Hello again,
Am 05.09.2014 um 20:37 schrieb Hwaen Ch'uqi:
Greetings Simon,
Thank you so much for your response. Yes, there was a silly oversight
in my code which I have now corrected. Below is the code again
followed by the compilation messages. I have also attached the rather
strange result
I forgot the attachment...
\version 2.18.2
#(ly:expect-warning no viable initial configuration found: may not find good beam slope)
\score{
\new PianoStaff
\new Staff = up {
\relative c' {
\key des \major
\time 2/4
\clef treble
{
Hello Aura,
there’s one main thing I notice: the left hand has only one voice
throughout, so you should better use \oneVoice instead of \voiceOne
there. The same is for the last two bars of the right hand part.
For the piano staff, a separate Dynamics context between the two staves
might be
Am 06.09.2014 um 21:52 schrieb David Nalesnik:
On Sat, Sep 6, 2014 at 1:52 PM, Joram noeck.marb...@gmx.de
mailto:noeck.marb...@gmx.de wrote:
And I can add a question: What is the difference between
DynamicLineSpanner and Hairpin?
See
Hello David,
many thanks for the proposed solution. For what I can see now, it works
fine.
And sorry for wrongly attributing authorship – no idea how I came to do
that. Anyway, I corrected it now.
Best regards,
Simon
Am 06.09.2014 um 23:32 schrieb David Nalesnik:
Hi,
On Sat, Sep 6, 2014
And thanks also for these coding suggestions, they’re very good and I’ve
incorporated them.
Am 07.09.2014 um 00:37 schrieb David Nalesnik:
On Sat, Sep 6, 2014 at 5:20 PM, David Nalesnik
david.nales...@gmail.com mailto:david.nales...@gmail.com wrote:
Here's an unrelated suggestion.
Looks like it’s worth a bug report and issue tracker, doesn’t it? About
completion heads engraver and addlyrics being incompatible.
However, the attached version of the file using @code{ \new Lyrics
\lyricsto first } instead of @code{ \addlyrics } works as expected for
me*. So working around
Am 07.09.2014 um 18:05 schrieb Son_V:
Thanks Phil, for your answer - but I usually (is it right?), as in your
example, write Sanc __tus
The problem is that you confuse hyphens (-) with underscores (_). In
your examples, you have two underscores inbetween the syllables of
‘sanctus’; but what
Am 07.09.2014 um 19:39 schrieb Rus:
Does anyone have any ideas?
Yes, to ask you why you would want that. Usually it’s best to leave the
spacing to lilypond, since she makes about the best possible arrangement.
Perhaps
Am 07.09.2014 um 21:00 schrieb Rus:
I would want that to make it more visible.
I don’t think there is any problem with reading the rhythm from Lily’s
default output, it’s perfectly clear.
I can't understand what exactly I need to make from
Am 07.09.2014 um 23:16 schrieb David Nalesnik:
Rus,
On Sun, Sep 7, 2014 at 3:54 PM, Rus rustik...@mail.ru
mailto:rustik...@mail.ru wrote:
I imagine you could use \newSpacingSection.
Please post the code that created the PDFs you attach, and I'm
sure you'll get a
Am 08.09.2014 um 18:10 schrieb Colin Campbell:
On 14-09-08 01:36 AM, Phil Holmes wrote:
(in reference to lyric \skips not terminating an extender)
Try a single space in quotes:
--
Phil Holmes
Thanks, Phil. I found that in my testing later yesterday. It will at
least get the project
Am 09.09.2014 um 11:46 schrieb Urs Liska:
Hi list,
I have a problem understanding how to efficiently deal with horn parts
that change their transposition with the clef.
That is: In the treble clef the part is notated as \transpose f, c
while in the bass clef it is notated in concert pitch.
Hello Knute,
perhaps its just an unusual topic few have experience with?
At least I don’t; yet after a look in the NR section on the topic I
think you’re on the right path with the cond approach. After all, you
want to define a single function to pass it on as
dynamicAbsoluteVolumeFunction.
Am 10.09.2014 um 02:35 schrieb Steven Arntson:
I'm trying to get stanzas to work for a song that has two verses. What
am I doing wrong?
text = \lyricmode {
\set stanza = #1.
here are | %m1
the words | %m2
}
\lyricmode {
\set stanza = #2.
Hello David,
Am 14.09.2014 um 18:58 schrieb David Bellows:
In the following code Lilypond correctly creates the tie to the note
even when it's left out (a tie just to a duration):
\version 2.19.13
\score{
\new Staff {d4~ 16}
}
But if you try to do this with a rest:
\version 2.19.13
https://lists.gnu.org/mailman/listinfo/lilypond-user
\version 2.16.2
\header {
snippet-title = Octavate capital note names
snippet-author = Simon Albrecht after Tao Cumplido
snippet-description = \markup {
Easily write octavated notes with capitalized note-names.
Has to be modified
Am 15.09.2014 um 15:39 schrieb Jay Vara:
Hello Simon,
I tried using the code you sent. The output is still the same. It appears
that your code allows me to input capital names for higher octave notes.
Is that right?
Yes.
What I wanted is for automatically printing capital names -
using
(continuing the thread on ly-user)
Hello Guy,
no, there isn't, because it tends to contradict the logic: they won't appear
to be simultaneous, if they are placed one after another.
You might try the methods described in . For the dynamics, this can be
complicated, but try:
\override
Hello Ming,
if you have a look into the documentation for \change (when in doubt,
look it up in the command index), you’ll find that it does not require
any braces following or indeed any argument. It looks like you try to
enter the notes in parallel, which is illogical, since they are
Am 25.09.2014 um 14:48 schrieb bb:
The description of chord naming is a bit short for my experience.
I am looking for the code for a
Dominant Seventh Sharp Fifth Chord
Say i. e. G^7#5
How can I do that?
Is there any extended turorial or something like that to learn from.
Am 26.09.2014 um 04:10 schrieb Dan Eble:
I have a hymnal in which many songs have time signatures with symbols
cc and ¢¢ [doubled cut-time symbol]. I can't find any information on
these online. Does anyone know what they actually mean? Were they
common historically, or is this hymnal just
Hello,
do you really think they aren't user-friendly? I always found them easy to
understand and use. Is this because they comply to german syntax more neatly?
Anyway...
And I agree with the docs on the explicit/implicit voicing: it depends... Some
pieces are easier to input and read with the
Hello,
I think it's best practice to use curly braces around the differing parts, and
place the common ending centered between the outermost stanzas. However, I must
consider it a desideratum for lilypond to provide an interface for this. It is
a major task to fit this into the current
-28 23:25 GMT+02:00 Simon Albrecht :
Hello,
do you really think they aren't user-friendly? I always found them easy to
understand and use. Is this because they comply to german syntax more
neatly?
We have two commands named \voiceOne and \oneVoice. That's definitely
confusing; one
Am 27.09.2014 um 14:55 schrieb Phil Holmes:
- Original Message - From: Son_V vincenzo.a...@gmail.com
To: lilypond-user@gnu.org
Sent: Saturday, September 27, 2014 1:38 PM
Subject: Multi line text with a common text
Sorry for the unclear subject. I found a score I've put on LilyPond
Am 30.09.2014 um 19:29 schrieb Son_V:
Hi, thanks to you and Phil in the first place ... then, I've tried to use
your example And I got VERY close to the result I wanted! Just one problem:
I think it would be preferable that the curly bracket starts from the rest;
like in the jpg file i've
Hello Richard,
you need to enter the lyrics in \lyricmode with explicit durations:
\lyricmode { Hal4. -- le8 -- lu -- ja }
Thus they are independent of any staff context.
Documented in
Am 01.10.2014 um 13:25 schrieb Son_V:
I know nothing more intelligent than \once\override
StanzaNumber.extra-offset = …
Hi Simon, where shoud be put this command, and what numerical value to try?
Just found old posts while searching ...
I hope you are familiar with the related Learning Manual
One thing I forgot…
Am 01.10.2014 um 13:25 schrieb Son_V:
I know nothing more intelligent than \once\override
StanzaNumber.extra-offset = …
Hi Simon, where shoud be put this command, and what numerical value to try?
Just try. It’s measured in staff spaces (isn’t it?), so I’d estimate
around
Am 01.10.2014 um 10:47 schrieb Son_V:
PS. The case not covered is the one with an even number of stanzas… but
I don’t have a good idea for that, either.
Hi Simon, I had an idea, don't know if it could be useful: if we have four
stanzas, like
1. when good.
2. If .
Am 01.10.2014 um 19:01 schrieb Son_V:
Just to add other oddities, I first extracted just the Soprano voice to test
the 'curly bracket' problem. Looking back at this, now i recognize that the
just one voice got the curly bracket correctly aligned with the rest, but
with a wider space between
Am 02.10.2014 um 14:50 schrieb MING TSANG:
Dear lilyponders,
I didn't realize until I have coded a hymn with 92 measures that two
time signature at bar #78. So I code a test version just bar 76-79 to
show the problen system. I have been playing with code and still
couldn't remove one of
Am 04.10.2014 um 14:33 schrieb Son_V:
Hi all, as I have said i use Musescore to write down the notes and lyrics,
then I export to .xml to import the file in Frescobaldi. I encounter a
humble problem. If the score I'm transcribing has just one note in the first
beat, to have a correct visual
Am 04.10.2014 um 21:22 schrieb Son_V:
If a piece starts with an incomplete measure this measure doesn't have a
number
Well, thanks. I've searched on beyond bars 2011 ed. but I wasn't able to
find a reference to this problem. Nor I was able to found a way in the
index: no irregular beats. Maybe
Am 04.10.2014 um 23:13 schrieb Peter Crighton:
As you can see in the following code and the attached image, there is
a possible bug when using \RemoveEmptyStaves with voices in different
keys (such as in a score with transposing instruments): key signatures
appearing only in hidden empty
Hello,
see http://lists.gnu.org/archive/html/lilypond-user/2014-10/msg4.html.
Best,
Simon
Am 05.10.2014 um 13:10 schrieb Jay Vara:
I saw some discussion of how to get lilypond to print only lyrics from a
few years ago. I tried a few things suggested in those posts, but nothing
worked
Am 05.10.2014 um 18:04 schrieb Graham King:
I'm setting a song with multiple stanzas, in which I would like to
include dynamics and articulations (breathing, phrasing) within the
text. After much hunting around the docs and snippets, I've got this far:
/version 2.19.2
...
Hello Marc,
I find if surprising that you call this 'easier to type'. At any rate,
alphabetic characters are way easier to reach on virtually any keyboard layout.
Few layouts will support those signs at all.
And I think LilyPonds representation of notes is reasonably easy to read.
Perhaps it
Am 06.10.2014 um 21:14 schrieb Mark Stephen Mrotek:
Hello,
Where is the manual for the previous stable version (2.16?) located?
http://lilypond.org/doc/v2.16/Documentation/web/manuals
It may be found through Manuals - All.
Yours, Simon
___
Am 07.10.2014 um 21:57 schrieb Frederick Bartlett:
Hi!
I'm trying to set selection from Saint-Saën's Oratorio de Noël for my
choir.
In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
combination of ties:
\relative c''' {
{ s1 | b1 ~ | b2 cis } \\
Am 07.10.2014 um 22:36 schrieb Abraham Lee:
On Tue, Oct 7, 2014 at 1:57 PM, Frederick Bartlett
frederick.bartl...@gmail.com wrote:
Hi!
I'm trying to set selection from Saint-Saën's Oratorio de Noël for my
choir.
In the Gloria in altissimis (p9 in the IMSLP PDFs), I found an odd
combination
Hello Kai,
HTH would sure be one of the most active contributors to this list if he were
one, but it's only an abbreviation for 'hope that helps'... I also had to look
that one up when I first came across it :-)
Yours, Simon
Am 09-Oct-2014 14:21:57 +0200 schrieb kai.lautenschlae...@me.com:
Hello David,
I attach a file which should do what you want, and add some comments below:
Am 09.10.2014 um 23:50 schrieb Flaming Hakama by Elaine:
Hello,
I was wondering if anyone had suggestions for a text formatting
challenge I've been unable to solve.
The format I like to use for header
Am 10.10.2014 um 12:45 schrieb Noeck:
-Original Message-
I want to write a piece with a alla-breve time signature but with four half
notes in a measure (4/2).
Is it better to overwrite the time signature stencil and use \time 4/2 or do it
like this:
\version 2.18.2
\relative c''
Hello,
consider the following setup:
%%
\version 2.19.12
newTonic = d
newTonicString = d
\bookOutputSuffix #(string-append in- newTonicString)
\score { \transpose c \newTonic { c' } }
%%
For easy handling of different transpositions the ‘destination pitch’ is
Am 10.10.2014 um 21:53 schrieb Mark Stephen Mrotek:
Simon,
Regarding the snippet you provide, I would be confused in reading it. The ₵
would tell me 2/2, yet there would be four semi-breves.
No, a semi-brevis is what we call „ganze Note” in Germany; the „halbe
Note” would be a minim (the
Hello,
did you even try what Urs suggested?
\new Staff
\spacers
\one
means that \spacers and \one are simultaneous , not sequential {}.
So you can just fill in the example Urs gave and it will do what it
seems you want (that hasn’t been easy to understand).
Yours,
Hello Paul,
thanks a lot! I thought along the same lines also, but (1) my less
elegant coding and (2) the complications brought along by German
notenames would’ve made it too tedious.
Am 10.10.2014 um 23:44 schrieb Paul Morris:
Just for fun, another version, more compact, probably more
, the
newTonicString was always eses regardless of the input. Perhaps the
computer and I ought to go to sleep. (what a mad sentence that is…)
And thanks again for your input, Paul.
Best, Simon
Am 10.10.2014 um 23:55 schrieb Simon Albrecht:
Hello Paul,
thanks a lot! I thought along the same lines
Hello David,
thanks, that’s exactly the kind of brief and elegant solution I was
hoping for.
Yours,
Simon
Am 11.10.2014 um 16:52 schrieb David Kastrup:
Simon Albrecht simon.albre...@mail.de writes:
Hello,
consider the following setup:
%%
\version 2.19.12
newTonic = d
Hello David,
Am 12.10.2014 um 16:34 schrieb David Nalesnik:
Hi Erik,
On Sun, Oct 12, 2014 at 2:35 AM, erik flister erik.flis...@gmail.com
mailto:erik.flis...@gmail.com wrote:
hi-
i'm writing some software that generates .ly files and want to offer
the option to automatically
Am 12.10.2014 um 18:21 schrieb Richard Shann:
In this code I put a large letter A above the music.
If I uncomment the tweak the letter A is moved elsewhere, but it still
takes up space at the top of the score.
If I uncomment the override, I don't get the space back.
\version 2.18.0
\score {
{
Hello Paul,
Thanks for your help in improving the helper functions; however,
‘inverting’ string-append and cond seems to be based on a
misunderstanding. It needs to be
%%
\version 2.19.12
\language deutsch
pitch-to-key-string-german =
#(define-scheme-function
(parser location
Am 13.10.2014 um 22:45 schrieb keith Luke:
How do you get LilyPond to display slash chords in the chord name?
I'm trying to print C Maj 7/Bb and D/F# in my scores.
http://lilypond.org/doc/v2.18/Documentation/notation/displaying-chords
documents chord names notation.
Side note, also to
Hello Vincenzo,
interesting idea. It might increase organisation expenses, though, if
you have to provide two different scores instead of just one full score.
Another way to save vertical space is the one used in the 19th century
complete editions of Mendelssohn, Schumann, and many other
Hello all,
I tried to write such a function, but failed at the point you’ll see in
the attachment. I’d like to learn how this can be made to work ;-) … The
problem is in extracting the list from SequentialMusic’s 'element
property. And I suspect it has to do with the following question:
With
Hello Bernhard,
Am 24.10.2014 um 13:36 schrieb Dr. Bernhard Kleine:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
The following code has some errors:
The tenor lyrics should above the system.
See comments below.
The \mf should be moved here a little to the left to have more space for the
Am 24.10.2014 um 13:59 schrieb Richard Shann:
On Fri, 2014-10-24 at 11:15 +0200, Helge Kruse wrote:
Thank you for your response.
I think you should not added control characters like newline to the
markup text.
yes, perhaps that is the case - I assumed any white space was
acceptable, but it
Hello Noeck, hello everybody,
at least you can save a lot of typing from v2.18 on:
Am 24.10.2014 um 09:25 schrieb Noeck:
Hi,
when I write choir pieces I like to have one song text for all voices
and to use tags.
Often, the differences are only whether there is an extender line or not
\tag A
Am 24.10.2014 um 21:48 schrieb Thomas Morley:
2014-10-24 21:19 GMT+02:00 Simon Albrecht simon.albre...@mail.de:
[...]
I tried to, but somehow an
extender line inside a music function body gives a syntax error and I’ve got
no clue how to circumvent that. You’ll find the current function attached
Am 25.10.2014 um 16:04 schrieb Dr. Bernhard Kleine:
c1~ | (c4 d g, e d c2 h~ h a c, gis)
Hello Bernhard,
it helps a lot if you post compilable examples (that is, complete .ly
files), and best in an attachment so mailing systems can’t mess up anything.
However: the ( for the slur must come
schrieb Thomas Morley:
2014-10-25 14:46 GMT+02:00 Simon Albrecht simon.albre...@mail.de:
Am 24.10.2014 um 21:48 schrieb Thomas Morley:
2014-10-24 21:19 GMT+02:00 Simon Albrecht simon.albre...@mail.de:
[...]
I tried to, but somehow an
extender line inside a music function body gives a syntax
Am 27.12.2014 08:27, schrieb Jayaratna:
Just a few days ago I had to correct the following incipit:
http://lilypond.1069038.n5.nabble.com/file/n169753/dentestui01.png
In the original the longae rests at the beginning of the piece indicate that
the Modus Longarum is imperfect, thus:
Am 27.12.2014 21:41, schrieb list_lilypond:
I'm new here and don't know if I can send attachments,
Yes, you can send attachments, and it’s a good thing to do, at best a
(compilable) .ly file (see http://www.lilypond.org/tiny-examples.html)
and a small png (or pdf) image, since it makes
Hello,
when I start to compile the attached file, lily takes a long time for
parsing and then exits with Microsoft’s stack overflow/stack
exhaustion error code. I tested this with lily 2.19.8 and .15 and on
both Windows and Ubuntu platforms with similar results. How does this
come? and how
Am 29.12.2014 13:53, schrieb Alicuota618:
Merci Pierre,
this works fine but must be inserted in all subsequent files. A job for sed...
Francois
2014-12-29 4:21 GMT-05:00, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
Hi François,
In your layout bloc you can try to add : \override
Hello,
I added a new LSR snippet for review:
http://lsr.di.unimi.it/LSR/Item?u=1id=968 and although there are two
\scores in the snippet, only the first is shown in the preview. Is this
as expected?
Best regards,
Simon
___
lilypond-user mailing
Am 30.12.2014 13:16, schrieb David Sumbler:
Further to my query (below) yesterday about varying ralls and accels in
midi, how do I actually get these to work at all?
At the moment the articulate script is working correctly in executing
trills, slurs etc. But it ignores my rit. markings and
Am 30.12.2014 22:08, schrieb Robert Schmaus:
__
In religion, faith is a virtue. In science, faith is a vice.
-- Jerry Coyne
On 30 Dec 2014, at 20:33, Stan Mulder st4588...@earthlink.net wrote:
Basically, I think the chord in both instances (with or without the slash
notes) should be
Am 31.12.2014 00:32, schrieb David Sumbler:
On Tue, 2014-12-30 at 22:04 +0100, Simon Albrecht wrote:
Am 30.12.2014 13:16, schrieb David Sumbler:
Further to my query (below) yesterday about varying ralls and accels in
midi, how do I actually get these to work at all?
At the moment
Hello Helge,
\noBeam after the third and fourth notes should do what you want.
%%
\version 2.18
\relative c'' {
\time 3/4 \key es \major
\voiceTwo as8\ c f\noBeam
\voiceOne as\noBeam c f\! |
}
%%
HTH, Simon
Am 31.12.2014 10:11, schrieb Helge Kruse:
Am 07.02.2015 um 12:20 schrieb Noeck:
Hi Ming,
I played a bit to reproduce the measure you sent. This was my first try to
typset the upper staff:
\version 2.18.2
\relative c ' {
\key g \major
c d fis a4 es g bes8[ d f g b]:64--- ~
q2:32\fermata
\bar |.
}
However there are 3
Hello David,
begging your pardon:
Did you forget the content of your actual reply?
In any case, please consider what is written at the top of every digest
and _edit the Subject line_. By the way: I have made good experiences
with not using digest mode but receiving single messages and having
Am 08.02.2015 21:32, schrieb Kevin Barry:
On Sun, Feb 8, 2015 at 2:03 PM, Cynthia Karl pck...@mac.com
mailto:pck...@mac.com wrote:
But I don't want to make it visually that there are two voices
here, I want to make it visually explicit that there is a single
voice. That's why
Hello list,
I just re-installed the incredibly beautiful EB Garamond font from
http://www.georgduffner.at/ebgaramond/
https://bitbucket.org/georgd/eb-garamond/downloads/EBGaramond-0.016.zip,
but apparently Lily can’t find the bold font series. Can anyone tell me
where to search for a
Of course this is possible with any number of dots:
\version 2.19
\relative {
g'2.. 8
2... 16
% or even
2 32
2.. 128
}
%%% end snip %%%
I don't see why there should be any problem with shiftDurations there.
But if I'm right, three dots multiply the duration by 15/8...
HTH, Simon
Am 12.02.2015 01:26, schrieb Stan Mulder:
I have created a lead sheet with Intro, Chorus and Ending. It's all one
continuous song, but I want to separate with white space the staves of the
Intro from the Chorus, and I want to separate the Chorus from the Ending. So
I would end up with three
Am 12.02.2015 00:53, schrieb Jay Hamilton:
Thanks to both of you, where in the manual is this?
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations
Jay
On 2015-02-11 09:21, Shane Brandes wrote:
Apologies
R1*5/8*15 will do it. I misread the beats as
Am 12.02.2015 um 22:48 schrieb Kevin Barry:
On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh hst...@quickfur.ath.cx
mailto:hst...@quickfur.ath.cx wrote:
I've tried various ways of doing this -- putting the commands in a
variable, using various Scheme make-script / make-music constructs,
Am 12.02.2015 um 17:00 schrieb takumi ikeda:
Hi Kevin,
Thank you for your reply. But the part of (if (= UP dir) -0.5 0.5)
seems to not working...
BTW, How can I learn the syntax like (ly:duration-log
(ly:music-property music 'duration))? I found the documentation
be a German-Italian composite meaning col 8va bassa?
In a viola part? With that fast notes? Certainly not.
Yours, Simon Albrecht
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
OK.
I think what you want is \RemoveEmptyStaves, to be inserted in
\layout{
\context{ \Staff
\RemoveEmptyStaves } }
HTH, Simon
Am 17.02.2015 01:21, schrieb Tyler A Stank:
On 02/16/2015 06:09 PM, Simon Albrecht wrote:
Hello Tyler,
1. sorry for being an incorrigible nitpick
Hello Tyler,
1. sorry for being an incorrigible nitpick, but the plural of “staff” is
“staves” ;-)
2. It’s exceedingly difficult to understand your problem without an
example. Could you please send one? At best an attached .ly file (if
it’s included in the message body, it might suffer
Am 16.02.2015 15:55, schrieb MING TSANG:
Hi, lilyponder,
(1) I am transcribe a score that it count the \partial 4 measure as
bar #1. How to achieve this.
(1) This is contradicting both musical logics and general usage, so why
not change it? Of course I don't know your reason to keep so close
Am 16.02.2015 16:13, schrieb MING TSANG:
Thank you.
Yes I did try the snippet and did not find any sample.
What snippet? An example of what? The Notation Reference is often the
first place to go.
Yours, Simon
Immanuel,
Ming.
On Monday, February 16, 2015 10:09 AM, Simon Albrecht
Hello Kaj,
you'd want to search the notation reference for Flexible vertical
spacing between systems. It's the \paper variable system-system-spacing
that needs to be adjusted.
HTH, Simon
Am 18.02.2015 15:34, schrieb Kaj:
I have tried to find in the manuals180 how to increase the distance
Hello,
I usually don’t write this in the \score block, but instead define a
music function like
global = #(define-music-function (parser location mus) (ly:music?)
#{ \helper
\relative { \key as \minor \time 9/16 \partial 8. \autoBeamOff
$mus }
#})
Am 12.02.2015 um 23:40 schrieb Kevin Barry:
On Thu, Feb 12, 2015 at 10:32 PM, H. S. Teoh hst...@quickfur.ath.cx
mailto:hst...@quickfur.ath.cx wrote:
Why doesn't it work when I use \override instead of \tweak?
I think \override doesn't work because it gets between the note and
Hello Patrick,
first thing: _Please_ mind the advice given with every single digest and
edit the subject line so the e-mail may be correctly sorted into the
thread where it belongs. I also find it quite annoying to receive
e-mails with such cryptic subjects as this.
Am 14.02.2015 18:18,
Hello everybody,
then it seems I have been deceived by the fact that there is a separate file
for each bold, italic and bold italic in the .zip provided via the download
link I sent along. Thanks for the information.
Still, I wonder: I tried it out even in leafpad (ubuntu's simple text editor)
Hello,
the support for standalone durations was one of the first (and most
important?) changes made in 2.19 (see
http://lilypond.org/doc/v2.19/Documentation/changes/index.html. But
indeed, it seems to be a bug if \articulate can't handle them.
Yours, Simon
Am 15.02.2015 15:26, schrieb
Am 15.02.2015 21:19, schrieb RomanticStrings:
What is the benefit of using Git? I understand that it keeps track of
changes, so you can check your log and even retrieve previous versions(?).
I use my home MacBook Pro and my work (sacred music director) PC laptop, and
I have both a Dropbox and
Hi Martin,
see
http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music.
showFirstLength and showLastLength should do what you want.
Yours, Simon
Am 14.03.2015 um 22:02 schrieb J Martin Rushton:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
GNU LilyPond 2.18.2
Am 18.03.2015 um 02:14 schrieb Zoran Kesic:
Hi,
Although relatively new to Lilypond, I was able to find solutions to my
needs so far, thanks to this forum and fantastic supporting documentation
for Lilypond.
However, there is one thing that is driving me mad and I was hoping someone
would be
Am 18.03.2015 um 14:42 schrieb Anton Curl:
Hi everyone!
I like using tags in my scores but it becomes complicated:
I want to use tags for:
- layout or midi
- score or part
- first / second / third / fourth time a variable is used
I could always use removeWithTag, but
- for the third case it's
Am 22.03.2015 um 22:12 schrieb Kieren MacMillan:
Hi Trevor (et al.),
(One last thought: Messiaen's notation might be conceptually equivalent to a type of
reverse l.v. indication. That might help provide a name for the feature
should it ever find its way into LilyPond.)
Yes…
Am 22.03.2015 um 21:48 schrieb tisimst:
Trevor,
Try something like
c f\repeatTie
True, this gives quite the desired output, but it would make sense to
have this as a 'style option to Tie rather than using different musical
input in the first place. So I’d support an enhancement tracker issue
Am 21.03.2015 um 15:38 schrieb Colin Tennyson:
For Lilypond the reference documentation is the one in english. Besides that
translated versions of the documenation are available (in various states of
completeness).
The Lilypond website uses a naming system:
Example:
English version:
Hi Bill,
only for policy: If you have the digest mode turned on, please always
edit your subject line (i.e. Re: original subject) if you’re
replying, so it becomes apparent to what your reply refers and so that
it may be sorted into the thread by software.
Thank you,
Simon
PS. Only
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