\version "2.19.83"
fetch = #(define-scheme-function (pet) (string?)
#{ \include #(string-join (list pet "ily") ".") #})
\fetch "kitten"
\fetch "puppy"
kitten.ily
\version "2.19.83"
\markup "I like kittens."
puppy.ily
\version "2.19.83"
\markup "I like puppies."
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On 2019-10-16 7:00 pm, Graham King wrote:
\version "2.19.82"
{
\once \override Staff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup
grob
#{ \markup
\override #'(baseline-skip . 1)
\center-column {
\musicglyph "four"
On 2019-10-15 12:47 am, Urs Liska wrote:
Hi all,
is there an easy or already-implemented way to have a markup
double-underlined, or do I have to draw that manually?
It's not exactly perfect, but you can \underline an \underline:
\version "2.19.83"
#(define-markup-command
el:
<<
\new Voice = "e" { s2. }
{
\context Voice = "e" { e''4 }
\new Voice { g'8[ 8] }
\context Voice = "e" { e''4 }
}
>>
}
\new Lyrics <<
\lyricst
On 2019-10-03 5:49 pm, Andrew Bernard wrote:
On 4/10/2019 3:34 am, Aaron Hill wrote:
How standardized is this so-called "modernist" music?
Not in any way at all. There's no ISO standard! :-) Every composer is
different. I am curious that you refer to modernism as 'so-called'.
Mod
And once the new branch
succeeds in meeting the goals of modern composers, then one could
consider how best to merge the results into a unified, but more
flexible, LilyPond.
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On 2019-09-30 5:18 am, foxfanfare wrote:
Aaron Hill wrote
Whether it is prudent to do such a thing is another matter. (:
That's interesting, because I find very complicated to deal with
variables
without any digits... especially when composing multiple pieces works.
But
why would
On 2019-09-30 6:18 am, Kieren MacMillan wrote:
Hi Michael,
for a project of mine I wanted to center a markup inside another
markup.
I searched the built-in markup functions, but to no avail. (Surely it
is
possible that I missed something...)
This is *almost* it, right?
%%% SNIPPET ENDS
I had a hard time finding this in the manual.
With quotation marks, you can break a lot of the rules:
\version "2.19.83"
"Anything?! { c'4 } " = { c'4 }
{ \"Anything?! { c'4 } " }
Whether it is prudent to do such a t
nor second intervals that
appear in the left hand.
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_ (apply ly:expect-warning (cdr args)))
(iota (car args)
#(ly:expect-warning-times 4 "omitting tuplet bracket")
{
\clef bass
\tuplet 3/2 4 {
<<
{ g4 s8 gf4 s8 f4 s8 s4. }
\\
{ g8 ef' bf gf ef' bf f ef' a, bf, df' bf }
>> |
}
}
On 2019-09-24 9:35 am, Urs Liska wrote:
Is there any reason why the slrus in the attached example come out the
way they do (i.e. so horizontal, with the left edge being so far away
from the notehead)?
Seems to be a combination of slurring identical pitches and the
articulation on the one
On 2019-09-17 5:52 am, Aaron Hill wrote:
myNoteNamesWithOld =
#(lambda (grob)
(let* ((default-name (ly:grob-property grob 'text))
(new-name (assoc-get default-name newnames)))
(ly:grob-set-property! grob 'text #{ \markup
\override #'(baseline-skip . 1.5
(lambda (x) #{
\markup \note-names $(car x) $(cdr x)
#}) (paired args)) } \vcenter ] } #} ))
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On 2019-09-17 3:20 am, Jay Vara wrote:
Now, some of the student also want to see the names of notes C, D, E,
F, G,
A, B.
Is there a way to show both the note names I have defined and the
english
note names? Ideally, one would be below the other.
Simplest option is to just define another
markup-list? that contains an even
number of items, which are the arguments to your existing \note-names
command. It then uses \concat to smoosh together the items.
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On 2019-09-10 5:30 pm, Warren Wilkinson wrote:
Here is the sort of output I want to generate. The staff lines and
spaces
have been replaced by solid bands of color. The text is placed on the
line
itself and the text colors are based on the note.
My question is, can Lilypond be coerced into
little Scheme to concatenate the strings:
\version "2.19.83"
title = "Title"
\book {
\bookOutputName \title
\bookOutputSuffix "Suffix"
{ b'1 }
}
\book {
\bookOutputName #(string-join (list title "Joined") "-")
{ b'1 }
}
%%%
PhrasingSlur.dash-definition with
some specific values.
So you should only need to add "Override" to the event types:
quotedEventTypes = #'(
note-event rest-event tie-event beam-event tuplet-span-event
phrasing-slur-event Override
)
--
\draw-hline \draw-hline \draw-hline
\draw-hline \draw-hline \draw-hline
\draw-hline \draw-hline \draw-hline
}
}
}
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has. Note that "Guitar string bending" is nested underneath "Glyph
sample sheet" whereas "Guitar string bends" stands alone as its own
thread.
[1]:
https://lists.gnu.org/archive/html/lilypond-user/2019-09/threads.html
I hope this helps to
hth does
not matter then.
To circle back to the docs, where did you see \set associatedVoice used
within a \with block? Near as I can tell, it is only used to *change*
the context for timing when used within an \addlyrics or \lyricsto
block. It does not appear to be intended for use alo
with \lyricsto.
LilyPond provides a NullVoice context that makes it easy to include such
an extraction of notes to be used just for timing but not display. I
use this feature quite a bit, mainly because I also use \partcombine
which is not compatible with \lyricsto; but that is another story.
-- Aaron
is to use the \repeat command precisely at the moment
when the repeated section of music begins. Then there is no need to
suppress anything, and your syntax will accurately reflect the musical
content.
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lil
)
\book {
\score {
c'1^"#(set-global-staff-size 8)"
\layout {}
}
}
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s "Arpeggio_engraver" }
\drummode {
2
\arpeggio
}
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. This will be independent of any other
installation, meaning you do not need to futz with any package managers.
In this case, do not use 'sudo'. Just run 'sh
lilypond-2.19.83-1.linux-64.sh'. By default, it will install under
/~/lilypond with a shortcut under /~/bin.
-- Aaron Hill
logies for the questions, but I cannot recall seeing any
discussion of this feature in the main list. Should I be subscribing to
the developer list?
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that you
do not get any overlapping ink; but the negative padding could be needed
with page-breaking-system-system-spacing.
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#'( (basic-distance . 0) (minimum-distance . 0)
(padding . -100) (stretchability . 0) )
}
music = { \time 3/4 c'4 g' d'' | a''2. \bar "|." }
\score { \transpose c' g \music }
\score { \transpose c' c' \music }
\score { \transpose c' f' \music }
Results attached for reference.
the DPI in order to saturate the resolution of the
printer. Again, I suspect few people would be able to tell the
difference given the printed document.
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On 2019-07-21 10:04 am, Werner LEMBERG wrote:
Using
http://lsr.di.unimi.it/LSR/Item?id=1000
I wonder how to get the effect for a single note. Ideally, I would
like to write
\genericSpan <...parameters ...>
e\startGroup\endGroup
but since `\genericSpan' uses a `HorizontalBracket' grob,
posted for obtaining and building guilev1 manually.
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n is very handy if the roadmap could change
between performances. For instance, you might end up only singing
stanzas 1, 2, 4, and 6, with the chorus after 2 and 6. Sometimes, it is
nice to have printed notation that is more general and flexible than to
be cluttered with potentially extra
le: music}
It seems to parse the closing } as part of the variable name.
Scheme is pretty permissive with what can be part of a symbol, so this
is one case where whitespace does matter.
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h
On 2019-07-09 7:34 pm, Aaron Hill wrote:
On 2019-07-09 7:11 pm, Eby Mani wrote:
Many Thanks Torsten, exactly the thing i was looking for.
Now, how to do those "Forefall" and "the shake turned" symbols in
lilypond. any snippets ?.
You could do something like this:
%%
uot;trill")))
(set! (ly:music-property m 'tweaks)
(acons 'stencil (lambda (grob)
(grob-interpret-markup grob shakeTurned-markup))
(ly:music-property m 'tweaks)))
m)
{ b'4 b'\forefall b'\shakeTurned b' }
Here I am partying on the "trill" articulat
t bits.
But if you have to stick to 2.18.2, then ligatures are not going to work
as expected due to problems with the older version of Pango it would
seem.
My apologies for leading you down a bad path.
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On 2019-07-04 2:02 pm, Ben wrote:
This is the first time I've encountered the need to hide /grace note/
beams and/or stems. Can someone show me what I am doing wrong?
Here's my attempt, though it may not be the most ideal:
\version "2.19.82"
\language "english"
overlaySlash =
On 2019-07-04 10:01 am, Pierre Perol-Schneider wrote:
Hi Ben,
How about:
Here are some modifications I made to Pierre's code:
- Removed \overriding InstrumentName.padding and opted instead for
self-alignment-X of RIGHT.
- Kept the stencil for SystemStartSquare but applied an extra-offset to
indicated above, I think this is on the Pango side, not
LilyPond.
- just pointing out, that I'm stupid (that would be at least a valid
excuse) :-)
If I did that, I would have more fingers pointing back at myself. You
would not have to dig too far in the mailing list archive to find proof
On 2019-07-03 4:45 pm, Aaron Hill wrote:
NOTE: Similar things will be adjusted to support the slash separator
as well, so that you could get a single string like "C#m/E" so your
font's logic could handle this.
I typed that poorly. Trying again:
NOTE: Similar things will need to b
l be adjusted to support the slash separator as
well, so that you could get a single string like "C#m/E" so your font's
logic could handle this.
The question is whether it is worth changing any of the existing
plumbing or if using custom text overrides is easier.
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an example of what you have tried, so we can
best advise.
You should only need to insert a suitable skip:
\version "2.19.82"
<< \new ChordNames \chordmode { s4 | c1 }
\new Staff { \partial 4 g'8 e' | c'1 \bar "|." } >>
-- Aaron Hill
is nothing more than markup at the end of the day. Since
the default stencil is ly:text-interface::print, anything you can do in
\markup you can do in a ChordName. That gives you nearly all the
freedom you would ever need, so there should be nothing to worry.
--
lei -- son \italx }
\addlyrics { ky -- \markup { rie \italic e } -- \ital lei -- son \italx
}
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y a smaller value for line-width:
\version "2.19.82"
stuff = << \new Staff { b'4 } \new Staff { \clef "bass" g4 } >>
\paper { indent = 0 line-width = 1\in ragged-right = ##f }
\score { \stuff \layout { } \midi { } }
This would require you to specify the widt
10 {
g2. g4 |
}
\break
\once \override Staff.Clef.before-line-breaking = #(lambda (grob)
(and (eq? LEFT (ly:item-break-dir grob))
(set! (ly:grob-property grob 'X-extent) '(-2 . 2
\clef "tenor"
\repeat unfold 7 {
g8 g g2
ramming error line? I would say there is a bug if you are *only*
seeing the failing assertion.
Perhaps an additional check could be added to stem.cc:649 to ensure that
neutral-direction has a sane value, which could catch this particular
error earlier in the process.
-- Aaron Hill
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without sharing the whole project. Since my knowledge on that platform
is extremely limited, I cannot shepherd any further.
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e
failing assertion reproduce?
-- Aaron Hill
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a MWE for this error? Failing that, can you run LilyPond
under gdb and share more details?
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'4 \tag #'b b'4 c''4 }
\multipleRemoveWithTag #'((a) (a b) (b))
{ \tag #'a a'4 \tag #'b b'4 c''4 }
}
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On 2019-06-22 1:46 pm, Evan Driscoll wrote:
Is there a way to define a variable "locally"?
Not with the "foo = bar" syntax. But you can do this:
\version "2.19.82"
outside = { 8 8 4 }
{
$(define inside #{ { 2 } #})
\outside \inside
}
{ \outside
ant to set font-family rather than font-name, you will
need to change font-encoding:
\version "2.19.82"
{
\override Score.VoltaBracket.font-encoding = #'latin1
\override Score.VoltaBracket.font-family = #'sans
\repeat volta 3 { b'1 }
\alternative { { b'1 } { b'1 } }
}
y g \normalsize c>4 |
r2 \new Voice << {\tiny a4 g} {\normalsize d' c} >> |
```
Does \tweaking font-size work for you?
\version "2.19.82"
\fixed c' {
r2
4
}
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. But if your music is dense enough, you may
need to adjust the line width on the page and/or the global staff size
to be able to fit more content.
[1]: http://lilypond.org/tiny-examples.html
[2]:
http://lilypond.org/doc/v2.19/Documentation/notation/changing-horizontal-spacing
-- Aaron Hill
the LilyPond font files. I
have
searched the LilyPond file for Emmentaler Feta metafont.
https://github.com/lilypond/lilypond/tree/master/mf
- or -
https://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=tree;f=mf
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has the
breakable property.
[1]: http://lilypond.org/doc/v2.19/Documentation/internals/glissando
[2]:
http://lilypond.org/doc/v2.19/Documentation/internals/unbreakable_002dspanner_002dinterface
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st
system and the footer might not be useable space, as far as LilyPond is
concerned. If it has been instructed to keep a minimum amount of space,
that is probably why it opted to overflow to a second page.
-- Aaron Hill
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lil
o perhaps the
better solution would be to use edition-engraver [1].
[1]: https://github.com/openlilylib/edition-engraver
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On 2019-06-07 2:54 am, Aaron Hill wrote:
Hi folks,
Who is the contact point for the LSR, more specifically the individual
responsible for their DNS?
There has been a long-standing issue with their name servers that
prevent services like CloudFlare from reliably resolving records
copy of the LSR?
-- Aaron Hill
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On 2019-05-25 9:52 pm, Mike Dean wrote:
Hi group:
I am extracting a solo line from Gavotte II (Cello Sonata #6, J.S.
Bach)
and at the end of Gavotte II are these instructions:
2nd time poco rall.
Gavotte I D.C.
I am struggling with how to attach that to the final measure (and a
half):
a,
On 2019-05-25 7:34 pm, Edward Neeman wrote:
Thanks Xavier, that is a much neater option than going with ballpark
figures as I did in my example.
Though since I have two different staff sizes in two different output
files, it still means I have to do something like this:
\tag #’clarinet {
ment-X = 0
%% wanted:
%\alterBroken self-alignment-X #(list 0 1) Score.BarNumber
\set Score.currentBarNumber =
\repeat unfold 50 c'1
}
Would something like this help?
\override Score.BarNumber.self-alignment-X =
#(lambda (grob) (- (ly:item-break-dir grob)))
--
h the
middle one so you automatically get the correct vertical alignment.
However, if the chorus text only ever appears on its own line (as it
would if you add a \break after \bar "||"), then it should not matter
which Lyrics context the words are in. In fact, you could add a new one
lyPond. I certainly have never
tried pushing this aspect of the software.
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You should be able to adjust the font-shape using a \with block:
\new Lyrics \with { \override LyricText.font-shape = #'italic }
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helper mu))
mu))
(let ((orig (ignatzek-chord-names in-pitches bass inversion
context)))
(markup (#:fontsize size (helper orig)
} #} )
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https
use a font whose metrics are accurate so that things work
properly without mucking about in markups.
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ould be able to apply this function globally rather than to a
specific instance:
\layout { \context { \ChordNames \embiggenChordNames #10 } }
Does that help you locate things how you prefer?
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On 2019-05-12 5:29 pm, Gregory Hollands wrote:
I want to use an alternative font for ChordNames, but the font I have
chosen is not exactly the same size as the default font. The result is
that
musical symbols (sharps, flat, etc) appear too large.
How can I change the size of the musical
taneously executing empty
chord.
Would an event function possibly make more sense? Consider:
\version "2.19.82"
foo = #(define-event-function (offset) (number?)
#{ \tweak extra-offset #(cons 0 offset)
^"foo" #})
{ b'4 \foo #0.5 b' b' \foo #-1 }
-- Aar
ut I fear I may have
offended by pointing out the mistake.
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On 2019-05-11 11:55 pm, Jacques Menu wrote:
Hello Отправлено,
By the by, "Отправлено с iPhone" means "Sent from iPhone".
-- Aaron Hill
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: Manual use of things like make-pango-font-tree introduce the
possibility that text-font-size is not an accurate value. Providing one
is following the recommended practice of setting the scaling factor,
then things should work.
Also NOTE: Setting the fontSize context proper
ute-to-relative
Scheme code above.
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nd-of-line-invisible
{ c'2 c' } \break
\unset Staff.explicitClefVisibility
\clef bass { c'2 c' } \break
[1]:
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#clef
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On 2019-05-01 11:17 am, dtsmarin wrote:
This was an example to show what I'm after.
I need to *change* the stencil (e.g. flat to be sharp ) not the colour
etc.
I know how to change stencil for a single accidental with \override but
\tweak Accidental.stencil doesn't work.
Hmm... \tweaking a
sposing a MIDI track to compensate. I
dislike this practice as it is not very portable.
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| g2 a4 g e8 f g a g2 e4
| f4 g a bg4 c' b c'2
}
\new Staff <<
{ \numericTimeSignature
\repeat unfold 3 { \time 4/4 s4*4 \time 5/4 s4*5 } }
{ \someMusic }
\new Staff { \compoundMeter #'((4 5 4)) \someMusic }
Lyrics { $(ly:parser-lookup singer) . Lyrics . $stanza } #} )
\foo Alice StanzaI
\foo Bob StanzaII
Curious though why in the above, I can say "Alice" in lieu of "#'Alice".
Is it simply because the music function's type assertion of "symbol?"
lets the parser con
) }
>>
\new Lyrics \lyricsto "melody" { $(lookup 'Lyrics) }
>> #} )
\makeItSo #'Alice
\makeItSo #'Bob
This \makeItSo is akin to a macro, able to inject a dynamically
constructed string into the parser as if it were typed by hand.
-- Aaron Hill
On 2019-04-19 3:29 am, Thomas Morley wrote:
Am Mi., 17. Apr. 2019 um 21:16 Uhr schrieb Thomas Morley
:
Am Di., 16. Apr. 2019 um 23:45 Uhr schrieb Aaron Hill
> Also, I "fixed" the font-size issue by bypassing the font settings
> within the grob itself, because simply s
On 2019-04-18 6:40 am, Carl Sorensen wrote:
On 4/17/19, 1:41 PM, "Aaron Hill" wrote:
On 2019-04-17 12:16 pm, Thomas Morley wrote:
> [ . . . ] why does Tie has a font-size property at all?
That I cannot speak to. I'd have to dig through the code to see
where
On 2019-04-17 3:31 pm, Thomas Morley wrote:
Well, I'd like to understand beziers better, continuing my afford here
also means I shouldn't ignore such things ;)
Beziers are one way to generalize simple linear interpolation to higher
orders, and they have a rather curious recursive relationship
ts, which would ease some of the computational overhead.
But actually I am pleasantly surprised my code is only slightly worse.
[ . . . ] why does Tie has a font-size property at all?
That I cannot speak to. I'd have to dig through the code to see where
it is us
Notes
| \tweak X-offset #-1.5 e2 -\tweak style #'zigzag \glissando e,2
}
>>
}
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-by-reference.
Obviously, I am in error with my terminology.
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On 2019-04-08 4:08 am, David Kastrup wrote:
Aaron Hill writes:
As such, procedures can have side effects where the objects that are
passed to such procedures may be modified. Consider the 1+last!
procedure I showed that is not a macro itself, but it still has the
side effect of altering
On 2019-04-08 4:35 am, David Kastrup wrote:
Aaron Hill writes:
On 2019-04-08 2:48 am, Thomas Morley wrote:
foo =
#(let ((x (cons 1 0)))
(define-scheme-function (arg)(symbol?)
(case arg
((indent) (set! x (cons (car x) (1+ (cdr x)
((increase) (set! x (cons (1+ (car x)) 0
n)
#(my-section-numberer 'unindent)
}
The principle difference here is that there is make-section-numberer is
essentially now a constructor. That means each instance has its own
"numbers" variable. The example above uses two instance
t rather rebinds "foo"
to a new list that happens to have the desired values.
-- Aaron Hill
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)
#(1+last! foo)
#(format #t "\nfoo = ~a" foo)
-- Aaron Hill
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er" }
\fixed c' { c8 c2 c4 c4 c1 c4 c2 c8 | }
>>
But there are almost certainly problems with such a kludge.
-- Aaron Hill
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to
the right to prevent overlap.
If this is not a problem, then it may perhaps be another option. All
you need to do to play around with this is change the \with-dimensions
lines to be something more appropriate. For instance, try:
\with-dimensions #'(0 . 3) #'(-2 . 2).
-- Aaron Hill
On 2019-04-02 11:15 pm, Gianmaria Lari wrote:
The following "test" function adds parallel thirds to the notes of a
melody:
\version "2.21.0"
scale = {c d e f g a b}
test =
#(define-music-function (music) (ly:music?)
#{
\partCombine $music \modalTranspose c e \scale $music
#})
On 2019-04-02 4:26 am, David Kastrup wrote:
Aaron Hill writes:
Where have I gone wrong in my thinking?
_Either_ the Event_chord_iterator _or_ the Rhythmic_music_iterator are
doing the broadcasting of note events, depending on whether the notes
are within a chord or not. _Only_
he chord's elements.)
It is my understanding that the event-chord-iterator handles
broadcasting all of the chord's elements, and then the
rhythmic-music-iterator will take care of broadcasting the articulations
for the note-events. But that does not seem to be happening.
Where have I gone wrong
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