It could well be a 2, looking at this:
https://artscimedia.case.edu/wp-content/uploads/sites/135/2020/04/20164113/NotationManual.pdf.
On 8/10/20 5:24 pm, Aaron Hill wrote:
On 2020-10-07 11:07 pm, Andrew Bernard wrote:
I dont think it's a 2. Looks more like some kind of symbol. I am not a
I think you want
\override MultiMeasureRest #'expand-limit = #7 (or whatever value you
decide - the default is 10).
Brett
On 2/4/19 8:09 am, Guy Stalnaker wrote:
\version "2.19"
\language "english"
\score {
\new Staff {
\clef bass
\compressFullBarRests
\key bf \major
\time
One option would be to scale the durations instead of using tuplets,
e.g. you could change
\hideNotes b2. b4\sustainOn b2 \tuplet 3/2{ b8 b4\sustainOff}
b4\sustainOn \tuplet 3/2{ b8 b8\sustainOff b8 }
to
\hideNotes b2. b4\sustainOn b2 b8*2/3 b4*2/3\sustainOff
b4\sustainOn
On 30/04/2016 9:36 pm, Thomas Morley wrote:
g2:5.9 is not correct. See the putput from the following code listing
some (all?) possibilities to _input_ the correct chord.
tst = {
\chordmode {
\set additionalPitchPrefix = "add"
c:1.3.5.9
c:3.5.9
c:5.9 %% not correct !
c:9^7
On 30/04/2016 6:30 pm, Malte Meyn wrote:
Am 30.04.2016 um 08:56 schrieb Brett Duncan:
Henry, have you had any success with the pop-chords.ly file? (If not, I
have some files I could send to you.)
You don�t need this or chord exceptions in general if you follow my
much simpler answer
On 30/04/2016 3:24 pm, msk...@ansuz.sooke.bc.ca wrote:
On Sat, 30 Apr 2016, Brett Duncan wrote:
I coded g2:5.9 in chordmode and got G9, which isn't the right
chord. I'm pursuing pop-chords.ly.
As Matthew said, you will need to override how the chord name is displayed
On 30/04/2016 8:24 am, Henry Law wrote:
On 29/04/16 22:20, Brett Duncan wrote:
You can also use "c1:5.9", which just adds the 9th over the basic triad.
I coded g2:5.9 in chordmode and got G9, which isn't the right chord.
I'm pursuing pop-chords.ly.
As Matthew said, you
On 30/04/2016 3:58 am, msk...@ansuz.sooke.bc.ca wrote:
On Fri, 29 Apr 2016, Henry Law wrote:
In a lead sheet I want to use the chord which I call an "added ninth". Using
the key of C as an example, I want the chord C-E-G-D: a plain major triad with
the ninth added on top.
Try "c1:9^7"
That is:
On 21/09/15 4:44 PM, David Kastrup wrote:
It's really a case of diminuishing returns. The change for x:5 is
definitely affecting the logic of LilyPond, but arguably that can of
worms has been opened with x:13 already. x:5 is more important, but
it's also a lot more likely to be used as basic
On 21/09/15 7:48 AM, Flaming Hakama by Elaine wrote:
> Well, in his explanation of sus chords, Levine indicates that that
> he does not interpret "sus" to be exactly synonymous with "sus4". At
> one point, he wrote "A persistent myth about sus chords is that 'the
> fouth takes the place of the
On 21/09/15 7:48 AM, Flaming Hakama by Elaine wrote:
Modifying the input syntax such that c:5 means seems ill-advised.
I was thinking much the same, until I read something that David Kastrup
wrote:
I think it is not an outlandish expectation, once you see how a:maj and
a:dim and a:min work,
On 20/09/15 11:30 AM, Flaming Hakama by Elaine wrote:
> Just to be clear, in Hancock's piece and other jazz standards, D7sus is
> not simply a 7th chord with the third omitted. As Mark Levine explained
> in the "The Jazz Piano Book" (Sher Music Co. 1989), for D7sus (or simply
> "Dsus" as it
On 19/09/15 7:52 PM, Blöchl Bernhard wrote:
A bit OT:
For anybody having doubts if sus chords are of any use, I found a nice
example in jazz. In Herbie Hancock’s jazz piece Maiden Voyage one can
recognize examples of sus chords covering D7sus, F7sus, Eb7sus, and
F#7sus (C#-13). Lilipond
On 19/09/15 8:49 AM, Kaj Persson wrote:
As you wrote Csus ought to mean that the first third is removed, and
nothing else. Among professional musicians, which I am not, but I have
friends who are, this is not the whole truth, there exists a de facto
standard which does not exactly coincide
On 17/09/15 7:56 PM, BB wrote:
A bug?
My reading of the OP is that Kaj is expecting LP's chordmode to be
equivalent to the chord notations that he is used to seeing, which it is
not.
@Kaj, Lilypond's format for /inputting/ chords is described at
On 17/09/15 9:40 PM, Simon Albrecht wrote:
On 17.09.2015 13:30, lilyp...@andis59.se wrote:
On 2015-09-17 13:14, Brett Duncan wrote:
@Kaj, Lilypond's format for /inputting/ chords is described at
�http://www.lilypond.org/doc/v2.18/Documentation/notation/chord-mode/
and I would suggest reading
I'm a 48 year old school teacher (Mathematics and Computing).
I'm also the pianist in a jazz ensemble, which is what keeps me using
Lilypond - re-scoring pieces for which we have mainly hand-written
scores (some of them atrociously scribbled down).
I used to mainly use jEdit/LilyPondTool,
On 8/02/15 12:46 PM, Cynthia Karl wrote:
I don’t understand two things about the following snippet:
\version 2.19.15
Aa = \relative c'' {\oneVoice r2. }
Ab = \relative c'' {\oneVoice r2. }
\score {
\new Staff
\time 3/4
\new Voice \Aa
On 27/01/15 6:15 AM, Tim McNamara wrote:
On Jan 26, 2015, at 1:32 AM, Johan Vromans jvrom...@squirrel.nl
mailto:jvrom...@squirrel.nl wrote:
On Sun, 25 Jan 2015 19:18:52 -0600
Tim McNamara tim...@bitstream.net mailto:tim...@bitstream.net wrote:
I have repeatedly run into difficulties
On 27/01/15 11:48 AM, Tim McNamara wrote:
The main problem for me with “x7sus4” as a chord name is its length;
when there are four chord names in a bar, every character counts in
terms of legibility. Things can get crowded fast. (This came up in
preparing a chart for the Vince Guaraldi song
On 26/01/15 1:16 PM, Tim McNamara wrote:
On Jan 25, 2015, at 7:44 PM, Thomas Morley thomasmorle...@gmail.com wrote:
2015-01-26 2:18 GMT+01:00 Tim McNamara tim...@bitstream.net:
I have repeatedly run into difficulties getting Lilypond to properly render sus7
chord names in \chordmode. It
On 7/01/15 1:14 PM, Jim Long wrote:
This works great. But I often have the same problem in chordmode
music, the same problem meaning that I need to use tagged
alternative bits of enharmonic music where the tagged
alternatives are simultaneous so that they don't artificially
lengthen the number
On 7/01/13 6:11 PM, SoundsFromSound wrote:
Thank you so much for the reply. I have Ubuntu 12.10 installed, very few
apps other than the usual: Synaptic, Inkscape, LilyPond/Frescobaldi, etc.
All I did was install Rumor and poof - these appeared, no other items I can
think of that could be the
On 15/06/11 6:28 PM, Rutger Hofman wrote:
On 06/15/2011 04:41 AM, Marc Mouries wrote:
I don't mean the sign on the last bar of each staff but the sign in the
final bar of the music, right after g8 a8 b4 that looks like a
mordant.
I'd say it is just a rest (r4). The last note has something
On 19/04/11 2:08 AM, Michael Dykes wrote:
Hullo Nick. Now, I get the following error: java.io IOException:error=20, not a
directory. Any ideas? Thanks for your time and patience, since I am new to this
program. I really appreciated it.
The error suggests that there is still something wrong
Hugh Myers wrote:
Clearly this doesn't work:
\version 2.13.7
upper = {
b c d
}
lower = {
gis, d e, 2.
}
{
\time 3/4
\new Staff \relative c'' {
\set Score.barAlways = ##t
\set Score.defaultBarType = |
\new Voice = 1 { \voiceOne \upper }
\new Voice = 2 {
Hugh Myers wrote:
I'm looking for a symmetrical version of \bar |: which roughly
speaking should produce colon, thin line, thick line, thin line,
colon. Is there a way?
--hsm
Take a look at
http://lilypond.org/doc/v2.13/Documentation/notation/Bars#Bar-lines
Brett
Hugh Myers wrote:
Brett,
Much thanks, missed that combination. Now how do I get that to spit
out at the start of a second \alternative?
code:
\repeat volta 2 {
\firstPoly
}
\alternative {
{ \firstPolyRepeat }
{ \secondMono }
}
which doesn't seem to produce
Hugh Myers wrote:
Brett,
Thanks for the hint. The URL is where I got the notion for what I
wrote in the first place. In the source, firstPoly repeats, once with
firstPolyRepeat as an ending and once with secondMono as an ending.
That is what I want, but as you say not what I asked for. None of
Hugh Myers wrote:
Here is the 'close--- but not quite ready for cigar time' code that
I've cobbled together:
\version 2.13.7
%
% malaguena.ly -- qd testbed for mixed notation score and tab.
%
\header {
title = Malaguena
subtitle = none
composer = Music by Unknown
}
eMinor = e b gis
Hugh Myers wrote:
Let's say that it is--- what would the different structure look like?
Try this:
\version 2.13.7
%
% malaguena.ly -- qd testbed for mixed notation score and tab.
%
\header {
title = Malaguena
subtitle = none
composer = Music by Unknown
}
eMinor = e b gis e b e,
Andrew Tucker wrote:
m7.7+ does provide the desired results, though I believe it's because
lilypond uses only the last alteration of a particular note (ie. 7.9+.9-
will end up 7/b9 and lose the sharp nine). This behavior might change
(?), if I remember the tenor of that discussion, so we
hhpmu...@163.com wrote:
Hello,
I finally finished the orchestration. But the teacher came with two
problems: one is double bar, which I can solve after asking him which
bar I made wrong; the second is about Fine and D.C. al Fine. I included
the mark engraver in the markline context, but the
Carl D. Sorensen wrote:
As far as I can see, there is very little hope for LilyPond making the right
decision about this chord entered in note mode. The first note is not the
root of the chord, so it would require substantial computation time to try
to identify the chord properly (and there's
Grammostola Rosea wrote:
Maybe it's an idea to brainstorm a bit about how we want Jazz chords to
be displayed? Maybe some interested people can form a group like the
'tablature group' does?
I'd welcome people creating documents that describe how chord naming
should
work. I think that
Carl D. Sorensen wrote:
My currently-planned starting point for chord naming is
http://www.dolmetsch.com/musictheory17.htm#namechords
If you have any disagreement with this reference, please let me know.
It looks like a good starting point to me - there are a couple of things
that don't
Carl D. Sorensen wrote:
I assume that there would still have to be some means of creating
exceptions. If someone wants chords named mainly in the Real Book style,
but with minors notated slightly differently ( Cm / Cmi / C- ) for
example, would they find themselves having to put together a large
Chip wrote:
What's a PEBKAC? I've never seen that before. Anyway, I still find it
hard to relate the footer to titles and headers, it just doesn't make
sense to me to include it with those. In my way of thinking the footer
is a separate entity and should be treated as such.
Hi Chip,
I
sdfgsdhdshd wrote:
craigbakalian wrote lilypond can't compete with Finale; i disagree and
explained why.
Not so - Craig asked a question about whether the topic was about
Lilypond needing a GUI - you didn't actually answer that.
You did, however, say that Lilypond is missing features
Luc Saffre wrote:
Can somebody explain what's the difference between printing A^sus4 and
A^4? I had only basic music education but am helping with publishing a
songbook using Lilypond, and I thought that the difference is not
important. But now I'm afraid I'm wrong and that I'll have to check
Luc Saffre wrote:
Hello,
in some printed scores I find a chords notation as shown in the attached
picture. Is there a way to render this in LP? I didn't find any better
than writing a2:sus4 a which is less clear...
In a lot of music, Asus4 A is exactly how it appears. I've
certainly seen
Chip wrote:
How do I designate a whole rest in a 5/4 measure? I am getting barcheck
failures with R1 and also with R1 r4
I'm sure it's something simple I'm missing here.
Thanks,
Chip
Why not just R1*5/4 ?
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Chip wrote:
Robin Bannister wrote:
Chip wrote:
it just resulted in messed up measures
A judicious use of time distortion may help you here.
\transpose c c'{
\hideNotes g,32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
\hideNotes c''32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
Chip wrote:
\times 2/3 {f4 fs b}
looks like 3 quarter notes to me.
You've got TWO THIRDS of three quarter notes (timewise).
What is it you're trying to achieve with the triplet?
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Carl D. Sorensen wrote:
I looked into your project, but the project was complex enough that I didn't
want to spend the time to figure it all out.
I did get far enough to think that perhaps strict spacing only applies to
music notes. Grace notes and bar lines appear to be spaced around the
RandomLilyPondUser wrote:
After many an hour reading through the manual, snippets, and forum, I've
finally figured out how to do most of what I need, except this one thing:
I have six measures per line, how do I get the measures to line up perfectly
with each other on all the lines? I don't
James E. Bailey wrote:
I'd like to have a chord that is C-10. I have
myChordDefinitions = {
c e g b dis-\markup \super {-10}
}
And then, of course the requisite
myChordExceptions = #(append
(sequential-music-to-chord-exceptions myChordDefinitions #t)
ignatzekExceptions)
myChordInit
Nikolay Kirov wrote:
Hello!
Is there a way to insert a character or a string into staves? I would
like to write big parenthesis centered at vertical center of staves.
I hope this is possible but I cannot find any advice in the documentation.
Nikolay
I've done this by using:
\once
Anthony W. Youngman wrote:
In message 20090207193803.ga2...@istic.org, Daniel Hulme
s...@istic.org writes
On Sat, Feb 07, 2009 at 06:34:35PM +, Anthony W. Youngman wrote:
I just don't know where or why Acrobat is finding this American Letter
stuff (oh - I've got a Hickey Pouse WinPrinter -
Carl D. Sorensen wrote:
This is an error that exists in 2.12.1.
See the list bug-lilyp...@gnu.org for the fix that is needed.
2.12.2 has the fix, and is available for download. Please try 2.12.2.
Thanks,
Carl
2.12.2 fixes the problem with font-file-as-ps-string, but the Pango
warnings
Lorenzo Bicci wrote:
There is no No Chords symbol or function in Rosegarden. I'm referring to
the use of N.C. or NC to mean that instruments that are playing
chords must stop playing chords, which i've seen especially in pop
music. Of course a N.C. markup could be put in as text, but it would
Miklos Vajna wrote:
On Mon, Jan 12, 2009 at 12:11:52PM +1100, Brett Duncan bdd1...@bigpond.net.au
wrote:
Rather than subverting your major 7th symbol, you could also set up a
chord exception that adds the arpeggio when you add the 15th to the
chord (which of course you would normally never do
David Raleigh Arnold wrote:
This could never have happened if the symbol were present in any
header example or template. Every copyright notice should have
the symbol, because without it it's not a copyright notice.
Not true - if it has the word Copyright followed by the year of
publication
James E. Bailey wrote:
Great, that worked. This is still a workaround, but given that I don't
want to use the major 7 (at least for now) for its original purpose, I
can just say to overwrite it with arpeggioGuitar then I get what I
wished.
Rather than subverting your major 7th symbol, you
David Raleigh Arnold wrote:
There appears to be no way of inserting a copyright © symbol in
lilypond 1.12.1. U+xxx, copy;, #169; and © don't work. I notice that
the manual's copyright may not be valid because the symbol is omitted.
(c) is ugly, amateurish and not valid.
In previous versions,
Rob Canning wrote:
i was trying to do it with sed with a line like this:
sed 's/~/\\glissando/' header-inserted ties-fixed;
but ran into trouble with all the ^ sybols and so on -
I tried this myself and it seems to work fine once add the 'g' flag:
's/~/\\glissando/g'
However, horizontal
Carl D. Sorensen wrote:
I got exactly the same output with the Devnull approach as with the
durations added to the lyrics.
I can't see any difference at all in the output of the two approaches.
Are you doing something different? If so, I'd really like to see it.
Thanks,
Carl
The
Jonathan Kulp wrote:
Yes, this works, but it only confirms my belief that someone who wants
this really would be better off with a word processor or GuitarTeX. The
spacing looks awful without a staff, not at all the sort of thing you
normally see in a songbook of this type. (If the staff is
Francisco Vila wrote:
2008/11/25 Keith Weintraub [EMAIL PROTECTED]:
Folks,
Anyone have an example (forgive me if I missed it in the docs) of just chords
and lyrics?
I don't want to worry about the notes and just want to put word phrases
more-or-less aligned with the correct measures.
You do
Carl D. Sorensen wrote:
Here's one possible solution:
\version 2.11.64
myChords = \chordmode {
c1 g f c
}
myMelody = {
c2 c4 c4 |
c4 c c c |
c4 c c c |
c2 c
}
myLyrics = \lyricmode {
Hi there let's |
have fun with this |
Here we have fun |
don't we
}
\new ChordNames {
Craig Bakalian wrote:
Hi,
Has anyone out there downloaded the LilypondTool jEdit and have
got it to work? I am just so cautious these days with java on Mac OS
10. I used to program heavily in java, but have not in 7 years. So, I
am not even up to date on the different names for the
Francisco Vila wrote:
2008/10/28 George_ [EMAIL PROTECTED]:
I did some tests and they came out perfectly fine, so it has to be something
wrong with my ly file, right? Except I can't find anything in there that I
did differently between the crescendo that came out right and the ones that
started
Valentin Villenave wrote:
Use the Source, Luke...
ly/spanners-init.ly, line 21:
cresc = {
#(ly:export (make-event-chord (list cr)))
\set crescendoText = \markup { \italic cresc. }
\set crescendoSpanner = #'text
}
Okay, that makes things clearer (for me, at least).
I don't know
Patrick McCarty wrote:
I'm still experimenting with this. :-)
I've created another design with a color palette that passes the W3C
Web Content Accessibility guidelines for color contrast:
http://uoregon.edu/~pmccarty/texi2html/start-alt-alt.html
Alexander Kobel wrote:
A List Apart explains how to implement this with cookies, but we would
rather not use JavaScript:
And yes, I'm against JavaScript, too. This doesn't count as a real
client-side solution from my point of view.
?? What is the objection to JavaScript? And why do you not
Don Ravey wrote:
I've just begun to learn LilyPond and already have this problem: when
I try to use PianoStaff, LilyPond crashes without even writing a log
entry. I uninstalled and reinstalled LP with no effect. If I remove
the PianoStaff reference, it behaves as expected (although I can't
Carl D. Sorensen wrote:
LilyPondTool is Java based, and works on Windows and Unix. It
should work on OSX, but I haven't been able to get it to do
so.
You can use textedit to edit your lilypond files on OSX.
Carl
On 7/26/08 3:36 PM, James E. Bailey [EMAIL PROTECTED] wrote:
Looks like I was
Stan Sanderson wrote:
In the interest of improving a great tool, I ask...
I'm sure I'm not the only one using jEdit with LilyPondTool on Mac OS 10
(10.4.11, PPC). I've had a dialogue with Bertalan Fodor (author of
LilyPondTool) concerning its use on the Mac OS. He doesn't have access
to a
Mats Bengtsson wrote:
Why not read the section called Lyrics independent of notes in the
manual?
/Mats
This came tantalisingly close to giving me a solution; the catch was
that the ties and slurs in the melody were ignored or lost and the
alignment of the lyrics against the chords went
Trevor Bača wrote:
None of which has anything to do with ottava spanners. Or with
octavated (caveat: not an English word) clefs. So while both an ottava
spanners and an octavated clefs most certainly do effect octave
transposition (which is absolutely the right phrase here), I would
never
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 27. Februar 2008 schrieb Brett Duncan:
The term octave clefs crops up in many places on the 'Net,
An octave clef is something different than an ottava bracket. Botch indicate
octavation, but while an ottava
Hi Thies,
Thies Albrecht wrote:
Hi list!
Brett Duncan schrieb:
As far as I know this is called a G#-minor-add9, not add2. Perhaps
this can give the clue. (I'm not sure whether this nomenclatur is
still right for minor chords, but at least I makes sense to me.)
Well, if the chord
Thies Albrecht wrote:
Tomas Valusek schrieb:
Hello,
I'm transcribing a piece where a chord mentioned in subject occurs. It's
minor chord with added second. I can't get the proper chord name in
Lilypond 2.10.33 on Windows. The best I can get is dis:6-:sus4 - but I
want something like gis:m:2.
Wilbert Berendsen wrote:
Hello, I know that I can position a rest vertically using e.g. d'1\rest .
But how can I alter the vertical position of a whole-measure rest (R1)? I want
it to move outside the staff, so it should also get a ledger line.
\relative c'
{ e2 e4 a } \\
{
Graham Percival wrote:
GDP:
http://web.uvic.ca/~gperciva/
Take a look at
NR 1.2.2 Writing rests: Multi measure rests
is church rests a real musical term? There's some question over
whether we should use church rests or Kirchenpausen.
Cheers,
- Graham
I've never seen reference to church
Graham Percival wrote:
Was Educational use; name change?
No particular good reason. That said, I'm quite open to a real name
change.
It seems to me that much of what's in this section could be classed as
editorial rather than simply educational. So what about Editorial
Notation or
[EMAIL PROTECTED] wrote:
I've heard/used tuplets since the mid 1980s when I first started learning
music. However, I've always understood it to specifically mean 'two in the
time of x', probably as a mispronounciation of 'duplets' by confusing it
with 'two' (two-plets - I grew up in Norfolk!).
c'64 \unHideNotes
HTH,
Brett Duncan
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Bertalan Fodor wrote:
A visual slur tweaking tool exists (see in the archives.) Have you tried that?
I have now - and it's great! Bertalan, have you considered including
this in/with LilyPondTool?
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Mats Bengtsson wrote:
Brett Duncan wrote:
snip
\new Voice=3 { \voiceThree b'4}
There's no point in naming the contexts here. You could save some
typing by simply saying
\new Voice { \voiceThree b'4}
Thanks Mats - I'd followed what Rutger had posted, and assumed
Frédéric Chiasson wrote:
My point when I started this topic was not to change the whole
definition of the \times function. In fact, I think the function works
quite well as it is. I was mostly talking about improving the
interface - i.e . the words and the syntax we use to call the
functions
--
Brett Duncan
[EMAIL PROTECTED]
Always do right - this will gratify some and astonish the rest.
Mark Twain
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Erik Sandberg wrote:
On Thursday 28 December 2006 11:13, Brett Duncan wrote:
Erik Sandberg wrote:
On Monday 25 December 2006 06:32, David Fedoruk wrote:
Hello:
I've been watching this discussion or debate. There are two ways to
look at this problem. The first is from
that for the Beethoven snippet in David Fedoruk's post,
instead of
bf16[d, f ef] \times 4/5 {d16[ ef f g a]} \times 8/12 {bf32[a c bf d c
bf a g f g ef]}
you would put
bf16[d, f ef] \tuplet 4 { d16 ef f g a ! bf32a c bf d c bf a g f g ef }
Just a thought!
Brett
--
Brett Duncan
[EMAIL
Rick Hansen (aka RickH) wrote:
David Rogers wrote:
Orm Finnendahl wrote:
Am 28. Dezember 2006, 11:30 Uhr (-0800) schrieb David Rogers:
bf16[d, f ef] \tuplet 4 { { { d16 ef f } { g a } } { bf32a c bf d c
bf a
g f
g ef } }
The above would generate a parent
Hi Manuel,
Here's a couple of things I spotted:
You specify these values with a number after the name of the note:
c1 will make a whole note (also called a minim); d8 an eighth note
(or quaver), etc.
A minim is a half-note; a whole note is a semi-breve.
(Please note that this is not
of
the function. Otherwise, we're simply turning \times into \tuplet
without really changing anything about its functionality.
My $0.02
Brett
--
Brett Duncan [EMAIL PROTECTED]
opinio tam stulta non est quam philosophus quidam exprimere non possit
(there is no opinion so absurd that some philosopher
people would like. (unless maybe the duration value is
optional and can be omitted?)
Just a thought.
Brett
--
Brett Duncan
[EMAIL PROTECTED]
opinio tam stulta non est quam philosophus quidam exprimere non possit
(there is no opinion so absurd that some philosopher will not express it)
Marcus
Han-Wen Nienhuys wrote:
Paul Scott escreveu:
Rick Hansen (aka RickH) wrote:
(snip)
Here is a solution, just change the notehead! (thanks to Brett who
sent me
the idea)
\paper {
ragged-right = ##t
}
\new Staff \relative c' {
\bar |:
\override NoteHead #'style = #'slash
b'4 b b b
|
b4
Bertalan Fodor wrote:
Hello
I'm trying to use the eps backend (also by lilypond-book) and it doesn't
work. I get the following error
Please Help! I'm very frustrated.
Bert
Interpreting music... [1]
Preprocessing graphical objects...
Writing proba1-systems.tex...
Writing
Rick Hansen (aka RickH) wrote:
v2.9.22 (Win XP)
I'm using the following command lines to create small musical fragments that
I can later reference in a word processor document that has text and various
musical excerpts:
EXAMPLE BEGIN
To make a small useseable PNG snippet:
C:\Program
Jean-marc LEGRAND wrote:
Hi list.
Using Lily 2.8 on XP.
When I run this :
{a8 [a16 s a16 a8] }
I get the a16 stems unlinked.
How can I get the same thing as {a8 [a16 a16 a8] } ?
I get the same pb using \hiddenNotes
Best regards
JMarc
I think you mean \hideNotes rather than
Mark Dewey wrote:
However, the need to do this is not always
desirable. For example, when I type the following:
d'2. \\ {c'2 (b4)}
I run into the bug where the dot of d'2. is slightly blocked by the note head of
c'2. If I get rid of the \\ then all the stems face the same direction and
Kenneth Teh wrote:
I'm having trouble placing the coda symbol.
...
The problem is that the \raise does not produce an effect.
Text markup commands like \raise and \translate shift objects in
relation to their surrounding markups. So
r8^\markup { \raise #3.0 {...
doesn't work because you
On 24/8/05, Trevor Baca wrote:
On 8/20/05, Bec and John Silva [EMAIL PROTECTED] wrote:
Hi Brett,
A more GUI-based solution is to output to PDF as normal, then just
Save as... from Preview.app as a PNG.
An even more Mac-ish GUI-ish solution is to output to pdf as normal,
open the pdf in
Many thanks to those who responded.
It turns out that I had a case of brainfade - I had put the shell script
that came with Lilypond where it could be triggered by LilyTool in
jEdit, but not in a directory that was in $PATH. Hence a call to
lilypond from the command line did nothing.
FWIW,
the command line in Terminal that will let me specify the
output format I want. Can anyone clear this up for me?
TIA,
Brett Duncan
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Erik Sandberg wrote:
On Saturday 20 August 2005 09.24, Brett Duncan wrote:
I'm using the Mac OS X binary of Lilypond (2.6.1) and loving it. But how
do I get the output as something other than PDF? Specifically, I want
PNG, but PS would also be useful. Obviously I can't use the GUI to
achieve
I'm re-scoring an old hymn (Rock of Ages) that's been set to new music.
I've scored the vocal line and piano and have the first stanza's lyrics
in place. No problems there.
The hymn has another three stanzas, but I would like to follow the
hymn-book convention of having the additional stanzas
Jennifer Clark wrote:
Brett Duncan wrote:
You can overrider Lilypond's chord naming mechanism by adding the
following...
Thanks for your help Brett, much appreciated. I've tried the example you
gave, but am getting the following error:-
/home/jen/scores/RockFord/notes.ly:7:3: error: syntax
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