Re: Orchestral works good practice

Hello, On 07/07/2022 08:50, Rip _Mus wrote: Good morning to everyone, I am preparing a large orchestral work. In my writing style, each instrument often has two voices in its staff, for various reason (for example, each clarinet can handle two voices when playing multiphonics trills with

Orchestral works good practice

Good morning to everyone, I am preparing a large orchestral work. In my writing style, each instrument often has two voices in its staff, for various reason (for example, each clarinet can handle two voices when playing multiphonics trills with threshold tones, or other techniques), but in some

Re: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

Dear Pierre Indeed, very helpful. I also chieved coloring of notes, stems, etc. I did not want to color lines, clef... but it works similar to what you suggest, but the solution you proposed I did not know. Any suggestion allows me to learn more and more about LP. I will post my solution soon

Re: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

Hi Roland, Le dim. 24 mai 2020 à 10:34, R.H. a écrit : ... > Let us assume you want the top or bass voice to be in another color. Here, > the way you created it seems to make this difficult to do, for example to > assign a different color to note heads of different voices -- independently > of

Re: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

.H. [mailto:roland.huettm...@gmail.com] > *Sent:* Saturday, May 23, 2020 11:34 AM > *To:* Mark Stephen Mrotek > *Cc:* lilypond-user > *Subject:* Re: Notation: Piano: How best to indicate left hand or right > hand fingering in polyphonic works? > > > > Oh, thank you Mark > > &g

RE: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

Subject: Re: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works? Oh, thank you Mark Well, that would be great to see your version. Thank you for your offer! For me it is all exercise in LP now and, anyway, my next version would be on the two-staff

Re: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

heads, stems, rests, etc.) -- again for practice. Thanks again Roland Am Sa., 23. Mai 2020 um 19:58 Uhr schrieb Mark Stephen Mrotek < carsonm...@ca.rr.com>: > Roland, > > > > I doubt is anyone can provide a “better” way since that valuation is > entirely based on h

RE: Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

Roland, I doubt is anyone can provide a “better” way since that valuation is entirely based on how the way works for you. When I set the 3-part fugues I use two staves. The soprano and alto in the upper and the bass in the lower. If the alto moves into the region of the bass

Notation: Piano: How best to indicate left hand or right hand fingering in polyphonic works?

Hello to all Since some days I got immersed into Lilypond learning and the addtional usage of Frescobaldi then was a game changer. I see the dedication to quality in both products. For my own piano practice, I am working on the Fugue IX from the Well-Tempered Clavier Book 1 from S.B. Bach. The

"Generate PDF" works, but cmd doesn't

Hello! I want to generate pdf from lilypond files via cmd, so I can run it with AutoHotKey. My test file works on Frescobaldi and with the Generate PDF context menu. I'm using Windows 7 and running cmd with Admin privileges. The ">lilypond" command returns the version and help co

Re: Understanding how \tag works in \relative pitched music

David Wright writes: [...] >> >> Now make-relative is a convenient but quite heavy-handed macro. >> >> There are situations where it fails, and then it does so >> >> spectacularly. >> >> >> >> The reason is that it allows creating a more natural "user >> >>

Re: Understanding how \tag works in \relative pitched music

On Mon 07 Aug 2017 at 22:33:12 (+0200), David Kastrup wrote: > David Wright writes: > > > Neither do I. But the post I was commenting on was constructing an > > Aunt Sally argument, "the unpredictability of \relative with \tag" > > as a reason to make the change. > >

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > Neither do I. But the post I was commenting on was constructing an > Aunt Sally argument, "the unpredictability of \relative with \tag" > as a reason to make the change. Maybe "unpredictability" was not the best expression. It's clear that

Re: Understanding how \tag works in \relative pitched music

On Mon 07 Aug 2017 at 08:43:31 (+0200), David Kastrup wrote: > David Wright writes: > > > On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: > >> David Wright writes: > >> > >> > (\fixed could have been implemented differently, ie

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: >> David Wright writes: >> >> > (\fixed could have been implemented differently, ie without >> > collapsing the meaning of c' through b' as its first

Re: Understanding how \tag works in \relative pitched music

On Sun 06 Aug 2017 at 22:51:57 (+0200), David Kastrup wrote: > David Wright writes: > > > (\fixed could have been implemented differently, ie without > > collapsing the meaning of c' through b' as its first argument. > > This might make it more useful for parts having

Re: Understanding how \tag works in \relative pitched music

David Wright writes: > (\fixed could have been implemented differently, ie without > collapsing the meaning of c' through b' as its first argument. > This might make it more useful for parts having a limited range > centered close to c.) How so? The reason we

Re: Understanding how \tag works in \relative pitched music

On Sat 05 Aug 2017 at 09:07:48 (-0400), Kieren MacMillan wrote: > Hi, > > > Huh, can't say I've heard of \fixed. > > It may have been a relatively [ha!] recent addition…? > See > AFAICT \fixed is not in 2.18.2 but is

Re: Understanding how \tag works in \relative pitched music

caag...@gmail.com writes: > Huh, can't say I've heard of \fixed. I always use \transpose c c'', > which seems to have the same effect. It looks stupid in the code, > though. The effect is not the same. \transpose c c'' \absolute ... is the same as \transpose c c'' ... while \fixed c''

Re: Understanding how \tag works in \relative pitched music

My thanks to all who responded. There were three suggestions offered to "fix" my incorrect code and I confirm that all three produce the expected output. Guy On 8/5/2017 10:40 AM, David Wright wrote: On Fri 04 Aug 2017 at 23:51:49 (-0500), Guy Stalnaker wrote: So it's an Order of Operations

Re: Understanding how \tag works in \relative pitched music

On Fri 04 Aug 2017 at 23:51:49 (-0500), Guy Stalnaker wrote: > So it's an Order of Operations issue. Unfortunately, your capitalisation indicates you haven't really understood the implications of what I wrote. > Pitches entered using \relative are > first converted to absolute then the selection

Re: Understanding how \tag works in \relative pitched music

Hi, > Huh, can't say I've heard of \fixed. It may have been a relatively [ha!] recent addition…? See > I always use \transpose c c'', which seems to have the same effect. It looks > stupid in the code, though. A quick

Re: Understanding how \tag works in \relative pitched music

Huh, can't say I've heard of \fixed. I always use \transpose c c'', which seems to have the same effect. It looks stupid in the code, though. And yeah, absolute mode is a lot easier than relative. If I want to duplicate a measure, I prefer just duplicating it instead of having to adjust the

Re: Understanding how \tag works in \relative pitched music

Hi Guy, > Which suggests that \tag used with \relative will never work. Whether or not your conclusion is technically accurate — others will be more qualified to confirm or correct — the unpredictability of \relative with \tag (which I used to use heavily, before finding the edition-engraver)

Re: Understanding how \tag works in \relative pitched music

2017-08-05 6:51 GMT+02:00 Guy Stalnaker : > So it's an Order of Operations issue. Pitches entered using \relative are > first converted to absolute then the selection using \tag conditional. > > Which suggests that \tag used with \relative will never work. > > Thanks. > > On

Re: Understanding how \tag works in \relative pitched music

So it's an Order of Operations issue. Pitches entered using \relative are first converted to absolute then the selection using \tag conditional. Which suggests that \tag used with \relative will never work. Thanks. On Aug 4, 2017 10:45 PM, "David Wright" wrote: > On

Re: Understanding how \tag works in \relative pitched music

On Fri 04 Aug 2017 at 15:41:34 (-0500), Guy Stalnaker wrote: > All, > > Why is this output being created? I would expect to get exactly the same > pitches on all three staffs, but since not, my expectations are obviously > wrong. > > %% SNIPPET %% > ​straightMusic = \relative c' { > a2

Re: Understanding how \tag works in \relative pitched music

Maybe someone more well-versed with the inner workings of lilypond might correct me here, but as I understand it, the pitches depend on the sequence of notes in the input, regardless of any tags that might be attached to some of them. Conversely, when \keepWithTag (or any of the related commands)

Understanding how \tag works in \relative pitched music

All, Why is this output being created? I would expect to get exactly the same pitches on all three staffs, but since not, my expectations are obviously wrong. %% SNIPPET %% ​straightMusic = \relative c' { a2 _\markup { no tag, relative pitch } cis4 e | fis1 | } clarinetOneMusic = \relative

Solutions received works in LilyPond version 2.18.2.

Solutions received works in LilyPond version 2.18.2. 1) Staff breaking in unmetered music in LilyPond version 2.18.2. To set automatic staff breaking in unmetered music: unmeteredOn = { \cadenzaOn \set Score.defaultBarType = #"" \set Score.barAlways = ##t } un

The Henle Library app - how it works

t-i/> Sharon -- View this message in context: http://lilypond.1069038.n5.nabble.com/The-Henle-Library-app-how-it-works-tp187970.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: the custos: understanding how it works

Guys (David, Thomas, Jacques), thank you very much for the responses. I'll read the Contributor's Guide and see if I can have more specific questions in the future. And Jacques, no worries! Your example was still useful to me as it helped me to realise some things ;) Cheers, Leszek. On 22

the custos: understanding how it works

I was delighted to learn that Lilypond allows one to use custodes. I was wondering how they really work, namely, how one can, upon a linebreak, check what the next pitch is. I have limited Scheme experience. I first tried the code for the first example from here:

Re: the custos: understanding how it works

2015-11-22 16:41 GMT+01:00 Leszek Wroński : > I was delighted to learn that Lilypond allows one to use custodes. I was > wondering how they really work, namely, how one can, upon a linebreak, check > what the next pitch is. I have limited Scheme experience. I first tried the >

Re: the custos: understanding how it works

Leszek Wroński writes: > I was delighted to learn that Lilypond allows one to use custodes. I was > wondering how they really work, namely, how one can, upon a linebreak, > check what the next pitch is. I have limited Scheme experience. > source code, and after grepping found

Re: the custos: understanding how it works

Hello Leszek, Here is an example from this list. JM \version "2.18.1" \layout { indent = 0 ragged-right = ##t \context { \Staff \consists "Custos_engraver" % \override Staff.Custos.stencil = ##f % \override Staff.Custos.style = ##f } } \relative c' { d1

Re: the custos: understanding how it works

Hello Leszek, Oops, looks like I totally misunderstood the kind of help you were looking for… Sorry for the noise! JM > Le 22 nov. 2015 à 17:37, Jacques Menu a écrit : > > Hello Leszek, > > Here is an example from this list. > > JM > > > > \version "2.18.1" > >

Re: NoteColumn.force-hshift doesn't work on 2nd beat but works on others??

NoteColumn.force-hshift = #1.0 % works fis2 | } voicethree = \relative c' { \voiceThree } voicefour = \relative c { \voiceFour c1 } guitar = \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour \score { \new Staff \guitar } % - SNIP - \version 2.18.2

NoteColumn.force-hshift doesn't work on 2nd beat but works on others??

Howdy! For some reason this doesn't work as expected. \once \override NoteColumn.force-hshift works fine in voiceTwo on beats 1 and 3 but not on beat 2? I need more space around the rest. http://www.gooeytar.com/projects/test/test.ly http://www.gooeytar.com

Re: NoteColumn.force-hshift doesn't work on 2nd beat but works on others??

reason this doesn't work as expected. \once \override NoteColumn.force-hshift works fine in voiceTwo on beats 1 and 3 but not on beat 2? I need more space around the rest. http://www.gooeytar.com/projects/test/test.ly http://www.gooeytar.com/projects/test/test.pdf ideas

Re: Octavation of clef works with lilypond v 2.16.1, but not with 2.18

for clefs % This works with lilypond-windows.exe 2.16.1 % It does not work with lilypond-windows.exe 2.19.15 % \include deutsch.ly { \key c \major \clef G c' d' e' f' \clef G_8 % this line does not work c4 d e f \clef F c d e f

Octavation of clef works with lilypond v 2.16.1, but not with 2.18

« (translation-type?) kann nicht gefunden werden. vielleicht ein Tippfehler? Warnung: Zuweisung wird übersprungen The problem is not severe since it does not cancel the compilation – only the octavated clefs are missing. % Test for clefs % This works with lilypond-windows.exe 2.16.1 % It does not work

Re: best practice(s) for divisi choral works

Hi all, Following up on this thread from December… Attached is an example containing the choral parts from the first verse of my “Wither’s Carol”. (If you’re interested, you can find more information on the piece, including a recording, at http://kierenmacmillan.info/withers-carol/.) My goal

Re: best practice(s) for divisi choral works

- Original Message - From: Kieren MacMillan kieren_macmil...@sympatico.ca To: Lilypond-User Mailing List lilypond-user@gnu.org Sent: Thursday, December 25, 2014 2:23 AM Subject: best practice(s) for divisi choral works Hello all! I’m about to dive in to [re]engraving a choral piece

Re: best practice(s) for divisi choral works

piece. Like many choral works, it regularly alternates between “choral unison” (which can effectively be displayed using a single staff), homophonic sections (which require two staves), and polyphonic stuff (which require more than two staves, usually four). For example, the first verse of my piece

Re: best practice(s) for divisi choral works

On 25 December 2014 at 13:23, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all! I’m about to dive in to [re]engraving a choral piece. Like many choral works, it regularly alternates between “choral unison” (which can effectively be displayed using a single staff), homophonic

best practice(s) for divisi choral works

Hello all! I’m about to dive in to [re]engraving a choral piece. Like many choral works, it regularly alternates between “choral unison” (which can effectively be displayed using a single staff), homophonic sections (which require two staves), and polyphonic stuff (which require more than two

RE: Silly question, maybe... how the basic chordmode works for lead-sheets

Don, have you checked the doc on Chords mode here: ?http://lilypond.org/doc/v2.18/Documentation/notation/chord-mode hope this helps, -Marc -- View this message in context: http://lilypond.1069038.n5.nabble.com/RE-Silly-question-maybe-how-the-basic-chordmode-works-for-lead-sheets

RE: Silly question, maybe... how the basic chordmode works for lead-sheets

Date: Thu, 4 Sep 2014 11:21:24 +0100 From: Phil Holmes m...@philholmes.net To: Don Gingrich gingr...@internode.on.net, lilypond-user@gnu.org Subject: Re: Silly question, maybe... -- Phil said: - Original Message - From: Don Gingrich gingr...@internode.on.net To:

cleanly dealing with variables and reducing code duplication in multimovement works

-td145242.html http://stackoverflow.com/questions/20858042/define-function-inside-score-in-lilypond Thanks, Saul -- View this message in context: http://lilypond.1069038.n5.nabble.com/cleanly-dealing-with-variables-and-reducing-code-duplication-in-multimovement-works-tp161112.html Sent from

Re: cleanly dealing with variables and reducing code duplication in multimovement works

Hi Saul, I faced the same situation you describe here. In a first ending there is my personal framework lalily: https://github.com/jpvoigt/lalily There are templates, which are the score blocks to instantiate, which reference the music in music-folders - or namespaces, if you like. And there are

Re: cleanly dealing with variables and reducing code duplication in multimovement works

variables in different namespaces, like movement1.flute versus movement2.flute. I don't really understand what is going on here: \book { music = { c } } seems not to be allowed either. But what works is: musicA = { c } musicB = { d } music = \musicA \bookpart { \music } music = \musicB

Re: cleanly dealing with variables and reducing code duplication in multimovement works

in terms of variable names though. Cheers, -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/cleanly-dealing-with-variables-and-reducing-code-duplication-in-multimovement-works-tp161112p161152.html Sent from the User mailing list archive at Nabble.com

Re: cleanly dealing with variables and reducing code duplication in multimovement works

.nabble.com/cleanly-dealing-with-variables-and-reducing-code-duplication-in-multimovement-works-tp161112p161173.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman

Attribution statements for Mutopia Project works

Greetings all, Are there established practices or examples of how to properly attribute works from the Mutopia Project that are licensed with a Creative Commons license? Say if you make a derivative work based on one? I have made (what I understand to be) derivative works by translating

horizontal shift of note column - hardly works!

I need help with this construction: \once \override NoteColumn #'force-hshift = #{doesn't matter what you put here 'cause it rarely works anyway} My ly code problem demo snippet is here: http://pastie.org/8433947 After two hours of futility tonight, and a review of my previous go around

Re: horizontal shift of note column - hardly works!

On 27/10/13 17:47, Tom Cloyd wrote: I need help with this construction: \once \override NoteColumn #'force-hshift = #{doesn't matter what you put here 'cause it rarely works anyway} My ly code problem demo snippet is here: http://pastie.org/8433947 Works if you put put the shift command

Re: horizontal shift of note column - hardly works!

with this construction: \once \override NoteColumn #'force-hshift = #{doesn't matter what you put here 'cause it rarely works anyway} My ly code problem demo snippet is here: http://pastie.org/8433947 After two hours of futility tonight, and a review of my previous go around with this problem, I

Re: how offsets and alignment works: an explanation

On Tue, 2013-03-26 at 10:29 +0100, Urs Liska wrote: BTW we're preparing the release of a LilyPond toolbox library (where \displayControlPoints will be included of course), and I'd love to include this new one there too. I've been trying to track down where this code might be - the last

Re: how offsets and alignment works: an explanation

Am 16.04.2013 14:07, schrieb Richard Shann: On Tue, 2013-03-26 at 10:29 +0100, Urs Liska wrote: BTW we're preparing the release of a LilyPond toolbox library (where \displayControlPoints will be included of course), and I'd love to include this new one there too. I've been trying to track

Re: how offsets and alignment works: an explanation

Hi, On Tue, Apr 16, 2013 at 9:01 AM, Urs Liska li...@ursliska.de wrote: Am 16.04.2013 14:07, schrieb Richard Shann: On Tue, 2013-03-26 at 10:29 +0100, Urs Liska wrote: BTW we're preparing the release of a LilyPond toolbox library (where \displayControlPoints will be included of course),

Re: how offsets and alignment works: an explanation

Urs Liska li...@ursliska.de writes: Am 16.04.2013 14:07, schrieb Richard Shann: On Tue, 2013-03-26 at 10:29 +0100, Urs Liska wrote: BTW we're preparing the release of a LilyPond toolbox library (where \displayControlPoints will be included of course), and I'd love to include this new one

Re: how offsets and alignment works: an explanation

On Tue, 2013-04-16 at 09:41 -0500, David Nalesnik wrote: Hi, On Tue, Apr 16, 2013 at 9:01 AM, Urs Liska li...@ursliska.de wrote: Am 16.04.2013 14:07, schrieb Richard Shann: On Tue, 2013-03-26 at 10:29 +0100, Urs Liska wrote: BTW

Re: how offsets and alignment works: an explanation

On Tue, 2013-04-16 at 16:59 +0100, Richard Shann wrote: On Tue, 2013-04-16 at 09:41 -0500, David Nalesnik wrote: Hi, [...] When I recently cut-and-pasted the code from the email, I had this same problem. IIRC, the only problem was that a long comment line had been broken across lines.

Re: how offsets and alignment works: an explanation

Does placing it in a separate \layout block help? Richard Shann richard.sh...@virgin.net schrieb: On Tue, 2013-04-16 at 16:59 +0100, Richard Shann wrote: On Tue, 2013-04-16 at 09:41 -0500, David Nalesnik wrote: Hi, [...] When I recently cut-and-pasted the code from the email, I had this

Re: how offsets and alignment works: an explanation

On Tue, 2013-04-16 at 19:22 +0200, Urs Liska wrote: Does placing it in a separate \layout block help? \layout { \override Slur #'stencil = #(display-control-points #t) } does work - I feel stupid now, but I didn't try that because it seemed to me that this case was a different type of

Re: how offsets and alignment works: an explanation

2013/4/16 Richard Shann richard.sh...@virgin.net: On Tue, 2013-04-16 at 19:22 +0200, Urs Liska wrote: Does placing it in a separate \layout block help? \layout { \override Slur #'stencil = #(display-control-points #t) } does work - I feel stupid now, but I didn't try that because it

Re: how offsets and alignment works: an explanation

Janek Warchoł janek.lilyp...@gmail.com writes: 2013/4/16 Richard Shann richard.sh...@virgin.net: On Tue, 2013-04-16 at 19:22 +0200, Urs Liska wrote: Does placing it in a separate \layout block help? \layout { \override Slur #'stencil = #(display-control-points #t) } does work - I

Re: how offsets and alignment works: an explanation

the context if necessary. onceRedScript = \once \override Script #'after-line-breaking = #addDot %%% EXAMPLES mus = { \override NoteHead #'style = #'altdefault g'2- % Testing if \printRefpoint works with a custom-override. \once \override

Re: how offsets and alignment works: an explanation

Hi all, On Tue, Mar 26, 2013 at 4:29 AM, Urs Liska li...@ursliska.de wrote: Wow, cool! Can you give a quick hint why this isn't possible to implement as an \override? Attached you'll find a function that AFAIR you provided too, which displays the control points of curves. This new

Re: how offsets and alignment works: an explanation

Am 26.03.2013 12:20, schrieb David Nalesnik: Hi all, On Tue, Mar 26, 2013 at 4:29 AM, Urs Liska li...@ursliska.de mailto:li...@ursliska.de wrote: Wow, cool! Can you give a quick hint why this isn't possible to implement as an \override? Attached you'll find a function that

Re: how offsets and alignment works: an explanation

Hi Urs, On Tue, Mar 26, 2013 at 6:22 AM, Urs Liska li...@ursliska.de wrote: Am 26.03.2013 12:20, schrieb David Nalesnik: The thread for displaying control-points can be found here: http://www.mail-archive.com/bug-lilypond@gnu.org/msg34439.html Thanks. Hm, don't know why I didn't

Re: how offsets and alignment works: an explanation

Hi Harm, On Tue, Mar 26, 2013 at 12:34 AM, Thomas Morley wrote: 2013/3/25 Thomas Morley thomasmorle...@googlemail.com: 2013/3/24 Janek Warchoł janek.lilyp...@gmail.com: Could i ask you to write a function that would print a red dot on top of a grob's refpoint? Will try the upcoming days.

Re: how offsets and alignment works: an explanation

Janek Warchoł wrote Sunday, March 24, 2013 10:56 PM On Sat, Mar 23, 2013 at 7:13 PM, Trevor Daniels t.dani...@treda.co.uk wrote: The Notation Reference is a _reference_ document. It is intended to remind users of information which they already understand. Explanations belong either in the

Re: how offsets and alignment works: an explanation

It of course depends on how large you want the dot and what other flexibility you want/need. But with a regular '.' (or any character- string) you could easily do this without special function code needed: \version 2.16.0 dotcolor = #red smalldotmark = \markup{\bold \with-color \dotcolor . }

Re: how offsets and alignment works: an explanation

Am 24.03.2013 23:56, schrieb Janek Warchoł: Hi all, ... On Sun, Mar 24, 2013 at 3:02 AM, Thomas Morley thomasmorle...@googlemail.com wrote: this is great!! I've never read a better explanation of x_aligned_on_self and aligned_on_x_parent. thanks! :) Could i ask you to write a function that

Re: how offsets and alignment works: an explanation

Le 23/03/2013 18:13, Trevor Daniels disait : Noeck wrote Saturday, March 23, 2013 5:55 PM This is explained very concisely and without examples in the NR, see http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects I disagree. As an average user, I feel quite lost in this

Re: how offsets and alignment works: an explanation

to be appropiate (or the CG should be translated as well). It might be best to consider placing all detailed technical explanations of how Lily works in Extending, perhaps moving some material there from the CG, leaving only material in the CG of relevance to actually hacking code in the codebase. But that's

Re: how offsets and alignment works: an explanation

should be translated as well). It might be best to consider placing all detailed technical explanations of how Lily works in Extending, perhaps moving some material there from the CG, leaving only material in the CG of relevance to actually hacking code in the codebase. But that's a major

Re: how offsets and alignment works: an explanation

2013/3/24 Janek Warchoł janek.lilyp...@gmail.com: On Sun, Mar 24, 2013 at 3:02 AM, Thomas Morley thomasmorle...@googlemail.com wrote: this is great!! [...] Could i ask you to write a function that would print a red dot on top of a grob's refpoint? (the image i've attached was made with

Re: how offsets and alignment works: an explanation

on 2013-03-24 at 23:56 Janek Warchoł wrote: Could i ask you to write a function that would print a red dot on top of a grob's refpoint? (the image i've attached was made with GIMP, and it would be better to have it in lily code. hey, i was trying to find somewhere in the docs how to get

Re: how offsets and alignment works: an explanation

- Original Message - From: Janek Warchoł janek.lilyp...@gmail.com To: LilyPond Users lilypond-user@gnu.org Sent: Saturday, March 23, 2013 2:05 PM Subject: how offsets and alignment works: an explanation Hi, here's an explanation of what's happening when we're using XY-offset, self

Re: how offsets and alignment works: an explanation

Am 23.03.2013 16:07, schrieb Phil Holmes: - Original Message - From: Janek Warchoł janek.lilyp...@gmail.com To: LilyPond Users lilypond-user@gnu.org Sent: Saturday, March 23, 2013 2:05 PM Subject: how offsets and alignment works: an explanation Hi, here's an explanation of what's

Re: how offsets and alignment works: an explanation

here's an explanation of what's happening when we're using XY-offset, self-alignment etc. I hope that it'll help users get a better understanding of LilyPond internals; i also think it would be a good material for documentation, Hi Janek, I loved to read this long mail. I would like to

Re: how offsets and alignment works: an explanation

, as Phil suggests, with links into it from the NR. Trevor - Original Message - From: Janek Warchoł janek.lilyp...@gmail.com To: LilyPond Users lilypond-user@gnu.org Sent: Saturday, March 23, 2013 2:05 PM Subject: how offsets and alignment works: an explanation Hi, here's

Re: how offsets and alignment works: an explanation

of the notehead). If we want the center of the LyricText to be aligned with the center of its parent NoteHead, we have to use a different procedure: aligned_on_x_parent. It works very similarly to x_aligned_on_self, but in addition to calculating offset based on grob's own extent, it also uses

Re: how offsets and alignment works: an explanation

This is explained very concisely and without examples in the NR, see http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects I disagree. As an average user, I feel quite lost in this section especially with the two-dimensional extents. Some images and the explanation from

Re: how offsets and alignment works: an explanation

Noeck wrote Saturday, March 23, 2013 5:55 PM This is explained very concisely and without examples in the NR, see http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects I disagree. As an average user, I feel quite lost in this section especially with the two-dimensional

Re: how offsets and alignment works: an explanation

Am 23.03.2013 19:13, schrieb Trevor Daniels: Noeck wrote Saturday, March 23, 2013 5:55 PM This is explained very concisely and without examples in the NR, see http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects I disagree. As an average user, I feel quite lost in

Re: how offsets and alignment works: an explanation

On 24/03/13 03:56, Trevor Daniels wrote: Hi Janek This is explained very concisely and without examples in the NR, see http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects BTW, the text in that section (an accidental can be repositioned vertically by setting Y-offset but

Re: how offsets and alignment works: an explanation

of x_aligned_on_self and aligned_on_x_parent. Even better than http://www.lilypond.org/doc/v2.17/Documentation/notation/aligning-objects Well, it's _usage_ is explained quite well in the manuals. Though, I very often need a deeper understanding _how_ something works. If it's written in scheme, I study

Re: Concert of LilyPond works

Mike, On 2 Feb 2012, at 00:18, m...@apollinemike.com m...@apollinemike.com wrote: Hey all, In case any of you on the list are not-too-far from the east of France, I'd like to invite you to a concert presented by the Ecole de Musique de Saint-Chamond featuring nine of my works: http

Re: Concert of LilyPond works

In case any of you on the list are not-too-far from the east of France, I'd like to invite you to a concert presented by the Ecole de Musique de Saint-Chamond featuring nine of my works: http://apollinemike.com/concertS

Concert of LilyPond works

Hey all, In case any of you on the list are not-too-far from the east of France, I'd like to invite you to a concert presented by the Ecole de Musique de Saint-Chamond featuring nine of my works: http://apollinemike.com/concertSolomon.pdf Seven of these pieces were composed using LilyPond

\override VerticalAxisGroup #'remove-empty works only at the beginning of a score

It seems that overriding #'remove-empty for Staff.VerticalAxisGroup has only an effect if it is called prior to the first note of the staff. Any \override VerticalAxisGroup #'remove-empty = ##t (or ##f) after the first note does not have any effect. Now, this is a problem, if the whole

Re: \override VerticalAxisGroup #'remove-empty works only at the beginning of a score

Le 11 nov. 2009 à 16:07, Reinhold Kainhofer a écrit : Now, this is a problem, if the whole score consists of several different parts. For example, I have a choral score with fugues and a soprano solo. during the fugues, none of the staves should be removed (if e.g. the Alto sets in 9

This works, but I don't understand why

don't. That's a surprise. \once \override Script #'script-priority = #500%%works but shouldn't df4--. \once \override Script #'script-priority = #-500%%doesn't work but should df4--. \once \override Script #'script-priority = #500%%works and should df4-.- \once \override Script #'script

Re: \once \override works differently on R and r

Thanks, Graham. I see the warning in Ch. 8.2.1 about using MultiMeasureRestText instead of TextScript to move these markups. I was originally thrown off course, because I was trying to use the \translate text markup command described in 8.1.6. It works on TextScript, but is ignored

Re: \once \override works differently on R and r

. It works on TextScript, but is ignored by MultiMeasureRestText. This seems like a bug to me, yes-no? No. Hello David, as you can see in the following snippet, there are several ways to print text above an empty measure; all of them wan be moved using the appropriate object name; besides since

Re: \once \override works differently on R and r

Thanks, Valentin. I see now that I misunderstood the function of \translate. I used at as the first operator in a markup in order to move the whole thing which I now understand is not supposed to work as described in the documentation of \raise. I was confused because it did work in

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