Thank you, Abraham, for the feedback.
I feel comfortable now with the volta brackets as they are.
Secondly, I agree that it is overkill to to have the Voice specified
for the left hand when there is only one voice.
I'm fine-tuning as I go...
Thanks,
Ken
On Wed, Dec 21, 2022 at 10:51 PM
Hey, Ken!
On Wed, Dec 21, 2022 at 11:11 PM Kenneth Wolcott
wrote:
> Hi;
>
> I need volta repeat brackets for a Trumpet+Piano "great big staff?".
>
> I see the section in the Notation Reference and a section in the
> Snippet Reference regarding volte multi-staff, but I'm confused when I
>
Hi Eef,
See :
https://lilypond.org/doc/v2.23/Documentation/essay/short-literature-list.html
Cheers,
Pierre
Le jeu. 22 déc. 2022 à 07:29, Eef Weenink a écrit :
> Always interested in new (for me new) sources of knowledge:
> "What are the Ross’s rules?"
>
> Regards, Eef
>
> Op 21 dec. 2022, om
Always interested in new (for me new) sources of knowledge:
"What are the Ross’s rules?"
Regards, Eef
Op 21 dec. 2022, om 22:21 heeft Abraham Lee
mailto:tisimst.lilyp...@gmail.com>> het volgende
geschreven:
Ross’s rules
Thank you Xavier, your solution worked perfectly!I know it seems strange for me
to specify proportional notation and then override it, but I'm embedding many
such lilypond snippets within a document (using LaTeX and lilypond-book) where
I need the proportional, uniform and strict positioning of
On Wed, Dec 21, 2022 at 1:56 PM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:
> Hi Abraham,
>
> > What solution did Matthew propose for his criticisms? Just curious how
> it turned out to satisfy him.
>
> He basically said “follow Ross’s guidelines”. :)
> I haven’t had time to compare
Hi Abraham,
> What solution did Matthew propose for his criticisms? Just curious how it
> turned out to satisfy him.
He basically said “follow Ross’s guidelines”. :)
I haven’t had time to compare how Lilypond’s defaults compare to Ross’s rules…
Cheers,
Kieren.
On Wed, 21 Dec 2022 at 20:13, NickS wrote:
>
> Thanks for the suggestion Mark... adding ragged-right = ##t stretches out
the stave across the page width (175mm), ragged-right = ##f reverts to the
default behaviour (stave 78mm wide), with still too much clear space at the
end (18.75mm, the same as
On Wed, Dec 21, 2022 at 12:47 PM Jean Abou Samra wrote:
> Le 21/12/2022 à 17:16, Kieren MacMillan a écrit :
> >> According to Wikipedia, David Maslanka is a composer who died in
> 2017... ?
> > Oops! I meant Matthew, his son (who is still very much alive, and who
> was at the Salzburg
Le 21/12/2022 à 17:16, Kieren MacMillan a écrit :
According to Wikipedia, David Maslanka is a composer who died in 2017... ?
Oops! I meant Matthew, his son (who is still very much alive, and who was at
the Salzburg conference with us).
His father — whom I met several times — was a wonderful
Thanks for the suggestion Mark... adding ragged-right = ##t stretches out the
stave across the page width (175mm), ragged-right = ##f reverts to the default
behaviour (stave 78mm wide), with still too much clear space at the end
(18.75mm, the same as the clear space between the chords). It's
Nick,
Include
\ragged-right = ##f
In the layout block.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of NickS
Sent: Wednesday, December 21, 2022 6:09 AM
To: lilypond-user@gnu.org
Subject: Reduce
Le 21/12/2022 à 17:56, Joel C. Salomon a écrit :
\version "2.24.0"
\markup {
Compare \sans\concat{F\char ##x266F °/C} to \sans\concat{F\sharp °/C}
to \score{\chords{\chordmode{ fis:dim/c }}}
}
Looks like `\chords` is aligning the sharp symbol differently (and
probably using SMUFL U+E870
\version "2.24.0"
\markup {
Compare \sans\concat{F\char ##x266F °/C} to \sans\concat{F\sharp °/C}
to \score{\chords{\chordmode{ fis:dim/c }}}
}
Looks like `\chords` is aligning the sharp symbol differently (and
probably using SMUFL U+E870 rather than U+B0 (°), but that matters
less). How
> According to Wikipedia, David Maslanka is a composer who died in 2017... ?
Oops! I meant Matthew, his son (who is still very much alive, and who was at
the Salzburg conference with us).
His father — whom I met several times — was a wonderful man, and a composer of
lovely music.
Kieren.
Le 21/12/2022 à 16:16, Kieren MacMillan a écrit :
Agreed. I recently hired David Maslanka to critique my engravings and
help me finalize a housestyle — the first thing he noticed and
criticized were the beams, especially all the intersections and wedges.
According to Wikipedia, David
Hi Werner,
> What's needed IMHO is an improved algorithm to better quantize
> vertical start and end positions of beams so that the number of
> grazing intersections is reduced and/or optimized.
Agreed. I recently hired David Maslanka to critique my engravings and help me
finalize a housestyle
On Wed, Dec 21, 2022 at 3:09 AM Jean Abou Samra wrote:
> Le 21/12/2022 à 01:26, Abraham Lee a écrit :
> > Is there a way to turn the stencil into a composite of the original
> > with a big block of whiteout that follows the entire group's outer
> > skyline so it hides the staff lines? Would be a
On Tue, Dec 20, 2022 at 11:46 PM Werner LEMBERG wrote:
>
> > When a beam group (especially 1/16 or shorter) crosses a staff line, it
> can
> > create some annoying skinny triangles that can be visually
> > distracting. [...]
> >
> > Is there a way to turn the stencil into a composite of the
In the below minimal example, please how do I reduce the extra space at the end
of the stave (between the last chord and the barline)? I'm happy with the
proportional, uniform and strict spacing between the chords, and the space
between the clef and first chord - these all match up with
On Tue, Dec 20, 2022 at 1:40 PM David Kastrup wrote:
> Acciaccature have their own built-in slur direction, so if you want to
> override it, you need to do it within the acciaccatura:
>
> \version "2.24.0"
> down = {
> \clef bass
> \acciaccatura { \slurUp g,8 } d'2 % works
> \acciaccatura {
Thank you very much all who replied. Paul Hodges said (in part):
... Music XML files always require a lot of processing to get acceptable
> output ...
>
This is certainly true in this instance!! Thank you all.
Le 21/12/2022 à 01:26, Abraham Lee a écrit :
Is there a way to turn the stencil into a composite of the original
with a big block of whiteout that follows the entire group's outer
skyline so it hides the staff lines? Would be a nice feature, IMO. I
know the stems can be "frenched", but would
Le 21/12/2022 à 10:33, Owen Le Blanc a écrit :
I found a number of improvements using 2.24.0, but one irritant is
still there: before acciaccatura marks such as caesura and key changes
are spaced differently, and so don't align with those in other staffs.
Here are two simple examples.
This is
I found a number of improvements using 2.24.0, but one irritant is
still there: before acciaccatura marks such as caesura and key changes
are spaced differently, and so don't align with those in other staffs.
Here are two simple examples.
-- Owen
Dr O V Le Blanc
\version "2.24.0"
\score {
Hi Matthew,
How do I keep the new key signature from also appearing at the end of
the previous line?
Also, how can I write { 1 x 2 4 } in the fingering font, adding an "x"
between the notes to signify the extension between "1" and "2"?
One possibility would be
\version "2.24.0"
\relative
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