On Sun 23 Sep 2018 at 14:35:59 (-0700), Aaron Hill wrote:
> On 2018-09-23 1:43 pm, Noeck wrote:
> > > > Txt = \lyricmode { Ah Ah __ \repeat unfold 2 { \skip 1 } Ah Ah }
> > > >
> > >
> > > Try using "" or any invisible markup instead of the skips.
> >
> > That did not work here. But this ugly
On 2018-09-23 1:37 pm, Simon Albrecht wrote:
Output attached – I don’t know where that whitespace comes from.
The whitespace is due to not having any notes in the staff. I've
encountered this before, so you have to remember to put at least one
note for the staff lines to connect fully.
On 2018-09-23 1:43 pm, Noeck wrote:
Txt = \lyricmode { Ah Ah __ \repeat unfold 2 { \skip 1 } Ah Ah }
Try using "" or any invisible markup instead of the skips.
That did not work here. But this ugly hack does:
\lyricmode { Ah Ah __ \markup \with-color #white " " _ Ah Ah }
Actually, the
Simon,
Perhaps an alternative is under "compound time signatures" at
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-rhythms#polymetric-notation
Mark
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Simon
>> Txt = \lyricmode { Ah Ah __ \repeat unfold 2 { \skip 1 } Ah Ah }
>>
>
> Try using "" or any invisible markup instead of the skips.
That did not work here. But this ugly hack does:
\lyricmode { Ah Ah __ \markup \with-color #white " " _ Ah Ah }
Actually, the color does not matter. But only an
On 23.09.2018 22:34, 70147pers...@telia.com wrote:
Txt = \lyricmode { Ah Ah __ \repeat unfold 2 { \skip 1 } Ah Ah }
Try using "" or any invisible markup instead of the skips.
Best, Simon
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On 23.09.2018 21:45, David Sumbler wrote:
Now, when I compile the file, I get an empty rectangle where the
parentheses used to be. Furthermore, if I substitute other characters
for the parentheses I get weird results: for instance, a lower case
letter generally gives a capital letter 3 places
What to do to make the melisma line continue just for the time the slur
continues from the end of measure 1 through measure 2. During measure 3
the singer shall be silent, but this melisma line indicates something
else. I have failed in every effort to stop the line after the slur
ends, by
\version "2.19.81"
\language "english"
#(define ((time-parenthesized-time up down upp1 downp1 upp2 downp2)
grob)
(grob-interpret-markup grob
(markup #:override '(baseline-skip . 0) #:number
(#:line (
(#:center-column (up down))
And THEN I find this:
http://lsr.di.unimi.it/LSR/Item?id=781
LOL
I've already redone the code to swap the voices, but I'll investigate this
snippet to see if I can learn how it works.
Guy
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Thank you both. I'm afraid I don't know enough about LP context to ferret
out if that is the issue. I was hoping that my reading of the LP Learning
Manual had the proper way to do this instantiation of temporary lyrics in
the temporary polyphonic context, but nope. Phil's suggestion is what I've
On 18.09.2018 21:10, Kieren MacMillan wrote:
Here’s one way. (Note that I also <<>>'ed the \global variable into each*staff*
context in the score, rather than into each note variable definition; personally, I think
that is better coding style, for many reasons.)
I for my part don’t feel
- Original Message -
From: "Kieren MacMillan"
To: "Guy Stalnaker"
Cc: "Lilypond-User Mailing List"
Sent: Sunday, September 23, 2018 2:51 PM
Subject: Re: Lyrics placement
Hi Guy,
Does your definition of ChoirStaff accept Lyrics?
That’s usually the reason I see for "jumping"
Hi Guy,
Does your definition of ChoirStaff accept Lyrics?
That’s usually the reason I see for "jumping" contexts…
Hope that helps!
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
p.s.
>> In the rewrite Kieren gave of Bernhard's score the global variable is still
>> included at the voice level.
And, yes, I would likely move the \global variable to the staff level(s) — or
even score, if the type of global information warranted/allowed — though I
didn’t go that far in my
Hi all,
> In the rewrite Kieren gave of Bernhard's score the global variable is still
> included at the voice level. So, it seems that less typing is not the reason.
No, less typing is not the reason.
Here are three of the more important reasons I prefer late-stage combination:
1. It’s less
On Sun, 23 Sep 2018 at 02:55, Aaron Hill wrote:
> On 2018-09-22 10:17 am, Gianmaria Lari wrote:
> > I would like to create a footnote attached to a fingering. Ideally
> > something like this
> >
> > \version "2.19.82"
> > {b\finger "2*"}
> >
> >
> > [image: image.png]
> >
> > ... and then in the
On 23-9-2018 08:41, arnepe wrote:
hello Auke,
(/bear with me, I'm not a programmer and may not know the correct
terminology/)
one reason would be that "voice" is a child of "staff": definitions in
"staff" are inherited by "voice",
plus the benefit of less typing...
cheers
Arne
Hello Arne,
hello Auke,
(/bear with me, I'm not a programmer and may not know the correct
terminology/)
one reason would be that "voice" is a child of "staff": definitions in
"staff" are inherited by "voice",
plus the benefit of less typing...
cheers
Arne
--
Sent from:
On 18-9-2018 21:10, Kieren MacMillan wrote:
(Note that I also <<>>'ed the \global variable into each *staff*
context in the score, rather than into each note variable definition;
personally, I think that is better coding style, for many reasons.)
I'm intruiged. What would those 'many
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