Am 15.03.2015 um 14:23 schrieb Francesco Petrogalli:
Hi,
is there a way to avoid page breaks when creating a new \bookpart?
No, there isn’t. Actually, having a page break inbetween is most of the
point of having multiple bookparts. What’s more, each bookpart may have
its own \paper block,
tonalità… \null }
\score {
etc.
HTH, Simon
I hope I made my point clear now, thanks for any help!
Francesco
On Sun, Mar 15, 2015 at 1:42 PM, Simon Albrecht simon.albre...@mail.de wrote:
Am 15.03.2015 um 14:23 schrieb Francesco Petrogalli:
Hi,
is there a way to avoid page breaks when
Hello Michael,
I think this question is more appropriate for the -user list.
Since I usually call lily from inside frescobaldi, my solution to this
has been defining a variable for the resulting pitch:
\version 2.18
newTonic = des
music = \relative { c' }
\score {
\transpose c \newTonic
Am 16.03.2015 um 17:43 schrieb Michael Schuerig:
On Monday 16 March 2015 11:26:30 David Nalesnik wrote:
Am 16.03.2015 um 15:02 schrieb Michael Schuerig:
I've only been using LilyPond for a rather short time, so far mostly
for engraving short snippets transposed into several keys for
Am 17.03.2015 um 20:13 schrieb Noeck:
Hi Kieren,
thanks for your reply. I know this issue you linked and for sure a real
solution would be best.
I have a few follow-up questions:
- Can you point me to the edition engraver?
- How do you move dynamics? extra-offset or X/Y-offset?
I ask
Am 09.03.2015 um 12:05 schrieb Peter Bjuhr:
On 2015-03-09 11:41, Simon Albrecht wrote:
Hello,
for whatever reason I keep running into problems whenever I try to
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18
PS. Did you send the message three times or did it only arrive three times?
Am 09.03.2015 um 14:40 schrieb magohq:
Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to
Am 09.03.2015 um 14:40 schrieb magohq:
Nothing has changed Key signature alternatives are still not on these lines.
The fis in bass clef is on the 4th line,not on the fifth as the key treble.
All the characters have to move down one line.
OK, now I see your problem. You should always post
Sorry, should have mentioned that this is on Ubuntu 14.10.
Am 09.03.2015 um 10:22 schrieb Simon Albrecht:
Hello,
for whatever reason I keep running into problems whenever I try to
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both
Hello anonymus,
everything is alright with your code, except for one thing: the lines
beginning with (at least one) ; must not be broken, since they are
comments; they serve as explanations to any human reading the code, but
the program ignores them. However, commenting out with ; only works
Hello,
for whatever reason I keep running into problems whenever I try to
upgrade Frescobaldi (or install it on another machine).
This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 and
python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed them
following the
Typo there…
Am 05.03.2015 um 17:12 schrieb Simon Albrecht:
I assume it was an oversight that you didn’t include the list…
This also shows that there is no link to any alignment changes, which
happened earlier (around 2.10).
2.19.10 of course.
Yours, Simon
Weitergeleitete
Hi Urs,
I don’t quite see your problem. I’m using such functions without. Since
multiple \paper blocks are combined in a rather sensible way, there’s no
problem with just having the function output an entire \paper block and
use it on top level, regardless of any other \paper blocks (except
PS:
Am 06.03.2015 um 17:32 schrieb Urs Liska:
Hi all,
I don't even know where to start with this, and looking around in the
documentation doesn't get me started either.
Considering multiple \paper blocks see
http://lilypond.org/doc/v2.19/Documentation/notation/the-paper-block.
What would I
Hello Stephen,
sounds interesting, but I don’t think there’s any way of judging this
without any examples (code and output).
Yours,
Simon
Am 24.03.2015 um 03:31 schrieb Stephen MacNeil:
the files when i compiled on my linux box render a more compressed
look then those on my friends
Hello,
I’m experimenting with an implementation of automatic tagline language
selection and currently have two problems with the void function
\language that I adapted from music-functions-init.ly:
– I can’t get the first, optional argument to work; it needs to be
explicitly given or Lily
Hi Robert,
I’m not really into the topic, but I have two remarks:
Am 25.03.2015 um 14:50 schrieb Robert Schmaus:
Hi Ponderers,
I have tried a couple of times now but can't get this to work. Maybe
someone sees my mistake ...
[snip]
So my first question is: why doesn't this work?
My second
Hello,
thanks a lot for your thoughts, David.
Am 25.03.2015 um 16:33 schrieb David Nalesnik:
Hi Simon,
I can't judge whether this is getting closer to you want, but maybe my
observations can help.
On Wed, Mar 25, 2015 at 9:17 AM, Simon Albrecht
simon.albre...@mail.de mailto:simon.albre
Hello,
in general it’s helpful if you always include the list in the
addressees, except for really private messages. You needn’t be afraid of
increasing the traffic on ly-user.
For example, someone else might comment on your question ending the
first paragraph below.
Yours, Simon
Am
Hello everybody,
I currently enjoy some fruits of continued delving into scheme: I had an
exciting new idea for a utility function to conveniently override the
colour of objects, as I use to do with editorial annotations, and it
worked out excellently, so I’m happy to share
Am 31.03.2015 um 00:59 schrieb William Marchant:
Thanks. I still have to learn a lot about Lilypond, and getting
access to the LSR is just another thing for me.
I take it that you don’t refer to the actual access on
http://lsr.di.unimi.it/, which is simple :-) However, finding snippets
can be
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved
scores, this is resolved by shifting the two notes further apart and
placing the dots close to each one, which I now mimicked, albeit very
poorly: the dot placement looks very odd now. Perhaps you’ll want to
Am 27.03.2015 um 05:28 schrieb Andrew Bernard:
Well, answering my own question here. The following works, but now I
feel the need to ask is the best way to do this sort of operation?
Yes, I think so. Why wouldn’t layer = 3 or = 2 suffice for
LedgerLineSpanner also?
Yours, Simon
\version
Hi Timmy,
the Lilypond Snippets Repository at lsr.di.unimi.it/ is where to search
for such functions. In this case, e.g.
http://lsr.di.unimi.it/LSR/Item?id=346 or
http://lsr.di.unimi.it/LSR/Item?id=302. If you need help on
customizing this, please ask the list again.
HTH, Simon
PS.
Am 23.03.2015 um 02:10 schrieb Colin Tennyson:
Colin Tennyson wrote:
so anyone who wants to create Lilypond files has to master english
anyway.
Simon Albrecht wrote:
You have to learn the English command names, indeed, but
it’s by no means necessary to read the source code for creating any
And, by the way: quite inconsistently, the bug list can be addressed by
bug-lilyp...@gnu.org, not lilypond-bug.
Am 02.03.2015 um 22:41 schrieb Simon Albrecht:
Am 02.03.2015 um 21:42 schrieb Helge:
Am Mon, 02 Mar 2015 12:16:17 +0100
schrieb Simon Albrecht simon.albre...@mail.de:
upperHarpII
Am 02.03.2015 um 21:42 schrieb Helge:
Am Mon, 02 Mar 2015 12:16:17 +0100
schrieb Simon Albrecht simon.albre...@mail.de:
upperHarpII = \relative c'' {
Or, as an override: \override PianoStaff.arpeggio.arpeggio-direction
= #-1
This results in an error:
warning: not a grob name, `arpeggio'
So
Am 02.03.2015 um 23:59 schrieb David Nalesnik:
Hi Simon,
On Sun, Mar 1, 2015 at 6:17 PM, Simon Albrecht simon.albre...@mail.de
mailto:simon.albre...@mail.de wrote:
Hello David, hello list,
upon proofreading my latest larger lily project I had an idea for
enhancement of your
Am 02.03.2015 um 06:16 schrieb Helge Kruse:
I have a problem with connecting arpeggio. The arrow of
\arpeggioArrowDown or -Up vanishes when I connect the arpeggios of two
staves. You can reproduce it with the example below. Comment out the
connectArpeggios line and you see arrows.
Is this a
Hi Carlo,
I don’t get what exactly is the problem you have. Normally you would
have one score for each exercise, and each score has
%\new ChordNames \chords
\new StaffGroup \with { instrumentName = 647 }
\new Staff \music
\new TabStaff \music
And normally lily will choose a perfectly
Hello Stephen,
you will find this documented at
http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-attached-to-notes#dynamics
and in the thereupon following section, New dynamic marks.
However in brief:
Usually, in the classical engraving style, which stood model for
Stephen,
it is helpful if you basically retain the original subject, so mailing
software will recognise as belonging to the thread. This increases
comfort for the list subscribers.
Re: etc. don’t matter, also sometimes it makes sense to change the
subject and include the former one within
16:09:27 -
Von:Phil Holmes m...@philholmes.net
An: Simon Albrecht simon.albre...@mail.de
Narrowing this down a bit, the change occurred between 19.12 and 19.14, and
the failure to tweak happens whether the tweak is applied via the function
or directly:
\score {
{ c'-\tweak Y-offset
Am 05.03.2015 um 09:21 schrieb Urs Liska:
Am 05.03.2015 um 08:34 schrieb Brian Barker:
At 11:37 05/03/2015 +1100, Andrew Bernard wrote:
I have asked this question on the list in the past, but no solution
seems to be available. The topic is fixed width measures. I have
contemporary music
Hi Andrew,
I tried some things with some success: if there are only two bars per
line and ther is no indent, the bars are _almost_ the same width. I
don’t have any idea why this is imprecise, though.
HTH, Simon
P.S. I also did some reformatting to the code, which in my eyes much
improves
Am 05.03.2015 um 08:27 schrieb Urs Liska:
Am 5. März 2015 08:22:11 MEZ, schrieb Simon Albrecht simon.albre...@mail.de:
See http://lilypondblog.org/2014/05/independent-meters/ ;-)
One might redirect him there, but IIUC there have been fruitless
attempts already to do so…
Not really. I tried
Am 05.03.2015 um 00:00 schrieb Carlo Vanoni:
Hi Simon,
thanks for the answer.
You’re very welcome.
Well, your code helped me. In fact, my problem was that I was not sure
I can create multiple \score {}.
See
http://lilypond.org/doc/v2.18/Documentation/notation/input-structure
for more
See http://lilypondblog.org/2014/05/independent-meters/ ;-)
One might redirect him there, but IIUC there have been fruitless
attempts already to do so…
Best, Simon
Am 05.03.2015 um 03:17 schrieb James Harkins:
... if only so that Brian Ferneyhough can visit:
Hello everybody,
in the attachment you’ll find an example for a function which I use to
make dynamics slightly overlap with staff lines for saving space. It
used to work up to 2.19.8, but now (tested with 2.19.15 and .16)
negative values of Y-offset remain without effect inspite of
Well, there’s reason enough to redirect this to bug-lilypond, isn’t it?
Somehow, Mozilla Thunderbird messes up the code examples, so I can’t do
so well. Perhaps the OP’s and Harm’s first mails in the thread,
respectively, should suffice for illustration.
~Simon
Am 03.03.2015 um 23:01 schrieb
Hello,
a possible workaround would be to insert
\layout {
\context { \Voice
\override Stem.neutral-direction = #'()
\consists Melody_engraver }
}
It computes the stem direction for neutral-position (i.e. normally the
center staff line) and here also the wrongly
Am 01.03.2015 um 23:07 schrieb Dave Higgins:
Text over a multi-measure rest is centered. Is there a more elegant
solution to not center it then the one below?
{ R1 } \\ { s4^\markup \left-align text } .
Easy:
{ R1-\tweak self-alignment-X -1 -text }
In case you want to use an override: this
Hello David, hello list,
upon proofreading my latest larger lily project I had an idea for
enhancement of your lyricWordEngraver: it would be very useful to have a
\compressWord command, which is entered before a lyric syllable and then
makes the following word be engraved as single string
Am 28.02.2015 um 20:11 schrieb H. S. Teoh:
On Fri, Feb 27, 2015 at 05:14:09PM -0800, Flaming Hakama by Elaine wrote:
[...]
I've recently been using lilypond with articulate.ly to produce midi
versions of pieces and have to say that, despite its limitations, I've
been getting results that are
Hello together,
I like to use the Ambitus_engraver in choral scores, but I often find it
confusing to read, since the ambitus is printed before everything else,
although its meaning depends on both clef and key signature. From the
manuals or some snippet I took the idea to \set
\consists Ambitus_engraver }
}
}
On Mon, Feb 23, 2015 at 1:27 PM, Kevin Barry barr...@gmail.com
mailto:barr...@gmail.com wrote:
On Mon, Feb 23, 2015 at 12:32 PM, Simon Albrecht
simon.albre...@mail.de mailto:simon.albre...@mail.de wrote:
Thus I’d like to place the ambitus
, schrieb Simon Albrecht:
Thanks a lot, Kevin. That did it.
I further modified it to avoid the
programming error: No spacing entry from Item to `time-signature'
and included the other entries present in the default, so it now reads
as in the attachment.
Best regards, Simon
Am 23.02.2015 15:49
Hello Peter,
are you referring to Frescobaldi? Lilypond, being a command line
program, doesn’t have a GUI nor any menus, in which entries could be
greyed out…
In case you do mean Frescobaldi, please send a report via the option
provided in its Help menu.
Yours, Simon
Am 24.02.2015 um 19:02
Am 24.02.2015 um 20:09 schrieb Kieren MacMillan:
Hi Simon,
are you referring to Frescobaldi? Lilypond, being a command line program,
doesn’t have a GUI nor any menus, in which entries could be greyed out…
He’s talking about “Lilypad” (or whatever they call the minimal editor that
comes
Hello David, (hello list,)
unfortunately through some change between versions 2.19.8 and .15 your
very useful lyric-word-compressor code ceased to work. It exits with an
error stating that ‘value #grob_properties must be of type list’
(written from memory). Could you please help with this?
The usual mistake… and once again with attachment ;-)
Am 25.02.2015 um 09:35 schrieb Simon Albrecht:
Hello David, (hello list,)
unfortunately through some change between versions 2.19.8 and .15 your
very useful lyric-word-compressor code ceased to work. It exits with
an error stating
Am 27.03.2015 um 23:31 schrieb Stephen MacNeil:
Thank you very much Simon It gave some great ideas.
I do get
error: bad grob property path (parent-alignment-X)
accD = -\tweak self-alignment-X -1
\tweak parent-alignment-X -1
I think that's because I am using 2.18.2
Yes, this is a quite
Hello Stephen,
how about the attached? I implemented it in two different ways: once as
an articulation, once as a dynamic script. You also see the line-widths
of my long-accent-markup and the default hairpin in comparison.
HTH, Simon
Am 27.03.2015 um 19:03 schrieb Stephen MacNeil:
when
did not follow the Math Rule. Food for thought.
- Original Message -
*From:* Peter Bjuhr mailto:peterbj...@gmail.com
*To:* Simon Albrecht mailto:simon.albre...@mail.de ; Ralph D.
Jeffords mailto:ralph.d.jeffo...@cox.net ; lilypond-user
mailto:lilypond-user@gnu.org
Am 26.03.2015 um 19:57 schrieb MING TSANG:
Hi, Simon:
Thank you, but I did not see the attachment.
That’s probably because I forgot to attach it…
Here you go :-)
Immanuel,
Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best
Am 24.03.2015 um 21:15 schrieb st...@linuxsuite.org:
Ok,
I reduced the problem to one bar, and the black harmonics..
Everything works except the notes are changed in voicethree and
voicesix to black harmonics.
Well, basically you’re asking for it. \H is defined as
Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:
Howdy!
I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.
Each bar shows a different
Am 25.03.2015 um 10:01 schrieb Nathan Ho:
On Tue, Mar 24, 2015 at 7:42 PM, Peter Heisen
writepeterhei...@gmail.com wrote:
Dear List,
The LilyPond notation reference, section 2.1.2,
(http://www.lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics)
contains the following
Am 23.03.2015 um 21:53 schrieb Nikolai Hedler:
I see that this may have been worked on in 2.19 as Issue 216
https://code.google.com/p/lilypond/issues/detail?id=216can=1q=layout-set-staff-sizecolspec=ID%20Type%20Status%20Stars%20Owner%20Patch%20Needs%20Summary;
can someone update me as to the
I forwarded this to ly-bug.
~ Simon
Am 23.03.2015 um 15:36 schrieb Patrick Karl:
Consider the following snippet:
\version 2.19.17
music = \relative c'' {
\clef treble
\new CueVoice { \set instrumentCueName = Bass }
\cueDuringWithClef #Bass #DOWN #bassR1
g4 a b c
}
Am 11.04.2015 um 21:04 schrieb Gilles:
Hello.
On Sat, 11 Apr 2015 11:19:31 -0700 (MST), Paul Morris wrote:
Gilles Sadowski wrote
It works but the sound is still cut after every bar: It looks like no
tie was added to the last note of a bar.
What is the advantage of using \makeOctaves wrt
Am 13.04.2015 um 01:55 schrieb David B. Stocker:
David,
Thank you for this. This is exactly what I'm after.
It seems like you're a Scheme guy. Is there a learning resource you
would recommend to a very green beginner?
I don’t know any basic tutorials for Scheme itself, but concerning Lily
Hello,
once more I have to come up with two scheme problems. I attached small
examples.
1) Why can’t ‘apply’ be used with ‘and’ (defined-all.ly example file)?
2) Why does assoc-get return #f instead of a list in the second example
file?
Help is much appreciated.
Yours, Simon
\version
Am 20.04.2015 um 22:29 schrieb dl.mcnam...@comcast.net:
In another thread, it seemed like common knowledge that Mutopia has
some serious flaws.
Could someone fill me on on what the (most important if there's a
whole slew) problems are?
I think it’s mainly three problems:
– Lilypond versions,
Am 21.04.2015 um 14:44 schrieb Mattes:
Am Dienstag, 21. April 2015 14:23 CEST, Simon Albrecht simon.albre...@mail.de schrieb:
... Yet I have taken inspiration from there to create the
attached tool for making nice margins, which I’ve been using ever since.
Hmm, maybe I miss the obvious
Two small thoughts also from me:
– I think the preference one will take also depends on musical style: a
piece of renaissance vocal music uses so few leaps greater than a fourth
that the advantage of relative in typing is huge and it’s
‘error-pronity’ small. On the other extreme, a piano
Am 23.04.2015 um 09:38 schrieb Urs Liska:
Am 23. April 2015 09:32:56 MESZ, schrieb Simon Albrecht
simon.albre...@mail.de:
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under
Am 20.04.2015 um 08:45 schrieb Andrew Bernard:
So Ponders,
What size paper do you print scores on?
I haven’t yet tried to use any other format than A4 (except for printing
brochures on folded A3), although I learned from
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (only in German,
Am 21.04.2015 um 09:49 schrieb Noeck:
Hi,
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
This was rather common in the 18th and 19th centuries I think and in
tight vertical spacing it helps.
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
That’s
Am 24.04.2015 um 12:43 schrieb Federico Bruni:
2015-04-21 1:07 GMT+02:00 Kieren MacMillan
kieren_macmil...@sympatico.ca mailto:kieren_macmil...@sympatico.ca:
Seems to me it has been quite successful in its goals of making sheet
music easily available for free, all
works in the public
Am 24.04.2015 um 00:58 schrieb Wols Lists:
And then in English we get thoroughly confused, because an American
whole note is an English semibreve or, literally, half note. And we
don't use numbers either, we have semibreve, minim, crotchet, quaver,
semiquaver, demisemiquaver, hemidemisemiquaver,
Am 26.04.2015 um 18:10 schrieb Michael Hendry:
On 26 Apr 2015, at 15:16, H. S. Teoh hst...@quickfur.ath.cx
mailto:hst...@quickfur.ath.cx wrote:
On Sun, Apr 26, 2015 at 06:15:13AM +, Keith OHara wrote:
Michael Hendry hendry.michael at gmail.com http://gmail.com
writes:
I routinely put
That’s really insightful. Thank you!
Regards, Simon
Am 26.04.2015 um 17:16 schrieb Paul Morris:
Thanks Carl, Johannes, and David for working on this overview.
On Apr 23, 2015, at 4:25 AM, Johannes Rohrer s...@johannesrohrer.de wrote:
Translators selectively (based on assigned Event Classes)
Am 26.04.2015 um 14:37 schrieb Ali Cuota:
Hello,
If this is so easy for frescobaldi to have this converter
relative2absolute, and so usefull to have input files in absolute, why
not implant
(implement)
a commandline option to lily that would convert the
relative blocks founds to absolute?
Am 26.04.2015 um 03:44 schrieb Cynthia Karl:
Message: 2
Date: Sun, 26 Apr 2015 10:09:13 +1000
From: Andrew Bernard andrew.bern...@gmail.com
To: lilypond-user@gnu.org
Subject: Re: odd behavior with acciaccatura in 1st position
Message-ID: etPan.553c2ca9.6b8b4567.185c@darkenergy.local
Am 26.04.2015 um 23:53 schrieb Michael Hendry:
On 26 Apr 2015, at 15:36, H. S. Teoh hst...@quickfur.ath.cx
mailto:hst...@quickfur.ath.cx wrote:
On Sun, Apr 26, 2015 at 10:23:26AM -0400, Kieren MacMillan wrote:
Hi,
Am I the only one who puts bar checks at *both* the beginning and
end of a
Hello,
this becomes much less cumbersome by using \transpose. Also I’d suggest
splitting it into individual scores. And there were some code style
issues here also – I attach a much cleaner version (attaching is
preferrable since nothing may be messed up on the way).
HTH, Simon
Am
Am 22.04.2015 um 17:48 schrieb Kieren MacMillan:
Hi Pete,
So major compositional changes -- the ones we're
calling structural here -- are implemented at that
first (gen.purp.prog.lang) level, tossing LP not much
to trip over then or fail to carry through.
My point, then: Why stuff a
Hi Harm,
very impressive, but don’t you also think that it’s a little overkill to
launch such big efforts on this small task? If it were on a larger
scale, the automation would be more efficient, but with myself I observe
that I tend to invest far more time into using as much automation as
Am 24.04.2015 um 16:35 schrieb Gilles:
On Fri, 24 Apr 2015 10:01:29 -0400, Kieren MacMillan wrote:
Hi Simon,
You forgot the quality of sheets: a (really) digital PDF will
always look better than a scanned PDF.
I think it depends: firstly, many IMSLP scores are on a level of
typographical
Am 25.04.2015 um 11:56 schrieb Noeck:
Hi,
in reply to this mail:
http://www.mail-archive.com/lilypond-user@gnu.org/msg100990.html
I would have loved to comment in the bug tracker but if I understand it
correctly, I have to have a google account. Is that right? And I don't
want to.
You might
Am 25.04.2015 um 00:38 schrieb Thomas Morley:
Hi all,
I'm a little late to the party...
One very annoying thing about \relative is when you want to use
music-functions catching some music doing something with it.
Here the less complex function I could think of, returning different
results for
http://lilypond.org/website/tiny-examples.html hasn’t been referenced
in this thread. Please follow the instructions there and send us a file
typesetting just the one or two bars which contain the problem, in one file.
Yours, Simon
Am 25.04.2015 um 02:41 schrieb Anthonys Lists:
On 25/04/2015
Am 25.04.2015 um 04:47 schrieb MarcM:
Having an acciaccatura or grace note as the first element of a score makes
the key, tempo time print twice.
A ‘classic’ bug, see
https://code.google.com/p/lilypond/issues/detail?id=34.
Insert \grace { s8 } (or whatever) in all the parallel expressions to
Am 25.04.2015 um 13:52 schrieb Andrew Bernard:
I don’t think you can do that in chordmode.
Of course you can:
chordNames = \chordmode {
\global
\acciaccatura s8
b1:m
}
It’s just the \global there adding the extra objects. Isn’t it?
It does if the chord names and voice are going out of
Hello,
I recall that I was always thinking it would be best to have a person at
hand, maybe even sharing a ‘bureau’, who could answer my question. Or
attending a class, in which one would for example be guided in coding
example scores, and receive immediate feedback. Later I realised that I
Am 23.04.2015 um 04:39 schrieb H. S. Teoh:
I even apply this structure to long rests -- instead of R1*50 (or
however many bars it is), I break it up into groups under passage
labels, and within each passage label groups of R1*4 or R1*8 or some
multiple thereof, separated by blank lines.
Just a
Am 22.04.2015 um 23:25 schrieb Flaming Hakama by Elaine:
My problem is that too much of it is written like the following
response
from Elaine, which looks like Pprogrammers Only Need Apply.
There is no getting around the fact that lilypond is a programming
language. I don't
Am 22.04.2015 um 23:19 schrieb Carl Sorensen:
On 4/22/15 1:30 PM, Martin Tarenskeen m.tarensk...@zonnet.nl wrote:
Stiil, I will try to give a sketch what happens to me again and again:
I want to learn about how to change defaults and how to tweak default
output so I open the Notation
Am 22.04.2015 um 04:29 schrieb SonusProj .:
Simon, I have several questions now that I have had a chance to review
you code.
1) I wish to show the key for each staff line in lieu of showing all
the accidentals relative to c. Is this possible with your current
strategy?
Sorry for overlooking
and affordable
reprints of e.g. the Clavierübung volumes by Seb. Bach. :-)
LK
On Fri, Apr 24, 2015 at 2:11 PM, Simon Albrecht
simon.albre...@mail.de mailto:simon.albre...@mail.de wrote:
Am 24.04.2015 um 16:35 schrieb Gilles:
On Fri, 24 Apr 2015 10:01:29 -0400, Kieren MacMillan wrote
Please give us (code, eventually output) examples, else it’s difficult
to get your point.
Yours, Simon
Am 24.04.2015 um 18:09 schrieb Anthonys Lists:
You can tell I've looked at the relevant section of the manual ...
But I have two problems bugging me at the moment, and it's related to
a
Hello Carl,
this is a good approach. Am I right in assuming that this is a
boiled-down, low-threshold version of the relevant parts in Erik
Sandberg’s masters thesis(1) referenced in CG 10.1?
Yours, Simon
(1) http://lilypond.org/website/pdf/thesis-erik-sandberg.pdf
Am 23.04.2015 um 01:29
Am 28.04.2015 um 23:03 schrieb Noeck:
1. Can I use the same tweak at several points in time? Or do I have to
add and \editionMod every time.
In a recent list post (by Urs, I think) I saw an \editionModList command
to do this.
2. What do the letters mean in edition.Staff.A?
A numbering? How
Am 29.04.2015 um 00:40 schrieb Steven Weber:
And apologies for the formatting. Scheme and I do not get along.
Counting parens drives me crazy, so I format it like I do any other
language that uses braces instead of parens (expect lots and lots of
extra white space!)
Here’s an excellent
Another example: it’s currently impossible to whiteout LyricHyphen –
which would be nice in combination with SpanBar.
Yours, Simon
Am 29.04.2015 um 02:44 schrieb Kieren MacMillan:
Hi,
Forgive my ignorance, but could you just set the color of the grob to
white?
No: I want a black grob with
Hello everyone,
I first thought of another one: switching between the lyrics modes with
associated voice and without. But \set associatedVoice = ##f doesn’t do
what I might’ve expected (see attachment). Does anybody know of a way to
do this or should it be a feature request?
Yours, Simon
Hello Peter,
it is possible to write lyrics with explicitly specified durations,
which should also help in your case. I concocted an example (for the
future, please always try and provide a small, compiling one yourself),
which you find attached.
HTH, Simon
Am 03.05.2015 um 18:37 schrieb
You might check out doubleSlurs in the docs.
HTH, Simon
Am 04.05.2015 um 17:49 schrieb David B. Stocker:
Hello,
The 2.18 manuals seem to indicate that simultaneous slurs are a no-no,
but I thought I'd check here to see if anyone knows of a trick I
haven't thought of.
In my example, I
Am 30.04.2015 um 20:57 schrieb Urs Liska:
Am 30.04.2015 um 17:20 schrieb Joshua Nichols:
I'm looking for something other than minion pro.
;-)
It also needs to have serifs (if not clear by the indication in the
subject). What do you all use (free or otherwise)?
Well, apart from Minion
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