Removing staff sharp after a \stopStaff

ride BarLine #'hair-thickness = #0.5 \override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 5) } \context { \Score proportionalNotationDuration = #(ly:make-moment 1/6) %\override SpacingSpanner.uniform-stretching = ##t \override Flag.stencil = #modern-straight-flag } } Alexandre http://

Re: Double clefs (or even triple) (Malte Meyn)

quot; \translate #'(3 . 0) \musicglyph #"clefs.G_change" } } Alexandre http://soundcloud.com/alexandre-ficagna Em ter, 22 de out de 2019 às 11:31, Alexandre Ficagna < alexandre.fica...@gmail.com> escreveu: > Beautiful. Thanks! > > -- Forwarded message

Re:Double clefs (or even triple) (Malte Meyn)

Beautiful. Thanks! -- Forwarded message -- > From: Malte Meyn > To: lilypond-user@gnu.org > Cc: > Bcc: > Date: Sat, 19 Oct 2019 15:23:48 +0200 > Subject: Re: Double clefs (or even triple) > > > Am 19.10.19 um 14:56 schrieb Alexandre Ficagna: > >

Double clefs (or even triple)

ot;:" in the first F clef keep it away from an elegant solution. Any help? Alexandre http://soundcloud.com/alexandre-ficagna ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

glissandi don't connect directly to the stems when note heads are transparent

In early versions of lilypond it was possible to create glissandi which conected directly to the stem of the transparent headed note. In 2.16 version, an annoying problem is: this space remains empty, as if the note head was there. Does someone know how to do that? I tried to specify negative

glissandi don't connect directly to the stems when note heads are transparent

values on bound-details but it didn't work. Best Alexandre -- http://soundcloud.com/alexandre-ficagna www.myspace.com/alexandreficagna - Endereço: Avenida Juscelino Kubitschek 3117 apto 603 Bairro: Vila Ipiranga Londrina/PR CEP: 86010-540

Changing note head style within a chord

I've read that with \tweak command this is not possible. I really need two differente notehead styles inside the same chord (in different notes), does someone know how to do it? Cheers Alexandre -- www.myspace.com/alexandreficagna ___ lilypond-user

Bar lines appearing even with \stopStaff and \RemoveEmptyStaves

Hy, does someone know why, even with \stopStaff and \RemoveEmptyStaves, the barlines on the upper staff stand still? Below the code: up= { \stopStaff s2*8 \startStaff % \set Staff.instrumentName = m.e. s8 d8- s d- } center=\relative c { \time 2/4 \clef bass

Re: Problems with \inversion

You're right, it worked better with relative for melody. Still, it seems that changing from-pitch alters the note of transposition, while to-pitch changes absolutely nothing. Best Alexandre 2012/6/13 Trevor Daniels t.dani...@treda.co.uk: ALEXANDRE FICAGNA wrote Wednesday, June 13, 2012 2:57 PM

Re: How to use diferente paper layouts in a \book

Nobody knows how to do it? 2011/5/25 Alexandre Ficagna alr...@ibest.com.br: Hy all, I'm trying do create a score with the individual parts after the global one, but the global part in landscape and the individual parts in portrait style. I'm using \book and \bookpart commands, doing

Problems with \inversion

I still didn't picture exactly how \inverse works in its from-pitch to-pitch variables, but I tried an example and what I got is the correct inversion of pitches, but each one was an octave above. Here's the code: \version 2.14.2 #(set-global-staff-size 15) \paper { #(define dump-extents #t)

How to use diferente paper layouts in a \book

Hy all, I'm trying do create a score with the individual parts after the global one, but the global part in landscape and the individual parts in portrait style. I'm using \book and \bookpart commands, doing this for the global part; \book { \paper { #(set-paper-size a4 'portrait)