On Wed, Jun 17, 2015 at 08:33:26PM -0500, Daniel Contreras wrote:
A common practice in arranging for salsa or Latin music I am
finding out is that when one is dealing with a d.s. al coda and
things of that nature, it may require for the staff to stop at the
double bar line, notate the ds and
On Mon, Apr 27, 2015 at 04:44:52PM +0200, Urs Liska wrote:
What we have in Frescobaldi depends on what we can catch by either
listening through engravers or by redefining command. So far I haven't
found a notion of a grob knowing if it has been tweaked or not.
As a Scheme/Lilypond novice
On Mon, Apr 20, 2015 at 01:14:55PM +0200, Federico Bruni wrote:
2015-04-07 19:47 GMT+02:00 Joshua Nichols josh.d.nich...@gmail.com:
Hello all,
I apologize if this question has already been asked.
Has the new version of pango been ported to the binaries on
mac/windows/linux? I
On Fri, Apr 17, 2015 at 04:45:20PM +0200, Gilles wrote:
If and when big publishers use LilyPond, the result will be more
restricted access (through cost) to culture (because they won't release
their proprietary contents).
Forgive me if I've missed important bits of this conversation, but
I'm
On Mon, Apr 20, 2015 at 08:19:37PM -0700, Jim Long wrote:
...
I'm not I understand
...
I'm not *sure that* I understand
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On Wed, Apr 01, 2015 at 01:37:58AM +, Craig Dabelstein wrote:
Hi Lilyponders,
Does anybody know how I can get the text in this example to be above the
fermata instead of below?
When the fermata is attached o a full measure rest, the text goes
automatically above, but when attached to
On Sat, Mar 28, 2015 at 10:51:27AM -, Phil Holmes wrote:
Since the installers are all version specific (which I approve of: I keep
them all separate in a single downloads directory) I don't believe you can
link to a simple development installer. You would need to parse the
download
Disregard the line:
test|\
in that file. That's leftover cruft from testing.
A revised script is attached.
On Sun, Mar 29, 2015 at 12:05:04AM -0700, Jim Long wrote:
usage:
foo.sh (architecture)
where (architecture) is one of:
linux-x86
linux-64
linux-ppc
freebsd-x86
freebsd
On Sat, Mar 28, 2015 at 07:45:51PM +, bobr...@centrum.is wrote:
- Original Message -
From: Noeck noeck.marb...@gmx.de
A naive question: Could the \cadenzaOff command be changed in a way that
it automatically implies the end of a measure at that point.
I can think of
On Fri, Mar 20, 2015 at 12:20:56AM +0100, Martin Tarenskeen wrote:
I am not a Mac user. But first thing I thought was: doesn't a Mac have a
PATH variable like Linux and Windows have, where the long path to
./bin can be added before having to type such long commands?
Also, like most
D'oh! Thanks for catching my proofreading error.
On Sun, Mar 22, 2015 at 12:20:46AM +0100, Noeck wrote:
PATH=${PATH}:/Applications/LilyPond.app/Contents/Resources/bin/musicxml2ly
The folder should be in the path, not the executable:
On Tue, Mar 17, 2015 at 10:21:55AM -0700, H. S. Teoh wrote:
http://lilypond.org/doc/v2.18/Documentation/notation/special-rhythmic-concerns#aligning-to-c
adenzas
Wow, those functions are almost buried in the docs. I don't see
either of them in the index, and I would never have guessed
On Tue, Mar 17, 2015 at 06:06:58PM +0100, Urs Liska wrote:
Hi,
I'm looking for a way to create a MultiMeasureRest of exactly the same
length as a music variable.
I've mentioned before that extractMusic is in my standard bag of
tricks. If it were me, I'd use that. It's easier than writing
look into your solution now.
Craig
On Fri, 13 Mar 2015 at 06:23 Jim Long lilyp...@umpquanet.com wrote:
Hi, Craig.
Just for a different perspective, I always put form-related marks
like D.C., D.S., Segnos, Codas, Fines, etc. in the global section.
Since they (almost always
Hi, Craig.
Just for a different perspective, I always put form-related marks
like D.C., D.S., Segnos, Codas, Fines, etc. in the global section.
Since they (almost always) need to be in the same location for all
parts, it makes the most sense to me to put them there once, and
then use the \global
On Wed, Mar 11, 2015 at 07:30:54PM -0700, H. S. Teoh wrote:
On Wed, Mar 11, 2015 at 08:40:20PM -0400, Kieren MacMillan wrote:
[...]
Hopefully the snippet below helps.
Thanks so much!!!
snip
A minor issue remains: how do I adjust the vertical distance of the
tempo marks from the staff
On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)
Cheers,
Harm
Thank you, Harm! That looks very promising. I must train myself
to remember the snippet repository when I'm
On Mon, Mar 09, 2015 at 03:01:46PM -0400, st...@linuxsuite.org wrote:
Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..
That's ragged-last = ##f (2.18.2 NR 4.1.5). Even better, ##f is
the default value, so you should be fine just
If I:
music = \relative c'' {
\tag #'a { a a a a }
\tag #'b { b b b b }
}
and then:
musicA = \keepWithTag #'a \music
\keepWithTag gives me the equivalent of:
musicA = \relative c'' { \tag #'a { a a a a } }
What I want is:
musicA = \relative c'' { a a a a }
In other words, I'd like to
On Wed, Mar 04, 2015 at 11:00:32PM +, Carlo Vanoni wrote:
Now, I'll like to have each exercise on a single line, or by the way control
when to break. I'm able to avoid automatic break by adding \noBreak here and
there, but in seems not like the best way to do it. Any better way to force,
On Tue, Feb 24, 2015 at 10:14:22AM -0700, Paul Morris wrote:
Jim Long wrote
Is there a way I can define a context based on ChordNames and
have it automatically inherit all of the properties of a
ChordNames context, except the ones that I specifically change in
my custom definition
On Mon, Feb 23, 2015 at 10:28:37AM +0100, Thomas Morley wrote:
Try the following, comments inline:
\score {
\new XChords \chordmode { c1 }
\new Staff \chordmode { c1 }
\layout {
\context {
%% copies settings from ChordNames
%% No need to create a new
I'm experimenting with defining and using custom contexts.
I have not succeeded in applying the example at:
http://lilypond.org/doc/v2.18/Documentation/notation/defining-new-contexts
to my tiny example below attempting the creation of a custom
ChordNames context. The '\new XChords' line throws
Thank you very much, Harm.
On Sat, Feb 21, 2015 at 10:52:52PM +0100, Thomas Morley wrote:
harmonies = \new ChordNames
\with {
%% !!!
%% from NR:
%% Setting staff-affinity to #f causes a non-staff line to be
I'd like to take just a slight tangent on the recent thread about
increasing system-system-spacing. I often have scores that show
up with uneven spacing. A tiny example is attached.
First, is it syntactically correct?
And second, how can I get the system spacing more even?
The example
http://lilypond.org/doc/v2.18/Documentation/notation/line-length
On Sat, Feb 14, 2015 at 03:58:17PM -0400, William Marchant wrote:
Hi,
I have a CODA at the end of a song, which I would like to keep by itself
on the bottom line. There are three bars with one or two notes each and
it looks
It is more complicated than that. Here is the ideal model for
OpenType ligature handling.
snip
Thank you very much, Werner.
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On Fri, Feb 13, 2015 at 12:36:10AM +0100, Noeck wrote:
Hi Jim,
concerning ligatures, you can forget about my paper block. It was just there,
because I know this font has ligatures. This markup line should be all you
need:
\markup Ligatures: The Que fi fl
What is special about that
One possible explanation is that you have more than one version
of convert-ly on your system, perhaps from having installed the
software using different methods. If the older one is in a path
that gets searched before the new binary's location, then your
shell will find and run the old one.
$
but when I convert this file with the command
convert-ly -edc --from=2.13.8 part-vocal-keyboard.ly
it adds on top of the file \version 2.16.0
I have version 2.18.2 installed.
why is it only updating to version 2.16.0?
Sorry, I didn't read closely enough and check your args against
the
$ locate convert-ly
/usr/bin/convert-ly
/usr/share/doc/lilypond-doc/share/man/man1/convert-ly.1
/usr/share/man/man1/convert-ly.1.xz
You likely know, but for the benefit of others who may not,
locate is not definitive. At least on systems I'm familiar with,
locate uses a database which is
On Sun, Jan 25, 2015 at 07:18:52PM -0600, Tim McNamara wrote:
I have repeatedly run into difficulties getting Lilypond to properly render
sus7 chord names in \chordmode. It comes up with silly things like G7sus4
3??? and the like. What is the correct syntax to get a simple ???Gsus7??? to
On Mon, Jan 19, 2015 at 09:36:55AM -0500, Kieren MacMillan wrote:
Melody + chords (tunes, e.g. Irish or old-timey)
That's a lead sheet in my parlance.
IMO, it would be useful to include an (optional) lyric context in
the lead sheet stylesheet.
Jim
On Tue, Jan 20, 2015 at 01:40:11AM +0100, Thomas Morley wrote:
To answer my own question:
In repeat-acknowledge-engraver.cc is a comment and code:
/*
We only set the barline if we wouldn't overwrite a previously set
barline.
*/
SCM wb = get_property (whichBar);
SCM db =
On Mon, Jan 19, 2015 at 06:26:38PM -0800, Jim Long wrote:
That is, a closing volta barline which has no matching opening
volta barline repeats either to the beginning of the piece, or to
the nearest double barline, whichever is closer.
My apologies for not describing that very definitively
On Mon, Jan 12, 2015 at 05:25:55PM -0600, Cynthia Karl wrote:
The following snippet:
\version 2.19.15
music = \relative c'' { e2 g, }
\score{
\new Staff \key c \major \music
\layout {
\context { \Voice \consists Ambitus_engraver }
}
}
Your Staff line is
On Wed, Jan 07, 2015 at 04:46:48PM -0500, Kieren MacMillan wrote:
Did you try adjusting the function to handle chords? As I wrote, ?This kind
of thing would also automagically work ? or easily be made to work ?
on chords.? (new emphasis)
Unfortunately, that's beyond my
Y'know, one other syntactic oddity this has shown me is that
\chordmode requires the braces around its music expression, even
if it is a single chord:
\chordmode c1
is not okay, it has to be
\chordmode { c1 }
Not a problem, just a curiousity.
On Wed, Jan 07, 2015 at 03:46:39PM -0800, Jim
On Thu, Jan 08, 2015 at 11:19:44AM +1100, Brett Duncan wrote:
Jim, I just tried the above in Lilypond 2.19.15, and it worked fine -
maybe the simplest solution is an upgrade!
Brett
Thank you very much, Brett! That's good to know.
Jim
___
I often use LilyPond 2.18.2 to make jazz/pop charts which will
need to be transposed for non-concert instruments. This can
sometimes lead to non-optimal enharmonic choices of melodic notes
or chord roots in the transposed book part(s).
I work around this by employing tags around the problematic
Have a look at:
http://lsr.di.unimi.it/LSR/Item?id=838
Jim
On Mon, Jan 05, 2015 at 01:39:46PM -0700, Jay Hamilton wrote:
I'm feeling really stupid because I can't find this information (and I
know it's there) in the manuals either online or in the pdfs.
basically just want to hold the bars
On Tue, Dec 23, 2014 at 06:58:58PM +0100, Noeck wrote:
Am 22.12.2014 um 22:26 schrieb Garrett Fitzgerald:
It's actually been discussed on meta - consensus is that people should
actually come over here for help. :-)
On Tue, Nov 11, 2014 at 01:39:23PM -0700, Chris Crossen wrote:
Is it possible to get different repeat bar images when using \repeat volta ?
One way, although probably not the best way, is to simply
specify the bar type with the \bar directive:
\version 2.19.3
\new Staff {
c'1
\bar ||
On Tue, Nov 11, 2014 at 11:18:55PM +0100, Thomas Morley wrote:
2014-11-11 22:31 GMT+01:00 Chris Crossen elaparic...@gmail.com:
On Nov 11, 2014, at 2:02 PM, Jim Long lilyp...@umpquanet.com wrote:
On Tue, Nov 11, 2014 at 01:39:23PM -0700, Chris Crossen wrote:
Is it possible to get
On Tue, Nov 11, 2014 at 11:50:40PM +0100, Thomas Morley wrote:
Lily by default doesn't engrave an open volta at the start of a
piece, or at a double-barline. I don't know how many others do,
but I, for one, often override this.
Both of these cases fail:
\version 2.19.3
\layout {
There are probably several ways, but the way I do it is:
Near the top, after your version statement, add a \paper block:
\version 2.18.2
\paper {
system-system-spacing #'padding = #2
}
\new Staff
Adjust the value 2 to a value of your liking.
Another option is to let Lilypond
If you need to make lots of edits to instances of \relative in
your source code, then:
1) sed(1) is your friend;
2) that's what DEFINE's are for.
On Tue, Nov 04, 2014 at 04:02:21PM +, Mark Veltzer wrote:
Unfortunately I cannot use convert-ly, since on a large project such as I am
working
I'm currently at a loss to find or Google a reference to a bug
tracker issue I'm aware of where note columns might collide with
key signatures under certain conditions. No wait, it's at:
http://code.google.com/p/lilypond/issues/detail?id=2802
I have a piece in the key of C where some systems
The best solution, imho, is to remember that R1 is a 4-beat, full
measure rest:
R1
As such, you need to multiply that rest by your time signature.
R1*3/4
R1*4/4
R1*7/8
R1*5/4
If your time sig. is a unity time sig. like 4/4, 8/8, 2/2,
etc. then obviously, scaling the time sig by 8/8 or 4/4 is
a
Sorry for the noise on this one. It seems I misunderstood how
the tracker defines Open. I can view all the issues I've
starred.
Jim
On Fri, Oct 31, 2014 at 09:29:54PM -0700, Jim Long wrote:
Apologies if this should be on the developer list; please forward
if so.
How can I search for non
Apologies if this should be on the developer list; please forward
if so.
How can I search for non-open issues that I have starred? The
search dropdown permits me to search only for open, starred
issues.
http://code.google.com/p/lilypond/issues/list
Thanks,
Jim
On Mon, Sep 08, 2014 at 11:14:34PM +0200, Gilles THIBAULT wrote:
\version 2.18.2
file = #(let((myfile test.ly))
(if (file-exists? myfile)
myfile
emptyfile.ly))
\include #file
%
which seems to works, but you need to create an empty file emptyfile.ly
On Thu, Jul 31, 2014 at 08:36:43PM +, Marten wrote:
Yes, Jim, that's what I'm trying to do.
However, in your code, with two \new Voice statements, you will break the
piece and an ambitus will be displayed at the beginning of each Voice.
So use the abitus engraver in the Staff context
On Mon, Jul 28, 2014 at 07:47:17PM +, Marten wrote:
Dear all,
Trying to typeset a song I am faced with the following problem for which I
can;t find a solution in the manual or snippet repository. I kindly request
your help.
I'm typesetting a song with one staff, where the refrain
On Wed, Jul 09, 2014 at 11:01:46AM -0700, tisimst wrote:
Oh, and if anyone has a music font that they've started (or finished,
or wanted to do), but couldn't get to work with LilyPond, I can help
you with that if you'd like. :)
LilyJAZZ might be more useful if it included lowercase
On Sun, May 25, 2014 at 10:45:42PM +0200, Markus Brueckner wrote:
Hi everybody,
Especially in Swing/Jazz music, notation is sometimes quite minimal, the
whole sheet consisting more or less only of \repeat percent something.
What is quite common is the notation of unison accents as some kind
On Mon, May 12, 2014 at 12:18:37PM +0100, Carlo Vanoni wrote:
I have a simple song, where the verse is 4 measures repeated twice, and the
chorus again 4 measures repeated twice.
[snip]
I can print all the section as stated above, but it will be easier to have
something like this
intro
On Mon, May 12, 2014 at 01:11:03PM +0100, Carlo Vanoni wrote:
Hi everyone,
I'm using this nice function to add a right-aligned text that states the
number of repeats of a repeat block:
[snip]
It is called with this code at the end of a section
\repeatMark #4 ##t??? % writes repeat 4
On Mon, May 12, 2014 at 05:53:33PM -0400, David Raleigh Arnold wrote:
On Mon, 12 May 2014 12:56:27 -0700
Jim Long lilyp...@umpquanet.com wrote:
On Mon, May 12, 2014 at 12:18:37PM +0100, Carlo Vanoni wrote:
I have a simple song, where the verse is 4 measures repeated
twice
In the interest of putting this thread out of its misery, the
canonical place to find jazz-chords.ily is:
http://lists.gnu.org/archive/html/lilypond-user/2011-11/msg00285.html
The community is in debt to Robert Schmaus for his fine work.
Jim
On Sat, May 10, 2014 at 02:00:02PM -0700, rif
I'm trying to track down a problem I'm having with a file I store
as extractMusic.ily, which claims to descend from LSR #542. My
copy says it's for 2.16 or later, which makes it older than the
current snippet #542.
My old version is attached.
The new version is at:
If you look at :
http://lsr.di.unimi.it/LSR/Item?id=542
there is a link at the end of the snippet to get the full version
-- Gilles
D'oh!- Thank you, Gilles.
Jim
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If it's of any use to you, I've created fully indexed and searchable PDF
portfolios of the complete documentation sets
Nick:
I've often wondered, what are some of the things one can do with
these doc sets that one can't do with the bare PDF files? I
suspect I never do those things, whatever
On Wed, Apr 02, 2014 at 08:58:52AM -0400, Br. Samuel Springuel wrote:
I'm having trouble using lilypond-book on my Windows machine. The
program sees to hang during the initial run of the typesetting engine
that's used to determine the page settings. In this case, by hang I
mean that
I understand the Cmi7, too, but when sketching
some chords on paper during a Jazz session, a simple - is
way faster to write than mi all the way.
So it's rather a matter of personal taste IMHO.
Just my 2 cents
Marc
With great respect, I beg to add,
Beware of shortcuts which are for
On Tue, Feb 18, 2014 at 02:13:57PM -0700, Chris Crossen wrote:
I think I'll continue using GIMP to extract the images from PDFs.
If you're resigned to that technique, have you tried ImageMagick's
'convert' utility? It can convert PDF to PNG/JPG/whatever you want,
and likely in a more
On Tue, Jan 21, 2014 at 04:09:38PM +1100, Vaughan McAlley wrote:
On 20 January 2014 07:09, Colin Campbell c...@shaw.ca wrote:
\set Score.midiPanPosition = #RIGHT
\set Staff.midiPanPosition = #LEFT
This is missing in the 2.18 changes, so I didn???t know about it until
now. Very nice!
On Tue, Jan 21, 2014 at 08:58:32PM +0100, Alexander Kobel wrote:
On 01/21/2014 08:27 PM, David Kastrup wrote:
Jim Long lilyp...@umpquanet.com writes:
I'd like to use a
grep/awk/whatever command pipe to determine the paper size of
certain PDF files.
pdfinfo is a good bet.
+1
I have been lax in enforcing a paper size in my engraved files.
This has been invisible to me, since apparently XPDF prints A4
files on a US letter-sized printer without complaint.
But some folks that I send PDFs to have noticed (and indeed I've
noticed it sometimes when I print in an unfamiliar
On Tue, Jan 07, 2014 at 09:06:58AM +0100, Noeck wrote:
Am 07.01.2014 07:08, schrieb Ed Faulk:
I'm trying to make the font size for the chord names smaller.
you need to override the ChordName font-size in some layout block
It can also be done in the \with clause of the ChordNames
context,
On Tue, Dec 31, 2013 at 08:30:40AM +0100, Johan Vromans wrote:
Attached a relic from old times... a picture taken on one of the first
LilyPond meetings in Amsterdam, november 14 1998.
Please identify persons in photo!
Thanks, and Happy New Year,
Jim
To whomever the keeper of the flame is for LilyJAZZ.ily:
First, thank you!
My default stylesheet normally turns off bar number engraving.
But today I happened to be working on a jazz-style chart and
wanted to add it back, so I did that in the \layout {} block:
\context { \Score \consists
I don't have a solution to your Lilypond input structuring
question, but I can answer:
On Sun, Dec 15, 2013 at 12:03:19PM -0500, Sam Whited wrote:
I've been digging through my sheet music collection, but haven't found
anything with both alternate endings and chord names to look at; what's
On Thu, Dec 12, 2013 at 07:24:51AM +0100, David Kastrup wrote:
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
I was
brainstorming an orchestration teaching tool, where one could find the
distribution of notes in an instrument across an entire score, to show
students where [good]
I have a melody with lyrics below, and in places, some TextScript
markup, also below.
In the attached example, I would like the markup to appear below
the lyrics, instead of between the melody and the lyrics.
How can I accomplish this?
Thank you!
Jim
\version 2.17.95
%\paper { ragged-right=
On Thu, Dec 05, 2013 at 01:32:43PM -0800, Ryan McClure wrote:
Hi there Jim,
This is messy--really messy. But, here's what I came up with:
...
\override Score.TextScript #'extra-offset = #'(0 . -3)
...
\override LyricText #'extra-offset = #'(0 . 2)
Thanks, Ryan.
I had thought about
On Thu, Nov 28, 2013 at 07:53:33PM -0800, Ryan McClure wrote:
I am
getting the following warning in my log, and I'm not sure if this is a clue:
warning: MIDI channel wrapped around
warning: remapping modulo 16
Check your source code for MIDI channel numbers outside the range
of 1 .. 16.
On Thu, Nov 28, 2013 at 11:08:21PM -0500, Ryan McClure wrote:
I have 30 channels I suppose--I have 30 voices that are being typed into
the score. Is there a workaround for that?
My exposure to Lilypond's MIDI capabilities is minimal, but my
understanding is that this is a limitation of the
On Mon, Nov 18, 2013 at 06:03:26PM +, Ian Barclay wrote:
I would like to a) reduce the spacing between stanzas so they
are closer to each other
Here is my own \context { \Lyrics ... } section that I use.
Tweak the values to suit your taste.
Regarding the VerticalAxisGroup settings, my
On Sun, Nov 17, 2013 at 12:15:45AM +0100, David Kastrup wrote:
What is this good for? I'm debugging on this
URL:http://code.google.com/p/lilypond/issues/detail?id=3663 and though
I've gotten the crash under control, my results are not identical to the
2.16 results. I have a hard time
On Sun, Nov 17, 2013 at 09:50:16AM +0800, ayutheos wrote:
I have a song consisting of a single staff which has the following structure:
(1) Intro | (2) Part one | (3) Music only | (4) Part two
How do I add lyrics to Parts One and Two only?
melodyA = { c'4 c' c' c' }
melodyB = { c'4 c' c'
On Sat, Nov 16, 2013 at 01:12:18PM +0800, ayutheos wrote:
How do I apply different text formatting for different stanzas of
lyrics globally?
Does this do what you want?
Jim
\paper {
myStaffSize = #20
}
melody = \relative c' { c d e }
lyricI = \lyricmode { a lyric }
lyricII =
\override LyricText #'font-name = #LilyJAZZText
D'Oh! I was using that for testing, but you of course want
Times New Roman, not LilyJAZZText.
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I was researching a method for defining form (repeats, rehearsal
marks, etc.) and line breaking in separate, hidden parallel staff
contexts, and ran across the following crash:
GNU LilyPond 2.17.26
Processing `bug6-crash.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Reducing this to a minimal example doesn't seem to be trivial so
I'm hesitant to put in the time before I ask, ...
Does the attached image look like issue 2802? The vertical
moment of the ChordName staff is aligned too far left, and
collides with the key signature of the melody staff.
On Sat, Nov 09, 2013 at 04:16:17PM -0500, Frederick Bartlett wrote:
Patrick,
Are you sure \transpose changes the key signature? It doesn't work for me,
unless the \key is inside the \transpose, which won't generally be the
case, since I put \key in a \global ... or is there some easier way
On Sun, Nov 03, 2013 at 04:18:27PM +0100, Joseph Rushton Wakeling wrote:
Is there a quick and easy way of disabling transposition (i.e. the effects of
both \transpose and \transposition commands) for an entire Staff, StaffGroup
or
Score?
I'm not sure that this suggestion meets any of
On Tue, Oct 22, 2013 at 11:37:56PM +0200, Johan Vromans wrote:
It's too late here to continue experimenting, but your example works
with 2.16.
My intuition tells me it has something to do with the q. Could it be
that it's duration is compile time static, and not dynamic?
When you have
On Tue, Oct 22, 2013 at 09:56:12AM +0200, Johan Vromans wrote:
I tried the following approach:
qeight = \chordmode {
\override ChordName #'stencil = ##f
q8 q q q q q q
\revert ChordName #'stencil
}
...etc...
harmonies = \new ChordNames \chordmode {
\set
On Mon, Oct 21, 2013 at 01:59:11PM +0200, Johan Vromans wrote:
I use a score to produce PDF and MIDI.
To obtain a rhythmic pattern in the MIDI, I write the chords as:
ees8 ees ees ees ees ees bes bes |
c:m c:m c:m c:m aes aes aes aes |
ees ees ees ees bes bes bes bes |
ees ees
On Mon, Oct 21, 2013 at 11:30:57PM +0200, Johan Vromans wrote:
[Quoting Jim Long, on October 21 2013, 11:42, in Re: Combining chord ]
3) Instead of #2, and again I haven't tested this (much), could
tremoli help you?
No, they do not render as individual notes in the midi.
E.g.
\repeat
Sometimes I want to protect a short passage of music from being
broken onto separate systems. Are there better ways of writing:
\repeat unfold 6 { c1 | \noBreak }
\break
\repeat unfold 6 { c1 | \noBreak }
for passages that one wishes to keep all on one system?
Would there be any community need
On Thu, Oct 17, 2013 at 11:37:04PM +0200, David Kastrup wrote:
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi Jim,
A technique like this might also be workable, but IMO a little
less elegant syntactically:
\set unbreakableMusic = ##t
\repeat unfold 6 c1
\break
On Tue, Oct 15, 2013 at 09:04:13AM -0500, James Worlton wrote:
This solution is also kind of hacky, but it looks like it may do more or
less what you want. It also scales pretty well to other staff sizes. I'm
not sure how to slide the staff names to the right, however:
This slides the
On Thu, Oct 10, 2013 at 01:40:06AM +0200, Thomas Morley wrote:
Hi,
this is another font and simply installing the font doesn't changes
accidentals in chords with alterations.
True, I intentionally showed LilyPond's standard chordname
formatting.
I customize the look of my chord symbols
I've got a longer answer for later when I have lilypond at hand,
but have you tried \override #'(baseline-skip . 0) ?
Jim
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On Thu, Oct 10, 2013 at 12:04:06PM -0700, EdBeesley wrote:
Hi again everyone, I'm making a title page and I'd like one line of text to
overlap another line (see attached png). However nothing I've tried (\raise
or \translate) will force the text above the previous line. This is the code
I'm
On Tue, Oct 08, 2013 at 09:46:45PM +, Steve Noland wrote:
An additional question: can someone provide a snippet that shows how the
LilyJAZZ fonts do with jazz chordnames?
\version 2.17.26
\include LilyJAZZ.ily
globalMusic = {
\time 4/4
\key a \minor
} % globalMusic
harmonies =
On Wed, Oct 09, 2013 at 12:53:35AM +0200, Thomas Morley wrote:
2013/10/9 Jim Long lilyp...@umpquanet.com:
\override ChordName #'font-name = #lilyjazzchord
Hi Jim,
never heard of lilyjazzchord.
Where to get?
Compiling your snippet returns LilyPond-default for the ChordNames
There is a known issue that prevents \improvisationOn from working
with LilyJAZZ and \jazzOn.
a) Is that issue terribly gnarly, or is there a likelihood that
the two modes might be made compatible sometime soon? It does
seem a tad ironic.
b) How can I work around the problem in a piece which
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