On 2024-05-21 18:45, Werner LEMBERG
wrote:
Here, I want to make 7 lines spread out to fill the entire last
page, but leave the other pages alone.
Ah, I missed 'last page'. Perhaps all you need is
```
On 2024-05-14 15:08, Xavier Scheuer wrote:
> Or is there a line title, like the variables for "Composer" Piece"
etc. I looked, but I haven't found anything obvious.
I would use "piece", but actually you could even define your own
custom header field and custom layout for titles.
On 2024-05-11 15:18, Kieren MacMillan
wrote:
Hi Morten,
Here’s one approach:
%%% SNIPPET BEGINS
\version "2.25.11"
esp = \markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
stuff = \relative {
\time 4/4
r4 b'4 a2-\tweak
On 2024-05-02 21:19, Knute Snortum wrote:
On Thu, May 2, 2024 at 10:31 AM Pierre-Luc Gauthier
wrote:
Le jeu. 2 mai 2024, à 13 h 08, Knute Snortum
a écrit :
> Perhaps I'm not getting the need for this command as you could
using an empty chord at the end of the repeat to do
On 2024-04-30 15:33, Walt North wrote:
Hello, I have a case where I'm putting together something will be
mostly chordnames and lyrics with a few music expression hints needed
here and there.
I've been able to get most of what I want using \markup. The only
issue I've come across is
On 2024-04-25 15:44, Peter Mayes wrote:
I
may be missing something in the documentation here.
I have a two-movement score for a single melodic instrument. Each
movement fits conveniently onto a single page.
I
On 2024-04-17 12:45, rich...@oneill-griffiths.net wrote:
Hi, I’ve been using the Anglican chant template to set items for our
choir and I’ve just a note spacing problem with one chant (Walford
Davies) last quarter.
How do I address the note spacing for the B/C clash in the 3^rd bar?
Now
On 2024-04-16 21:59, Gerardo Ballabio wrote:
Hello all,
I'm trying to typeset a percussion score with several instruments on
the same staff. When they play simultaneous notes I want to line them
up all on the same stem, like this (output attached, percussion1.pdf):
%%
\version "2.24.1"
On 2024-04-12 12:05, Werner LEMBERG wrote:
Might I suggest that “to-barline” is potentially
misleading/confusing…?
On the other hand:
end-at-barline, for a pedal coded for release on a note **just
after** a barline, might be more clearly descriptive of the
current behaviour; and
Hi,
In the piano scores for piano quartets, and similarly, I haven't
managed to find a way to apply \magnifyStaff to all the staves of
the remaining instruments, using a single \with statement on the
StaffGroup level. I can achieve what I want, using a \with{...}
On 2024-03-21 02:08, kie...@kierenmacmillan.info wrote:
Hi Paul,
I have a separate voice where I put all my breaks and pageBreaks. I
haven't been able to make a blank markup. TIA on how to do that.
e.g.:
\version "2.25.1"
\paper {
indent = 0
ragged-bottom = ##f
}
{
\repeat
On 2024-02-17 01:15, Gerardo Ballabio
wrote:
Hello,
I need to change the time in the middle of a bar.
I managed to do that using \partial, but it seems that after that,
\compressMMRests no longer works -- only for the group of measures
immediately
I have to try it. So far, I've used the more manual solution
available in https://lsr.di.unimi.it/LSR/Item?id=451
/Mats
On 2024-01-24 18:39, YTG 1234 wrote:
betterIncipit
=
#(define-music-function (incipit-music) (ly:music?)
On 2024-01-12 15:58, Knute Snortum
wrote:
At
least section 1.2.2 of the reference manual ought to be updated
to
include <> in the discussion of invisible rests.
Can you share how you would want that
On 2024-01-08 21:49, Kieren MacMillan
wrote:
Hi all,
A pity, since this is clearly explained on
https://lilypond.org/doc/v2.24/Documentation/learning/types-of-properties.html
That’s the first hit when I search! :)
K
On 2023-12-12 11:26, Werner LEMBERG
wrote:
One thing occurred to me. If the original \score did not have a
\midi block, would it be possible to ask lilypond to produce midi
output without modifying the input file?
On 2023-11-12 17:37, Michael Werner
wrote:
Hi Johannes,
On Sun, Nov 12, 2023 at
11:01 AM Johannes Roeßler
wrote:
Hi all,
On 2023-11-12 14:31, Werner LEMBERG
wrote:
MIDI settings can be changed globally (or in a book or bookpart), but
the generation of an actual MIDI file is only triggered when a \midi
block is encountered inside of a \score .
Thanks
Yes, as Paul already answered, Lilypond does exactly what you
describe in the example you sent. This is what happens since you
used \relative{...}. In some cases when you have music that
mostly stays within a single octave, it may be more convenient to
use
Have you looked at
http://lilypond.org/doc/v2.25/Documentation/notation/trills ?
Mats
On 2023-10-15 20:18, Paul Scott wrote:
This is
probably simple but some parts of the wonderful Lilypond
documentation are not clear to me.
On 2023-10-11 17:17, Knute Snortum
wrote:
On Wed, Oct 11, 2023 at 5:40 AM Mats Bengtsson
<matsboxergr...@gmail.com>
wrote:
Follow-up question; wouldn't it be good to have this s
On 2023-10-10 23:01, Mats Bengtsson wrote:
On 2023-10-10 18:07, David Kastrup wrote:
Have you tried not "anything like to-barline" but rather _exactly_
to-barline ?
Like
c -\tweak to-barline ##t \cresc
and its ilk?
Silly me! Too obvious to try. Well, in fact I was look
On 2023-10-10 18:07, David Kastrup wrote:
Mats Bengtsson writes:
Hi,
Is there anything analogous to Hairpin.to-barline = #t that applies to
the extender line of textual dynamics like \cresc or \dim?
Unfortunately, I don't have a copy of Gould, but to me
Hi,
Is there anything analogous to Hairpin.to-barline = #t that applies to
the extender line of textual dynamics like \cresc or \dim?
Unfortunately, I don't have a copy of Gould, but to me all the options I
tried below look worse than having an extender line that ends exactly
below the bar
Why not use text marks,
http://lilypond.org/doc/v2.25/Documentation/notation/text-marks ?
They are intended exactly for textual indications that should
appear at the top of each system, i.e. above the lyrics in your
case.
/Mats
On 2023-10-02
On 2023-09-24 16:58, Arjen wrote:
Hi,
I'm trying to place symmetrical hairpins under a bar, but it turns
out that the left (crescendo) hairpin is longer than the right
(descrescendo) hairpin.
MWE:
\version
Hi,
The following example illustrates a type of passage I'm currently
trying to typeset. In the original score, the hairpins are nicely
symmetric; the crescendo hairpin ends right aligned with the right
edge of the 4th note and the decrescendo hairpin starts left
On 2023-08-14 19:46, David Kastrup wrote:
Sounds somewhat like
exa.ly
%%%
\version "2.24.1"
global = {
s1\break
s1\break
s1
}
flOne = \relative c' {
e1
r1
e1
}
flTwo = \relative c' {
c1
r1
c1
}
\new StaffGroup \with { \consists "Keep_alive_together_engraver" }
port would be needed to be able to
specify more specific beaming patterns.
/Mats
--
=====
Mats Bengtsson, Prof.
Information Science and Engineering
School of Electrical Engin. and Comp. Science
Royal Institute of Technology (KT
On 2023-04-18 15:01, Mark Stephen Mrotek wrote:
Mike,
Try using \stemDown
Mark
First try Jean's suggestion! In general, it's better to use \voiceOne,
\voiceTwo, (which is implicitly done by the <<{...} \\ {...}>>
construct) which sets the direction not only on stems but also on lots
On 2023-03-09 20:05, Werner LEMBERG wrote:
* Replace `--show-rules` with a more common `--verbose` option to
show rule descriptions while `convert-ly` is running. Right
now, `--show-rules` only emits the rules but doesn't do a
conversion at the same time, which is rather useless
On 2023-03-04 19:15, Werner LEMBERG
wrote:
who has ever used option `--show-rules` of `convert-ly`, except for
being curious what this option does?
In https://gitlab.com/lilypond/lilypond/-/merge_requests/1854 we are
(Sorry, my email client keeps using the wrong From: address)
/Mats
On 2023-03-04 08:09, Werner LEMBERG
wrote:
Folks,
who has ever used option `--show-rules` of `convert-ly`, except for
being curious what this option does?
In
On 2023-03-04 08:09, Werner LEMBERG
wrote:
Folks,
who has ever used option `--show-rules` of `convert-ly`, except for
being curious what this option does?
In https://gitlab.com/lilypond/lilypond/-/merge_requests/1854 we are
discussing whether it would
On 2023-02-21 21:33, Kenneth Wolcott
wrote:
Hi Leo;
Thanks again for your help.
I have the "\grace s8." now in all three of the voices that do not
have the "\acciaccatura", yet the problem persists.
I'm not sure how I would insert the "\grace
Hi,
I'm slowly starting to get a grip on the \repeat segno features, but I
need some hints on how to best use it for a ABACA type rondo.
My first attempt was the following, where especially the placement of
the double wheel (coda) symbol looks weird, since it ends up at the end
of the first
On 2023-02-10 15:20, Johannes Roeßler wrote:
Hi Group,
I would like to align markups above my staff - I checked the page
regarding vertical spacing and found
"\override TextScript.outside-staff-padding = #3" but this just raised
all markups but still unaligned
\override
On 2023-02-07 22:07, Jean Abou Samra wrote:
I understand that having a ly:pitch argument, I can only use... pitch
But changing it to ly:music?, I am not being able to control the notes duration.
This is my first function, so sorry if this is too basic
This is not a dumb question. Try
On 2023-01-30 13:04, Wols Lists wrote:
A
quick search tells me the violin plays in the treble clef, which I
doubt is what you mean?
I'm guessing the violin clef is one of the C clefs, but which one?
I know Tenor and Alto.
On 2023-01-30 10:43, Lukas-Fabian Moser
wrote:
By the way, there
also
exists the opposite: In (older?) scores of symphonies by Anton
Bruckner, the violoncello part, if using the violin clef, is
notated
On 2023-01-29 18:19, Lukas-Fabian Moser
wrote:
Am 29.01.23 um 17:54 schrieb David Kastrup:
Valentin Petzel
writes:
Hello David,
in most cases definitely, but I suppose
On 2023-01-22 21:17, Jean Abou Samra
wrote:
Le
22/01/2023 à 21:05, Mark Mathias a écrit :
I'm not seeing a
post from anyone else exactly on this issue, so...
I like the new repeat structure:
Just copying and pasting from the example of subdividing beams at
https://lilypond.org/doc/v2.23/Documentation/notation/beams, I tried the
following, which seems to give the desired result.
\version "2.23.81"
\relative {
\clef treble
\key c \minor
\time 2/4
\set subdivideBeams = ##t
, Mats Bengtsson a écrit :
Hi,
I've been pondering about a missing feature in LilyPond, namely
the possibility to get a warning printout if there isn't an
explicit bar check ("|") in the input file at the end of each
Hi,
I've been pondering about a missing feature in LilyPond, namely
the possibility to get a warning printout if there isn't an
explicit bar check ("|") in the input file at the end of each
measure. This would catch many of the typos I personally do when
On 2022-09-02 16:43, Kieren MacMillan
wrote:
A little more context:
“To explicitly specify a rest’s vertical position, write a note followed by \rest.”
While this is a useful thing to know about, I don't personally believe it's a best
There's no need for a null voice. The trick is to keep using the
original voice also during the divisi, more or less as you have
done. Here's my version. I also moved the \new Lyrics outside the
Staff definitions, which is not really needed, but still a good
On 2022-03-31 11:38, Silvain Dupertuis
wrote:
Would it be that everything is now on
this page:
https://www.ibiblio.org/mutopia/
Sincerely
That seems like an extremely outdated site "Latest additions ...
2010...".
On 2022-03-28 15:35, Carl Sorensen
wrote:
I just tried doing a similar soft link in Ubuntu and I
get exactly the same error message, so it's most likely
not OS related.
On 2022-03-28 12:02, Jogchum Reitsma
wrote:
Op 28-03-2022 om 07:29 schreef Kevin
Pye:
(OpenSUSE Leap 15.3 to be precise)
So I've downloaded 2.23.7 and
On 2022-03-28 03:54, Kevin Cole wrote:
Ah. I think you're right. And, when I do what you suggested in the
minimal example, it works as described: Your example looks like the
image I sent. But when I inject it into the full score I get the
attached, which still
On 2022-02-25 18:01, Knute Snortum
wrote:
On Fri, Feb 25, 2022 at 8:25 AM Mats Bengtsson wrote:
How about
ossiaPart = \relative {
\global
\stopStaff
s4. \startStaff
<<
{
\magnifyMusic 0.63 { \slashFlag as
On 2022-02-25 17:07, Knute Snortum wrote:
I'm having a problem with the ossia of a fairly convoluted two
measures (because Chopin played fast and loose with the rhythm). The
broken beam extends a little too far into the next measure.
I've attached a picture of the ossia as I want it, with
On 2022-02-09 08:41, Jonas Hahnfeld
wrote:
Am Dienstag, dem 08.02.2022 um 22:35 +0100 schrieb Mats Bengtsson:
I tried the Guile 2.2 version on a Windows 10 box where I don't have
any admin rights, and even with the simplest input file, I
On 2022-02-09 09:10, Mats Bengtsson
wrote:
On 2022-02-09 08:41, Jonas Hahnfeld
wrote:
Am Dienstag, dem 08.02.2022 um 22:35 +0100 schrieb Mats Bengtsson:
I tried the Guile 2.2 version
I tried the Guile 2.2 version on a Windows 10 box where I don't
have any admin rights, and even with the simplest input file, I
get the following error message:
C:\Nobackup\lilypond-2.23.6\bin\lilypond.exe test.ly
GNU LilyPond 2.23.6 (running Guile 2.2)
;;;
)
<https://www.mail-archive.com/lilypond-user@gnu.org/msg70504.html>
All help appreciated,
Calvin Ransom
--
=
Mats Bengtsson, Prof.
Information Science and Engineering
School of Electrical Engin. and Comp. Science
On 2021-06-18 03:12, Ignacio Lois
wrote:
No particular reason. My aim is to have one pdf with all
the instrumental parts, each with its own numbering.
it felt like it was a book, and each individual instrument
On 7/28/20 5:28 PM, Pierre
Perol-Schneider wrote:
Hi All,
Under W10, the compilation fails after the second attempt:
You didn't, by chance, open the PDF file in Adober Reader or some
other PDF viewer that
On 2020-06-08 15:55, Pierre Perol-Schneider wrote:
Hi Paolo,
Just to avoid any surprise, I'd add \once before the overrides.
Also, I found the comma size a little too big compare to the fermata
dot, E.g.:
\version "2.20.0"
breatheWithFermata =
#(define-music-function (offs) (number?)
On 2020-05-04 08:14, Valentin Villenave wrote:
On 5/3/20, Paul Scott wrote:
Out of simple curiosity what is the purpose of the \compressMMRests { }
structure rather than the \set or \override action I would think of?
I'm guessing \compressMMRests does \set \unset or \override \revert pairs.
On 2020-05-03 11:25, Paul Scott wrote:
Phil,
To make sure we're on the same page is \compressMMRests the same as
\compressFullBarRests which doesn't seem to exist any more?
If \compressMMRests is intended to replace or rename
\compressFullBarRests then I have been using it in a common or
On 4/16/20 2:46 PM, Simon Albrecht wrote:
Hello everyone,
I’m having a problem with my newly installed Lilypond versions 2.20.0
and 2.21.0: Any compilation I start aborts while GS tries writing a PDF.
I installed both versions yesterday, and the first tests were
successful, before this
r)
-
thunderbird mit enigmail
GPG schlüssel: D5257409
fingerprint:
08 B7 F8 70 22 7A FC C1 15 49 CA A6 C7 6F A0 2E D5 25 74 09
--
=====
Mats Bengtsson, Prof.
Information Science and Engineering
School o
I can confirm the segmentation fault in the "Drawing systems" phase,
using 2.20.0 in Ubuntu.
/Mats
On 2020-04-08 09:41, Michael Gerdau wrote:
Hi list,
I'm playing with the bars-per-line-engraver as of LSR
http://lsr.di.unimi.it/LSR/Item?id=838
When I increase the number of bars in my
On 2020-03-30 16:10, Eby Mani wrote:
Thank you Aaron.
Malte, can you explain why you have mentioned \partial 8*7 is not
needed ?.
Probably since Malte uses the latest stable version, 2.20, which handles
these things much better than what was done in version 2.18. Try it out
and you
On 3/15/20 6:01 AM, Pablo Cordal wrote:
Hi everyone,
I've got a problem generating midi. I open a file with lilypond, press
crtl+M and the midi out is OK. But if I compile the file again the
midi is not generated. If I want to regenerate the midi I have to
close lilypond, open it again and
On 3/15/20 6:01 AM, Pablo Cordal wrote:
Hi everyone,
I've got a problem generating midi. I open a file with lilypond, press
crtl+M and the midi out is OK. But if I compile the file again the
midi is not generated. If I want to regenerate the midi I have to
close lilypond, open it again and
om my
system quite a while ago.
Or are there other hints how to address my challenge?
TIA
Steff
--
=====
Mats Bengtsson, Prof.
Information Science and Engineering
School of Electrical Engin. and Comp. Science
Royal Institute of Tech
On 2019-11-14 12:46, Aaron Hill wrote:
On 2019-11-14 1:02 am, David Menéndez Hurtado wrote:
>> I am transcribing a piece that is filled with the rhythmic motif "8.
16 8" at different pitches. Being a LaTeX user, I want to write a macro
like \myrithm{c a g}. I found the documentation for
Sorry, I pushed "Send" before finishing. Here comes the correct version
of the email.
On 2019-08-28 13:14, Stefano Antonelli wrote:
On Wed, 2019-08-28 at 09:01 +0200, Federico Bruni wrote:
Il giorno lun 26 ago 2019 alle 20:08, Stefano Antonelli
ha scritto:
That is not always a convenient
On 2019-08-28 13:14, Stefano Antonelli wrote:
On Wed, 2019-08-28 at 09:01 +0200, Federico Bruni wrote:
Il giorno lun 26 ago 2019 alle 20:08, Stefano Antonelli
ha scritto:
That is not always a convenient format for working with drum parts
though. I would like to be able to use a syntax more
Hi,
Is it somehow possible to tweak the automatic beaming to produce beams
that cross bar lines? I'm typesetting a piece with a syncopated rhythm
which is indicated by beaming eight notes two and two, off the beats. I
can managed to make the automatic beaming handle it within the bars, but
On 2019-02-07 15:08, 智樂喬 wrote:
I'm sure I'm not the first person to ask this, but I'm looking for a
clean, way to align music variables which begin with partial measures.
For example,
\version "2.19.82"
partA = { c'2 b | R1*3 }
partB = { \partial 4 g4 | \bar "||" c'1 }
\score { { \partA
niques that Valentine mentioned
in his reply, for example.
/Mats
--
=
Mats Bengtsson, Prof.
Information Science and Engineering
School of Electrical Engin. and Comp. Science
Royal Institute of Technology (KTH)
On 1/4/19 11:55, Thomas Morley wrote:
For the record, one could do:
\layout { \context { \Voice \remove Slur_engraver } }
\new Staff \with { \consists Slur_engraver }
{
\key aes \major
\clef bass
\time 3/4
<<
aes,2.\=7( \\ { s4 ees2 } \\ s2. \\ { s2 bes4\=7) }
>>
}
This
On 2018-11-06 03:23, David Linn wrote:
...
I can raise "the specified limit" and potentially reduce the number of
digests per day, but it will probably increase the number of large
messages *everyone* on the digest list receives.
I'd appreciate such a solution, such that the normal arrival
Hi,
On 2018-10-15 11:22, Urs Liska wrote:
Hi,
I have to center-align some texts above and below clefs like in the
attached image.
Before I start fiddling around with the Clef stencil and combine the
markups I'd like to ask if there's a simpler and more straightforward
way to achieve
half bar doesn't get
any extra bar number.
(And a bonus question if anyone knows: why isn't this bagatelle
written starting on beat 1?)
Well, isn't it a kind of Gavotte?
/Mats
Thanks for any help anyone may offer!
Sam
--
=
Mats
On 2018-06-06 11:37, Urs Liska wrote:
Hi all,
do we have something for the notehead in the attached image?
I need to print a note lasting four 4/4 measures.
{
c'' \longa
}
does produce the desired duration and the result shown in the second
attachment. But is it possible to have a
On 2018-05-22 21:54, Sven Axelsson wrote:
Another somewhat related question, would it be possible to
automatically wrap the music with `\unfoldRepeats` when generating
MIDI output? Isn't that what you always want anyways?
Not really, if you mainly use the MIDI for proof listening (which
On 2018-05-18 09:43, Walter Garcia-Fontes wrote:
Thanks Carl and Ben for your suggestions. Let me provide a summary so
far, since the discussion was a little messy. So we start from the
example provided for a single ossia, with more code to have the score
extend over multiple lines:
...
So
On 2018-05-09 15:59, Brent Annable wrote:
Thanks everyone. Yeah I forgot to mention: I'm on a Windows 10
Thinkpad machine with i7 and 16GB RAM. So looks like the errors are
coming through on the same systems.
Sigh. What to do? I have an old laptop with a rocket-engine fan that I
could
On 2018-04-11 23:17, Jacques Menu Muzhic wrote:
Hello all,
Thanks for the pointers and explanations.
I thought there might be a specific way to indicate a scordatura, and
it turns out there are many possible ways, including providing a
second scores with the actual pitches or a staff
On 2018-03-29 16:31, Brent Annable wrote:
Hi all,
I am currently reproducing a continuo part, and am having trouble
achieving a particular effect: printing a continuo figure in the
*lower *position only. So in the first example in the attached image,
I want the '3' to appear on the lower
On 2018-03-29 13:33, Kieren MacMillan wrote:
Hi Mats,
Just use the new features of version 2.19:
I tried that (see a previous post on this thread), but there are collisions (see a
separate "bug?" thread).
Did you not find that the slurs collide with the noteheads on your machine?
Right,
Sorry, I was too quick! See corrected version below.
On 2018-03-29 09:24, Mats Bengtsson wrote:
On 2018-03-29 00:39, Lucas Werkmeister wrote:
Hi everyone!
In a composition I’m transcribing, there are double slurs between
some notes (see attached image, also uploaded at [1
On 2018-03-29 00:39, Lucas Werkmeister wrote:
Hi everyone!
In a composition I’m transcribing, there are double slurs between some
notes (see attached image, also uploaded at [1]), and the lower slurs
are right next to the note heads, inside the beams – whereas when
typeset by LilyPond,
On 2018-02-19 09:38, David Kastrup wrote:
\once \set sets tieWaitForNote once at the current point of time. That
means it will be active for the first grace note but not for the
others. Consequently it's inactive for d~ which is still followed by
another grace note before the ties are
On 2018-01-30 11:45, Thomas Morley wrote:
2018-01-30 11:40 GMT+01:00 Robert Blackstone :
Hi Harm.
Your example did not work on my system. No idea why not.
The error message mentions an unexpected } at the end. What is bothering
LilyPond here?
I've retested my
On 2018-01-24 11:56, David Kastrup wrote:
> Letting the main voice continue. Cf
\version "2.19.80"
\fixed c'
\new Voice = "main" {
r4 a( b d'
\voices "main",2
<< { \voiceOne 4) 4 4 4 \oneVoice} \\ c1 >>
}
Interesting feature! Don't forget to add it in the Changes document.
Also,
On 2017-12-15 13:30, Ralph Palmer wrote:
Greetings -
Just a reminder and note:
I have been using \relative for years and have been quite happy with
it. Perhaps my situation is fairly unique. I transcribe a lot of
fiddle tunes, then transpose them down an octave and into alto clef.
Using
ces a new line is not actioned whilst a beam is
active.
--
=====
Mats Bengtsson, Prof.
Information Science and Engineering
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
On 2017-03-23 10:18, wrote:
Hello all!
I had need of printing marks on several staves, so I moved the
Mark_engraver to the Staff context, all according to LilyPond NR, see
snippet below. Then I noticed, that I could not control the contents of
Rehearsal marks any more, except for the first one.
On 2017-03-22 11:14, lilypond-user-requ...@gnu.org wrote:
Am 22.03.2017 um 09:52 schrieb Guido van Harten:
Hi,
I think I am new to this list. A few years ago I tried Lilypond to
create my music files. It failed, but I do not remember why.
As of today I will give it a new try. Now I am
01-1006_(Bach,_Johann_Sebastian),
bottom of the page.
I clearly support the proposal to change of the voice order to a more
logical top to bottom structure, even though it would break some of my
LilyPond code.
/Mats
--
=
Mats Bengtsson, Prof.
On 08/21/2016 06:26 PM, Mark Knoop wrote:
I've just submitted an additional patch which I think addresses the
uses raised by Mats, Kieren and Abraham. See attached ly and pdf files.
Comments, particularly on usability, appreciated.
Looks good! The possibility to group staves seems intuitive.
On 08/19/2016 08:16 PM, Mark Knoop wrote:
At 18:02 on 19 Aug 2016, Mats Bengtsson wrote:
>I recently typeset a concerto grosso from the baroque period, where
>the solo and tutti parts are identical during long sections and then
>they differ for some bars, every here and there. When
I've been working on some patches to enable more flexible uses for the
Keep_alive_together_engraver. Whilst I've achieved my particular use
case, David K is (rightly) keen that any changes might also address (or
at least not rule out) other potential improvements.
(If you're interested in the
Does anyone recognize the attached marking (*)
It seems to be a spanner of some sort, perhaps indicating a cresc. or
swelling of some sort.
If so, has anyone got some code to generate it? Without a name, it is
difficult to search for ...
Richard
(*)
from an early 18th Italian composer,
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