Many thanks, Aaron. A clear and helpful answer!
The “why” was simply an exercise in seeing if I could cleanup a LP file by
using such syntactic sugar (to which the answer is no :-) ).
Thanks again
..m.
> On 19 Dec 2023, at 07:05, Aaron Hill wrote:
>
> On 2023-12-17 9:33 pm, Mar
Hi.
I'm struggling some with writing a music function for rests. Basically I
want to be able to write something like
\rel-rest( b', 1)
which would place a dotted quarter rest on the indicated pitch (the
equivalent of
b'1\rest
I'm starting with
rel-rest =
#(define-music-function (pit dur)
Thanks, Aaron! Perfect!
..m.
> On 6 Dec 2023, at 19:41, Aaron Hill wrote:
>
> On 2023-12-06 12:32 am, Henning Hraban Ramm wrote:
>> You can override a whole Lyrics context with
>> \override Lyrics.LyricText.font-shape = #'italic
>> But that’s only suitable if you have your versions in
Thanks, Aaron! Perfect!
..m.
> On 6 Dec 2023, at 19:41, Aaron Hill wrote:
>
> On 2023-12-06 12:32 am, Henning Hraban Ramm wrote:
>> You can override a whole Lyrics context with
>> \override Lyrics.LyricText.font-shape = #'italic
>> But that’s only suitable if you have your versions in
Hi.
I’m setting a song and there are two voices, like a call and response. I want
to show these two different voices by making one italic and the other regular
font.
I there are simple way, say using some \override, where I can change the
default on the fly and not have to do an, IMO, ugly
Hi, Jan.
There are four elements to making lilyjazz work. These are, in script form,
sh "cp lilyjazz/otf/* #{lilypond}/#{REV}/fonts/otf"
sh "cp lilyjazz/svg/* #{lilypond}/#{REV}/fonts/svg"
sh "cp lilyjazz/stylesheet/* #{lilypond}/#{REV}/ly"
sh "cp lilyjazz/supplementary-files/**/*.otf
Hi.
> On 28 Aug 2023, at 11:36, David F. wrote:
>
> I am experiencing a very weird problem with Lilypond on macOS 13 Ventura.
> When using the Times New Roman font, the capital letter N is mis-printed.
>
I can confirm and replicate this under 13.4.1
> I do not think that my Times New Roman
You may wish to consider the Windows application “Fronimo.” It is, arguably,
the primary choice of lutenists and those needing such features as you require.
The various forms of tablature are an arcane subject of their own and whilst it
is a pity LP doesn’t cover them particularly deeply, it
You wrote:
>
> use the alignBelowContext property to tell Lilypond where to put the Lyrics:
>
Thanks, Valentin!
I see how that is used now (section 5.1.7).
Much appreciated
..mark.
Hi.
I am setting a hymn, using the satb.ly template, that has an A1A2B
structure where there are different lyrics for A1 and A2 and the same
music. My first attempt is:
\version "2.24"
SopranoMusic = \relative {
\repeat volta 2 {a' a a a }
}
AltoMusic = \relative { f' f f f }
Thank you!
..m.
> On 16 Jun 2023, at 19:40, Kieren MacMillan
> wrote:
>
> Hi Mark,
>
>> Is there a way of finding out about the various objects and their names?
>
> https://lilypond.org/doc/v2.25/Documentation/internals/all-layout-objects
>
> Hope that helps!
> Kieren.
>
Many thanks, Jean.
I kinda knew there would be a simple solution, but I had trouble finding
“TrillSpanner.” Is there a way of finding out about the various objects and
their names?
..m.
> On 16 Jun 2023, at 18:39, Jean Abou Samra wrote:
>
> Le vendredi 16 juin 2023 à 17:54 +1
Hi.
According to the manual "A hairpin ending on a downbeat will stop at
the preceding barline." By default, I've found this to be true of
\startTrillSpan \stopTrillSpan as well.
With hairpins there is an override (Hairpin.to-barline) that allows for
the final note to be included. Does
Thanks, Jean.
I read that section over a few times and completely missed the implication
of \etc
Gratefully!
-mark.
On 21 Apr 2023 at 16:27:58, Jean Abou Samra wrote:
> Le jeudi 20 avril 2023 à 22:56 -0700, Mark Probert a écrit :
>
> Hi.
>
> I the score I’m currently work
Hi.
I the score I’m currently working on littered with expressions like
fis2 r4 f4^\markup { \italic \smaller “schaftlich" } |
Is there a way to write a substitution macro that means I could write
fis2 r4 f4^\itmark “schaftlich" |
instead?
Thanks again
-mark.
will not print anything at the end of a bar, so you
> should usually default to \bar "[|:-|" (single Bar line at end of line).
> (The same holds true for ".|:" by the way!).
>
> Using \repeat, \section, \fine and such will automatically take care of
> conste
Thanks!
-mark.
On 9 Jan 2023 at 17:58:10, Jean Abou Samra wrote:
>
>
> Le 9 janv. 2023 à 07:56, Mark Probert a écrit :
>
> Hi.
>
> When I run this snippet the barline at the end of first stave, which
> I think should be a “||”, goes “missing” (th
Hi.
When I run this snippet the barline at the end of first stave, which
I think should be a “||”, goes “missing” (there is no barline at all).
Is there a correct way of setting the end of stave barline in this kind of
situation?
%% ——
\version "2.24"
parta = {
aes4 bes c d | d4 ees f g |
}
Many thanks! I think I’m getting a handle on this bit of LP. Amazing!
-mark.
On 9 Jan 2023 at 11:23:47, Jean Abou Samra wrote:
> Le 09/01/2023 à 01:08, Kieren MacMillan a écrit :
>
> Hi Mark,
>
>
> > Okay. I did that and when I move the \paper (yes, my bad, I did write
> \page) into the
tune-hdr
\tune
}
song-two = \bookpart {
\page-one
\tocItem \markup "Song Two"
\tune-hdr
\tune
}
\markuplist \table-of-contents
\pageBreak
\song-one
\song-two
——
Thanks again!
-mark.
On 9 Jan 2023 at 10:14:10, Jean Abou Samra wrote:
> Le 08/01/2023 à 23:45, Mark
at 09:24:18, Mark Probert wrote:
> Thanks, Jean! I missed that bit of doc.
>
> -mark.
>
>
> On 8 Jan 2023 at 16:07:50, Jean Abou Samra wrote:
>
>>
>>
>> Le 8 janv. 2023 à 06:02, Mark Probert a écrit :
>>
>> Hi.
>>
>> At the mom
Thanks, Jean! I missed that bit of doc.
-mark.
On 8 Jan 2023 at 16:07:50, Jean Abou Samra wrote:
>
>
> Le 8 janv. 2023 à 06:02, Mark Probert a écrit :
>
> Hi.
>
> At the moment I’m doing quite a few lead sheets. The slightly unfortunate
> thing is some of these
Hi.
At the moment I’m doing quite a few lead sheets. The slightly unfortunate
thing is some of these tunes are a stave or two over a page in length.
I thought I’d reach out and see if there is such a thing as a macro or
music function like \fitToOnePage that would fit in a layout/page and can
The brew collection has lily pond at 2.22.2 (with Guile 2.2).
If you already have brew installed then it is simply a matter of, from the
command line, running
$ brew install lilypond
Hope this helps.
-mark.
On 12 Dec 2022 at 10:45:41, Flaming Hakama by Elaine <
ela...@flaminghakama.com>
Many thanks, David! A perfectly clear explanation. I suspect I will be
using \displayLilyMusic much more often in the future.
On Sun, Oct 2, 2022 at 11:10 PM David Kastrup wrote:
> Mark Probert writes:
>
> > Indeed it is, Aaron! Thank you!
> >
> > I have
pm, Mark Probert wrote:
> > I'm just starting to play more with music functions and obviously
> > haven't
> > got something. I'm want to create a basic substitution-style function
> > to
> > create a vocal portamento. The code I have so far doesn't work
> > correctl
Hi.
I'm just starting to play more with music functions and obviously haven't
got something. I'm want to create a basic substitution-style function to
create a vocal portamento. The code I have so far doesn't work correctly
and I wonder if someone can point me in the right direction.
TIA
---<
Thank you!
I missed that section of the documentation in my travels, so another thank
you!
.. m.
On Fri, Sep 9, 2022 at 4:30 PM Xavier Scheuer wrote:
> On Fri, 9 Sept 2022 at 03:35, Mark Probert wrote:
> >
> >
> > Hi.
> >
> > By default LP will add the new k
:
>
>
> Le 09/09/2022 à 08:30, Xavier Scheuer a écrit :
> > On Fri, 9 Sept 2022 at 03:35, Mark Probert wrote:
> > >
> > >
> > > Hi.
> > >
> > > By default LP will add the new key signature to the end of a line if
> > the next line has a ke
Hi.
By default LP will add the new key signature to the end of a line if the
next line has a key signature change (as per this example). Is there an
easy way to suppress this behaviour? For pedagogic exercises like these
scales it is not really needed
TIA!
---[ ex ]---
\version "2.22"
melody =
Hi, all.
I wondering how people deal with adding a fermata into MIDI output. The
most obvious way I can think of is using a cadenza to add some space, but
is there a better way?
Thanks
--
-mark.
You wrote:
>>
> Sigh ... It would appear that bookmarks don't work when
> there are bookparts. I've opened [issue 6355]
>
Thanks, Jean. Much appreciated.
.. mark.
You wrote:
>>
> You apparently inserted '%%' before that line. This is within
> Scheme code, so comments should be introduced by ';', not '%'.
>
Doh! Thanks.
With that particular problem fixed, I redid the example and still am
running across the problem of Preview not showing the ToC, though
Hi, Jean.
>>
>> Ah… Actually, I guess what might be going on. Are you using
>> a version of LilyPond that uses Guile 2? Homebrew, for
>> example? What does #(display (version)) print?
>>
I have two different systems: one is Homebrew, the other not. They
produce:
(homebrew)> GNU LilyPond
Hi.
I note in the documentation for LP 2.22 that "PDF bookmarks are now
supported and allow for \tocItems entries to appear..."
Is there anything I need to do to make this happen? Or is on by
default? I ask because in my environment--Mac M1 OS11.6, LP 2.22.1--I
generate the PDF, with ToC,
You wrote:
>
>>
> Doing this is standard practice, cf. Gould (Behind
> Bars p. 105):
>
Thank you!
.. mark.
You wrote:
>
>>r2 r4 f8 a\<~ | a1\! |
>
> \override Hairpin.to-barline = ##f
>>
Thank you, Jean. I missed that in the snippets.
My expectation, given that I have extended the note, is that the
hairpin would last the duration of that extended note by default,
rather than stopping at an
Hi.
I'm wanting the hairpin to terminate at the end of the whole note, yet
this is not what is happening (it only appears under the 8th note).
What is the correct way to make go the full duration?
TIA
.. mark.
---
\version "2.22"
tune = \relative c'' {
\clef treble
r2 r4 f8 a\<~ |
Hans wrote:
>
> Assuming that you want all reapeats with ears see
> https://lilypond.org/doc/v2.22/Documentation/snippets/repeats
>
Missed that totally!
Many thanks
..m.
Hi.
I am confused as to why the following doesn't work as expected. I am
thinking the closing repeat, within the alternative 1, should have
"ears" yet it doesn't. Have I not understood the \defineBarLine
correctly? Or is there something else here?
(I do note if I put a \break at the end of
You wrote:
>
> Seems confusing to me that the gitlab 64 bit version of lilypond
> 2.2.2 might not work in Mac OS Monterey 12.3?
>
> Is this correct?
>
No. LP 2.22.2 runs fine on my M1 Macbook Air at 12.3.
I am using the homebrew version built against Guile 2.2
HTH
.. mark.
Hi.
LP can do this quite easily. The "secret sauce" is the \bookpart
section (check out the manual for more).
My basic structure is to have a main .ly file (the "book") which then
include the parts (your suites) as .ily files, each of which have
something like this at the bottom:
You wrote:
>>
> \crossStaff should be used on the voice whose stems should
> extend past their staff. In this case, this is the upper voice.
> To get cross-staff arpeggios, you'd put \arpeggio in both voices
> and use the connectArpeggios property
>
Thank you! Exactly what I was after.
Kind
Hi, again.
I'm not used to working with piano scores and ran across and example
that required I use \crossStaff. Unfortunately, it is not doing as I
ask it and wonder if someone can point me in the right direction.
In this example I want an arpeggio line and I want the C in the bass to
be
Thank you, everyone, especially to David for the study code. All this
info is greatly appreciated!
.. mark.
You wrote:
>> It’s not that simple, since in the example all the scores are in the
>> same book.
>
> It is that simple.
> Put the score in one book and the midis separate books and done.
>
My understanding is a \midi{} block is contained within a \score{}
block.
The structure I have is
\book
Hi.
If I have a book that is structured something like below, then LP
produces two midi files: foo.midi and foo-1.midi.
Is there a way I can coerce the names into "bar.midi" and "baz.midi"
within LP? Or is this something best down externally?
Thanks again
..mark.
-- foo.ly
\include
Hi.
I have a score that, in the piano, has a slur crossing voices (in the
example the slur would end up with the B being held for a 4 count).
There is a note in the LP manual saying that slurs must all stay in the
same voice, so is there a work-around for this kind of thing?
Many thanks!
Valentin wrote:
>
> How about this?
>
Wow! Thank you. That really is what I was after, and now I need to
understand what you've done!
Much appreciated
.. mark.
David wrote:
>>
>> Is there a way to do this?
>
> Transpose the two halves of the melody separately,
> the first half c to d, the second half cis to ees.
>
This is part of the problem with the "pared down snippet" approach, or
rather, my original explanation of the problem. In reality, my
Hi.
A question on transpose: I understand that "\transpose distinguishes
between enharmonic pitches," however is there anyway to force a
particular behaviour? For example, in the snippet below, when I have a
movement from C to C# in the original key, and then go up a tone with
"\transpose
You wrote:
>
> I'm considering getting a new mac that has the new M chip; does
> Lilypond install/run ok?
>
Perfectly. The "trick" is to install it using MacPorts not Homebrew. I
have been using 2.22.1 with added fonts and stuff and it works
perfectly.
Oh. This is the command-line version,
Carlos wrote:
>
> Let me know if it works for you!
>
Very excellent, and a different approach from the one I took. I do like
your title page :-)
I shall have a closer look later
.. m.
Knute wrote:
> On Tue, Sep 21, 2021 at 4:19 PM Mark Probert wrote:
>
>> impressions-tune = {
>> <<
>> \new ChordNames \harmony
>> \new Staff \melody
>>>>
>
> Mark, this looks close to something I'm doing (but bet
Carlos wrote:
>
> How one goes about setting up a book:
>
> 1. Files are independent would like to use include.
> 2. I want their title and the author to show.
> 3. Copyright in the bottoms.
>
I recently did this exact thing for a jazz realbook.
My setup is:
[1] All the music goes into
You wrote:
> It was written:
>>
I cannot find a binary package for arm64 and macOS 11 on the
official website. I don't know how to compile this software on my
platform.
>>>
>>
>> brew install --cask lilypond
>>
> I'm in the process of getting an M1 Mac Mini up and going, and
It was written:
>
>>> I cannot find a binary package for arm64 and macOS 11 on the
>>> official website. I don't know how to compile this software on my
>>> platform.
>>
>
> brew install --cask lilypond
>
I'm in the process of getting an M1 Mac Mini up and going, and Lilypond
is a big part
Lukas wrote:
>
>>> parenthesizeMusic function
>
> Make that ...
>>
> Explanation: The additional (if (pair? (cdr evs)) ...) checks if
> there's more than one rhythmic event in the given music before
> parenthesising the last event and cancelling the unnecessary half of
> each pair of
You wrote:
> parenthesizeMusic function
This is wonderful! Thank you!
This is a slight error, which I don't have the skills to fix, in that
there is no closing paren if music consists of a single note (a
first/last problem?). Otherwise, straight into the library!
.. mark.
Hi.
Sorry if this has been done to death, but I was unable to find a
consolidated source of information. My question is a simple one at
heart: How do you, as a composer of new music, setup your Lilypond
workflow?
When using a graphic environment, complete with midi player, it is all
rather
Lukas wrote:
>
> In addition to Jean's explanation: Since I often have to create
> examples like the ones you provided, and LilyPond's treatment of
> accidentals in cadenzas split up into multiple "bars" started to
> annoy me too much, I switched to a solution not relying on
> \cadenzaOn:
Jean wrote:
>
> In \cadenzaOn, accidentals are never reset. The
> cadenza is considered one measure of its own.
> Your \cadenzaOff sections are not enough to change
> that because they have zero duration, so there
> is no point of time where LilyPond would notice
> that you switched back to
Hi.
I don't understand why I am seeing the behaviour I have with the
snippet below. I would expect to see the section marked "G Phrygian" to
have the aes bes and ees marked, but they are not (obviously you are
meant to read them from the earlier bar). How can I force them to show?
TIA ..
>
> Well, disregarding "cleaner"...
>
Huh! How about that. Going to have to think about how to use that gem...
Thanks, David.
Hi, again.
The task I'm attempting is to create an equivalent of a fake book. I'm
creating a tune in concert (C) and then collating it with other tunes
using \bookpart. That works fine for the most part. The problem is when
I want to have the fake book transposed (say for Ees). I end up with
Thank you!
You wrote:
> \version "2.20"
>
> harmony = \chordmode { a1:m s1 f1:m7 s1 }
> tune = { s1 s1 s1 s1 }
>
> chordsOnStaff = \with {
> % Force the baselines to match.
> \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
> #'((basic-distance . 0) (minimum-distance . 0)
>
Hi, all.
I'm not sure how to move the chord names down so they are centered on
the staff. Essentially I want the changes on an empty stave but I'm
unclear on how to do that.
TIA .. mark.
--
\version "2.20"
harmony = \chordmode { a1:m s1 f1:m7 s1 }
tune = { s1 s1 s1 s1 }
\score {
<<
David wrote:
>
> Put \omit Staff.KeySignature anywhere after the first measure
> of music. Any earlier and you might not get even the first one.
>
Thanks! Perfect.
.. m.
Hi.
Another newbie question. How do I hide a key engraver after the first
instance? I want it at the top, then not on the following staves, which
is the default behaviour. I'm sure there is a hide.engraver-thing
somewhere...
--
\version "2.22"
tune = \relative c'' {
\clef treble
\key
You wrote:
>
> Does LSR 902 [1] help?
>
Indeed it does!
Thank you!
.. m.
Hi.
I've looked through docs and snippets and can't seem to find a way to
place parens around a horizontal group of notes (an "optional"
indicator for leadsheets). I've tried
\parenthesize { a8 bes }
but nope. Is there a simple way? I want to do something like:
\mark "(" a8 bes \mark
You wrote:
>
> This gives in your case the chord above a 4 measure compressed full
> bar rest:
>
> harmony = \chordmode {
> g1*4:m7
> }
>
Thank you! Perfect!
..mark.
Hi, all.
I am writing a leadsheet that has an intro which the lead instrument
doesn't play, so rests are needed. I'd like to compress the rests, so
\compressEmptyMeasures works well. However, when I add \chordmode, it
appears to override the empty measure compression, which does make
sense
Hi, all.
Can someone tell me how to break the beaming on tuplet nesting? Here is
a snippet from "The Black Page" and I'd like to break the default beam
connecting the three nested tuplets.
Thanks .. mark.
---
\version "2.22"
tune = \relative c'' {
\clef treble
b2^"A" \tuplet 3/2 {
--
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr....@gnu.org] On Behalf Of
> Mark Probert
> Sent: Tuesday, May 18, 2021 8:16 PM
> To: Lilypond-User Mailing List
> Subject: Triplet beaming help
>
>
> Dear Wisdom,
>
> In the following snippet the
I wrote:
>
> --
> \version "2.22"
>
> tune = \relative c'' {
> \clef treble
> r4^"A" \tuplet 3/2 { d8 d d } \tuplet 3/2 { d8 d d } d8 r8 |
\set Timing.beamExceptions = #'()
\set Timing.baseMoment = #(ly:make-moment 1/8)
\set Timing.beatStructure = 1,1,1,1,1,1,1,1
> r4^"B" r8
Dear Wisdom,
In the following snippet the beaming behaviour depends on the beat
structure, but I haven't found a way of making B beam in the same way
as A (I want to separate the joined triplets). Any suggestions?
TIA
.. mark.
--
\version "2.22"
tune = \relative c'' {
\clef treble
You wrote:
> This is how I have worked with scores. All parts written in main key
> then use transpose in \bookpart output section.
>>
> I've written a few arrangement leadsheets, and being able to use
> transpose like this on performer request is, well, brilliant. A few
> edits, re-engrave,
Aaron wrote:
>
> You could use multiple \books along with \bookOutputSuffix:
>
Many thanks! I haven't played with that part of this amazing program
yet. Off to explore...
.. m.
Hi.
I'm not quite sure how to ask this, so please bear with me. Right now
I'm having fun doing jazz lead sheets (for which lilypond is a
fantastic tool--lilyjazz is fantastic! thank you!). What I find I'm
doing is creating a "concert" version, then making a bes version, then
a ees version
You wrote:
> Hi Mark,
>
>> Could someone please tell me the correct way to increase the spacing of
>> a fall when it is on the last note of a bar? I'm finding default a
>> bit too cramped.
>
> Here’s one possibility:
>
> \tweak extra-spacing-width #'(0 . 3) d\bendAfter #-4
>
> Adjust the
Hi.
Could someone please tell me the correct way to increase the spacing of
a fall when it is on the last note of a bar? I'm finding default a bit
too cramped.
--
\version "2.22"
tune = \relative c'' {
\clef treble
e2. f8 d\bendAfter #-4 | r1 |
}
\score {
<<
\new Staff \tune
>>
Werner wrote:
>>
> Have you actually looked into the Notation Reference, section 'Ties'?
> A few paragraphs after the start of the section you can find
> documentation for `\laissezVibrer`!
>
May bad. I missed that, and this is exactly the symbol I wanted to use.
What I skipped over was the
>
> Did you mean to use \laissezVibrer?
>
Apparently that is exactly what I meant! Who knew?
Okay, so here's a thing: I don't know this term (let vibrate), and if I
did, I'm not sure how it would apply in this context (it's a tie,
right?). There is an example in the Snippets under
Hi.
When I compile the following, the tie within the first time bar ends on
the wrong side of the D. Using a tilde (~) instead of \repeatTie
results in an error. Can someone please point me in the right direction?
TIA
.. mark.
--[start]--
\version "2.22"
tune = \relative c'' {
\clef
You wrote:
>
> You have an extra pair of braces around your \markup. Consider:
>
> -- Aaron Hill
Doh! Many thanks. Absolutely see it now
.. m.
Hi, all.
I'm getting myself confused. I have an include file -- foo.ily -- and I
want to define different instrument names for later use, like
altoSax = { \markup { \fontsize #-2 {
Alto Saxophone \concat { E { \raise #0.5 \teeny \flat }
tenorSax = { \markup { \fontsize #-2 {
Tenor
Aaron Hill wrote:
>
> Be aware the final measure of the first half of the waltz needs to be
> written as two alternatives. ... This corrects the otherwise odd-sounding
> minor second intervals that appear in the left hand.
>
Thank you. I only discovered the opus-infinity site after I'd had
Orm wrote:
>
> In case this is unintentional: Rather than "Eine Kleine Waltzer" you'd
> say "Ein kleiner Walzer" in German (you can capitalize the "kleiner"
> if you prefer).
>
Thank you! To my shame I have no German and I'm sorry I managled your
language. I will correct the error.
Kind
Hi, all.
While not of general interest, I thought some of you might find this
small project of mine amusing. I was recently inspired by a YT video
to have a go at coding one of the late 18th C dice music games (the
"Mozart" Waltz generator Simrock published in 1793). It was a fun
exercise
Kieren wrote:
> Hi David,
>
>> There may be incentive to synchronize the contents of those files.
>
> At the very least, I’d like to hear if anyone has worked out (or even
> attempted) a workflow like the following:
>
By way of reference, this is exactly how Notion talks to Studio One.
While
Hi Robert
>
> Thanks for your reassuring message. It helped.
>
You're welcome.
>
> TeXShop took some time to consider whether it would or would not
> process my _ly.tex-file, but after a few minutes it produced an
> impeccable pdf.
>
The startup delay, at least the first time around, is
Hi, Robert.
>
> Thanks for your prompt reassuring response.
> I will now first test LilyPond on my other rather old and slow Mac,
> running on High Sierra.
>
As another check point, I am happily running Lilypond (2.19.82) on a
mid-2011 13" MBP running OSX 10.13.6 (High Sierra). Best to
Hi, Harm.
>
> Put in the text you wish.
>
Huh. My assumption was that anything the \lyricmode{ }
brackets would be treated as separate strings. A newbie
mistake. Thanks!
>
> In mensural-ligature-engraver.cc there's the comment about "ligature-flexa"
> /*
> flexa
Hi, Harm.
You wrote:
>
> Well, it _is_ documented, imho
> ...
> Isn't it sufficient for _usage_?
>
Absolutely. In my haste I missed that last piece. Mea culpa.
Thank you for the correction!
>
> I'll think about how to improve this...
>
In the end, this is a trivial issue, so I wouldn't
Hi, again.
I'm getting out of my depth here but is it possible
to set lyrics to mensural ligatures? I can't seem to
get the following to work.
Also, following the example [1] I don't seem to be
able to get the ligature-flexa to work (2.19.82/OSX).
I've tried quite a few flexa-widths but nothing
Bockett wrote:
>
> I'm not sure there is a modern version of a maxima, as there
> is of a breve or a long.
>
Sure. According to Groves it was pretty much dead by the end
of the 17th C.
>
> Lilypond provides a perfectly reasonable way to notate
> a maxima for any foreseeable purpose. That
Bockett wrote:
>
> But you're right--If I delete
> \override NoteHead #'style = #'neomensural
> I don't get anything for the maxima note.
>
Right. This seems incorrect behavior. Having a hole just
doesn't seem the right thing to do...
For reference:
---
chant = \relative c { \clef bass
Hi, all.
In the project I'm working on, I've hit a need for a maxima (hooray!).
Okay, it is -real- music, more pedagogic, but what the heck! It's a
maxima!
However, oddly (to me), the standard noteheads support a maxima rest,
but not a maxima note. To get the notes, I need to slip into the
Aaron wrote:
>>
> If you need more than just the one Greek letter, you can always
> extend the \paper's replacement-alist in a similar fashion to how
> include-special-characters works.
>
Thanks! There's so much to learn about this Lilypond environment...
.. m.
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