This is a variation on issue #34 (grace note synchronization) where
\stemNeutral gets ignored in one staff if there's a grace note in the other.
%%%
\version "2.25.18"
rightHand = \relative {
c'1 |
\grace { c8 } c2
}
leftHand = \relative {
\clef bass
\stemDown f,2 f |
% \grace { s8 } %
> I have been running into... not quite a bug, but an "ugly" (bugly?)
> where the accent is engraved too close to a note with an
> acciaccatura and a slur. Here's a MWE:
>
> %%%
> \version "2.25.18"
>
> \fixed c' { \acciaccatura { f8 } e
On Sat, Sep 21, 2024 at 11:25 AM wrote:
> Knute,
>
>
>
> Is positioning the accent above the note permissible?
>
>
>
> \fixed c' { \acciaccatura { f8 } e4^>^( f4) }
>
That's one way to do it...
--
Knute Snortum
Subject: Accent too close to note with acciaccatura and slur
I have been running into... not quite a bug, but an "ugly" (bugly?) where the
accent is engraved too close to a note with an acciaccatura and a slur. Here's
a MWE:
%%%
\version "2.25.18"
\fixed c&
I have been running into... not quite a bug, but an "ugly" (bugly?) where
the accent is engraved too close to a note with an acciaccatura and a
slur. Here's a MWE:
%%%
\version "2.25.18"
\fixed c' { \acciaccatura { f8 } e4->^( f4) }
%%%
At the moment I just adj
ra Staff not to appear is to add the
following to your \layout block:
\context {
\Score
\accepts NullVoice
}
As an aside directed more at the dev community: is there any good
reason not to make this the default behavior (and similar for
StaffGroup,
<<
> <<
> \new NullVoice = "verseB" { \break \verseLyricsMelody }
> >>
> \new Lyrics \lyricsto "verseB" { \verseOneLyrics }
> >>
> }
>
>
>
> On 9/20/2024 7:51 PM, Saul Tobin wrote:
>
> Another w
;verseB" { \verseOneLyrics }
>>
}
On 9/20/2024 7:51 PM, Saul Tobin wrote:
Another way to get the extra Staff not to appear is to add the
following to your \layout block:
\context {
\Score
\accepts NullVoice
}
As an aside directed more at the dev community: is there
Sorry to be a pest I'm probably just not getting the syntax
correct. I've tried this a couple of ways.
To be clear this is a sample to demonstrate the question. Not what
the actual score is.
\version "2.24.2"
\language "english"
\layout {
indent = 0
\context {
\NullVoice
Another way to get the extra Staff not to appear is to add the following to
your \layout block:
\context {
\Score
\accepts NullVoice
}
As an aside directed more at the dev community: is there any good reason
not to make this the default behavior (and similar for StaffGroup, etc
First - the example I sent is a stripped down sample just to demonstrate
the question I have.
For the actual score the intent is two fold.
Intent one.
The resulting score may be used by multiple instruments and vocalists.
In the case of the guitar player they only need the lyrics and chords
On Sat, 21 Sept 2024 at 10:20, Walt North wrote:
> Thanks, that took care of the alignment.
>
> However now I see an empty staff. Is it expected I would then have to
> remove all empty staves? I tried that but may not have it right
>
>
> \version "2.24.2"
>
> \language "english"
>
> \layout {
>
The easiest way to get the staff not to appear would be to put NullVoice
inside a Staff or similar context that you want to appear.
On Fri, Sep 20, 2024 at 8:19 PM Walt North wrote:
> Thanks, that took care of the alignment.
>
> However now I see an empty staff. Is it expected I would then have
\new Lyrics \lyricsto "verseB" { \verseOneLyrics }
> >>
> }
I could kind of see where you were going with
https://lists.gnu.org/archive/html/lilypond-user/2024-09/msg00152.html
where you might have a guitarist strumming chords as they
follow the words and chords of a song who
Thanks, that took care of the alignment.
However now I see an empty staff. Is it expected I would then have to
remove all empty staves? I tried that but may not have it right
\version "2.24.2"
\language "english"
\layout {
indent = 0
\context {
\NullVoice
\RemoveAllEmptyStaves
My understanding is that Devnull is not intended for alignment of lyrics
because it does not have the necessary engraver to create the invisible
grobs used for alignment. It appears to me in your example that actually
the lyrics are just being spaced evenly without alignment to anything.
Nullvoice
Am I missing something? It seems like using devnull to align lyrics to
does pay attention to ties. Ties do seem to be honored when using voice
for alignment.
Below is a stripped down example with screenshot.
\version "2.24.2"
\language "english"
\layout {
indent = 0
}
verseLyricsMelody
Hi Timothy,
Am 20.09.2024 um 21:28 schrieb Timothy Lanfear:
You need
(markup #:override `(box-padding . ,myvalue) #:box text)
thanks a lot, that does the trick!
Cheers,
Klaus
On 20/09/2024 20:20, K. Blum wrote:
\version "2.24.3"
#(define-markup-command (dosomething layout props text) (markup?)
(let* ((myvalue 1))
(interpret-markup
layout props
; (markup #:override '(box-padding . 1) #:box text)) ; works
(markup #:override '(box-padding .
Dear community,
I try to use a variable instead of a simple hard-coded value (outside the MWE,
this would be the result of a calculation):
%---
\version "2.24.3"
#(define-markup-command (dosomething layout props text) (markup?)
(let* ((myvalue 1))
(inter
Hi everybody,
I'm trying to find the right option to make sure that the bar spacing
follows the length of a text markup.
See this example: if it's one bar long it works, if 2 or more it doesn't.
\version "2.25.19"
\score {
<<
\new StaffGroup <<
\new Staff = "upper" {
c'4 -\mar
Dear Stu,
I don't think that is the problem here, because in original OP snippet,
if you comment out the line `\new Voice { \voiceFour e,2 }`, there is no
barcheck fail, and if you try the following example you can hear how the
upper notes become out of sync with the lower notes in the
On 2024-09-16 14:27, Knute Snortum wrote:
On Mon, Sep 16, 2024 at 2:14 PM Knute Snortum wrote:
On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
In my book, an appoggiatura is executed at least with the written
duration, and here you take 3/16 of time from 1/8
On Mon, Sep 16, 2024 at 2:14 PM Knute Snortum wrote:
>
> On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
>
>>
>> In my book, an appoggiatura is executed at least with the written
>> duration, and here you take 3/16 of time from 1/8. How is that supposed
>
On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
>
> In my book, an appoggiatura is executed at least with the written
> duration, and here you take 3/16 of time from 1/8. How is that supposed
> to work? You probably want \acciaccatura or \grace instead.
I think you're
t;
> This may be related to the problems with creating the MIDI output of an
> appoggiatura with articulate.
In my book, an appoggiatura is executed at least with the written
duration, and here you take 3/16 of time from 1/8. How is that supposed
to work? You probably want \acciacca
I have discovered that LilyPond 2.25.19 produces a bad bar check warning
under certain circumstances. The three parts are 1) using two voices, 2)
an appoggiatura, 3) using articulate.ly. Below is my example code:
%%%
\version "2.25.19"
rightHand = \relative {
\time 3/4
<<
{ \voiceOne e'
On Mon, Aug 26, 2024 at 2:47 PM Wol wrote:
> I've got a little mwe, but my crescendo endings seem a little random. On
> line 1, the crescendo ends on the bar line, but the \! is on the g flat.
> On line 2, the \! is on the g, and the crescendo ends on the g as I
> would expe
I've got a little mwe, but my crescendo endings seem a little random. On
line 1, the crescendo ends on the bar line, but the \! is on the g flat.
On line 2, the \! is on the g, and the crescendo ends on the g as I
would expect. Any ideas why?
It's almost as if lilypond is randoml
mmon, that was why I asked and I was hoping that there
was a way of doing it without stubs. But as that seems to be the
accepted wisdom, so be it.
> I was hoping there was a neat trick that did not involve stubs. But if
> that is the "traditional" way of doing things
I mean, what du you want to see in the end? This sort of notation is very
common in vocal music.
signature.asc
Description: This is a digitally signed message part.
On 09/08/2024 09:54, Valentin Petzel wrote:
I have a song with an intro, several stanzas, and a refrain. Each stanza
starts on the last beat of the measure.See the attached MWE.
Is there a neat way of avoiding having a repeat bar in the middle of a
measure while preserving the stanza numbers
> I have a song with an intro, several stanzas, and a refrain. Each stanza
> starts on the last beat of the measure.See the attached MWE.
>
> Is there a neat way of avoiding having a repeat bar in the middle of a
> measure while preserving the stanza numbers is their proper pla
t the stanza numbers could become detached from
their proper place, which is in front of the first syllable of each
verse. However, I would take the advice of Henning Hraban Ramm, and
place Refrain as markup (I would use italics) over the staff, rather
than inserting it into the lyrics. If that's no
hed from
their proper place, which is in front of the first syllable of each
verse. However, I would take the advice of Henning Hraban Ramm, and
place Refrain as markup (I would use italics) over the staff, rather
than inserting it into the lyrics. If that's not possible for other
reasons, then
This is a follow-up from a question I asked a few weeks back.
I have a song with an intro, several stanzas, and a refrain. Each
stanza starts on the last beat of the measure.See the attached
MWE.
Is there a neat way of avoiding having a repeat
Hi Pond-mates!
>> to get the behavior of \header { instrument = "whatever" },
>> as seen with \bookpart,
>
> What's available for changing the "instrument" header mid-piece,
> without using \bookpart at all?
%%% SNIPPET BEGINS
\version "2.25.11"
\paper {
scoreTitleMarkup = \markup \fromprope
On Tue, Aug 6, 2024 at 10:21 PM Karlin High wrote:
> to get the behavior of \header { instrument = "whatever" },
> as seen with \bookpart,
Another idea:
What's available for changing the "instrument" header mid-piece,
without using \bookpart at all?
--
Karlin High
Missouri, USA
Am Donnerstag, 1. August 2024, 22:36:40 MESZ schrieb Fennel:
> Hi all,
>
> I'm working on a project that involves multiple fingerings for each note,
> and shift lines or glides between some notes. Since lilypond will only
> engrave glides between notes with the same fingering
Am Di., 6. Aug. 2024 um 05:14 Uhr schrieb Fennel :
>
> Multiple fingerings are being used because I'm working on a heavily annotated
> edition of a work that suggests multiple sets of fingerings for a single
> passage.
To summarize, alternative fingerings, right?
> I'm currently choosing to eng
es
are suitable.
The finished tune index will be part of a pocket-size book, 3-3/8" x
5" (85mm x 127mm) with ~10 single staves per page, each with notation
for the first line of a tune as sung.
OpenLilyLib (version 0.6.0) \includePattern is working well to include
233 (and counting) .ly
Multiple fingerings are being used because I'm working on a heavily annotated
edition of a work that suggests multiple sets of fingerings for a single
passage. I'm currently choosing to engrave harmonic symbols (the flageolets) as
fingering objects as well because I need them to behave like fing
I'm wondering the same thing, here's my example:
\version "2.24.4"
\relative c' {
c1
\mark \markup{\segno}
\repeat volta 2 {
d
\mark \markup{\coda}
\alternative {
\volta 1 {
e
}
\volta 2 {
f
}
}
}
g_\markup { \hspace #8 \center-column {
\line {\italic "D.S." \segno \italic "al" \coda}
\italic
spanner on measure 1 and measure 28
Le mer. 31 juil. 2024 à 18:18, Gilles Sadowski a écrit :
>
> Hello.
>
> A common accompaniment motive is "oom pah":
> https://en.wikipedia.org/wiki/Oom-pah
>
> An excerpt of a LilyPond-generated score is attached.
> I get this PDF output by encoding separatel
Am Fr., 2. Aug. 2024 um 05:42 Uhr schrieb Werner LEMBERG :
>
>
> > I'm working on a project that involves multiple fingerings for each
> > note, and shift lines or glides between some notes. [...]
>
> Hopefully Harm has some time to help here since he is the origi
> I'm working on a project that involves multiple fingerings for each
> note, and shift lines or glides between some notes. [...]
Hopefully Harm has some time to help here since he is the original
author of the fingering glide code, IIRC.
> 1. The \once text override is applying
Hi all,
I'm working on a project that involves multiple fingerings for each note, and
shift lines or glides between some notes. Since lilypond will only engrave
glides between notes with the same fingering, I'm using finger 5 to be the
placeholder fingering and overriding the Fing
This is a LilyPond bug, not a Spontini issue. Which LilyPond version are
you currently using? Did you try other versions as well?
In any case, if changing LilyPond doesn't solve the issue I can show you
alternative ways to print page numbers, but I will be home with my PC
available on Monday, so pl
Spontini (v1.25) is behaving oddly in the following example. In SVG mode the
following code will compile, but both pages will not be available in the
browser panel, only the first page. If Spontini is then set to PDF mode, it
will behave as expected, but at the cost of the graphic functionality
Hello.
A common accompaniment motive is "oom pah":
https://en.wikipedia.org/wiki/Oom-pah
An excerpt of a LilyPond-generated score is attached.
I get this PDF output by encoding separately the "oom" ("bassoon" line)
and the "pah" (the chord line), fo
On Tue, Jul 30, 2024 at 5:57 AM David Kastrup wrote:
> Lukas-Fabian Moser writes:
>
> > You're using append! wrong.
> > So try
> >
> > (set! fl (append fl ...))
>
> (append! '() ...)
>
> cannot modify an empty list in-place because there is on
).
Most pertinent:
(append! '() ...)
cannot modify an empty list in-place because there is only one empty
list in the whole system and it is an unchangeable constant.
Indeed Guile happens to modify the given list in-place with append!
whenever it can, but it is impossible for the empty list.
--
David Kastrup
trying to understand a problem I'm seeing.
>
> I have this engraver that acknowledges stems and fingerings,
> this is meant to work with a before-line-breaking callback that
> repositions the fingerings.
> So I thought that I could just sit there, listen for the fingerings as
> t
Hi,
I'm trying to understand a problem I'm seeing.
I have this engraver that acknowledges stems and fingerings,
this is meant to work with a before-line-breaking callback that repositions
the fingerings.
So I thought that I could just sit there, listen for the fingerings as they
got
I really appreciate your work on that! It's also a very instructive example
to emulate, I imagine.
One quick question -- is this "lattice" idea I'm doing (maintaining a
separate voice with nothing but tempo and spaces that gets munged into the
parts) a bad idea for any reas
Am Di., 23. Juli 2024 um 23:52 Uhr schrieb Tom Brennan :
>
> Hi all
>
> I'm notating a sonata for a cello and piano, and I would like to produce
> three "artifacts" (products?) from this:
>
> 1. A solo cello part (a typical single staff representation)
>
Hi all
I'm notating a sonata for a cello and piano, and I would like to produce
three "artifacts" (products?) from this:
1. A solo cello part (a typical single staff representation)
2. A "study score" where all staves are equivalent sizes
3. An accompaniment part for t
On Mon, 15 Jul 2024 at 09:18, Werner LEMBERG wrote:
>
> If you use `\abs-fontsize`, you get a font size (in markups) in points
> regardless of the selected staff size.
Hello,
And the default text font size is 11pt for a default staff size (20pt), as
documented by Werner in NR 1.
> Tell me where you can find out or see how the font sizes in
> lilypond and Word correspond. For example, \SetFontSize = #1,
What is `\SetFontSize`?
> \abs-font size #1, how do they match the font size in Word?
If you use `\abs-fontsize`, you get a font size (in markups)
Hello. Tell me where you can find out or see how the font sizes in lilypond and Word correspond.For example, \SetFontSize = #1, \abs-font size #1, how do they match the font size in Word? Please help me.С уважением,Виноградов Юрий.
Hi,
I've been playing with Emacs for editing Lilypond files, and while it isn't
Frescobaldi I'm starting to enjoy using it. After all, George R R Martin
wrote Game of Thrones on Wordstar because he was comfortable with the
keystrokes.
*Templates*: I have found a very good re
gt; >
> How is that at its root different for your Deck?
Look at the position of the << >> for a start. In Deck, taking a
single verse of lyrics, the simultaneity is between the lyrics
and the upper voices (Staff << >>), and hence with the lower
voices (ChoirStaff &l
arallelism is coded at the level of the staff which is a bit
further away from the lyrics definitions.
Your texti, textii and textiii are according to the syntax also to be sung
simultaneously.
I agree that different structuring would probably make the problem go
away. I am still learning my w
ible as the parallelism is coded at the level of the staff which is a bit
further away from the lyrics definitions.
Your texti, textii and textiii are according to the syntax also to be sung
simultaneously.
.
With real music, as opposed to MWEs, your "extra line" problem
usually goes away by arranging that the verse/chorus interface
occurs across a linebreak. For example, if you were setting the
Satie on four pages rather than the published six, pages 1 & 2
would have one line of lyrics
ise them. Rather, look at the system's default
Compose sequences, which on Debian are stored at:
/usr/share/X11/locale/en_US.UTF-8/Compose
Search or scroll down to "agrave", where the French diacriticals
start, and notice that they're mnemonic:
Compose ` a makes à, as d
>> As you mention 'snippet': The right place for this is the LSR, I
>> believe.
>
> Definitely, yes. But I don’t dislike the idea of having some more or
> less standard LSR snippets for people who want something like this.
Having a 'standard LSR snippet' is certainly a good thing since we
then c
On 08/07/2024 22:12, Mats Bengtsson wrote:
On 2024-07-08 21:40, Raphael Mankin wrote:
An alternative to the already proposed solutions is to name the
Lyrics context that you want to keep, and then reuse it for the refrain:
\version "2.24.3"
melody = { \relative c'
On 2024-07-08 21:40, Raphael Mankin
wrote:
An alternative to
the already proposed solutions is to name the Lyrics context
that you want to keep, and then reuse it for the refrain:
\version "2
On 08/07/2024 19:53, Mats Bengtsson wrote:
On 2024-07-08 15:37, Raphael Mankin wrote:
I am having difficulty layout satisfactorily a song that has 3 verses
and a refrain. The refrain comes on a separate line from the verses.
It looks unsightly, and wastes space on the page. Neither NR nor
On 2024-07-08 15:37, Raphael Mankin
wrote:
I am
having difficulty layout satisfactorily a song that has 3 verses
and a refrain. The refrain comes on a separate line from the
verses. It looks unsightly, and wastes space on the page. Neither
Am 08.07.24 um 15:51 schrieb Raphael Mankin:
Yes, that works, thank you. Not as elegant a solution as I would like,
in that it mixes verse with refrain, but it works.
You can use
\set stanza = "1. "
at the beginning of the lyrics, and for the chorus either the same or
something lik
Yes, that works, thank you. Not as elegant a solution as I would like,
in that it mixes verse with refrain, but it works.
On 08/07/2024 14:46, Christopher R. Maden wrote:
On 7/8/24 09:37, Raphael Mankin wrote:
I am having difficulty layout satisfactorily a song that has 3 verses
and a
On 7/8/24 09:37, Raphael Mankin wrote:
I am having difficulty layout satisfactorily a song that has 3 verses
and a refrain. The refrain comes on a separate line from the verses. It
looks unsightly, and wastes space on the page. Neither NR nor LM seem to
address this case.
I don’t remember
I am having difficulty layout satisfactorily a song that has 3 verses
and a refrain. The refrain comes on a separate line from the verses. It
looks unsightly, and wastes space on the page. Neither NR nor LM seem to
address this case.
I attach my MWE. But here is the .ly
with grmpf above' not part of
> >> this or that set?"
> >
> >
> > Yes, but here the extensibility comes into play. If you want to do
> > something like that and we have a snippet for that → use the
> > snippet. If you prefer different encodi
oards, one
ordinary one, and one for mathematical symbols. Nowadays we can have
programmable keycap symbols that can change as we press
shift/alt/compose. That may be a way to go - relatively cheap and can be
handled at the OS level.
, but here the extensibility comes into play. If you want to do
> something like that and we have a snippet for that → use the
> snippet. If you prefer different encodings → change things as you
> like. Lilypond does already offer a quite powerful framework for
> getting such things
Am Donnerstag, 4. Juli 2024, 18:41:56 MESZ schrieb Werner LEMBERG:
> > And so while I do agree that if the problem can be solved before
> > Lilypond actually matter, then great. But if this does not work out
> > to you, then nothings wrong with getting Lilypond to help you out.
> And so while I do agree that if the problem can be solved before
> Lilypond actually matter, then great. But if this does not work out
> to you, then nothings wrong with getting Lilypond to help you out.
Certainly! However, this shouldn't become part of LilyPond IMHO; it'
t then this becomes sole responsibility of the OS and toolset. But then
we’d demand all people to feel comfortable with the options that do exist.
Maybe for you and your cases compose sequences do work well. But then there
are and have been many paradigms of inputting and encoding such stuff, a
> Anyhow, I persist in my opinion that facilitating the input of
> accented characters is best done at a level different than LilyPond.
+1
Werner
Le jeudi 04 juillet 2024 à 15:21 +0100, Raphael Mankin a écrit :
> It is partly an OS problem, but also that no common keyboard (or
> keyboard layout) contains the complete set of Latin characters.
Not sure how far what you call the “complete set of Latin characters” extends,
but if you somehow
On 04/07/2024 09:57, Jean Abou Samra wrote:
Le jeudi 04 juillet 2024 à 08:09 +0100, Raphael Mankin a écrit :
I already use these, but they are incomplete.
Thanks to all who replied; I obviously struck a nerve, and i10n is still
an issue in spite of utf8.
I beg to differ. IMHO, entering
On 04.07.24 11:14, N. Andrew Walsh wrote:
I suppose it'd be also possible if you're wrapping your .ly file
inside some latex-ly .tex file to use LaTeX's syntax for accented
characters
Certainly the reason why #(include-special-characters) was developed,
see my other reply in the thread.
Bes
with diacritics—I
wonder why those aren’t included. I thought maybe ´ etc. might be
combining diacritics, but that’s not the case either. So I think they
should be added. Meanwhile, the first link above explains how to easily
add more replacements yourself—I use it for prime signs and thin
s.
N. Andrew Walsh
er/ihn/ihm/sein | he/him/his
Berlin
On Tue, Jul 2, 2024 at 11:21 PM Raphael Mankin wrote:
> I have tried all sorts of things, but how do I get French accented
> characters in lyrics and markup?
>
>
> --
>
>
>
Le jeudi 04 juillet 2024 à 08:09 +0100, Raphael Mankin a écrit :
> I already use these, but they are incomplete.
>
> Thanks to all who replied; I obviously struck a nerve, and i10n is still
> an issue in spite of utf8.
I beg to differ. IMHO, entering special characters is an OS-l
replied; I obviously struck a nerve, and i10n is still
an issue in spite of utf8.
Best regards
Simon
Hi Valentin,
On 03.07.24 14:31, Valentin Petzel wrote:
I’ve taken some time to create a function for decoding html-style entities.
wow, that’s a great bit of initiative! I’m really sorry that only upon
seeing this I remembered the text-replacements function already in
LilyPond which does pre
’ve added the option of using a : to specify unicode number as the default
# has a special meaning in Lilypond and will thus require quotes.)
The file is quite large because it contains a mapping of entity-strings to
unicode entities. But simply include the file and use \htmldecode where ever
you
; >
> > \markup\htmldecode { "á" "è" "ç" "â" ... }
> >
> > or
> >
> > \markup\htmldecode { &:xE1; &:xE8; &:xE7; &:xE2; ... }
> >
> > (I’ve added the option of using a : to specify unicode number
t; or
>
> \markup\htmldecode { "á" "è" "ç" "â" ... }
>
> or
>
> \markup\htmldecode { &:xE1; &:xE8; &:xE7; &:xE2; ... }
>
> (I’ve added the option of using a : to specify unicode number as the default
> # has a specia
&:xE1; &:xE8; &:xE7; &:xE2; ... }
(I’ve added the option of using a : to specify unicode number as the default #
has a special meaning in Lilypond and will thus require quotes.)
The file is quite large because it contains a mapping of entity-strings to
unicode entities. But simply i
for
ç);
2) Using a compose sequence[1] (more practical).
On a GNU/Linux system an Italian keyboard might be a good alternative for
you: it's a QWERTY keyboard, you have the most common characters (é è ç à É
È Ç À) available, and you can get the missing ones with method 2.
Best regards,
Ca
x desktop, this is very easy to enable:
open Settings app, select the "Keyboard" tab and click "Compose key"
(under "Special Character Entry"). You can configure a key of your
keyboard to be a "Compose key" which makes it insert various special
characte
On 02/07/2024 22:25, Jean Abou Samra wrote:
I have tried all sorts of things, but how do I get French accented
characters in lyrics and markup?
Uh… just write them directly:
\version "2.24.2"
\markup { Quelques caractères accentués }
\lyrics { É à û Ï }
Thank you. The
> I have tried all sorts of things, but how do I get French accented
> characters in lyrics and markup?
Uh… just write them directly:
\version "2.24.2"
\markup { Quelques caractères accentués }
\lyrics { É à û Ï }
Jean
signature.asc
Description: This is a digitall
I have tried all sorts of things, but how do I get French accented
characters in lyrics and markup?
--
1 - 100 of 13044 matches
Mail list logo
