Am 26.03.2014 22:53, schrieb Paul Morris:
Hi Urs,
I had a chance to work on the iteration part. This one accepts a note as an
argument which is a better approach, following the examples here:
http://lilypond.org/doc/v2.18/Documentation/extending/doubling-a-note-with-slurs-_0028example_0029
Urs Liska u...@openlilylib.org writes:
\version 2.18.0
myNotes =
#(define-music-function (parser location note num)
(ly:music? number?)
Returns a series of notes. @var{note} is repeated @var{num} times.
@var{note} is supposed to be a single note.
;; iteration by named let
Try the effect of restoring your line-width and removing the etc. markup.
--
Phil Holmes
- Original Message -
From: Conor Cook
To: lilypond-user@gnu.org
Sent: Wednesday, March 26, 2014 10:43 PM
Subject: Extra Staff length
Dear Lilypond Community,
I am working on a
That did it! I don’t need the etc., but is there any way to put that back in
without adding the same effect?
~Conor Cook
On Mar 27, 2014, at 4:28 AM, Phil Holmes m...@philholmes.net wrote:
Try the effect of restoring your line-width and removing the etc. markup.
--
Phil Holmes
David Kastrup wrote
In this case, it is likely easier to replace the named let with
(make-sequential-music
(ly:music-deep-copy
(make-list num note)))
Which is a bit of a dead end for further manipulation which one would
likely do with map or similar on the list returned by
I presume Lily will take any text moved to the right of the music as
continuing music and surround it with staves. You could either move the
text back to the left (why the \override TextScript.outside-staff-priority
= ##f which causes a collision with the chord?) or try \stopStaff.
--
Phil
Hi,
On Thu, Mar 27, 2014 at 10:08 AM, Phil Holmes m...@philholmes.net wrote:
I presume Lily will take any text moved to the right of the music as
continuing music and surround it with staves. You could either move the
text back to the left (why the \override
Hi all,
consider the attached image.
Apart from the problematic slur which I don't want to deal with right
now, how can I typeset the acciaccatura _before_ the barline.
I was thinking of hacking something with \afterGrace, but that's not
what it is.
Thanks
Urs
attachment:
On Thu, 27 Mar 2014 17:16:51 +0100
Urs Liska u...@openlilylib.org wrote:
Hi all,
consider the attached image.
Apart from the problematic slur which I don't want to deal with
right now, how can I typeset the acciaccatura _before_ the
barline.
I was thinking of hacking something with
On Wed, 26 Mar 2014 17:31:29 -0500
Joshua Nichols josh.d.nich...@gmail.com wrote:
I am curious overall on what might be a useful enhancement:
Has anyone thought about writing a permanent title page feature
for lilypond? You know, something that I could invoke through
the paper block?
I
Urs Liska u...@openlilylib.org writes:
Hi all,
consider the attached image.
Apart from the problematic slur which I don't want to deal with right
now, how can I typeset the acciaccatura _before_ the barline.
I was thinking of hacking something with \afterGrace, but that's not
what it is.
Is that really true? I've seen this notation regularly. What the composers seem
to intend - and what is easily understood - is that the slur indicates that the
grpup logically belongs to the _next_ note while the position before the
barline tells to okay _before_ the beat.
David Raleigh Arnold
Elaine Gould writes: Grace notes sounding on the beat should always be
placed after the barline. However, a group of three or more grace notes
sounding before the beat may go before the barline so that the first beat
of the following bar is not pushed too far from the barline. (Behind Bars,
p.
Thanks, that's clarifying. Abs confirming that my model's notation is correct.
David Stephen Grant da...@davidgrant.no schrieb am 27.03.2014:
Elaine Gould writes: Grace notes sounding on the beat should always be
placed after the barline. However, a group of three or more grace notes
sounding
Thanks, that's clarifying. Abs confirming that my model's notation is correct.
David Stephen Grant da...@davidgrant.no schrieb am 27.03.2014:
Elaine Gould writes: Grace notes sounding on the beat should always be
placed after the barline. However, a group of three or more grace notes
sounding
Thanks, that's clarifying. Abs confirming that my model's notation is correct.
David Stephen Grant da...@davidgrant.no schrieb am 27.03.2014:
Elaine Gould writes: Grace notes sounding on the beat should always be
placed after the barline. However, a group of three or more grace notes
sounding
Hello,
I've got a problem: I'm typesetting a Brahms lied where some melismata
are only for one stanza and not for the other. Now look at the following
example (output attached):
\version 2.19.3
\new Staff
\new Voice = one { \voiceOne c'4 c' c'8 c' c'4 }
\new Voice = two { \voiceTwo s4
Simon Albrecht simon.albre...@mail.de writes:
Hello,
I've got a problem: I'm typesetting a Brahms lied where some melismata
are only for one stanza and not for the other. Now look at the
following example (output attached):
\version 2.19.3
\new Staff
\new Voice = one { \voiceOne c'4
On Mar 27, 2014, at 10:15 AM, David Nalesnik david.nales...@gmail.com wrote:
You might move the text to where you want it by first placing it where the
staff length is unaffected, then overriding TextScript.extra-offset. This
leaves the layout unchanged.
I’m not entirely sure I follow
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