Try this. I know there are multiple ways for doing this (like changing
beam-knee-length, or whatever), but it's a quick hack that works (sorry
it's for 2.18.2, but I think you can convert it back):
%-- SNIP -
\version 2.18.2
\language english
right = {
\time 4/4
Mike,
Yes! That can be an excellent way to organize the different parts of
your score. Glad you like LilyPond!
Regards,
Abraham
On Fri, Dec 12, 2014 at 9:54 AM, Mike Kilmer [via Lilypond]
ml-node+s1069038n169405...@n5.nabble.com wrote:
Hi all.
Loving lilypond!
Does this look like a
Tim,
They actually aren't equivalent, but that becomes most apparent when
associating lyrics to the voices. When using the \\ syntax to designate
voices, this implicitly creates totally new voices wherever used, even though
it puts them correctly in the voiceOne/voiceTwo directions, which may
, but to no avail.
I’d neved thought of this solution by myself, it’s worth
including in the notation manual IMHO.
A nice day!
JM
Le 10 déc. 2014 à 08:23:21, tisimst [hidden email] a écrit :
Jacques,
I assume you are referring to vertical spacing between the staff
above and the marks you
Jacques,
I assume you are referring to vertical spacing between the staff above
and the marks you noted? An easy way to add more space is to do
something like this in the same \markup block:
\tempo \markup{
\column{
\vspace #1
\box\smaller{3. America}
{Moderately bright}
}
Hwaen,
Unfortunately, the double-flat is not a composite of two single flats, at least
not in LilyPond. It is a single character and, thus, there is no spacing to
adjust. I suppose you could re-code the accidental engine to use two single
flats, but that's probably more than you wanted deal
Did you include:
\language english
I feel like I see errors like that when I forget to set the language.
HTH,
Abraham
Sent from my iPhone
On Dec 3, 2014, at 2:56 PM, Guy Stalnaker-2 [via Lilypond]
ml-node+s1069038n169173...@n5.nabble.com wrote:
All,
I'm seeing this in the lilypond
Urs,
Not sure if this would be of any help to you, but here's a condensed
variant of the full Vollkorn family.
Regards,
Abraham
On Sun, Nov 16, 2014 at 9:19 AM, Urs Liska [via Lilypond]
ml-node+s1069038n16874...@n5.nabble.com wrote:
Am 16.11.2014 01:10, schrieb Noeck:
Hi Urs,
you
style.
Did you do that? If yes, how is the relation between automated scaling and
manual decisions?
Best
Urs
Am 20.11.2014 14:19, schrieb tisimst:
Urs,
Not sure if this would be of any help to you, but here's a condensed variant
of the full Vollkorn family.
Regards,
Abraham
,” which is the same as the
full name for Vollkorn Regular. How does the style sheet distinguish
between the two versions?
Stan
On Nov 20, 2014, at 8:24 AM, tisimst [hidden email] wrote:
I'm afraid I don't entirely understand your question...
-Abraham
Sent from my iPhone
On Nov
Urs,
On Thu, Nov 20, 2014 at 8:54 AM, Urs Liska [via Lilypond]
ml-node+s1069038n16884...@n5.nabble.com wrote:
Am 20.11.2014 15:24, schrieb tisimst:
I'm afraid I don't entirely understand your question...
1)
Did you produce the condensed set?
Yes.
2)
If so, did you design the glyph
On Nov 20, 2014, at 9:32 AM, Urs Liska [via Lilypond]
ml-node+s1069038n168848...@n5.nabble.com wrote:
Am 20.11.2014 17:27, schrieb tisimst:
Urs,
On Thu, Nov 20, 2014 at 8:54 AM, Urs Liska [via Lilypond] [hidden email]
wrote:
Am 20.11.2014 15:24, schrieb tisimst:
I'm afraid I don't
Looks good, tyronicus! Thanks for sharing that. What settings did you use?
-Abraham
Sent from my iPhone
On Nov 20, 2014, at 10:46 AM, tyronicus [via Lilypond]
ml-node+s1069038n168851...@n5.nabble.com wrote:
I have no idea what I'm doing (just downloaded FontForge for the first time),
How about using define-scheme-function instead?
-Abraham
Sent from my iPhone
On Nov 18, 2014, at 3:15 AM, Schneidy [via Lilypond]
ml-node+s1069038n16878...@n5.nabble.com wrote:
Hi All,
I'm trying to convert this v2.16 file :
Luis,
No problem! I think Google Translate was able to help me understand
what you needed help with. Read the attached file carefully. It should
answer all your questions so far.
Regards,
Abraham
On Fri, Nov 14, 2014 at 2:33 AM, Luis F. Gordillo Navarro [via
Lilypond]
Br. Jorgensen,
I used your snippet (with slight corrections) and I don't get any
spacing errors (see attached). Here's my code:
%- SNIP --
\score {
\new Staff \relative c' {
\time 3/4
\key g \major
e4( f) g | f( d) fis |
}
Ryan,
Here's what I've got for you (in bold). Firstly, using explicit voices
fixes the stem directions. The OttavaBracket's seem to be mis-behaving
(and not showing up at all in the second measure, left hand--probably a
bug), so you'll need some temporary overrides, but this should give you
Ryan,
My workaround behaves a little differently when there's a single bracket and
when there are two. When there's one, the examples that Mark posted have good
numbers for the half-brackets, you just might need to re-arrange them if you
want to put them on the right side of the note. You
Ryan,
I figured out what was going on with the other OttavaBracket. It turns
out that if you change staff AND change the ottavation at the same
musical moment, then you must \change Staff FIRST for the
OttavaBracket to appear in the lower voice. So, here's the updated
(correct) code:
Joram,
Sorry for being so late to chime in on this. Fortunately, it's easier
than you think:
% SNIP --
\version 2.18.2
{
\once \set Score.tempoHideNote = ##t
\tempo Allegro 4 = 100
a
}
% SNIP --
The override just hides the
The reason it doesn't work is that you cannot put the duration within
the chord brackets:
g g'4 and not g g'4
Regards,
Abraham
On Fri, Nov 7, 2014 at 2:19 AM, Dr. Bernhard Kleine [via Lilypond]
ml-node+s1069038n168483...@n5.nabble.com wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Greg,
AFAIK, there isn't an automatic way to vertically center-align the
lyrics. However, here's a little function (\dropLyrics) that makes it
easier that I created based on an entry in the LSR. It works best when
the refrain is found within the verse that is closest (ABOVE) to the
center
Harm,
The parentheses are static glyphs from the music font, so there's no
way that I know of to simply make it bolder (i.e., there's no bold
version of emmentaler). You might be able to change this by setting the
font-encoding to latin1 and using another font for the parentheses that
has a
Nope. By majority vote, the name changed from Amadeus to Scorlatti, in honor
of the SCORE notation system, the inspiration of the font.
Did you see somewhere on the website that said Scarlatti instead?
-Abraham
Sent from my iPhone
On Nov 4, 2014, at 6:09 AM, Son_V [via Lilypond]
Mark,
This should do it:
\new Staff \with {
\consists Tie_engraver
} { ... }
HTH,
Abraham
On Mon, Nov 3, 2014 at 11:16 AM, Mark Stephen Mrotek [via Lilypond]
ml-node+s1069038n168354...@n5.nabble.com wrote:
Hello,
In a response to my query about creating ties over explicit voices,
No, I haven't attempted anything related to ancient notation. What kind of
improvements are you thinking of?
-Abraham
Sent from my iPhone
On Nov 2, 2014, at 4:31 AM, Jayaratna [via Lilypond]
ml-node+s1069038n168293...@n5.nabble.com wrote:
Very interesting developements here. I love
Jacques,
The problem is that the melisma you are copying continues through the
last note where you want to put the o. If it MUST be that way, there
are actually a couple of ways to do it. Here's one (use a phrasingSlur):
% SNIP
\version 2.18.2
Alto =
Bernhard,
Full measure rests are controlled via the MultiMeasureRest context.
Here's how you would do what you want (don't forget the R syntax):
%-- START SNIP -
\version 2.19.15
\language deutsch
global = {
\key c \major
\time 3/4
}
soprano =
Mark,
If I understand you correctly, this is because of a single \relative a
the beginning of the polyphony. Yes? Like,
\relative c' {
\new Voice { \voiceOne ... }
\new Voice { \voiceTwo ... }
}
Then, yes, whatever pitch is used last in the \voiceOne section will
determine the
] wrote:
Am 29. Oktober 2014 07:56:30 MEZ, schrieb Federico Bruni [hidden
email]:
Il giorno mer 29 ott 2014 alle 0:50, tisimst
[hidden email] ha scritto:
Sorry for the confusion, but I'm pretty sure I said, look on
the
MAIN page (emphasis added). There are definitely
Joram,
On Wed, Oct 29, 2014 at 3:53 PM, Joram [via Lilypond]
ml-node+s1069038n168094...@n5.nabble.com wrote:
Answering my own question, I find this easier/shorter and more
compatible with simultaneous staves:
\relative c' {
%% Start with a bass clef
\clef bass
Stephen,
On Wed, Oct 29, 2014 at 4:21 PM, Stephen MacNeil [via Lilypond]
ml-node+s1069038n168097...@n5.nabble.com wrote:
Hi Abraham,
Thanks for all the help. I do like your code it works really nice. As
for the voices
And just so you know, the { ... }\\{ ... } implicitly applies
,
Abraham
Sent from my iPhone
On Oct 29, 2014, at 5:48 PM, Flaming Hakama by Elaine [via Lilypond]
ml-node+s1069038n16810...@n5.nabble.com wrote:
On Abraham Lee's page
https://sites.google.com/site/tisimst/Home/custom-font-how-to#localized-font-changes
there is an example of mix
Stephen,
You should realize that there are two ways to add grace-style notes to
your music (sorry, this also relates to the other thread Slur and
acciaccatura in chords):
1. \grace (no slur) \appogiatura (automatic slur)
2. \slashedGrace (no slur) \acciaccatura (automatic slur)
If you need
Stephen,
On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond]
ml-node+s1069038n168040...@n5.nabble.com wrote:
I understand that however you still can not control what note it goes
to.
\slashedGrace b8_( e, a c4 )
How would I indicate to have the slur attach to the 'a' note?
Federico,
On Tue, Oct 28, 2014 at 4:11 PM, Federico Bruni [via Lilypond]
ml-node+s1069038n168044...@n5.nabble.com wrote:
Hey Abraham, wonderful work!
I didn't have the time to try your fonts so far. I'm trying now but I
can't find any minimal example in the website. All I have to do is
, but maybe I do.
-Abraham
Sent from my iPhone
On Oct 28, 2014, at 4:51 PM, Federico Bruni [via Lilypond]
ml-node+s1069038n168049...@n5.nabble.com wrote:
Il giorno mar 28 ott 2014 alle 23:29, tisimst [hidden email] ha scritto:
You need to do two things:
1. Install the fonts in the correct
Keith,
Sounds awesome! When you've got something done, please let me know so I can
showcase it on the website!
Happy Engraving,
Abraham
Sent from my iPhone
On Oct 28, 2014, at 6:21 PM, keith Luke [via Lilypond]
ml-node+s1069038n168052...@n5.nabble.com wrote:
I just updated to LilyPond
This is an interesting problem... It begs the question, Can slurs be
made to start/end on arbitrary chord notes? It appears that they
cannot, but can they be made to do so? I don't think I'd personally
have too much use for the functionality, but it appears that it might
be useful.
Regards,
Hey, Everyone!
I just thought I'd let you know that I've been busy with some more font
work. Head on over to fonts.openlilylib.org http://fonts.openlilylib.org
to see what's new!
Here are the *highlights*:
- All fonts now have *WOFF font file support* in addition to OTF and SVG
(though, I
Knute,
\markup {
\general-align #Y #DOWN \note #8 #1
=
\general-align #Y #DOWN \note #8 #1
}
Regards,
Abraham
P.S. I don't fully understand the syntax, but that does what you asked
for.
On Fri, Oct 24, 2014 at 9:19 AM, Knute Snortum [via Lilypond]
Richard,
Internally, when you call set-global-staff-size, it resets the text fonts.
Thus, if you want to use a different staff size, that must go PRIOR to where
you define the fonts. Kinda weird, I know, but that's how it works.
HTH,
Abraham
Sent from my iPhone
On Oct 24, 2014, at 10:29
On Thu, Oct 2, 2014 at 4:16 PM, Jeff Harris [via Lilypond]
ml-node+s1069038n167073...@n5.nabble.com wrote:
I am trying to modify header fonts for the requirement of a
publisher.
I would rather not use text markup commands in the header, as it's
not
simple to change multiple works at
Thanks! I'm glad to hear that you find them useful. Donations are not required,
but certainly appreciated :)
Regards,
Abraham
Sent from my iPhone
On Sep 26, 2014, at 1:51 PM, Joshua Nichols [via Lilypond]
ml-node+s1069038n166837...@n5.nabble.com wrote:
Thanks Abraham. See attached.
That's the one I was referring to :) Thank you for referencing the issue's
link.
Regards,
Abraham
Sent from my iPhone
On Sep 26, 2014, at 1:54 PM, TaoCG [via Lilypond]
ml-node+s1069038n166838...@n5.nabble.com wrote:
My guess is that it has nothing to do with the new fonts.
See this
+s1069038n166783...@n5.nabble.com wrote:
On Wed, 24 Sep 2014, tisimst wrote:
Here it is! The new Henle look-a-like music font. I call it Beethoven
after the score from which many of the glyphs were based off of. Check it
out at and download it from fonts.openlilylib.org
http
I'm not at a computer to see if this works, but could you, if there aren't too
many instruments, do simultaneous voices with a midiInstrument set for each
percussion instrument? It's certainly not an elegant nor robust of a solution,
but it may get you what you want for now.
Regards,
Abraham
:11 GMT+02:00 tisimst [hidden email]:
I'm not at a computer to see if this works, but could you, if there aren't
too many instruments, do simultaneous voices with a midiInstrument set for
each percussion instrument? It's certainly not an elegant nor robust of a
solution, but it may get you what
Kieren MacMillan wrote
Hi all,
I would really like to see [a font like the 1953/6 versions] being
combined with Kieren's Henle stylesheets.
I would really like to put that example together! =)
Cheers,
Kieren.
___
Kieren MacMillan, composer
www:
Schneidy wrote
Hi Malte,
2014-09-19 10:35 GMT+02:00 Malte Meyn lt;
lilypond@
gt;:
Did you and Karol expect “medium” to be something other than “normal”?
Yes and no:
Yes because I've never used \medium before so I was expecting a font look
between Normal and Bold
And no because
Guy Stalnaker-2 wrote
Abraham,
Simply wonderful! LOVE Haydn. Seriously, it makes me happy (I know, I'm a
font geek) to see a score with that font.
Only quibble are the stylesheets. On a kubuntu Linux install, I cannot get
them working in Frescobaldi. I added the the path to the
Janek Warchoł wrote
Hi,
I like the middle two samples better than remaining ones. But i don't
know whether they would be the most representative ones for Henle, so
count my vote with reduced weight :)
cheers,
Janek
Janek,
Thanks for your input. Do you have access to any scores,
tisimst wrote
Thanks, Peter! I realized shortly after posting this that there are a
bunch of other things that I forgot to update a bunch of other things, so
I'm taking the page off for a day or so until I've had a chance to go
through everything. Sorry! Stay tuned!
Ok, I think I've got all
Henning Hraban Ramm-3 wrote
At least in most of Europe and the USA there’s no copyright on the look of
fonts at all, just sometimes a trademark on the name. That’s why there
exist so much clones under different names.
The rationale behind the „missing“ copyright is somewhat complicated (I
Paul Morris wrote
Looks good Abraham! Nice work.
Here's a little feature request for the website: it would be nice to be
able to see a visual overview of all the different fonts -- where you can
see the example images from each font all on the same page, back-to-back
for easy visual
Peter Crighton-4 wrote
This is fantastic, many thanks, Abraham and everybody else involved!
By the way, the link to the Gutenberg1939 font sampler contains a small
typo, it should be:
http://fonts.openlilylib.org/gutenberg1939/font-sampler-Gutenberg1939.pdf
--
Peter Crighton | Musician
All,
When I posted earlier this year about the availability of some new music
fonts, some of you indicated the desire to have a Henle look-a-like music
font (there were others, too, but let's stick with this for now). I've gone
through some Urtext editions from Henle, but they all use different
On Mon, Aug 4, 2014 at 9:26 AM, David Kastrup [via Lilypond]
ml-node+s1069038n165304...@n5.nabble.com wrote:
Richard Shann [hidden email] writes:
The documentation says that staff groups can be nested, but many
don't
appear to work, e.g. this
\version 2.18.0
\score {
tisimst wrote
tisimst wrote
On Mon, Jul 28, 2014 at 1:19 PM, Urs Liska [via Lilypond]
lt;
ml-node+s1069038n165017h36@.nabble
gt; wrote:
Good idea.
Would you just collect votes in this thread or should we do something
more formal?
Urs
Alright everyone,
Here's something
tisimst wrote
On Mon, Jul 28, 2014 at 1:19 PM, Urs Liska [via Lilypond]
lt;
ml-node+s1069038n165017h36@.nabble
gt; wrote:
Good idea.
Would you just collect votes in this thread or should we do something
more formal?
Urs
Alright everyone,
Here's something more formal. It's my
Simon Albrecht-2 wrote
Am 29.07.2014 01:28, schrieb Marten:
Hello Abraham, Simon,
Thanks for your solutions and quick replies :)
I decided to try to implement Simon's third solution, as it explicitly
keeps the melody of the stanzas together with their texts.
Ingenious - hadn't thought
Gilberto Agostinho wrote
Hi tisimst,
In this link you gave us, there is a small problem with the second picture
(the one showing how to set up the Gonville font). You can see that there
is no key signature in that picture, but the score has some empty space
where the key signature should
Everyone,
I wanted to put this out there before I had made any announcement about all
the new fonts, but I thought I might as well send it out now anyway because
I'm still curious...
The link below goes to another survey that I created a short time ago during
the development of these fonts to
Guy Stalnaker-2 wrote
Abraham,
There is an omission in your survey relation to music -- composer! I
use LP/Frescobaldi because I write choral music (and occasionally organ
music). They in combo are by far, IMO, the best products for my
purposes. I suppose 'publisher' might fit, but as
On Mon, Jul 28, 2014 at 1:19 PM, Urs Liska [via Lilypond]
ml-node+s1069038n165017...@n5.nabble.com wrote:
Good idea.
Would you just collect votes in this thread or should we do something
more formal?
Urs
Alright everyone,
Here's something more formal. It's my first time using this
All,
I couldn't wait any longer, so here's a formal announcement about the new
music fonts that I've been working on, by way of example. They are all 100%
LilyPond compatible for both PDF and SVG output. They all (except Gonville)
support the full LilyPond glyph set (up to LilyPond version
Oh and here's a single sheet showcasing some other elements of each font for
closer comparison:
Sampler of all current music fonts https://db.tt/vV9MuRWR
Cheers!
-Abraham
--
View this message in context:
Keith OHara wrote
Torsten Hämmerle
torsten.haemmerle at
web.de writes:
I've attached a zip file containing the current (albeit unfinished)
versions of the LilyJAZZ music and LilyJAZZ Text font plus the
corresponding LilyJAZZ.ily include.
The main obstacle is the rigid way Lilypond
karol wrote
\version 2.19.10
{
\set Score.proportionalNotationDuration = #(ly:make-moment 1/32)
\repeat unfold 32 { f'32 }
\newSpacingSection
\unset Score.proportionalNotationDuration
f'4 f'4 f'4 f'4
}
Look at the huge gap between first two quarter notes. Bug?
--Karol
Stefaan Himpe wrote
Pieter-Jan Van Damme wrote:
Would you guys have any suggestions for a novice like myself?
When I needed SVG in the past, I found it straightforward to generate it
from Frescobaldi (http://frescobaldi.org ).
In the Lilypond menu, use Engrave (Custom) and choose svg
Alberto Simões-2 wrote
Dear Mark
Thank you for pointing me yet again to that page. This is the third time
I read it, and only now I noticed this sentence:
When a shift is applied, voices with upstems (odd-numbered voices)
are shifted to the right, and voices with downstems
Pieter-Jan Van Damme wrote
Hello guys,
I've been looking for a method to get Lilypond to output to .svg but none
of the methods described online worked for me (I'm using Windows 7).
I tried:
1) using the command line... well, the documentation has left me even more
confused than before
Urs Liska wrote
Actually that's what I mean.
I suggest to add the _ability_ to easily change the notation font
through the make-pango-tree approach and let the user install additional
fonts at will.
As said this is the same as with any other (notation or any other)
program. Of course you
Javier Ruiz-Alma wrote
Am 04.04.2014 12:35, schrieb Fredrik Wallberg:
I'm trying to slightly reduce the extension of ledger lines with
length-fraction and minimum-length-fraction in a dense passage, to
increase available spacing in adjacent bars.
What is the proper usage for this
Noeck wrote
Hi Urs,
it seems like I missed something. How did you create those scores? Using
Abrahams proposed tools? Are they public? Or did you do that with your
own magic?
I would also be interested to test these features.
I have clear preferences when I look at the fonts you compared
Christopher R. Maden wrote
Add the new different things at the *end* of the list, not the
beginning, so that code that used to work continues to work.
Otherwise, it seems good to me...
Well, it's not really new because it already happens first under the covers.
It's just hard-coded to the
All,
Is there anyone who is VERY against distributing music fonts in binary form
(i.e., as otf, svg, etc.files)? I just don't see how we can make other music
fonts available by forcing them to have a metafont source file. I guess that
could be nice, but it seems like so much work to do that. I
Schneidy wrote
I did that, but I let it unfinished for a couple of weeks now...
see =
http://lilypond.1069038.n5.nabble.com/LilyJAZZ-in-v2-18-td162423.html#a162444
Pierre
Yes! Thank you, Pierre, for your good work! I had fun making some updates to
it. I think there are enough people
Greetings, All!
I have worked out a very nice way to switch between notation fonts in
LilyPond, both on a global document level and a local usage level. Up until
now, there were only a couple of music fonts available that were really
usable on a professional level: /Emmentaler/ (the default,
Hi, All!
I just wanted to thank those who have responded so far. Keep 'em comin'!
I also wanted to remind everyone responding via email to Reply to All so
the responses make it back to this forum thread.
Thanks!
- Abraham
--
View this message in context:
On Wed, Jul 9, 2014 at 11:26 AM, tisimst [via Lilypond]
ml-node+s1069038n164192...@n5.nabble.com wrote:
Hi, All!
I just wanted to thank those who have responded so far. Keep 'em
comin'!
I also wanted to remind everyone responding via email to Reply to
All so the responses make
Jim Long wrote
LilyJAZZ might be more useful if it included lowercase
characters. While an all-caps font might be okay for tempo
markings, and other text annotations, it isn't really suitable
for chordnames.
Does anyone know what font is used for the chordnames in Pat
Metheny's anthology
tisimst tisi...@gmail.com:
I am pleased to announce that I have several new music fonts, both in OTF
and SVG formats, that I'd like people to be able to use, but this requires a
patch to a single file, so anyone wanting to patch the file can do it with
little effort. It makes using other fonts
I just thought I'd ask the question...
If more music fonts were available, would we, the LilyPond community (I
realize this doesn't reach everyone using LP), be willing to sacrifice a
_very tiny_ amount of extra typing to support the ability to switch music
fonts more easily?
Let me explain.
tisimst wrote
I just thought I'd ask the question...
BTW, if it wasn't clear, this question is for everyone who receives it :)
-Abraham
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Music-font-switching-question-tp164171p164172.html
Sent from the User mailing list
Phil Holmes-2 wrote
- Original Message -
From: tisimst lt;
tisimst@
gt;
To: lt;
lilypond-user@
gt;
Sent: Saturday, July 05, 2014 4:27 PM
Subject: Re: legato lyrics
2. If you really want to have that slur (it is appropriate at times),
I would say that there is almost
Martin Tarenskeen wrote
On Fri, 4 Jul 2014, Phil Holmes wrote:
- Original Message - From: Martin Tarenskeen
lt;
m.tarenskeen@
gt;
To: lilypond-user mailinglist lt;
lilypond-user@
gt;
Sent: Friday, July 04, 2014 9:59 AM
Subject: legato lyrics
Hi,
In the following
Patrick or Cynthia Karl-2 wrote
I'm trying to do a score where one group of instruments splits and plays
different music for a while. I guess that this might be an instance of
ostia, but I am required to place the new music on two staves in their
own staff group. What I came up with is the
Very cool! Thanks for sharing! I didn't realize you could do such a thing. I
can see this coming in handy.
-Abraham
--
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David,
You can manually place the left and right ends of the bracket like this (and
adjusting to taste):
\version 2.19.8
{
\clef bass
{
a, a4
}
\\
{
/*\once \override TupletBracket.positions = #'(-7 . -7)*/
\tuplet 6/4 { r16 g e d b, a, }
}
}
Yes it can! This clef is available in the current dev build (2.19.*). Any
version prior to this and you'd have to modify it manually, otherwise, which
isn't a simple task--but can be done. So, either try out the current dev
build of LP or just wait patiently for the next stable build.
Here
This probably isn't a permanent solution, but it seems to get the job done
and it's simple:
midpartial =
#(define-music-function (parser location music)
(ly:music?)
#{
\cadenzaOn
#music
\cadenzaOff
#})
upper = {
\time 4/4
\partial 4 c'4
c'1
c'1
\midpartial
Knute Snortum wrote
This post is mostly for me to discover whether there's a better way to do
what I'm doing.
...
My questions are these: 1) is there a better way to do this other than
suppressing a warning, and 2) since it doesn't look like there are
clashing
note columns, what is the
Yeah! Didn't you hear?... next week?... Oh bother.
Just kidding.
Sorry. Confession: I don't really have ANY idea when 2.20 will be released.
I did hear some talk about it, which is why I intentionally used the word
relatively.
In any case, I do think this feature should be included in the next
Steve,
Ok, here's what I got your snippet to do:
http://lilypond.1069038.n5.nabble.com/file/n163143/polyphonic-notehead-collision-original.png
I'm not sure how my solution plays into the rest of the piece you are
working on, but this works pretty well for me:
guitar = \relative c' {
{
Mark,
Not sure if it's an artifact of using an older version, but using the
current 2.18.2 gives me consistent ordering regardless of the number of
times:
Drawing systems...
Notes: (-10 9 -12 11 -3 -5 -7 2 4 0 7 5)
Notes: (-10 9 -12 11 -3 -5 -7 2 4 0 7 5)
This doesn't mean that it's the
Jan-Peter Voigt wrote
... it didn't make its way into the lilypond-codebase ...
Jan-Peter,
Thank you for sharing this. In some ways I can see why the default behavior
is to scale the default text size with the staff size (since the focus is
more on the music than on any accompanying text), but
Oliver,
Normally, you can also try using an explicit call to grab the unicode
character, as outlined here:
http://www.lilypond.org/doc/v2.17/Documentation/notation/special-characters#unicode
http://www.lilypond.org/doc/v2.17/Documentation/notation/special-characters#unicode
However, the
Paul Morris wrote
Hi all, I'm trying to widen ledger lines:
...
So I'm able to widen the ledger lines with length-fraction, but I'm
wondering whether that will affect stem lengths? And it seems that
minimum-length-fraction is not working as described?
Paul,
It appears that what you are
This sometimes happens to me, too. As nice as it is to just be able to have
bug-free immediate playback in Frescobaldi, I have grown accustomed to
simply calling timidity in a console with something like:
timidity mysong.midi
and that has never NOT worked for me. I've also found that once I do
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