David Stocker wrote:
Any hints on forcing the arpeggio line to the right
to make the placement more natural would be appreciated.
For the first case, fiddle with the padding.
Negative works too, e.g.
\override Staff.Arpeggio #'padding = #-0.4
For situations where this doesn't work, see
Hi guys correct me if I am wrong.
The g minor chord has two flats Eb Bb which need to be marked as es
and bes in Lilypond other wise the Accidental_engraver sees them as
naturals in the g minor chord, hence the natural symbol for any
unmarked E or B note in your music.
Just trying to
Correct. *ALL* pitches in the input *must* be explicitly given. The
key signature assignment tells LilyPond how to display the pitches. For
exmaple; 'e' *always* means e-natural no matter what the key signature is.
-David
Simon Mackenzie wrote:
Hi guys correct me if I am wrong.
The g
In response to Graham and others who have expressed frustration about
people who have failed to pickup on accidentals.
It can be very difficult for fist time novices like myself to
understand implicit information about what is a reasonably technical
musical concept.
I spent four hours last
Dear Mats,
this sounds quite good, but I have no idea how to use the
ly:make-stencil-function for drawing boxes!
2009/8/24 Mats Bengtsson mats.bengts...@ee.kth.se
There are already functions available in LilyPond Scheme, to draw boxes,
that should be useful here, such as box-stencil. To use
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Am Dienstag, 25. August 2009 10:09:53 schrieb Simon Mackenzie:
The g minor chord has two flats Eb Bb
Exactly. This means that a note that is displayed on the middle staff line
without any accidental is actually a B-flat, not a B. In Lilypond you
As a follow-up, have the people with unwanted accidentals seen this:
http://lilypond.org/doc/v2.13/Documentation/user/lilypond-learning/Accidentals-and-key-signatures#Key-signatures
...and is it not clear? The last example on that page shouldn't be any
less clear than the example I gave.
Sorry but as a first time user to lilypond and music in general this
section in the tutorial was about as clear as mud to me.
Not wanting to offend anyone just stating how I felt the fist time I
read this section in the learning tutorial.
As I said previously when I have time I'll have a
Works perfectly. Thanks Robin!
David
Robin Bannister wrote:
David Stocker wrote:
Any hints on forcing the arpeggio line to the right to make the
placement more natural would be appreciated.
For the first case, fiddle with the padding.
Negative works too, e.g.
\override Staff.Arpeggio
On Aug 25, 2009, at 3:50 AM, Simon Mackenzie wrote:
Sorry but as a first time user to lilypond and music in general
this section in the tutorial was about as clear as mud to me.
Not wanting to offend anyone just stating how I felt the fist time
I read this section in the learning tutorial.
On Tue, Aug 25, 2009 at 4:34 AM, David Bobroffbobr...@centrum.is wrote:
As a follow-up, have the people with unwanted accidentals seen this:
http://lilypond.org/doc/v2.13/Documentation/user/lilypond-learning/Accidentals-and-key-signatures#Key-signatures
...and is it not clear? The last
It is actually perfectly reasonable for a person completely new to
notating music for this to not make sense. The purpose of the
documentation is to provide information about how lilypond prints
music. Other resources are necessary to provide information about the
difference, both written
Hello all,
I've got a situation where one of my \include files contains a
\layout { \context { \RemoveEmptyStaffContext } }.
99% of the time, I want this to happen. However, in a few
circumstances — especially when engraving/editing, but also for a few
specific pieces in final form — I
On Tue, Aug 25, 2009 at 08:46:59AM -0500, Tim McNamara wrote:
For the developers, I think that something is confusing here for English
speakers: the use of -es and -is for flatted and sharped notes as the
default. I was initially bewildered by this, not knowing that the
default
On Tue, Aug 25, 2009 at 10:05:45AM -0400, Leonardo Herrera wrote:
I do have a suggestion: I would add two examples to the section that
shows this clearly.
How is that more clear than:
In this example:
\key d \major
d cis fis
No note has a printed accidental, but you must still
Graham Percival wrote:
On Tue, Aug 25, 2009 at 08:46:59AM -0500, Tim McNamara wrote:
If the user is new to music in general then they have set themselves a
daunting task trying to score music with LilyPond. There is no way for
the documentation to make up for the user's lack of knowledge
Jonathan Wilkes wrote Monday, August 24, 2009 6:34 PM
Another thing I noticed is that \type,
\alias, \remove, and \name are
not in Appendix F of the NR.
Index entries added in git. They'll appear
in the Notation Reference in the next release.
Trevor
Hi Mats,
No! \alias does something completely different than you seem to
beleive.
Just to complete this (dangling) thread, and make sure *I* know what
it does... =)
\context
{
\name BAR
\alias FOO
...
}
informs lilypond that the newly-defined context called BAR should
accept
Hi there, I cannot figure out how to encode a 16th note rhythm. When
counting by mouth I would say: 1and 2and 3and 4and when all notes
are taking part. In lilypond I would write: g16 g g g g16 g g g g16 g
g g g16 g g g. But how do I: 1ad 2ad 3ad 4ad? Please notice I leave
out the n.
Thanks,
On Tue, Aug 25, 2009 at 8:27 PM, Christian Henningchhenn...@gmail.com wrote:
Hi there, I cannot figure out how to encode a 16th note rhythm. When
counting by mouth I would say: 1and 2and 3and 4and when all notes
are taking part. In lilypond I would write: g16 g g g g16 g g g g16 g
g g g16 g g
On Aug 25, 2009, at 9:27 PM, Christian Henning wrote:
Hi there, I cannot figure out how to encode a 16th note rhythm. When
counting by mouth I would say: 1and 2and 3and 4and when all notes
are taking part. In lilypond I would write: g16 g g g g16 g g g g16 g
g g g16 g g g. But how do I: 1ad
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