Re: \rest in \drummode?
the \tweak you suggest does not work (unfortunatly)... ole Am 26.08.2007 um 01:38 schrieb Han-Wen Nienhuys: Ole Schmidt escreveu: Dear all, is there a way to place a rest (higher) in \drummode? (like with \rest command in normal staffs) \override the staff-position of the Rest, or perhaps using tweak. Untested code follows: \tweak #'staff-position #5 r -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
slur and system breaks
I am having a problem where slurs across system breaks look like 2 slurs - instead of a slur-with-a-break (i.e. the right end of the slur at the top system should remain open not curve down like an ending of a slur, and similar the left begining of the second slur). I couldn't find a solution for this problem searching through the archive only another user posing this question 4 years ago with no replies and I also noticed that this seems to be how slurs are done in all the examples availbale on the website. does anyone know of a way to make the slurs correct across breaks? thanks Oded ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Should slurs really start before the key signature?
Hi Arvid,
On 26 Aug 2007 10:35:21 +0200, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
...unlike ties and phrasing slurs?
This one looks strange with both latest 2.10 and 2.11 IMO; I can't get
2.8 to run at the moment to check if this is a regression or not.
-- Arvid
\version 2.8.1
\score {
\context Score
\relative c'' { \key c \minor c c\( c( c~ |\break c d) c\) c }
\layout {}
}
Have a look at issue 379, ugly slur with key signature and line break.
It's classed as a low-priority defect, unfortunately.
Regards,
Neil
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how to mute explicit voices in midi output
I think the manual is a bit unclear on this topic. I tried \set Staff.midiMaximumVolume = #0 but it didn't work. regards, Tao -- Pt! Schon vom neuen GMX MultiMessenger gehört? Der kanns mit allen: http://www.gmx.net/de/go/multimessenger ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change Staff hara-kiri-ability on the fly? SPONSORSHIP?
2007/8/25, Kieren MacMillan [EMAIL PROTECTED]: p.s. This is *definitely* an LSR-worthy tip/trick! It is indeed; feel free to add it and I'll mark it as approved ASAP :) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slur and system breaks
2007/8/26, Oded [EMAIL PROTECTED]: Greetings, I couldn't find a solution for this problem searching through the archive only another user posing this question 4 years ago with no replies and I also noticed that this seems to be how slurs are done in all the examples availbale on the website. If I understand correctly how the LilyPond team (and list) works, you may have to prove that this is a bug, and not a matter of personal preference. To document this as a bug, you might want to find some authentic (hand-engraved) reference scores, scan a relevant example, and compare it to the same fragment produced using LilyPond (you can refer to http://lilypond.org/web/about/automated-engraving/benchmarking if you want an example). Slurs behavior is a tricky part to program, so I think the more you'll document it, the more LilyPond crew will be grateful to you (and willing to address the issue). Regards, V. Villenave ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
2007/8/26, Han-Wen Nienhuys [EMAIL PROTECTED]: I think you are all thinking in too complicated directions. x-aligned-on-self !!! This is awesome! Han-Wen (if I may repeat myself), you're a God! I'm immediately adding it to the LSR. Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
2007/8/26, Valentin Villenave [EMAIL PROTECTED]: x-aligned-on-self !!! This is awesome! Awesome, *but*... As a result, the first TimeSignature of each system is also aligned with the left barline (which puts it too far on the left, even before the Clef). For the very first TimeSignature, no big deal: one can easily add an \once \override. But when the time signature often changes, many systems can begin with a new TimeSignature, and it becomes almost impossible to correct all of these manually. So, is it possible to apply the x-aligned-on-self trick *only* to TimeSignatures which are not at the beginning of a line? (maybe a relatively simple Scheme function could do it automatically... but I don't have the skills yet) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to mute explicit voices in midi output
hello
Put a dynamic at the begin off no sound
%
\version 2.10.29
\score {
\relative c' {
c8
c c d
e4 d
\set Staff.midiMaximumVolume = #0
c8\f^Dyn. for NO sound
e d d
\set Staff.midiMaximumVolume = #1
c2 \f^for sound
}
\layout { }
\midi { }
}
%
I think the manual is a bit unclear on this topic.
I tried \set Staff.midiMaximumVolume = #0 but it didn't work.
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Re: how to mute explicit voices in midi output
hello
Put a dynamic at the beginning of your Note where you dont want no sound.
%
\version 2.10.29
\score {
\relative c' {
c8
c c d
e4 d
\set Staff.midiMaximumVolume = #0
c8\f^Dyn. for NO sound
e d d
\set Staff.midiMaximumVolume = #1
c2 \f^for sound
}
\layout { }
\midi { }
}
%
I think the manual is a bit unclear on this topic.
I tried \set Staff.midiMaximumVolume = #0 but it didn't work.
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Re: how to mute explicit voices in midi output
You can hide the dynamics with \once \override Score.DynamicText #'transparent = ##t Put a dynamic at the beginning of your Note where you dont want no sound. I think the manual is a bit unclear on this topic. I tried \set Staff.midiMaximumVolume = #0 but it didn't work. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change Staff hara-kiri-ability on the fly? SPONSORSHIP?
Hi Valentin, On 8/26/07, Valentin Villenave [EMAIL PROTECTED] wrote: 2007/8/25, Kieren MacMillan [EMAIL PROTECTED]: p.s. This is *definitely* an LSR-worthy tip/trick! It is indeed; feel free to add it and I'll mark it as approved ASAP :) I've just added it as Forcing visibility of systems with multi-bar rests when using \RemoveEmptyStaffContext; I hope it's OK. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Should slurs really start before the key signature?
Have a look at issue 379, ugly slur with key signature and line break. Ah, so this is possibly a duplicate. It's classed as a low-priority defect, unfortunately. It *should* be simple to fix at least this aspect of it, though: Both ties and phrasing slurs start after the key signature and look a lot better (IMHO). -- Arvid ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change Staff hara-kiri-ability on the fly? SPONSORSHIP?
2007/8/26, Neil Puttock [EMAIL PROTECTED]: I've just added it as Forcing visibility of systems with multi-bar rests when using \RemoveEmptyStaffContext; I hope it's OK. http://lsr.dsi.unimi.it/LSR/Item?u=1id=312 A bit long, but I couldn't find any shorter title. It's approved now; however, you've mentioned an issue with the PianoStaff thing, which I tend to think that LilyPond should automatically address (a piano, or harp staff, should never ever be reduced to one single staff when using the hara-Kiri engraver). I'm starting another thread right now to discuss this issue. It would be great if both Kieren and you Neil, could express your point of view there. Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
Hello everybody,
I'm sending it to -user, to discuss it before making a bug report.
As I said in the title, there's an annoying thing when typesetting an
orchestral score with some Piano or Harp parts in it: when your harp
(or piano) only plays a few notes with one single hand, the
RemoveEmptyStaffContext makes the other staff (for the other hand)
disappear. You're left with a single staff, and it's hard to remember
this single staff is actually a Piano or Harp part (both are usually
written on *two* staves at least).
The existing solutions are:
-remove the Hara_kiri_engraver from the staves of the PianoStaff
context. This way (which I've been using until now), the two staves
are *always* displayed, no matter whether they've notes or not.
-whenever only one hand is playing, systematically add invisible notes
to the other hand so the staff doesn't disappear. As Neil mentioned,
it is ugly.
-use the trick described in
http://lsr.dsi.unimi.it/LSR/Item?u=1id=312 , i.e. add the
multi-measure-rest-interface to the list of keepAliveInterfaces
whenever needed, then unset it. It is the most elegant solution, but
then again, it has to be done *manually* whenever you need it.
But this is, IMO, a bug: neither a Piano nor a Harp part should ever
be reduced to a single staff!
Here is the minimal example for a bug report. In this example, the
piano staves should only be hidden in the third system.
% (based on Neil's snippet)
one = {
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
a1
}
two = { \clef bass
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
R1*4 \break
a1
}
three = { \clef bass
\repeat unfold 4 { a4 b c' d'} \break
R1*4 \break
R1*4 \break
a1
}
\score {
\context Staff = one \one
\new PianoStaff
\context Staff = two \two
\context Staff = three \three
\layout {
\context { \RemoveEmptyStaffContext }
}
}
Regards,
Valentin
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Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
2007/8/26, Valentin Villenave [EMAIL PROTECTED]:
The existing solutions are:
-whenever only one hand is playing, systematically add invisible notes
to the other hand so the staff doesn't disappear. As Neil mentioned,
it is ugly.
Here is a quick-and-dirty function I wrote a few months ago, which
sort of works; however there are a few bugs with it:
-notes tend to overlap, generating many warning messages when compiling
-if you add an ottava to one of the hands, it is printed on both staves
-you can't use polyphonic music within one hand.
So after spending a few hours and loosing some of my hair, I just dropped it.
%
%% quick-and-dirty: each staff will contain the music
%% of both staves as two distinct voices, but only
%% one will be visible.
PianoAlive=
#(define-music-function (parser location right left) (ly:music? ly:music?)
#{
\new Staff \with {
\remove Ottava_spanner_engraver
\remove Collision_engraver
\remove Rest_collision_engraver
\remove Accidental_engraver
\remove Key_engraver } {
\new Voice \with {
\override VerticalAxisGroup #'minimum-Y-extent = ##f
localKeySignature = #'()
createSpacing = ##t
squashedPosition = #0
\consists Pitch_squash_engraver
\remove Rest_engraver
\remove Text_engraver
\remove Dynamic_engraver
\remove Fingering_engraver
\remove Slur_engraver
\remove Tie_engraver
\remove Script_engraver
\remove Script_column_engraver
\remove Stem_engraver
\remove Tuplet_engraver
\remove Arpeggio_engraver
\remove Beam_engraver
\remove Dots_engraver
\remove Multi_measure_rest_engraver } {
\sequential {
\override NoteHead #'transparent = ##t
\override NoteHead #'no-ledgers = ##t
\override TupletBracket #'transparent = ##t
\override TupletNumber #'transparent = ##t
}
{ \voiceFour $left }}
\new Voice \with{
\consists Ottava_spanner_engraver
\consists Accidental_engraver
\consists Collision_engraver
\consists Rest_collision_engraver
\consists Key_engraver
\consists Clef_engraver }
$right }
\new Staff \with {
\remove Ottava_spanner_engraver
\remove Collision_engraver
\remove Rest_collision_engraver
\remove Accidental_engraver
\remove Key_engraver} {
\new Voice \with {
\override VerticalAxisGroup #'minimum-Y-extent = ##f
localKeySignature = #'()
createSpacing = ##t
squashedPosition = #0
\consists Pitch_squash_engraver
\remove Rest_engraver
\remove Text_engraver
\remove Dynamic_engraver
\remove Fingering_engraver
\remove Slur_engraver
\remove Tie_engraver
\remove Script_engraver
\remove Script_column_engraver
\remove Stem_engraver
\remove Tuplet_engraver
\remove Arpeggio_engraver
\remove Beam_engraver
\remove Dots_engraver
\remove Multi_measure_rest_engraver } {
\sequential {
\override NoteHead #'transparent = ##t
\override NoteHead #'no-ledgers = ##t
\override TupletBracket #'transparent = ##t
\override TupletNumber #'transparent = ##t
}
{\voiceFour $right }}
\new Voice \with{
\consists Ottava_spanner_engraver
\consists Accidental_engraver
\consists Collision_engraver
\consists Rest_collision_engraver
\consists Key_engraver
\consists Clef_engraver }
$left }
#})
%%Here comes the above snippet with this function:
one = {
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
a1
}
two = { \clef treble
\repeat unfold 4 { a4 b c' d'} \break
\repeat unfold 4 { a4 b c' d'} \break
R1*4 \break
a1
}
three = { \clef bass
\repeat unfold 4 { a4 b c' d'} \break
R1*4 \break
R1*4 \break
a1
}
\score {
\context Staff = one \one
\new PianoStaff
\PianoAlive \two \three
\layout {
\context { \RemoveEmptyStaffContext }
}
}
Regards,
Valentin
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Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
Hi Valentin, this is, IMO, a bug: neither a Piano nor a Harp part should ever be reduced to a single staff! I disagree, and there are many hand-engraved examples to back me up -- for example, Stravinsky's Petrushka (Edition Russe de Musique, 1912) clearly shows the Harp I part as two staves with brace (most of the time) AND as a single staff (e.g., #29-#30), and the piano part as two staves with brace (most of the time) AND as a single staff (e.g., #27-#28). Furthermore, as a composer (well, engraver), I *definitely* want the option to do either! IMO, this should be a setting similar to connectArpeggios -- say, keepAliveTogether -- where the default is ##t, but it can be set to ##f as desired. I suppose this could also be extended (as an interface) to ChoirStaff, StaffGroup, etc., for ultimate flexibility. Best regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
2007/8/26, Kieren MacMillan [EMAIL PROTECTED]: Hi Kieren, I disagree, and there are many hand-engraved examples to back me up -- for example, Stravinsky's Petrushka (Edition Russe de Musique, 1912) clearly shows the Harp I part as two staves with brace (most of the time) AND as a single staff (e.g., #29-#30), and the piano part as two staves with brace (most of the time) AND as a single staff (e.g., #27-#28). I have this edition too, and indeed at #27 the piano and celesta are reduced to one staff only (with a little brace on the left though, which LilyPond doesn't handle). But this seems to happen only when there is too much music too fit on the page: if you look at #97 or #120, only one hand is playing and however both staves are still printed. Furthermore, as a composer (well, engraver), I *definitely* want the option to do either! I agree with you, this should come as a choice. But as both a composer and a pianist, I *definitely* can't easily find the piano part on an orchestral score if there are no braces on the left :) IMO, this should be a setting similar to connectArpeggios -- say, keepAliveTogether -- where the default is ##t, but it can be set to ##f as desired. I suppose this could also be extended (as an interface) to ChoirStaff, StaffGroup, etc., for ultimate flexibility. Absolutely. If your sponsorship offer is still good, this is definitely a feature for which I'm ready to offer a bounty myself. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
2007/8/26, Kieren MacMillan [EMAIL PROTECTED]: Actually, it does... see for example http://lists.gnu.org/archive/ html/lilypond-user/2006-07/msg00244.html. I had never thought the SystemStartBrace had a collapse-height property like the SystemStartBracket; thank you for the tip (I'm adding it to the LSR snippet right now). Otherwise, we agree to say that keeping alive both staves of a PianoStaff should be the default behavior (or at least, should be possible). If this isn't a bug, this is at least a missing feature... Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
Hi Valentin: we agree to say that keeping alive both staves of a PianoStaff should be the default behavior (or at least, should be possible). If this isn't a bug, this is at least a missing feature... Absolutely! =) Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
2007/8/26, Valentin Villenave [EMAIL PROTECTED]: As a result, the first TimeSignature of each system is also aligned with the left barline (which puts it too far on the left, even before the Clef). For the very first TimeSignature, no big deal: one can easily add an \once \override. But when the time signature often changes, many systems can begin with a new TimeSignature, and it becomes almost impossible to correct all of these manually. I thought that was desired. If you don't do the break-align-symbol override, the time sig will be after the clef on the start of the system. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara_kiri_engraver shouldn't handle both staves of a PianoStaff as separate single staves
Hi Kieren/Valentin, On 8/26/07, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Valentin: we agree to say that keeping alive both staves of a PianoStaff should be the default behavior (or at least, should be possible). If this isn't a bug, this is at least a missing feature... Absolutely! =) Kieren. Also agreed here. I'd tend to agree with Valentin though, in that I can't think of many situations where it would be ideal to hide a piano or harp stave; the Petrushka examples are clearly the engraver admitting defeat due to lack of space. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
2007/8/26, Han-Wen Nienhuys [EMAIL PROTECTED]: 2007/8/26, Valentin Villenave [EMAIL PROTECTED]: As a result, the first TimeSignature of each system is also aligned with the left barline (which puts it too far on the left, even before the Clef). I thought that was desired. If you don't do the break-align-symbol override, the time sig will be after the clef on the start of the system. This is the point; the time signatures should be aligned with the barlines, *unless* they're at the beginning of the line (then they have to be put after the clef). This is because in such orchestral scores, the time signature is printed above the 1st flute staff, above the 1st Horn staff and above the 1st Violins staff (in other words, above each main instrument groups). Since there is no barline between those staves, the TimeSignature can be aligned with the barlines, *but* since the first barline of each system is always printed, then the TimeSignature has to be moved after the Clef. You can see such engraving rules in many contemporary orchestral scores (I have some examples here in France, but unfortunately I haven't a scanner). Thank you very much Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alignment problem with RehearsalMark
On 8/14/07, Neil Puttock [EMAIL PROTECTED] wrote:
Hi everybody,
Here's a layout section I'm using to allow rehearsal marks to be printed
on more than one stave in an orchestral score:
\layout {
\context { \Score
\remove Staff_collecting_engraver
\remove Mark_engraver
}
\context { \Staff
\consists Staff_collecting_engraver
\consists Mark_engraver
}
}
This works fine, apart from one snag: overriding #'break-align-symbol has
no effect, unless the engravers are moved back the the \Score context. Is
there something else I should be moving to the \Staff context to make
RehearsalMark see the override, or is this a bug?
Thanks,
Neil
I've just encountered another problem - clef changes skew the rehearsal
mark positioning to the left of the bar-line:
\version 2.11.30
\paper { ragged-right = ##t }
one = {R1 \mark \default R \mark \default R }
two = {R1 \clef bass R R }
\score {
\new GrandStaff
\context Staff = one \one
\context Staff = two \two
\layout {
\context { \Score
\remove Staff_collecting_engraver
\remove Mark_engraver
}
\context { \Staff
\consists Staff_collecting_engraver
\consists Mark_engraver
}
}
}
I'm afraid to say that the mark engraver's unusable when moved to the \Staff
context. It's rather unfortunate, since it's common for orchestral scores to
have rehearsal marks at the top of the score and above the First Violins.
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Re: songbooks with guitar tablature
2007/8/23, Jack Cooper [EMAIL PROTECTED]: While OpenOffice isn't technically a freeware version of Microsoft Office, I don't know how else to describe it to folks who have never heard of it or used it. And since I wrote these intro notes, I am more inclined to use GIMP for image editing and Scribus for general layout. The general point I was hoping to convey to someone is that it doesn't require hundreds of dollars investment in software to produce professional looking songbooks, thanks to lilypond. Absolutely! As for the way you describe OpenOffice, maybe using equivalent instead of version would be more convenient and just as self-explanatory. But it's just one word :) I have a specfic market I am trying to interest in having songbooks created, and I will have a better idea over the next couple of months the level of interest within that market. When you do, feel free to keep the community informed: it's always extremely interesting when open-source projects manage to reach the commercial market. Making the source files files available is a very good idea but it provides a bit of a conundrum. Here's an example using a project I am currently involved with creating a collection of notated traditional fiddle songs. The person who I am doing the notation for has decided, after I've gotten halfway throught the set of tunes, that compensation for my time is too expensive and if I could just spend an hour teaching how to use the package, he could learn to do it himself. Fair enough. You can very well, in the future, wait until the job is done (and until you get paid) to release the source code. This is what I would probably do. Anyway, thanks for sharing your experience with us. Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slur and system breaks
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Sonntag, 26. August 2007 schrieb Valentin Villenave: 2007/8/26, Oded [EMAIL PROTECTED]: Greetings, I couldn't find a solution for this problem searching through the archive only another user posing this question 4 years ago with no replies and I also noticed that this seems to be how slurs are done in all the examples availbale on the website. If I understand correctly how the LilyPond team (and list) works, you may have to prove that this is a bug, and not a matter of personal preference. To document this as a bug, you might want to find some authentic (hand-engraved) reference scores, scan a relevant example, and compare it to the same fragment produced using LilyPond (you can refer to http://lilypond.org/web/about/automated-engraving/benchmarking if you want an example). I looked at an old edition of Mozart's Verspera sollenis de confessore (KV 339), which was published by Breitkopf Härtel in 1896. It seems that ties and slurs that span a line break do not cut the curve in half, but show the full curve on both systems. An example can be seen at http://www.fam.tuwien.ac.at/~reinhold/Chor/Mozart_VesperaeConfessore_KV339_0009.tiff Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFG0fR0TqjEwhXvPN0RArv+AKCtDEGju9PDQlGOMontRUMN3+SJXgCfbHx6 ly9VgTJXC4/7oWUgcKp+6Zk= =/beA -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slur and system breaks
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Sonntag, 26. August 2007 schrieb Reinhold Kainhofer: I looked at an old edition of Mozart's Verspera sollenis de confessore (KV 339), which was published by Breitkopf Härtel in 1896. It seems that ties and slurs that span a line break do not cut the curve in half, but show the full curve on both systems. An example can be seen at http://www.fam.tuwien.ac.at/~reinhold/Chor/Mozart_VesperaeConfessore_KV339_ 0009.tiff Which is a tie, as I just noticed. But the same also holds for slurs: http://www.fam.tuwien.ac.at/~reinhold/Chor/Mozart_VesperaeConfessore_KV339_0011.tiff Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFG0fV3TqjEwhXvPN0RAijbAJ9gfI+ICZh5/TY6nbdQ8F0VQ8J+cACfemUu y6vjUh01JHS5JqDuCdaWumM= =Y0sX -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alignment problem with RehearsalMark
Neil Puttock wrote:
I've just encountered another problem - clef changes skew the
rehearsal mark positioning to the left of the bar-line:
That's since the default setting for the break-align-symbols property of
the
RehearsalMark objects is #'(staff-bar clef), which gives the desired layout
if the rehearsal mark appears at a line break.
/Mats
\version 2.11.30
\paper { ragged-right = ##t }
one = {R1 \mark \default R \mark \default R }
two = {R1 \clef bass R R }
\score {
\new GrandStaff
\context Staff = one \one
\context Staff = two \two
\layout {
\context { \Score
\remove Staff_collecting_engraver
\remove Mark_engraver
}
\context { \Staff
\consists Staff_collecting_engraver
\consists Mark_engraver
}
}
}
I'm afraid to say that the mark engraver's unusable when moved to the
\Staff context. It's rather unfortunate, since it's common for
orchestral scores to have rehearsal marks at the top of the score and
above the First Violins.
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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