ut hopefully this
information can still be useful.
-- Aaron Hill
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ing in significant slowdown. So, I would have suggested trying a
branch of LilyPond that runs against Guile 2.0 just to be able to make
use of the profiling tools; but that sounds like it would be adding more
muck to the mix.
-- Aaron Hill
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"%LILYPOND_BIN%\guile" -e main "%LILYPOND_BIN%\lilypond-invoke-editor"
%*
I should warn that I have not tested this, as I do not have an
installation of LilyPond on Windows. But, the principle should be
sound.
-- Aaron Hill
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dimensions of the arc so that LilyPond will permit
overlap of the vertical bounds.
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les.
P.S. I should disclose that I do not use a Mac, so I cannot confirm
whether the wikihow article is valid.
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)
(number? markup?)
(let* ((y-extent (ly:stencil-extent (interpret-markup layout props
(markup "x")) Y))
(scale-factor ((lambda (x) (cons x x)) (/ size (cdr
y-extent)
(interpret-markup layout props #{ \markup \scale #scale-factor
#arg #})))
udge factor of 1.125 appeared to mostly
correct things, but I am almost certainly just overlooking something
important.
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On 2018-04-21 04:49, Torsten Hämmerle wrote:
But looking into the code and seeing how these brackets are being
constructed, there is a ly:bracket command that can be used for
creating a
bracket stencil quite easily . . .
I should definitely set aside some time to dive in and get more
and
up) so that it can quite used quite conveniently by directly stating
how far
it should reach down and up (with the baseline as a reference).
Many thanks, Torsten! That custom command is exactly what I need, as it
produces a simple, clean marking.
-- Aaron Hill
On 2018-04-24 19:58, Mark Stephen Mrotek wrote:
Hello,
Tried to download for Windows. Get a "404 not found" error message.
Please direct me.
Thank you,
Mark
Try here: http://lilypond.org/downloads/binaries/
-- Aaron Hill
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):
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh
Mac (Intel):
http://lilypond.org/downloads/binaries/darwin-x86/lilypond-2.19.81-1.darwin-x86.tar.bz2
Windows:
http://lilypond.org/downloads/binaries/mingw/lilypond-2.19.81-1.mingw.exe
-- Aaron Hill
On 2018-04-25 01:09, Gianmaria Lari wrote:
I don't understand the difference between s8 8 8 and s8*3.
In the former, you are specifying three spacers, each an eighth note in
duration. In the latter, you are specifying a single spacer, with a
duration of three eighth notes.
-- Aaron Hill
new here, so feel free to
disregard. :)
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he explicit tied quarters is a sense
of emphasis. A whole note would imply a steady volume throughout,
whereas the quarters could be indicating a subtle, pulsing volume change
in time with the upper voice.
-- Aaron Hill
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et instead of the
curly brace. It seems like I will have to manually "draw" the bracket
using markup functions and/or custom PostScript.
Has anyone here attempted something like this and can offer advice?
-- Aaron Hill
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uot;
}
%%
The resulting alignment might not be to your taste, as the articulation
ends up positioned towards the left side of the measure, not centered
above the percent symbol. But you should be able to tweak that manually
as desired:
%%
<>-\tweak X-offs
strumentName = #"Quadruple Bass"
} { a }
Are we getting into sub-harmonics with the last one? ;-)
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On 2018-10-13 12:29 am, Aaron Hill wrote:
According to the docs [1], assoc-set! (and family) may modify the
original alist. So whether a copy is made or not depends on an
implementation detail. Near as I can tell, the original alist is
modified in-place when the key is found within. But when
ry to be absolutely
sure that "a" is modified. Otherwise, you'll need to say (assoc-set!
(list-copy a) k v) to be absolutely sure that "a" is *not* modified.
-- Aaron Hill
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d!" { a'4 b' g'2 }
Note that when using a RehearsalMark, a suitable adjustment to the
alignment and font size is needed to match the appearance of the other
two.
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do not suspect that it would be too hard to write a
function that can iterate some input music and insert \clef changes
conditionally.
-- Aaron Hill
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On 2018-10-18 8:19 am, Aaron Hill wrote:
On 2018-10-18 7:21 am, elmeri wrote:
This also needs to work for \transpose'd music.
I missed that line. \transpose could be tricky to support if one wanted
both...
\transpose a b { \autoClef { ... } }
\autoClef { \transpose a b
question... Are there cases when you cannot use a callback?
Or is it always the case that any property can be a callback?
-- Aaron Hill
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t;b" ^"b"
}
The baselines above the staff seem aligned, but not below the staff.
Is that expected behaviour?
Hi Kieren,
The baselines are aligned. It is just that "g" in the default font lies
above the baseline, so it looks odd. Change _&q
On 2018-10-20 5:49 pm, Aaron Hill wrote:
On 2018-10-20 5:45 pm, Kieren MacMillan wrote:
The baselines above the staff seem aligned, but not below the staff.
Is that expected behaviour?
Hi Kieren,
The baselines are aligned. It is just that "g" in the default font
lies above the ba
t;<<>>" are visually unique. And the angle bracket
nearly forms a 90-degree angle, so mapping it to "square" seems apropos
in an indirect manner.
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e to do the research on the correct sizing
and spacing.
-- Aaron Hill
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as examples:
bmc.blind.guru/
-- Aaron Hill
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entially big issue with either of the above options is
that the markup is no longer located with the associated notes. But
perhaps some clever Scheme could take in music with notes and attached
markup in the normal manner and automatically generate a voice without
markup and the markup as lyrics
On 2018-10-29 1:40 pm, Kieren MacMillan wrote:
Hi Abraham,
I just downloaded the latest version of Alegreya from the foundry,
tried your code, and it worked as expected on my Win10 machine.
Is that also true if you use Alegreya Black?
Update: What’s now happening is that using
Clef = ##f
}
\fixed c' {f2 e4}
\layout { indent = 0\cm ragged-last = ##t}
}
} $m
#} )
\fixed c' {
\time 3/4
c c c
\myfootnote e2 f4
c c c
}
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the footnote markup wherever you see fit, but it would be handy
to have a more automated system.
-- Aaron Hill
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This means encoding back into UTF8
and emitting a string.
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one
would be needed for MIDI output to work correctly.)
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istinction between
"char" and "column". Usually column is one more than char, so perhaps
it's a count-from-zero vs. count-from-one thing. *shrug*
But I think the original issue is the use of $(file)s instead of
%(file)s. editor.scm expects a percent sign if I am reading the co
On 2018-10-30 4:56 pm, Aaron Hill wrote:
On 2018-10-30 10:01 am, Alexander Kobel wrote:
Does anyone have a hint how to approach this one? (Or is the answer
just: be patient and hope for Guile v2?)
The only hint here is to replace the built-in functions with ones
which understand UTF8 encoding
On 2018-10-30 9:23 pm, Aaron Hill wrote:
Here's a quick-n-dirty patch to address the issue.
\version "2.19.82"
\include "center-lyrics-ignoring-punctuation.ily"
{ d'4 4 4 }
\addlyrics { Å Ɓ† «Ḉ…» }
Agh, I goofed. I forgot the logic is that you want to trim the
.
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could move the music pretty much
anywhere (not talking about some multiple staff parts that are also
concerned with this issue).
\override Score.BarNumber.Y-offset = #(lambda (grob)
(if (eqv? 1 (ly:item-break-dir grob)) 4 0))
-- Aaron Hill
iInstrument = #"taiko drum"
\tempo 2 = 60
tlh4. trh16 tlh trh2 | tlh8. tlh16~ 8 tlh trh2
}
\layout {}
\midi {}
}
-- Aaron Hill
taiko.midi
Description: MIDI audio
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fthand and
taikorighthand, along with their handy abbreviations, tlh and trh, are
only valid within \drummode. Normal note pitch names are a different
thing, so there should be no worry about the two interfering.
-- Aaron Hill
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rify that your input file
does not do this and yet the error message still occurs, then there is
something else going on. At that point, we would definitely need a MWE
to be able to repro the issue.
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l
On 2018-11-04 2:12 pm, Rohan Srinivasan wrote:
Hi list,
I have the following code for a short song I'm engraving:
[ . . . ]
Since all 3 verses have "That's" at the end of the line, I would like
to
combine them into one line of lyrics (preferably with a curly bracket
showing the change).
uot;Fine" \set
Score.repeatCommands = #'((volta #f)) \bar "|."
c1 _"Da capo al Fine" \bar ":|."
}
with this output
[image: image.png]
How can I make a tie also on the "a" in the second alternative?
Thank you,
'((moveto 0.75 0) (lineto 0.75 0.75)) #})
\relative {
\override TextScript.outside-staff-priority = #0
\override Slur.outside-staff-priority = #1
d''4 e8 [ ^\indicator ( e ] ^\indicator )
d8 [ -. ( d ] -. )
}
If you allow the markup to have any width (e.g. try "#'(0 . 1e-14)"
so perhaps staff-staff-spacing really
should apply regardless of whether or not the staves belong to staff
groups.
-- Aaron Hill
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On 2018-09-27 10:54 pm, Federico Bruni wrote:
Il giorno gio 27 set 2018 alle 21:29, Tim Meier
ha scritto:
Hello,
unfortunately I'm not that well versed in the lillypond/scheme syntax.
What I want to do is basically this (in pseudocode):
if (noteDuration is quarter) => make noteHead blue
if
en adjusting the way
the note head is displayed.
-- Aaron Hill
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attach code that demonstrates that, but here's
a basic example for Mario:
\version "2.19.82"
{
\override Staff.StaffSymbol.line-count = #6
\override Staff.StaffSymbol.line-positions = #'(-8 -4 -2 0 2 4)
s1
}
This is all covered in Notation Reference 1.6.2
to explicitly set
the line count if you specify the positions.
-- Aaron Hill
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On 2018-10-07 4:29 am, Thomas Morley wrote:
Am So., 7. Okt. 2018 um 07:31 Uhr schrieb Aaron Hill
:
For instance, 6/8 timing could be thought of as "1 2 3 / 4 5 6" or "1
2
/ 3 4 / 5 6".
I disagree.
"1 2 / 3 4 / 5 6" feels like 3/4. No matter what is actual prin
On 2018-10-06 10:01 am, Daniel Sales wrote:
Hi, is it possible to identify the beats on each different timing
automatically, in order to set a different color for strong, medium
and weak beats ?
something like
\coloredBeats
(black as default)
...
For example, the expected output for
and open-source tool for the
same task.
-- Aaron Hill
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the following notice at the end of
one of his "decompositions":
"Unauthorized photocopying of this material is not only illegal,
unethical, irresponsible and disrespectful, it is very, very uncool."
P.S. I'm not sure how international intellectual property
et such that
grouping braces/brackets/etc. will not normally show when they only
contain a single staff.
Try adding in this something like this:
\override StaffGroup.SystemStartSquare.collapse-height = #0
-- Aaron Hill
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On 2018-09-22 8:44 am, Thomas Morley wrote:
\markup \override #'(word-space . 0) \line { 2 \circle 3 2 }
Providing you do not want any spacing, it might be more succinct to
write:
\markup \concat { 2 \circle 3 2 }
-- Aaron Hill
otnote \markup "*" #'(0.01 . 0)
\markup { \super "*" "Something important..." }
\finger 2 }
-- Aaron Hill
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e put into their own voice
so nothing tries to bind to them.
\version "2.18.2"
A = \relative g' { g2 g( g g) << { s2 s } \\ { \oneVoice g2 g } >> g g }
Txt = \lyricmode { Ah Ah __ Ah Ah }
\score { \A \addlyrics { \Txt } \layout {} }
-- Aaron Hill
__
op of ly:text-interface::print so we can just define a
text property as normal markup. There could of course be a way to query
the compound meter so that it renders both the parts and the sum, but
the above seems to be pretty clear even if i
?
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"tempo I"
Note that you need the offset to be relative to the font size, use
\translate-scaled instead.
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greater-than signs at the beginning
of a line. However, LilyPond includes "<< >>" as part of its syntax. I
try to format the code to avoid the ">>" ever being at the beginning of
a line, otherwise mail clients (like mine) will misint
precisely renders exactly what you input. If you provide multiple
instruments with varying lengths of music, then you will see staves of
varying lengths. It is a strong visual indicator of the discrepancy.
-- Aaron Hill
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for the multi-measure rest.
-- Aaron Hill
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On 2019-01-05 2:40 am, Wols Lists wrote:
On 04/01/19 18:41, Aaron Hill wrote:
Yeesh, that is terrible.This is why it's important to follow good
notation
practice: I was so confused by this bad typesetting that I thought
the
bar
was 6/4 time, and now my day is ruined.
Unless someone
On 2019-01-05 11:30 am, Wols Lists wrote:
On 05/01/19 17:34, Aaron Hill wrote:
But for matters of the not-so-unusual, have no disillusion your
engraving (or writing) will be readily clear if you choose to stray
too
far from the path.
?
But standards are of no use if applying them
it. It was an outdoor event on a rather windy
day. To their credit, the parents and other family members present were
pretty good about chasing down paper. But I don't think we ever lost a
stand, so I can only imagine the conditions you are forced to play in.
-- Aaron Hill
observation: The only promoted article on
OpenDNS's support forum is regarding how to delete your account.
-- Aaron Hill
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it to appear
further down on the paper.
-- Aaron Hill
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On 2019-01-16 4:44 pm, Aaron Hill wrote:
Wow... no wonder you're having trouble. I just tried to work through
the relevant section of the documentation [1] and found that it
largely does not work as stated. Well, to be more specific, I could
get some partial results using 2.18.2 via
ave the hairpin meet the piano
bracket.
You would need to adjust the edge-height of the piano bracket if you
want the triangular section to be taller.
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On 2019-01-19 8:02 pm, David F. wrote:
On Jan 19, 2019, at 8:53 PM, Kieren MacMillan
wrote:
Hi David,
How do I adjust the space between two syllables/words that are tied?
LyricSpace.minimum-distance works for words that are not tied.
\override Lyrics.LyricHyphen.minimum-distance = #2
On 2019-01-19 9:15 pm, David F. wrote:
On Jan 19, 2019, at 10:06 PM, Aaron Hill
wrote:
LyricText.word-space is what you want to adjust. Note that it doesn't
stretch the size of the tie.
Perfect! Thanks!
And just for completeness, here is how you can manually construct a tie
On 2019-01-20 4:28 am, Aaron Hill wrote:
One option would be to exploit a Hairpin:
sustainGradualRelease =
-\tweak shorten-pair #'(0 . 1.35)
-\tweak height #1
-\tweak style #'dashed-line
-\tweak self-alignment-Y #DOWN
-\tweak to-barline ##f
-\tweak stencil #(elbowed-hairpin
of time to look at this further.
-- Aaron Hill
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so not to cross the stem. Is
there a more convenient and consistent solution to this short of
\shape-ing each slur individually?
\version "2.19.82"
{
\once \override Slur.minimum-length = #0
\appoggiatura d''4 c''
}
--
minor seventh. Transposing that chord a fifth
results in a C major with an A root, or an A minor seventh. Is that
what you are after?
-- Aaron Hill
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On 2019-01-15 4:40 pm, Aaron Hill wrote:
Here's an oddity:
\version "2.19.82"
test = #(define-scheme-function (suffix) (string?) #{
\book { \bookOutputSuffix $suffix \score { b'4 } } #} )
foo = \test "foo"
bar = \test "bar"
\foo \bar
Oops. Probably
Here's an oddity:
\version "2.19.82"
test = #(define-scheme-function (suffix) (string?) #{
\book { \bookOutputSuffix $suffix \score { b'4 } } #} )
foo = \test "foo"
bar = \test "bar"
\foo \bar
%%%%
This works.
-- Aaron Hill
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\score { d4 }
} #}))
\test "surname"
Am I missing a subtlety that the original function is trying to address?
-- Aaron Hill
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y I am after!
If you need more than just the one Greek letter, you can always extend
the \paper's replacement-alist in a similar fashion to how
include-special-characters works. Attached is an example with most
(though not all) Greek letters.
-- Aaron Hill\version "2.19.82"
\paper {
#
? Then you need to shrink the margins.
-- Aaron Hill
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posed to eliminate Fingering grobs until it
is \undone. The problem is that \tweak also modifies the stencil,
cancelling out the effect of the \omit.
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On 2019-01-21 1:23 pm, David Kastrup wrote:
Aaron Hill writes:
Using \omit Fingering is supposed to eliminate Fingering grobs until
it is \undone. The problem is that \tweak also modifies the stencil,
cancelling out the effect of the \omit.
I fail to see the problem. You specify a specific
On 2019-01-21 3:30 pm, Reggie wrote:
Karlin High wrote
On 1/21/2019 5:02 PM, Reggie wrote:
I literally want just move up the TITLE and not touch anything
else.
Could you attach an image or PDF showing the form of your current
layout? I'm curious about what is currently above the title.
You
On 2019-01-21 4:35 pm, Aaron Hill wrote:
\version "2.19.82"
#(define-markup-command (faux-raise layout props amount arg) (number?
markup?)
(let* ((sten (interpret-markup layout props arg))
(xex (ly:stencil-extent sten X))
(yex (ly:stencil-ext
u should be able to confirm all of the
spacing distances as specified in the \paper block.
-- Aaron Hill
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On 2019-01-20 5:16 am, Andrew Bernard wrote:
Hi Aaron,
What we really want is a lovely curved bezier spline! I appreciate your
suggestion, but I personally would rather code PostScript than hack
hairpins to be pedal dynamics. I went through all that when I tried to
do
this by hijacking text
On 2019-01-22 5:30 pm, Andrew Bernard wrote:
Hi Ben,
Yes this is the code in the list archives that I was referring to in my
initial mail. My question was actually not so much how to achieve this,
but
whether a technique for this has been incorporated into lilypond more
recently, similar to
hord-name-markup layout props chord-name)
(markup?)
"Display a chord name in the desired formatting"
(interpret-markup layout props
#{ \markup \sans \fontsize #10 $chord-name #}))
NOTE: I omitted some of the curly b
TextSpanner.stencil =
#(lambda (grob)
(let ((grob-X (interval-length
(ly:stencil-extent (ly:line-spanner::print grob) X
(make-line-stencil .2 1 1 grob-X 4)))
d \startTextSpan
c b
a \stopTextSpan
}
-- Aaron Hill
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On 2019-01-19 8:55 am, Valentin Villenave wrote:
You can use a \markup block in any TextScript object (attached to
notes with -, ^ or _), any \mark or at the top level, outside of any
\score block.
\markup may also (obviously) be user in any definition inside the
\header block (e.g. title,
he note.
Of course, perhaps this is an imperative: "Rise, note!" ;-)
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as
durations. As such, to include numbers within lyrics literally, you
need to place them within a pair of quotation marks.
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n one line.
-- Aaron Hill
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On 2018-12-21 4:53 pm, Aaron Hill wrote:
I tried the following approach to break up the piece into three scores:
\score {
{ \time 4/4 \repeat unfold 1000 { c4 d e f } }
}
\score {
{ \set Score.currentBarNumber = #1001 \bar ""
\time 4/4 \repeat unfold 1000 { f1 } }
,c ,d))
This one looks funny at first, but the difference is the use of the
grave as opposed to the apostrophe. This sets up a quasi-quoting mode
that behaves nearly identical to normal quoting, except we can use a
comma to "unquote". And here the variables will be
ed.
It's not perfect, but \laissezVibrer (instead of ~) on the first E flat
might work.
-- Aaron Hill
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On 2018-12-14 10:46 pm, Aaron Hill wrote:
Creating a custom articulations is probably the best option, however
you can also easily redefine the stencil for an existing one:
\version "2.19.82"
% handbell mallet
hbm = \tweak stencil #(lambda (grob)
(grob-interpret-markup grob
ll mallet
hbm = \tweak stencil #(lambda (grob)
(grob-interpret-markup grob #{ \markup \combine
\raise #1 \musicglyph #"scripts.stopped"
\musicglyph #"scripts.staccato"
#})) \stopped
{ f'8-+-. [ f''-+-. ] f'\hbm [ f''\hbm ] }
-- Aaron Hill
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