Valentin Villenave wrote:
Rune had kindly answered me, but I guess he hadn't got the time to
figure out how to do it; this is why I ask again today, in case
someone couls help me.
I am really sorry, I totally forgot. :+/
I am very busy the next couple of weeks - but I won't forget it again.
Graham Percival wrote:
Yes,
http://lilypond.org/doc/v2.11/input/lsr/scheme/collated-files
(final example)
The example seems to be broken, though. It outputs the same scales
twice, not reducing the amount of accidentals.
-Rune
___
lilypond-user
[EMAIL PROTECTED] wrote:
is it possible to transpose a musical expressions diatonically?
What do you mean by diatonically.
Do you mean that c e f g transposed one note upwards should become d
f g a?
It is quite easy to do this so that it works in c major, but also
handling other key
Stan Sanderson wrote:
Does this latest incarnation break the current-time seed? Successive
compiles produce
the same output for me. The previous version worked as described.
That is weird. Over here it works fine. (2.10.25 amd 2.11.25)
-Rune
___
Alan Jones wrote:
I need a way to specify which beats the words of my
lyrics fall on independent of the voice that they are
associated with.
I think your problem are somehow related to a weird bug in latest
lilypond versions.
I have posted a bug-report on the bug-list.
-Rune
Valentin Villenave wrote:
this is simply awesome! I just added it to the LSR, as other users
might be interested.
Okie.
Though, I would like somebody with rights to change the LSR (cc Graham)
to replace the randomish number with (current-time) - so that the
snippet reads
\version 2.10.0
Valentin Villenave wrote:
If I might add: this is really one of the best snippets I've ever seen
in the LSR! :)
Thanks :-)
Well, I think the example is rather clumsy, creating the entire thing in
a scheme-expression.
I had hoped to be able to use \repeat unfold 256 to do the iteration,
but
Adam Good wrote:
This is just too cool! Really thank you for sharing it.
:-)
One thing, for me I'm only getting the pitches of C major, how can I do
all 12 notes of the chromatic scale?
Okay, in this one you can freely select which notes to choose from by
changing the list in the top of
plasmacarwash wrote:
I'm a newbie and I'd like to create a blithe score of quarter notes purely
for practice from middle c up an octave and half to g.
This .ly outputs 256 random notes.
It will produce the same 256 random notes each time you run it, but you
can create 256 new random notes by
Ole Schmidt wrote:
Is there a way to define the sub-beaming like in the first 2 eight notes
in the example
I Remember I wrote it in the manual some time ago, but it aparently fell
out.
\version 2.10.15
\new Staff {
\relative c''
{
\set Score.beatLength = #(ly:make-moment 1 8)
Ole Schmidt wrote:
thank you, but this works inside my score only in the 3/8 and 5/8
measures but not in 4/4, 3/4 and 2/4, any idea?
Weird. Can you give an example where it fails?
-Rune
___
lilypond-user mailing list
lilypond-user@gnu.org
Ole Schmidt wrote:
\set Score.beatLength = #(ly:make-moment 1 8)
...
\time 3/4 c8)[ a16.( fis32] b16.[ fis32 c'16. fis,32] b16.[ d32 c8]) |
Ah.
It is because the \time-statements reset the beatLength-value to the
denominator of the time signature. So you need to set the beatLength
Rune Zedeler wrote:
So you need to set the beatLength
again after each \time-statement (that has a denominator that is not 8)
... Or alternatively, you can make a little scheme function that sets
the time signature and measure-length without touching beat-length.
\version 2.10.15
% timenb
Scott Miller wrote:
OK I see. Thank you. I was expecting a default perc clef to act as a
treble clef.
A very important reason for the percussion vlef not to behave like the
trebble clef is that the percussion clef is often used on staves with
another number of stafflines than five.
The
Valentin Villenave wrote:
[Was: An extra accidental-style might be needed]
If I understand you request correctly, the only new feature needed is
the ability to distinguish between a note that has just ended, and a
note that ended somewhat earlier in the same measure.
I will take a look at
Thomas Ruedas wrote:
I'm trying to typeset a piece for solo piano where temporarily a third
staff is needed.
http://mutopiaproject.org/cgibin/piece-info.cgi?id=314
-Rune
___
lilypond-user mailing list
lilypond-user@gnu.org
Hi Jared!
I am surprised that the manual has no information written specificly for
blind people. I am pretty sure that we have had other blind users (for
the obvious reasons that you specify). Not able to find it in the
archives though.
If you would help writing a section for blind people I
Rune Zedeler wrote:
I have attached a small example that produces midi output.
Whoops, I forgot to attach.
Here goes.
-Rune
\version 2.10.0
melody = {
\time 3/4
\key d \major
\set Staff.midiInstrument = flute
d''4 d''8 e''8 fis''4 |
g''4. fis''8 e''4 |
d''2 cis''4 |
d''2
I don't really get...
What is the problem with just serching on the one big page docu?
-Rune
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Palmer, Ralph wrote:
I'm trying (right now) to reproduce only the
piano part (i.e., the bottom two staves) in the measure in the attached
.jpg.
Because the two arpeggia overlap you actually have two voices, and
therefore need to typeset them in two voices.
In the following i use the
Mats Bengtsson wrote:
The easiest solution is to exploit the clever trick provided in
http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00359.html
Really no need to use any tricks.
The composer clearly sees the two arpeggii as separate voices and you
therefore should represent them
Turn off the tagline with
\paper {
tagline =
}
and run
$ convert -trim music.png music_trimmed.png
-Rune
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Frédéric Chiasson wrote:
I would like to know if it is possible to write beamed eighth notes and
tuplets as tempo indications. I would like to write the following
If you don't care that the code is ugly:
\version 2.10.10
shuffled = \markup \score {
\new RhythmicStaff \with {
\remove
Stewart Holmes wrote:
2.10.9.
Okay.
I can reproduce in latest stable (2.10.10) but not in latest dev (2.11.10).
If it is important for you you could try to update to 2.11.10. Otherwise
wait for 2.12.
-Rune
___
lilypond-user mailing list
Graham Percival wrote:
1) I'd like to generate a 'small' pdf, to be embedded in a text,
rather than a regular page
Read (in the 2.11 docs) chapter 14, especially 14.11.
I would even say especially 14.2 :+)
3) Possibly, I'd like to make the rhythmic staff and the key transparent
It's
[EMAIL PROTECTED] wrote:
But to get no cautionary key signature at the end of a line
(when the key signature changes on the following line),
I wasn't able to figure out how to accomplish that at the point
(some time ago) when I would have preferred to do without the
cautionary key-change
Michael Kiermaier wrote:
I would like to extend that behaviour to the next two or maybe three or four
measures, since the measures are relative short in my case (3/8 time
signature). Is that possible?
If you want the modern accidentals to be remembered over 3 bar-lines
(instead of the
yota moteuchi wrote:
How do I do with lilypond what it's called in french : marche
unitonale (that I can not translate in english)
I did that long time ago:
http://www.mail-archive.com/lilypond-user@gnu.org/msg00067.html
Here the file is converted to 2.10 (only tested on 2.11 but guess it
David Raleigh Arnold wrote:
The proposed new relative mode has more typing than the present
relative mode, yet it is no more readable, so it seems to me to have
the disadvantages of both and the advantages of neither.
If you are referring to my proposal then it is not true for intervals
less
David Raleigh Arnold wrote:
I guess I didn't understand your proposal then, or you changed it and I
missed it. Sorry. I'm happy to withdraw my characterization of it
having the disadvantages of both, etc.. To quote:
So »c d e d c« and »c d' e' d, c,« would mean the same thing.
I don't
I have an alternative suggestion for a relative mode.
f gives the f closest to the previous note - just like in relative mode.
f' gives the first f above the previous note.
f'' gives the second f above the prevous note.
f, gives the first f below the previous note.
So »c d e d c« and »c d' e' d,
Amelie Zapf wrote:
Is there a way to install two versions of Lilypond on one computer (Linux,
preferably system-wide), without running into problems? I tend to think that
fonts, and generally the whole LaTeX interaction could be a problem. Is that
so?
I think that the easiest way (the one I
David Raleigh Arnold wrote:
It really wouldn't be that difficult to make a setting to
make-key-signature-chromatics true which would do what it
says and leave notes which have accidentals alone.
Yes it would.
This way the music definitions would be context dependent, meaning that
the same piece
Lucas Gonze wrote:
Given the following score, the 2nd note should come out in the DVI as an
F sharp, but is instead an F natural. Any suggestions? Have mercy -- I
am still struggling through the hello world stage.
\score {
\notes {
\clef treble
\time
Atte André Jensen wrote:
2) I'd like to be able to have the bassnote printed in lowercase instead
of uppercase. Possible? If so is it a question of hacking
chord-name.scm?
3) I'm Danish. In this strange country we write H when everybody else
writes B. So how do I get B in chordnames?
Take a look
David Bobroff wrote:
In the following example I want to reduce the beams between the first
and second notes. According to the docs:
\property Voice.subdivideBeams = ##t
..is what I need to use. It is having no effect. What am I doing
wrong?
The docs say tgat subdivideBeams subdivides the beams
Joerg Anders wrote:
I'm about to improve the NoteEdit drum notes export.
The lilypond drum notation is currently not working properly in 1.7.
When I get time and energy ( :-( ) I will make some better drum support.
I don't think that you should spend much energy in supporting the
current (1.6)
Quoting Graham Percival [EMAIL PROTECTED]:
Quick question -- how can I have multiple translations on the same context?
\translator {
\VoiceContext
Fingering \override #'padding = #2.0
Fingering \override #'font-relative-size = #1
}
The following snippet only applies the second
Quoting David Koch [EMAIL PROTECTED]:
I need to see the following above my staff:
G/B C/E
You don´t mention what you tried - but you probably did g/b instead of g/+b :-)
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
Jonas Lindström wrote:
I would like to create a tie between two notes with enharmonic pitches,
We have had this discussion before.
The conclusion was that a construct like that made no sence and hence
should not be supported by lilypond.
I realize that we often see tied enharmonic notes in
Is it possible to build lilypond relocatably so that you can move the
files around and it will still work?
I need to build with different prefix and exec-prefix - ofcourse the two
should be defined relatively to each other.
-Rune
___
Lilypond-user
Jeremy Cowgar wrote:
How can I made a chord reference (name on top of staff) span say 4 or 5
measures? I do not want to repeat C C C C C C C C C C G G G C C C ...
c1*5:m7
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
Ralph Little wrote:
Can anybody explain why, despite having a fs specified by the current key
(for G Major), fs or fis needs to be specified, rather than just
assuming that the key fills in the gaps?
I don't really understnad what you expect/request.
Would you like to be able to simply
Matthias Geier wrote:
I don't understand anything of your code, but it works exactly as I
wanted it. It's great.
Well, yeah, it is an ugly hack.
In january I will try and finish the accidental-engraver, so that the
new version can make it into 1.8.
I shall remember your request, and try and
Ralph Little wrote:
HEEEYYY! COOL DOWN Mister!
Uh, oh, sorry. My bad.
No, that is incorrect. It would be correct it you had to handle accidental
policy in the notation specified, but you don't. All I am suggesting is that
where the key signature gives a default, that default should be
Art Moore wrote:
I'm new to lilypond and so here's my question:
how do I transpose a complete piece? I want to print
out several transposition of the same song, but I
can't figure outthe syntax.
Did you read
Matthias Geier wrote:
What I need: There should be accidentials before every note, even if
it's just a natural sign. On note repetitions there should be an
accidental only before the first note and nothing before the following.
It's the way Schoenberg used to typeset his works.
Uh, I am
s.abeccara wrote:
When I state a key for a piece in Lilypond I expect it to follow
common rules for writing music,
Lilypond DOES follow common notational behaviour.
You specify which notes the music should contain, and then lilypond
decides how to typeset the accidentals on basis of the
(sorry sending reply to the wrong posting - for some reason I didn't
receive the posting from s.abeccara)
Simon Bailey wrote:
| if i'm reading a piece in g major, then i
| will read any note in the bottom space of the treble staff as an
| f-sharp, not as an f. so i write fis for this
After a small bugfix in the accidental engraver (1.7 cvs), this hack
does more or less what you request.
The last measure shows an example where it goes wrong. Problem is that
the music is parsed in input order - so the 2nd e gets an accidental
because the 1st was not entered yet, whereas the
Andreas Loosen wrote:
\property Voice.Script \override #'padding = #2
This is easier to read, I think, since the upbow sign is above the slur.
Will the padding be global from this point onwards?
Yes, for scripts in that voice.
How can I reset it?
\property Voice.Script \revert #'padding
Mats Bengtsson wrote:
Set the environment variable KPATHSEA_DEBUG to '-1'
Run dvips on the .dvi file and pipe the standard error
output through 'grep music-drawing'. This should tell you
where the programs searches for the file.
I tried that.
It searches in $DATADIR/dvips whereas we only have
I solved the guile problems, and managed to build and install lily 1.6
at the uni.
Lilypond also compiles files with no problems (apart from problem with
determining size of tex-fonts. Perhaps more on that later).
Problem is that dvips and xdvi cannot find the
music-drawing-routines.ps even
Graham Percival wrote:
One of these days I'll add a note to HaraKiri refman that empty lyrics
don't count as empty bars.
A Much Better (tm) solution would be to add a property telling whether
to look at lyrics when determining if a measure is empty.
This would also solve the lyrics as
Jan Nieuwenhuizen wrote:
--with-kpathsea-inc=/users/kaja/texlive/Master/lib
--with-kpathsea-include=/users/kaja/texlive/Master/include
?
Whoops. Unfortunately it didn't help spelling the option right.
Master/include does not exist, but Master/lib contains a kpathsea.h and
no other .h-files.
Once again I tried to install lilypond at the university.
Old readers will remember that I had problems with kpathsea because of
the texlive-distribution runned here didn't by default ship with
kpathsea.
Our tex-administrator now has directed me to a local installation of
kpathsea.
If I add
Jens Haug wrote:
I'd like to add some symbols for jazz articulations to my notes.
The most important ones are the fall (like a slow glissando
from the note down to nowhere), the opposite of this (kind of a
glissando from nowhere up to the note), and the bend (dropping
the the tone by
Jens Haug wrote:
It's a line that looks like a slur (open side up, like a slur
under two notes) that is placed before the note like a glissando
or above a note like a legato.
bend = #\\embeddedps{0.2 setlinewidth -0.5 0.3 moveto 0.8 -0.5 1.6 -0.5
2.4 0 rcurveto stroke}
...
a^\bend
Jens Haug wrote:
What can I be doing wrong?
Nothing. I just forgot to test my klkudge against 1.6 :-)
Try this instead.
Notice that this is temporary. What we really need is to get
script-horizontal working!
-Rune
\score {
\context Voice \notes \transpose c''' {
c4*1/2
Rune Zedeler wrote:
Try this instead.
Sorry, wrong attachment. THIS one!
-Rune
raise = #\\embeddedps{0.2 setlinewidth 0.2 -0.2 moveto 0 -1 -0.7 -1.8 -1.2 -2
rcurveto stroke}
fall = #\\embeddedps{0.2 setlinewidth -0.2 -0.2 moveto 0.5 -0.2 1.2 -1 1.2 -2
rcurveto stroke}
bend
Jens Haug wrote:
That's why I'm so keen
on having zigzag lines for this purpose.
Hov about this?
-Rune
raise = #\\embeddedps{0.2 setlinewidth 0.2 -0.2 moveto 0 -1 -0.7 -1.8 -1.2 -2
rcurveto stroke}
fall = #\\embeddedps{0.2 setlinewidth -0.2 -0.2 moveto 0.5 -0.2 1.2 -1 1.2 -2
rcurveto
David Bobroff wrote:
\time 3/4
...
\cadenzaOff
\property Staff.fontSize = #0
f8.-\trill( es32 )f | es4 r r |
The 1st measure after cadenzaOff is only 1/2 (1.5/8+1/32+1/32) and not
3/4 - and hence you DO have a bar check failure. What did you expect?
-Rune
Simon Bailey wrote:
\context Staff = rh
\dynamics
\rightHand
\context Staff = lh
\dynamics
\leftHand
Usually I just do
\context Staff=pia \dynamics \rightHand \leftHand
No need to use two midi channels for the piano (unless you have the
Erik Sandberg wrote:
I can not find anywhere in the documentation how to make good-looking da
capo texts properly. Most D.C.:s I see in Real Notes use to be placed below
the staff, with its text right-aligned to the left of the last \bar (and it
use to be written out in all staves, too).
David Bobroff wrote:
want some of the parts transposed. The problem I run into is that
\transpose has to come after \notes and \notes is contained in the
music file.
You can just add a notes statement in the score-file (before
\transpose). It is no problem that the music definition
Mats Bengtsson wrote:
Why not use the official solution:
\property Staff.NoteCollision \set #'merge-differently-dotted = ##t
?!?!?!
What do you mean?
#'merge-differently-dotted does the opposite of what we need -
effectively ruining my hack.
Please post full example if you have some smart
David Bobroff wrote:
How would I get the two noteheads with
stems?
Sorry but I can only come up with this very ugly hack:
a4 \\ \once \property Voice.Dots \override #'transparent = ##t a4.*2/3
It probably even ruins the spacing because it adds space for an
invisible dot.
-Rune
Rune Zedeler wrote:
a4 \\ \once \property Voice.Dots \override #'transparent = ##t a4.*2/3
It probably even ruins the spacing because it adds space for an
invisible dot.
Ofcourse the solution to this is to replace the property-setting with
\once \property Voice.Dots \override
Antonio PALAMA' wrote:
Is this intentional or is it a bug?
It is intentional.
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
Dmitry Rutsky wrote:
OK, how to syncronize them properly? Look at the example...
What is the problem?
The upper staff contains one quarter per two eights in the lower staff -
as it should.
If you wan't triplets instead of eights then you should use the triplet
features of lilypond (\times
David Raleigh Arnold wrote:
How do I get a flat on a rhythmic staff?
\translator {
\RhythmicStaffContext
\consists Accidental_engraver
}
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
Quoting David Raleigh Arnold [EMAIL PROTECTED]:
Rune \version 1.6.3
Rune \score {
Rune \notes \transpose c'' {
Rune \key f \major c4*1/2
Rune \once \property Staff.KeySignature = \turnOff \key c \major s8
Rune \transpose d' { \key f \major c4
Simon Bailey wrote:
when i run lilypond over this fragment, i get a natural sign in front of
the c in the second (first full) measure. this doesnt seem logical to me
(even though some players may find it helpful).
Congratulations, you have found a bug!
I have fixed it in cvs (stable branch),
Jule Slootbeek wrote:
warning: Too many clashing notecolumns. Ignoring them.
see
http://lilypond.org/stable/Documentation/user/out-www/lilypond/More-basics.html#More%20basics
at the bottom - just above the summary.
-Rune
___
Lilypond-user
Rune Zedeler wrote:
I have fixed it in cvs (stable branch), so you will either have to wait
for 1.6.4 or download the cvs version - or do without partial measures
to get the accidentals correct.
While you are waiting you can ofcourse make a kludge:
Replace \partial 4 with
\property
Mats Bengtsson wrote:
The trick is to typeset them scripts. Try
c^#'(music accidentals--1)
Problem is that theese accidentals don't transpose - and hence the above
should be considered a hack.
When 1.7 (the new development branch) pops out I will have a look at the
accidentals code and
Moray Allan wrote:
In lyrics mode, how can I enter a literal % without Lilypond
interpreting it as a comment? - Escaping with backslash doesn't help.
Yes, escaping with backslash DOES help. I could not in any way force an
error as long as I escaped the percent mark.
Perhaps your problem is
William R Brohinsky wrote:
I can't get a final barline to appear.
The manual says (under Bar Lines):
The command \bar bartype is a short cut for doing
\property Score.whichBar = bartype
The property is used by the timing engraver which you have moved to
staff level, and hence you need to
Rune Zedeler wrote: the same as Laura an Han-Wen.
Sorry, but it seems like there is some problems with the sending of
mails - at least I haven't received anu mails the last 16 hours, and
hence I did not see the two other replies before i browsed the online
mail archive.
-Rune
David Raleigh Arnold wrote:
So how do I set up a banjo 5th string now?
g'/1 = 5
--
---
g'/5 = ---0-
gis'/1 = 6-
---
-
Karl Berry wrote:
I tried:
\property Score.BarNumber \override #'break-visibility = #procedure all-visible
(d)
but (not surprisingly), this just gets `Unbound variable: procedure'.
It would be nice to have this as an example in the manual, whatever the
answer is ...
Yes, I agree.
Karl Berry wrote:
1) Everything is shifted down by one line -- the first note is printed a
line space below the real bottom line, the second note is printed on
the bottom line instead of the second-to-bottom line, and so on.
Yes, this is a bug.
I have fixed it in cvs - it should appear
KevinKnaus wrote:
I have read from a number of sources that to change the number of strings from
the default six I need to put in the line:
StaffSymbol \override #'line-count = #5
Congratulations, you have found a bug.
It has been fixed in CVS. Unfortunately it didn't make it into 1.6.1,
Minh A. Hoang wrote:
1. can't start a staff with a grace note.
e.g c4 c \break \grace d4 c2
The problem is not the grace but the fact that you try to break the line
in the middle of a measure.
Try
c4 c c c \break \grace d4 c2 c
instead.
2. new time signature in new line leaves an extra
Anna Langley wrote:
snip very interresting letter
I am also alive and read most of the music I play from these upside
down systems (i.e. Italian Tablature)!
Yes. But currently the notational stuff is not what we are discussing.
Ofcourse we should add properties to turn the Tab upside down -
David Raleigh Arnold wrote:
Thanks much. The scholarly poster is right that there are
historical instances of putting the first string at the
bottom, but English renaissance lute tablature and all
modern tabs have the first string at the top so the
low notes will be on the bottom. *No one
David Raleigh Arnold wrote:
The syntax for tab is clever, but still unacceptable.
Entering tab by using a 1 for the 6th string, 5 for
the 2nd string, etc., simply won't do.
[...]
Please fix this *now*. String number 1 *must* be
the first string which belongs at the top line of
the
David Raleigh Arnold wrote:
2. How does one get rid of the stems in the tab?
\property TabStaff.Stem \override #'transparent = ##t
I must agree that this is a bit tricky - and badly documented - though...
Setting the property on a higher level does not work because the
TabStaff then reverts
Han-Wen Nienhuys wrote:
I think it should be possible with
\translator StaffGroup = up
\translator Staff = stwo
No, this was also my 1st thought.
Problem is that the child of StaffGroup is Staff, and hence
\translator StaffGroup = up tries to move the STAFF (and not the
VOICE) to the
Keith and Margaret Stanley wrote:
I do not want to publish music as a whole but a often would like to
rewrite music presented in treble clef one octave lower in either bass
clef or (probably better) in tenor clef. Can your program help with
this or can you point me to a suitable program.
Han-Wen Nienhuys wrote:
addendum: it seems to work over here, but only for on the first
invocation of emacs-client. Weird.
Ditto here.
But can you use point-and-click (more than once) ?
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
Han-Wen wrote:
input/regression/beams-funky.ly
This is about to be the coolest thing I have ever seen! :-)))
Shame that the sloping of knees is still not correct - so that I cannot
really check out the new beaming in action, but #¤%/()#¤% it looks AWESOME!
-Rune
Citat Maurizio Tomasi [EMAIL PROTECTED]:
I do not know if there exists some
italian word that translates cue note.
From the glossary on the lilypond website:
Notine
:-)
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
Citat Erik Sandberg [EMAIL PROTECTED]:
How should
I do
to get the desired result?
If you are desperate then you could try with (untested)
\repeat percent 3 {
[music]
\property Staff.NoteHead \override #'style = #'slash
\property Staff.Stem \override #'thickness = #0
b'2
Simon Bailey wrote:
this worked a treat, but i'm using piece instead of title. is there
any way to format the piece header in a different font (making it a bit
larger and centered)?
No, but it's on the todo-list.
Currently you have to stick with subtitle or subsubtitle.
-Rune
David Raleigh Arnold wrote:
{a2 a4} + {a4 a2} = {a4 a4 a4}
This spacing has been bad for years. I hope it's fixed now.
I don't agree with you.
You seem to think that spacing should be calculated globally on score
level without thinking about individual voices. I.e. this would mean
that
Han-Wen Nienhuys wrote:
Automatic slurring for grace notes; that sounds like a good idea, I
can't remember seeing them without slurs.
They also exists with ties. I.e. you see (absolute notation)
\grace { c8 g e c'} ~ c2 g e c'
producing 4 ties.
Apart from that I also has never seen graces
Simon Bailey wrote:
s4\pp
I haven't checked your idea through, but this is wrong syntax. Should be
s4-\pp.
-Rune
___
Lilypond-user mailing list
[EMAIL PROTECTED]
http://mail.gnu.org/mailman/listinfo/lilypond-user
This example should illustrate my problem:
akk = \chords { c1 f g c c f g c }
mus = \notes \transpose c''' { c4 e g e c2 r2 R1*4 r4 d f d c1 }
\score {
\property Score.skipBars = ##t
\context ChordNames \akk
\context Staff \mus
\paper {}
}
Ofcourse one
Felipe Massia Pereira wrote:
I think he could comment out the \includes he does not want to hear. A
better way to do it would be pre-process the file someway.
I don't see why this is better than
\include part1.ly
\include part2.ly
\include part3.ly
What is the propblem in inserting comments
101 - 200 of 241 matches
Mail list logo
