Paul Scott wrote:
If anyone has an acceptable solution for this
I would appreciate hearing about it.
Inserting a grace spacer is fairly painless (unless it triggers issue 34).
Cheers,
Robin
{
\compressFullBarRests
R1
\tempo "rall"
\grace s1
R1*20
R1
\tempo "a tempo"
\
David Stocker wrote:
center the entire chord symbol (root and suffix) on its rhythmic axis?
#(define (centerCN grob)
(ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER ))
and then apply as
\override ChordNames.ChordName #'stencil = #centerCN
Cheers,
Robin
_
Leland Kusmer wrote:
Is there a way to do this?
Lilypond does this according to bar-glyph-alist,
by calling calc-glyph-name from within the barline print routine.
But when you override the BarLine stencil like this,
you are bypassing the barline print routine.
So try something (which calls
Werner wrote:
I tried to get a left-aligned (or offset) RehearselMark.
This could be above a dashed bar-line
Does this do what you wanted?
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\bar "dashed"
Cheers,
Robin
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Helge Kruse wrote:
I made some further experiments.
Well, I messed around a bit.
I certainly wasn't doing experiments; that makes it sound systematic.
My slurs often silently ignored the staff change; no idea why.
Two offerings, FWIW:
A: no cross-staff in right hand.
B: cross-staff in bot
Jay Hamilton wrote:
not exactly sure what that means in this case
There is an example at
http://lsr.dsi.unimi.it/LSR/Item?id=258
This sidesteps the question of horizontal space by setting ragged-right.
Do you already have enough horizontal space for the text?
Or do you expect Lilypond to ma
Here is an example of the arpeggio approach (not dashed).
Cheers,
Robin
\version "2.12.3"
#(define (thin-line grob)
(let* (
(pos (ly:grob-property grob 'positions))
(lo-hi (interval-widen pos -1.2))
(thin 0.05))
(make-line-stencil thin 0 (interval-start lo-hi) 0 (interval-end
Neil Puttock wrote:
\override ChoirStaff.Arpeggio #'stencil = #ly:arpeggio::brew-chord-bracket
I wanted to do pretty much the same last week
and ran into a familiar bug which I haven't reported yet.
To get the closing bracket right (sic), try
\context { \ChoirStaff
\consists "Span
You're welcome.
Richard Wattenbarger wrote:
If I could [ ... ] , I would!
I would prefer your response to
It would help in this regard if you could explain why you need the
bracket to be closed like this, e.g. does it involve a coda?
Cheers,
Robin
_
Richard Wattenbarger wrote:
Is there a way to force LilyPond to draw a standard single bar
instead of the ".|" glyph?
As I said, this flexibility is not provided.
Which bar lines have this side-effect is currently hardcoded in C++.
A likely enhancement would make this selection overrideable,
Helge Kruse wrote:
Why talks Lilypond German and
how can I set the language to English?
Probably because of your regional settings.
Application Usage 3.2.3 tells you about LANG, but not enough.
You need to set it to en (an ISO 639-1 code).
I don't know about Windows7,
but the attachment s
Athanasius Pelletier wrote
at certain parts where the lyrics are supposed to continue until another note.
This is discussed in Notation Reference 2.8.5.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Working-with-ancient-music_002d_002dscenarios-and-solutions#Transcribing-Gregorian-c
Richard Wattenbarger wrote:
I would like the bracket for the second ending to conclude with a vertical line
That would imply something which your example doesn't have:
that the second ending is not always followed by the neigboring measure
and/or
that the neigboring measure is not always pre
I wrote:
\once \set noChordSymbol = ""
Sorry, that typo makes it end up like skip.
You need at least one blank in the string:
\once \set noChordSymbol = " "
Cheers,
Robin
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Gerry Prosser wrote:
the dreaded N/C. But I can tipex that
Or say
\once \set noChordSymbol = ""
Cheers,
Robin
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Gerry Prosser wrote:
Capo settings really should be with the chords.
You could do this with (the simple version of) besideCN:
http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00052.html
(mangled by the archives as usual)
Cheers,
Robin
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Patrick McCarty wrote:
The cache is located in $HOME/.lilypond-fonts.cache-2
(or the equivalent on Windows)
Well, I didn't understand what "the equivalent" was referring to, but
this got me doing the same searches again, and some more, and even more.
And then I found the cache in an unrelate
Patrick McCarty wrote:
Do you think it's worth opening a separate issue,
given that fixing #975 might also fix this issue?
No, please don't bother. I just thought this info might help #975.
I can probably get by with just the 2.12.3 stable.
Although I did leave a vertically tight single she
I wrote:
And now I have also installed 2.12.3.
Both it and 2.13.9 run OK, but the others crash.
Maybe a long shot, but could my problem be related to issue 975?
http://code.google.com/p/lilypond/issues/detail?id=975
I am wary of doing something which makes _all_ the versions crash.
But b
Following Trevor's hint
http://lists.gnu.org/archive/html/bug-lilypond/2008-05/msg00137.html
I have had no problems switching between Lilypond versions by renaming,
mainly between 2.8.8, 2.10.33 and 2.12.1 (but also 2.13.1).
Two days ago I also installed 2.13.9.
It runs OK, but now the older
Hu Haipeng wrote:
Why this compilation gets only two pages?
Mmm, that's my fault.
I commented out the midi generation to save time,
and I may have needed global-staff-size 6 in the initial stage
while I had done this incorrectly.
This size squeezes much more than you need, the second page
Hu Haipeng wrote:
only a few pages [...] and some of these with staves missing
I ran this through 2.13.9. The most obvious problems are:
A:
The first page has music running off the bottom.
I suppose so many staves can't be fitted in vertically.
One of the following makes things fit on th
I suppose I'd like a filler that does *not* take up duration
You can use a breath mark for this
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Curves#Breath-marks
and then make it blank by overriding #'text or #'transparent.
gap = {
\once \override BreathingSign #'text = ""
%
David Nalesnik wrote:
I want [...] a dashed barline between the staves, while
retaining a solid barline within the individual lines.
Add the following to your \layout{\context{\Score block:
\override SpanBar #'glyph-name = #"dashed"
Cheers,
Robin
<< c4*3 2. >>
Mmm, that was where you started.
Sorry for the noise.
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Jay Anderson wrote:
I've attached a picture of the particular chord I was working on
(for viola, alto clef, in 3/4). In this case
I want to keep it explicitly notated and all in the same voice.
I suppose that this is notionally 2.
Something which sounds like that but looks like your pic
Stefan Kaegi wrote:
It actually should be under the f (in the left hand) and not before.
Then you shouldn't say \sustainOn until the cadenza has been and gone,
i.e. s1\sustainOn is all you need - because the s1 starts when the f starts.
See the bracket example in NR 2.2.2 - meas
Aaron Dalton wrote:
I want to be able to hide the accidental.
There is Mark Polesky's suppress-accidental
http://lists.gnu.org/archive/html/lilypond-devel/2009-07/msg00384.html
but that is probably overkill in your case.
You can do it by switching the style in a music function
http://lilypo
Hu Haipeng wrote:
This unterminated tie may sound odd,
and will therefore give warning to the user
Maybe, but in my case it was masked by another voice.
What brought it to my attention was the subsequent note not sounding.
See my original report (before it got garbled in 676).
http://l
MonAmiPierrot wrote:
But for \stopStaff and \startStaff it won't work at the beginning
with a "s" invisible pause.
It seems OK to me (with 2.12.1) but maybe you want it effective even earlier.
For that (and the \partial question) you could try using
| \grace s1
to get the music st
MonAmiPierrot wrote:
I also would like to be given the possibility to put the blank space
between different examples from the same musical context
For big gaps you can use \stopStaff and \startStaff and put
suitable spacer rests in between.
For small gaps you could try misusing the Breathing
Jiri Zurek wrote:
What is wrong with my syntax, please?
ly:bar-line::calc-bar-size needs a parameter.
If you get used to writing things like
\override Staff.BarLine #'bar-size = #ly:bar-line::calc-bar-size
you think that is all you ever need to say.
But the functions for grob propertie
Václav Šmilauer wrote:
other than using \markup{...} in lyrics context for every single chord
If your needs are met by (a possibly modifed) ChordNames most of the time,
you can use replaceCN to deal with the impossible cases.
http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00558.html
David Sumbler wrote:
I thought that using the slashSeparator between items
would make things clearer, but I only want it
after each complete item, not after every line.
It sounds as though each of your exercises is a \score block.
You can put (stand-alone) markup between these blocks; see
ze patavinas wrote:
I don't understand why it does not print the stem and the notehead
It as if it doesn't like the notehead style being undefined. Just add
#:override '(style . 'default)
Cheers,
Robin
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bradford powell wrote:
When I try that (with something like (draw "4" 1)),
I still get: error [...] (#:flat)
Sorry. This must be related to the restriction I referenced.
It seems that instead of
(make-list bends #:flat)
you have to say
(make-list bends (make-flat-marku
bradford powell wrote:
This doesn't work, any suggestions?
#(define* (draw hole #:optional (bends 0))
(markup (make-line-markup (make-list bends #:flat )) #:circle hole))
The make-list result is not itself a markup;
for that, it must be passed to something like #:line.
And then t
Kim Shrier wrote:
I am trying to place a right comma just to the right and a little above a note.
This alternative may do the spacing better:
c4 \once \override BreathingSign #'Y-offset = #0 \breathe
Cheers,
Robin
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Kim Shrier wrote:
there is something I need
#'outside-staff-priority ##f
Cheers,
Robin
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It looks fine here too, with 2.12.1.
But I noticed my editor was garbling some IPA.
It is set to use DejaVu Sans Mono.
If I change your lyrics font override to DejaVu Sans Mono,
then Lilpond garbles my output too.
Cheers,
Robin
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And this is my attempt (see droeyende.ly).
For the alignment I used 2 force-hshift overrides (in voices 3 and 4).
You can certainly use arpeggioBracket here, but it is so inconvenient:
- put the Span_arpeggio_engraver in the right place
- turn on connectArpeg
Frédéric Bron wrote:
Any idea?
Well, there is LSR 428.
http://lsr.dsi.unimi.it/LSR/Item?id=428
From this you would expect
\set Score.voltaSpannerDuration = #(ly:make-moment 7 8)
to work, but it doesn't.
It seems the bracket is hung between barlines
(something this snippet doesn't ment
Graham Percival wrote:
in addition to the webpage, the documentation has been slightly reorganized
As regards inurl searching, I assume
- the Kainhofer demo doesn't show me what the urls will be like;
specifically
- the breadcrumb .../Documentation/... will not be right at the top
Valerio Pelliccioni wrote:
highlighted with a line with square ends lying above the bar
and the word "Bis" in the middle of the line.
You could use an analysis bracket (see NR 1.7.2) with added text.
Combine
http://lists.gnu.org/archive/html/lilypond-user/20
fiëé visuëlle wrote:
I need the alternate voice only in some places.
This may be implying that you don't want to set the main voice as
\voiceOne, but rather keep it as (the implicit) \oneVoice.
If this rest collision behaviour is the only thing that is bothering you,
try the following slight
fiëé visuëlle wrote:
The parentheses are a bit too small in comparison to the fermata
You can apply an override for this. See
http://lsr.dsi.unimi.it/LSR/Item?id=421
Cheers,
Robin
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fiëé visuëlle wrote:
and since fermata is a TextScript element, I thought this would work
It is a Script element and doesn't use #'text.
You would have to do something like fermataLong
in the code for the initial example (the headword) in NR 2.2
http://lilypond.org/doc/v2.12/Documentation/us
Nick Payne wrote:
How can I increase the length of the arpeggio bracket on seconds and
thirds, which at their default lengths are ridiculously short.
You can lengthen an arpeggio using the workaround given in
http://code.google.com/p/lilypond/issues/detail?id=794&q=arrow
which i
Nick Payne wrote:
I have no idea why a different override is required just for that one
Oh dear!. More queer things going on.
The picture may give you an idea why (to a certain extent).
I have the impression you missed my suggestion in the last thread.
http://
Kieren MacMillan wrote:
in the second bar, using the same override does nothing to
increase the spacing between the arpeggio and the preceding note.
Hmmm... that's probably because of the multiple-voices... but seems
like maybe a bug?
It is as if Lilypond thinks the span arpeggio
Marc Hohl asked:
why lilypond still (at least sometimes) displays stems
You probably haven't enabled no-stem-extend
Cheers,
Robin
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Stefan Thomas wrote:
cis cis cis cis | % the sharp sign is too much left!
gis' gis gis gis | % the note and the sharp sign are too much right!
Well, erm, how far do we want to get into fine-tuning?
OK, it looks like you only want one glyph at a time.
Torste
Stefan Thomas wrote:
I don't understand why the distance between the barline and the cis
is better if it is a whole note but not, if it is a quarter note.
Well, the whole note has more room because it isn't sharing the measure
with any other notes.
But the barline col
fiëé visuëlle wrote:
Would you move the eights in the second measure to the right
or combine the different note heads or what else?
Would you change the stem direction?
I think your specific readability criteria should determine whether
you combine noteheads or change the stem direction
i.e.
MarcHohl wrote:
Is there a different approach I can use?
If the three-part \fill-line is so dominant,
I suppose you have to cope using ordinary lines.
But \concat and \with-dimensions might make this easier to twiddle:
maintain total \hspace by hand.
matrix = \markup {
\overrid
Tim McNamara wrote:
The first coda glyph should be at the end of bar 28
See LSR 432.Before the \break, add
\once \override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
LilyPond won't put the coda glyph at the beginning of bar 31.
At leas
Andrew Giddings wrote:
I've searched the manual, the mailing list archive,
and the web, but I couldn't see anything directly relevant.
Did you see these?
http://lists.gnu.org/archive/html/lilypond-user/2007-07/msg00127.html
http://lsr.dsi.unimi.it/LSR/Search?q=semichoirstaff
Cheers
Jonathan Wilkes wrote:
I've tried zigzag-width, thickness [...] but with no results.
These work if you use the zigzag style (which is not built from glyphs).
\override TrillSpanner #'style = #'zigzag
Cheers,
Robin
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Patrick Schmidt wrote:
is it possible to align the coda signs underneath "D.S. al"?
Well, this makes the markup narrower
and then you start to see that we had no horizontal centering.
Using a breathing sign instead of a note head makes it easy to
anchor the markup in the middle of the
Jeroen Heijmans wrote:
But I'm not content with the results.
It fills the page better if you don't zero between-system-space.
Cheers,
Robin
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Patrick Schmidt wrote:
How can I center the text vertically
Texts added as in NR 1.8.1 are kept above (or below) the staff.
You will find it difficult to persuade Lilypond to move these inside.
[And as regards c' c' c' c' c' c' c' see \textLengthOn]
[And afterstencil = ##fsay
Trevor Daniels wrote:
it seems like you're suggesting NR 5.3.4 is not correct.
I was talking about the 2.12 NR.
I understood its unqualified "cannot" to be the well-meaning advice:
- don't waste your time trying.
So I didn't.
But Mark questioned this in July,
and you updated the
Torsten Anders wrote:
I really owe you something :)
Well, it's Mark Polesky we both owe.
Without him, all small-time Schemers like me would still be
believing the very plausible explanation in (the 2.12) NR 5.3.4
of why \tweak cannot be used to modify accidentals.
Cheers,
Robin
Torsten Anders wrote:
Now, there is only a minor flaw now: the distance between a note and
the related accidentals is rather big. In fact, accidentals are more
close to the preceding note than the note they belong to.
I'm way out of my depth here,
but it looks like markup is appending spa
Torsten Anders wrote:
Lilypond does not know about multiple-sign accidentals, so I
somehow have to create more horizontal space for these manually.
The following code tries to adjust this spacing automatically.
But I haven't tested it with your font.
%
Torsten Anders wrote:
However, I failed to do the same for chord tones.
Something like this?
%%
tweakAccidental =
#(define-music-function (parser location mkup mus) (markup? ly:music?)
(set! (ly:music-property mus 'tweaks)
(acons 'before-line-breaking (accidenta
Have a look at
filled: http://lists.gnu.org/archive/html/lilypond-user/2008-10/msg00516.html
hollow: http://lists.gnu.org/archive/html/lilypond-user/2009-05/msg00593.html
Cheers,
Robin
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Jonathan Wilkes wrote:
I see a "cross-staff" property for grobs
But this doesn't mean that every sort of grob has it, or uses it.
The file define-grob-properties.scm lists about a dozen grobs which do:
Beam, Stem, Slur, TupletBracket, among others, but not TieColumn.
So your TieColumn
Jonathan Wilkes wrote:
I tried fooling around with tieWaitForNote
You didn't show your code, so it's not easy to guess what you tried.
I have no cross-staff experience, but it looks to me like
the cross-staff run is a lot better supported than
the cross-staff chord (where you have to cho
Patrick Schmidt wrote:
is there a way to achieve repeated ties of selected notes of a chord ... ?
This is rather like Nick Payne's LaisserVibrer question in
http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00313.html
because both are what Lilypond calls semi-ties.
Maybe you
James E. Baileywrote:
for example ə?
Here is a rather inconvenient way:
\markup { "X: " \postscript #" -1 1 scale (_e) show" }
\markup { "Y: " \postscript #" 1 -1 scale (_e) show" }
Cheers,
Robin
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David Stocker wrote:
Any hints on forcing the arpeggio line to the right
to make the placement more natural would be appreciated.
For the first case, fiddle with the padding.
Negative works too, e.g.
\override Staff.Arpeggio #'padding = #-0.4
For situations where this doesn't work, see
htt
And staffName wants symbol? notstring?
Sorry; forget that.
The parameter given to \ossia should be #"main" not #'main
Cheers,
Robin
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Trevor Daniels wrote:
like this:
And staffName wants symbol? notstring?
Cheers,
Robin
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Denis Roegel wrote:
I am trying to center a markup under a bracket
This was discussed recently here:
http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00426.html
But, instead of OUHM, you could perhaps do it like the "Expressive marks"
snippet "Center text below hairpin dynamics"
Christian Henning wrote:
I'm struggling with sus4 chords.
...
unexpected STRINGsus4
This is notemode complaining.
It is the default input mode:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Input-modes
sus4 is meant only for chord mode.
But note mode is digesting your mu
Maybe it used to read -\tweak #'extra-offset #'(6.2 . -5.6)
Cheers,
Robin
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lelangir wrote:
Running a search for "roman numeral" on the one big page
If you don't find things in the documentation,
try searching this mailing list and the snippet repository too.
Have a look at this (the example from Matthew Durell):
http://lists.gnu.org/archive/html/lilypond-user/2008
Tim Walters wrote:
Is there any way to [...] leave the same amount of white space
as would be used if lyrics/chords were present?
This amount can vary.
The vertical space allotted depends on what is being typeset;
e.g. Cm needs less height than Cm7
Based on a discussion last September
Look for "swing" in the LSR.
http://lsr.dsi.unimi.it/LSR/Search?q=swing
Cheers,
Robin
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A phrasing slur goes all the way.
(Don't ask me why!)
Cheers,
Robin
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David Bobroff wrote:
for some reason the "rs" of "GFirst" is coming out italicized as is.
This is because the voltas use the music font
and it has special letters for doing dynamics like sfz and rfz.
The way described in NR.1.4.1. at "Text can be included ..."
would in your case define mar
Marc Hohl wrote:
This worked fine with ties, but when I try the same with slurs,
it simply shows no difference.
(display right-bound) says
- Tie: #
- Slur: #
Cheers,
Robin
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Mark Polesky wrote:
Does anyone have a suggestion?
Some time back I chose this missing bracket as a theme for a Scheme exercise.
Nothing revolutionary, just to get some practice in Scheme.
It has the limitations arising from misusing Arpeggio.
I found it needed a lot of different tweaks to
Werner wrote:
% innerhalb des score-Blockes („neben“ dem layout-Block)
% Ausgabe einer Mididatei (zum Anhören/Abspielen)
This bit of comment describes how to get Midi and PDF coming out the same.
When you want them coming out differently, you use _two_ score blocks:
- one score block has \m
Adam Good wrote:
I vaguely remember an example
That would be the 'easy play' noteheads mentioned in NR 1.1.4.
But you probably want something more like this:
cabbage = { c a b b a g e }
\score {
<<
\new NoteNames \cabbage
\new Staff { \clef bass \cabbage }
>>
}
Cheers,
Robin
Jesús Guillermo Andrade wrote:
How can I put it below the chord symbol?
These marks, i.e. RehearsalMark, are normally put above everything else.
This is done by having the corresponding engraver in the Score context.
You can move the engraver down to where your melody is by doing
\layout {
\
Karenee Herman wrote:
Somehow, the bass line ends up offset from the treble
The second bar of "lower" should beR2. (for a 3/4 bar).
So it's not really the triplets giving trouble.
please forgive me if this seems simple!
Forgiven.
Cheers,
Robin
_
Have a look at LSR 402:
http://lsr.dsi.unimi.it/LSR/Item?id=402
(The \mark command makes a RehearsalMark.)
Cheers,
Robin
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For starters,
have a look at these snippets in the LSR:
http://lsr.dsi.unimi.it/LSR/Search?q=coda+segno
Cheers,
Robin
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Kalirren wrote:
In general, is it possible to create a laissez-vibrer tie that
lasts a certain length of time, or until a certain note?
Probably not, because IR 3.2.85 [1] says it is
A tie which is only on one side connected to a note head.
You could however make it _look_ longer, but then
-
Kalirren wrote:
Does anyone know of some other workaround?
It's rather crude, but the following override makes your slur horizontal:
\relative c' {
\once \override Slur #'positions = #'(-3 . -3)
\slurDown e8 ( r16 r8.)
}
Cheers,
Robin
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Chip wrote:
but no matter what numbers I put in the positions parameters the slur
does not move.
The \once makes this override act only on the c'2 and the c'2 has no slur.
The override acts on the slur if it comes after the c'2,
but it moves the slur vertically; not what you wanted.
Ho
Lewis Overton wrote:
I'm curious about what others are doing to print a "scoop"
I have an occasional need for this when transposing saxophone parts,
and then I use brackettips as you do/did [1].
I first did such bends in a clumsy beginners way and had to put the
brackettips in a dedicated a
Mark Austin wrote:
Is it possible to enclose a note in brackets?
Use \parenthesize
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Inside-the-staff#Parentheses
Cheers,
Robin
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Does anyone have an idea why the fourth system is put on the second page
I'm out of my depth here, but if your title is done
the normal Lilypond way, with bookTitleMarkup,
it counts as a system too.
So might the pagebreaker be putting 4 systems on all pages?
And have you tried
Nick Payne wrote:
If I have one note each bar that requires a direction change, then
it's actually simpler to use the \once command,as \stemUp requires
the corresponding \stemDown or \stemNeutral after the note.
I found it quite a disappoinment to discover that apparently
similar things lik
Boris Lau wrote:
I thought it would be quite natural if this would do the job:
\override Staff.BarLine #'break-visibility = #'#(#t #t #t)
but it doesn't.
Certainly a reasonable expectation.
This is normally #'#(#t #t #f), but there are cases when Lilypond
switches over to #'#(#t #t #t) auto
Mark Austin wrote:
I'm putting the finishing touches on a book of English folk tunes,
but have a few problems.
I suppose it's rather crude, but I like using \null for things like this.
So, for the footer:
\markup { Engraved ... }
becomes
\markup \fill-line { \null \line
Jonathan Townes wrote:
the use of fingerings would be much faster and require less typing
This nice aspect of fingerings is due to the parser knowing what a
fingering looks like. But this is defined as being a single digit,
so you only have ten things you can ask for (corresponding to 0 .. 9)
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