Re: Proposal: Changing tremolo beam gap implementation

Thomas Morley-2 wrote > https://sourceforge.net/p/testlilyissues/issues/704/#64b9 > has an image of the relevant Gould-page. > > ölkjh > > > […] > > Though, I'll not start the work if Torsten will present a proper fix > within the next two weeks. > > […] > > Torsten, what do you think? Hi

Re: Proposal: Changing tremolo beam gap implementation

Thomas Morley-2 wrote > see my code at > https://lists.gnu.org/archive/html/lilypond-user/2020-04/msg00160.html > > It's ofcourse a workaround, but usable, afaict. Hi Harm, It's good to have a workaround for the time being. The reason why I haven't finished the "strange gap behaviour" issue

Re: Instructing fretboard-diagram-verbose to space frets proportionally rather than equadistantly

I like the idea and have of having naturally spaced frets in fret diagrams. As Aaron has already pointed out, the current implementation always uses fret-distance * fret for positioning objects and calculating the length of the strings. fret-distance is the distance between frets and fret is

Re: Your Bespoke Lilypond Environment

cgilmore wrote > What's your DX? My DX is a 1985 Yamaha DX7, but I hardly use it anymore. As far as LilyPond is concerned, I'm mostly using Frescobaldi as a DX (Direct Exchange, i.e. replacement?) for jEdit and emacs. I'm not a military guy at all (neither physically nor mentally), but I spent

Re: German bar lines documentation

Noeck wrote > [...] verwendet werden, dass sich genauso wie […] Hi Joram, No problems as to the bar lines, but it definitely has to be "*das*", not "*dass*". I'd also prefer "sich /genau so/ wie […] verhält" over "sich /genauso/ wie […] verhält" in this case. Cheers, Torsten -- Sent from:

Re: Proposal: Changing tremolo beam gap implementation

Noeck wrote > You always show notes with the same pitch. It might > make sense to look at slanted beams, too. But as there is no problem > currently, I would not expect one due to the gap change. Musically, two-note tremolos with twice the same note don't make any sense at all, but for

Re: Proposal: Changing tremolo beam gap implementation

Noeck wrote > I would also expect the "gap" to be the free space between stem and beam. Hi Joram, Thank you, then we seem to have a common understanding of "gap", even if the current tremolo beam gap implementation behaves differently. Noeck wrote > In your attached image, I wonder if you

Re: Minimal horizontal space for melismata

Peter Crighton wrote > Side question: Is there a shorter/nicer way to hide/omit all those things > in the RhythmicStaff? Hi Peter, For rhythmic alignment without noteheads, beams, accidentals, etc. consuming space, the relatively new * NullVoice* has been invented. This, however, still doesn't

Re: Proposal: Changing tremolo beam gap implementation

Thomas Morley-2 wrote > [...] attempting to make whole-note-tremolo-beams avoid possible Dots to > the > left and possible Accidentals to the right. Yes, that would certainly be the next step. Avoiding dots and accidentals. Cheers, Torsten -- Sent from:

Proposal: Changing tremolo beam gap implementation

Hello all, Looking more deeply into Harm's strange whole-note tremolo beam gap behaviour, I've stumbled over the current gap implementation: It's probably rather academic, but my understanding of "gap size" is the actual gap size (white space) between two objects. Looking at the current

Re: An exciting new release… of Sibelius!!!

Very nice. But I'm a bit disappointed that, obviously, there's still no solution for the long-standing issue "tuplets across bar lines", which has never been a problem for LilyPond, but Sibelius/Finale still can't handle this without trickery and tweaking. No need for glee, but, from time to

Re: Strange gap-behaviour with whole-note tremolo Beams

Thomas Morley-2 wrote > I have no clue why this happens and where those added values came from. > > Any insights? Hi Harm, Believe it or not, this strange (and certainly unintended) effect is caused by the thickness of the invisible stems! The beam shortening will actually depend on the beam

Re: version 2.18.2 - incorrect bar numbers with full measure rests

Eby Mani wrote > My understanding of "full measure rests" is, it covers the full measure > based on the time signature. Thus R1 is sufficient for a measure that is > in 4/2 time. Hi Ebi, What you are saying is true (in most cases) for the graphical representation in the output, but, as Michael

Re: version 2.18.2 - incorrect bar numbers with full measure rests

Hi eby, I don't get your point - all I can see is: two full-measure rests, and after these two measures, the third measure, consequently, is bar number 3. Why should it be 5? I you had provided your sample code, it'd probably be easier to understand what you had in mind. Is it about the breve

Re: Unexpected "Merge_rests_engraver" behavior

Павел Буданов-2 wrote > See the vertical position of multimeasure rest. > > ```lilypond > \version "2.19.83" > [...] Hi Pavel, Yes, that's a bug, but it has been fixed in 2.19.84 and current stable 2.20.0 is OK, too. Regards, Torsten -- Sent from:

Re: In TabVoice - how to avoid: "programming error: side-axis not set for grob StrokeFinger"

Werner LEMBERG wrote > Interesting. Is it documented somewhere that the order of `\consists` > calls is relevant (sometimes)? Hi Werner, I couldn't find anything about that in the documentation. When experimenting with Voice and TabVoice, I noticed that Voice worked without a problem and, most

Re: In TabVoice - how to avoid: "programming error: side-axis not set for grob StrokeFinger"

Thomas Morley-2 wrote > Any hints why this error is generated and how to avoid? Hi Harm, Unfortunately, applying \consists "New_fingering_engraver" does not quite do the trick yet, because there's a problem of sequence: it needs to come *before* Script_column_engraver, that's why just appending

Re: Lilypond in Windows shows version 0.4

Mark Mathias-2 wrote > The 2.20.0 version is listed in Frescobaldi's preferences with a correct > full path, but there is a red "no go" symbol to the left of the line. > [...] > Here's the path I've specified: C:\Program Files (x86)\LilyPond > 2.20.0\usr\bin\lilypond > > I must still have

Re: Lilypond in Windows shows version 0.4

Hi Mark, Frescobaldi is able to handle several LilyPond versions at the same time. *Edit --> Preferences LilyPond Preferences * The path I'm using for 2.20, for instance, is: C:\Program Files (x86)\LilyPond\2.20.0\usr\bin\lilypond.exe plus "Include in automatic version selection" checked.

Re: generating simple leadsheet with chords and empty staff

Rob Torop wrote >- Is there a way to avoid needing to put the repeating 12 bars of > silent >rests in the melody - clearly it's not a good way to do it >- Can this be done more concisely? Hi Rob, First of all, there's no need for \repeat unfold 12 { s1 } It's much simpler to

Re: default stem directions

Rick Kimpel-2 wrote > I am trying to learn how to change the default stem directions. > […] > ...without having to do all the \stemUp \stemDown stuff. > I'm ok with the manual beaming. Hi Rick, You could set up a custom function. A simplistic example (see below) will read the 'default direction.

Re: Unicode code points

Freeman Gilmore wrote > That is interesting, it is in the Private Use Area of Unicode, same area > as > Bravura. Yup. In Emmentaler, there is one big exception I forgot to mention (but this has nothing to do with accidentals): The dynamic characters (f, m, p, etc.) are part of Emmentaler's text

Re: Unicode code points

As far as I know, some special implementations are using SMuFL fonts, most notably Dorico's Bravura. These implementations will definitely use explicit code points. But LilyPond's makam.ly is making use of Emmentaler (Feta) glyphs, and, as David pointed out, may change their code points each

Re: box-stencil (was: Drawing boxes around grobs)

Hello Paolo, Yes, indeed, this is the crux with italic fonts… It's hard (to say the least) to automatically determine whether or not the additional space inserted after "mf" is needed. Even in hot-metal typesetting the typesetter has to decide when to insert such an "italic correction". The only

Re: box-stencil (was: Drawing boxes around grobs)

Paolo Prete-3 wrote > I just checked that this unwanted behavior happens in the > default make-stencil-boxer function too. Ciao Paolo, Unfortunately, this is a common problem with (mostly) italic fonts: When looking at the dynamic f in FontForge, you'll see that the glyph is sticking out of its

Re: bar number on choir staff group and piano staff group

Hello Ming, It is sufficient to include the Bar_number_engraver into the \with statement of the upper Staff of the PianoStaff, as in bar-number-staffgroup.png ChoirStaff does not need special treatment in this

Re: caesura or other ornamentation ?.

Following Aaron's formidable example, I've done some minor modifications. Just a matter of taste, of course…: - straight lines (flags.ugrace) to more resemble the original symbols and make them more distinguishable from a caesura. - "downgraded" the syntax to make it all work with the current

Re: Metronome marks above piano staff of vocal score?

Steven Smith wrote > Is there a a way to have the metronome mark created by "\tempo 4=80" > appear next to the piano staff as well as above the top staff of a > SATB/Piano score? Hi Steven, The metronome marks are being created by the Metronome_mark_engraver. This engraver, by default,

Re: caesura or other ornamentation ?.

As "Insert Image" doesn't seem to have worked, here's a PNG file (hopefully) prelleur_treatise_ornaments_1731.png Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

Re: caesura or other ornamentation ?.

Hi Eby et al., In Peter Prelleur's 1731 treatise "The Modern Musick-Master", there are some hints about keyboard ornamentation in the section "Of the Graces:". And, lo and behold, that seems to clarify the issue, indeed: HTH, Torsten -- Sent from:

Re: Harp glissandi

Sorry, I should have mentioned that the coordinates of the rotational centre are relative to the Glissando extents. x coordinate 0 means its centre, -1 means its left end and 1 means its right end: \version "2.19.82" { \override Glissando.rotation = #'(30 0 0) <>^"centre"

Re: Harp glissandi

Rachel Knight wrote > The glissando now look right except that it starts below the note instead > of touching it. How would I fix the vertical aspect after rotating it? The > angle is right in the first screenshot, but the placement is only correct > in the original (screenshot 2). Hi Rachel,

Re: Comparison of Musescore, Sibelius and Dorico -- would like to add Lilypond

Shane Brandes wrote > What do they mean by jazz articulations? Hi Shane, I guess they mean doits, falls, shakes, bends… All the best, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___ lilypond-user mailing list

Re: Section labels

Hi Sean, A "section label" is called RehearsalMark in LilyPond. These rehearsal marks are (by default) the capital letters A, B, C, …, but they can be changed into consecutive numbers (1, 2, 3,...) or bar numbers. With a box, a circle, or nothing around. Cf. Rehearsal marks

Re: Bug? \clef makes Staff disappear

David Kastrup wrote > If you want a Staff, create it rather than rely on somebody else doing > that, maybe. That is basically what I thought (and wrote), too. But, admittedly, these shortcuts used to work in prior releases and even can be found in the Notation Reference Manual:

Re: Bug? \clef makes Staff disappear

Hi Malte, You'll have to introduce a \new Staff. Otherwise, the \relative clause (pun, pun…) will just be parallel music in ChordNames mode and in ChordNames, there are no clefs. It really starts getting funny if you change the c' into a d' (the c' just didn't show up somewhere because it did

Re: Score and parts with global variable

Andrew Bernard wrote > I am unable to understand why the \global information does not print four > times. How does this work? The template by the way does not give example > code for the \global variable. Hi Andrew, Whether the \global information is printed four times or not solely depends on

Re: Temporary pedal bar

Gert Koetsier wrote > How can I add a temporary pedal bar Hi Gert, I suppose you're talking about a temporary stave. The following snippet should solve your problem: Adding an extra staff

Re: Omitting specific symbols from key signatures

Just for the files: Forget all about music functions and a-posteriori manipulations of scales, there is an disturbingly simple solution: (link to my corresponding dev-list posting:) How to set up a key signature definition

Re: chord duration

Gianmaria Lari wrote > Ciao Torsten, > > I'm sorry, I don't understand. Why I would like to display twice a chord > if > I write c4~4 ? Maybe could you write a simple example (if possible!). Ah, yes, right, Gianmaria! I only was thinking of chord changes in general, but now I see that it's

Re: Omitting specific symbols from key signatures

Adam Good-3 wrote > Are you on the dev list? If you'd be willing to help me out some more I > can > send you a couple of files that are under development and we can address > specifically the two makams that have this issue. Yes, I'm on the dev list. And I'll appreciate a co-operation regarding

Re: chord duration

Gianmaria Lari wrote > But I was wondering why it should not work my > obvious solution :) Ciao Gianmanria, Probably because your obvious solution isn't that obvious from a technical point of view. In this simple example, it is totally clear that we only want to see changes. But just imagine the

Re: Omitting specific symbols from key signatures

Adam Good-3 wrote > Thank you Torsten, unfortunately this doesn't satisfy the criteria of #3 > request, working across transpositions. If I ask for: > \key c \KeySig > > ...it prints a ces in the key signature. […] Hi Adam, Yes, unfortunately, my trickery only works for keys with a "sharp"

Re: Omitting specific symbols from key signatures

Hi Adam, the KeySig you've defined is nothing but \locrian. If you don't want the F# to be shown (that's the tonic in F# locrian), you just need to define a ,FLAT for step 0 (the tonic), because this will lower the tonic and thus eliminate the F# from your key signature. That way, the F# will

Re: Usage of ly:stencil-fonts ??

Hi Harm, All these numbers are quite confusing at first glance. And at second and third glance, too. But they are nothing but conversion factors to switch units. And, unfortunately, LilyPond basically uses three concurrent units in parallel: - LilyPond units in staff-spaces - Pango units in mm -

Re: Usage of ly:stencil-fonts ??

Thomas Morley-2 wrote > I like to understand the numerical values. > The pair (-0.443862992125984 . 1.09258582677165) seems to be the > extent in Y-axis. > > But what about 3.865234375 and 1.1950157480315? Hi Harm, *The 3.865234375 is the font size (in millimetres!)* Converting this into pt (1

Re: Usage of ly:stencil-fonts ??

Hi Harm, As it looks like, this function has not been working for some time, I've tested it back to 2.14.2 What does it do? In lily/stencil-interpret.cc, the function find_expression_fonts gets a scheme variable called expr with the following contents: *(A) in your NoteHead example:*

Re: TextScript.outside-staff-padding and text's baseline

David Kastrup wrote > Given how often this occurs, maybe we should create some function for > that purpose rather than putting pairs everywhere in peacemeal? > > The principal question is what to do when the event does not have an > explicit direction. Then one would have to refer to the grob

Re: TextScript.outside-staff-padding and text's baseline

David Kastrup wrote > Anything wrong with using a callback? No, not at all, callbacks are fine and do solve the problem.. But given the fact that "aligning to the baseline" is specific to text so that different up/down staff-padding values are rather the rule than the exception, I thought it'd be

Re: TextScript.outside-staff-padding and text's baseline

The only thing I do not like about staff-padding is that, strictly speaking, we'd need different values for up and down direction: Above the stave, just the descenders go between stave and text baseline, whereas below the stave, the baseline has to be sufficiently far away from the stave so that

Re: acciaccatura issue

Hi Jay, This is a known issue (that, unfortunately, has not been solved so far). But there's a remedy: Acciaccaturas (and appoggiaturas and grace notes in general) at the beginning of a measure must be inserted in *all* the staves using "grace spacer rests" of appropriate duration. In your

Re: Modified slur stencil with added markup

Urs Liska-3 wrote > What is 'interval-center'? Hi Urs, Harm already revealed where interval-center is being defined. But why did I use it? A stencil x-extent is a pair of left and right extent, and in order to know the total extent, we'll have to add up (car x-extent) and (cdr x-extent) and

Re: Modified slur stencil with added markup

Hi Urs, The centering of the slur stencil destroys its alignment (i.e. reference point), so I'd just leave it alone and center-align the text by explicitly calculating the necessary markup x shift from the stencil extents. %% \version "2.19.82" annotatedSlur =

Re: score with linea

Aaron Hill wrote > Torsten, > > Not sure if you meant to attach code that demonstrates that, […] Thanks for the hint, Aaron, I actually used the raw … /raw tags because I thought it a good idea. Obviously, this code remains hidden in some environments. So, just for the sake of completeness,

Re: score with linea

Hi Mario, It is possible to define arbitrary stave lines and line positions: You can even set individual thicknesses for these lines. HTH, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

Re: How to hide fingering in the output

csmcd wrote > When I try to hide the fingering using either of these methods, I get a > core > dump. It even works in my Windows 7 (32bit) and Windows 10 (64 bit) environments, tested with a variety of LilyPond versions. What's your operating system and is there any useful error message?

Re: LilyPond issue 34 question

Hi Jacques, First of all, the different \grace durations (s128 instead of s8. resp. s16 s s) makes the Key Signature and Time Signature appear twice. Second, if you use spacer rests of the correct duration, the 16th grace notes notes will be naturally spaced and key and time sigs will happen in

Re: changing fingering position

Gianmaria Lari wrote > \version "2.19.82" > {b\finger \markup \override #'(word-space . 0) \line { 2 \circle 3 2 }} Hi Gianmaria, An even more straight-forward (imho) option would be to simply concatenate the three markup elements to get rid of the spaces: {b4\finger\markup \concat {2

Re: New

Bernhard Kleine wrote > Something like > legato = #(make-dynamic-script (markup #:normal-text "legato" )) > in the header helped to bring in the Dynamics the legato etc. on line with > \f etc. . > But now I would like to have the 'legato' in italics. > > Obviously I can not deconstruct the

Re: A separate line for dynamics?

Bernhard Kleine wrote > I remember vaguely that one can have a "staff" for the dynamics in an > score, but I can not find it in the documentation of 2.19.82. Can you > please point me to that. Hi Bernhard, I guess it's the Dynamics context you're having in mind. And, yes, it's hard to find in

Re: Naming a StaffGroup

Hi Joei, You can move the ChoirStaff's shortInstrumentName almost wherever you want by using an appropriate markup. There's a mean little trick combining an empty markup " " with the actual instrument markup so that a \translate will take effect: %% gruppe = \new StaffGroup \with {

Re: Single digit double time signature

Cantus Ornatus wrote > Is it possible modifying the standard double time signature syntax in > order > to have such a layout? Hi F., You can change the time signature style to single-digit: \override Staff.TimeSignature.style = #'single-digit That way, only the numerator will be printed.

Re: Strange dotted slur which are not slurs or ties

Bernhard Kleine wrote > But how make them dotted? Phrasing slurs can be made dotted by \phrasingSlurDotted and they can be made dashed by \phrasingSlurDashed. -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___ lilypond-user

Re: Strange dotted slur which are not slurs or ties

Bernhard Kleine wrote > These dotted slurs are not slurs since the text is not suspended. Please > let me know how you would set this example. Hi Bernhard, I'd just use phrasing slurs \( and \). In contrast to ties or ordinary slurs, each note will get its syllable, phrasing slurs won't

Re: changing the length (height? positions? endpoints?) of an arpeggio

Kieren MacMillan wrote > I’m trying to tweak the "length" of an arpeggio (by 1 staff space at the > top), and can’t seem to find the correct incantation or doc reference. Hi Kieren, You can explicitly set an arpeggio's start/end positions by overriding the positions property. The internals

Re: Spacing issue with magnifyStaff

Hi foxfanfare, That's exactly the reason why I never use \magnifyStaff. Just have a look at the treble clef and time signature sticking together in the upper stave, that's because if the lowest stave seems to govern the overall spacing. When needing single cue-size staves in a score (no matter

Re: [Question] How to increment the current bar number

David Kastrup wrote > Malte Meyn > lilypond@ > writes: > >> You have to get the Score context somehow. This can be done by using >> \applyContext. I don’t know what context the procedure then is called >> with (maybe the current Bottom?) > > The current "whatever". Since you already had

Re: ^\markup placed below score

Rachel Knight wrote > Below is my score for a piece for a primer method. When the staff is > showing, all the markups are in the right position, but as soon as I hide > the staff lines, the last “R.H.” moves below the notes instead of above > them, as I have specified. How do I fix this? Yes, and

Re: Aligning voices

Rachel Knight wrote > I’m having trouble having these two chords line up correctly. Whenever I > change the stem direction of the top voice (either with /voiceOne or > /stemUp), it shifts the notes to the right and is no longer in alignment > with the notes in my second voice. Hi Rachel, First

Re: Auto-ottava Scheme script problems

Sorry, certainly more straight-forward way would be just to use (filter (music-type-predicate 'note-event) to filter out the note-events only: (let* ((elts (filter (music-type-predicate 'note-event) (ly:music-property mus-expr 'elements))) […]

Re: Auto-ottava Scheme script problems

David Bellows wrote > The following works as intended: > > or > > 4 > > but these produce errors: > > \f or > > 4\f > > The error message: > > GNU LilyPond 2.19.82 > Processing `auto-ottava.ly' > Parsing...auto-ottava.ly:24:15: In procedure ly:pitch-steps in > expression (ly:pitch-steps

Re: center figured bass vertically

mari+lilypond wrote > Hi Torsten, > > your answer did overlap with my last mail. It seems that your suggestion > solves my questions in a way as I imagined. Hi Markus, I had some difficulties submitting my answer and, in the end, it appeared four times - sorry for that. Just a remark

Re: center figured bass vertically

mari+lilypond wrote > I use \dynamicUp (because it's not only cello but also a singing voice > with > lyrics) and in the very first example (\context Staff =) dynamic was > drawn above figured bass and now below. How can I swap both in the > example below? Hi Markus, Beyond the technical

Re: center figured bass vertically

mari+lilypond wrote > I use \dynamicUp (because it's not only cello but also a singing voice > with > lyrics) and in the very first example (\context Staff =) dynamic was > drawn above figured bass and now below. How can I swap both in the > example below? Hi Markus, Beyond the technical

Re: center figured bass vertically

mari+lilypond wrote > I use \dynamicUp (because it's not only cello but also a singing voice > with > lyrics) and in the very first example (\context Staff =) dynamic was > drawn above figured bass and now below. How can I swap both in the > example below? Hi Markus, Beyond the technical

Re: center figured bass vertically

mari+lilypond wrote > I use \dynamicUp (because it's not only cello but also a singing voice > with > lyrics) and in the very first example (\context Staff =) dynamic was > drawn above figured bass and now below. How can I swap both in the > example below? Hi Markus, Beyond the technical

Re: Follow up: using a bracket or brace to indicate an organ manual change

Joseph Srednicki wrote > I have just encountered the situation where the manual-change bracket is > colliding with an accidental. See the example included below. > > Do any members of this list have any suggestions to resolve this > situation? Hi Joe, The manual-change bracket is nothing but a

Re: Fingering position in polyphony face to sharp glyph. Bug?

Thomas Morley-2 wrote > this weekend I'll have not much time and I'll be completely offline > next week for holidays. No need to hurry, Happy Holidays ;) (oh no, that was politically correct and is restricted Christmas time use only). Thomas Morley-2 wrote > In my initial testing I experienced

Re: Fingering position in polyphony face to sharp glyph. Bug?

Thomas Morley-2 wrote > I tried to Y-center the Fingering-stencil. > > Though, with the example below the result is not all that convincing. > […] > Additionally, if fingeringOrientations contains 'left or 'right a > FingeringColumn is built at Staff-level, so the 'snap-radius-property > comes

Re: Making slurs more visible

Galen Menzel wrote > Just so I understand, it seems that Tie.details.min-length cannot > influence note spacing. What does it influence other than this specific > case that I am asking about here? Hi Galen, By the way: I also stumbled over the fact that min-length is not listed among the

Re: Making slurs more visible

Galen Menzel wrote > Is there a simple way to direct lilypond to use the larger > ties here? Hi Galen, Yes, there are several ways: The most obvíous way is to use \override Tie.minimum-length = #... But this also affects the spacing of notes. If I get you correctly, you'd rather like to

Re: Piano, voices and stem directions

[Off topic] Urs Liska-3 wrote > The sustain pedal of a real (grand) piano is nothing like the > MIDI pedal of the same name, but much closer to the MIDI volume pedal > ;-) To spare the honour of MIDI, half-damper pedals do exist and they act as a continuous controller. Whether the sound

Re: Piano, voices and stem directions

Noeck wrote > Probably, that also means that using separate voices is the appropriate > syntax, isn’t it? Can I make the slur aware of other voices’ notes? Hi Joram, Sometimes, decisions whether to use separate voices, temporary parallel contexts, etc., are often more of a technical nature

Re: Piano, voices and stem directions

Hi Joram, This is all about the transitions between both hands: the downstem notes are to be played by the left hand. HTH, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___ lilypond-user mailing list

Re: changing symbols used by Measure_grouping_engraver

Thomas Morley-2 wrote > Hi Torsten, > > iiuc, this will result in a _horizontal_ line, not vertical. ;) Drat, this tiny detail makes my simplistic attempt rather useless. Lame excuse: "No, this is not a horizontal line, it's actually a vertical line, just very thick and very short". ;) But,

Re: changing symbols used by Measure_grouping_engraver

Flaming Hakama by Elaine wrote > In particular, how to change the symbol used to denote the dotted 8th > value > in compund time: > instead of a triangle, how do I get a vertical bar (or slash)? Hi Elaine, The two options "triangle" and "bracket" are pretty much hardcoded. But you can set the

Re: Fingering position in polyphony face to sharp glyph. Bug?

Thomas Morley-2 wrote > […] > \mark "Fingerings right" > \set fingeringOrientations = #'(right) > […] Hi Harm, When setting fingeringOrientations to #'(right), the occasional collision of fingering and dots are a result of dots moving vertically away too far from their noteheads.

Re: Fingering position in polyphony face to sharp glyph. Bug?

Simon Albrecht-2 wrote > I created one and tried to include all the analyses yet presented. > https://sourceforge.net/p/testlilyissues/issues/5393/; Thanks, Simon. I think makes sense trying to improve the fingering placement step by step. And everything that can get ...Orientations

Re: Fingering position in polyphony face to sharp glyph. Bug?

Hi Harm, Yes, fingerings are quite a large construction zone (and right hand fingerings or string numbers as well). Issue 3692 hasn't been solved yet, and your examples show that there is also a general dot collision problem for right fingerings. When increasing snap-radius, fingerings may

Re: Fingering position in polyphony face to sharp glyph. Bug?

Simon Albrecht-2 wrote > I went to the issue tracker so this doesn’t get lost – it seems to be > related to or a subset of > https://sourceforge.net/p/testlilyissues/issues/3692/;. Hi Simon, While the descriptive title "Fingering collision with accidentals" of issue 3692 more or less describes

Re: Fingering position in polyphony face to sharp glyph. Bug?

David Kastrup wrote > A feature of the placement algorithm and a bug of the character design > maybe? The sharp glyph design looks OK to me: left: fingering and accidental skylines taken from the example (stave removed)

Re: Fingering position in polyphony face to sharp glyph. Bug?

Schneidy wrote > The first fingerings are independently positioned while the second > integrate the accidental sign to calculate the padding. > This happend with sharp glyph only. > I guess it has something to do with upper 'Y-extent from the fingering -- > not from the glyph(?) --, however I did

Re: The abyss

Ralph Palmer wrote > I'm surprised no one complained! Sorry, I couldn't find the appropriate complaint form. Ralph Palmer wrote >> "Buck looking into the abyss." Instead of complaining, on that occasion: Thanks a lot for your work on the LilyPond Buck list. Good to see that there is an

Re: \textLengthOn in polyphony and over MultiMeasureRests

Trevor Bača-2 wrote > Torsten, how are you achieving the text centered above the pair of half > notes in the original example (ie, in the measure top-headed with > "Minima")? Try as I might, I can't get it! Hi Trevor, You've got me there! ;) Standard \textLengthOn will push away neighbouring

Re: Easy Note Heads and colors

rodrigo wrote > Since I am not a programmer , there is certainly a better way to do that, > but at least it works for me. Kept here for reference and eventually > helping > others. Hi Rodrigo, There is a much easier way to do it: The note names used by the standard engraver (just switching

Re: an "odd" accidental problem...

Anthony Youngman-2 wrote > Well, lilypond is about the only place I ever normally see it! :-) YMMV > :-) Here's a non-LilyPond excerpt of Tchaikovsky's Nocturne op. 19 no. 4: After the cadenza, the key signature changes and the

Re: an "odd" accidental problem...

Addenda et corrigenda: I was mistaken, my example shown wasn't an example of D-sharp, but actually D-natural. So the order of accidentals is comprehensible. This becomes clear when taking the preceding measure (at the end of the preceding line) into account:

Re: an "odd" accidental problem...

Urs Liska-3 wrote > It's completely impossible to discuss these questions without the > musical context. There are musical situations where e natural and f flat > can be freely exchanged, but there are many other contexts where it > *does* make a difference. […] Hi Urs, Of course you are

Re: an "odd" accidental problem...

B~M wrote > It appeared in the "Fantasy Etudes for > Viola" written by > Lillian Fuchs who was a significant contributor to Viola in the USA. Hi Paul, Thanks for this background information. Lillian Fuchs' expertise is beyond all possible doubt, and I apologize for suspecting ignorance.

Re: tie direction !?

David Kastrup wrote > Can be a memory-order thing. When two things compare equal, their final > order of decisions can depend just on which choice happened to get a > location lower in memory. In that case, the results need not even be > deterministic given identical scores on the same platform

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