is insisting on having a final
bar of three beats to match the upbeat at the start - which is blank,
because I have no more notes. How can I get rid of this, pretty please?
Thanks,
Paul
--
Paul Hodges
___
lilypond-user mailing list
lilypond-user
the double bar at the end. The solution offered (and gratefully
accepted) was:
\alternative {
{ \set Timing.measurePosition = #(ly:make-moment -3 4) c2. }
{ c1 \bar |. }
}
I don't understand it yet, but working it out will be educational.
Paul
--
Paul Hodges
The solution to this enabled me to solve a problem I had, of putting an
arpeggio sign in front of a single (slanted-head) note. As an arpeggio
requires two notes, I had to force the issue, which I did by:
{ \hideNotes f,2.\arpeggio \unHideNotes } \\
{ \improvisationOn d'2.\arpeggio }
and
When I compile a score on my computer at work, the ps file is about six
times the size of the resulting pdf - the difference apparently being
embedded sound fonts. When I compile the same on my compute at home, the
ps file is ten times bigger again, also apparently due to sound fonts. I
have
--
Paul Hodges
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
I have been asked to set a modern piece for Flute, and it has some
elements which are new to me, and which I have been unable to find a way
to present. The first of these is that the composer regularly writes
rests within (or at the ends of) groups of quavers beamed together.
Using manual
Encouraged by the fantastic responses to my first problem, I now offer
my other issue.
The composer uses a special barline to mark the phrase pattern of a
piece. The form of this barline is like this:
(MS) https://cassland.org/images/PhraseBarMS.jpg
(Printed elsewhere)
I have been asked to change my serif font to Times New Roman. I have
done this, using:
#(define fonts
(set-global-fonts
#:roman "Times New Roman"
#:factor (/ staff-height pt 22)
))
as documented (the staff-height matches the global staff size). But all
my
Once again - spot on!
I will try to learn from such examples so that I don't need to leech
like this in the future...
Thanks,
Paul
On 22/08/2021 17:16:48, "Thomas Morley"
wrote:
>Am So., 22. Aug. 2021 um 13:42 Uhr schrieb Paul Hodges :
>>
>> Encouraged by the
Brilliant! That's perfect.
I'd tried writing a note with the rest glyph as notehead, but then the
stem was too long - your solution is both easier and more controllable.
Thanks,
Paul
On 22/08/2021 11:33:47, "Thomas Morley"
wrote:
>Am So., 22. Aug. 2021 um 11:41 Uhr schrie
On 22/08/2021 17:20:54, "Thomas Morley"
wrote:
>Use
>"Times New Roman,"
>Note the trailing comma (see NR for the issue).
Sadly this has no discernible effect.
I may try to get away with only changing the font in the title fields,
using markup, which would be no bother.
Paul
PS:
On 22/08/2021
sume factor 1 to be
>staffsize 20.
>So when using staffsize 22 you need to use factor 22/20. Please try it out at
>least instead of immediately arguing against it.
>
>Valentin
>
>22.08.2021 18:42:07 Paul Hodges :
>
>> On 22/08/2021 17:20:54, "Thomas Morley"
>
All you're missing is the closing angle brackets ">>", which maybe your
mail program saw as quote marks.
Paul
On 22/08/2021 22:34:47, "ole" wrote:
>> \new StaffGroup
>> <<
>> \new Staff { b1 \mark \default \bar "p|" b \break \bar "p|" b }
>> \new Staff { b1 b b }
>>
>>
>>
>>
Don't worry - I wasn't offended.
Anyway, yes - I also found that 18 gives me the same size as Century
Schoolbook. But changing the factor also affects other text, such as
dynamics symbols - so the relationship, e.g. if I want to type "\dynamic
p \italic sempre", is still off unless I change
I am making a score one of whose pages (the last) will fold out from the
previous. The previous page is numbered 5, but I have been told to make
the fold-out page not 6 but 5a. I can't see how to change the header
format for just a single page - can anyone help?
Thanks, as ever,
Paul
error, neither by
trial and error, nor by googling for snippets which use it.
Paul
On 24/08/2021 23:29:31, "Thomas Morley"
wrote:
>Am Di., 24. Aug. 2021 um 18:38 Uhr schrieb Paul Hodges :
>>
>> I am making a score one of whose pages (the last) will fold out from the
ch page individually it is a pretty general solution, and
really not a lot of trouble, at least for scores of this size.
Regards,
Paul
On 24/08/2021 23:29:31, "Thomas Morley"
wrote:
>Am Di., 24. Aug. 2021 um 18:38 Uhr schrieb Paul Hodges :
>>
>> I am making a score one
In the following code, the first expression does more or less what I
want; but I also want tuplet brackets. However, specifying that they
are wanted, as in the second expression, seems to break stuff, and I
have no idea why.
In fact, it is simply the presence of the override which causes the
I have a chord with a tied A flat, and a simultaneously played A
natural. LilyPond's default behaviour is to combine these notes and
place a natural in front, which totally obscures what is required. If I
move the untied note, the accidental doesn't move with it, and I
initially ended up
are unaffected by the override. You need
>either write
>\override Staff.TupletBracket.bracket-visibility = ##t
>where it is now to override at staff level or to place the override in the
>voice it is supposed to affect.
>
>HTH
>/Leo
>
>> 2 sep. 2021 kl. 00:38 skrev Paul
Thanks - I like your version (I find of had it in mind as an idea, but
couldn't do it), so thanks for the code! I'll have to run the result
past the musicians concerned, of course.
As I have worked further into the piece containing this snippet I've
found more and more instances of notation I
.
Is it a cheat? Or just a pragmatic and effective answer? I know how I
view it for now!
Paul
On 02/09/2021 13:43:57, "Paul Hodges" wrote:
>I have a chord with a tied A flat, and a simultaneously played A
>natural. LilyPond's default behaviour is to combine these notes and
>place a natu
One of the hardest things to find information on, it seems to me, is how
to adjust vertical spacing. There's lots of information about adjusting
spacing within systems, but little about fitting systems on a page.
In the example below, there is lots of space between the systems. The
global
Setting that option draws coloured lines along the skyline. At first
glance the lines hug the notation tightly throughout, as I'd expect.
But in the first line of the piece there are a couple of small oddities.
(1) towards the end of the third staff (bar 7, secondo), the top skyline
has a
/09/2021 10:49:36, "Jean Abou Samra" wrote:
>
>
>Le 06/09/2021 à 11:37, Paul Hodges a écrit :
>>Thanks for this explanation, which puts flesh onto the understanding I'd
>>been coming to. However, I can't see what your example at the end is
>>doing. Commenting
minimal bit of padding, the system
>at large can get close to the over-estimated extent.
>
>Perhaps the override in the below example will help:
>
>\version "2.22.1"
>
>{
> % The default value is
> % #(ly:make-unpure-pure-container ly:stem::height ly:stem::pure
On 12/09/2021 19:04:16, "Xavier Scheuer" wrote:
>I think it is standard practice to have slashed grace note only for a
>single note.
Tell the composers! The piece I'm currently setting contains, e.g.:
>But if you really want to have slashed for grouped have a look at:
Unfortunately, my composer clearly didn't use that convention (past,
because he died last year), as he wrote the slashed notes before the
barline...
Paul
On 12/09/2021 19:52:45, "Kieren MacMillan"
wrote:
>Hi all,
>
>>> I think it is standard practice to have slashed grace note only for a
I use WizKey to type accents and a great many special characters
including curly quotes:
https://antibody-software.com/wizkey/
Sadly it's not free, though.
Paul
On 12/09/2021 06:18:17, "Aaron Hill" wrote:
>On 2021-09-11 5:32 pm, Kira Garvie wrote:
>>Following up on this question from
:35, "David Kastrup" wrote:
>Paul Hodges writes:
>
>> It's not causing your problem, but why use phrasing slurs: " \(" "\)?
>> Plain slurs: "(" ")" are that bit easier to write and read. They are,
>> as far as I know, ide
Thanks - that worked, but... then I got the bar number (required on
every bar) twice - in the old position, and the new! It was easy to
fix, though, using a \once \override on the barnumber visibility.
The whole-bar rest in another part is now not properly centred, but I
hope no-one will
I have successfully used https://lsr.di.unimi.it/LSR/Snippet?id=1048 to
add slashes to beamed grace notes - thanks!
But I have the problem now that I am being required to place the slashed
grace notes before a bar line. I can do this normally using \afterGrace
on the previous note or rest,
On 14/09/2021 20:17:08, "Thomas Morley"
wrote:
>
>Why not use \slash as defined by the LSR-snippet directly?
>Makes for:
>
>{
> \afterGrace b1 { \slash 40 1 0.5 c'16 d' } e'1
>}
Probably because I am not yet sufficiently familiar with the use and
interaction of the different programming
You need to terminate the hairpin by providing (in the same voice)
either another hairpin, a final dynamic, or an explicit terminator:
"\!". An unterminated hairpin won't be shown.
Paul
On 14/09/2021 21:29:50, "Carlos Martinez"
wrote:
>When I am trying to add hairpins to the end
>
>
I copy-pasted your code into Frescobaldi, added context (and initial \
for the slashedGrace) and it compiled and produced exactly what you
want. Either there is a problem in your context which we're not seeing,
or perhaps there is an issue with your installation. This is what I
compiled:
I can't find anything bearing on this, I'm afraid.
I am writing out a piece for two pianos; so there is a grand score
containing two piano scores. I need to add a third staff to the first
piano part for just two bars. It will be under the two staves already
existing. I can add the necessary
Trumpet "in Bb" means that where the score has a C, a Bb will sound.
Similarly Horn "in F" will sound F for a written C. In your case, as
the notes are entered not in concert pitch, you should use the LilyPond
command \transposition to specify the note that will sound when c'
(middle C) is
I forgot to comment directly on this. I often find it necessary to
create a temporary extra "dummy" voice to provide the continuity
required for slurs, ties, and beams. Sometimes the extra notes get
merged, but often one or other of them needs to be hidden if merging
cannot be contrived.
The best/easiest solution may depend on the surrounding context. But
the immediate thing that comes to mind for your limited example is:
\score {
\new PianoStaff
<<
\new Staff = "up" {\clef G c''8[ \change Staff = "low" c8]}
\new Staff = "low" {\clef F r8 \change Staff = "up"
My first thought for this was:
\version "2.22.1"
instrTwo = \relative c' { \repeat unfold 8 { c4 c c c }
R1 * 12
\repeat unfold 4 { c4 c c c } }
instrOne = \relative c' {
\repeat unfold 7 { c4 c c c }
<< { \repeat unfold 24 { c4 c c c }
That works fine. I note that it doesn't update the CueClef stencil to
match, but I guess similar code to the Clef update given would suffice
(if felt necessary at all!).
Your correction raises a question in my mind (which may or may not have
helped here): is there anywhere a list of dates of
On 15/09/2021 00:05:33, "Carlos Martinez"
wrote:
> I just copied and pasted the same code into lilypond using Frescobaldi
and got the error. The score does not renders….
OK, so the code itself is not the problem. This feels to me like an
incompatibility between the LilyPond installation
Oh, is this why Adobe Reader has started putting up a box saying “preparing
output” when I open a LilyPond pdf?
Paul
Sent from my iPad
> On 10 Sep 2021, at 01:42, H. S. Teoh wrote:
>
> Hi all,
>
> For a long time I have been using a local build of lilypond cloned from
> git, IIRC around
I don't have this problem, using Frescobaldi v3.1.3 on Windows 10. I
suppose there may be something strange in your system - perhaps a
permissions thing preventing a config storage?
Paul
On 05/09/2021 10:31:53, "Kino Haitsma" wrote:
>Hi,
>
>I have a question. In Frescobaldi, by default it
I'm not the person of whom the question was asked, but I have myself
just been asked about MusicXML export.
I am retired, with time on my hands, and have for some time used
LilyPond to prepare music editions for the choir I sing in - so I am
fluent with it for "straightforward" choral music
On 28/09/2021 10:18:30, "Lukas-Fabian Moser" wrote:
>Please try and give an example of your LilyPond code, if possible. This
>enables people to help with your concrete situation.
I understand that; but I wanted to see clean-page suggestions, as I felt
the code I already had was way over the
I am at present being asked to put a lot of tuplet brackets on the same
side of the staff (above) as slurs, and this is leading to a lot of
collisions. I could deal with them individually (a lot of work), but is
there something I can do to to force tuplet brackets away from slurs
(outside
On 28/09/2021 10:02:24, "Peter Toye" wrote:
>I want to change the "=" to "~" or "ca." in a metronome mark but I
>can't see how to do it. There's a 'stencil' property but I assume that
>refers to the entire MM and not the equals sign. Can someone please
>help?
You can use arbitrary markup in
The composer I'm working on is very fond of having beams over rests -
and indeed it helps a lot in reading his more complex rhythms. However,
LilyPond is treating rests differently from notes, in that beam
positions are adjusted to suit the notes, whereas rests are then
adjusted to suit the
In the score I am preparing for publication have been asked to use the
Bravura font (which I have successfully done), and to make staccato dots
smaller than augmentation dots (as I note is specified by Gould). I
can't find any snippets which enable me to do this - can it easily be
done?
The way I've done it is to make those notes quavers, and hide the flags
as well as the stems. Or for a subtler adjustment you could try using a
note value of "4*5/8", for instance. You can play with the values as
suits your layout. You should revert to crotchet length on the last
note of
This was so simple, and just works as required, except for one thing.
Using priority 2000 puts the brackets above tempo indications and other
markup; I used Leo's value of 750 which did it exactly right. Leo's
additional "avoid-scripts" and "avoid-slur" overrides were not needed,
in my case at
to do
>that for every affected beam, it ensures that they look good and work
>properly.
>
>Cheers,
>
>A
>
>On Tue, Sep 28, 2021 at 11:08 AM Paul Hodges wrote:
>>The composer I'm working on is very fond of having beams over rests -
>>and indeed it helps a lot i
Well, the notation already violates the idea of two voices. That said,
I managed to generate similar output using only two voices like this:
\new Staff = "guitar traditional"
<<
\clef "treble_8"
\time 3/8
\key e \minor
% \mergeDifferentlyHeadedOn
% \mergeDifferentlyDottedOn
LilyPond has well-known ways to change the font within markup and for
the whole document. It can be harder to find the ways to change the
font for all of just a specific class of text, such as lyrics; but it
can be done. Try:
\lyricmode {
\override LyricText.font-name = #"Comic Sans MS"
On 06/10/2021 09:27:04, "ole" wrote:
>I have a Question related to this thread: I use the internal Lilypond
>\typewriter font for all titeling and markups
>How can I omit to type for every text \markup\typewriter again..?
>
I am not aware of titles or markup being contexts of the kind that
That's actually more like what I was expecting!
I will be having more (indirect) discussions. For instance, I'm
required to make bar numbers italic; and I've been asked to place all
tuplet brackets above regardless of stem directions - but doing this
leads to loads of clashes with slurs.
Just insert:
\set Score.currentBarNumber = #50
at the break. Details are described here:
https://lilypond.org/doc/v2.22/Documentation/notation/bars#bar-numbers
Paul
On 26/09/2021 05:19:00, "Ignacio Lois" wrote:
>Hi! I'm having trouble with this and I can't find a solution.
>
>In this
It may be a cheat, but in that sort of situation I just add invisible
notes to put the space where necessary. In your example I removed the
TextLength directives and changed your "othernotes" to:
othernotes = \relative c'{
e8 f g a g2 << c2 \\ { \hideNotes a8 a a a } >> b2
}
The hidden quavers
I prefer to give the singer a positive indication not to sing that note, so I
usually put a rest, like the attached image.
For simplicity, I defined:
lyricRest = \markup { \raise #0.7 \teeny \musicglyph #"rests.2" }
so that I could then write:
WordsA = \lyricmode {
\set stanza =
What version, then?
Paul
On 09/11/2021 23:08:59, "Martin Tarenskeen"
wrote:
>
>
>On Tue, 9 Nov 2021, Knute Snortum wrote:
>
>>Just out of interest, what level of Frescobaldi are you using?
>>
>>--
>>Knute Snortum
>
>Level?
>
>I don't understand your question?
>
>MT
>
So if any webpage uses SSL the internet would suddenly require noticably more
power.
This week I've seen a survey reporting that there are currently about
200,000,000 active websites, and that 100,000,000 are https. It's reached 50%,
and will continue growing.
Paul
The way I'd do it is:
\relative f' { f\p\< g f g_\markup\dynamic"mf" | f g f g\f }
Regards,
Paul
From: Kenneth Wolcott
To: Lily Pond
Sent: 07/01/2022 6:28
Subject: How to prevent a hairpin crescendo from terminating when a dynamic
is specified?
Hi;
How to prevent a
What is the name of the ‘up arc’ ornament on the first note in this score? Then
I’ll look it up in the LPNR.
That's a Scoop. I don't think LilyPond supports it directly, but several ways
of faking it are shown in this thread (two links to different ways of viewing
it):
Perfect - Thank you! I'd never have thought of looking there
I can even use it for selected notes of a chord and control the directions
individually.
Paul
From: Xavier Scheuer
To: Paul Hodges
Cc: Lilypond-User Mailing List
Sent: 11/03/2022 11:12
Subject: Re
I need to set a passage for piano which consists of an extended melisma all of
whose notes tie to a chord at the end. As using actual ties would become an
illegible mess, the composer wrote a laissez vibrer after each note, and then
short "pickup" ties in front of the chord. I can't see any
ond", which is usually the best way in my experience because it find
things in snippets and mailing lists as well. Also, in my case, it's not "from
nothing" - it's just deferred for practicality. As always with searching,
finding the right terms is crucial!
Paul
From: Jea
Yes, that is standard. After all, how else could they be fitted in? There are
well-established rules about the way the offsets are chosen, which LilyPond
follows.
Paul
From: Anders Eriksson
To: lilypond-user
Sent: 16/03/2022 9:02
Subject: Notes not under/over each other
otherwise it's not clear which end gets the stem and flags (if any).
Paul
From: Thomas Morley
To: Paul Hodges
Cc: lilypond-user
Sent: 20/02/2022 14:59
Subject: Re: Combining crossStaff with a central beam
Am Sa., 19. Feb. 2022 um 19:45 Uhr schrieb Paul Hodges :
>
I am trying to set the attached image (both staves are bass clef). I have
written the tuplet (without the note on the top staff in the first chord) in my
lower staff voice and jumping between staves as required; the missing note I
have set in my top staff voice as the first note of a tuplet
I don't use that - I specify the exact number of systems I want, and on how
many pages, using:
\paper {
system-count = xx
page-count = yy
}
This forces the length to be stretched to the extent I require; then detailed
adjustments can be made with \break and \pageBreak.
Paul
From:
I think you mean \mergeDifferentlyDotted
Paul
From: Mats Bengtsson
To: , Kevin Cole
Sent: 28/03/2022 7:50
Subject: Re: Need help with \force-hshift or \shiftO... (off, on, onn, onnn,
etc.)
On 2022-03-28 03:54, Kevin Cole wrote:
Ah. I think
The variation in content of these mirror sites is sufficiently explained by
this quote from the top of the ca one:
All the functionality of the original Mutopia site has been restored, and the
piece count will continue to increase as projects are restored from the Wayback
Archive. Full
I thought the unit to be staff space, scaled according to the chosen size.
Paul
From: Jean Abou Samra
To: Kenneth Wolcott
Cc: Lily Pond
Sent: 03/04/2022 15:23
Subject: Re: sustain pedal display ugliness, how to fix?
Le 02/04/2022 à 17:50, Kenneth Wolcott a écrit :
>
From: Erika Pirnes
The other thing is to have a more consistent length for stems. In my minimal
example, the stems in the first measure look too short because in both measures
they extend to the middle line. Any ideas?
I don't know about the accent question.
But as for the stems,
From: Vincent Gay
By curiosity I tried it with a score produced by Lilypond, the result is
not very satisfactory. As it is, it seems to me that it is quicker to
enter everything on the keyboard than to correct what the software has
recognized.
I've not tried Audiveris; but this is my
From: Valentin Petzel
To:
Cc: Paul Hodges ,
Sent: 18/01/2022 19:30
Subject: Re: optical recognition for input
But the question is: Would you want that? In situations where this works you
probably have a high quality scan of a quality score,
Exactly. The best success
I am in the last stages of preparing a score for publication. I am using the
Bravura font rather than Feta, because the publishers agree that it provides
the best general match for other publications in the same series. However, I
am adding a few tweaks to improve the matching further - I
Thanks to you and Jean Abou Samra. I have been able to do all the things I
needed (including some not mentioned) using what I have [re-]learned today.
Paul
From: Xavier Scheuer
To: Paul Hodges
Cc: lilypond-user
Sent: 11/04/2022 12:12
Subject: Re: How to tweak dot sizes
When specifying the thickness of ledger lines in LilyPond, one specifies not
one but two multipliers, so that the result is proportionate to both staff line
thickness and staff spacing. E.g. (from the manual):
\override StaffSymbol.ledger-line-thickness = #'(0.5 . 0.4)
For my own use I've
I am trying to write the dynamic "sfffz". But when I write
\markup\dynamic"sfffz" the first sf is made a ligature, then the last two are
made another ligature - the difference in spacing of the f's is ugly, as in the
attached image - is there anything I can do about it?
Paul
From: Kevin Cole
To: David Kastrup
Cc: lilypond-user mailinglist
Sent: 13/04/2022 0:20
Subject: Re: How do I merge a quarter-note with the second eighth-note of a
pair?
On Tue, Apr 12, 2022 at 7:15 PM David Kastrup wrote:
Kevin Cole writes:
> I think an
It is usual that most tweaks and adjustments are specified in staff-space units
by default, and so will scale automatically. Even postscript inserts can be
written that way. So I would suggest just trying it, and if it turns out that
any adjustments have been specified, change that to
From: Ian West
Yes! I have now followed the instructions for running LilyPond with
Frescobaldi. But I do not like it.
Indeed, I will not use it. The coding (on the left) is far too small for my
eyes. (I was in the habit of using font-size 18 when typing in the code.) And I
have not
In the layout you're still adding the Measure_counter_engraver to the Staff
context; you need to add it to the RhythmicStaff context.
Paul
From: Rajesh Baskar
To: Lilypond-User Mailing List
Sent: 06/09/2023 3:22
Subject: RhythmicStaff with measure counter
Hi,
I'm trying
You have not extracted the application from its zip file. On my machine it
even warns me if I try running it without doing the extraction first, but that
may depend on what program you have for viewing the contents of the zip file.
Just extract the zip into a suitable directory where you want
directories. In bin you will find 20 files
(including the dll files you got error messages about) - run lilypond.exe in
that directory.
Paul
From: Vishal Ghule
To: Paul Hodges
Sent: 08/09/2023 19:38
Subject: Re: Bug
No I did it
On Fri, Sep 8, 2023, 11:57 PM Paul Hodges wrote
To: Paul Hodges
Sent: 09/09/2023 0:05
Subject: Re: Bug
Sorry for taking your time, but what should I do? Whith python zip which is in
bin folder! Should I unziped it as well?
On Sat, Sep 9, 2023, 4:20 AM Vishal Ghule wrote:
I need that software to open right !? so when I use
Yes you can - they install by default into separate directories. I have
installed in Windows the final version of every stable release from 2.6, and
the current (and one other) development version so that I can compile and
update any lilypond code I come across. Frescobaldi has them all
(or
right-click "Copy" | "Paste"), which quietly performs the necessary unzipping.
Paul
From: Jean Abou Samra
To: Robin Bannister , Mark Stephen Mrotek
, 'Paul Hodges'
Cc:
Sent: 09/09/2023 20:07
Subject: Re: 2.22.2 and 2.24.2
Le samedi 09 se
Mrotek
To: 'Paul Hodges' , 'Jean Abou Samra'
Cc:
Sent: 09/09/2023 16:16
Subject: RE: 2.22.2 and 2.24.2
Paul,
Thank you for the reassurance based on your experience.
Please bear with me and clarify some procedures.
I opened:
https://lilypond.org/doc/v2.24/Documentation
I think the "errant" dot is in the right place (in line with the one above).
The issue I see is that the e above it is too far to the right. I'd move that
back and then adjust the tie with \shape to miss the dot on the c (also to miss
the b at the other end).
To hide the flags, try "\once
I presume that partCombine overrides the dynamic placement so that dynamics for
the two parts are placed above and below, which seems a reasonable approach
when the parts are more distinct than in the given example. Using ^ to
override it in this case seems a tolerable alternative.
Paul
Assuming your sections are all (or nearly all) less than half a page, you could
halve the paper requirement by typesetting onto landscape A5 (or whatever is
half the size of your output paper) and print from Acrobat (or whatever) two-up
on each page.
Paul
From: David Zelinsky
To:
The way I'd do it is:
{ \afterGrace d''1\trill( { c''16_\( d'' } e''2)\) }
Paul
From: Volodymyr Prokopyuk
To: lilypond-user
Sent: 12/10/2023 14:58
Subject: How to end a trill with an acciaccatura in the same measure
Hi,
I'd like to achieve the below
With the
)\)
Thank you very much,
Vlad
On Thu, Oct 12, 2023 at 4:09 PM Paul Hodges wrote:
The way I'd do it is:
{ \afterGrace d''1\trill( { c''16_\( d'' } e''2)\) }
Paul
From: Volodymyr Prokopyuk
To: lilypond-user
Sent: 12/10/2023 14:58
Subject: How to end a trill with an acciaccatura
The oldest bug of all, I believe!
Just put hidden ("s") appoggiaturas in the other parts and then everything will
line up.
Paul
From: Виноградов Юрий
To: "lilypond-user@gnu.org"
Sent: 10/10/2023 19:16
Subject: The problem of acciaccatura from the beginning of the work.
I have used tupletFullLength extensively, and it mostly does what I need
correctly. However, the illustration here shows the remaining issue with it -
which is specific to line breaks. Within a line, the RH end of the bracket is
correctly placed just before the bar line, but at a break it is
Omit the \bar "||" and change the \bar ".|: to \bar ".|:-||"
Paul
From:
To:
Sent: 15/10/2023 20:07
Subject: Barlines
I have a problem in the above snippet. In bar 7 there is a change of key and
this should be seen at the end of bar 6 ( as in bar 20 ) with
The intervals in the image are all going to the nearest option. You need to
mark some of your notes with ' in order (I presume) to convert some of the
downward fourths into upward fifths.
Paul
From:
To:
Sent: 15/10/2023 19:47
Subject: Octave control.
For the initiated
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