Re: Slurs within chords, and dotted notes

On 1/7/2024 4:11 PM, Xavier Scheuer wrote: \once \override Dots.avoid-slur = #'ignore (Dots instead of Slur) Thank you!  That’s what I was misunderstanding. —Joel

Re: Slurs within chords, and dotted notes

h?q=lilypond+chord+slur+dotted+note> do not turn up mention of this, or of any tweak to avoid this.  Any hints? —Joel C. Salomon |``` \version "2.25.11" \fixed c' {   % undotted note: slur attaches correctly   2   |   % dotted note: slur is moved vertically   \once \override

Re: Slurs within chords, and dotted notes

9:28 PM, Mark Stephen Mrotek wrote: Joel: Is this better? \fixed c' { 2 | 2. 4 | 2 q | 2. q4 | } Mark *From:* lilypond-user-bounces+carsonmark=ca.rr@gnu.org *On Behalf Of *Joel C. Salomon *Sent:* Thursday, January 4, 2024 6:11 PM *To:* LilyPond Users *Subject:* Slurs within

Slurs within chords, and dotted notes

examples 3 & 4, a tie will happily display overlapping the dot.) Obvious searches (like [lilypond chord slur dotted note] <https://www.google.com/search?q=lilypond+chord+slur+dotted+note>) do not turn up mention of this, or of any tweak to avoid this.  Any hints? —Joel C. Salomon

Thank you!

in the book, the old kluges and manual repeats for MIDI generation were so daunting that I abandoned the project for a few years.) —Joel C. Salomon

Re: Non-local page-break oddities

, but had not made a note for myself before putting the work away. On 4/25/23 01:49, Jean Abou Samra wrote: Le lundi 24 avril 2023 à 23:33 -0400, Joel C. Salomon a écrit : \book {   …   \pageBreak   \scoreXXXI   \scoreXXXII   \pageBreak   \scoreXXXIII   \paper { min

Non-local page-break oddities

I’m getting close to finished with my first Lilypond project, a book of some 30 scores. I tried building the `\book` section piecemeal, including a handful of scores and tweaking the page breaks, and then another batch, and so on. \book { \scoreI \pageBreak \scoreII \pageBreak \scoreIII

Re: Tricky repeat structure for "32-bar form" AABA

Looks like the function version works. Interestingly, swapping `\after \duration $A \volta 2 \fine` with `\volta 2 \after \duration $A \fine` causes the unfolded music to be missing the AA part. I’ve noticed a tricky interplay between `\after` and `\volta *x*` previously. —Joel \version "2.24.0"

Tricky repeat structure for "32-bar form" AABA

If I understand correctly, a volta repeat within a D.C. repeat is only supposed to play the first time. I’ve worked out how to accomplish this in the presence of `\unfoldRepeats` (as useful for MIDI creation) in the context of a “thirty-two-bar form”, or AABA-form, song. Might be useful to

Re: Simultaneous dotted notes

more obvious, rather than adding space between the stems as well. I like it; thanks. —Joel C. Salomon

Simultaneous dotted notes

ve it alone. Otherwise, (b) I've tried following the examples in https://lilypond.org/doc/v2.24/Documentation/notation/multiple-voices#collision-resolution and https://lilypond.org/doc/v2.24/Documentation/learning/moving-objects, but I can’t figure out what I need to `\tweak` to accomplish this horizontal shift. With thanks, —Joel C. Salomon

Re: skipping whole bars in lyrics

On 12/29/2022 7:53 AM, mark damerell wrote: The best I could find in the thread above was \lyricmode { \repeat unfold  #n {\skip 1}  (lyrics) } which is messy because  n  is the number of notes, not bars.  There are far more notes and you have to adjust for ties & slurs & etc. and the bars

Mimicking `\chords` mode within `\markup`

\version "2.24.0" \markup { Compare \sans\concat{F\char ##x266F °/C} to \sans\concat{F\sharp °/C} to \score{\chords{\chordmode{ fis:dim/c }}} } Looks like `\chords` is aligning the sharp symbol differently (and probably using SMUFL U+E870 rather than U+B0 (°), but that matters less). How

Re: acciaccatura slur direction

On Tue, Dec 20, 2022 at 1:40 PM David Kastrup wrote: > Acciaccature have their own built-in slur direction, so if you want to > override it, you need to do it within the acciaccatura: > > \version "2.24.0" > down = { > \clef bass > \acciaccatura { \slurUp g,8 } d'2 % works > \acciaccatura {

acciaccatura slur direction

What am I doing wrong here? ``` \version "2.24.0" down = { \clef bass \slurUp \acciaccatura g,8 d'2 % works \acciaccatura d8 d'2 | % doesn't } \score { \down } ``` Adding `\slurUp` to a redefinition of `\startAcciaccaturaMusic` works, so why does the code above not work? Adapted from

Re: \tocItem within \score block, using header properties

On Tue, Dec 6, 2022 at 1:07 PM Jean Abou Samra wrote: > > A \tocItem needs a bottom context to be interpreted, > > like a Voice, Dynamics, TabVoice or such. In this case, > > you don't want anything to be printed from it, so you > > can use this lesser known context type Devnull. Some > > people

Parallel music and \skip while working on a part

This may be obvious to some, but I've found this construction helpful while working on parallel pieces of music, and I thought I'd share: \version "2.23.80" upper = \relative c' { c4 d e f | } lower = << \skip \upper \relative c { f e % still being worked on } >> \score { \new

Re: "loco" after ottava

On Fri, Dec 2, 2022 at 2:14 PM Jean Abou Samra wrote: > > Le 02/12/2022 à 02:27, Joel C. Salomon a écrit : > > Piece of music I have in front of me puts the text "loco." above the > > first note after an ottava. See also the attached example, from > > <https:

\tocItem within \score block, using header properties

The requirement that `\tocItem` is either outside the `\score` block or within a music variable is making it awkward for me to keep it near where the score `\header` block defines the piece title. And I have entirely failed to figure out a way to re-use the piece title. Minimal example below,

"loco" after ottava

Piece of music I have in front of me puts the text "loco." above the first note after an ottava. See also the attached example, from . The code below does not work, which makes me suspect I do not in fact understand the spanner interface. (I tried to

Re: Checkpoints (was re: Adding durations (for \after))

On 11/17/22 11:12, Jean Abou Samra wrote: Le 17/11/2022 à 16:58, Joel C. Salomon a écrit : (Motivation: I got bit by the "programming error: could not find this grob's vertical axis group in the vertical alignment" issue in one score.  Searching the list indicates this i

Checkpoints (was re: Adding durations (for \after))

On 11/12/22 09:42, Kieren MacMillan wrote: Here's one concrete example: https://lists.gnu.org/archive/html/lilypond-user/2010-12/msg00790.html “Annoyance: the expressive part needs skips of the durations corresponding to the notes in between the expressive marks. Someday, I hope that

Re: Adding durations (for \after)

On 11/11/22 08:33, Jean Abou Samra wrote: Le 11/11/2022 à 03:37, David Kastrup a écrit : I think we should avoid piling on arbitrary stuff without clear need for expressing music into the LilyPond grammar. Personally, I find it striking that the *only* two LilyPond libraries I am hearing

Re: Adding durations (for \after)

On 11/10/22 18:48, Jean Abou Samra wrote: Le 11/11/2022 à 00:40, Jean Abou Samra a écrit : But I don't know what syntax to pick for that, or if it's essential to have one or if "+" alone is already useful enough on its own. 1`16 is the best I could find, but it's not wonderfully mnemonic. I

Semantics of \section

Obviously, all three options below produce identical output. (And also, I know that `\sectionLabel` does not need to be attached to a `\section`.) But is there a notion of which generally best represents the way music is divided, clearer to the next reader of my code than the other choices?

Re: Adding durations (for \after)

On 11/9/22 13:21, Lukas-Fabian Moser wrote: Am 09.11.22 um 16:11 schrieb David Kastrup: Maybe something like     \after #(make-duration-of-length (ly:music-length #{ 2. 4. #})) Or, with a bit of added sugar: \version "2.23.4" #(define (duration-or-music? x)    (or (ly:duration? x)

Adding durations (for \after)

says: > Factors may also be added by using Scheme expressions evaluating to a > number or musical length like `*#(ly:music-length music)`. Is there an example of such addition handy? The stripped-down

Re: \fine and \section across staves

On Thu, Nov 3, 2022 at 1:41 PM Jean Abou Samra wrote: > > Le 03/11/2022 à 18:12, Joel C. Salomon a écrit : > > > > I normally put commands like `\bar "||"` in a single place (a Dynamics > > section, usually) and they take effect across all staves. And in > &g

\fine and \section across staves

There’s a change between 2.23.6 and 2.23.80 in how `\fine` and `\section` appear across staves. Below is a near-minimal cut-down version of my score illustrating the change, and images showing the difference. I normally put commands like `\bar "||"` in a single place (a Dynamics section,

Re: LilyPond 2.23.7 released

On 3/31/22 15:34, Jonas Hahnfeld via LilyPond user discussion wrote: On Wed, 2022-03-30 at 19:22 -0400, Joel C. Salomon wrote: In addition to the binary download now being a plain tarball, I note that the directory structure within lilypond-2.23.7-documentation.tar.xz is significantly different

Re: LilyPond 2.23.7 released

On 3/26/22 17:36, Jonas Hahnfeld wrote: We are happy to announce the release of LilyPond 2.23.7. This is termed a development release, but these are usually reliable. If you want to use the current stable version of LilyPond, we recommend using the 2.22.2 version. In addition to the binary

Re: \sectionLabel and \repeat segno

On 2/25/22 14:18, I wrote: … interact oddly.  Which is reasonable, since the segno mark is the same sort of creature as section labels.  But what’s a good work-around? `\after` works but it’s a kluge, and there’s a funny interaction with grace notes that puts the section label more to the

\sectionLabel and \repeat segno

… interact oddly. Which is reasonable, since the segno mark is the same sort of creature as section labels. But what’s a good work-around? (In my actual code, it’s the segno mark that wins; not sure why it’s the section label in this minimal example.) —Joel \version "2.23.6" musicA = {

Re: skip-of-length and \unfoldRepeats

On 2/15/22 14:22, Jean Abou Samra wrote: In recent versions, like version 2.23.6 which you are using, you can use \skip \musicA which is nicer syntax-wise and plays well with \unfoldRepeats. Now that I know to look for it, the definition of `\skip` in

Re: skip-of-length and \unfoldRepeats

On 2/15/22 14:22, Jean Abou Samra wrote: Le 15/02/2022 à 20:19, Joel C. Salomon a écrit : … seem not to play nicely together. In recent versions, like version 2.23.6 which you are using, you can use \skip \musicA which is nicer syntax-wise and plays well with \unfoldRepeats. Thank you

Re: skip-of-length and \unfoldRepeats

On 2/15/22 14:38, Valentin Petzel wrote: 15.02.2022 20:20:02 Joel C. Salomon : … seem not to play nicely together. Well, how should they? At the point the skip-of-length is evaluated the repeats are not yet unfolded. To achieve what you want we could have some mechanics where skip events

skip-of-length and \unfoldRepeats

… seem not to play nicely together. ―Joel \version "2.23.6" musicA = \fixed c'' \repeat volta 2 { c d } musicB = \fixed c { a b } music = { \musicA \musicB } dynamics = { <>\f #(skip-of-length musicA) <>\p #(skip-of-length musicB) %\fine } \score { \new Staff <<

Re: Font kerning

On 2/14/22 11:57, Francesco Napoleoni wrote: In data lunedì 14 febbraio 2022 00:19:11 CET, Joel C. Salomon ha scritto: I wonder whether you’re using the wrong symbol, and using the correct one might help a little. Your code is using the degree sign “°” U+B0, when by context this should

Re: Font kerning

On 2/7/2022 11:53 AM, Francesco Napoleoni wrote: How can I adjust (if possible) such property in a markup block? namely I would like to “shrink” the “V.° I.°” and the “V.° 2.°” text like the attached screenshot. I wonder whether you’re using the wrong symbol, and using the correct one

\repeat segno (Was re: LilyPond 2.23.6 released)

On 2/8/2022 8:07 AM, Jonas Hahnfeld via Discussions on LilyPond development wrote: We are happy to announce the release of LilyPond 2.23.6. Thank you, especially for the new `\repeat segno` code. Works beautifully. It’ll take a little getting used to, figuring out when & when not to use

Re: 2.23.5 articulate.ly and repeat alternatives

ate \music }` yields C E G G# E G G# B with both alternatives, G & G#, printed both times. —Joel C. Salomon

2.23.5 articulate.ly and repeat alternatives

ives print each time with `\articulate`, though naked `\unfoldRepeats` works on its own. (And `\articulate \unfoldRepeats` behaves the same as `\articulate`, which suggests my mental model of these as music functions is missing something.) —Joel C. Salomon

Re: 2.23.5 and poly-mark-engraver https://lsr.di.unimi.it/LSR/Item?id=976

On 12/30/2021 3:12 PM, Dan Eble wrote: MarkEvent was split into RehearsalMarkEvent and AdHocMarkEvent in the summer of 2021. You might try replacing MarkEvent with AdHocMarkEvent and see whether it works for you. LilyPond 2.23.6 will support some D.C., D.S., al Fine, and alla Coda repeat

Re: \trill fails barcheck with articulate.ly

On 12/30/2021 6:40 AM, Lukas-Fabian Moser wrote: Am 30.12.21 um 04:10 schrieb Joel C. Salomon: Minimal example: \version "2.23.1" \include "articulate.ly" \articulate {     c''1\trill | } Is this something addressed between 2.23.1 (which I have installed) and 2.2

2.23.5 and poly-mark-engraver https://lsr.di.unimi.it/LSR/Item?id=976

question whether there’s now a better way to write da capo, al segno, and other coda-like repeats. —Joel C. Salomon \version "2.23.5" \language "english" \include "poly-mark-engraver.ly" % http://lsr.di.unimi.it/LSR/Item?id=976 \score {

\trill fails barcheck with articulate.ly

Minimal example: \version "2.23.1" \include "articulate.ly" \articulate { c''1\trill | } Is this something addressed between 2.23.1 (which I have installed) and 2.23.5 (current)? —Joel C. Salomon

Re: Override duration of note

Perhaps a link to what the * scaling notation means might be added to its use in <http://lilypond.org/doc/v2.19/Documentation/notation/writing-rests#full-measure-rests>, or I might just be atypical in the what I notice and what I miss. ––Joel C. Salomon ___

Re: Override duration of note

On 2018-02-23 2:55 PM, Kieren MacMillan wrote: > \new Staff \relative c'' { > \once \stemDown 2.*5/6 g8 > } So *that’s* what the * notation means. I’ve used it for multi-measure rests, per the documentation, but I did not understand how it worked. Thanks! ––Joel C

Override duration of note

f music lives. To do that, I need to convince LilyPond that what looks like “2.” actually behaves like “2~q8” (or in 2.19 syntax, “2~8”). At a guess, the internal ac:setduration function from articulate.ly should make this possible, but experimenting has not turned up a success

Re: Best practices for Da Capo/Dal Segno/al Fine/etc.

di.unimi.it/LSR/Item?id=976>, and a good deal is missing here which that snippet includes, but I think it does illustrate this particular usage without invoking the full power of \polyMark. ––Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Best practices for Da Capo/Dal Segno/al Fine/etc.

ing? (Though I suspect my I’ll end up needing something like <http://lsr.di.unimi.it/LSR/Item?id=976> since the score I’m setting has both “Fine” and a fermata mark attached to the same bar-line.) ––Joel C. Salomon ___ lilypond-user mailing list

Re: Problem with Codas

On 2017-09-18 10:07 PM, Caagr98 wrote: > On 09/18/17 19:46, Joel C. Salomon wrote: >> Omitting the coda alternative, this would be the natural way to input >> repeats of the form “D.S. al Fine”.  I would suggest “\repeat ds” (and >> “\repeat dc”, unless you want to add

Re: Problem with Codas

ioned.) Omitting the coda alternative, this would be the natural way to input repeats of the form “D.S. al Fine”. I would suggest “\repeat ds” (and “\repeat dc”, unless you want to add magic that recognizes the start of a piece) as the syntax. ––Joel C. Salomon -- ––Joel C. Salomon ___

Re: Problem with Codas

repeats of the form “D.S. al Fine”. I would suggest “\repeat ds” (and “\repeat dc”, unless you want to add magic that recognizes the start of a piece) as the syntax. ––Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Silence as long as another part

that’s probably why I couldn’t find anything. (Hopefully, this conversation will be indexed by Google for the next person to misremember this.) —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Silence as long as another part

\bar "|." } (This is obviously more useful in larger pieces; e.g., where the first sub-melody and the third have dynamics changes or pedal movements and the second does not.) ––Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://li

Re: Replicating chord slurs

the project.) Question about the code, though: I can kinda-sorta follow what it’s doing, or at least I can figure out where in the reference manual to look up the details. But whence the numbers 0, 1, 2.4, & 3.7? Are these trial-and-error numbers? –

Replicating chord slurs

gest another tweak I might try here? ––Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Work-around for articulate+acciaccatura bug?

ver used for the MIDI score), so is there some way to wrap `\acciaccatura` so it becomes a plain `\grace` in the MIDI-generating `\score` block? (Or is the work-around, “Don’t use articulate.ly”?) ––Joel C. Salomon ___ lilypond-user mailing list lilypond-us

LSR 357: "Dynamics context is now included by default"

I’ve been using a variant of the LSR 357 “centered dynamics” template from , but I notice that the documentation says: > This snippet demonstrates how this was achieved with older versions > of LilyPond; the Dynamics context is now included by default

Re: Positioning text marks

e of > a fermata is. I'm surprised it gets positioned above Text by default. Thanks; that did work. Interestingly, overriding `TextScript.script-priority` did nothing at all, so I’m not sure what `Script.script-priority` is being compared against. —Joel C. Salomon _

Positioning text marks

way of the tempo indicators rather than riding atop the tempo indicators (or, if coded as `<>^\markup "…"`, pushing the tempo indicator up vertically)? (Is there a more idiomatic way of coding these titles?) —Joel C. Salomon ___ lilypond-

Re: Dynamics & simultaneous notes yield "programming error"

then the “programming error:” message goes away. —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Dynamics & simultaneous notes yield "programming error"

On Aug 28, 2016 12:07 PM, "Phil Holmes" <m...@philholmes.net> wrote: > Which version of Lilypond, which operating system? 2.19.46 on Windows 10. —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://li

Dynamics & simultaneous notes yield "programming error"

Two a,1 | } >> \oneVoice | with << {a1} \\ {a,1} >> this error goes away. Can someone please explain what I’m doing wrong here? —Joel C. Salomon \version "2.19" \language "english" dynamics = { s8\p s8*7 | s1*2 \bar "|." }

Re: Slur over single note?

might ask about this. (Amazingly enough, their web presence seems entirely dedicated to selling people tickets to current performances and does not have their archivist’s contact information prominently displayed. It’s almost as if my request is somehow an un

Re: Simultaneous accidental breaks cross-staff stem

On 2016-07-20 1:56 AM, Malte Meyn wrote: > Am 19.07.2016 um 22:39 schrieb Joel C. Salomon: >> From “Arrival of the Wolves”: an accidental in the upper Staff’s >> voiceOne shifts a chord in its voiceTwo so it no longer aligns with the >> corresponding note in the lower Staff,

Simultaneous accidental breaks cross-staff stem

>From “Arrival of the Wolves”: an accidental in the upper Staff’s voiceOne shifts a chord in its voiceTwo so it no longer aligns with the corresponding note in the lower Staff, yielding the attached result. Minimized example: \version "2.19" \language "english" global = {

Re: Slur over single note?

On 2016-07-19 2:37 PM, Urs Liska wrote: > I'm 98% sure that's an engraving error of some kind that may > be resolved by analogy. I'd have to see the full score ... > > Mind sending that (privately if you want) or a download link? The file is “39087011212125score.pdf” from

Re: Slurs within & across \repeat tremolo

On 2016-07-19 6:21 AM, Simon Albrecht wrote: > Here, it’s important that the slurs don’t need to be directly appended > to the notes, they only have to be at the right timestep. Empty chords, > parallel music expressions and once again the nice \after function can > be used for the following neat

Re: Slur over single note?

I think I’ll stick with my #(define afterGraceFraction (cons 1 1)) \afterGrace a1( {s32)} hack. Thank you all, —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Slur over single note?

miliar with, there might be a better way to code this. —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Slurs within & across \repeat tremolo

ly I’m quibbling over something that doesn’t matter (the generated MIDI doesn’t sound different to my ears, but perhaps I need to include articulate.ly for that?) but I’d like to know the right way of writing this. —Joel C. Salomon ___ lilypond-user mailin

Re: PDF author metadata

poetry JRRT wrote for the characters from Rohan was in the alliterative form. (Were end-rhymes so new in Europe? They seem to have come into fashion in Hebrew liturgical poetry [“piyyut”] around the seventh or eighth century C.E.) —Joel C. Salomon ___ lilypo

Re: Multiple slurs between chords

\upperOne \new Voice \upperTwo >> \new Staff = "lower" << \clef bass \key d \major \time 6/8 \lowerOne \new Voice \lowerTwo

Re: PDF author metadata

-book, I would point out that the “Dublin Core” metadata standard which EPUB files use explicitly lists the various creators’ and contributors’ roles: a music score might have a Composer [cmp] and a Typographer [tyg] but not necessarily an Author [aut]. —Joel C. Salomon _

Re: Sustain pedals (newbie question)

On s16 \sustainOff s8.\sustainOn s16\sustainOff >s8. \sustainOn s16 \sustainOff s8.\sustainOn s16\sustainOff > } For some reason, the way you wrote this made the `s32*31 \sustainOn s32 \sustainOff` trick make sense. (But you’re probably right about how this particular case is notate

Re: Arpeggio across notes of differing lengths

to indicate that this would not work; I’m glad to be wrong. —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Sustain pedals (newbie question)

, \sustainOff)” from January of this year, <http://thread.gmane.org/gmane.comp.gnu.lilypond.general/109576>, is likely related, but part of me not understanding Lilypond’s sustain-pedal notation is that I don’t understand what Mr Pawelczyk is doing in that thread.) —Joel C. Salomon \version &q

Arpeggio across notes of differing lengths

} \new Voice { \voiceTwo \hideNotes \arpeggioParenthesis 4\arpeggio \arpeggioNormal \unHideNotes } >> \oneVoice } \score { \new Staff = "lower" \lower

John Crook (Was re: Voice split across staves?)

On 09/08/2015 05:35 PM, Simon Albrecht wrote: > Am 08.09.2015 um 22:47 schrieb Joel C. Salomon: >> I’m trying to re-create John Crook’s original score to Peter Pan (yes, >> it’s in the public domain) > > Just a sidenote: I tried to find this John Crook or any detail about

Voice split across staves?

sample code to music organized as I’ve been doing it. Could somebody please point me in the right direction? —Joel C. Salomon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Seeking piano template: Dynamics, pedals, articulate, and MIDI

I’ve seen snippets and templates for all the parts of this, but I have not found an example that puts everything together: Is there somewhere a template, or a short example, for a piano score with all of these: * tempo markings * treble staff * dynamics * bass staff * pedal dynamics formatted

Suppress command (\arpeggio) in music variable

I've got a bit of music that repeats -- except there's an arpeggio that's only there the first time. I've defined a music variable thus: barsSixToEight = { \new Voice { \voiceOne d'8 cs d fs4-\arpeggio e8 | d8 cs b cs4- b8

Re: Suppress command (\arpeggio) in music variable

On 12/25/2014 10:50 AM, Kieren MacMillan wrote: As indicated, I do not want the arpeggio in the second repetition. Is there a way to achieve what I'm trying to do? Something along the lines of \barsSixToEight \override Arpeggio.stencil = ##f \barsSixToEight \revert Arpeggio.stencil

Re: Suppress command (\arpeggio) in music variable

On Thu, Dec 25, 2014 at 11:37 AM, David Nalesnik david.nales...@gmail.com wrote: This should do the trick then: \version 2.19.15 That worked; thank you. --Joel ___ lilypond-user mailing list lilypond-user@gnu.org

Blues/jazz/rubato tempo markings in printed scores

Searching the archives, I found the thread “jazz quantization of eighths for MIDI” http://thread.gmane.org/gmane.comp.gnu.lilypond.devel/17489, linking to http://code.google.com/p/lilypond/issues/detail?id=687, all relating to adjusting MIDI output. Is there a way to *print* a tempo marking for

Re: Blues/jazz/rubato tempo markings in printed scores

On Wed, Nov 13, 2013 at 3:05 PM, Nathan when.possi...@gmail.com wrote: On Wed, Nov 13, 2013 at 11:57 AM, Joel C. Salomon joelcsalo...@gmail.com wrote: ⌐3¬ Blues feel (♫ = ♩ ♪) This snippet may help you: http://lsr.dsi.unimi.it/LSR/Item?id=204 Thank you; that's what I

Re: alternatives at beginning or middle

Almost eight years ago, on 11/30/2005, Mats Bengtsson wrote: Quoting Stuart Lowe stu...@stuartlowe.com: Lilypond seems to handle alternative endings on repeated parts very well. What about alternative beginnings, or even an alternative somewhere in the middle? Can someone tell me how I

Re: Stuck note after acciaccatura in Midi output

On 10/8/2013 12:07 AM, Keith OHara wrote: Peter Gentry peter.gentry at sunscales.co.uk writes: The problem vanishes if the \tempo specification changed to 179 or slower. I can imagine a problem if you are sending the MIDI down an actual MIDI cable. Grace notes are played at 1/4 noted

Lyric hyphens, preferred and otherwise

Is there a way to indicate that a hyphen is desired here, or that it is preferred that it be shrunk to nothing? Consider this example: \version 2.16.2 \score { \relative c'' { c2 c } \addlyrics { two -- part } } It would be OK with me if this was displayed two-part or two - part,

Re: Lyric hyphens, preferred and otherwise

On Wed, Oct 9, 2013 at 2:53 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: You can force adjacent lyrics to be a minimum distance apart — that should do it: snip \override LyricHyphen #'minimum-distance = #1 Thank you. Since I don't need that everywhere, I turned that idea into

Extended first syllable in polysyllabic word

In the example below, the word Catherine is to be pronounced Ca-a-th'rine , extending the first syllable over two (unslurred) notes, and the last two syllables combine on the third note. (I.e., *not* Cath-er-ine.) It would seem that they way I wrote it below, Cath _ -- erine, *should* work, but

Re: Extended first syllable in polysyllabic word

On 10/8/2013 8:44 PM, Christopher R. Maden wrote: On 10/08/2013 06:59 PM, Joel C. Salomon wrote: What am I doing wrong? \version 2.16.2 \score { \relative c'' { c8 b a4 b c8 d | } \addlyrics { Cath _ -- erine wheel rolls _ | } } I think you have it backward. \version

Alternatives at Beginning

I searched for this issue, and turned up this thread from 2005: http://thread.gmane.org/gmane.comp.gnu.lilypond.general/19134. At the time, the fellow posting the question was advised to take a look at the section on 'Manual Repeat Commands' in the manual. Is this still the only option? I'm