers,
Pierre
Le 07/10/2021 à 13:12, Calvin Ransom a écrit :
Hi Kieren
I did mean to say accent and not accidental (was writing that email
and
David wrote:
>>
>> Is there a way to do this?
>
> Transpose the two halves of the melody separately,
> the first half c to d, the second half cis to ees.
>
This is part of the problem with the "pared down snippet" approach, or
rather, my original explanation of the problem. In reality, my
Another question...
In the score, the Spanish title is smaller. Is there a way to do that in
the header block within the quotation marks? (the fs information is
specifically for the Hymnary FlexScores)
\header {
title = "Blest Be the Tie that Binds / Sagrado es el amor"
fsHymnal = "Santo Santo
On Fri 08 Oct 2021 at 10:36:37 (+1100), Mark Probert wrote:
>
> A question on transpose: I understand that "\transpose distinguishes
> between enharmonic pitches," however is there anyway to force a
> particular behaviour? For example, in the snippet below, when I have a
> movement from C to
On 2021-10-07 5:51 pm, Kira Garvie wrote:
Another question...
In the score, the Spanish title is smaller. Is there a way to do that
in
the header block within the quotation marks?
title = "Blest Be the Tie that Binds / Sagrado es el amor"
Know that each header property supports markup
On 2021-10-07 5:46 pm, Kira Garvie wrote:
Hello all!
I can't figure out how to get that horizontal line dividing the
spanish from the english verses... any tips?
Thank you!
Kira
Here is an excerpt of what I have done in the past:
\version "2.20.0"
separatorLineBelow = \with {
Hello all!
I can't figure out how to get that horizontal line dividing the
spanish from the english verses... any tips?
Thank you!
Kira
SSS_701_scans.pdf
Description: Adobe PDF document
Hi.
A question on transpose: I understand that "\transpose distinguishes
between enharmonic pitches," however is there anyway to force a
particular behaviour? For example, in the snippet below, when I have a
movement from C to C# in the original key, and then go up a tone with
"\transpose
Le 07/10/2021 à 22:51, Thomas Morley a écrit :
Am Do., 7. Okt. 2021 um 13:32 Uhr schrieb Jean Abou Samra :
Harm,
Le 07/10/2021 à 11:46, Thomas Morley a écrit :
Not sure Jan-Peter's approach is the best method ...
What makes you think so?
Best,
Jean
Maybe my wording was misleading.
I
Am Do., 7. Okt. 2021 um 13:32 Uhr schrieb Jean Abou Samra :
>
> Harm,
>
> Le 07/10/2021 à 11:46, Thomas Morley a écrit :
> > Not sure Jan-Peter's approach is the best method ...
>
> What makes you think so?
>
> Best,
> Jean
Maybe my wording was misleading.
I tested ly->musicxml with
(1)
On 10/7/21, 9:29 AM, "lilypond-user on behalf of Mahanidhi"
wrote:
To speak the truth I tried to have the music all together with /break
command but what was happening is that the first line was starting not aligned
with the other ones.
LilyPond has a first-line indent by design.
You
To speak the truth I tried to have the music all together with /break command
but what was happening is that the first line was starting not aligned with the
other ones.
Here a minimal example:
\version "2.22.1"
\language "english"
global = {
\key gf \major
\time 4/4
\override
avoid-slur will work only on within-staff objects. By default Accidental
suggestions are outside-staff, so for this to work, you’ll have to set
outside-staff-priority to ##f. You can adjust staff-padding according to what
distance you want the accidental to the staff.
%%%
\version "2.22.1"
Leo Correia de Verdier writes:
> The ”command global=” is defining a variable with a series of property
> settings (mostly), \relative is not a property, it’s a function that
> is preformed on the music inside the brackets following it.
>
> The manual is quite long, but you will eventually need
Clear thank you.
Sent with ProtonMail Secure Email.
‐‐‐ Original Message ‐‐‐
Il giovedì 7 ottobre 2021 13:37, Leo Correia de Verdier
ha scritto:
> The ”command global=” is defining a variable with a series of property
> settings (mostly), \relative is not a property, it’s a function
I would like to keep the accidental created above the e! within the
bounds of the larger slur (from f2 ending on e1)
This is what I came up with. The accidental is created but is kept above
the slur. The internal documentation suggested to me this would work (it
reads: inside adjusts the slur
Le 07/10/2021 à 12:36, Mahanidhi a écrit :
If so why the command "global=" works for every lines?
As Leo said, \global just inserts music content.
\relative is not music in itself, it is a
function applying to music. When you say
{ \relative c' { a' b' } { c' d' } }
only the { a' b' } is
The ”command global=” is defining a variable with a series of property settings
(mostly), \relative is not a property, it’s a function that is preformed on the
music inside the brackets following it.
The manual is quite long, but you will eventually need to go through much of it
to get what is
Harm,
Le 07/10/2021 à 11:46, Thomas Morley a écrit :
Not sure Jan-Peter's approach is the best method ...
What makes you think so?
Best,
Jean
Hi Valentin,
This works, thanks.
Regards,
Ben
-Oorspronkelijk bericht-
Van: Valentin Petzel
Verzonden: donderdag 7 oktober 2021 09:10
Aan: lilypond-user@gnu.org
CC: b.a.g.hil...@planet.nl
Onderwerp: Re: Making distance/space between notes above a syllable smaller
Hello Ben, how
Hi Paul,
This works, thank you.
Ben
Van: Paul Hodges
Verzonden: donderdag 7 oktober 2021 01:23
Aan: b.a.g.hil...@planet.nl; lilypond-user@gnu.org
Onderwerp: Re: Making distance/space between notes above a syllable smaller
The way I've done it is to make those notes quavers, and
Calvin Ransom writes:
> Hi everyone,
> I found some code previously made in the mailing list that works for
> separating pitch and rhythm.
> It still works after 9 years but it cannot print tuplet numbers. Does
> anyone know how to do this or create a workaround?
>
> Re: Separating pitch and
Hi Kieren
I did mean to say accent and not accidental (was writing that email and this
one when I should have gone to sleep 6 hours ago)
I will try that tomorrow.
Thank you for the help,
Calvin Ransom
Calvin Ransom
From: Kieren MacMillan
Sent: Thursday,
Hi Calvin,
> I am trying to make the tenuto and accidental stay outside of the staff when
> together.
Do you mean accent? Staccato?
> Am I not understanding how tweaks work correctly?
If you want things to stay outside the staff, you need to set their
outside-staff-priority (which is #f by
Thanks very much Harm, but as I no longer need it, I shan't go ahead. If I need
it later I'll resurrect this thread.
The reason I like Jan-Peter's approach is that it appears to abstract the music
from the details of presentation. But I've not looked into it much.
Best regards,
Peter
Hello Jan-Peter,
As I wrote, my personal immediate need has now gone away.
Everyone seems to agree that some form of exchange mechanism between music
engravers is needed, but there are many different exchange formats and with
such a complex subject writing an exporter is a really heavy
Hi everyone,
I found some code previously made in the mailing list that works for separating
pitch and rhythm.
It still works after 9 years but it cannot print tuplet numbers. Does anyone
know how to do this or create a workaround?
Re: Separating pitch and rhythm
If so why the command "global=" works for every lines?
‐‐‐ Original Message ‐‐‐
Il giovedì 7 ottobre 2021 12:21, Leo Correia de Verdier
ha scritto:
> What you are doing is not only writing the each line on a separate line, but
> also writing each line as a separate (implicitly
Op 06-10-2021 om 15:30 schreef Leo Correia de Verdier:
Hi Leo,
I used the example Carlos Martinez posted 22d of September on this list,
so I have learned a lot. It is the same procedure you gave in your
previous mail, thanks!
Only one question remains: how can I guarantee that each new
What you are doing is not only writing the each line on a separate line, but
also writing each line as a separate (implicitly created) score. Since they are
in different scores they are not the same music expression and you need to
write out the \relative for each of them.
> 7 okt. 2021 kl.
Hello Peter,
yes, I still receive the messages from the list, but since I have
changed jobs, my commitment to Lilypond has fallen behind a bit.
But I hope to curate and update my code soon so that it can serve as a
starting point for further development. Of course, Jacque's work should
not be
Am Do., 7. Okt. 2021 um 11:30 Uhr schrieb Peter Toye :
>
> The potential need has gone away now - my Sibelius user has told me that he
> uses ScoreMuse to export the PDF into a suitable format for Sibelius. Looks
> to me like an expensive way of doing it, but if he can afford Sibelius he can
>
The potential need has gone away now - my Sibelius user has told me that he
uses ScoreMuse to export the PDF into a suitable format for Sibelius. Looks to
me like an expensive way of doing it, but if he can afford Sibelius he can
probably afford ScoreMuse as well.
I agree that exchanging
I am attempting to replicate Figure 1 by using a variable or function, but I do
not know how to make it work. I am trying to make the tenuto and accidental
stay outside of the staff when together.
%%SNIPPET BEGINS%%
\version "2.22.1"
\language "english"
{
c''\tweak Script.staff-padding #0 --->
Hello,
for storage reasons I prefer to write every single line of music on different
lines (see example: http://lilybin.com/cqud6p/1) I can't find a way to
incorporate the \relative c' command into a single block so as not to rewrite
it on every line of music. I tried with global= but it
Hello Ben, how about this?\version "2.18.2"
eenVoice = \relative c'' {\key bes \major
\cadenzaOn % zet barlines uit
\override Staff.TimeSignature #'stencil = ##f
\hide Stem \hide Flag \hide Beam
d,4 f g f g16 (bes4) bes^- bes16 (c bes4) a g^- \bar":|."
}
verseOne = \lyricmode {
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